ARCHITECTURE STUDIO: EARTH 2017 HERMIONE HINES 835035 STUDIO 15 - VIET PHAM
CONTENTS 1.0 THREE RELATIONSHIPS 1.1 POINT LINE PLANE PRECEDENTS MODEL 1.2 MASS PRECEDENTS DRAWING 1.3 FRAME AND INFILL PRECEDENTS MODEL EXPLODED AXONOMETRIC DIAGRAM 2.0 SITE: HERRING ISLAND 3.0 CONCEPTUALISATION PRECEDENTS CONCEPTICLE 4.0 FINAL DESIGN: A PLACE FOR KEEPING SECRETS 5.0 REFLECTION 6.0 APPENDIX
1.0 THREE RELATIONSHIPS POINT LINE PLANE, MASS, FRAME AND INFILL FUNDAMENTAL BEHIND INNOVATIVE
TECHTONICS ARCHITECTURE
During the semester, there was an examination of these three defining elements of space. Examination of singular uses was crucial in order to understand the integrity and potential of each techtonic. Considering their relationships however, both conceptually and formally, was integral to the processes of creation for the final design development - A place for keeping secrets.
1.1 POINT LINE PLANE Point represents the beginning and the end and does not occupy space. The point is the event that punctures blank space. The line embodies the movement of the point in a specific direction. The line can outline space and encapsulate motion. The line defines boundaries, but not solidity. The plane lives between the connected lines. The plane is the first step in the creation of volume. The plane occupies horizontal, vertical and diagonal planes. Adapted
form
Kandinsky
(1979).
PRECEDENTS
Figure 1. Maquette of a Monument Symbolising the Liberation of the Spirit Antoine Pevsner 1952 Inspired by work like the Parthenon, as described by TATE (2017) “which would fulfil the ideal of a monument possessing neither substantial human form, nor with the ‘mysterious beauty’ of the skin covering the human frame”; a concept that speaks to notions of transience, transparency, and densities. The forms created from a “plastic, architectonic and sculptural concept”; The translation and rotation of straight lines creates overlapping 2D planes, which vary due to the metal differing in thickness and quality. The surfaces have been created using tangents which have then been occupied by lines; the structure is thus made up of structures, surfaces and volumes. The tangents occur on different axial alignments creating transparent and unclear spaces, with the central section being collective tangent lines at points in space. Furthermore, there is a sense of symmetry as smooth surfaces on each side are identical. All elements of the monument can be seen from any angle.
Figure 2. Point Cloud: Kinetic Weather Interpreter James Leng 2012 The point cloud is a performance of data; as Leng, J (2012) describes it dynamically fluctuates between “stability and turbulence, expansion and contraction”. It re-introduces the temporal and ephemeral nature of weather, as a permanently and perpetually variable state. Through these effects, it creates a visceral experience in daily interactions with weather. The undulating kinetic dot sculpture conveys weather data in the arrangement of a moving wire ‘cloud’. The system works, through interior wheels, that deform the surface of the structure according to the data patterns. The connectors influence how the wire manipulates the boundaries that make up the structure through shifting placement of lines. The effect of having many connectors on the surface of the system, is that there is a meticulous nature in the detail of undulations on the surface structures; this is due to the the fact that because the lines have increased articulation, thus the implied planes are in constant motion.
Figure 3. Jewish Museum, Berlin, Germany Daniel Libeskind 1999 The extension to the Jewish Museum was ingrained in the notion of decuring the identity Berlin lost during WWII. As described by ..... conceptually, the building was an expression of absense, emptiness and invisability of the Jewish Culture. The architecture reflects this emotion through details in the architecture such as that to the left. The detailing of the facade indeed indicates chaotic motion which is in fact in synergy through the somewhat disordly array of perferations and lines of varying thicknesses. Yet, there is still a sense of aesthetic equilibrium in regarding this array, through tension that the configuration of lines imply over the facade. The lines are in fact delineated through shadows in the voids between the broken surface, creating variety in the hues of the lines to further encapsulate the sense of movement.
