An Excavated Interior by Merav Lahr/Ella Kane

An Excavated Interior Ella Kane and Merav Lahr Directed Research Spring 2013 Deborah Schneiderman

CONCEPT DEVELOPMENT Rebecca Horn Richard Serra Neri Oxman Allan Wexler

5 6 9 14 16

PRECEDENT STUDIES Cosan Roden Crater

16 16 22

DESIGN METHODOLOGY Case Study Ini al Inves ga on Desired Site

27 27 30 33

WORKS CITED READINGS LIST

35 36

This paper will discuss ideas of designing from the body and moving outwards. We will examine projects by ar sts Rebecca Horn and Richard Serra, whose work speaks about the body in rela on to space. Through this research we are confronted by the problems that arise when the interior is given priority over the exterior. We ask, what does space look like and what freedoms are allowed when the concerns of the exterior are removed and designers are le with a space that considers only the interior and the users? A er looking at the work of Paolo Soleri and James Turrell, we consider the possibility of moving underground to create an interior with no exterior.

CONCEPT DEVELOPMENT During the Industrial Revolu on, fashion was streamlined, and clothes became inexpensive and disposable. In contrast to ready-made, “the custom suit was the product of a master tailor who more o en than not measured his own customers, laid his palms on their shoulders in judging the shape of the shoulder seams and then leisurely drew his hands over their sides, learning the customer’s ‘form’ in order to successfully model that par cular body in a

1 From Genio Sco and James Wilson A Trea se on Cu ng Garments to Fit the Human Form ... Accompanied by a Periodical Report of Fashions (New York, 1841), p. 33. Aﬀected by authors Diagram

par cular suit of clothes”1 (fig. 1). The Bespoke tradi on was a reac on against the streamlined produc on and resul ng overconsump on of the Industrial Revolu on; it placed value on well-cra ed personalized goods and opposed the growing cultural expecta on of large quan es of disposable wares. Unlike fashion, a design field that directly clads the body, interior design defines a boundary that contains the user. In nature, the idea of forming space based on the shape of the user is common. For example, rodents create complex underground tunnels using only their bodies to excavate and carve out a living space (fig. 2). Humans, however, typically occupy spaces much larger than their physical frame. Rather than forming space around their bodies, like animals, human use and behavior is dictated by constructed interiors. Explora on into how human form can dictate space has remained largely in the conceptual world. Rebecca Horn (1944- ) is a German installa on and performance ar st whose work during the 1970s focused on the human body’s rela onship to the space it occupied. In the late 1960s Horn suﬀered a debilita ng lung infec on that resulted in a period of extended bed rest and isola on. As a result of the aliena on she

experienced while sick, Horn became interested in the boundary between her body, space and others. In Steven Henry Madoﬀ ’s analysis of Horn’s early work he ar culates her early inves ga ons: “The boundary is inscribed in the flesh, and an enclosure is made to enforce what the legibility of space means…, or prosthe c aids are a ached to the body to fight against that legibility.”2 In order to be er understand the body, Horn developed Measure Box, a tool she used

2 Ella Kane and Merav Lahr Burrowing Behaviours. 2013 Diagram 3, 4 Rebecca Horn Measure Box. 1970 Steel and alumnimum 194.5 x 90 x 90 cm Aﬀected by authors

to collect specific dimensions and propor ons of both her own body and those of the performers with whom she worked. Measure Box is a simple frame consis ng of four perforated metal struts through which horizontal rods can be moved and adjusted. Each rod is then placed along the body’s contour (fig. 3). Once secured, the par cipant can step out of the box leaving behind a silhoue e of their shape (fig. 4). Measure Box is reminiscent of the Roman architect Vitruvius’s theory of propor ons that used human units, such as fingers and palms, as measurement devices. Vitruvius’s theory led to his convic on that man is “the only possible model for his architecture.”3 Horn, however, con nued her explora on by using the measurements to create experien al devices and to explore the rela onship between spa al experience and movement. Using the informa on gathered with Measure Box, Horn went on to create individually unique body extensions for her par cipants. Handschuhfinger, long finger-like rods (fig. 5) that were a ached to the user’s hands, allowed Horn to “venture a direct physical transgression of her own dimensions and her own spa al reach”4 (fig. 6). Handschuhfinger was used by Horn in various performances, including Touch-

