HAPTIC by Politecnico di Milano

HAPTIC

Haptic by Emmanuel Crochon

Didactic exercise Fall Semester 2010

Interior worlds: â&#x20AC;&#x153;hapticâ&#x20AC;? Main editor Gennaro Postiglione Course of Interior Architecture Faculty of Architettura e Societa Politecnico di Milano www.lablog.org.uk Editor Emmanuel Crochon

only for peddagogic purpose not for commercial use

INDEX 00_Haptic by Carmella Jacoby Volk ‘01_Avenue Rapp ‘02_Casa Hill ‘03_Larkin Building ‘04_Casa Batllo ‘05_Le Parisien libere ‘06_Unity Temple ‘07_Church of St. Leopold am Steinhof ‘08_Post Office Savings Bank ‘09_Looshaus ‘10_Pennsylvania Station ‘11_Robie House ‘12_ Goetheanum ‘13_Jahrhunderthalle ‘14_Glass Pavillon ‘15_Parc Guell ‘16_Abattoir la Mouche

‘17_Mondrian

‘36_Atmospheres

‘18_Stockholm Library

‘37_Villa Mairea

‘19_Buffet

‘38_Johnson Wax Building

‘20_Grosses Schauspielhaus

‘39_Finnih Pavillon

‘21_Costruzione di relazioni volumetriche

‘40_Aircraft Center ‘41_Project for a concert Hall

‘22_Notre Dame du Raincy ‘42_Mile of Strings ‘23_Proun Room ‘43_Guggenheim Museum ‘24_Rietveld Schroder House ‘44_Kaufmann Desert House ‘25_L’Esprit Nouveau ‘45_Eames House ‘26_Villa Stein-de Monzie ‘46_Economic and Social Council ‘27_Cafe Aubette ‘47_Exhibition Building ‘28_La Maison de Verre ‘48_Casa Barragan ‘29_The Barcelona Pavillon ‘49_Morris Gift Shop ‘30_Viipuri Library ‘50_Sinagoga Kneses Tifereth ‘31_Town Hall ‘51_Saint Joseph church ‘32_Villa Tugendhat ‘52_Cabanon ‘33_Slaughter-House ‘53_Convention Hall project ‘34_Litograph ‘54_Chapelle de Ronchamp ‘35_Falling Water House ‘55_De Bijenkorf Department Store

‘56_Palazzetto dello Sport

‘75_Riola Parish Church

‘57_University of Pennsylvania

‘76_Azuma House

‘58_Atlántida

‘77_Roden Crater Project

‘59_National Assembly Building of Bangladesh

‘78_House VI ‘79_Musée d’Orsay

‘60_Pepsico Headquarters ‘80_Noisy 2 ‘61_Fondation Querini-Stampalia ‘81_Thorncrown Chapel ‘62_Villa Drusch ‘82_Parc de la Villette ‘63_Church at Firminy ‘83_Le Grand Louvre ‘64_Exeter Library ‘84_Igualada Cemetery ‘65_Parti Communiste Francais ‘85_Lloyds Building ‘66_The Whitney Museum ‘86_Menil Collection ‘67_Itamaraty Palace ‘87_Fulcrum ‘68_Everson Museum of Art ‘88_Jewish Museum ‘69_Yale Center for British Art ‘89_Church of the Light ‘70_Brion-Vega Cemetery ‘90_Reichstag ‘71_The Peeling Project ‘91_Storefront ‘72_Kimbell Art Museum ‘92_Awaji Yumebutai ‘73_Juwelier Schullin ‘93_Shalechet ‘74_Church at Bagsvaerd ‘94_Maison a Bordeaux

‘95_Dominus Winery ‘96_Therme of Vals ‘97_Passage Dangeureux ‘98_Kunsthaus Bregenz ‘99_Signal Box ‘00_Le Georges My design_Sensitive Labyrinth

Haptic by Carmella Jacoby Volk Hamichlala Leminhal, Academic Studies Divison, Rishon Le Zion (Israel)

Abstract “Buildings are appropriated in a twofold manner: by use and by perception – or rather, by touch and sight” (Alois Riegel). Optical appropriation is bound to the noticeable contours of objects in an expanding space, and haptic appropriation is regarded as attachment to the surface, the materiality and to the texture. The state of distraction releases the subject from the traditional visual experience of space and introduces him to direct haptic knowledge. Walter Benjamin finds affinity between the spatial experience of distraction and the experiencing by technological intermediaries: panoramas, dioramas, photography (and finally the cinema) - all of which have broadened visibility and perception of the body in space into the haptic. The haptic, which is both visual experien-

ce and praxis, conjures up space through transformation, duration and temporality, and allows the interior space to be perceived as a sequence of events and multiplicity rather than a singular articulation. In this sense it is the affective experience of a surface rather than a singular point of view situated in a distance, on the outline or the gestalt. The haptic allows an intimate immersion with surface, a new “closeness” to matter and texture.

Paper How do we perceive the space around us? In many senses the built space is invisible to us, we act in it habitually. Architecture has always represented the prototype of a work of art, the reception of which is consummated by a collectivity in a state of distraction, (1) wrote Walter Benjamin in The Work of Art in the Age of Mechanical Reproduction. The notion of the haptic (from the Greek haptikos, able to touch or grasp), is discussed in this article from Walter Benjamin’s state of distraction. This concept is mostly attached to the modern subject who defends himself from a surplus of visual images produced by the urban space: alternating visual data, a multitude of directions and contexts, countless consumerist temptations and fragmented information. What are the manifestations of this “state of distraction”? According to Benjamin,

“buildings are appropriated in a twofold manner: by use and by perception – or rather, by touch and sight.” (2) Optical appropriation is bound to the noticeable contours of objects in an expanding space, and haptic appropriation is regarded as attachment to the surface, the materiality and the texture. As Benjamin says: “For the tasks which face the human apparatus of perception at the turning points of history cannot be solved by optical means, that is, by contemplation, alone. They are mastered gradually by habit, under the guidance of tactile appropriation.” (3) The state of distraction releases the subject from the traditional visual expérience of space and introduces him to direct haptic knowledge. Distraction in its positive function as a category of “lack of sight”, introduces new haptic knowledge, which opens the space and

enables a means of access from observation to action. Action becomes possible by broadening the senses through habit and use. The tactile and the optic, touch and sight, (4) are folded into each other, reciprocally generating a haptic sensibility. This essay relates to the interior space as critical space, as interiority, and as the other space, through the notion of the haptic. Interior space in this sense is not architecture’s insides, (5) it is not the binary between the inside and the outside; it is the fold that these two concepts are generating. Critical thinking of the public space should encapsulates interiority as haptic knowledge that provokes design questions which take into consideration habit, use, materials, events, human experiences and questions of identities. It is the human dimension that folds the optic and the haptic together and generates this unique knowledge. As mentioned previously, optical appropriation of space is bound to the contour of objects, meaning the architectural way of perceiving the space – asking “what is the plan”, (6) looking from the oblique point of view. Interiority reduces the distance from the surface, attaching to materiality and texture. This reduced distance from the surface, allowed by haptic closeness, opens a new field for an action to be taken, an opportunity for a shift from contemplation to praxis by being performative. (7) We are moving from the singularity of the architectural envelop to the interior space multiplicity of identities. This allows us to perceive identity in a far more fluid and dynamic way than traditional approaches; it is precisely our acti-

