BEHAVIOUR
Behaviour by Solveiga Arente
Didactic exercise Fall Semester 2010
Interior worlds: “Behaviour” Main Editor Gennaro Postiglione Course of Interior Architecture Faculty of Architettura e Società Politecnico di Milano www.lablog.org.uk Editor Solveiga Arente
only for pedagogic purpose not for commercial use
INDEX 00_First National Bank 01_Music Room 02_Guest Bedroom 03_Centaur Theatre 04_CafĂŠ Museum 05_Outdoor Stage 06_Earthquake 07_Laro Antone Sundquist house 08_Coonley House 09_Hoo Hoo House 10_Casa Steiner 11_Palazzo Stoclet 12_The Lewis Cycle and Motor Works 13_Family garment mending in tenement 14_Glass Pavilion 15_Century Theatre 16_The Walter L. Dodge House 17_Lister County Courthouse 18_State Normal School for Women 19_Einstein Tower 20_Wayne State University 21_New York Interior
22_Kings Road House
49_Helsinki university of Technology
23_Armstrong Linoleum Ad
50_Spencer residence
24_Rietveld-Schroder House
52_Jørn Utzon house
25_Yankee Stadium
53_Report to stockholders
26_The Frankfurt Kitchen
54_Il labirinto dei ragazzi
27_Glass house
55_Unitarian Universalist church
29_Biblioteca di Viipuri
56_Crown Hall
30_Tugendhat house 32_Maison de Verre
57_Clark residence 58_Philips Pavilion
33_Penguin Pool
59_Mirman Residence
34_The W. E. Oliver House
60_Cary House
35_Finsbury Health Centre
61_Dulles Airport
36 _The Alexander Sasha Kaun House
62_John F. Kennedy International Airport
37_Penthouse of Highpoint Two
63_Modern Church Architecture Circa
38_ ***
64_Chairs
39_Fallingwater
65 _Interior
40_Miss Robertson and Kindergarten
66_***
41_David A. McAlpin
67_The Habitat
42_The J. Rodriguez House 43_Milan in Ruin
68_Riga Passenger Terminal 69_Camping
44_Robert Motherwell in his house
70_***
45_Uni-Seco temporary house
71_St. Mary’s Cathedral
46_Kaufmann House
72_Interior with Seated Figure
47_The Farnsworth House
73_***
48_The Case Study House #22
74_Allen Art Museum Addition
75_Fix It Shop 76_Azuma House 77_Neue Staatsgalerie 78_Alley Wall 79_Sangath 80_Musee d’Orsay 81_Institut du Monde Arabe 82_Disco Club 83_I.B.M building 84_Private House 85_Samuel Beckett 86_Venice Beach House 87_Parc de la Villette 88_Maya Lin 89_La Grande Arche de la DÊfense 91_Michigan Theater 92_Opera de Arame 93_Waterloo Station 94_Kansai Airport Terminal 95 _SFMOMA 96_Melbourne Exhibition Centre 97_ Fruit Museum and Garden 98 _Kiasma Museum of Contemporary art 99_Reichstagskuppel own_ choise
Behaviour by Davide Crippa, Barbara Di Prete
Abstract Interior architectural planning currently finds itself dealing not only with space and shape, but with everything that happens within space: it is subjected to open and changing aesthetics – a “landscape of actions” in which the behaviour of users takes on an aesthetic value. The celebration of urban living and daily routine, which are raised to a spectacular dimension, participates in the component definition of the project. This “aestheticization of usage” implies that people are not just simple users of architecture but actors that contribute to its composition, spectators that observe it. In this transformation the temporal dimension prevails, since projects can be enjoyed only in a certain moment: in this sense architecture almost borders on performative function and reflects the new momentary aesthetics. Users unwittingly play their role in an open script. This new “theatricality” spontaneously asserts itself in a society where media, show business and reality live together and where projects increasingly take the shape of mov-
ing scenes and modern “narrative compositions”. Leaving breaks into public space and due to the overlapping of private and public sphere, interiors participate in the construction of the city. The innovative contribution is so big that some psychologists talk of “change in shape.” (Green, 2007-2008)
Paper Nowadays interior architectural planning finds itself dealing not only with space and shape, but above all with everything that happens within that space: it pursues open and changing aesthetics, a landscape of actions in which the behaviour of users takes on an aesthetic value. The celebration of urban living and daily routine, which are raised to a spectacular dimension, participate in the component definition of the project. This aestheticisation of usage presupposes that man is not just a simple user of architecture, but an actor that contributes to its composition, and also a spectator that observes it. In these continuously changing projects the temporal dimension prevails, since they can only be enjoyed “at that moment ; in this sense architecture borders on almost performing expressions and is expression of the new momentary aesthetics. Unwitting, the users act out the part of an open script. This is a newspontaneous theatricality, which affirms itself within a society
inwhich media, show business and reality live together, and in whichprojects increasingly take the shape of scenes in movement, modern narrating compositions. In fact, in analyzing contemporary architecture, which is a reflection of a constantly changing and unpredictable society, there seems to be an emergence of strategies rather than projects, not unambiguous solutions but changeable forms, within a frame of unpredictability and the possibility of using space. This possibility of usage does not refer to a simple functional flexibility, rather it means to appeal to the multiplicity of motion, actions and relationships which, inadvertently manifested by the people who share an environment, give it a formal sense of completion. It’s a new idea of architectural surfaces, highlighting change, temporality and spectacular relationships. Though this research is still embryonic, it seems to direct contemporary architecture, drawing its basic theories from the elaborated studies of Rem Koolhaas and Bernard Tschumi, who already
in the eighties proposed “an architecture of program, action and event.” (1) Their priorities were always “designing the conditions rather than conditioning the plan”, (2) a conviction that has brought them to pursue strategic and meta-planned structures rather than the search for final architectural ones, often purely creative and formal. The Parc de la Villette is surely an expression of this poetry, emblematic example of a way to perceive architecture as a set design, ready for action, movement and occurrences. In this light, the architectonical language becomes secondary to the definition of (the) living space. In this setting, architecture in general, aware of the processes it activates and allows rather than its formal characterization, seems to lead to processes: it solicits, stimulates, responds to the users’behaviour, not only placing them at the base of the very project, but allowing them to adopt that aesthetic value that, until now, has been attained solely by construction material components. On one hand, there is architecture that causes behavioural reflections thanks to functional anomalies, which present endless possibilities for the use of the structures, allowing new settings for the project; the WOS8 of NL Architects is symbolic in this because it already contemplates the use of the facades of the power plant as walls to climb. Thus we are viewing technical buildings that have become tourists and sportsmen destinations, changing facades where people appear to be decorative rawlplugs of textures that cannot be programmed. There are instead other architectures that simply reply (in a more mechanical explanation, one could say that they react) to people’s behaviour, their movements and their actions; examples are the interactive buildings The Son-O-House of Nox or the Hypersurface of Decoi. In these cases, the constructed element appears in its greatest formal and sensorial potential, only as a consequence of the motion of the visitors. Other projects still require human presence (in the daily fruition of space) as structural el-
