Interior in the landscape by Emi Hinago

Interior in the Landscape

Interior in the Landscape The poetic connections between Interior and landscape

Emi Hinago RMIT University Bachelor of Design, Interior Design Thesis CopyriGHT

2013

ContentS 06

Introduction

Thesis Question

Nature form and Humam body

Essay Cave or Nest? 13

Melodious nature & Architecture

Essay

Message from Frank Lloyd Wright

Precedents

Toda House by Kimihiko Okada

Webb Chapel Park Pavilion by Cooper Joseph Studio

Project 1

Porosity within the Landscape

String & Suger Fiber glass mesh Fruit netting Cotton thread and rice 31

Project 2

Shaping light & shadow

Interior breath with the landscape

Morning light in the forest mist

Spreading sunlight

Project 3

Shaping light & shadow 2

Rhythmic shadow 46

Project 4

Vague boundaries between interior & landscape

Project 5

On site study at Heide Museum of Modern Art

Idea development on site 65

Project 6

Embodying in an outward form

73 Conclusion 74

Reference images

Precident images

76 Bibliography 77

Reference website

INTRODUCTION This thesis investigates interconnections between Interior-architecture and landscape. My interest in the project comes from comparing my life when living in urban Tokyo to suburban life in Melbourne. Tokyo is surrounded by complex layers of urban textures, which interfere with people’s notions of environmental phenomena and disconnects people from the landscape. The forest, rivers, and even the sky are far away and are only seen when on holiday. Living in Melbourne’s suburbs less 10km away from the CBD, I am surrounded by parklands, wild birds, and the Yarra River is a few minutes away from my house. I notice environmental change everyday and it offers powerful motivation to engage in healthier lifestyle habits and socialization within the natural environment. After experiencing life in different settings, my thesis question arose: How could the interior space affect people’s sensation by drawing in qualities from the landscape? I started to research the relationship between the human body and spaces that accommodate people and the effects the surrouding space has on their behaiviour. The actual sensation and connection with nature one feels when they are physically within the landscape is very different than viewing natural phenomena through a window. Experiencing ones surroundings on a daily basis is meaningful and more memorable for people and it is important aspect to include in lives. This thesis also investigates how the contemporary interior space could create a poetic relationship between inside and outside.

Emi Hinago

THESIS QUESTION

How could the interior space affect peopleâ&#x20AC;&#x2122;s sensation by drawing in qualities from the landscape?

Sensation (noun) 1. a physical feeling or perception resulting from something that happens to or comes into contact with the body: -[mass noun] the capacity to have physical sensations: -an inexplicable awareness or impression: [with clause]: 2. a widespread reaction of interest and excitement: -a person, object, or event that arouses widespread interest and excitement: Oxford English Dictonaries

oppsite page: Model from Mini-project

"Creating connection between my house and landscape".

Nature form and human body

Cave or Nest? I admire Japanese modern architecture and am especially influenced by young architects like Sou Fujimoto (pg74 Ref image1) and Junya Ishigami. The following information is I

based on an article by Maria Lorena Lehman and his lecture videos, Harvard University Graduate School of Designâ&#x20AC;&#x2122;s II

lecture series . She describes Sou Fujimotoâ&#x20AC;&#x2122;s concept in her essay from the lecture she attend at Harvard University by Sou Fujimoto called "Primitive Future" He presented his concept of differences between what he calls the "Nest" and "Cave" type of architecture, which is a primitive formation of architecture. He identifies the nest type architecture as functional spaces that are design for people in order to comfort them for their individual life style. While conversely, cave type architecture is not designed for specific people and is created by the natural form of landscapes and is not related to the human body. Lehman concluded in her essay, "I think it is great to further explain how an adaptive Above model demonstrates a collective houses as a nest. Each of the small houses contain interior spaces for individual functions and are designed to maximise people's confort and functionality.

architecture can also have integrated within it cave-like qualities, as Fujimoto described when people spend time within the space like cave type architecture, people start making a space for their own use, which he describes as III

more 'creative' and 'experimental'" . I. Maria Lorena Lehman, "Sensing Architecture" newsletter on29 May 2013, Subject: Architecture and the Human Body -Examining the Relationship sensingarchitecture.com (accessed 23 June 2013) II. Sou Fujimoto, Primitive Future, Youtube, http://www.youtube.com/watch?v=MGLO-GPYfbg, (accessed 23 June 2013) The harvardGSD,18 Feb/201,

