Introvert Architecture | M.Arch Thesis 2022 by Jack Hache

INTROVERT ARCHITECTURE a thesis by Jack Hache

INTROVERT ARCHITECTURE

By Jack Hache

Bachelor of Architectural Science, Ryerson University, 2019 Master of Architecture, Ryerson University, 2022 A thesis presented to Ryerson University In partial fulfillment of the requirements for the degree of Master of Architecture in the Program of Architecture Toronto, Ontario, Canada, 2022 © Jack Hache 2022

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Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. Jack Hache

INTROVERT ARCHITECTURE

By Jack Hache Master of Architecture 2022 Ryerson University

Abstract The rise of the modern world of capital produced and exploited the paradigm of the extrovert as an essential characteristic of the modern man. In architecture, contemporary practice embodies its own extrovert ideal. Buildings have become extroverted in line with a late phase of capitalism that is focused on global communication and the power of the image. In contrast, an Introvert Architecture resists monumentalization and the reduction to a mere image. Comparable to the introverted man, Introvert Architecture is built from character and contemplation. It is rooted in deep introspective theory, desiring to produce rational, well-organized spaces that are inherently tied to the fundamental relationships that architecture has with context and occupants. This thesis aims to distinguish an Introvert Architecture from the extrovert ideal and illustrate the properties of Introvert Architecture in the genuine process of building making.

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Acknowledgments Colin Ripley, for contributing vast knowledge that extends far beyond the world of architecture. You have been a constant source of inspiration and guidance, and have offered me the invaluable opportunity to consider the limitless bounds and incredible depth of what architecture can mean. Scott Sørli, for continuously bringing different perspectives to the conversation and challenging my thought process. Your wealth of knowledge and ability to stretch my imagination was incomparable during the development and execution of my work. Carlo Parente, for believing in my vision for this thesis and offering unwavering support throughout the process of its creation. You have not only inspired me to pursue my personal interests in architecture but have taught me how to stay true to those pursuits. Your influence and approach to this craft consistently excite me to establish my own identity in architecture. My Family, for always pushing me to do my best and providing a life that allowed me the privilege of pursuing my passion. My Mother, for welcoming me home after leaving the city during the pandemic. My Friends, for showing genuine interest in my work, listening to my ideas, and allowing me an escape from the pressures of school. My Lindsay, for believing in me and continuously reminding me of my capabilities, even in times where I would lose all confidence in myself and this thesis. Thank you for everything.

TABLE OF CONTENTS

Author’s Declaration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Abstract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii Table of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

List of Figures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii

Introduction Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Research Approach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Chapter 1

The Extrovert Architecture Equation

Mankind’s Extrovert Ideal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

An Architecture for Extroverts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

An Architecture for Introverts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Architecture’s Extrovert Ideal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Extrovert Architecture Equation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

INTROVERT ARCHITECTURE

Chapter 2

The Introvert Architecture Equation

Absolute Architecture, A Foundation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Introvert Architecture, An Investigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Dwelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Five Points of Introvert Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Constructed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Place . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Void . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Occupancy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Five Point Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Introvert Architecture Equation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Chapter 3

Allan Gardens Temporary Exhibition Museum

Context, Human, and Dwelling. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Museum Typology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Project Narrative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Design Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Transitory Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Natural Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Standing Mass and Skyroom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Working Gallery and Working Courtyard . . . . . . . . . . . . . . . . . . . . . . . 92 Service Mass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Formal Gallery and Formal Courtyard . . . . . . . . . . . . . . . . . . . . . . . . . 99

TABLE OF CONTENTS

Chapter 4

An Introvert Architecture

Design Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Five Points and The Allan Gardens Temporary Exhibition Museum . . . . . . . 108 Constructed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Place . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Void . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Occupancy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Response to Museum as Factory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Response to Architecture’s Extrovert Ideal . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Conclusion Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Appendix A. Drawing Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Bibliography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

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List of Figures Book Cover Introvert Architecture Cover. J. Hache, 2022.

