4M : A Forum of Architectural Cultural Context

Aldrin Estillore || CARC5003: Cultural Context 02 17/18 u

Aldrin Estillore || CARC5003: Cultural Context 02 17/18 u

‘4M’ explores the spatial design theories relating to the history of architecture and spatial design, arts, natural and social sciences and humanities.

“4M” , A play-on abbreviation of the term ‘forum’, where a meeting or medium where ideas and views on a particular issue can be exchanged, this collective critical architecture reviews provides the basis for the evaluation of the works of architects and spatial designers including their buildings, texts and spatial acts.

In developing conceptual skills, we maticullously evaluate the complex ideas they propose which closely relate to architectural and spatial design. Just like a source of ‘forum’.

Our Four topics explores deep and specific subjects that supply my intent of an architectural discourse. Throughout this written document I took considerations concerning with theory as practice and the ways in which design theories have been made operational through design propositions. It is secondly concerned with history as an author of architecture and by association the built environment to conceive emerging research practices. Thus enabling to situate the works within the context of the various traditions of critical history and theoretical practice.

Conversations : :

The Definition Methodology of “Venacular Architecture” || El Croquis Vol. 163-164 || Glenn Murcutt

Talking Heads : :

“Adaptive Reuse. The Modern Movement towards the Future” Rem Koolhaas video interview by Hubert-Jan Henket

Events and Places : :

The Roman Singularity Adam Nathaniel Furman @ The Sir John Soane Museum

Books : :

Le Corbusier, Towards a New Architecture

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Question: How can we adapt by putting society in the same role that nature played for architecrture?

Considering the various themes of nature, practice, city, history, theory and relevant issues how and when can we apply such actions? Where the new ideas of architecture are not just beautiful buildings but a key driver in the evolutionary process of society.

Conversations Review

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: : The Definition Methodology of

“Vernacular Architecture”

|| El Croquis Vol. 163-164 || : : Conversations : : Glenn Murcutt

Glenn Murcutt + Sean Godsell

Conversations Review

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T

he reading of El Croquis Vol. 163/164: A Conversation with Glenn Murcutt and Sean Godsell, focuses on new applications of themed methods in present theory of practice enabling architects to develop a personal working method in process of ‘Vernacular Architecture’. In this essay I wish to portray the subjectivity of “nature” and “practice” in relationship towards the theoretical approaches of architectural applications which mentioned throughout the conversation.

Firstly we must understand the intentions of which was mentioned in the conversation, the definition of ‘Vernacular Architecture’ - It is an example of the adaptation of construction to the environment(s) and to the place through an empirical and generational experience and learning which has allowed the improvement of the systems. (Martin, G. 2004, pg.327)

Conversations Review

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[Fig. 1]: Glenn Murcutt’s - Walsh House (2001-2005)

“First of all, simplicity is a very important area of thinking. I refer to simplicity as the other face of complexity- otherwise, its simplistic [...] and that’s entirely different.”

-

( Murcutt, G. El Croquis 163-164, 2012: 24 )

Conversations Review

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Murcutt is recognised as one of the most influential architects of the last few decades, a showcase of this is the Walsh House located in Kangaroo Valley. ( See Fig. 1 ) Where the house has a series of connected room, protected by adjustable louvres, which allows the user to individually adjust the day lighting of their room.

(OZETECTURE, cited by TOTO, Japan, 2008).

(See Fig.2) The building respond to the light, to air movements, to prospect, to refuge and to comfort. Additionally, we must discuss the relation of Vernacular Architecture can work for the common practice; rather stopping buildings from addressing place, but to accept the role of a discoverer rather than an inventor.

However, the work of Murcutt presents an opportunity to analyse architecture as it would be perceived in different ways.

The recurring interpretation of this is through transparency is not a strong determinant in Murcutt’s architecture of visual complexity. Rather, the analysis of environmental adequacy of vernacular architecture is based on conforming the knowledge and comprehension of both the natural and human nature as well as the architectural expression.