Figure 6. Abstract Composition (lithograph) Vassily Kandinsky 1925 As discussed in Kandinsky, W, and Rebay, H (1979), the geometric point is invisible, and thus has an etherial nature as it has a lack of substance. It could be seen as a “singular union of silence and speech�; it has no beginning, no end in time, space or sound. The geometric line, the track and product made by the moving point in a direction, is enabled only through the destruction of the free-standing insular stillness and repose of the point. The translation from static to dynamic is evident here in a diversity of ways such as moments where there is the implied point that then moves accross page and becomes line, or straight line that then begins to move and changes direction, almost danciing accross the page. This is the initial experimentation of buiding blocks to a composition, and begins the descussion of how points and lines may realte to the plane of the page as well as planes that are created through intersections.
Figure 4. Conflict Space 4 Lebbeus Woods 2006 Woods 2011, was interested in the notion of “freeing the architecture...of excess that increasingly seems to be suffocating its true spirit�. The white lines on the dark space are abstractm and create a two dimensional effect, emphasising the raw nature of the lines. The drawing of the lines in this piece, seem to be an assertion of the edges that play with spatial reading of the overall image. The use of only straight lines, conveys the magnitude of energy in the physical, intellectual and emotional energy it takes to draw the line exactly as it is. The drawing evokes an overlapping of lines that create the boundaries of both two dimensional and three dimensional forms which penetrate one another in spaces that are simultaneously ambiguous and precise.
Figure 5. Rooftop Remodeling Ralkestrasse, Vienna Coophimmelblau 1983/1987-1988 In this upward extension of an office, Coophimmelblau (2017) proposed that there is “no context of proportions…but a visualised line of energy which spans the project thus breaking the existing roof and thereby opening it”. Designers considered a reversed lighting bolt and taut arc which aids in the creation of posture and backbone of the structure. The open glazed window surfaces juxtapose the closed, folded or linear surfaces which control light entry. The Spatial relations are complex due to the separate constructional systems, throught of as a hybrid of a bridge and an aeroplane, which aid in converting spacial energy into constructional reality. The lines and planes create a tension within the structure due to the weight they provide, stretching the system down towards the ground level. There is a tension between lines also; those that intersect and those that are parallel, but directed towards each other. The lines are also defined in separation from the planes they sit on.
MODEL
The points in my structure represented the first step of the design process, as the points are located in a specific place and are a reference for visualization on the organic wire forms. The series of initially regularly spaced points already existed on a plane; on the wire form when it was flat and undistored. Through the disfiguration of the wire, the points in relation to each other have also become morphed and are irregularly spaced. I then extracted certain points and multiplied them to create the extending lines that transverse between the organic structures, which delineates and captures the in-between space, while also creating a rhythm evident in the overall form and tension between the two forms. Shadow creates solid planes on the ground that reflect the suspended boundary lines. When light shines on the structure from a certain angle, shadows created from the red lines delineate the edge of the planes on the ground. The connection and enclosure of more overlapping line shadows on the ground created more planes.
Planes and geometries are also created in space from the string through overlap which I have displayed through the transparent Perspex. The points of overlap in the web create a point that pierces space and air creating further a sense of dynamism and repetition. There is thus a connection between the direction and placement of lines in the air that creates planes on the ground. Planes, points and lines present in each direction from the centre of my model creates a balanced composition. Contrasting elements of organic form with geometric planes displays the pluripotent nature of the plane.
Planes and lines are entangled so there is a constant and manifold relationship throughout the elements of the structure. The anchoring of the two organic elements to the ground surface is juxtaposed with their ephemerality. The varying densities of points on the wire form creates more opaque areas which I have delineated by threading the red cotton along these edges. These lines are then extended to the opposite structure which also transcends the idea of something anchored that has to mirror this function - the anchoring occurs in the red lines sewn on instead of the wire form.
1.2
Mass
Experimentation with charcaol prompted me to begin some sketchs that explored the dominance of space that is all encompasing, especially intensified when contrasted wiith light.