ing Walls with Both Hands Simultaneously, in which Horn is able to extend her body’s reach to engage the walls and space around her (fig. 7). In her early work, Horn engaged the space with her prosthe cs without aﬀec ng her surroundings. Later, when she developed Pencil Mask, she began to leave a mark on the space she encountered. Pencil Mask is a grouping of eighteen pencils a ached to fabric straps that cover the user’s face (fig. 8). During the performance, Horn engages the built environment by moving her face along the walls, crea ng a series of abstract pencil drawings (fig. 9). Pencil Mask allowed Horn to lessen the boundary between herself and the wall she encountered. Although Horn began to minimize the aforemen oned boundary, her appara nevertheless separated her from the space she was exploring. Horn’s body never directly touched the walls, floor, or ceiling of the space, always maintaining an ar ficial barrier (fig. 10). While her pieces allowed one user to explore her unique rela onship to space, the inves ga ons never developed to the next logical step, that is the exploraon of how mul ple par cipants simultaneously interact with one another and with space in a shared environment.

Our strong interest in Hornâ&#x20AC;&#x2122;s work stems from a desire to understand the dialogue that takes place between the body and the built environment. Although as an ar st Horn limited her explora ons to the conceptual world, the research she collected through her various experiments remains relevant. Yet, as designers it is vital that the work transcends the realm of theore cal thought and be brought into the pragma c world where people interact with the design. 5

5, 6 Rebecca Horn Handschuhfinger (finger gloves). 1972. Fabric, wood, metal AďŹ&#x20AC;ected by authors

7 Rebecca Horn Touching Walls with Both Hands Simultaneously. 1974. Berlin Affected by authors 8, 9 Bleis ffmaske (Pencil Mask). 1970. Fabric, pencils, metal Affected by authors

Richard Serra (1939- ), an American sculptor, is known for a variety of works ranging from drawing and wri ng, to performance and video art. As well as being an ar st, Serra is a cri c of the art world and has wri en extensively on his own work and the work of his contemporaries. Serra is most widely known for his large steel structures, the Torque series, which he began working on in 1997. Each sculpture is comprised of twenty tons of two-inch thick rolled steel plates that are arranged in labyrinth-like groupings. The curve of each wall was derived from two parallel ellipses: one on the ground, the other at the top plane of the structure. Serra then twisted, or “torqued,” the connec on between the two ellipses crea ng unexpected and disorienta ng spa al experiences. Steel structures like these had never been fabricated before, and Serra struggled to find a steel mill that could properly produce his designs. So unique was the challenge that there were only two steel rollers in the world large enough to tackle the job. The first Torque piece was shown at Dia Center for the Arts and introduced Serra’s new methodology: “…the use of interior spaces in his destabilizing abstrac ons.”5 When walking through one of Serra’s Torque pieces, you feel

10 Bleis ffmaske (Pencil Mask). 1970. Fabric, pencils, metal Affected by authors 11 Richard Serra Open Ended. 2007-2008. Weatherproof steel Overall: 12’ 5” x 59’ 9” x 24’ 2”, plates: 2” thick Affected by authors

the intensity of the forms he created. These planes with twisted walls and unexpected curves never directly touch the viewer yet are able to create a feeling of being pushed upon or squeezed. The mass of the structure is intensified by the lt and twist of the walls, which narrows one’s sightline and creates a feeling of oppressive weight. Dia:Beacon, one of two museums to have Serra’s large sculptures in their collec ons, introduces these complex pieces to visitors by saying: “For in these works space shi s and moves in wholly unpredictable and unprecedented ways: so destabilizing yet so beguiling is this sensa on of movement that the spectator quickly gets caught up in an exploraon of extended dura on.”6 In contrast to interior design, where the goal is for space to act as a backdrop that supports the user, in these pieces, Serra’s approach is to flip the rela onship between artwork and viewer. His Torque series turns the viewer into the subject – an en ty to be manipulated. He explains this reversal further: “The me of architecture is usually narra ve – there’s a programme built into the func on of the architecture. But here the dura on of me is diﬀerent in each piece and is very personal and is diverse. There’s no hierarchy here. It doesn’t have the