Simply put, Glenn Murcutt makes the intent of his work in the language of art or social theory, where his explanations are always direct, his cause clear, thus make his observation critical. Moreover his work is an explicit expression of the cause that released the work in the first place by focusing on the very ‘specific possibilities in the infinite’ (Murcutt, G.) he focuses on drawing out the special quality of nature and people.

We cannot assume that architecture’s purpose can be described simply from a scientific or mathematical perspective; whereas the role of architecture in society is often linked to its material presence.

(Banham, R. 1960)

Conversations Review

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[Fig. 2]: Glenn Murcutt’s - Walsh House Section Drawing (2001-2005)

“[...] T

he important thing is that we address the issues, we address the landscape, we address the brief and we address the place. If we address those things and do them rationally and poetically at the same time, we must be getting somewhere.

”

- (Murcutt, G. Feathers of Metal, 2009 : pg.29)

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Finally, in conclusion of this review, I took Glenn Murcutt’s personal observations of architecture in relations of nature in a inspiring manner shifting from relations of nature to a complexion of practice as he goes on to write in the conversation;

“W [...]

e

don’t

do

something

out

of

nothing,

we

do

[...]”

something out of something[...] so by solving the problem beautifully

(Murcutt, G. El Croquis 163-164, 2012 : pg. 26) We realise and create pleasant designs that harmonises with public socialism of an architecture of place, where Vernacular Architecture is a possible answer to the necessity of accommodation to the inhabitant of a region, which ultimately ties on the natural environment and socio-economical characteristics. Lastly, in my opinion, Vernacular Architecture is not an outdated architecture as it has to be carefully understood as a learning tool, which is the result of analysis and evolution if it is analyzed with architectural awareness.

Talking Heads Review

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“Adaptive Reuse. The Modern Movement towards the Future” : : Talking Heads : : Rem Koolhaas video interview by Hubert-Jan Henket

Talking Heads Review

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n our Talking Heads topic we dive into the aura of our most influential architect of our generation, where no single figure has the field of historic preservation in recent years as much as Rem Koolhaas. Interviewed

by Docomomo, committee for documentation and conservation of buildings, Henket touched upon the importance of “history” and in “city” addressing its nature of a global scale in Modern Movement Towards the Future.

In the interview Henket mentioned the important subject of “preservation”. An example of his recent works unveiled the Fondazione Prada’s new Milan Art Centre which Koolhaas explains the reasoning behind his new approach, and how they attempted to avoid falling into the clichés of post-industrial art spaces.

(See Fig.1) Here, Koolhaas depicts the importance of understanding the history of preservation which the design process becomes a productive reconstruction of identity, not so much in removing elements in creating “designs less rich” but actually in understanding the intricacy of the world around us (OMA, 2017).

For Koolhaas, he has depicted the need to construct a social substance and carefulness in meaning in our design process where a form is becoming a symbol of freedom, by removing the aspects of hierarchy, the structure of preservation becomes a neighborhood for freedom in which allows a significant change for resulting in a growing city.

Talking Heads Review

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[Fig.1] Fondazione Prada, Milano 2015

“...A

rchitecture is saved from obsolescence and appears contemporary as it is framed and reframed by preservation as culturally significant [...] Architecture in the past 20 years has been focused far too much on the expression of individual architects. The new Fondazione is not a preservation project and not new architecture... ... It is about respect for what was here.

�

- (Koolhaas, R. Preservation is Overtaking Us, 2017)

Talking Heads Review

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Foreshadowing this shift he argues that the work of preservation did not involve changing architecture but changing the way that architecture was perceived (Mikhailovski,E. ,1984). Through contextualism, it appears here as a strategy to change the context of an existing building in order to make it more culturally significant than its neighbors.

Similarly, Cedric Price’s ‘The City as an Egg’ for example shows a metaphoric ideals of a city. Implying a dense, compact centre, protected by defensive walls from the evils of the wider world. In comparison, we must take responsibility in this by arguing that the modern city had, or would, become all mixed together so that we resolve mechanisms for dealing with a polycentric city. In other words, for Koolhaas, it deploys a theoretical idea of a city allowing a meticulous observation of the ‘ordinary’, as Koolhaas may suggest, you suddenly realize that preservation is not the enemy of modernity but actually one of its inventions. This perhaps questions both Koolhaas and Price’s theories together to resolve alternative depicitions of an ideal city creates and that makes perfect sense because clearly the whole idea of modernization raises, whether latently or overtly, the issue of what to keep.