Introduction Figure 0.1 p. xxiv A 1955 Playboy profile of Frank Lloyd Wright. Playboy Architecture, Beatriz Colomina. Retrieved from: https://www.architectmagazine.com/design/did-playboy-mainstream-modernism_o

Chapter 1

The Extrovert Architecture Equation

Figure 1.1 p. 4 Cover; ‘How to Win Friends and Influence People’ by Dale Carnegie. Retrieved from: https://itsmayurremember.wordpress.com/2016/01/26/to-dale-carnegie-and-his-book-how-towin-friends-and-influence-people/

Figure 1.2 p. 7 Interior of Lloyd’s of London, by Richard Rogers and Partners, 1986. Retrieved from: https://www.archpaper.com/2021/08/lloyds-of-london-revamp-interior-of-richard-rogersdesigned-listed-headquarters/

Figure 1.3 p. 7 Interior of SC Johnson Wax Headquarters in Racine, Wisconsin by Frank Lloyd Wright, 1939. Retrieved from: https://www.scjohnson.com/en/interacting-with-sc-johnson/tours-and-architecture

Figure 1.4 p. 9 Rolex Learning Centre for University Lausanne, Switzerland by SANAA \ Kazuyo Sejima + Ryue Nishizawa, 2010. Retrieved from: https://www.archdaily.com/50235/rolex-learning-center-sanaa

LIST OF FIGURES

Figure 1.5 p. 9 Interior of the Rolex Learning Centre for University Lausanne, Switzerland by SANAA \ Kazuyo Sejima + Ryue Nishizawa, 2010. Retrieved from: https://www.architectural-review.com/essays/lausanne-switzerland-sanaas-rolex-learningcentre-opens

Figure 1.6 p. 11 Centraal Beheer Office Building in Apeldoorn Netherlands by Herman Herzburger, 1972. Retrieved from: https://www.ahh.nl/index.php/en/projects2/12-utiliteitsbouw/85-centraal-beheer-officesapeldoorn

Figure 1.7 p. 11 Communal Platform, Centraal Beheer Office Building, 1972. Retrieved from: https://www.ahh.nl/index.php/en/projects2/12-utiliteitsbouw/85-centraal-beheer-officesapeldoorn

Figure 1.8 p. 12 Interior atrium in the Centraal Beheer Office Building, 1972. Retrieved from: https://www.ahh.nl/index.php/en/projects2/12-utiliteitsbouw/85-centraal-beheer-officesapeldoorn

Figure 1.9 p. 13 Illustration of social and workspace platform arrangements by Herman Herzburger in the Centraal Beheer Office Building, 1972. Retrieved from: https://www.ahh.nl/index.php/en/projects2/12-utiliteitsbouw/85-centraal-beheer-officesapeldoorn

Figure 1.10 p. 15 Non Stop City, Internal landscapes, Archizoom, 1970. Retrieved from: https://socks-studio.com/2011/04/19/archizoom-associati-no-stop-city-internallandscapes-1970/

Figure 1.11 p. 16 City of The Captive Globe by Rem Koolhaas and Madelon Vriesendorp, 1972. Retrieved from: https://www.moma.org/collection/works/104696

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Figure 1.12 p. 18 The Playboy Townhouse. Concept published in the May 1962 issue of Playboy. Retrieved from: http://www.midcenturia.com/2011/06/1962-playboy-townhouse.html

Figure 1.13 p. 18 Pages from the “Designs for Living” article in July 1961 Playboy Magazine issue. Retrieved from: https://www.metalocus.es/en/news/playboy-architecture-1953-1979

Figure 1.14 p. 21 Erza Stoller’s photograph of Walter Gropius and Marcel Breuer’s Chamberlain Cottage, Wayland, Massachusetts, 1942. Retrieved from: https://www.ezrastoller.com/ezra-stoller/xodsvms48holocd3um51p0qqcy5r7i

Figure 1.15 p. 23 Frank Gehry at 92 at his studio in Los Angeles. Walt Disney Concert Hall, 2003. Retrieved from: https://www.nytimes.com/2021/04/13/arts/design/frank-gehry.html https://en.wikipedia.org/wiki/Walt_Disney_Concert_Hall

Figure 1.16 p. 23 Bjarke Ingels. KING Toronto, 2022. Retrieved from: https://www.wired.com/2015/09/bjarke-ingels-2-world-trade-center-wtc-2/ https://kingtoronto.com/

Chapter 2

The Introvert Architecture Equation

Figure 2.1 p. 28 Context, A Point of Introvert Architecture. J. Hache, 2022. Figure 2.2 p. 32 Chinese Academy of Art, Hangzhou, China, by Álvaro Siza Vieira, 2018. Retrieved from: https://www.dezeen.com/2018/10/17/alvaro-siza-international-design-museum-of-chinahangzhou-red-sandstone-architecture/