narra ve imposi on of architecture. Instead, you familiarize your body rhythms to the object around you. The focus is on you and your experience as the subject.”7 Unlike many sculptors, Serra does not create passive forms which a viewer observes. Instead, he works on the edge of architecture, creating large, occupiable spaces. Serra is crea ng pieces that engage the subject by discussing the importance of how the body moves through and interacts with space. His pieces create the opposite eﬀect, collapsing inward onto the subject (fig. 11,12). Although neither ar st creates inhabitable spaces, both have been brought into the dialogue of interior design and architecture due their explora on of the rela onship between the body and built environment. Designers, such as Neri Oxman, have begun exploring how materials and forms can not only mimic human biology, but also react in response to physical impact (fig. 13). In talking about her project Beast, Oxman says, “A single con nuous surface, ac ng both as structure and as skin, is locally modulated for both structural support and corporeal aid.”8 S ll in the prototype phase, Oxman’s research is beginning to push architects and designers to refocus their design

12 Richard Serra Sequence. 2006 Weatherproof steel Overall: 12’ 9” x 40’ 8” x 65’ 2”, plates: 2” thick Aﬀected by authors

towards dynamic environments and away from sta c containers. A challenge of this new design methodology is that dynamic environments o en create amorphous shapes and forms that do not fit within the standard frame of tradi onal buildings. Oxman creates small pieces that can be used within a tradi onal environment but she is not crea ng full interior spaces. This problem is further evidenced in Allan Wexler’s explora on Wall (I Want to Become Architecture), a project in which he inserts his body’s form into a wall. On one side his form seamlessly integrates with the architecture, but when the viewer sees the effect on the reverse, a disjointed wall is revealed (fig. 14). This conflict between interior and exterior brings us to the ques on of how interior spaces would be different if the interior were not bound by the exterior. Can the exterior be eliminated allowing interior designers freedom to shape space star ng with the body without nega vely effec ng exterior shells? In our thesis, we will inves gate whether strategies like those used in Bespoke clothing can be employed, expanded outward from the body, and applied to the built environment. By elimina ng the exterior we will allow ourselves to test if the body can be used as the star ng point from which spaces are shaped, crea ng

the outermost layer of clothing – an exploded garment. PRECEDENT STUDIES Paolo Soleri (1919 – 2013) was an Italian-American architect most famous for his earthworks, Cosan and Arcosan , in the desert outside Sco sdale, Arizona. During the 1950s, Soleri began work on the experimental buildings of Cosan . These earthworks started at the scale of handcra s and later grew into inhabitable spaces. Soleri described this progression as follows; “My star ng point was the slip cas ng of ceramic objects whose molds were cut into the ground. Moving from frac ons of square 13 Neri Oxman Beast, prototype for a chaise lounge. 2008-2010 Acrylic composites Aﬀected by authors 14 Allan Wexler Wall (I want to Become Architecture). 2002. Sheetrock, plywood, pine 108” x 65 1/2” x 36” Aﬀected by authors

foot to many square feet and from liquid clay to concrete (a plas c material, too) was simply an extrapola on. What had been a pot became a house. In both cases, the soil was instrumental, not only as the shaping material, a nega ve mold, but also characterized the texture, color, and feeling of the original product.”9 These architectural experiments eventually grew into a collec on of earthworks called Cosan , Italian for “Before (or Against) Things.” Collec vely, Cosan consists of many structures; however, the three original buildings – Earth