III. Maria Lorena Lehman, "Sensing Architecture" newsletter on29 May 2013,

Another great example of cave type architecture is the Sayama Flat in Saitama, Japan. It is a renovation project designed by Schemate Architects / Jo Nagasaka in 2008. Sayama-Flat (pg74 Ref image2) is a 30 apartment block and was built during the high economic growth period of the 1980s. The redevelopment had a limited renovation budget of only 1 million yen ($10,000) for each flat. Nagasaka says, "The design principle we followed here was redesigning the space only by removing elements without adding, and improvising the layout of each of the apartments on site, IV

without having drawn their plans in advance" . Above model is made from plaster. A box was filled with balloons

I think these projects are a great explanation of how people can adapt a space and utilize personal functions depending on their needs within cave-like qualities, which has no clear

and plaster was poured to fill the gaps. When plaster dried the balloons were popped and removed. The form was cave like with windows that connect the various chambers.

definition, divider or division. It depends on the relationship between our body and architecture.

IV. Schemate Architects / Jo Nagasaka, http://schemata.jp/sayama-flat/ (accessed 23 June 2013)

With architecture, how it will be used is meaningful. With Interior, how it will be motivate and effect on being is meaningful. I am fascinated by Interior space’s potential by exploring how it can effect an occupant’s desire by connecting with outside environment. -Junya Ishigami

Exhibition at deSingel Antwerp Curated by Katrien Vandermarliere, Junya Ishigami: How small? How vast? How architecture grows, https://www.japlusu.com/news/junya-ishigami-how-

small-how-vast-how-architecture-grows (accessed 23 June 2013)

melodious nature & architecture

Message from Frank Lloyd Wright Undoubtedly one of the most famous example of 20th century architecture that is "connecting" man and nature is Falling Water (pg74 Ref image3) by Frank Lloyd Wright. It is known world wide and has continued to influence people since its completion in 1939. "Why has this worldwide attraction continued to fascinate people for a relatively moderate-sized weekend dwelling located deep in the woods of wester Pennsylvania over a stream? "

Bruce Books Pfeiffer describes, "To see the falls, however, it is necessary to go out on the terrace and look down upon them. Their sound permeates the dwelling, but the actual viewing requires this bit of human effort. Nature, instead, must be searched out and even then savoured bit by bit, here and there through the dwelling both inside and out. This was indicative of Wrightâ&#x20AC;&#x2122;s manner of connecting man II

and nature " . Wrightâ&#x20AC;&#x2122;s manner of connecting with nature involves a design that almost becomes a part of its surroundings and blends into the scenery and does not disturb the site's exsiting nature.

I. Yukio Futagawa, Bruce Books Pfeiffer, Frank Lloyd Writght Falling Water, GA Traveller003, 2003, Tokyo p.20 II. Yukio Futagawa, Bruce Books Pfeiffer, Frank Lloyd Writght Falling Water, GA

Traveller003, 2003, Tokyo p.20

Conversely, over 70 years since the completion of falling water, Japanese architect Tetuya Kondo, who values both architecture and the natural environment equally, takes a slightly different approach to design. His project called "A Path in the Forest" (pg74 Ref image4) is located in the 300 year old woods of Estonia. He did not add any artificial columns to support the path; he made the walkway lean on the existing trees to support his path like III

wind blowing between the forest .

"Walking along this

path gives a slightly different sense of the forest, instead of looking up at the trees from the ground, people are strolling near the leaves, making their way between the branches."

Kondo does not create buildings that occupy or dominate a certain site. Instead he says the objective of architecture is to enrich the scenery and improve the resilience of the environment in which his structures are located creating melodious relationships between architecture and natural environments. This represents a more modern appoach where the natural environment is becoming more scarce. The artificial environment has grown enomously and focus has shifted from blending in with natural environments to recreating them.

III. Sejima, Nishizawa, Yuko Hasegawa, Architectural environment for tomorrow, ACCESS CO.,LTD. Tokyo, 2012 p230 IV. Sejima, Nishizawa, Yuko Hasegawa, Architectural environment for tomorrow,

"In addition to providing light, ventilation, and feeling of openness, in Japan windows enhance interior light and shadow equally and evoke the infinite space of the world outside." -Kengo Kuma-

Kengo Kuma, Kyokoi: A Japanese Technique for Articulation Space, Tankosha Publishing Co.,Ltd. 2010, Tokyo

PRECEDENT I

(pg75 image 5)

Toda House / Hiroshima, Japan I

PRECEDENT II

(pg75 image 6)

Webb Chapel Park Pavilion / Dallas, USA II

by Office of Kimihiko Okada .

by Cooper Joseph Studio .