ement of the same: these are all those cases in which, in the absence of people, the project appears incomplete and the initial concept not followed. A forerunner in this sense was Achille Castiglioni in the RAI exhibition stand that had the characteristic appearance of a centipede, only if used by people. Facsimile of Diller+Scofidio, Relational Architecture of Rafael Lozano Hemmer and Piazza Risorgimento of Ma0 are among the most significant examples in this research. These are three urban interiors that can not be set apart from human beings because the project’s perception would be compromised: in every way, man is an integral part of the architectonic scene, which is both modeled on and with him. In summary, contemporary architecture is oriented more and more to the concept of the work-user relationship, making man through various facets material of the project, allowing him thus, to go beyond simple function. In fact, architecture seems to stand apart from the traditional, but well-worn form-function relationship: today projects interact with unpredictable use and spatial motion. Architecture is not only interested in space and form, or space and events, rather in all that occurs within the space: “Interplay within and around the buildings, motion of the bodies, their activities and aspirations”. (3) An urban design, in which every function reflects a form, becomes a city made of people, behaviour and motion: alternatively, severe and prefixed aesthetics are replaced with one that is open, able to change and grow. Introducing the varied and complex concept of fruition, spotlighting the protagonists and not the context, seems to be the only way to paint this scenery of motion. In this light, architecture exists because it is integrated with action that is created and dissolves in the interactions of man and space. It is no longer the case or object of an admired and passive contemplation, rather support for various uses that reach its finality, in time. At this point, the focus is on a temporal dimension, from time to time enclosed
or amplified that finds correspondence in a dynamic and futuristic form. In this light, the proposals of many contemporary architects of fame, such as Daniel Libeskind, Steven Holl, Peter Eisenman, Frank O. Gehry, Zaha Hadid, appear inadequate because, though seemingly fluid, they are caught in the labyrinth of rigid forms. In fact, these designers follow the realization of forms that seem to want to suddenly inhibit the fluidity of motion and instead to evoke it without restitution. In the architectonic concept to which we are referring, instead, the form is manifested in the very motion by the user: it is about architectures that “use” people by way of their actions with emphasis on gestures, creating texture of their relationships. There is a spreading confirmation of a phenomenon we can define as aestheticism of use because fruition, once viewed as plain purpose by architecture, becomes an element of the composition, and the relationships that occur in a space participate more and more in the definition of the project. Therefore, if until recently architecture created with man in mind, though often absent from the picture, immortalizing these new constructions, omitting people, would be absolutely unthinkable and would show a misunderstanding of the project. This aesthetic usage reflects perhaps the main expression of that temporary and ephemeral character that connotes contemporary architecture: time, as an integral part of the project, becomes a fundamental parameter, not only in relation to a building’s life span,but also figuratively. It is therefore necessary that architects take even this aspect into consideration in order to analyze (and control) theephemeral – besides materialistic or technological functionality – also in its possible aesthetic results. Enhancing the temporal composition of architecture brings it closer to expressions of performance; therefore, one might view the artistic aspect for direction and potential that could soon be transferred into our discipline. In this setting that we are now able to view, we can therefore legitimately refer to momen-
tary aesthetics even in a field like architecture that is slow and stable: it is the daily matter that is brought to a spectacular dimension. They are the celebration of urban life and placing a value on daily rituals that introduce that which some critics call “architecture of experience.” (4) Its characteristics are the cancellation of limits between intervention and context, internal and external, public and private. These researches often lead to emphasize (and at times overturn) the relationship between internal and external: the internal is shown inside the city and the “processes of fruition” come into light. Living breaks into the collective space, and thanks to the overlapping of private and public dominion interiors take part in the construction of the city itself. At some point perhaps, the external setting will disappear altogether in favor of multiple internal scenes. The innovative range is such that some psychologists consider these proposals as an expression of a “change in shape.” (5) Besides Diller+Scofidio’s installations (a type of modern and technological magnifying glass on the facade which portrays details of everyday life that happens within the units), or the MARC devices (which play with transparence and unexpected openings that denote – and share – intimate moments, usually portraying the private sphere), these theories are endorsed by W Downtown: the aim of all these projects is to frame and show the ordinary details of domestic life, create shared experiences between passers-by and families, build stages where people become the protagonists. In this way, the tradition of internal architecture does not contradict or betray its tradition, simply proposing a new outlook, proposing that architecture not only offers a show of our daily life, but it shows and narrates it. It accepts it, and it exhibits it. Architecture stands out, therefore, even more intensely, as art of daily life. In this same way it has been defined by the best critics and great architects, from Pablo Picasso to Henry Moore, from Frank Lloyd Wright to Renzo Piano, but never more than today does that
definition ring true: the man who uses space is a part of its aesthetic definition, because he is an integral part of the setting that contributes in the dynamic structure, but he is also an interested observer of all the multiple settings that appear around him. Obviously, these characters are not univocally defined because the positions continue to reverse, mixing actors and spectators. It is a pleasing and constant co-creation that exalts the unrepeatable and sudden occurrences of daily life. Contemporary culture, post-functional and directed at entertainment, has thus transformed the city into a stage of these architectonic and performance-fed micro-happenings that ascribe urban spaces to a new social and cultural centralism.