Additionally, if you look at the graph (See Fig.2) , OMA started to look at preservation in general and looked through the history of preservation. Where first law of preservation ever defined was in 1790, just a few years after the French Revolution where the issue of preserving monuments was raised for the first time. It started logically enough with ancient monuments, then religious buildings, structures with more sacred substance and more sociological substance were preserved. Therefore, in other words, everything we inhabit is potentially susceptible to preservation. (OMA, 2016)

Talking Heads Review

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“ ...W

e are living in an incredibly exciting and slightly absurd moment, namely that preservation is

�

overtaking us.

- (Koolhaas, R. Preservation is Overtaking Us, 2017)

[Fig.2] Historic preservation as a modern technological innovation, OMA. 2016

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Finally, to conclude this review we followed the emphasis of preser vation of modern architecture, focusing the dichotomy between “histor y” and “city” in relevance of city as preser vation. The City of the future requires the fourth dimension, time, as an integral part of its formation, operation and capacity to change (Price,C. On the City). With relevance of current issues, particularly with Post Modernist architecture rising, more specifically its early radical expressions, We require an immediate action of progress of the design and construction of these buildings, it is becoming even more fragile and more temporal. In other words then that this calls for more intervention; replacement and reconstruction in order to create a possible economic solution and a questionable dilemma.

So perhaps we do question ourselves if preservation has overtaken us? (as Koolhaas suggests) After all, this dilemma is not entirely new, but must be addressed in the context of our generation, as others did before us.

Places and Events Review

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The Roman Singularity

: : EVENTS & PLACES : : Adam Nathaniel Furman@ The Sir John Soane Museum

Places and Events Review

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Ciao!

I

n our review of Events and Places we visit the exhibition by Adam Nathaniel Furman: The Roman Singularity in Sir John Soane’s Museum located in Central London. This review will explore the subjects correlated in the exhibition that discusses the idea of “history” in preservation of Soan’s archives, understanding its motifs from the Renaissance period of Rome.

Upon visiting Sir John Soane’s museum you approach downstairs beneath what was used to be the kitchen space and is now currently installed with a tableful of gaudy objects, a miniature cityscape of towers and follies larded with columns, domes and pediments; embracing superfluity and redundancy with an accompanying video weaves animations of the objects with film clips of Roman decadence and excess. (Moore, R. The Guardian, 2017) The Roman Singularity is a multi-media exploration in text, computer drawing, animation, film, hand drawing, and ceramic, creating an imaginary alternate Rome for the 21st Century; a dream in the mode of Piranesi’s Ichnographia, Campi Martii, a peek out through the other side of Rome’s catastrophic and utterly incomparable reality-bending gravitational field, a new city from which fragments in ceramic, film, and a series of capriccios made and exhibited at the British School at Rome in March of 2015. (Furman. A, The Roman Singularity, 2017) (See Fig. 1)

Places and Events Review

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[Fig.1] The Roman Singularity, Photographed

by Mattia Balsamini, 2017

“M

y approach is this: how can a city be taken apart and put together again in your mind’s eye? Walking around, you might see a renaissance lookout on top of a medieval tower, built over an imperial market above a clutch of republican villas. At the end of the day, you ask, what are the most evocative memories? What stories occupy these spaces?

How can they be made understandable? The objects, the drawings, the capriccios —they all

”

came out of those questions.

-

(Furman, A. Roman Singularity, 2017)

Places and Events Review

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[Fig. 2/3] The dome of St Peter’s inside the dome of Yamoussoukro, 2017

Places and Events Review

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“T

he past here is the antithesis of heritage, it is the very substance, the very means, the base material and energy of change itself.