ons and behavior inside the space (8) that constitute our identity. In other words, perception of the built space is always engaged with performative acts in which common or private activities construct identity. These activities are accumulated over time by repetition in space, in this repetition the subject’s way of action and the potential for change is embedded. (9) Haptic technology Following Benjamin, haptic perception can be defined as an overcoming of the precedence of the optical by means of the Optical apparatus themselves. Mediated by technology, the haptic has changed our way of operating in the world, generating a shift from contemplation alone to active involvement. “With the close-up, space expands; with slow motion, movement is extended. The enlargement of a snapshot does not simply render more precise what in any case was visible, though unclear: it reveals entirely new structural formations of the subject.” (10) Interiority is “closing up” the space but not in sense of different scale, it is new configuration that reveals different knowledge and perception into space and the design language. New structural formations in the interior space mean simultaneously looking at the whole picture through the new pixilation of space. Benjamin finds affinity between the spatial experience of distraction and the experiencing by technological intermediaries: panoramas, dioramas, photography (and finally the cinema) all of which have broadened visibility and the perception of the body in space. Benjamin identifies the

cognitive, hence the political, potential of modernity’s new technologies and spaces, generated an expansion of vision and other bodily perceptions. This new mode of perceiving, empowered by technology, is not subservient to traditional conventions or representations, thus it enables an absent-minded perception that activates a deeper, more haptic involvement of body in space. It is the positive role of distraction as a kind of “not seeing” that releases architectural space from the pure visual experience and opens it up to new intuitive haptic knowledge. The cinematic gaze has often been compared to the powerful gaze of an invisible prison guard at the Panopticon prison. Feminist theorists have linked the panoptical model to the male dominant gaze, emphasizing subjectivity and the effects of being constantly scrutinized, while ignoring the subjectivity of the viewer. Anne Friedberg coined the expression “the mobile virtual gaze” (11) to refer to the viewer’s desire to overcome spatial and temporal limitations by observation. Friedberg locates the departure point of the mobile cinematic image at the junction of two visual practices which developed in the 19th century: on the one hand, trains, steamships, elevators, and varying tools changed the relationships of sight and physical motion in space and provided the field of vision with mobility; on the other hand, phantasmagorical urban représentation techniques (such as the diorama and the panorama) have provided the viewer with a powerful illusion of imaginary mobility in space and time. Another meaning of “haptic” stems from media itself. Space, évent and movement (12) are inherent to the cinematic medium. As the mobility of the gaze becomes

increasingly “virtual” and the illusion of reality reaches its peak in the moving cinematic image, so the viewer’s body becomes more and more passive. (13) With film apparatus, and particularly with the camera itself, came a change in the social conditions of perception, meaning that any attempt to grasp the world is already a constantly mediated way of acting in it, by language and practices of representation. Benjamin explains how film technology places the observer in the role of a passive critic, as she or he penetrates and ruptures reality through cinematographic operations. Being both apparatus and operation, the viewer is already situated in a position that forces him to take action , but this, according to Benjamin, happens in a “state of distraction”, when the “optics unconscious” breach. (14) Haptic interiors Interiority and design process through the critical notion of the Haptic relates to broader social and cultural practices in which the interior space discourse is embedded. The haptic, which is both a visual experience and praxis, conjures up space through transformation, duration and temporality. It allows architecture and the interior space to be perceived as a sequence of events and multiplicity rather than a singular articulation. In this sense it is the affective experience of a surface rather than a singular point of view situated in a distance, on the outline or the gestalt. The haptic grants an intimate immersion with surface, a new “closeness” to matter and texture. In this sense it is the interior space which becomes a critical space and the “other” space.

Part of the ideas and text in this article were published in Jacoby Volk, Carmella, and Marcus Anat Messing. 2009. Haptic Diagramms: From Cinematography to Architecturale Performance. Journal of Architectural Education 62 (3), no. 103:71-76

References Benjamin, Walter. 1969. The Work of Art in the Age of Mechanical Reproduction. In Illuminations. Ed. Hanna Arendt, 219-253. New-York: Schocken Books. Mostafavi, Mohsen. 2009. Architecureâ&#x20AC;&#x2122;s Inside. Harvard design Magazine, no. 29: 5-9. Somol, Robert, and Sarah Whiting. 2005. Okay, Hereâ&#x20AC;&#x2122;s The Plan. Log, no. 5: 5-7. Leach, Neil. 2006. Camouflage, Cambridge, Mass.: MIT Press. Austin, John Langshaw. 1962. How to Do Things with Words, Cambridge, Mass.: Harvard University Press. Butler, Judith. 1997. Excitable Speech: Politics of the Performative. New York: Routledge. Friedberg, Anne. 1993. Window Shopping: Cinema and the Postmodern. Berkeley: University of California Press. Tschumi, Bernard. 1994. The Manhattan Transcripts. London: Academy Editions.

ATLAS

â&#x20AC;&#x2DC;01/Haptic/Avenue Rapp

This builfing of Jules Lavirotte is covered by the ceramics of Alexandre Bigot. In Agreement of the Art-Nouveau style, the facade is covered of multiple details, or how to create a rough surface from a smooth surface. Therefore, the general building perception is blured.

â&#x20AC;&#x2DC;02/Haptic/Casa Hill

The entry hall of the Hill House is one of Mackintoskâ&#x20AC;&#x2122;s succesful intervention.The articulation of each element in a formal language will inspire the de Stijl Movement. The force comes from the decomposition of each element between them.

‘03/Haptic/Larkin Building

The Larkin Building is the intervention where Wright try is idea of “the destruction of the box”. So he produced the world’s first interior multi-storey atrium space. The conception of the room expressed a new quality of thought in Architecture: live in a third dimension. How the body percieve the space and the environment?

‘04/Haptic/Casa Batllo

The Battlo House is an example of many other from Gaudi’s Architecture, which is inspired from the nature. It induces a new perception of the space: curved walls without corners. It’s a new physical, tactil and optical way to percieve the space around us.

â&#x20AC;&#x2DC;05/Haptic/Le Parisien libere

The facade of the building of the newspaper Le Parisien Libere is made of riveted steel. It offers a game of curved lines and bow-windows which are coming to dynamise the flatness of the surface, while maintening a significant contribution of light in the offices. The anti-curved lines are a reference to the floral art of Art Nouveau.

â&#x20AC;&#x2DC;06/Haptic/Unity Temple

Unity Temple represents an extension of the theme Wright began at the Larkin Building:a top-lit interior space surrounded by galleries and balconies. The multiplicity of the layers, details and materials create a sequence of events.

â&#x20AC;&#x2DC;07/Haptic/Church of St. Leopold am Steinhof

The Kirche am Steinhof is one of the most famous Art Nouveau churches in the world. The appearance of the church is full of decorative details: mosaics, columns, angels, icons. Everything is covered with gold and copper. Only the facade keeps an immaculate white. The fastening system of the facade recalls the carcass of a tank.

â&#x20AC;&#x2DC;08/Haptic/Post Office Savings Bank

Wagnerâ&#x20AC;&#x2122;s Post Office Savings Bank, the stone base is of a classical character, but reveal a connection to the Modern Movement. He tried to lighten the heavy frontal view creating a new system to attach the stone.

â&#x20AC;&#x2DC;09/Haptic/Looshaus

The Looshaus is one of the must outstanding works of Aldof Loos. He imposed, in reaction to the architectural conformism era, even more austerity and purety in lines and shapes. He proposed for his entrance porch between the transparency of the wall and the alveoli on the ceiling.