References Cantucci, Stefano, and Umberto Cao. 2001. Spazi e maschere. Roma: Meltemi. Ceresoli, Jacqueline. 2005. La nuova scena urbana: Cittąstrattismo e urban-art. Milano: Franco Angeli. Costanzo, Michele. 2002. Bernard Tschumi. L’architettura della disgiunzione. Torino: Testo&Immagine. Green, Penelope. 2007-08. Case con vista: Esibizionismo e solitudine tra i grattacieli di Manhattan. The Reader, no. 4, DecemberJanuary. Micarelli, Rita, and Giorgio Pizziolo. 2003. L’arte delle relazioni. Firenze: Alinea. Tschumi, Bernard. 2005. Architettura e disgiunzione. Bologna: Pendragon. Virilio, Paul. 2000. A Landscape of Events. Cambridge: the MIT Press.
ATLAS
‘00/behaviour/First National Bank
Functionality is a key word to describe this room. While designing this room - there was not thought about design - it all was about money and people coming together.
‘01/behaviour/music room
Music can be played everywhere but only where music is played can be music room.
‘02/behaviour/ Guest Bedroom
Harmonic interior consists only of objects what are admired or used by human. Every object in surrounding used by people becomes integral part of interior.
‘03/behaviour/ Centaur Theatre
This place looks strange and magic as there is no one around. But let all the people who work there will come in - and it will be completely different.
‘04/behaviour/cafĂŠ
There is no need to say that if nobody comes to cafe or bar - it has only one fate - being closed.
‘05/behaviour/outdoor stage
Theater stage shows performing aesthetics where actor and audience realize it. There are only temporal dimension, since it can be enjoyed at the moment.
‘06/behaviour/earthquake
Such powerful strength as earthquake does not take care of human habits and values. Destruction takes people, materials and spaces. It creates point where human needs to rethink his needs and find new type of behaviour.
‘07/behaviour/ Sundquist house
Time is an integral part of the every object. We can refer to momentary aesthetics even if field like architecture: it is daily matter that is brought to spectacular dimension.
‘08/behaviour/Coonley House
Spacious room with empty middle what could perform stage; however actions is located on the sides of a room; natural need of human – to be in safe place. It shows that user becomes protagonist mostly unwittingly, without purpose.
‘09/behaviour/Hoo Hoo House
This room is created for nice and cosy atmosphere but only in certain moments it really gives it.
‘10/behaviour/Casa Steiner
Adolf Loos created this room with men in mind; every detail becomes from human needs and in the same time leads user behaviour.
‘11/behaviour/Palazzo Stoclet
Every person has definite place around the table. It shows hierarchy of users and traditions of human manner. It is place for predictable play where every person knows its task.
‘12/behaviour/ The Lewis Cycle
Bicycles is structure what is implemented in room, it presents possibilities use of space. Only user and surrounding made by him gives identity to space. If there were no bicycles - this picture would never been made.
‘13/behaviour/Family
Temporal composition of architecture brings it closer to expression of performance. Every user has a task, every object has a function and this composition interacts in space and time.
‘14/behaviour/Glass Pavilion
Glass pavilion indicated how the material might be used to orchestrate human emotions and assist in the construction of a spiritual utopia.
‘15/behaviour/ Century Theatre
Rehearsal is part in-between daily user behaviour and performing art. In rehearsal actor finds itself as actor even no one is watching and performs for imaginary audience.
‘16/behaviour/ Dodge House
Lonely interior used by no one, it is waiting for someone to come and make it livable. It has only basic identity and lots of opportunities to interact with user.
‘17/behaviour/Lister CountyCourthouse
This picture shows momentary aesthetic made by light and building. But without human who can observe it would be useless.
‘18/ behaviour/State Normal School for Women
Space, water and human interaction emphasise that user is integral part of the setting that contributes in the dynamic structure. It is example of a way to perceive architecture as set design, ready for action.
‘19/behaviour/ Einstein Tower
There is architecture made by special function and is changing by human and technical needs. Every time when user wants to take a look in different direction whole building is changing.
‘20/behaviour/Wayne State University
Not only humans mind change space to place and creates architecture but human presence as well.
‘21/behaviour/New York Interior
The space is made by artist for exactly one action, one movement. Artist made space what is designed by action in very sensitive way.
‘22/behaviour/ Kings Road House
Living unit placed in natural environment allows user to interact with surrounding in basic level: human – nature. There is cancelation of limits internal and external, and all surrounding becomes private in a way of absences of other users.
‘23/behaviour/ Armstrong Linoleum Ad
The posh room attracts attention with everything it has, but main idea of this Armstrong Linoleum Ad is to show floor as a stage of the room that is usually forgotten by user.
‘24/behaviour/ Rietveld-Schroder House
Building is designed by arhitect Gerrit Rietveld with influence on his cient Mrs. Truus Schröder-Schräder. It shows what a great masterpice can be created when arhitect colaborates with user who knows his needs, habits and are sure about emotianal effect what the home can offer.