�

- (Furman, A. The Roman Singularity, 2017)

[Fig.4] Furman, A. Quintus, Thaksin, Gaius and Alhasan. Roman Singularity, 2017

[Fig.5] Furman, A. Eternal Returnimation, Roman Singularity, 2017

Places and Events Review

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The illustrations prior are part of the video posted on the blog which displays an array of Renaissance architectural proposals, he describes this installation as the physical, ancient equivalent of the internet. Whereby all architecture; all art is equal, it is comes into the present and becomes something to be experienced, something that one can allow to wash over you as you wander around.

(Furman, cited by 2lg studio, 2017) For Furman, he intends to achieve a populist point by embracing the objects of his own imaginative reconstruction of the Eternal City, reimagining classicism from those traditionalists who think it should be dry and academic. He says;

“[...]

It should be a vibrant,

creative, lively thing.

”

( Furman, A. 2017 )

Perhaps we might compare Furman’s models to Soane’s architectural approach where his works best displays his take on neoclassicism. Compared to Soan’s simplistic order, style and masterfully brought in light to the spaces, Furman’s models archives the best features used in his projects, masterfully printed a spiral extrusion meets a circle on a rotating plate of gold, an oval joins an arc in a tumbling ball of stone; knowing where to fold along a circumference in an intersected cone, red walls will rise up in a vortex of geometry in dirt and stone that we strangely try to encapsulate with the word[…] Rome.

Places and Events Review

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[Fig. 6] Roman Singularity, Furman A. (Photo by Antonio Palmieri) 2017

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To contextualise further, Furman’s early works archives of his sketches of what he calls it ‘Capriccios’ or intuitive imaginary composing his architectural influence of the neoclassical aesthetic that would compress the things he had seen on the day’s walk into a small made-up world of specific shapes and forms. Where later he brought each of these stories together with one of the Capriccios, and would turn their combination into a ceramic building that embodied them.

In certain ways we see a reflection of his manifesto which drove him into this project.

(See Fig.6/Fig.7) To conclude this review, I wish to express my admirations of Furman’s take in experimenting in the mode of neoclassical architecture. Whether during antiquity, or for those, like Soan, Rome has always been the pilgrimage site for the world’s imagination.

Overall, our fascination with Rome stems from its palimpsest of remains, ruins and re-appropriated fragments from across the centuries, but also the way it has always been a crucible of modernity.Finally, Rome is where the past and present come crashing together, where all culture becomes simultaneous and merges into one liberating atmosphere of objects, each with its own story to tell for the designer. In other words, Rome is not just an Eternal City, it is,as Furman strongly suggest, : ‘the spatial equivalent of the internet’.

Places and Events Review

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[Fig.7] Roman Singularity, Capriccios, (Scanned by Furman, A.) 2017

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Aldrin Estillore || CARC5003: Cultural Context 02 17/18 u

: MANIFESTO :

“

A great epoch has begun! There exists a new spirit. There exists a mass of work conceived in the new spirit; it is to be met with particularly in industrial production. Architecture is stifled by custom. The “styles” are a lie. Style is a unity of principle animating all the work of an epoch, the result of a state of mind which has its own special character. Our own epoch is determining, day by

”

day, its own style. Our eyes, unhappily, are unable yet to discern it.

- (Le Corbusier, Towards a New Architecture,1924)

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We now approach our last Architectural Review of which we take application over the previous reviews and bring a collaborative themes towards this final writing.

We will discuss the broad theme of “theory” and ideals of the architects beliefs in spatial theories and appliances. Later, we compare the perception of Le Corbusier’s ‘Towards a New Architecture’ and Reyner Banham’s ‘Theory and Design in the First Machine Age’ manifesto’s of defining a different approach of Architecture.

Beginning in 1921, in his magazine “L’Esprit Nouveau” and later in his book “Vers une Architecture” or “Toward an Architecture” the French-Swiss architect Le Corbusier wrote what amounted to brilliant pieces of propaganda for what he called “A New Architecture.”

(Basulto, D. ,2013 The End of Critique: Towards a New Architecture) Le Corbusier’s Towards A New Architecture is a call to action for architects everywhere, the pioneering manifesto in which he urged architects to cease thinking of architecture as a matter of historical styles and instead open their eyes to the modern world.