â&#x20AC;&#x2DC;10/Haptic/Pennsylvania Station

When it was opened to the public, the Pennsylvania Station was the biggest railway station in the world. Made of steel and with high vaults, the contribution of the skylight and the transparency of the posts give an atmosphere of a light and steel cathedral. There is an ambiguity between the heat of the light and the coldness of metal...

‘11/Haptic/Robie House

The Robie House, maybe the most succesful house from “Prairie Houses”, plays its haptic perception by the multiplicity of materials and motifs. Everything has to be touch. Materials give a heat atmosphere to the house. The multiplcity of the layers: perspective provides a dynamic space.

‘12/Haptic/Goetheanum

Located in Dornach, the Goetheanum is the world center for anthroposophy (anthro – human – wisdom, “wisdom of the human being”). The contrast between light and the raw concrete creates a mysterious atmosphere, reinforced by the forms of the strucure. Light arises on the concrete creates a set of textures streaked.

‘13/Haptic/Jahrhunderthalle

The Jahrhunderthalle (“Hall of the Century”) is a cathedral dedicated to the industry and work. The immensity of the space raises the question of scale relative to the body, the concrete creates an interaction both thermal and tactile: the atmosphere feels cold because of the brutality of concrete. The vault and the structure change the perception of the space according to the point of view.

â&#x20AC;&#x2DC;14/Haptic/Glass Pavillon

The Glass Pavillon is an example of expressionist Architecture. Taut was a painter, and very attached to the color. He used colored glass that gave a religious atmosphere overall. Wealth of details and elements gives the viewer a space experiment.

â&#x20AC;&#x2DC;15/Haptic/Parc Guel

Antonio Gaudiâ&#x20AC;&#x2122;s Perc Guell appealed to Roman columns. But transforming the genre, using vegetal references, Gaudi transforms space and the perception that we had: the viewer loses his landmarks and come into a state of distraction.

â&#x20AC;&#x2DC;16/Haptic/Abattoir la Mouche

The immensity of the slaughterhouse hall raises the question of the body in space. How does the human perceive it? The frame structure gives a dynamic effect and creates the perspective of annihilating of the overall: it is like drawing in a precipice.

‘17/Haptic/Mondrian

De Stihl movement is founded by Mondrian and van Doesburg from 1917 to 1928 and it had primarily influenced architecture (Bauhaus). The movement seeks to detach the arts of figurative representation by the use of forms and pure colors. Resources are limited: the primary colors plus black and white, “pure” and unmixed, straight lines or orthogonal to reach a limited number of shapes: squares and rectangles. The haptic perception lies in the fact that the eye doesn’t know where to settle down, swinging between color and size of squares.

â&#x20AC;&#x2DC;18/Haptic/Stockholm Library

Asplund conceived the library as a well of knowledge. Or rather a cylinder of knowledge, a giant drum which the base is lined with books on three floors, accessible to all. Their colorful blankets bring a little joy in this space dominated by the pallor of the upper walls. But the books and the bumpy texture of the wall are involved in creating the warm atmosphere of the room.

â&#x20AC;&#x2DC;19/Haptic/Buffet

Rietveldâ&#x20AC;&#x2122;s buffet was assembled from rectilinear wooden spars and planes, simply dowelled together. In this work each piece of fourniture, including the suspend light fitting, appeared to be elementarized, and the effect was to imply an infinite series of co-ordinates in space.

â&#x20AC;&#x2DC;20/Haptic/Grosses Schauspielhaus

The Grosses Schauspielhaus is often described as an example of expressionist architecture. Its interior was like a cave under a dome and had no balcony, which contributed to its spaciousness. When it was lit, the bulbs in the ceiling made a pattern of heavenly constellation, and the vaulted ceiling was dedicated to the idea of a starry sky.

â&#x20AC;&#x2DC;21/Haptic/Costruzione di relazioni volumetriche

In this sculpture, Vantongerloo uses an assemblage of geometric shapes, in the wake of the constructivist style. The haptic quality of the object resides, in one hand on the texutre of the material used, and another hand in the assembly itself which induces a sequence of plans and events.

â&#x20AC;&#x2DC;22/Haptic/Notre Dame du Raincy

For the first time, a church has been designed entirely of renforced concrete, leaving the material unprocessed. The lightness of the slender columns and light from large windows with subtle color variations define a new aesthetic impression of a great classic.

‘23/Haptic/Proun Room

Proun is probably an acronym for ‘project in affirmation of the new’. The Proun Room is a chamber articulated with Proun motifs in two and three dimensions. El Lissitzky makes falls down the existing boundaries between architecture, painting, drawing, and typography. The room confronts us with a real sensory experience.

â&#x20AC;&#x2DC;24/Haptic/Rietveld Schroder House

This small townhouse of Rietveld is considered the first truly modern residence. Its revolutionary open-plan layout provided an alternative to confining small rooms, its strip windows broke down the barrier between inside and outside, and its primary color scheme and shifting wall planes were symbols of its rupture with tradition. It offers a real experince of space.

‘25/Haptic/L’Esprit Nouveau

One piece connected both inside and outside the apartment. The flag was presented as a “building-houses” unit with gardens. The spaces were furnished with an eclectic array of furniture from a home environment, commercial and industrial sectors. The double height and the succession of sequences allow the space experiment.

â&#x20AC;&#x2DC;26/Haptic/Villa Stein-de Monzie

It is well known that Le corbusier arranged and composed the ordanary domestic objects of his interiors for photographic purposes, giving the appearance of a scene frozen in time. This kitchen illustrates the haptic space by the fact that the large volume of it changes from the habits.

‘27/Haptic/Cafe Aubette

The impact exerted by the”Proun Room “of El Lissitzky is evident in the diagonal colored planes used by van Doesburg in this interior. His goal was to “mark the threedimensional physicality of the piece with a diagonal hyper-physical space and pictorial”. The diagonal is used to destroy the rigorous geometry of the piece and thus create a new perception of space: what is plan, where are the corners...

â&#x20AC;&#x2DC;28/Haptic/La Maison de Verre

Pierre Chareau justifies its architectural choices not based on an innovative material, the glass,t but just based on an idea: â&#x20AC;&#x153;light â&#x20AC;&#x153;. The use of translucent glass blricks meets intent of natural light in a dense urban environment with all the problems of barriers to light and overlooked that this entails. The wall of translucent glass bricks used here is a real light filter producer of a homogeneous illumination.

â&#x20AC;&#x2DC;29/Haptic/The Barcelona Pavilion

Pavilion designed by Mies van der Rohe was conducted as part of the 1929 International Exhibition. A particular choice of materials has been developed, including the treatment of marble slabs which, associated between them, draw amazing pictures and creat a proximity and a close contact with the viewerâ&#x20AC;&#x2122;s touch and optical senses.

â&#x20AC;&#x2DC;30/Haptic/Viipuri Library

Viipuri Libray is particularly famous for its wave-shaped ceiling in the auditorium, the shape of which, Aalto argued, was based on acoustic studies. The celling shape create a dynamic space where the eye slide without being interrupted.

â&#x20AC;&#x2DC;31/Haptic/Town Hall

Dudockâ&#x20AC;&#x2122;s project stands out for its monumental tower. The the outer envelope is made entirely of brick. To break this impressive volume, the architect uses vertical lines marks by a special treatment to highlight them. The general understanding of the overall is changed through the decomposition of the interaction with the object.