‘25/behaviour/Yankee Stadium
Stadium is designed not for user as person, but for user as flow with its characteristic behaviour. In this case architecture needs to lead people behaviour even more strong and carefully.
‘26/ behaviour/The Frankfurt Kitchen
In the Frankfurt Kitchen Margarete SchĂźtte-Lihotzky successfully brought functional clarity and humanitarian values in living space. It shows user as main actor in the small stage.
‘27/behaviour/Glass house
Eisenstein made a theoretical model of building – stage, where every unit is fully transparent. It is research about human behaviour and transparency where peoples destroy the system through behaviour.
‘29/behaviour/Biblioteca di Viipuri
In this interior the base point is to show direction and guide user through space. There are strictly defined and separated places for different kind of movements.
‘30/behaviour/Tugendhat house
Villa Tugendhat is a paradigmatic example of functionalism. Mies used the revolutionary construction to arrange the interior in order to achieve a feeling of space and light.
‘32/behaviour/Maison de Verre
The program of the residential home is somewhat unusual in that it included a ground-floor medical suite for Dr. Jean Dalsace. Circulation in building in divided in public and private and use of it depends on time.
‘33/behaviour/Penguin Pool
User is an actor and space becomes stage what leads movement of actor. Space movement dominates over user purpose; leading it without any permission of user.
‘34/behaviour/ The W. E. Oliver House
Harmonic interior consists only of objects what are admired or used by human. Every object in surrounding used by people becomes integral part of interior.
‘35/ behaviour/Finsbury Health Centre
When Lubetkin designed Finsbury Health Centre he was determined that it would encourage the public to become healthier, from the “sunny and airy effect” of its glass brick façade, to the cheerful murals painted on the walls which adjured visitors to “live out of doors as much as you can” and to benefit from “fresh air night and day”.
‘36/behaviour/ The Alexander Sasha Kaun House
Living unit placed in natural environment allows user to interact with surrounding in basic level: human – nature. There is cancelation of limits internal and external, and all surrounding becomes private in a way of absences of other users.
‘37/behaviour/Penthouse of Highpoint Two
Harmonic interior consists only of objects what are admired or used by human. Every object in surrounding used by people becomes integral part of interior.
‘38/behaviour
Cars – transparent urban units that are sharing intimates moments and portraying the private spheres. People in cars become of protagonists and it create shared experience between passersby and drivers.
‘39/behaviour/ Fallingwater
Spacious room with empty middle that could perform a stage; however actions are located on the sides of a room; natural need of human – to be in safe place. It shows that user becomes protagonist mostly unwittingly, without purpose.
‘40/behaviour/Miss Robertson and Kindergarten
Childrens who are sitting in circle are elements that create space and the same time they interact and enjoy it. In these continuously changing spaces the temporal dimensions prevails and reveal momentary aesthetics.
‘41/behaviour/David A. McAlpin
Urban interior consists from thousands of living units. We can only imagine how they interact, but even that is hard. Scale of modern city change attitude to persons and buildings. It would be too easy accepting this landscape without user.
‘42/ behaviour/The J. Rodriguez House
Every detail in this room comes from user habits. No decorations, no posh atmosphere, just elements what is required by building construction and user makes it perfect and compeat.
‘43/behaviour/Milan in Ruin
Destruction shows another side of user’s behaviour. It proves that all kind of behaviour influences space but only some of them can be interpreted as aesthetic.
‘44/behaviour/Robert Motherwell in his house
House specially designed for somebody will always be the mirror and background in same time of its owner’s behaviour
‘45/ behaviour/Uni-Seco temporary house
Space with its capabilities gives permission to human to use it. Looks like space gives light guide lines for human possible motion but actually user is under hard control of space.
‘46/behaviour/Kaufmann House
This open planning is open for joy and happiness it is inviting everyone to party of life’s pleasures.
‘47/behaviour/ The Farnsworth House
Living unit placed in natural environment allows user to interact with surrounding in basic level: human – nature. There is cancelation of limits internal and external, and all surrounding becomes private in a way of absences of other users.
‘48/behaviour/The Case Study House #22
Walking over emptiness - it is not so much an experience for user as much it is spectacle for others. Living breaks into collective space and interior takes part in the construction of the city itself.
‘49/behaviour/Helsinki University of Technology
This interior expects spatial, unpredictable motion. It is made as three dimensional objects and is waiting for user answer. Space interplay with motions of bodies and their activities.
‘50/behaviour/Spencer residence
Even interior that is made for user can become rigid and static because of unreal actors, without real relationships between each other and space.
‘52/behaviour/Jørn Utzon house
Architect with craftsmen team started to build this house with a couple of full-scale models made of canvas and board, which gave them an impression of real size of unit. They wanted to be extra sure about every dimension related to user needs.
‘53/behaviour/Report to stockholders
It is Industrial interior where human is just a tool for techniques, but anyway peoples are giving sense and scale for space where they are and what they are producing.
‘54/behaviour/Il labirinto dei ragazzi
The labyrinth seems to lead processes by stimulating user’s behavior. People are moving in the same direction as space and though that people become a part of art work.
‘55/behaviour/Unitarian Universalist church
Architecture aware of the processes it activates and stimulates. It could lead user and allow them to adopt the aesthetic as well more spiritual opportunity for each user.
‘56/ behaviour/Crown Hall
S.R. Crown Hall embodies Ludwig Mies van der Rohe’s concept of universal space. Rather than designing narrowly for a specific purpose, Mies sought to create a structure that could be adapted to different uses as needs changed over time.
‘57/behaviour/ Clark residence
Staircase is important connection in every building and it asks for attention and deep consideration about the way how it will be used from safety point of view. As every interior detail the most important function is to make user feel comfortable.
‘58/behaviour/Philips Pavilion
The plan of the pavilion was conceived as a “stomach�: visitors would enter through curved corridor, stand in a central chamber for the eight-minute presentation, and exit out the other side. The plan organised simply movement lines and predictable series of action for every visitor.