15 Ella Kane and Merav Lahr Exploded Garment. 2013 Diagram 16 Paolo Soleri Earth House at Cosan Paradise Valley, Arizona

House, Ceramics Studio, and North Studio – are the focus of our inves ga on due to their semi-subterranean construc on. Earth House (fig. 16) was originally designed to func on as Soleri’s living quarters, although he never permanently occupied the space. Carved into the side of a bluﬀ, Earth House only receives natural light from the entry façade and the skylight above. The Ceramics Studio (fig. 17) was designed for the produc on of Soleri’s ceramic and bronze Freedom Bells. The workspace takes the form of an open tunnel with center dome, never closed oﬀ from the exterior. The design of the studio together with its orienta on on the Cosan plot creates protecon from summer’s heat and winter’s cold. Like Earth House and the Ceramics Studio, North Studio (fig. 18) is similarly carved into the earth. Designed to serve as an exhibi on space for finished works, the studio receives ample light via the ribbed center skylight and open front façade. While all three spaces were built using the same carving and cas ng methods, each one is uniquely formed responding to its individual needs, “making them works of architecture that depend on both gesture and material.”10 In all three spaces, orthogonal edges combine with organic forms to remind the user of

man’s interac on with nature and of the process used to build the space. Interior finishes are a combina on of rough textures and more polished surfaces, resul ng from Soleri’s variaon in earth cas ng methods and his intui ve understanding of the space’s needs: “Surfaces were treated coarsely; some items were le undefined and even unfinished. The earth has its own needs, and it must always be tamed from within through ac ons that remain flexible and able to adapt to happy accidents.”11 Soleri’s first three structures at Cosan are reminiscent of Gaudi’s amorphous buildings;

lted columns betray the user’s tradi onal expecta ons of structure and support. Because these spaces are so organic in form they are nearly impossible to represent using tradi onal two-dimensional methods. Instead, Soleri’s process started with sketching and transi oned directly into building, skipping formal plan development. Soleri also challenged the tradi onal construc on process, star ng with the top and working toward the founda on, “that is, he handled the cover first and then, by digging and removing earth, worked the inside and bo om por ons”12 (fig. 19). Reconfirmed by Soleri’s work at Cosan is our hypothesis that interior designers are allowed a greater level of freedom in shaping space once the concerns of the exterior are removed. When these spaces dip below ground, they are freed from the constraints of a manmade exterior. Instead, their only limita on was that of the excava on and the void le behind. By releasing himself from the exterior, Soleri allowed the needs of the program to dictate what shape the space took on. The dream-like, organic forms of these three spaces would not make sense if inserted into tradi onal orthogonal architectural shells. Of his own intent, Soleri wrote, “The void le from the excava on, be-

17 Paolo Soleri Ceramics Studio at Cosan Paradise Valley, Arizona 18 Paolo Soleri North Studio at Cosan . 1962 Paradise Valley, Arizona

comes transfigured”13 and took on new purpose as an inhabitable space. Cosan also serves as a precedent for possible design methodology. Once carved, Soleri did not fill these spaces with typical interior finishes and furnishings, but rather reintroduced the extracted materials as both surfaces and structure blurring the line between natural and manmade. James Turrell (1943 - ) is an American ar st who primarily works with light. In 1974, Turrell began developing a project that would extend his explora ons in the studio to a larger scale. A er searching for a site that fit his requirements, Turrell came across Roden Crater, a 400,000-year-old 600-foot-tall ex nct volcanic cinder cone (fig. 20). With funding by the Dia Art Founda on, Turrell was able to purchase the crater in 1977. When complete, the Roden Crater project will consist of twenty spaces, including chambers, pathways, tunnels, and various openings to the sky. Together, these chambers create a naked-eye observatory where “visitors can perceive astronomical phenomena from the vantage point he has created.”14 In planning this project, Turrell’s primary concern is in crea ng spaces that allow a specific light event. Developed individually, each chamber seems to be a separate thought,

STANDARD CONSTRUCTION PROCESS

1. FOUNDATION

2. WALLS

3. ROOF

PAOLO SOLER’S CONSTRUCTION PROCESS

1. ROOF

2. SPACE

3. FOUNDATION

disconnected from one another. Because these spaces are individual vigne es (fig. 21), linked only by a series of tunnels, to imagine them aboveground would create a disjointed exterior façade. But because Turell has placed this project underground, he has allowed himself the freedom to imagine these spaces not by their exterior aﬀect, but by their interior experience:

19 Ella Kane and Merav Lahr Tradi onal Methods vs. Earthcas ng. 2013 Diagram 20 James Turrell Site Plan for Roden Crater Ink on color carbon print