LIST OF FIGURES

Figure 2.3 p. 32 Capela Do Monte, Lue, Portugal, by Álvaro Siza Vieira, 2018. Retrieved from: https://wevux.com/capela-do-monte0050519

Figure 2.4 p. 32 Casa Luis Barragán in Mexico City, Mexico by Lois Barragán, 1948. Retrieved from: https://www.archdaily.com/102599/ad-classics-casa-barragan-luis-barragan

Figure 2.5 p. 32 Villa Müller in Prague-Střešovice, Czech Republic by Aldolf Loos, 1930. (left) Retrieved from: http://architectuul.com/architecture/villa-muller

(right) Retrieved from: https://socks-studio.com/2014/03/03/i-do-not-draw-plans-facades-or-sections-adolf-loosand-the-villa-muller/

Figure 2.6 p. 38 Constructed, A Point of Introvert Architecture J. Hache, 2022. Figure 2.7 p. 39 Peter Zumthor’s Bruder Klaus Field Chapel, 2007. Retrieved from: https://www.archdaily.com/798340/peter-zumthors-bruder-klaus-field-chapel-through-thelens-of-aldo-amoretti

Figure 2.8 p. 40 Place, A Point of Introvert Architecture. J. Hache, 2022. Figure 2.9 p. 42 Saya Park by Alvaro Siza and Carlos Castanheira, 2018. Retrieved from: https://www.archdaily.com/905540/saya-park-alvaro-siza-plus-carlos-castanheira

Figure 2.10 p. 44 Void, A Point of Introvert Architecture.

J. Hache, 2022.

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Figure 2.11 p. 45 The Chichu Art Museum by Tadao Ando, 2004. Retrieved from: https://www.re-thinkingthefuture.com/case-studies/a3439-chichu-art-museum-by-tadaoando-art-museum-in-the-earth/

Figure 2.12 p. 46 Occupancy, A Point of Introvert Architecture. Visualized through Absalon’s Cell. J. Hache, 2022. Figure 2.13 p. 46 Occupancy, A Point of Introvert Architecture. Visualized through Robert Bray’s Playboy Penthouse. J. Hache, 2022. Figure 2.14 p. 48 Two Drawings from “Six Designs for a Playboy Penthouse Pad” by Robert Bray in Playboy, 1223. Retrieved from: https://drawingmatter.org/robert-bray-six-designs-for-a-playboy-penthouse-pad/

Figure 2.15 p. 50 Time, A Point of Introvert Architecture. J. Hache, 2022. Chapter 3

Allan Gardens Temporary Exhibition Museum

Figure 3.1 p. 54 Context, Human, and Dwelling. J. Hache, 2022. Figure 3.2 p. 56 Plan, Resting Station. J. Hache, 2022. Figure 3.3 p. 57 Axonometric, Resting Station. J. Hache, 2022.

LIST OF FIGURES

Figure 3.4 p. 57 Perspective, Resting Station. J. Hache, 2022. Figure 3.5 p. 60 Toronto’s Royal Ontario Museum, Michael Lee-Chin Crystal extension by Studio Libeskind, 2007. Retrieved from: https://libeskind.com/work/royal-ontario-museum/

Figure 3.6 p. 63 Aerial of the Palm House, looking west. Retrieved from: https://friendsofallangardens.ca/contact/

Figure 3.7 p. 63 View of the Children’s Conservatory. Northernmost greenhouse of the Conservatory. Retrieved from: https://friendsofallangardens.ca/the-conservatory/

Figure 3.8 p. 65 Locational Site Plan, Allan Gardens Park. J. Hache, 2022. Figure 3.9 p. 67 Diagram of design progression. (Top) West side of Allan Gardens Park, the Allan Gardens Conservatory. (Middle) Project site. (Bottom) (Pre)dominate circulation routes. J. Hache, 2022. Figure 3.10 p. 68 Diagram of design progression. (Top) Imposed ‘foundational’ walls along major site axes. (Middle) Introduction of gallery masses. (Bottom) Introduction of utility masses. J. Hache, 2022. Figure 3.11 p. 69 Diagram of design progression. (Top) Enhanced site circulation. (Bottom) Overall project massing on site. Illustrating three exhibition spaces, three courtyards, and two utility masses. J. Hache, 2022.