‘59/behaviour/ Mirman Residence
Temporal composition of architecture brings it closer to expression of performance. Every user has a task, every object has a function and this composition interacts in space and time.
‘60/behaviour/Cary House
The Cary House in Mill Valley, California was a pivotal project for Joseph Esherick, gathering in the experience and the formal explorations of the gable and chalet manners and looking forward to the singleslope roofs that became the icon of the Sea Ranch style.
‘61/behaviour/ Dulles Airport
Space interacts with user thought architecture what is designed as well with unpredictable conditions and light. It could create conflict in user when space leads user to one direction but light is inviting it to other direction.
‘62/behaviour/John F. Kennedy International Airport
Space is no longer the case or object of admired and passive contemplation, rather support for various uses that reach its finality, in time.
‘63/behaviour/Modern Church Architecture Circa
Church, place where human minds are orientated to God and spiritual reflections, shows us the biggest and oldest stage for theatricality. It is place where human minds and behaviour meets each other.
‘64/behaviour/Chairs
Few objects and light direction can explain possible use of room. Even those weak guide lines for action makes user movements predictable.
‘65/behaviour/interior
Harmonic interior consists only of objects what are admired or used by human. Every object in surrounding used by people becomes integral part of interior.
‘66/behaviour/***
The form is manifested in the motion of user. Architecture use people by way of their actions, creating texture for interior of their relationships.
‘67/behaviour/The Habitat
The Habitat works with units which size, shape and location is made of human habits. Living breaks into the collective space, and interiors takes part in the construction of the city itself.
‘68/behaviour/Riga Passenger Terminal
Canteen is one of places where public and private overlapping the most. This public space consists of many private spots. There external setting will disappear in favour of multiple internal scenes.
‘69/behaviour/Camping
This is the case in which, in the absence of people, the place will disappear. This open air interior cannot be set apart from user / builder because it consist only from human beings and their behaviour.
‘70/behaviour/***
Architecture exists because it is integrated with action that is created and dissolves in the interaction of men and space. This complicated spatial composition of furniture could be made only by fallowing user actions.
‘71/behaviour/St. Mary’s Cathedral
Large scale church interior is made to leave impression on people to change it further actions. It is not made to feel cosy and satisfied. It is beautiful but strict in a way how it interacts with user.
‘72/behaviour/Interior with Seated Figure
The man who uses space is a part of its aesthetic definition, even more – men creates space around him and defines it as unique.
‘73/behaviour/***
House becomes home only when somebody is living their life’s there. Life could not be acted by painting of wall, thought it is even easier to understand absence of real life.
‘74/behaviour/Allen Art Museum Addition
Robert Venturi has criticised modern steel technological architecture and worked in traditional way. This building accepts user as it is, with history and traditions, without any idea to change its mind.
‘75/behaviour/Fix It Shop
These kinds of interiors are not created - they just appear because of necessity everything is made by everyday behaviour and nothing is designed. It reflects user’s behaviour in unexpected level.
‘76/behaviour/Azuma House
Azuma House is designed in city with blind wall on street. It is not an object for passersby; it is made only for inhabitant – only for person who can interact with it.
‘77/behaviour/ Neue Staatsgalerie
Complex, unusual forms, undulating walls - this interior is in the same time inviting for movement and rest and in any case it is just a plain shape if left alone without somebody to be there.
‘78/behaviour/Alley Wall
Emergency stairs can be seen in full glory only when they are used - it does not happen often - but when the time comes functionality becomes active and appearance changes.
‘79/behaviour/ Sangath
As movement of sun moves the shades the same way movement of shades determinates where a person will sit down.
‘80/behaviour/Musee d’Orsay
Without anybody around it is pure geometry. But when visitors arrive - place for humanity comes by itself.
‘81/behaviour/Institut du Monde Arabe
Façade of Institut du Monde Arabe portrays emblematic everyday life that happens within the building. Façade are changing to protect user from sun and in this way accidentally showing habits of users.
‘82/behaviour/Disco Club
Space with strong identity but without user loses its main character. It is working only as beautiful frame for possible action.
‘83/behaviour/I.B.M building
Urban interior consists from thousands of living units. We can only imagine how they interact, but even that is hard. Scale of modern city change attitude to persons and buildings. It would be too easy accepting this landscape without user.
‘84/behaviour/Private House
Architecture use people by way of their actions creating texture of their relationships. Space enriches and transforms it content with mirrors that duplicate motions and space.
‘85/behaviour/Samuel Beckett
Cafe is one of places where public and private overlapping the most. This public space consists of many private spots. There external setting will disappear in favour of multiple internal scenes.
‘86/behaviour/Venice Beach House
For regular user is easier accept that he is being observed than to understand that he act out the part of open script. People are used to watch performance not to act in it.
‘87/behaviour/ The Parc de la Villette
Character of The Parc de la Villette shows in possibility of usage what means to appeal to the multiplicity of motion, actions and relationships which, inadvertently manifested by the people who share an environment, give it a formal sense of completion.
‘88/behaviour/Maya Lin
It is possible refer to momentary aesthetics even in field like architecture that is slow and stable: it is daily matter that is brought to spectacular dimension.
‘89/behaviour/La Grande Arche de la DĂŠfense
Infinite reflections would become impossible if there was no one to reflect
‘90/behaviour
In this urban interior every function reflects a form. This kind of urban interior can exist only because architecture is integrated with action that is created in the interaction of men and space.
‘91/behaviour/Michigan Theater
This is perfect example of behaviour driven design - nothing to change - although changes are reason for this spectacle.
‘92/behaviour/Opera de Arame
Arme opera house is made in classical architectural language, but fully transparent. It is not a case when private brake into the collective space. It is more strong contradiction - cultural and organized system against nature. A man needs to choose to witch part he owns and witch behaviour he prefers to accept.