The house is build around the garden in the center of

"This simple picnic pavillion in the public park

the property, it feels like the architecture sits above the

becomes a meaningful opportunity to embrace a

garden.

passive, natural cooling system that intergrated with

A 360 degrees view creates connections to the garden

the structural design.

and sky. A penetrating staircase creates spatial

The bright yellow cones act like a traditional palapa

relations between environment and house. The

pulling cool air upward.

family will always be sharing meteorology phenomena

The unexpectable scale and intriguing roof for a soccer

together. Interiority within the landscape behave as a

field, connects people with the sky and air under the

connecter between nature and humans.

roof.

Key Words:

Share, Weather, View, Wind, Light, Sun, phenomena,

Sun, Wind, Light, phenomena, moment, Shadow,

> Always interrupted by environment.

temparature.

> Memorable spatial experience.

> Entertainment by Environment. > Memorable spatial experience.

I. Office of Kimihiko Okada, Toda House,

II. Cooper Joseph Studio, Webb Chapel Park Pavilion,

http://cargocollective.com/ookd/Toda-House

http://www.wejarchitecture.com/

(accessed 23 June 2013)

porosity within the landscape project 1 I have created various models for this project to test and experiment with the impacts of porous structures. The models were made out of natural or artificial materials that react to weather conditions. Porous structures allow natural light to penetrate and provide a view of the landscape. They were used to test perception of the landscape from within the interior.

string & sugar Porosity within

For this project, I have chosen string as a material to create porosity. Porosity offers openness and allows the view, smell, and the sound of environment to come through the materials.

the landscape Materials:

Cotton string, sugar and water.

Method:

String is soaked with sugar and water (syrup) and then is rolled around a

balloon. It is dried for 2 days under the sun. When dried, the balloon is removed from the structure. When the string was still soft, the formation was cut into flat woven strings, and then molded into various shelter like shapes. After it gets dry, the models are placed in the landscape to test perception of the interior space and how they blend into the environment over time.

2nd week

8th week

string & sugar experiment 2

Natural materials in thelandscape

The nest shaped model is placed on a brick wall in the garden to observe how it will react to the weather over the time. 2nd week, strong sun :

String was dry and had softness

4th week, rain and wind : String became soft and sticky 5th week, strong sun:

Strings were compeletely dry and had

became very hard, still keeping its nest formation.

8th week, rain and sun: After a few days of strong rain the string

was very wet, soft and sticky but kept its form.

The formation became squashed by repetedly changing from wet to dry. However, the string remained hard and strong. It was interesting to see how the material, form and model changed in the different weather conditions. 22

FIBER GLASS MESH

In the next experiment, I used plasterboard jointing tape which is made of fiberglass and has adhesive on one side.

Porosity within the landscape

Materials: Plasterboard (PB) tape, cardboard, glue. Method: The models are created from a number of cardboard strips square forms of PB tape. Raised floor to create visible shadow from the interior space. (images above) Perception in the landscape: (image left) Feels light, airy, blurry view from interior and casts a grid-like shadow (Ref, top above images) This scale of the model doesn't fit well with the grass and added a strange-scaled dimension to the space. Mesh is an effective material to cast shadows.

fruit netting

The next material is fruit netting. It is made out of twisted polyethylene and is a very soft and flexible material. It is formed using the same weaving technique as tennis nets,

Porosity within the landscape

soccer goals, and fishing nets. Material: Fruit netting. Method: (above left) Using a hair dryer, I wrapped some netting around an empty tin and used a hair dryer to heat the material. It creates a soft round form but not moulded into a perfect shape of the tin. (above right) I used a heat gun and a higher temparature to mould the netting in the shape of the timber. The higher tempreture resulted in the netting creating a more perfect shape of the model. Perception in the landscape: It was tested by hanging a model on a tree.