â&#x20AC;&#x2DC;32Haptic/Villa Tugendhat

Van der Rohe is developing his conception of the free plan, where the space of a function (dining room, office, living room...) are defined without being partitioned, which allows him to avoid bearing walls and distribute the house more freely. The dining room is limited by a curved wall in contradiction with the international style rectangular lines, thus creating a confusion in reading the space.

â&#x20AC;&#x2DC;33/Haptic/Slaughter-House

Itâ&#x20AC;&#x2122;s a fromer slaughterhouse wher everything revolves around a central core that can be accessed by a series of bridges that cross back and forth at various places. The space between the edge and the core is open air and the entire building reeks of Communist era concrete mixed with Art Deco styling. Ramps and shadowy corners give the building a creepy feeling that is juxtaposed by bright airy spaces.

â&#x20AC;&#x2DC;34/Haptic/Litograph

In his work, Escher link various apects of space and dual use of contours. He repeats endlessly the juxtapositions of figures while printing them a metamorphosis, a translation, a rotation, a reflection or a homothety. Here, he transforms the geometric space in random form, or vice versa...

â&#x20AC;&#x2DC;35/Haptic/Falling Water House

The profusion of material awake the viewerâ&#x20AC;&#x2122;s sense of touch: apparent rock, ground streak imitating the lines of the rock, post rock structure ... They are in conflict with smoother materials: glass, white wall.

‘36/Haptic/Atmospheres

Like Peter Zumther said: we can feel all the atmosphere in the room: the light coming from the window, the smoke, how the people acting... People are seating here, and they felling great. Zumthor calling it “the magic of real”.

â&#x20AC;&#x2DC;37/Haptic/Villa Mairea

The succession and the difference of inside and outside space of the house blend both surface and volume. Playing with the multitude of wooden poles, Aalto created confusion for the viewer. It gives the impression that we are in the woods, and thus creates a link with the outside.

â&#x20AC;&#x2DC;38/Haptic/Johnson Wax Building

The great hall of the Johnson Wax building is very inspired by Roman architecture with tall columns in the shapes of lilies. This cave seems to be invaded by a profound peace, and provides a softer reading of the room.

â&#x20AC;&#x2DC;39/Haptic/Finnish Pavillon

With this realization, Alvar Aalto wanted to evoke the Finnish landscape. All objects were made of wood and deposited in a unusual collage for an exhibition pavilion. But he also uses curved lines as to recall the lines of the landscape.

â&#x20AC;&#x2DC;40/Haptic/Aircraft Center

The monumentality of the hangar of Nervi is dynamise by the cell structure. It raises the question of the scale of the body in the space and how the body should move into it. The light that illuminates the structure produce some effects in the depth of the perspective.

â&#x20AC;&#x2DC;41/Haptic/Project for a concert Hall

Miesâ&#x20AC;&#x2122;s concert hallproject seems to suggest a significant role for opaque forms and figures.In the collage, the tension between the foreground figure and the bomber in the background defines both the boundary of the buildingâ&#x20AC;&#x2122;s interior and its openness into or onto the surrounding field.

‘42/Haptic/Mile of Strings

Duchamp strung a mile of string throughout the exhibition space, making it almost impossible to negotiate the gallery space, or to see the works on view. Duchamp said “we could play here”, and thus, the public becomes aware of his movement in space, rather than consume it in a unconscious state.

â&#x20AC;&#x2DC;43/Haptic/Guggenheim Museum

The museum area has a helical structure where the visitor comes in first at the top, then gradually descends to ground level by a slightly inclined ramp: the notion of showroom disappears in favor of a continuity presentation. Therefore, the ramp releases the viewer from the traditional visual expĂŠrience of space.

â&#x20AC;&#x2DC;44/Haptic/Kaufmann Desert House

Neutra expresses the language of modern architecture: free plans, lights, transparency, spatial continuity, strict decomposition of layers and materials, the interplay between horizontal and vertical layers.

‘45/Haptic/Eames House

Eames House is the eighth home from the series of “Cases Study House”. It becomes an extraordinary poetic object, inspired by Japanese architecture: the delicacy of his frame, the elegant proportions, freedom in the alternation of materials and colors that compose it transcend its constructive logic.

â&#x20AC;&#x2DC;46/Haptic/Economic and Social Council

In the lobby, the huge staircase shaped like a horseshoe appears to rest on anything and keeps himself from first to third level. The balance of the stairs is achieved by a great door overhang.

â&#x20AC;&#x2DC;47/Haptic/Exhibition building

The Nevriâ&#x20AC;&#x2122;s exhibition building is a ribbed concrete frame which is combined with glass to create a shell enclosure. The structure becames itself a texture where the light can play with it.

‘48/Haptic/Casa Barragan

Barragan uses color as a complement to the architecture: “It can expand or delineate a space. It is necessary to add a touch of magic to a place”. The viewer has a direct relation to the surface, and maybe a easier reading of its construction.

â&#x20AC;&#x2DC;49/Haptic/Morris Gift Shop

In the interior of the shop, Wright placed a circular mezzanine reached by ascending a spiral ramp. Light is provided by a grid of interlocked translucent globes suspended above the circular space. The interior offers a new way to move into it, and a technological perspective on lights design, make it be considered as a haptic space.

â&#x20AC;&#x2DC;50/Haptic/Sinagoga Kneses Tifereth

The veil hung over the room takes the appearance of a seashell. This form is coming to break the geometric rigor of the box and created a new dynamic sequence in the internal space.

â&#x20AC;&#x2DC;51/Haptic/Saint Joseph church

The holes in the architecture of Saint Joseph Church radiates the inside of light with thousands pieces of colored glass and the tower is directly overlooking the chorus. The overall, due to materials, textures, plans and perspectives, creates a spatial experience of distraction.

â&#x20AC;&#x2DC;52/Haptic/Cabanon

The particularity of the Cabanon is that we are moving from the singularity of the envelop to an interior space with multiple identities. How our actions and behaviour are using this small space?

â&#x20AC;&#x2DC;53/Haptic/Convention Hall project

Theprojet of Mies for the Convention Hall is impressive by its monumentality. The fully glazed facade is very impressive and also very cold, although the triangles seem to break this huge box.

â&#x20AC;&#x2DC;54/Haptic/Chapelle de Ronchamp

All the walls are curved. The curves are also present inside: the floor is curved, like the covering. The work of the light is sensitive in the chapel. His intrusion contradicts the thickness of the walls and the massiveness of the cover. The south wall is pierced by a series of truncated pyramids that provide, with great subtlety, colored light.

â&#x20AC;&#x2DC;55/Haptic/De Bijenkorf Department Store

Marcel Breuer proposes a building with a singular envelope. It wants to be like a pictorial composition, with a gradient effect of chiaroscuro, a set of veins in the stone... The attachment to the surface is, at once, by sight and touch.

â&#x20AC;&#x2DC;56/Haptic/Palazzetto dello Sport

The structure of the dome of Nervi is perfectly plastic, and the structure becomes a sculpture with a function. The effect created by this vision of the rose makes the structure quite impressive, and the structure becomes texture.

â&#x20AC;&#x2DC;57/Haptic/University of Pennsylvania

This facade is quite astonishing in its monumentality, its sleek appearance, its material used, the brick, but also by the fact that it has no opening. It asked about the internal function of the building and its spaces.