PRECEDENTS
Figure 7. Marble Quarrying - Documentary “il Capo” (The Chief) Yuri Ancarani 2014 Ancarani captures mesmerizing marble extraction in Monte Bettolgi of Northwest Italy, explaining how “Marble quarries...are like big thearers or sets”, as described in NOWNESS (2014). This is one of the closest interactions that an individual could have with raw mass of the earth. There is a profound sense of the extensive weight, solidity and sheer volume relating to the large bodies of marble. The monumental marble blocks being freed from themountainside is rendered profound as the footage captures their falling and hitting the earth with a shattering thud. Thus the interplay of gravity in relation to mass elicits an emotional reponse within a person when watching, potentially that of fear or enlightenment. Similarly the rugged power of the excavators is in marked contrast to the precise, understated gestures of the chief himself, who directs his workers with a complex series of predetermined hand signals.
Figure 7. Mount Tindaya Eduardo Chilida 1985 The sound of the echo that would prevail in this building would define the mass of the space through a sensorial experience. The space may feel cool, also alluding to its vastness, as temperatures tend to fall in huge below ground spaces, which may illicit feelings of potential confinement and engulfment. Thus the interaction of the body within space causes visceral emotional responses . There is an architectural atmosphere created through the perceptible weight of surrounding mass/solid volume. The entry of voids of light through this space aids in the realisation of its scale as shadows casted thus accentuatesthe confines and boarders of the space. Implications of subtraction are also from overall structure a carved space in a mountain.
Figure 8. Bruder Klaus Chapel Peter Zumthor 2007 The chapel is marked by a rigid and geometric exterior with an intriguing and mysterious interior as there is the interplay of light and texture in the black void. There is also the implementation of slanting walls in conjunction with the darkness that gradually reduces upward to the bright, natural light source, thus the sense of scale and mass of the entire place is distorted through light and angles. The mass of interior materals and sense of heavy atmosphere, is juxtaposed with the beige recilinear exterier further enhancing tensions in the building.
Figure 9. Chichu Art Museum Tadao Ando 2004 Concerete is the main material employed in Ando’s architecture, as well as steel, glass and wood, thus the design of the Chichu Art Museum is taken down to the very minimum. Built almost entirely underground, the museum balances the contradictory qualities of being both nonmonumental but highly architectural, as described by Benesse Art Site Naoshima (2017). Mass, as the solid volume is the tangible weight within these spaces and creates the architectural atmosphere - as there is a sense of weight in this building (emphasised by the colour, sizes and textures of the materials); there arises the profound ability to measure the architecture against the body as well as observe it.
Figure 10. Neanderthal Museum, Pilona, Spain Barozzi Veiga 2010 Explores the minimalist nature its architecture in response to the context; its size and modesty compliment the landsape, yet provokes the curiosity of anyone approaching it, as described by Veiga (2015). The ostensibly primative exterior, created from an unassuming enthralling volume emerging from the valley, creates a complex and delicate relationship with its context through its sculpted surfaces. The building’s exterior encapsulates form through its pure volume which is contrasted with the texture of the material, which renders the structure both eloquent and self-expressive . The interior reflects the symbolic and material traits of its exterior. Individuals feel the mass of space when surrounded by it, when placed underground. It is within the confines of this space that peoplefeel the weight and compression of the earth upon them.
Figure 11. Ronchamp Chapel, France Le Corbusier 1954 The meditive nature of the building is emphasised through the stark white walls and the ethereal effect of the light evoking expressive qualities and sensations that reflect the religios function. Ronchamp’s form is irregular where the walls, roof, and floor slope and impose inwards creating complex style and form. Sculptural character is further emphasised through the structural, thick, curvilinear walls and roof, which also amplify sound. The striking roof appears to hover weightless over the building through the cerestory light gap, which contrasts with its mass and heavy qualities. Information (2010).
adapted
from
ArchDaily
Figure 12. The Therme Graubünden, Switzerland Peter Zumthor 1996
Vals,
As described by ArchDaily (2009) The cave or quarry form that has been semu buried in the earth reflects its natural surroundings as it was built from layers of locally quarried Valser Quarzite slabs. The interplay of “mountain, stone and water”, along with light and shade, open and enclosed spaces, creates a sensuous experience. The layout of the spaces allow for both modelled and free circulation and exploration, creating rythem through connection.