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Figure 3.12 p. 70 Site plan, Allan Gardens Temporary Exhibition Museum. Drawn at 1:1000. J. Hache, 2022. Figure 3.13 p. 72 Ground Floor Plan, Allan Gardens Temporary Exhibition Museum. Drawn at 1:500. J. Hache, 2022. Figure 3.14 p. 74 A-A Section, east-west, looking south, Allan Gardens Temporary Exhibition Museum. J. Hache, 2022. Figure 3.15 p. 74 B-B Section, north-south, looking east, Allan Gardens Temporary Exhibition Museum. J. Hache, 2022. Figure 3.16 p. 77 View from Jarvis St. looking east towards the Museum’s Transitory Gallery, and Service Mass. J. Hache, 2022. Figure 3.17 p. 77 View from Allan Gardens’ western lawn looking east towards the Transitory Gallery and its west entrance. J. Hache, 2022. Figure 3.18 p. 78 View from the building’s north-west, looking south-east at the primary entry of the Transitory Gallery. J. Hache, 2022. Figure 3.19 p. 80 Interior of Transitory Gallery, looking north. Shown, 15-degree foundational wall (right side of image). J. Hache, 2022. Figure 3.20 p. 82 View from the northern end of the 15-degree foundational wall, looking south towards the Natural Courtyard. J. Hache, 2022.

LIST OF FIGURES

Figure 3.21 p.85 Second floor plan, Standing Mass, Allan Gardens Temporary Exhibition Museum. Drawn at 1:500. J. Hache, 2022. Figure 3.22 p. 86 Standing Mass Elevation. (Top) West Elevation. (Bottom) South Elevation. J. Hache, 2022. Figure 3.23 p. 87 View looking north-east at the south entry of the Transitory Gallery. Shown: Standing Mass behind. J. Hache, 2022. Figure 3.24 p. 87 View of Transitory Gallery, looking east. Shown: exterior connection to café that opens into the gallery space. Standing Mass behind. J. Hache, 2022. Figure 3.25 p. 89 Isometric of the Viroc exterior cladding on the Standing Mass. J. Hache, 2022. Figure 3.26 p. 90 Sectional Perspective of the Skyroom. Shown: seating against the eastwest foundational wall. J. Hache, 2022. Figure 3.27 p. 93 Interior view of Working Gallery. J. Hache, 2022. Figure 3.28 p. 93 View looking north at the Working Gallery and the Working Courtyard. J. Hache, 2022. Figure 3.29 p. 95 Interior view looking west in the Working Gallery. J. Hache, 2022.

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Figure 3.30 p. 95 View looking north at the Working Gallery. J. Hache, 2022. Figure 3.31 p. 96 Axonometric drawing, illustrating curatorial adaptability in the Working Gallery. J. Hache, 2022. Figure 3.32 p. 98 View looking north at the Service Mass. J. Hache, 2022. Figure 3.33 p. 100 View looking east at the Formal Courtyard. J. Hache, 2022. Figure 3.34 p. 102 View looking west at the Natural Courtyard from inside the middle bay of the Formal Gallery. J. Hache, 2022. Figure 3.35 p. 102 View looking south in the Formal Courtyard. J. Hache, 2022. Chapter 4

An Introvert Architecture

Figure 4.1 p. 104 An Introvert Architecture, Allan Gardens Temporary Exhibition Museum. J. Hache, 2022. Figure 4.2 p. 106 View looking west at the Working Courtyard. J. Hache, 2022. Figure 4.3 p. 110 View from the Formal Gallery looking east into the Formal Courtyard. J. Hache, 2022.

LIST OF FIGURES

Figure 4.4 p. 110 View looking west towards the south end of the Standing Mass. Shown, exterior Viroc panel. J. Hache, 2022. Figure 4.5 p. 111 Isometric of the Viroc exterior cladding on the Standing Mass. J. Hache, 2022. Figure 4.6 p. 112 West entrance in the Transitory Gallery, Allan Gardens Temporary Exhibition Museum. J. Hache, 2022. Figure 4.7 p. 115 View looking south towards the Natural Courtyard. J. Hache, 2022. Figure 4.8 p. 115 View overlooking the western portion of the Museum. Shown, existing Palm House (right). J. Hache, 2022. Figure 4.9 p. 117 Diagrams illustrating the continued variety of the exhibition spaces. Working Gallery. J. Hache, 2022. Figure 4.10 p. 118 The Working Gallery’s most closed state. Large exterior doors seal off the glazing behind. J. Hache, 2022. Figure 4.11 p. 118 Large swing doors all opened onto the Working Courtyard. Interior space now offloads onto the exterior court. J. Hache, 2022. Figure 4.12 p. 119 Working Gallery in transition. Spaces remain closed off, while others open, serving the needs of the exhibition. J. Hache, 2022.