â&#x20AC;&#x2DC;58/Haptic/AtlĂĄntida

This image uses a haptic knowledge. It allows an intimate immersion with the surface. Two elements are used like materials, brick of course, and the light which comes to sublimate the material. The composition of the openings has a striking effect for reading the overall.

â&#x20AC;&#x2DC;59/Haptic/National Assembly Building of Bangladesh

The contrast between the simple outer envelope and the multiplicity of the interiors spaces is amazing. The material, the white stripes, the light and the architectural compostion create an abundance of sequences of events.

â&#x20AC;&#x2DC;60/Haptic/Pepsico Headquarters

This refined building, from SOM, interacts with the others buildings because its architectural and material treatment is opposed to others. It is even departed from its neighbor. Furthermore, the lines of its ceilings give it a quite striking depth.

â&#x20AC;&#x2DC;61/Haptic/Fondation Querini-Stampalia

The foundation of Scarpa is a true jewel in the arrangement of materials. Everything is mixed: the nobility of gold, the smoothness of the marble and the roughness of the brick, the interpenetrations of the water, the coldness of the iron ... Everything is done to live a tactile experience.

‘62/Haptic/Villa Drusch

Claude Parent designed the Villa Drusch as home which embodies his “theory of oblique architecture.” The house appears to be a tenseness place. On second floor, the ceiling curves dramatically inward, contrary to the rectilinear exterior. This tension between interior and exterior creates this haptic experience.

â&#x20AC;&#x2DC;63/Haptic/Church at Firminy

Above the altar, light enters in the church through holes in the dome that draw the constellation of Orion. In this project it is the light that transforms the perception of the volume, whether it is artificial or natural.

â&#x20AC;&#x2DC;64/Haptic/Exeter Library

Kahnâ&#x20AC;&#x2122;s work in the central core about the materials, shapes, structure and elements detached from themselves allowing him to create an atmosphere filled with sequences of events in the reading volume.

â&#x20AC;&#x2DC;65/Haptic/Parti Communiste Francais

The Dome of the french communist headquarters is a concrete dome that represents the fertile womb of a mother. Slats of aluminum hung allow the diffusion of light and create an atmosphere reminiscent of the futuristic world of Stanley Kubrick.

â&#x20AC;&#x2DC;66/Haptic/The Withney Museum

The trully opaque facade of the museum, made of small dark granite sheets, is only pierced by a few scattered trapezoidal windows. They symbolically act like eyes.

â&#x20AC;&#x2DC;67/Haptic/Itamaraty Palace

Niemeyerâ&#x20AC;&#x2122;s building can be read in three parts: a glass box covered by a concrete shell with sharpened poles, all encircled with a water mirror. Therfore, he creates a decomposition on the built general reading.

â&#x20AC;&#x2DC;68/Haptic/Everson Museum of Art

The stair often gets overshadowed by the obsession of form in design, yet it can be the substance that enriches space and makes personal experience identifiable. And succession of plans amplifies this idea of practising the space.

â&#x20AC;&#x2DC;69/Haptic/Yale Center for British Art

Kahn modulated the rectangular form with natural light, rich materials and sensitive proportions in order to give to the building heat and human scale. The cylindrical block acts as an entity in conflict with the rectilinear overall.

â&#x20AC;&#x2DC;70/Haptic/Brion-Vega Cemetery

This funerary complex, with purified architectural lines, illustrated itself by its poetic nature. The work of Carlo Scarpa is assessed in great details: the rich color, ornamentations, the purity of the materials.

â&#x20AC;&#x2DC;71/Haptic/The Peeling Project

The Peeling Project is a way of changing public response to the significance of commercial structure and transforms it in a matter or material for an art statement. Portions of the facadeâ&#x20AC;&#x2122;s brick veneer are peeled away into space to reveal the masonry wall underneath. This sculptural effect produces a feeling of vertigo.

â&#x20AC;&#x2DC;72/Haptic/Kimbell Art Museum

The Kimbell Art Museum is original by its innovative lighting system in the exhibition spaces. Indeed, the domes are perforated in their upper portions. The light is then collected in perforated aluminum reflectors that transmit, has both, a direct natural light, and natural reflected light that spreads uniformly thanks to the curvature of the domes. Kahn will call this light â&#x20AC;&#x153;the silver lightâ&#x20AC;?.

â&#x20AC;&#x2DC;73/Haptic/Juwelier Schullin

Some facades seem to want to break the traditional surface and introduce the unexpected, â&#x20AC;&#x153;crack the block patterns and the patterns of blocks. The surface becomes a game between habits, practices, materials, events and experiences.

â&#x20AC;&#x2DC;74/Haptic/Church at Bagsvaerd

Utzon mixes round shapes of the roof with angles that punctuate the gallery openings. The light that lands on the white concrete creates a soft and dreamy atmosphere. This is the paradox of the church: the outer surface is austere and singular, while the interior is soothing in the multiplicity of its spaces.

â&#x20AC;&#x2DC;75/Haptic/Riola Parish Church

The church is an asymmetrical basilica with asymmetrical vaulting, through which the light, intensified around the altar, is directed into the interior of the basilica. structural layers and lines creates a dynamic abstract composition. The vault is even felt more than its white treatment is in contrast with the black ground.

â&#x20AC;&#x2DC;76/Haptic/Azuma House

For this house, Ando chose a raw concrete facade to keep his expressive force. It just opened on the street by a door. This singular aspect raises the question of the identity of whatâ&#x20AC;&#x2122;s happening behind.

‘77/Haptic/Roden Crater Project

The Roden Crater is a “vison machine”. By manipulating the light, James Turrell sollicites senses, he plays with the viewer’s perception. In his hands, the light takes an extraordinary materiality creating fictitious spaces. fascinating and disturbing. These two discs destabilize us from our relationship in space, in reality.

â&#x20AC;&#x2DC;78/Haptic/House VI

House VI is placed under the sign of reversal, an object transforming habits that we can have about a home. Eisenman plays with our perception of space, like a trompe-lâ&#x20AC;&#x2122;oeil. The top and bottom are reversed by a red staircase to the ceiling, the orthogonal negative to the green stairs, access the ground floor.

‘79/Haptic/Musée d’Orsay

The Orsay Museum is contemporary example of a rehabilitation which is changing both the historical perception of the monument, function, usage, and space. The railway station retains its historic singular facade but the interior wins in sequences and events for the articulation of the space.

â&#x20AC;&#x2DC;80/Haptic/Noisy 2

In Noisy 2 apartment complex, Ciriani made a special surface treatment. He plays with several plans, but also on the geometry. Thus the rectangular windows, the square pattern, the rectangular recesses merge into the geometric frame and materials.

â&#x20AC;&#x2DC;81/Haptic/Thorncrown Chapel

The chapel is quite astonishing because of its location and its not strucuture. Built in the middle of the forest, the multitude of posts seems to be confused with the forest. A regular frame structure defiinit the sequences of this building.

‘82/Haptic/Parc de la Vilette

In the parc of La Villette, Tschumi settled a system of dispersed points in red enameled steel called “folies” that support different cultural and leisure activities. They are like a sequence of events on urban scale. They are also a way of technological appreciation of haptic knowledge.

â&#x20AC;&#x2DC;83/Haptic/Le Grand Louvre

This image is a resonance of the stairs of the Everson Museum of Art. The question of the stairs as spatial experience and enrichment of the space keeps the same dimension, whatever the periods.