The process began with drawing experimentations with charcoal. This medium allowed me to create truly black lines and shapes that added to the sense of mass, yet also (in my final drawing) incorperating vibrant colours such as blues and pinks into the earth mirrorwd the fact that it is made up of numerous elements and minerals, while creating a stark contrast between its organic forms and the more geometric forms of the spaces. Charcoal was also useful as different types created stronger or less intense hues, for example willow charcoal was greyer and created a much more delicate line than a compressed thick charcoal that created completely black saturations of colour. I learnt how to control the use of charcoal to an extent, however I did find it got messy very quickly and easily.
FINAL CHARCOAL DRAWING
Stairways are geometrically skewed in multiple directions which is juxtaposed with the planar wall surfaces, creating atmospheric variation of how the natural light interacts with the spaces. Striking shadows are defined across edges of stairways displaying engulfing sections of vastness and mass. Driven voids of ephemeral, ever changing light transverse through numerous storeys which contrasts with the heavy surrounding earth. This causes some of the upper rooms to feel weightless against the tangible earth adjacent. The sense of scale in the building is distorted through light and angles, as well as light articulating the material presence. The notion of mass may become tangible through its ability to impose directly into the carved spaces; the sides are in direct contact with the organic earth, creating a response to the underground context. The mass of the earth is intense and mysterious when juxtaposed with geometric, sometimes slanted elements of the interior. The staircases articulate with the spaces through labyrinthtype connections, which contrasts with heavy roof, thick walls and rooms that intertwine providing a sense of gravity.
1.3 FRAME AND INFILL Systemising elements different components to
and analysing them in their create unity in the overall system
A process that demonstrates foresight and systematic planning. A system that combines the permanent static and fixed frame, with the temporary, fluid, dynamic and vectorial infill. Views space
inside while
and also
out to exploring
position occupants in the division of space.
PRECEDENTS
Figure 13. Fachwerkhäuser (Wall of Prussia) Twelve lithographs in duotone technique Bernd + Hilla Becher 1959-1973/1993 This vernacular German architecture deals with SERIES / SEQUENCE / TRANSFORMATIONS There are many variations of structural frame in these variations that respond to particularities, such as the fact that there are indefinate horzontally and vertically drivenmain lines delineating frame, but also the diagonal lines which suggest something about the lateral support necessary, creating a tension between elements in the frames. The frames evidently are self-supporting as something that stands up by itself and the key decisions that have been made is the decision of the geometry of the frame whether it be cuboid, square grids. There is often a the avoiding of the triangular framee due to associated problems for infill as the vertically sloping columns/beams may be obtrusive in terms of flexibility. However this subdivison was evoked here through a lack of intfil in more two-dimensional variatons of frame.
Figure 14. Architectural Fantasies Yakov Chernikov 1933 The delineation of boundaries and structure is made from the combination of frame and infill. The drawings of Russian constructivist Ianov Cherikov which explores structure in its industrialised extremely raw form as an element of architectural composition, opposing the notion of the structural elements to be obscured adn hidden. The infill here can be seen as implied elemental features between structural frames where each of the elements vary according to function for example. It seemingly lacks infill, however the infill can also be created from the overlapping frame that creates undulating densities and transparencies
Figure 15. The Colonnade Condominiums, Singapore Paul Rudolph 1980 There is a contrast between frame and infill, as they have seemed to swap functions. The solid volumes projects out from the frame structure and thus sits on a plane that is completely separate, while the fram holds true to its directly geometric form. The functions of frame nad infil ere have been rendered unclear, there there is also exploration of notions to do with exposed and obstructed, and concealed and translucent types of structures.
Figure 16. Centre Le Corbusier (Heidi Weber Museum) Le Corbusier 1967 As described by ArchDaily (2013), the building consists of modular, structural, steel frame cubes bolted together which make up the structural framework of the base volume. Two sets of cubes are stacked on top of one another and walls, windows, doors, are are bolted into these frames. In this way, “Le Corbusier used standardized parts to create individual forms instead of uniform repetitions.� There is the exploration of freedom through modularity; the plan is open but infinitely adaptable. Enamel brightly coloured panels which are opaque sit in proportion to thinner and winder window elements; the infill of the frame is enabled to be varied through the delineation of boundaries of the frame.