It felt light

and airy and the view was blurry and cast delicate shadows. It created an effect similar to branches or leaves moving in the wind. The net creates local boundaries and blurs the view of the background. 26

Cotton thread & Rice

I used natural materials to make the models for this project. Cotton thread (Enviro Ties) is made of 100% Biodegradable cotton for green waste

Porosity within

collection. I painted the thread with finely grounded rice and water. The thread was

the landscape

then spread open using small pins to create a form. As the thread dried, it got harder and harder. Materials: Enviro Ties and rice and small amount of flour (rice glue). Method: Glue was applied to thread by small brush to paint the glue on the surface. Perception in the landscape: Feels light, airy, and casts a soft organic form shadow. Compared with the fiber mesh and fruit netting, it had more warmth and softness.

Shaping light & shadow project 2 Architecture creates a barrier between people and the sun. Natural light is packed in window frames. The outside landscape is full of light and shadows with random formations of contrast that change throughout the day. I have created models with mesh screens to test and experiment with light and shadow for this project. The models were made out of white cardboard with few windows to bring lights within the interior, and included other observation windows on the side to see how the light moves.

inteior breath

Imagine the boundaries between the landscape and architecture are erased. The interior

with the landscape

space has fresh air and is filled with light and shadows, with random formations of contrast that change throughout the day. Just like sitting under the a tree, with protection from sun, and feeling cool and safe. Traditional Japanese houses are built with high consideration of air movement to allow the natural building materials to breath and are filled with natural light. James Turrell says that Japanese architecture has no frames. "Everything is connected without making borders and capturing light and wind in them."He says"In Japanese, the openings have a completely different meaning. Because everything is connected, there is no need to enclose things fully and shut in the light."

I.Sejima, Nishizawa, Yuko Hasegawa, Architectural environment for tomorrow,

ACCESS CO.,LTD. Tokyo, 2012 p203

Morning light

The picture above was taken in the early morning when camping on the Thomson River,

in the forest mist

Gippsland. Sun light breaking through the morning mist above the river and creates visible beams between the trees. I enjoyed experiencing this moment and since then I have always been fascinated in creating a space that is like this memorable phenomenon. If the interior space is exposed to the landscape by using porosity or translucent materials, does it really create a relationship between the human body and the environment? How could I make people engage with the space? Can I somehow haul environmental phenomena into the interior space? When we have the space where it is exposed and full of natural light the relationship with the sky becomes an important aspect to people in the interior. We will create a strong bond and relationship between our body and the sky.

I made simple white cardboard box with 6 layers

spreading sunlight

of mesh screens to observe how light interacts with the screens. Each layer captures the light in a similar fashion to the morning mist and allows you to see the path of the light coming through the layers. Materials: Fiberglass mesh, Cardboard, Tripod and camera. Method: The box was placed on a tripod, a small window was placed in a northerly direction to allow the light to come through.

The tripod was tilted at various angles to replicate the sun's movement during the day. Mesh screens captured the path of the light and created an effect similar to the morning sun in the forrest. When the light travels through the screens it is reflected in different directions. The Interior became bright from the reflections and interior sections of the model normally shaded were illuminated. The screens created an effect similar to the morning sunlight shining through the forest, and could also be used to redistribute natural light within an interior space.

Shaping light & shadow 2 project 3

Lighting effects senses and emotions and creates a strong impact in the interior space. Within the interior, light travels through the windows and creates contrast and patterns in the internal surfaces, and gives a sensaion of time, weather and season. In this project, I have create a model to creating luminous space by bringing light through porous shapes to articulate sensory and emotional impact in the interior space.

rhythmic shadow

In this project, I have created model with vertical screens on floors, walls and ceilings to create a luminous space. The model demonstrates the movement of light and shadows during the day. There are 2 vertical lattice screens facing each other with an open wall on one side and a wall with a small window on the other. When the sunlight passes through the screens, shadows are created on the floor and walls. Depending on the time of day the patterns of light and shade in the interior change. When light passes through both screens, different patterns of light are created with very small movements in the direction of light, creating a sensation of being able to see the sun moving. I

I have made stop motion video to demonstrate the effect of the screens in this project. 40

I. video URL: http://youtu.be/aMHOzBQiAwo

rhythmic shadow

While continuing to work with varying light entering interior spaces, I have also observed the movements of the shadow, form, and contrast in time. When the modelâ&#x20AC;&#x2122;s opening is facing towards the sun, the shadows are bold and dense in darkness and colour, and movement becomes more obvious and rhythmic. Potential: Shadows can change interior and exterior skin dramatically. Shadows on structures with porosity (vertical lattice) have the potential to change the exterior of the building's look appearance at different the times and seasons.