“I’m interested really in the experience and how it’s experienced, so it’s important to deal with those things that create the experience and not the object.”15 Besides controlling light and the user’s understanding of the light events, Turrell’s other interest is in direc ng the approach and sequence in which one moves through the space. Turrell has organized the circula on from one space to the next to create a series of events that react and respond to one another: “So the approach can order your experience. You can

come in through the side door of one of the places we’re considering and have a diﬀerent experience than if you enter through the front door … In any situa on your previous experience is important. If you went from a rather pink room into a very pale green one, at first the intensity of the green would be very high because you loaded that green room with a green a erimage that came from seeing the pink room. Size ma ers too. Coming through an opening into a big space …, there are some areas like this.”16

21 James Turrell Model for Roden Crater Observatory. 2013 Cast plaster and bronze 22 James Turrell Roden Crater Coconino, Arizona

Like Soleri, Turrell pays homage to the site by making use of the materials found in the surrounding area. One of the reasons Turrell was drawn to the Roden Crater as the site of his project was due to the geological makeup and byproducts of a Cinder Cone Volcano. Such forma ons are material rich, producing cinder used for cinder block, silica, pure black silica, and obsidian. Turrell makes use of the cinder as insula on for the spaces and also u lizes the sand that is extracted from the crater as wall and floor material. He describes the process of integra ng the found materials on site with the built structures of his project as follows: “we are making plaster out of the diﬀerent kinds of sand so that the plaster takes on the color of that sand; then we are sandblas ng the plaster walls with that same sand and leaving 18 to 24 inches of sand on the floor.”17 Despite Turrell’s comprehensive use of local sands to form his structures, each individual space is s ll unique due to the immense variety available in the Painted Desert. Turrell describes his process in determining each space’s color pale e as follows: “I want to house the events and have color tones appropriate to them…. For instance, there’s one light event that’s very important to me: the rise of the earth’s shadow. When the sun goes down in 22

the West and you look to the East on a clear day you’ll see this pink line, with white silvery-blue below”18 (fig. 22). Turrell’s work supports our hypothesis that interior design’s control is greatly enhanced by the removal of the exterior frame. Our interest in shaping space from the body outward without undesired eﬀects on the exterior, is consistent with Turell’s ability to carve interior spaces with specific purpose by elimina ng the exterior shell. Through structured sequencing, Turrell is able to unify his many interior vigne es into a single cohesive interior space: a unity in form that would not be perceived if the exterior shell were exposed (fig. 23). DESIGN METHODOLOGY Case Study - Architects Stephanie Davidson and Georg Rafailidis founded TOUCHY-FEELY in 2006 as an oﬀshoot of their architecture firm DAVIDSON RAFAILIDIS. Their goal is to inves gate hap c design and to develop designs that encourage more interac on with the built environment. Their mul -disciplinary studio bridges architecture, interior and industrial design to create forms that can be integrated into a larger architectural language.

23 James Turrell Roden Crater and Autonomous Structures. 2013 Pace Gallery, New York City Aﬀected by authors 24 Stephanie Davidson & Georg Rafailidis Found Space Tiles Earthenware, hollow 15 x 15 cm, variable depths Aﬀected by authors

While TOUCHY-FEELY has developed several projects, the only one to be widely produced is FOUND SPACE TILES, which are ceramic wall les with imprints of people’s bodies as they lean against walls (fig. 24, 25). These les are designed to be used in clusters of two or more, each group rela ng to a diﬀerent part of the body or posi on the user might take. These groupings can then be integrated into standard 15x15 cm led surfaces. In developing this project, Davidson and Rafailidis asked themselves, “How can this surface, this wall or floor, give more? What more can it give?”19 The resul ng

forms suggest the presence of the human body and are an expression of the “found” space between body and surface. Davidson and Rafailidis encourage users to engage with the undula ons of these les to find a place for support, s mula on or rest. S ll in development TOUCHY-FEELY’s other le-based product, TRIGGER POINTS, similarly encourages ac ve par cipa on with the built environment through heated plaster protrusions that act as devices for self-massage (fig. 26). While developing TRIGGER POINTS, TOUCHYFEELY consulted massage and physical therapists to create a shape that most accurately mimics the pressure applied by a therapist hand. The so ness of the forms is the result of their interest in material behavior; in this case plaster was poured into sewn fabric forms. Like FOUND SPACE TILES, TRIGGER POINTS are easily integrated into new or exis ng drywall or plastered wall surface. In developing TRIGGER-POINTS, Davidson and Rafailidis sought ways in which buildings can interact more closely with the body, performing tasks usually associated with a person’s hand. When describing TRIGGER POINTS, Davidson and Rafailidis say, “As warmed wall areas, the protrusions create a gentle threshold between body and building.”20