â&#x20AC;&#x2DC;84/Haptic/Igualada Cemetery

The Igualada Cemetery is a project that challenges the traditional notions of what makes a cemetery. Even in an underground passageway, the walls curves are dynamic according to the bumps of the landscape. The light slits add a dramatic air to the overall.

â&#x20AC;&#x2DC;85/Haptic/Lloyds Building

The lobby of the Lloyds Building is a large central atrium where mechanical stairs changed the relationships of sight and physical motion in space. In its relation to space, the body is swept away by the movement and practice it in an amorphous way.

â&#x20AC;&#x2DC;86/Haptic/Menil Collection

The space can be read in two planes: the black ground and the white ceiling. The reflectors provide a diffused light that can drown polished concrete becoming the a mirror which flooded the room with light.

â&#x20AC;&#x2DC;87/Haptic/Fulcrum

The Serra sculpture is constructed as a kind of disjunction, it comes create a particular event in an urban area. The sculpture provides a spatial experience of distraction: the place is no longer a crossing point, but it possesses a function, it becomes a finality. The object creates a new habit, a new use, a new space of immediacy and contact.

â&#x20AC;&#x2DC;88/Haptic/Jewish Museum

In the corridor of the staircase of the Jewish Museum, we totally lost our landmarks: where are the walls, the corners? The light that comes from above and remains there and crossing beams contribute to the confusion in the perception of space.

â&#x20AC;&#x2DC;89/Haptic/Church of the Light

At the back of the church, behind the altar, the light comes only from these two cruciform cuts that give the divine character to the scene. The appreciation of the space is completely monopolized by this light call. The light becomes almost a palpable texture.

â&#x20AC;&#x2DC;90/Haptic/Reichstag

Foster proposes the reconstruction of a glass dome, reviving the buildingâ&#x20AC;&#x2122;s history. This dome, accessible to the public, offers a spectacular walk in the sky over Berlin. The dual ramp makes the visitor a mobile element and allows him to take the measure of volume. The glass column reflects his walk and makes him aware of its behaviour.

â&#x20AC;&#x2DC;91/Haptic/Storefront

This concept of rotating facade from Holl, link the body to wall forms in the way that the shoulder is needed to push space out or pull it in. The body makes the experience of space. This facade is a new dynamic and creates interactivity with the urban area.

â&#x20AC;&#x2DC;92/Haptic/Awaji Yumebutai

On this site, Ando creates a singular surface in the form of a large esplanade encrusted of shell covered by a thin trickle of water. It is like an articulation between the building and the sea, as an intriduction of the background.

â&#x20AC;&#x2DC;93/Haptic/Shalechet

Thousands of steel rings scattered on the ground, the circles are drilled of holes and represent human faces, mouths open in a muted cry of pain. The viewer is invited to walk on this faces carpet, under the feet the cobbles collide emitting metal sounds, retourning to the faces their unbearable cry.

â&#x20AC;&#x2DC;94/Haptic/Maison a Bordeaux

Perceptions of both volumes get in the haptic field: the slight glass box seems to support the heavy steel box. The round openings are original to a house. The house proposes a transition from the singularity of the envelop to the interior space multiplicity of identities. Indeed, many inside spaces are convertible with a mecanic system.

â&#x20AC;&#x2DC;95/Haptic/Dominus Winery

The outer envelope of the winery is innovative. Herzog & De Meuron uses a system of attachment for pebbles which makes permeable and porous facade. It creates a random play of shadow and light.

â&#x20AC;&#x2DC;96/Haptic/Therme of Vals

building in the stone, building with stone, into the mountain, building out of the mountain.Presence of stone, light, water. Light that comes brush the walls. Fresh and relaxing atmosphere, multiple sequences, texture of travertine and water...

â&#x20AC;&#x2DC;97/Haptic/Passage dangereux

Here is a world belonginf from the haptic knowledge. A fantasy world, a impossible dream, where rows of chairs, orchestrated in a dance, float above the ground. The room is inpenetrable, wrapped in a steel mesh.

â&#x20AC;&#x2DC;98/Haptic/Kunsthaus Bregenz

The interior lighting becomes a dynamic part of the building as it reacts differently according to the light, time of day, weather, and the surrounding context. When the light enters through translucent glass, the polished concrete seems to dematerialize and wash away allowing galleries to become flooded with light.

â&#x20AC;&#x2DC;99/Haptic/Signal Box

The Signal Box has an exterior cladding of copper strips that are twisted at certain places to admit daylight. Copper strips and beveled corners of the box create an effect of torsion that leads to a new way to read of the general volume.

â&#x20AC;&#x2DC;00/Haptic/Le Georges

The dialogue between the geometric and the organic form introduces volumes with a fluid morphology that preserves the unique structure of the Centre Georges Pompidou. Boxes subdivide space into more or less intimate areas.

My design/Haptic/Sensitive Labyrinth

The idea is suggesting blinded visitor to move into a space with panels textures, guided through headphones making them perceive the walls of the labyrinth. The project make both a reference to architecure, movement, dance, body... But also all the senses other than sight.

REFERENCES ‘01: Avenue Rapp, Paris (France) Jules Lavirotte, ph: Anonymous, in http:// colormemucha.tumblr.com, 2010. ‘02: Casa Hill, Helensburgh (United States) Charles Mackintosh, ph: Anonymous, in Modernismo, Richard Wetson, Arnoldo Mandadori editore, 1996, p. 47. ‘03: Larkin Building, New York (United States) Frank Lloyd Wright, ph: Louis Kahn, in Architettura Moderna, Vincent Scully Jr., Jaca Book, 1985, p. 119. ‘04: Casa Battlo, Barcelona (Spain) Antoni Gaudi, ph; Ignasi de SoláMorales, in http://www.archdaily.com/, 2003. ‘05: Le Parisien libere, Paris (France) Georges Chaudanne, ph: Aude Moutarlier, in http://www.maisonapart.com/, 2009. ‘06: Unity Temple, Oak Park (United States) Franck Lloyd Wright, ph: Library of Congress, in http://www.GreatBuildings. com/.

‘07: Church of St. Leopold am Steinhof, Vienna (Austria) Otto Wagner, ph: Charles H., in Surface Architecure, David Leatherbarrow, The MIT Press, 2001, p. 89. ‘08: Post Office Savings Bank, Vienna (Austria) Otto Wagner, ph: Charles H., in Surface Architecure, David Leatherbarrow, The MIT Press, 2001, p. 90. ‘09: Looshaus, Vienna (Austria) Aldof Loos, ph: Michiel van Raaij, in http://www.eikongraphia.com/. ‘10: Pennsylvania Station, New York (United States) McKim, Mead, and White, ph: Anonymous, in http://blog.turnthescrew.com ‘11: Robie House, Chicago (United States) Frank Lloyd Wright, ph: Anonymous, in http://users.tce.rmit.edu.au/. ‘12: Goetheanum, Dornach (Switzerland) Rudolf Steiner, ph: Anonymous, http:// www.glacierwaldorf.org/.

‘13: Jahrhunderthalle, Breslavia (Poland) Max Berg, ph: Philip Johnson, in Architettura Moderna, Jaca Book, 1985, p. 107.

‘20: Grosses Schauspielhaus, Berlin (Germany) Hans Poelzig, ph: Architekturmuseum der TU, in http://www.eahn.org/site/en/.

‘14: Glass Pavilon, Colonia (Germany) Bruno Taut, ph: Anonymous, in Modernismo, Richard Wetson, Arnoldo Mandadori editore, 1996, p. 75.