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Figure 4.13 p. 119 The Working Gallery’s most open state. Glass partitions retreated. J. Hache, 2022. Figure 4.14 p. 120 Diagrams illustrating the continued variety of the exhibition spaces. Formal Gallery. J. Hache, 2022. Figure 4.15 p. 121 The Formal Gallery’s most closed state. Large exterior partitions seal off the glazing behind. J. Hache, 2022. Figure 4.16 p. 121 Formal Gallery in transition. Spaces remain closed off, while others open, serving the needs of the exhibition. J. Hache, 2022. Figure 4.17 p. 123 Morning Coffee on the way to work, Natural Courtyard. J. Hache, 2022. Figure 4.18 p. 123 Saturday’s Farm Haus Exhibition, Formal Courtyard. J. Hache, 2022. Figure 4.19 p. 124 Axonometric drawing, illustrating curatorial adaptability in the Formal Gallery. J. Hache, 2022. Figure 4.20 p. 127 Waiting for a friend, Transitory Gallery. J. Hache, 2022. Figure 4.21 p. 127 Preparation for a gardening class, instructed by an Allan Garden’s Conservatory staff member, Working Courtyard. J. Hache, 2022.

LIST OF FIGURES

Conclusion Figure 5.1 p. 134 Conclusion. J. Hache, 2022. Figure 5.2 p. 138 Allan Gardens Temporary Exhibition Museum. J. Hache, 2022. Appendix A. Drawing Guide Figure 6.1 p. 141 Drawing Guide. J. Hache, 2022. Figure 6.2 p. 142 Appendix A. Drawing Guide. Chapter 3. J. Hache, 2022. Figure 6.3 p. 144 Appendix A. Drawing Guide. Chapter 4, Conclusion. J. Hache, 2022.

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Figure 0.1

A 1955 Playboy profile of Frank Lloyd Wright. Playboy Architecture, Beatriz Colomina. 0.1 ‘Frank Lloyd Wright Intends to be The Greatest Architect of All Time’

INTRODUCTION

The rise of industrialization in America produced a new culture of personality that replaced an existing culture of character.1 This personality cult implied that to be successful in an increasingly competitive society, one needed to be gregarious in his actions, to be an extrovert. As described by Cain, this desire for extroversion is referred to as the extrovert ideal, an ideal that deludes people into believing that they are required to behave a certain way, especially if they desire success, recognition, and popularity.2 Thus, an individual’s ability to stand out in the field of global communication and competition influenced the design and operation of workplaces, schools, and even prisons. Architecture itself became a tool to enforce the extrovert ideal, influencing the way people are to behave within space. What is more, through the modern world of capital and the growing popularity of new-media, architecture has been forced to become extroverted in its own unique way. Like man, it is forced to stand out in the hope of gaining recognition and success in the evermore competitive urban world. One way architecture does this is by monumentalizing itself through the image. In essence, this is architecture’s extrovert ideal. In the context of architecture’s extrovert ideal, this thesis aims to shed light on the potential of an introverted architecture, one that opposes architecture’s extrovert ideal. Defining the introverted human is the natural starting point for identifying potential elements of an Introvert Architecture. Through this investigation, the human introvert is understood as being thoughtful, considerate, and intentional in their actions. They focus greatly on how they behaved privately with their intimacies rather than the impressions they make in public.3 When translating these characteristics to the potential of an Introvert Architecture, it is apparent that the introspective actions often

INTROVERT ARCHITECTURE

associated with introverts should be directly reciprocated in the process of introvert building making. These actions are tied to the fundamental relationships that architecture has with context and occupants. Additionally, the concepts of ‘dwell’ and ‘dwelling,’ developed by Heidegger, start to inform how a building can become introspective. This concept reevaluates the relationship between building and dwelling, which has been disrupted since the modern age of architecture. This disruption could arguably be considered one of many catalysts for architecture’s extrovert ideal. Together, the concept of ‘dwell’ and Cain’s research on the introverted human generated a set of principles that begin to define an Introvert Architecture, and its critical relationship to an architecture’s context and occupants. Collectively, these concepts and theories are used to develop an Introvert Architecture Equation. This equation acts as the conceptual synopsis for an Introvert Architecture. The design project, the Allan Gardens Temporary Exhibition Museum (The Museum), attempts to illustrate the equation’s application to architecture and the process of building making. The Museum considers an architecture that is not created from a desire for monumentation or recognition, but rather, uses its relationships to site, context, and occupants as the governing body for the architecture. The building is born from its context and its relationships with the act of an exhibition. Collectively, the Introvert Architecture Equation, and the Allan Gardens Temporary Collections Museum design project, attempt to demonstrate the power of non-extroverted architecture, the Introvert Architecture.