26 25 Stephanie Davidson & Georg Rafailidis Found Space Tiles Earthenware, hollow 15 x 15 cm, variable depths 26, 27 Stephanie Davidson & Georg Rafailidis Trigger Points Fibre reinforced plaster 15 x 15 cm, variable depths

Just as our thesis will explore how the built environment can meet the body, TRIGGER POINTS and FOUND SPACES TILES have both created a conversa on between the two key components of interior design, the body and the wall (fig. 27, 28). Although TOUCH-FEELY’s designs encourage interac on with the built environment they remain sta c in their form, not allowing for con nued malleability. In TRIGGER POINTS the forms are mounted for the user to engage with, but the user does not have the opportunity to shape or change the environment through that interac on. While also mounted sta cally on the wall with no opportunity for the user to affect the spaces, FOUND SPACE TILES differ from TRIGGER POINTS in that their original forms were derived from the ac on of a body imprin ng itself on a wall and leaving its mark. This interac on, where a body directly affects its surroundings, is the focus of our interest. But unlike the sta c nature of TOUCHYFEELY’s work we aim to develop dynamic designs that will con nue to adapt as many users engage with them at different mes. IniƟal InvesƟgaƟon - In response to TOUCHYFEELY’s projects, our ini al inves ga on into a dynamic environment resulted in three

scaled-models of a possible wall system. Made of sheet wax, these 5”x 8” rectangles have been shaped to mimic the imprint a body would leave when pushed against a flexible surface. Model 1 represents an adult male, pushing back and into the wall, forming an individually molded seat (fig. 29). Model 2 is a mother and child next to each other, both leaning back and si ng into the wall; their forms create a shared bench on which they rest (fig. 30). Model 3 is a female 28 Stephanie Davidson & Georg Rafailidis Trigger Points Fibre reinforced plaster 15 x 15 cm, variable depths Aﬀected by authors 29, 20 Ella Kane and Merav Lahr Model 2, Model 3. 2013 Molded sheet wax 5” x 8” x 2”

figure pressing the side of her body into the wall and simultaneously si ng down (fig. 31). While these models represent a frozen moment in me, the imagined product would be ever changing. When disengaged from a user, the material would slowly return to its res ng posi on of a flat surface. This slow unfurrowing would allow for users to subtly experience the previous occupant’s presence. While these prototypes are modeled as full walls, this idea of a responsive surface that reacts and then holds a posi on could be implemented in many scales and forms. Desired Site - When choosing a poten al site to test our ques on of how an interior can be designed around the human body when the constraints of a visible exterior are removed, we are returning to our early inves ga ons into animal burrows and Bespoke clothing. Just as animals dig their own space in direct rela on to their bodies (fig. 2), and tailors create clothing by using the body as a mold (fig. 1), we plan to design underground, carving out space that allows us to create an expression of the human body. However, to be free to develop our own structure, like the work of Soleri and Turrell, would be a departure from the typical con-

31 Ella Kane and Merav Lahr Model 3. 2013 Molded sheet wax 5” x 8” x 2” 32 Ella Kane and Merav Lahr Byram Mine. 2013 Diagram.

straints and challenges faced by interior designers. Therefore, we propose to u lize an abandoned mine as the site of our inves ga on (fig. 32). This site will oﬀer many layers of informa on and direc on for our project. As during the Industrial Revolu on, it is unavoidable at this me to deny the current culture of overconsump on and the need for sustainability as intrinsic to every design. The abandoned mine oﬀers a new way to meet this challenge. We will be reinvigora ng a devastated and destroyed environment and returning meaning and purpose to a site that was le to waste. Like Soleri and Turrell we will let the resources of the mine inform our pallet, pu ng materials that were once extracted back into earth.