‘93/behaviour/Waterloo Station
Sometimes it can look like nothing is happening in train station but it embodies action by itself.
‘94/behaviour/Kansai Airport Terminal
Space with its capabilities gives permission to human to use it. Looks like space gives light guide lines for human motion but actually user is under hard control of space.
‘95/behaviour/SFMOMA
In this interior two spots that interact the most is located in unusual way – they are connected only visually by vertical axis. It gives new experience to actor/user that contributes in this composition. It is opportunity to everyone understands and considers his role in interior.
‘96/behaviour/Melbourne Exhibition Centre
Pillars in Melbourne Exhibition Centre show unrecognizable direction for user. Humans mind are not used to find pillars in slope as stable system. And when users do not understand the system it abdicates to use it.
‘97/behaviour/Fruit Museum and Garden
In Fruit Museum and Garden light is the main element - the room and exposition changes according to the behaviour of it.
‘98/behaviour/Kiasma Museum of Contemporary art
Kiasma Museum of Contemporary art seems to be designed for crowd - people are decoration it needs. Texture of people relationships shows to what kind of event they have arrived, what they expect and marks canter of space.
‘99/behaviour/Reichstagskuppel
Reichstagskuppel includes in that kind of architecture what simply replays to user’s behaviour and action. Reichstagskuppel centre what is made of mirrors appears in its greatest formal and sensorial potential, only as a consequence of the motion of visitors.
‘own/behaviour/ choise
This project shows user interaction with another users and space. Place leads user to his place. And user in his way to place becomes an actor. But when men reach his place there is opportunity to choose – to watch performance or to start spiritual reflection interacting only with options provided by space. The aestheticisation of usage presupposes that man is not a simple user of architecture, but an actor that contributes to its composition, and also spectator that observes it. Model is made for space 30m*30m*30m, divided in three levels. Every white path (bridge) leads user to window. Walls are painted in black to emphasize user’s routes and windows relationships.
REFERENCES
’00 First National Bank, Seattle, USA unknown http://commons.wikimedia.org/wiki/ File:Seattle_-_First_National_Bank_interior_-_1900.jpg ’01 Music Room Charles Rennie Mackintosh http://commons.wikimedia.org/wiki/ File:Charles_Rennie_Mackintosh_-_Music_Room_1901.jpg ’02 Guest Bedroom, Hillhouse Charles Rennie Mackintosh http://www.victorianweb.org/art/design/ mackintosh/6.html ‘03 Centaur Theatre, Montreal, Canada unknown http://www.centaurtheatre.com/42_history. html ’04 Café Museum Adolf Loos http://www.mccarter.org/education/frauline/index.html ’05 Outdoor Stage, France Everett Shinn h t t p : / / w w w. f l i c k r. c o m / p h o -
tos/maulleigh/2184633480/in/set72157603789251315/ ’06 Earthquake, San Fancisko, USA unknown http://www.zpub.com/sf/history/1906earth. html ’07 Laro Antone Sundquist house, Candle, Alaska unknown http://content.lib.washington.edu/cdm-ayp/ item_viewer.php?CISOROOT=/alaskawcan ada&CISOPTR=954&CISOBOX=1&REC=3 ’08 Coonley House , Riverside, Illinois, USA Frank Lloyd Wright http://www.greatbuildings.com/buildings/ Coonley_House.html ’09 Hoo Hoo House, Washington, USA unknown http://content.lib.washington.edu/cdma y p / i t e m _ v i e w e r. p h p ? C I S O R O O T = / ayp&CISOPTR=660&CISOBOX=1&REC=2 Photographer Curtis, Asahel ’10 Casa Steiner, Vienna, Austria Adolf Loos http://icar.poliba.it/storiacontemporanea/ seminari/delconte/delconte01/img34.htm
’11 Palazzo Stoclet, Bruxelles, Belgio Josef Hoffmann http://icar.poliba.it/storiacontemporanea/ seminari/delconte/delconte01/img11.htm 1905-1914 ’12 The Lewis Cycle and Motor Works, Adelaide, USA unknown http://users.senet.com.au/~mitchell/lewis/ locations/html/adelaidegp.htm ’13 Family garment mending in tenement Esther http://history.sandiego.edu/gen/soc/images2/union04.jpg ’14 Glass Pavilion, Cologne, Germany Bruno Taut http://commons.wikimedia.org/wiki/ File:Taut_Glass_Pavilion_interior_1914.jpg ’15 Century Theatre, New York, USA Carrer & Hastings http://www.andreas-praefcke.de/carthalia/ usa/usa_nyc_century.htm ’16 The Walter L. Dodge House, California, USA Irving Gill http://consommacteurs.blogs.com/photos/gilldodge/012044pv.html ’17 Lister County Courthouse, Solvesborg, Sweden Erik Gunnar Asplund http://www.greatbuildings.com/buildings/ Lister_County_Courthouse.html ’18 State Normal School for Women, Fredericksburg, USA
unknown http://www.flickr.com/photos/8889262@ N04/592419096/ ’19 Einstein Tower, Potsdam, Germany Erich Mendelsohn http://www.greatbuildings.com/buildings/ Einstein_Tower.html ’20 Wayne State University, Michigan, USA unknown http://michiganmodern.org/architects-designers-firms/architects/eliel-saarinen/ ’21 New York Interior Edward Hopper http://sottoosservazione.wordpress. com/2010/08/10/edward-hopper-newyork-interior-1921-circa-whitney-museum-of-american-art/ ’22 Kings Road House, Hollywood, USA Rudolph Schindler http://www.ou.edu/class/arch4443/ConArchModArchAlmostNothing/ConArchModArchAlmostNot.htm ’23 Armstrong Linoleum Ad unknown http://www.flickr.com/photos/americanvintagehome/3018572938/ ’24 Rietveld-Schroder House, Hook , Holland Gerrit Thomas Rietveld http://lanternslide.wikispaces.com/ Belgium+%26+Holland ’25 Yankee Stadium, USA unknown http://captnsblog.wordpress. com/2010/11/20/historic-rivalry-returnsto-yankee-stadium-army-notre-dame-