Since the invention of smart phones, people can experience life through their hand held devices. Now we can research whatâ&#x20AC;&#x2122;s in a the specific location, the surrounding conditions, and any other information that you want to know from almost anywhere at any time, and with little effort. Experiencing life in this manner has created a new reality of how we engage with nature. It has changed from the classic joy of walking through nature to explore whatâ&#x20AC;&#x2122;s out there and feeling the changes in the environment along the journey. Since we are used to the information coming from artificial devices and seeing nature on our small screens, it feels that we are blurring the boundaries between our experience with real objects and virtual reality. Project 4 explores making boundaries of the Interior and Exterior vague and to create unusual perspectives of our surroundings.

boundaries between interior & landscaPe project 4

Photo: Falmouth beach Tasmania (February 2013)

This pattern is made up of pixelated background scenery colours that merge with the background scenery and feels like the boundary between architecture and landscape is blurred.ă&#x20AC;&#x20AC;This facade can create a certain "vagueness" in the solidity of the architecture and 50

can affect an occupantâ&#x20AC;&#x2122;s perception of the boundaries of the interior space.

The next project tests this concept by placing a stripe faรงade in front of the scenery. I tried to make the faรงade blur by using camera focus to see how the emotion changes. -When the camera is focused on the landscape the boundary became vague. I felt this looks like a window view from inside the architecture looking out towards the landscape. -When the camera is focused on the boundary, the landscape became vague. Because the tree is blurred and creating strong shadow everything is vague. I can imagine that this view will softly move with light and shadow. I felt this image creates a stronger sensation for people and it is not the typical view of the landscape.

Photo at Heide Museum of Modern Art (June, 2013)

on site study at heide museum project 5 After making a number of small-scaled models, I decided to choose Heide as my site to develop ideas to discover and find an improvement of connectivity between the interior and landscape. I walked around the buildings and sculpture garden to experience sensory of the nature, perception and to put my ideas together.

Photo at Heide Museum of Modern Art (June, 2013)

Heide III

Heide II

Sculptures near Heide I and Kitchen Garden

Heide Organic Kitchen Garden was established by John & Sunday Reed. It is now cultivated for Cafe Vue's chefs for their menue.

The Heide Museum of Modern art is located on six hectares of parkland next to the Yarra River in Bulleen, NorthEast of Melbourne CBD. The property is substantial, there are sculpture gardens with old and tall native and exotic trees and various types of native birds, snakes, kangaroos, and possums all live in the garden. John & Sunday Reed, who purchased their home Heide I, which is a typical Victorian domestic cottage, established Heide in the 1930â&#x20AC;&#x2122;s and they occupied in Heide I for thirty years. By the early sixties, they began placing sculptures in the garden and cultivated different spaces for art in the landscape, such as Kitchen garden, pocket of native bush and pavillions. It became a 'hub' for modernist artists from the 1930's to 1950's. In 1963-5, the Reeds commissioned McGlashan and Everist to design a modern domestic house, which was called 'Heide II' and built of limestone. I personally love architecture of Heide II. I feel every piece of art articulates the native bushland and makes the experience at Heide II gallery unique and unforgettable. The landscape is successfull in emphasizing a sense of comfort to enjoy the art within a natural setting. 56

ad Ro we pl es to Te m

Heide Museum of Modern Art Site Map

Scar Tree

Road

Upper Car Park

Cafe Vue Road to Lower car park

SMEC

HEIDE II

KITCHEN GARDEN

Rosewalk Pavillion Cows

HEIDE III USING TOPOGRAPHY AND INTERIOR-SCAPE TO FOLLOW THE SURROUDING BUSHLAND CONTOUR

My ideas development to create connection to the landscape at Heide III building.

HEIDE II MULTIPLE LEVELS AND STAIRS TO FEELS LIKE CLIMBING ACCESS AND SPACES TO GET CLOSE TO THE GARDEN TREE

Another ideas development to create connection to the landscape at Heide II building.

Mirrored image from Sidney Myer Education Centre, Looking out sculpture garden from valcony.

Neil Taylor /Theoretical matter at Connie Kimnerley sculpture park

embodying in an outward form project 6 The last model is to articulate my investigation so far and create a form to understand my journey of discovery.

Model structure is made out of numbers of laser cut MDF and covered with fiberglass mesh. There is another round interior structure within the exterior faĂ§ade. When you see the building from the outside, the exterior facade makes the appearance of the interior structure vague, therefore itâ&#x20AC;&#x2122;s difficult to see the clear form of 66

interior and it makes people wonder what is contained in the building.