WORKS CITED 1. Michael Zakim. “Customizing the Industrial Revolu on: The Reinven on of Tailoring in the Nine teenth Century.” Winterthur Porfolio 33.1(1998): 56. 2. Steven Henry Madoﬀ, “Hinge Life,” in Rebecca Horn: Moon Mirror: Site-specific Installa ons, 1982-2005, ed. Marion Ackermann, et al. 23-38. (Os ildern-Ruit: Ha e Cantz, 2005), 25. 3. Doris Von Drathen, “Places at the Zero Point,” in Rebecca Horn: Moon Mirror: Site-specific Installa ons, 1982-2005, ed. Marion Ackermann, et al. 23-38. (Os ildern-Ruit: Ha e Cantz, 2005), 43. 4. Ibid, 42. 5. John Rajchman, “Serra’s Abstract Thinking,” in Richard Serra Sculpture: Forty Years, ed. Lynne Cooke and Kynaston McShine, 61-74. (New York: the Museum of Modern Art, 2007), 68. 6. Cooke, “Richard Serra.” 7. Irving, Mark. “Mind Over Ma er: Richard Serra’s Bilbao Guggenheim Sculptures Both Respond to and Challenge Their Context.” The Architectural Review 218.1302 (2005): 80. 8. Material Ecology, “Beast.” 9. Paolo Soleri and Sco M. Davis. Paolo Soleri’s Earth Cas ng for Sculpture, Models and Construcon. (Salt Lake City: Peregrine Smith, 1984), 10. 10. Antonie a Iolanda Lima. Soleri: Architecture as Human Ecology. (New York: Monacelli, 2003). 148. 11. Lima. Soleri, 149. 12. Ibid, 148-149. 13. Ibid, 154. 14. Sheets, “A Tribute for Turning Light Into Art.” 15. Halbreich, Porter and Craig, “An Interview with James Turrell.” 16. Ibid. 17. Ibid. 18. Ibid. 19. Touchy-Feely Hap c Design. “Found Space Tiles.” 20. Touchy-Feely Hap c Design. “Trigger Points.”

READING LIST Ackermann, Marion, Steven Henry Madoff and Doris Von Drathen, Rebecca Horn: Moon Mirror: Site-specific Installa ons, 1982-2005. Os ildern-Ruit: Ha e Cantz, 2005. Betsky, Aaron. “Furnishing the Primi ve Hut: Allan Wexler’s Experiments Beyond Buildings.” In Toward a New Interior, edited by Lois Weinthal, 199-211. Princeton: Princeton Architectural Press, 1999. Originally published in Christopher Scoates and Debra Wilbur, Custom Built: A Twenty-Year Survey of Work by Allan Wexler, (Atlanta: Atlanta College of Art Gallery, 1999). Burkhardt, Francois. “Paolo Soleri: 35 Years A er: A Visit to Cosan .” Domus 812 (1999): 44-47. Cooke, Lynne. “Richard Serra.” Accessed March 6, 2013. h p://www.diaart.org/exhibi ons/introduc on/96 Fox, Michael, and Miles Kemp. Interac ve Architecture. New York: Princeton Architectural, 2009. Gordon, Beverly. “Woman’s Domes c Body: The Conceptual Confla on of Women and Interiors in the Industrial Age.” In INTIMUS: Interior Design Theory Reader, edited by Mark Taylor, and Julieanna Preston, 126-132. West Sussex: John Wiley & Sons, 2008. Originally published in Winterthur Por olio, 31.4 (Chicago: University of Chicago Press, 1996). Halbreich, Kathy, William Porter and Lois Craig. “An Interview with James Turrell.” Places: Design Observer, July 15, 1983. Accessed April 29, 2013. h p://places.designobserver.com/feature/ an-interview-with-james-turrell/68/ Hanekom, Leigh. “The Body Tectonic: Anthropomorphism.” Architecture South Africa: Journal of the South African Ins tute of Architects (2008): 70-73. Hughes, Howard C. “Thoughts on Hap c Architecture by a Perceptual Psychologist.” OZ/College of Architecture and Design Kansas State University 30 (2008): 56-59. Irving, Mark. “Mind Over Ma er: Richard Serra’s Bilbao Guggenheim Sculptures Both Respond to and Challenge Their Context.” The Architectural Review 218.1302 (2005): 78-81. “James Turrell: Roden Crater, North Arizona near Flagstaff, Arizona 1972-2003.” A + U: architecture and urbanism 7.382 (2002): 14-23. Kellogg, Craig. “Outside In.” Architectural Design 73.1 (2003): 102-05. Lima, Antonie a Iolanda. Soleri: Architecture as Human Ecology. New York: Monacelli, 2003. Lynn, Greg. “Greg Lynn: An Advanced Form of Movement.” Architectural Design 67 (1997): 1-55. Material Ecology. “Beast.” Accessed April 29, 2013. h p://web.media.mit.edu/~neri/site/projects/ beast/beast.html Madoff, Steven Henry, “Hinge Life,” in Rebecca Horn: Moon Mirror: Site-specific Installa ons, 19822005, edited by Marion Ackermann, Steven Henry Madoff and Doris Von Drathen, 23-38. Os ildern-Ruit: Ha e Cantz, 2005.