wake-up-echoes-of-legends-past/ ’26 The Frankfurt Kitchen, Germany Margarete Schütte-Lihotzky http://en.wikipedia.org/wiki/Frankfurt_ kitchen ’27 Glass house Sergej Eisenstein http://en.wikipedia.org ’29 Biblioteca di Viipuri, Finland Alvar Aalto http://icar.poliba.it/storiacontemporanea/ seminari/delconte/delconte04/img13.htm ’30 Tugendhat house, Brno, Repubblica Ceca Ludwig Mies Van Der Rohe http://www.matrixinternational.it/Designers/MI ’32 Maison de Verre, Paris, France Pierre Chareau http://www.greatbuildings.com/buildings/ Maison_de_Verre.html ’33 Penguin Pool, London Zoo, UK Berthold Lubetkin http://designmuseum.org/__ entry/5077?style=design_image_popup ’34: The W. E. Oliver House, Los Angeles, USA Rudolf Michael Schindler http://trianglemodernistarchive.org/ schindler.htm ’35 Finsbury Health Centre, London, UK Berthold Lubetkin http://designmuseum.org/__ entry/5083?style=design_image_popup
’36 The Alexander Sasha Kaun House, California, USA R. M. Schindler http://trianglemodernistarchive.org/ schindler.htm ’37 Penthouse of Highpoint Two, London , UK Berthold Lubetkin http://designmuseum.org/__ entry/5083?style=design_image_popup ’38 *** unknown http://42ndblackwatch1881.wordpress. com/2009/10/06/life-in-los-angeles-circa1938-its-always-been-about-the-car/ ’39 Fallingwater, Pennsylvania, USA Frank Lloyd Wright http://www.toscanoblog.it/index.php/ case-da-sogno-la-casa-sulla-cascata-difrank-lloyd-wright/ ’40 Miss Robertson and Kindergarten unknown http://www.cggs.act.edu.au/pages/ page182.asp ’41 David A. McAlpin, New York, USA Photograph Weston, Edward http://jsmacollection.uoregon.edu/detail. php?t=objects&type=browse&f=MATERIA LS&s=Gelatin+silver+print&record=49k ’42 The J. Rodriguez House, Glendale, USA Rudolf Michael Schindler http://trianglemodernistarchive.org/ schindler.htm
’43 Milan in Ruin, Italy Hulton-Deutsch Collection http://www.corbisimages.com/Enlargement/HU024893.html
’52 Jørn Utzon house, Hellebæk, Denmark Jørn Utzon http://www.flickr.com/photos/seier/2472258668/
’44 Robert Motherwell in his house Pierre Chareau http://artists.parrishart.org/tour/3/4/
’53 Report to stockholders Boeing Airplane Company http://content.lib.washington.edu/ cdm4/document.php?CISOROOT=/ reports&CISOPTR=1014&REC=18
’45 Uni-Seco temporary house, London, UK unknown http://www.english-heritage.org.uk/discover/people-and-places/womens-history/visible-in-stone/gaining-recognition/ ’46 Kaufmann House, California, USA Richard Neutra http://www.apartmenttherapy.com/ny/ blogging/nyt-richard-neutras-kaufmannhouse-035414 ’47 The Farnsworth House, Chicago, USA Ludwig Mies van der Rohe http://it.urbarama.com/project/farnsworth-house ’48 The Case Study House #22, California, USA Pierre Koenig http://log24.com/log04/Koenig.html ’49 Helsinki university of Technology, Finland Alvar Aalto http://www.scandinaviandesign.com/museums/AlvarAalto/080614.htm ’50 Spencer residence, Santa Monica, USA Richard Spence http://www.dailyicon.net/category/photography/page/5/
’54 Il labirinto dei ragazzi, Triennale, Milan, Italy BBPR http://www.exibart.com/notizia.asp?IDNot izia=31162&IDCategoria=204 ’55 Unitarian Universalist church, Maryland, USA Pietro Belluschi h t t p : / / w w w. u u w o r l d . o rg / l i f e / a r t i cles/107503.shtml ’56 Crown Hall, Chicago, USA Ludwig Mies van der Rohe http://guillaumeanrys.tumblr.com/ ’57 Clark residence, Seattle, USA Terry & Moore http://content.lib.washington.edu/ cdm4/item_viewer.php?CISOROOT=/ dearmassar&CISOPTR=795 ’58 Philips Pavilion, Brussels, Belgium Le Corbusier http://translab.burundi.sk/pix/152-1.jpg ’59 Mirman Residence, California, USA Buff, Straub & Hensman http://www.dailyicon.net/category/photography/page/5/
’60 Cary House, California, USA Joseph Esherick h t t p : / / w w w. a rc h i t e c t u re w e e k . com/2010/0310/design_4-1.htm
’68 Riga Passenger Terminal, Latvia M.Ģelzis, V.Savisko, http://www.flickr.com/photos/designdust/5064369225/
‘61 Dulles Airport, Virginia, USA Eero Saarinen http://www.greatbuildings.com/buildings/ Dulles_Airport.html
’69 Camping, Woodstock, USA unknown http://www.hippiescene.com/woodstock. html
’62 John F. Kennedy International Airport, New York, USA Eero Saarinen http://guillaumeanrys.tumblr.com/page/2
’70 unknown unknown http://www.flickr.com/photos/smallritual/5048719796/in/pool-23286809@N00/
’63 Modern Church Architecture Circa, San Francisco, USA unknown http://www.flickr.com/photos/csconway/105003929/
’71 St. Mary’s Cathedral, San Francisco, USA John Michael Lee, Paul A. Ryan and Angus McSweeney http://knstrct.com/tag/catholic-churchesin-san-francisco/
’64 Chairs, Curtis Hotel, Montana, USA Catlin, Mike http://jsmacollection.uoregon.edu/detail. php?t=objects&type=browse&f=MATERIA LS&s=Gelatin+silver+print&record=31
’72 Interior with Seated Figure Photograph Williames, Shedrich http://jsmacollection.uoregon.edu/detail. php?t=objects&type=all&f=&s=interior&re cord=4
’65 Interior, Riga, Latvia G.Janaiss http://www.flickr.com/photos/designdust/5060321134/
’73 unknown unknown http://www.flickr.com/photos/chanadaal/359979793/#/
’66 unknown unknown http://www.flickr.com/photos/40143737@ N02/5197579146#/photos/x-ray_delta_ one/519757914
’74 Allen Art Museum Addition, Oberlin, USA Robert Venturi http://www.greatbuildings.com/buildings/ Allen_Art_Museum_Addition.html
’67 The Habitat
’75 Fix It Shop, Montana, USA Photograph Catlin, Mike http://jsmacollection.uoregon.edu/detail.