MODEL
EXPLORATION
OF
THREE
CONDITIONS
There are elements that sit ON frame itself and so are on same plan as the frame. Thus means that the temporary and the permanent are one and the same element. There is infill BEHIND the frame which delineates the fact that the frame is potentially more important than the infill, and thus its permanence is foregrounded. There is infill in FRONT of the frame, thus what is visable is only the pure transient elements, exploring the notion that the permanent is only there to hold the transient up. The main structure and frame is entirely suspended off the ground , exploring how the floating frame may act as an element of simultaneous lightness and structural capacity. There is also a separate, sub fame which hangs off the side of the main frame and is thus in separation with it. Here there is the exploration of supporting lateral loads as well as the notion that the frame is able to be continuously develped .
DRAWINGS OF MODEL
EXPLODED AXONOMETRIC
2.0 SITE : HERRING ISLAND
Sculptural Experience
Circulation
Heat Distribution
Sun Path
Atmospheric Conditions
Acoustics on Island
Salinity Levels
River Flow
Vegetation
Wind direction Summer vs WInter
Topography
Public vs Private
Secrets are multifaceted. Secrets incite, enliven, disturb, galvanise. Secrets relentlessly transform and adapt. Secrets may be evoked through the senses; touch, sound and sight. The unknowing of a secret provokes a curiosity and desire for realisation. Within my project, the unknown secret becomes actualised through a process of movement; the product of a journey. For this, secrets have inherent associations with the subtleties of coming and going spaces, of entry and exits, secrets have a temporal nature, they can be actualised through a search for balance between the unknown and the known. The transition between the discovery and the realisation of a secret provokes a suspension in time.
In my pavilion, the journey to the discovery of the is explored through the conceptual elements of This is an element which surrounds Herring island with a focus being specifically on the movement of
secret water. itself; water.
This is the secret – to discover through a procession of transitional spaces the this connection between conceptual elements of water and the architecture of the pavilion itself. The experience of an individual through the pavilion is as if the individual IS the water. Further secrets are contained within the architecture itself.
Coop himmelblau Rooftop Remodeling Falkestrasse
Antoine Pevsner Maquette of a Monument Symbolizing the Liberation of the Spirit, 1952
Peter Zumthor The Therme Vals 1996
CONCEPTICLE
Water as an element moves and flows and constantly changes with its underlying currents, but eventually finds a balance on its surface – this current may be the experience of the individual moving through the pavilion, and the finding of balance is the final discovery of one of the secrets in the pavillion which is not only hidden space and seat, but realising how the pavilion relates to the conceptual elements of water. Furthermore Water can push, enliven, and disturb, as well as be in constant pursuit for even the most difficult of spaces to enter. Individuals will struggle to discover the secret space, yet through movement and time inevitably discover it.
DESIGN
DEVELOPMENT
A NARRATIVE...
People begin their experience through ascending stairs into a space where they can sit directly on the architecture and view the river as well as being at level with the installation of strings and suspended planes, inspired by my point line plane model and my precedent Maquette of a Monument Symbolizing the Liberation of the Spirit. This space is asymmetrical and created with harsh geometric shapes; these differences are translated into an architectural tectonic as they mirror the corrosive quality of water, which creates harsh incisions in the landscape as it moves through it. The geometries create a space that explores this language of corrosion, and the potential destructive and unplanned nature of secrets.
Individuals then descend, into a long wading pool space; this decent may either be fast and direct through the scaling the ladder, or slow and more indirect through descending a series of glass platforms through to the front of the space. Either of these movements involve the individual looking at views towards the river, as well as implying the different paths water takes on its journey. All movement converges into the wading pool; groups of individuals and the installation through its shadows (inspired by point line plane). The installation casts shadows through the space which move over time as the sun moves across the sky; these shadows paired with hearing a recording of flowing of water, also unconsciously stimulates imagery of movement, in particular moving water. The ripples of water are like reverberations of sound, and thus the recording further mirrors the secret. The axis of the space means that individuals are looking directly out towards the river and so the secret of trying to understand the architecture is in fact through these subtle hints surrounding individuals. Individuals are thus engrossed in an ever-changing space and thus begin to understand the nature of the water in the river that surrounds them from this representation – understanding comes from the experience of the individuals in the space.