Endnotes

1 Susan Cain, Quiet: The Power of Introverts in a World that can’t Stop Talking (Crown Publishers, 2012), 21. 2

Cain, 21.

Cain, 136.

INTRODUCTION

Research Approach The following work consists of three parts, evaluated through various methods of research. The first part investigates the paradigm of introversion and extroversion in architecture. It seeks to understand how architecture has engaged with these human-based psychological elements, and in turn, applies that knowledge to the creation of buildings, describing an architecture for extroverts and introverts, an architecture that precludes the extrovert ideal as expressed through architecture. The thesis then examines architectures evolution from a practice of creating a world for extroverts (and introverts), to a practice of being extroverted and introverted in its own unique fashion. The thesis uses case studies and textual research to answer the following question: what is Introvert and Extrovert Architecture, and how do each function in the modern world of capital? As a given, Extrovert Architecture will be understood as the overt normative that architecture is subscribed to, the architecture of an extrovert ideal, and one that desires monumentation through the image. The second part of this work attempts to build an identity for Introvert Architecture, and begins to understand its relationship to capital, context, people, and the act of building making. As an equation for Introvert Architecture begins to form, the thesis attempts to isolate the primary principles of this architecture to identify how it resists being extroverted. A series of ‘Five Points of Introvert Architecture’ will begin to inform a set of principles for designing introverted architecture. The third part of this thesis applies the Introvert Architecture Equation to the process of design. The premise for the design project is developed through a prospectively real project brief, found in a ‘call for change’ in Allan Gardens, one of Toronto’s park landscapes. The design project serves to illustrate the application of the Introvert Architecture Equation in building design and making, seeking to demonstrate an architecture that is introverted.

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Figure 1.1

Cover; ‘How to Win Friends and Influence People’ by Dale Carnegie.

CHAPTER 1 THE EXTROVERT ARCHITECTURE EQUATION

“Do we not sometimes design for the pages of the Architectural Forum…” “do we not design too deliberately for an Ezra Stoller color shot?” - Philip Johnson

Mankind’s Extrovert Ideal Ignited by the industrial revolution, landscapes of the global west transitioned from the house on the Prairies, to the urbanized powerhouses that stand today.4 Susan Cain states that prior to the 1910’s, the value of one’s identity was associated with their character, as defined by their actions, the work they produced, and the time they devoted to even the smallest accomplishments. However, as urban spaces grew, challenging the way people were expected to live, man began to fixate on appearance. No longer did character or one’s own work define who they were, but rather one’s ability to stand out amongst his own competition determined his success. The world transitioned from the ‘culture of character’ to the ‘culture of personality,’ from the ‘man of contemplation’ to the ‘man of action.’ The key to success in this world of capital was your ability to sell yourself.5 This desire for success forcibly divided people by one’s ability to stand out through attention, the extroverts, and others who did not desire attention, the introverts. As success became increasingly associated with extroversion, man developed an extrovert ideal. This ideal would not only control the desires of one’s own behaviour, appearance, and social abilities, but would subsequently influence the way public spaces were designed and utilized. These spaces became tools for capital to produce a world for and of extroverts.