O’Neill, Maire E. “Corporeal Experience: A Hap c Way of Knowing.” Journal of Architectural Educaon 55.1 (2001): 3-12. Oxman, Neri. “Structuring Materiality.” Architectural Design 80.4 (2010): 78-85. Pallasmaa, Juhani. “An Architecture of the Seven Senses.” In Toward a New Interior, edited by Lois Weinthal, 40-49. Princeton: Princeton Architectural Press, 1999. Originally published in Steven Holl, Juhani Pallasmaa, and Alberto Pérez-Gómez, ed. Ques ons of Percep on: Phenomenology of Architecture, (Tokyo: a+u Publishing Co., Ltd., 1994). Pallasmaa, Juhani. “Hap city and Time: Notes on Fragile Architecture.” Architectural Review 207.0.1239 (2000): 78-84. Rajchman, John, “Serra’s Abstract Thinking,” in Richard Serra Sculpture: Forty Years, edited by Lynne Cooke and Kynaston McShine, 61-74. New York: the Museum of Modern Art, 2007. Sheets, Hilarie M. “A Tribute for Turning Light Into Art.” The New York Times, March 21, 2013. Accessed April 29, 2013. h p://www.ny mes.com/2013/03/21/arts/artsspecial/paying-homage-to-james-turrell-who-turns-light-into-art.html?_r=0&pagewanted=all Soleri, Paolo, and Sco M. Davis. Paolo Soleri’s Earth Cas ng for Sculpture, Models and Construc on. Salt Lake City: Peregrine Smith, 1984. Sterk, Tristan. “ORAMBRA - Wants to Produce Buildings That Can Change Shape [interview].” Mark: Another Architecture 31 (2011): 200-205. Sterk, Tristan. “Shape Change in Responsive Architectural Structures.” ACADIA 2006: Synthe c Landscapes Digital Exchange (2006): 251-260. Touchy-Feely Hap c Design. “Found Space Tiles.” Accessed April 15, 2013. h p://www.touchy-feely. net/touchy_feely_found%20space%20 les/touchy_feely_ les_info_01.html Touchy-Feely Hap c Design. “Trigger Points.” Accessed April 10, 2013. h p://www.touchy-feely.net/ touchy_feely_trigger%20point%20plaster/touchy_feely_trigger_01.html Von Drathen, Doris, “Places at the Zero Point,” in Rebecca Horn: Moon Mirror: Site-specific Installa ons, 1982-2005, edited by Marion Ackermann, Steven Henry Madoﬀ and Doris Von Drathen, 41-62. Os ildern-Ruit: Ha e Cantz, 2005. Webb, Michael. “White Noise.” Frame 81 (2011): 102-109. Zakim, Michael. “Customizing the Industrial Revolu on: The Reinven on of Tailoring in the Nineteenth Century.” Winterthur Porfolio 33.1(1998): 41-58.