‘21: Costruzione di relazioni volimetriche, New York, (United States) George Vantongerloo, ph: Lucien Herve, in Architettura Moderna, Vincent Scully Jr., Jaca Book, 1985, p. 129.

‘15: Parc Guell, Barcelona (Spain) Antonio Gausdi: ph: Anonymous, in http://www.cursos.org/. ‘16: Abattoir la Mouche, Lyons (France) Tony Garnier, ph: Anonymous, in Modern Architecure, Kenneth Frampton, Thames & Hudson, 2007, p. 104. ‘17: Mondrian Piet Mondrian, ph: Anonymous, in http:// madamepickwickartblog.com/. ‘18: Stockholm Library, Stockholm (Sweden) Erik Gunnar Asplund, ph: Rachel Chandler, http://www.marvelbuilding.com/, 2010. ‘19: Buffet Rietveld, ph: Anonymous, in Modern Architecure, Kenneth Frampton, Thames & Hudson, 2007, p. 144.

‘22: Notre Dame du Raincy, Raincy (France) Auguste Perret, ph: Xavier de Jauréguiberry, in http://www.greatbuildings.com/, 2008. ‘23: Proun Room, Berlin (Germany) El Lissitskij, ph: Anonymous, in Modernismo, Richard Wetson, Arnoldo Mandadori editore, 1996, p. 104. ‘24: Rietveld Schroder House, Utrecht (Netherlands) Gerrit Rietveld, ph: Wikimedia Commons, in http://www.archdaily.com/. ‘25: L’Esprit Nouveau, Paris (France) Le Corbusier, ph: Anonymous, in Modernismo, Richard Wetson, Arnoldo Mandadori editore, 1996, p. 111. ‘26: Villa Stein-de Monzie, Garches (France) Le Corbusier, ph: Anonymous, in On Weathering, Mohsen Mustafavi, The MIT Press, 1993, p. 83.

‘27: Cafe Aubette, Strasbourg (France) Theo van Doesburg, ph: Anonymous, in Modernismo, Richard Wetson, Arnoldo Mandadori editore, 1996, p. 104. ‘28: La Maison de Verre, Paris (France) Pierre Chareau, ph: Daniel Lebée, in http://www.culture.gouv.fr/culture. ‘29: The Barcelona Pavilion, Barcelona (Spain) Mies van der Rohe, ph: Anonymous, in http://www.miesbcn.com/en/pavilion. html. ‘30: Viipuri Library, Vyborg (URSS) Alvar Aalto, ph: Anonymous, in http:// www.artek.fi/, before 1939.

‘35: Falling Water House, Stewart (United States) Frank Lloyd Wright, ph: Anonymous, in http://www.wright-house.com/. ‘36: Student Residence, Zurich (Switzerland) Hans Baumgartner, in Atmospheres, Peter Zumthor, Birkhauser, 2008, p. 18-19. ‘37: Villa Mairea, Noormarkku (Finland) Alvar Aalto, ph: Alvar Aalto, in http:// www.archdaily.com/. ‘38: Johnson Wax Building, Racine (United States) Franck Lloyd Wright, ph: Lucien Herve, in Architettura Moderna, Vincent Scully Jr., Jaca Book, 1985, p. 139.

‘31: Town Hall, Hilversum (Netherlands) Willem Dudok, ph: Charles H., in Surface Architecure, David Leatherbarrow, The MIT Press, 2001, p. 216.

‘39: Finnish Pavillon, New York (United States) Alvar Aalto, ph: Ezra Stoller, in Modernismo, Richard Wetson, Arnoldo Mandadori editore, 1996, p. 191.

‘32: Villa Tugendhat, Brno (Czech Republic) Mies van der Rohe, ph: Klaara, in http:// www.travbuddy.com/.

‘40: Aircraft Center, Orvieto (Italy) Pier Luigi Nervi, ph: Fabio Mariano, in http://en.structurae.de/, 1982.

‘33: Slaughter-House, Shanghai (China) Palmer & Turner, ph: Anonymous, in http://chine.blog.lemonde.fr/, 2007.

‘41: Project for a concert hall Ludwig Mies van der Rohe, ph: Anonymous, in Surface Architecure, David Leatherbarrow, The MIT Press, 2001, p. 115.

‘34: Litograph M.C. Escher, ph: Escher, in http://www. mcescher.com/.

‘42: Mile os Strings, New York (United States) Marcel Duchamp, ph: Renato Maestri, in www.understandingduchamp.com/. ‘43: Guggenheim Museum, New York (United States) Franck Lloyd Wright, ph: Scott Norsworthy, in http://www.archdaily.com/, 2005. ‘44: Kaufmann Desert House, Palm Springs (United States) Richard Neutra, ph: Larry Schaffer, in http://oklosangeles.blogspot.com/, 2008. ‘45: Eames House, Pacific Palisades (United States) Charles Eames, ph: Anonymous, in http://www.archithings.net/, ‘46: Economic and Social Council, Paris (France) Pierre Paulin and Auguste Perret, ph: Gilbert Fastanaekens, in http://www. cyberarchi.com/. ‘47: Exhibition building, Torino (Italy) Pier Luigi Nervi, ph: Anonymous, in http://www.canadianarchitect.com/. ‘48: Casa Barragan, Tacubaya (Mexico) Luis Barragan, ph: Anonymous, in Luis Barragan, Rene Burri, Phaidon, 2000.

‘49: Morris Gift Shop, San Francisco (United States) Frank Lloyd Wright, ph: Lucien Herve, in Architettura Moderna, Vincent Scully Jr., Jaca Book, 1985, p. 138. ‘50: Sinagoga Kneses Tifereth, New York (United States) Philip Johnson, ph: Ernst Scheidegger, in Architettura Moderna, Vincent Scully Jr., Jaca Book, 1985, p. 140. ‘51: Saint-Jospeh Church, Le Havre (France) Auguste Perret, ph: Velvet, in http:// fr.wikipedia.org/wiki/Église_Saint-Joseph_du_Havre, 2008. ‘52: Cabanon, Cap Martin (France) Le Corbusier, ph: anonymous, in http:// www.interstices.auckland.ac.nz, nd. ‘53: Alternative design for the Convention Hall Project, Chicago (United States) Ludwig Mies van der Rohe, ph: HedrichBlessing, in Surface Architecture, David Leatherbarrow, The MIT Press, 2001, p. 112. ‘54: Chapelle de Ronchamp, Ronchamp (France) Le Corbusier, ph: Rory Hyde, in http:// www.archdaily.com/, 2003.

‘55: De Bijenkorf Department Store, Rotterdam (Netherlands) Marcel Breuer & A.Elzas, ph: Anonymous, in On Weathering, Mohsen Mustafavi, The MIT Press, 1993, p. 41. ‘56: Palazzetto dello Sport, Roma (Italy) Pier Luigi Nervi and A. Vitellozzi, ph: Philip Johnson, in Architettura Moderna, Vincent Scully Jr., Jaca Book, 1985, p. 107. ‘57: Univerrsity of Pennsylvania, Philadelphia (United States) Louis Kahn, ph: Julius Shulman, in Surface Architecture, David Leatherbarrow, The MIT Press, 2001, p. 21. ‘58: Iglesia de Atlántida, Atlántida (Uruguay) Eladio Dieste, ph: hugh Fraser, in http:// fr.structurae.de/structures, 2005. ‘59: National Assembly Building of Bangladesh, Dhaka (Bangladesh) Louis Kahn, ph: Naquib Hossain, in http://www.archdaily.com/, 2008. ‘60: Pepsico Headquarters, New York (United States) SOM, ph: Ezra Stoller, in Modernismo, Richard Wetson, Arnoldo Mandadori editore, 1996, p. 207.