Individuals can move to the back of the space where they will discover a small opening into a secret space parallel to the main one. This entry into the secret space is difficult to see from the raised level, as the installation creates a haze over it mirroring the fact that often the realising of a secret is indirect. The Installation also acts as a grafting technique between the spaces, inspired by Coop Himmenblau.
The superimposition and obscuring of the installation between the main spaces and the secret ones, creates an incentive to explore. The shadows from the lines of the installation are almost used as extrusion elements when formed into the planes suspended in the air. The access through to this secret space mirrors the journey of the water and in turn the journey of discovering a secret which relies on time, discovery and understanding.
4.0 FINAL DESIGN
In this secret space Individuals are see the elevated seat toward the end and are thus drawn down through the space with the curiosity of discovering what this seat is and how to access it. Thus it is as if the architecture controls the individuals’ movements (inspired by Peter Zumthor), like the land controls the movement of water; the river. The individual is directed to move through space in the way the river moves through the shape of the earth. The material palette is inspired by Peter Zumthor as concrete and stainless steel are perfect elements for the interaction between water, light and shadow. The interaction of shadow and light on the space is fluid like water further contributing to the realising of the secret.
Individual people echo the nature of river/water currents, in the sense that different groups of people who experience this space will inevitably interact in different ways as do different currents – thus this collision of group differences will also initiate change in the movement of individuals through the space. Journey through the space is individual and the contemplation of the secret will be individual as only one person at a time can sit on the final seat, yet the reveal will most likely group orientated as the space calls for this.
There are constant visual links between the spaces and the water (either the river or the water in the wading pool) which can always be seen from every point in the pavilion There is a raw interacting between experience of movement through space and the architecture as the steps are all slightly tricky to negotiate, thus individuals are hyper aware of the type of space they are in. This mirrors the nature of water how it negotiate the movement through space no matter its form.
Then there is the real barrier of the river bank where the river water is continually interacting with the glass but can’t actually surpass this barrio, a notion that reflects the fact that secrets may never be revealed and water may never access a space. The pavilion is semi open to the elements, the first space has a shelter and yet the pool does not have a roof, thus the control of heat is sustained throughout summer when Herring island is open, as well as the ability for the sun to create direct shadows into the space.
5.0REFLECTION Studio Earth has been crucial in displaying my own ability to interpret the key elements of architectural design in a manner that both adheres to the brief of the project and that portrays something of my passion for architecture. I have learnt that architecture is not necessarily just about constructing a building, but the fact art and design have much to do with the overall process. Through this subject I indeed learnt how to investigate and understand a concept through investing time into prior research. These precedents may include a huge range of media, from film, art and landscape design; I have found that I become just as, if not more inspired and passionate from these types of precedents as it displays just how varied and multidisciplinary the practice of architecture is. Through this subject, I was pushed into a very hands on design process of model making, which indeed greatly aided me in creating innovative projects – I learnt that the critical elements of design process, weather that may be model making, sketching, digital rendering and so on, are used over a huge range of scales of design, from the smallest diagrammatic concept to a final project. The importance of visuals as well as succinct explanations are integral to the display of a successful design – I indefinitely learnt this skill through this subject. It is an extremely rewarding, yet challenging experience and will be something that I carry with me throughout my architectural career. I really enjoyed the overall organization of the subject, as dividing the elements of architecture into three distinct tectonics allowed me to have a specific yet broad understanding of how these three elements could relate in myriad ways.
BIBLIOGRAPHY
Kandinsky, to plane
W, ,
and n.p.:
Rebay, H New York
1979, Point and line : Dover Publications.