When sunlight casts shadows on the ground the igloo shaped interior structure appears.

Interior view: Ceiling is made out of layers of grid mesh to cast shadows within the interior. 68

Grid meshâ&#x20AC;&#x2122;s also creates effect of a spreading out sunlight and evenly illuminates within the interior during the day.

When the sun moves or when the weather changes, the shadow on the floor appears and disappears.

Conclusion My discoveries from my projects of the interior in the landscape are: + Natural materials can react with weather conditions. + Porous materials have a potential to visually, emotionally, and physically connect with environmental phenomena. + Spreading the natural light can maximise the lightness of the interior and create and affect emotional space. + Casting shadows using porous facades can create rhythmic shadow movements. + Selecting structure, colours, and degrees of openness can affect the boundaries between interior and landscape in a way that creates an evocative "vagueness". I intend to clarify how an interior designerâ&#x20AC;&#x2122;s role includes considering the surrounding environment when designing the space within the landscape context. In order to adapt the concepts describes above to create forms with this openness to their surroundings, a simplified representation of a design is perhaps necessary for my final project. Environmental phenomena are not continuously happening, they continuously appear and disappear in our surroundings. I think these moments are key for my design to connect with environmental phenomena in the way I imagine. To answer my thesis question of "How could the interior space affect peopleâ&#x20AC;&#x2122;s sensation by drawing in qualities from the landscape?" I aim to design interiors with a sensitiviy to perceptual phenomenon that penetrate, reflect and spread light. This can create a space where the environment merges and overlap within the interior.

Reference images, in consecutive order

Image1. Serpentine Garelley Pavilion by Sou Fujimoto Photo by George Rex http://www.flickr.com/photos/rogersg/with/9100511158/

Image 2. Sayama Flat by Schemate Architects Takumi Ota Photography,: www.phota.jp Schemate Architects: www.schemata.jp

Image 3. Falling Water, Frank Lloyd Wright, Verginia, USA, Photo by Pierre Metivier http://www.flickr.com/photos/feuilllu/

Image 4. A Path in the Forest, Tetsuo Kondo, Kadriorg Park, Tallinn, Estonia 2011, http://www.tetsuokondo.jp/project/apathintheforest.html

Precident images, (pg 17)

Image 5. Office of Kimihiko Okada, Toda House, http://cargocollective.com/ookd/Toda-House (accessed 23 June 2013)

Image 6. Cooper Joseph Studio, Webb Chapel Park Pavilion, http://www.wejarchitecture.com/ (accessed 23 June 2013)

Bibliography, in consecutive order

Sou Fujimoto, Primitive Future, INAX, 2008, Tokyo Yukio Futagawa, Bruce Books Pfeiffer, Frank Lloyd Writght Falling Water, GA Traveller003, 2003, Tokyo p20

Kazuyo Sejima, Ryue Nishizawa, Yuko Hasegawa, Architectural environment for tomorrow, ACCESS CO.,LTD. Tokyo, 2012, p230

Kengo Kuma, Kyokoi: A Japanese Technique for Articulation Space, Tankosha Publishing Co.,Ltd. 2010, Tokyo, p20

Website, Maria Lorena Lehman, "Sensing Architecture" newsletter on29 May 2013, Subject: Architecture and the Human Body -Examining the Relationship sensingarchitecture.com (accessed 23 June 2013) Sou Fujimoto, Primitive Future, Lecture Video Youtube, http://www.youtube.com/watch?v=MGLO-GPYfbg, (accessed 23 June 2013) The harvardGSD,18 Feb/2012, http://www.sou-fujimoto.net/ Schemate Architects / Jo Nagasaka, http://schemata.jp/sayama-flat/ (accessed 23 June 2013) Tetsuo Kondo Architects, http://www.tetsuokondo.jp/index.html (accessed 23 June 2013) Junya Ishigami, Exhibition at deSingel Antwerp Curated Interview by Katrien Vandermarliere, How small? How vast? How architecture grows, https://www.japlusu.com/news/junya-ishigami-how-small-howvast-how-architecture-growsă&#x20AC;&#x20AC;(accessed 23 June 2013) Heide Museum of Modern Art 7 Templestowe Road, Bulleen VIC 3105 Tel:03-9850-1500 Website : www.heide.com.au Open: Tuesday-Sunday 10am-5pm