(Jean-Louis, cited by Getty Research Institute, 2007) He states that, while the “engineer’s æsthetic” is “at full height,” architecture is “in an unhappy state of retrogression.”

(Le Corbusier, Towards a New Architecture,pg.1 1927).

Here, Le Corbusier was beginning to conjure a new architecture. One that would respond to the challenges imposed by modern industrialization, the mass production of houses usingstandardized building parts, building components (Turkel.D 1985). But at the same time, he wanted to reconcile these challenges with the great architecture of the past.

Which for him, meant the classical architecture of Greece and Rome. The new architecture, Le Corbusier said, would be “a machine for living.” Architecture has to rise from its recession to its former glory by escaping trendy “styles” and moving into an industrial age of architecture that will allow refinement of appearance through standardization of function.

Le Corbusier further breaks down architecture into three fundamental reminders as a form of process: mass, surface, and plan.

Aldrin Estillore || CARC5003: Cultural Context 02 17/18 u Three reminders to architects:

“O

Mass

ur eyes are constructed to enable us to see forms in light. Primary forms are beautiful forms because they can be clearly appreciated. Architects today no longer achieve these simple forms. Working by calculation, engineers employ geometrical forms, satisfying our eyes by their geometry and our understanding by their mathematics; their work is on the direct line of good art.

“

- (Le Corbusier, Towards a New Architecture,1924 p.23) Mass, as Le Corbusier claims, are the simple and beautiful forms of geometry that engineers still make but architects have portrayed for more complicated forms (See Fig.1). Le Corbusier states that true architects are needed to create architectural beauty and they do so by using attractive appearance to come slowly as we build upon a functional model that truly represents the necessity, he goes on to say;

“E

[Fig. 1] Drawing Pantheon, Colosseum, Aqueducts, Pyramid of Cestius, Triumphal Arches, Basilica of Constantine and Bathhs of Caracalla (1924)

lements which are capable of affecting our senses, and of rewarding the desire of our eyes[...] the sight of them affects us

”

immediately.

- (Le Corbusier, Towards a New Architecture,1924 p.16).

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“ M

Surface

ass is enveloped in its surface, a surface which is divided up according to the directing and generating lines of the mass; and this gives the mass its individuality [...] The great problems of modern construction must have a geometrical solution. Forced to work in accordance with the strict needs of exactly determined conditions, engineers make use of generating and

“

accusing lines in relation to forms. They create limpid and moving plastic facts.

- (Le Corbusier, Towards a New Architecture,1924 p.35) Surface is the face of the mass that engineers properly utilize by making lines which reflect the shape of the building whereas architects are “afraid” to do this.

Final formulation of ideas comes from the depictions of Roman architecture. (See Fig.2) We must standardize architecture with respect to function so that we can mass produce it until we perfect its aesthetic through competition.Through the learnings of Rome, the result of numerous Greek temples that were entirely standardized from a basic functional perspective, but improved aesthetically to reach perfection.

“I

[Fig.2] The Parthenon drawings: Le Corbusier (1924)

t is a fight; in order to win you must do better than your rival in every minute point, in the run of the whole thing and in all the details. Thus we get the study of

”

minute points pushed to limits. A standard is necessary for order in human effort[...]

- (Le Corbusier, Towards a New Architecture,1924 pg.134-135).

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Plan

“T

he Plan is the generator. Without a plan, you have lack of order, and willfulness.

The Plan holds in itself the essence of sensation. The great problems of to-morrow, dictated by collective necessities, put the question of “plan” in a new form. Modern life demands, and is waiting for, a new kind of plan, both for the house and for the city.

”

- (Le Corbusier, Towards a New Architecture,1924 p g.45) Lastly, the plan is what Le Corbusier believes births the entire building—Le Corbusier made this comparison. He understood the Greek temple as a kind of object-type that had, over centuries,been evolved and refined.But out of a basic rule, had become more and more perfect. In both cases, one has to start with the standard of a strict diagram of the object in order to move forward toward perfection.