TATE, 2017, Maquette of a Monument Symbolising the Liberation of the Spirit, http://www.tate.org.uk/art/artworks/pevsner-maquetteof-a-monument-symbolising-the-liberation-of-the-spirit-n06162 Leng, J 2012, INTERPRETER,
POINT CLOUD - KINETIC WEATHER http://www.jamesleng.net/#/pointcloud/
Lebbeus Woods 2011, ‘THE DREAMS THAT STUFF IS MADE OF’, architecture/drawing/spatial design, Wordpress, https://lebbeuswoods.wordpress. com/2011/01/04/the-dreams-that-stuff-is-made-of/ Wolf D. P, Swiczinsky, H, & Partner (Coophimmelblau) 2017, Rooftop Remodeling Falkestrasse, http://www.coop-himmelblau. at/architecture/projects/rooftop-remodeling-falkestrasse NOWNESS 2014, Satisfaction: The Chief Yuri Ancarani extracts a striking portrait of marble, https:// www.nowness.com/story/artist-yuri-ancarani-il-capo Benesse Ando,
Art
Site
Naoshima 2017, Architect - Tadao http://benesse-artsite.jp/en/art/chichu.html
Veiga, B 2015, Neanderthal Museum, http://barozziveiga.com/project/ Archdaily 2010, AD Classics: Ronchamp / Le Corbusier, http:// www.archdaily.com/84988/ad-classics-ronchamp-le-corbusier ArchDaily 2009, The Therme Vals / Peter Zumthor, http://www.archdaily.com/13358/the-therme-vals ArchDaily 2013, AD Classics: Centre Le Corbusier (Heidi Weber Museum) / Le Corbusier, http://www.archdaily.com/322782/adclassics-centre-le-corbusier-heidi-weber-museum-le-corbusier
FIGURES
Figure 1. TATE, 2017, Maquette of a Monument Symbolising the Liberation Figure 11. Archdaily 2010, AD Classics: Ronchamp / Le Corbusier, of the Spirit, http://www.tate.org.uk/art/artworks/pevsner-maquette-of- http://www.archdaily.com/84988/ad-classics-ronchamp-lea-monument-symbolising-the-liberation-of-the-spirit-n06162 corbusier Figure 2. Leng, J 2012, POINT CLOUD - KINETIC WEATHER INTERPRETER, Figure 12. Homeli 2017, THERME VALS SPA BY PETER http://www.jamesleng.net/#/pointcloud/ ZUMTHOR, http://homeli.co.uk/therme-vals-spa-by-peterzumthor/ Figure 3. Archdaily, AD Classics: Jewish Museum, Berlin / Studio Libeskind (2010), http://www.archdaily.com/91273/ad-classics-jewish-museum- Figure 13. Pijarski, K 2016, Archeology of Modernism: Lock berlin-daniel-libeskind James Welling’s “Theoretical Subject”, http://pismowidok.org/ index.php/one/article/view/20/21 Figure 4. SF MO MA 2017, Lebbeus Woods, Conflict Space 4, https:// www.sfmoma.org/artwork/2012.63#artwork-info Figure 14. Magical Urbanism 2014, Iakov Chernikhov’s Architectural Fantasies , http://www.magicalurbanism.com/archives/3864 Ffigure 5. Wolf D. P, Swiczinsky, H, & Partner (Coophimmelblau) 2017, Rooftop Remodeling Falkestrasse, http://www.coop-himmelblau.at/ Figure 15. ArchDaily 2010, AD Classics: The Colonnade architecture/projects/rooftop-remodeling-falkestrasse Condominiums / Paul Rudolph, http://www.archdaily.com/90352/ ad-classics-the-colonnade-condominiums-paul-rudolph Figure 6. V&A 2017, Search the Colletions, http://collections.vam.ac.uk/ item/O692945/abstract-composition-print-kandinsky-vassily/ Figure 16. ArchDaily 2013, AD Classics: Centre Le Corbusier (Heidi Weber Museum) / Le Corbusier, http://www.archdaily. Figure 7. Alonso, L.M 2015, Heirs of Eduardo Chillida Give Rights to com/322782/ad-classics-centre-le-corbusier-heidi-weberControversial Land Art Masterpiece Tindaya to Canary Islands, https:// museum-le-corbusier news.artnet.com/art-world/eduardo-chillida-tindaya-canary-islandgoverment-281348 Figure 8. Archdaily 2011, Bruder Klaus Field Chapel / Peter Zumthor, http://www.archdaily.com/106352/bruder-klaus-field-chapel-peterzumthor Figure 9. Slow Vegan Travel 2017, The Beneath the Earth Art of Chichu Art Museum Naoshima, http://www.angloitalianfollowus.com/ the-beneath-the-earth-art-of-chichu-art-museum-naoshima Figure. 10. Veiga, B 2015, Neanderthal Museum, http://barozziveiga.com/ project/