php?t=objects&type=browse&f=MATERIA LS&s=Gelatin+silver+print&record=77 ’76 Azuma House, Osaka, Japan Tadao Ando h t t p : / / w w w. m i n i m a l i s m i c . c o m / blog/2010/05/azuma-house/ ’77 Neue Staatsgalerie, Stuttgart, Germany James Stirling http://www.greatbuildings.com/buildings/ Neue_Staatsgalerie.html ’78 Alley Wall, Seattle, USA Burns, Michael http://jsmacollection.uoregon.edu/detail. php?t=objects&type=browse&f=MATERIA LS&s=Gelatin+silver+print&record=1 ’79 Sangath, Gujarat State, India Balkrishna Doshi http://www.greatbuildings.com/buildings/ Sangath.html ’80 Musee d’Orsay, Paris, France Gae Aulenti http://www.greatbuildings.com/buildings/ Musee_d_Orsay.html ’81 Institut du Monde Arabe, Paris, France Jean Nouvel http://affastellare.wordpress.com/ ’82 Disco Club, Spain unknown http://picasaweb.google.com/lh/photo/ AgiKOmZ1pJaQqRkfKcdf3w ’83 I.B.M building, Manhattan, USA Edward Larrabee Barnes http://www.nytimes.com/2004/09/23/
arts/23barnes.html?_r=1 ’84 Private House, Mississippi, USA Norfleet, Barbara http://jsmacollection.uoregon.edu/detail. php?t=objects&type=browse&f=MATERIA LS&s=Gelatin+silver+print&record=173 ’85 Samuel Beckett, Paris, France Photograph John Minihan http://www.artandculture.com/media/show?media_id=123230&media_ type=image ’86 Venice Beach House, California, USA Frank Gehry http://www.greatbuildings.com/buildings/ Venice_Beach_House.html ’87 Le cyclindre sonore, Parc de la villette, Paris, France Bernhard Leitner http://www.trekearth.com/gallery/Europe/ France/North/Ile-de-France/Paris/photo83022.htm ’88 Maya Lin, New York, USA Photohraph Michael Katakis http://www.mkatakis.org/maya_lin.html ’89 La Grande Arche de la Défense, Paris, France Johann Otto von Spreckelsen http://www.sebastienlucas.com/index. php?vis=architecture&gal_id=9&pho_ id=1&lang=fr ’91 Michigan Theater,Detroit, USA photohrapher Sean Hemmerle http://guillaumeanrys.tumblr.com/page/5
’92 Opera de Arame, Paraná, Brazil Domingos Bongestabs http://www.greatbuildings.com/buildings/ Opera_de_Arame.html ’93 Waterloo Station, London, UK Nicholas Grimshaw and Partners http://www.openbuildings.com/buildings/st-pancras-international-station-profile-3328.html ’94 Kansai Airport Terminal, Osaka, Japan Renzo Piano http://www.greatbuildings.com/buildings/ Kansai_Airport_Terminal.html ’95 SFMOMA, , California, USA Mario Botta http://www.citysnaps.net/ blog/2009/10/11/san-francisco-momarocks-with-photography/ ’96 Melbourne Exhibition Centre, Australia Denton Corker Marshall http://www.flickr.com/photos/deanmelbourne/3334095909/ ’97 Fruit Museum and Garden, Yamanashi, Japan Itsuko Hasegawa h t t p : / / w w w. f l i c k r. c o m / p h o tos/9160678@N06/620307455/in/set72157600654377523/ ‘98 Kiasma Museum of Contemporary art, Helsinki, Finland Steven Holl http://www.stevenholl.com/project-detail. php?type=&id=18
’99 Reichstagskuppel, Berlin, Germany Norman Foster http://www.flickr.com/photos/11730011@ N07/2779263630
INTERIOR WOR(L)DS. This work is part of a collection of books realized by the students of course of „Interiors Architecture”, of class 2010-2011 and edited by Professor Gennaro Postiglione; it takes its origins from participation in the Second Interiors Forum 4 – 5 October 2010, hosted by Politecnico di Milano. Every student selected a paper among the words presented at the IFE and hcose99 projects, represented by just one image, covering 99 years, from 1900 to 2000; the 100th image had to be a personal interpretation of the word chosen. Interior architectural planning currently finds itself dealing not only with space and shape, but with everything that happens within space: it is subjected to open and changing aesthetics – a “landscape of actions” in which the behaviour of users takes on an aesthetic value.