The lesson is that the ancient temple and the modern automobile are object-type that can be refined over time. He then emphasised later ;

“T

[Fig. 3] Paestum, 600 -550 B.C

[Fig.4] The Partheon, 447 - 454 B.C.

[Fig.5]Humbert Cabriolet; 1907

[Fig.6]Delage Grand-Sport; 1921

he establishment of a standard involves exhausting every practical and reasonable

”

possibility, and extracting from them a recognized type conformable to its function[...]

- (Le Corbusier, Towards a New Architecture,1924 p g.137)

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The idea of living in a modern age,engineers look at practical constraints, needs, economic problems, mathematics, and build with all these things in mind— this is the problem. In return, Architects must let this force of selection update their work and not cling to trends of the past.

Simultaneously, they must not only be engineers who strive to solve problems but also artists whose work exhibits beauty.

Le Corbusier says ; “Beauty governs all; she is of purely human creation,” (Le Corbusier, Towards a New Architecture,1924 p.148) In comparison, Reyner Banham’s “Theory and Design in the First Machine Age” the subjectivity of theory where he breaks the link of functionalism in 1920’s progressive architecture. In the text Banham writes; “Functionalism, as a creed or programme, may have a certain austere nobility, but it is poverty-strickensymbolically. The architecture of the Twenties [...] was heavily, and designedly, loaded with symbolic meanings that were discarded or ignored by its apologists in the Thirties” - ( Banham, R. Theory and Design in the First Machine Age, pg.320)

According to Banham, he argues that the era of monumental expositions that make money is past.

Today we judge an exposition by what is accomplishes in the cultural field.

Economic, technical and cultural conditions have changed radically. Resulting from this both technology and industry face entirely new problems.

(Banham, R. 1960) In my opinion is is important for our culture and society the understanding to solve these specific issues. The path must lead from quantity towards quality- from the extensive to the intensive. Along this path industry and technology will join with the forces of thought and culture.

Currently, we are along this path where industry and technology will join with the forces of thought and culture.

On one hand, Le Corbusier strongly expressed the importance of functionalism by famously saying “A house is a machine for living in.” (Le Corbusier, Towards a New Architecture) Of course considering the time, his newly proposed architecture would also satisfy the demands of industry which were, after the industrial revolution, demands of big importance but he defensively argued that by living in efficient house-machines, we can be more productive and more comfortable.

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On the other hand, Banham’s perspective was to understand and to analyze designs and products of this age in terms of paintings, sculptures, industrial designs and architectural projects resulting architects and some artists wanted to adapt themselves to new machines.

To conclude this review, this unique book acts as a manifesto in order to provoke wide ranges of audiences and architects to construct its motivation of Towards a New Architecture. The book draws its eloquence from new means through magnificent illustration sustain next to the text the parallel discourse of power, this new conception of the book through explicit and revolutionary discourse of illustrations allows the author to avoid infectual phrases and descriptions, therefore the facts stand out before the eyes of the reader, the text of the book is simply a guideline handout by lyricist of a hundred century past mind through the magnificent era of history begins to describe itself within grandeur of calculations, the modesty and temerity of science and the lyricist of a hundred century past. It can be said that they aimed to renovate their strategies and designs by the help of machines because architects wanted to create an ‘International Style’ in architecture. For this reason, both Le Corbusier and Banham wanted to analyze new movements and architects perspectives to architecture in this new century to suggest that Twentieth century could be referred as ‘New Century’ because people started to use some machines in their daily lives and in lots of fields for the first time.

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Reflective Conclusion

This critical writing is set out to discuss the important wider topics issued by architectural ideologies through design theories made by operational design propositions. We discussed mainly our themed subjects of nature, practice, city, history, theory and relevant issues because it’s aim was to provide debates and further questions the roots that the concered history for architecture and for the built environment, with intent of this research and notable precedencies its result is to reflect and give rich historical relevance to which representations create various traditions of critical history and theoretical practice. Accumulated with both architectural and spatial discourses embedded through the reviews allows relational qualities to theories, histories and environments within the disciplines of architectural and design processes adjacent to the realm of the arts and social sciences of architectural manifestos.