‘61: Fondation Querini-Stampalia, Venise (Italy) Carlo Scarpa, ph: Tim Brown Architects, in http://www.flickr.com/. ‘62: Villa Drusch, Versailles (France) Claude Parent, ph: D. Carr, in http:// swipelife.com/, 2009. ‘63: Church at Firminy, Firminy (France) Le Corbusier, ph: Richard Weil, in http:// www.archdaily.com/, 2008. ‘64: Exeter Library, Exeter (United States) Louis Kahn, ph: Kiel Bryant, in http:// www.archdaily.com/. ‘65: Parti Communsite Francais, Paris (France) Oscar Niemeyer, ph: Anonymous, in http://petitbillzeblog.blogspot.com/, 2008. ‘66: The Whitney Museum, New York (United States) Marcel Breuer, ph: h ssan, in http://www. flickr.com. ‘67: Itamaraty Palace, Brasilia (Brazil) Oscar Nimeyer, ph: Adam Gebrian, in http://www.mimoa.eu/.

‘68: Everson Museum of Art, New York (United States) I.M. Pei, ph: Anonymous, in http:// designbelt.tumblr.com/, 2009. ‘69: Yale Center for British Art, New Heaven (United States) Louis Kahn, ph: Jan Martin, in http:// www.GreatBuildings.com/. ‘70: Brion-Vega Cemetery, San Vito d’Altivole (Italy) Carlo Scarpa, ph: Mario Gagliardi, in http://www.paralleldistortion.com/. ‘71: The Peeling Project, Richmond (United States) Cynthia Eardley, ph: Anonymous, in Site, Tom Wolfe, Images Publishing, 2005, p. 43. ‘72: Kimbell Art Museum, Fort Worth (United States) Louis Kahn, ph: Anonymous, in http:// ps2pm.wordpress.com/. ‘73: Juwelier Schullin, Vienna (Austria) Hans Hollein, ph: Anonymous, in Architecure et complexite, Alain Farel, Parentheses, 1999, p. 124. ‘74: Church at Bagsvaerd, Copenhagen (Danmark) Jon Utzon, ph: Andrew Carr, in http:// www.GreatBuildings.com/.

‘75: Riola Parish Church, Riola (Italy) Alvar Aalto, ph: Anonymous, in http://arquitecturacuatro.blogspot.com/, 2005. ‘76: Azuma House, Osaka (Japan) Tadao Ando, ph: Anonymous, in http:// kwc.org/architecture/, 2005. ‘77: Roden Crater Project, Arizona (Unites States) James Turrell, ph: Florian Holzherr, in Architecture Now! 2, Philip Jodidio, Taschen, 2003, p. 492. ‘78: House VI, Cornwall, (United States) Peter Eisenman, ph: NJIT, in Architecure et Complexite, Alain Farel, Parentheses, 1999, p. 157. ‘79: Musée d’Orsay, Paris (France) ACT Architecure, ph: Tâm Tran Huy, in http://www.musee-orsay.fr/, 2007. ‘80: Noisy 2 , Marne-La-Valle (France) Henri Ciriani, ph: Anonymous, in Modern Architecure, Kenneth Frampton, Thames & Hudson, 2007, p. 296. ‘81: Thorncrown Chapel, Eureka Springs (United States) Fay Jones, ph: Keith Austell, in http:// www.mimoa.eu/.

‘82: Parc de la Villette, Paris (France) Bernard Tschumi, ph: Bernard Tschumi Architects, in http://www.tschumi.com, 1998. ‘83: Le Grand Louvre, Paris (France) I.M. Pei, ph: Pei Cobb Freed & Partners, in http://www.archdaily.com, 1989. ‘84: Igualada Cemetery, Barcelona (Spain) Enric Miralles, ph: Andrew Kroll, in http://www.archdaily.com/, 2010. ‘85: Llods Buildings, London (England) Norman Foster, ph: Phogel, in http:// www.ask.com/wiki/, 2006. ‘86: Menil Collection, Houston (United States) Renzo Piano, ph: Esto, in http://www. archlighting.com/. ‘87: Fulcrum, London (England) Richard Serra, ph: Andrew Dunn, in http://fr.wikipedia.org/wiki/, 2005. ‘88: Jewish Museum, Berlin (Germany) Daniel Libeskind, ph: Cyrus Penarroyo, in http://www.archdaily.com. ‘89: Church of the Light, Osaka (Japan) Tadao Ando, ph: Naoya Fujii, in http:// www.archdaily.com/, 2006.

‘90: Reichstag, Berlin (Germany) Norman Foster, ph: Anonymous, in http://www.lankaart.org/. ‘91: Storefront for Art and Architecture, New York (United States) Steven Holl, ph: Anonymous, in http:// www.arch.mcgill.ca/. ‘92: Awaji Yumebutai, Hyogo (Japan) Tadao Ando, ph: Tadao Ando, in Architecure Now!, Philip Jodidio, Taschen, 2001, p. 53. ‘93: Shalechet, Jewish Museum, Berlin (Germany) Menashe Kadishman, ph: anonymous, in http://hidabbal.over-blog.fr/. ‘94: Maison a Bordeaux, Bordeaux (France) Rem Koolhaas, ph: Hans Werlemann, in http://www.archdaily.com/, 1994. ‘95: Dominus Winery, Yountville (United States) Herzog & De Meuron, ph: Kevin Matthews, http://www.archiplanet.org/wiki/. ‘96: Therme of Vals, Vals (Switzerland) Peter Zumthor, ph: Therme Vals, in http:// www.therme-vals.ch/.

‘97: Passage dangereux, Switzerland Louise Bourgeois Collection Ursula Hauser, ph: Jon Pratty, 1997. ‘98: Kunsthaus Bregenz, Bregenz (Austria) Peter Zumthor, ph: Anonymous, in http:// www.kultur-online.net/. ‘99: Signal Box of the Swiss Federal Railways, Basel (Switzerland) Herzog & De Meuron, ph: Darwinism, in http://www.flickr.com/, 2008. ‘00: Le Georges Restaurant, Paris (France) Jakob & Macfarlane, ph: Jakob & Macfarlane, in http://www.jakobmacfarlane. com/, 2000.

Cover: Haptic space, Paris (France) Judith Baudinet, ph: Judith Baudinet, in http://www.lacritique.org/, 2008.

INTERIOR WOR[L]DS. This work is a part of a collection of books realized by the students of the course Interior Architecture, class 2010-2011, abd edited by Professor Gennaro Postiglione. It takes its origins from the participation in the second Interiors World Forum, 4-5 October, hosted by Politecnico di Milano. Every student selected a paper among the words presented at the IFW and chose 99 projects, represented by just one image, covering 99 years, from 1901 to 2000; the100th images had to be a personal interpretation of the word chosen. HAPTIC is my choosen paper from the IWF book, written by Carmella Jacoby Volk. Haptic knowledge aims to create a state of distraction on the spectator to get it out from its unconscious state, its lethargy. This is to make it act on its surroundings, whether by praxis or spatial and sensory experience.