Reflecting throughout the lecture series, I have developed a critical stance of spatial awareness and its symbolic qualites of theory in disciplinary actions in architecture where theories can be deployed in future projects on hand. The capacity represents preconceptions of an architectural language that communicates an ideal perspective governed through wide ranges of systematic appliances such as politics, media and technology.

However, we must adapt quickly to these rapid yet radical progressions as our times has become more dynamic and static- anything and everything can be unpredictable.

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References Conversation:

Talking Heads:

Murcutt, G. et al. (2012) 9788488386731 - El Croquis 163164 - Glenn Murcutt Feathers of Metal

Fondazione Prada (s.d.) At: http://oma.eu/projects/fondazione-prada

Beck, H. and Cooper, J. (2002) Glenn Murcutt : a singular architectural practice. (reprint. ed.) Victoria: Images Publishing Group.

Fromonot, F. (1995) Glenn Murcutt: works and projects. (s.l.): Thames and Hudson.

OLD VS NEW BRIEF CLIENT SITE ARBE PDF (s.d.) At: http:// docplayer.net/58096687-Old-vs-new-brief-client-site-arbe-2203.html Ostwald, M.J. and Vaughan, J. (2016) ‘Fractals in Architectural Design and Critique’ In: The Fractal Dimension of Architecture. Mathematics and the Built Environment (s.l.): Birkhäuser, Cham. pp.21–37.

Vaughan, J. and Ostwald, M.J. (s.d.) ‘VISUAL PERMEABILITY AND THE ARCHITECTURE OF GLENN MURCUTT Comparing the characteristic complexity of opaque and trans- parent building facades’ At: http://anzasca.net/wp-content/ uploads/2014/08/10.pdf

Illustrations: [Fig.1] Walsh House - OZETECTURE (s.d.) At: http://www. ozetecture.org/2012/walsh-house/

[Fig. 2]: Walsh House - OZETECTURE (s.d.) At: http://www. ozetecture.org/2012/walsh-house/#!prettyPhoto[slides]/9/

Prada, F. (2015) ‘SPIRITI _the trailer’ At: https://vimeo.com/125905820 Preservation is Overtaking Us (s.d.) At: http://oma.eu/publications/ preservation-is-overtaking-us Rem Koolhaas on Prada, Preservation, Art and Architecture (2015) At: https://www.archdaily.com/771156/rem-koolhaas-on-prada-preservation-art-and-architecture Rem Koolhaas video interview by Hubert-Jan Henket. (2017) Directed

by Docomomo International. Youtube. At: https://www.youtube.com/ watch?v=pdjFYUTDUjU Mikhailovskii, E. (2017). The Methods of Restoration Architectural Monuments: Contemporary Theoretical Conceptions. 1st ed. Future Anterior 8, no. 1, pp.(Summer 2011): 84–95.

Illustrations: [Fig. 1]: OMA (s.d.) ‘Fondazione Prada, Milano 2015’ At: https://images.adsttc.com/media/images/55bb/7158/e58e/ce6d/3a00/010b/ slideshow/02-Fondazione_Prada_Photo_Bas_Princen.jpg?1438347602 [Fig. 2]: OMA (s.d.) ‘Historic preservation as a modern technological innovation’ At: https://cdn.filepicker.io/api/file/HnuJNSGROa2YWGONHiiA?

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Events and Places:

Books:

The Roman Singularity. (2015) Directed by Furman, A.N. Vimeo. At: https://vimeo.com/121549598 (Accessed on 6 December 2017)

Le Corbusier (2014) Towards a new architecture. New York: Brewer, Warren & Putnam.

2LG Studio » Future Classical – Adam Nathaniel Furman (s.d.) At: http://www.2lgstudio.com/2017/08/28/ future-classical-adam-nathaniel-furman/ Adam Nathaniel Furman: The Roman Singularity (2017) At: https://www.soane.org/whats-on/exhibitions/adam-nathaniel-furman-roman-singularity Furman, A.N. and Profile, V. my C. (s.d.) About. At: http:// theromansingularity.blogspot.com/p/about.html Furman, A.N. and Profile, V. my C. (s.d.) The Roman Singularity. At: http://theromansingularity.blogspot.com/ Moore, R. (2017) ‘A Hall for Hull; The Roman Singularity – modern classics’ In: The Guardian 8 October 2017 [online] At: http://www.theguardian.com/artanddesign/2017/oct/08/a-hall-for-hull-trinity-square-the-roman-singularity-sir-john-soanes-museum-review

4lecorbusier.pdf (s.d.) At: https://danturkel.com/papers/4lecorbusier.pdf Banham_Reyner_Theory_and_Design_in_the_First_Machine_Age_2nd_ed.pdf (s.d.) At: https://monoskop.org/ images/6/65/Banham_Reyner_Theory_and_Design_in_ the_First_Machine_Age_2nd_ed.pdf Basulto, D. (2013) The End of Critique: Towards a New Architecture. At: http://www.archdaily.com/337751/theend-of-critique-towards-a-new-architecture/ (Accessed on 27 December 2017) Corbusier_Le_Towards_a_New_Architecture_no_OCR.pdf (s.d.) At: https://monoskop.org/images/b/bf/Corbusier_Le_Towards_a_New_Architecture_no_OCR.pdf Microsoft Word - Document5 (s.d.) At: http://mariabuszek.com/mariabuszek/kcai/Design%20History/Design_readings/LeCorbuNewArch.pdf

Illustrations:

Illustrations:

[Fig. 1] Furman, A Photographed by Mattia Balsamini,. (s.d.) CiC. At: http://theromansingularity.blogspot. com/p/cic.html

[Fig. 1 Le Corbusier and Etchells, F. (2014) Drawing Pantheon, Colosseum, Aqueducts, Pyramidof Cestius, Triumphal Arches, Basilica of Constantine and Bathhs of Caracalla: Towards a new architecture. Connecticut: Martino Publishing.

[Fig. 2]Furman., A. (2017) The dome of St Peter’s inside the dome of Yamoussoukro. At: http://4.bp.blogspot. com/-ZhpqmdbUuE0/VGtjwgKafCI/AAAAAAAAGoQ/4Ff4KzPgQuo/s1600/Together_01_compressed_597W. gif [Fig. 3] Furman, A. (s.d.) The dome of St Peter’s inside the dome of Yamoussoukro. At: http://1.bp.blogspot.com/-0SnfTx0JF-U/VGtjbFYgovI/AAAAAAAAGoI/lgQ-SqKE3LI/s1600/EGG01_compressed.gif [Fig. 4] Furman, A. (2017) Quintus, Thaksin, Gaius and Alhasan. At: http://4.bp.blogspot.com/-7gJ7eF 2 1 L u 0 / V O Y BY B 0 h w z I / A A A A A A A A G 9 k / N z m y iM1lSs4/s1600/interiors-01-photoshop-01-whole.gif [Fig. 5] Furman, A.N. and Profile, V. my C. (s.d.) WIPs. At: http://theromansingularity.blogspot.com/p/wips.html

[Fig.2] Le Corbusier and Etchells, F. (2014) The Parthenon drawings: Towards a New Architecture.

Connecticut: Martino Publishing.

[Fig. 3] Le Corbusier and Etchells, F. (2014)Greek temple at Paestum: Towards a New Architecture. Connecticut: Martino Publishing.

[Fig.4] Le Corbusier and Etchells, F. (2014) Greek temple at Paestum: Towards a New Architecture.Connecticut: Martino Publishing.

[Fig.5] Le Corbusier and Etchells, F. (2014) Humbert Cabriolet; 1907: Towards a New Architecture.Connecticut: Martino Publishing.

[Fig.6] Le Corbusier and Etchells, F. (2014)Delage Grand-Sport; 1921: Towards a New Architecture.Connecticut: Martino Publishing.

Aldrin Estillore || CARC5003: Cultural Context 02 17/18 u