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Architecture for Extroverts To evaluate the extrovert ideal and how it translates to an architectural context, the direct relationship between social psychology and the design of buildings must be considered. This relationship exposes an architecture that is created to inspire extroversion, and subsequently, introversion. To develop this concept of an architecture for extroverts and introverts, a series of case studies were conducted on various projects beginning in the industrial revolution. This point in history marked the acceleration of urbanization, capitalism, the salesman, and also, the extrovert ideal.6 These projects focus specifically on architecture’s desire to create an environment that forces its occupants to behave in a particular manner. The analysis of these buildings seeks to justify how extroverted architecture aggressively engages as an architecture in the production of capital. Using architecture as a tool to create workspaces and idealized planning arrangements for companies, that will directly profit from the atmosphere they have created for their employees.7 Such ideas are explored through a selection of openplan offices and workplaces from the 1900’s, continuing with an exploration of a contemporary example to demonstrate architecture’s persistence in creating spaces for certain behaviour types. In contrast, another case study is selected that begins to demonstrate how introverted personalities become activated through planning and design. Many notable projects throughout the past century demonstrate architecture’s influence on human behaviour. Notably, as the extrovert ideal has pushed the idea of ‘Group-Think,’ modern architecture began to produce offices and universities that adopted open-plan layouts to force employees and students to interact with one another, as if they were on an equal playing field.8 As criticized by Cain, in this environment, only the extrovert would succeed. Though the projects were built nearly 40 years apart, the SC Johnson Headquarters by Frank Lloyd Wright (1936-1939) and the Lloyds building by Richard Rogers (1978-1986) have been examined together, as they share similar properties that radically exemplify the office model of the early twentieth century. During this time, the open-office plan became understood as the best work structure and to easily survey their staff. Like a factory floor, the open office allowed employers to organize their staff in a strict order. This organization was considered rational and functional, and therefore

THE EXTROVERT ARCHITECTURE EQUATION | CHAPTER 1

Figure 1.2

Interior of Lloyd’s of London, by Richard Rogers and Partners, 1986.

Figure 1.3

Interior of SC Johnson Wax Headquarters in Racine, Wisconsin by Frank Lloyd Wright, 1939.

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employees were essentially organized as an assembly line, the office became a factory. Drawing a connection to the capitalist mindset toward working arrangements, the highly-deployed open plan layouts are believed to create a space of non-hierarchy, as they place all employees at an equal level. In both examples, the modular, easily-dismantlable and rearrangeable work situations enable the company to easily adapt to changes. It becomes a space in which those who are comfortable working around many people, in a highly adaptive, changing environment, succeed. This practice is still quite common in Neoliberal architecture today, where the extrovert ideal has caused employers to believe the lack of hierarchy motivates workers to create competition. This assumed equality and competitiveness results in employees becoming proud of their contributions, thus improving their productivity, but perhaps alienating the introvert. It empowers the extroverted personality, and simultaneously strengthens the paradigm of the extrovert and the introvert. These projects embody the capitalist agenda of their time, using architecture as a tool to promote worker productivity for capitalist growth. The Rolex Learning Centre by SANAA in Lausanne, Switzerland is a contemporary example of how extroversion, as a personality type, becomes the idealized human behaviour, as determined by architecture. Evaluating the building in the context of architecture for extroverts, the project is viewed like the previous case studies, as it also acts as a capitalist method to produce and inspire extroverted behaviour. The latest method used by capital for the accumulation of the reproductive labourer is to conceal their control behind freedom. In (Un)Free Work: Architecture, Labour and Self-Determination, Peggy Deamer discusses what freedom is, where true freedom is impossible to know; for Deamer, society could not generate architecture that does not serve capitalist aims, and therefore, it cannot be entirely free. Knowingly, capitalism conceals freedom behind the ideas of one’s right of choice and self-determination.9 These ideas suggest that a person is thinking and making choices based on how they think and how they perceive things. In the context of architecture, Aureli discusses the concept of ‘drift,’ and how it is the extent of freedom that people believe they have, when referring to their work.10 The capitalist illusion is to make people believe that they are the self-discoverer of their own careers. Using the Rolex Learning Centre by SANAA as an example, Aureli outlines how architecture enforces the concept of ‘drift.’ The Learning Centre was designed to promote drift; to promote freedom in choice and self-determination. Its open, free flowing, non-definitive plan becomes

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Figure 1.4

Rolex Learning Centre for University Lausanne, Switzerland by SANAA \ Kazuyo Sejima + Ryue Nishizawa, 2010.

Figure 1.5

Interior of the Rolex Learning Centre for University Lausanne, Switzerland by SANAA \ Kazuyo Sejima + Ryue Nishizawa, 2010.

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a landscape where the student, and intellectual labourer, believe they have agency over their own life.11 The building gives the illusion that their actions in this space directly influence the way they socialize and build their status in this context. It is seemingly their own desire and self-determination that makes the labourer ‘successful’ in this form of architecture. Capitalism has in essence made architecture that suggests working and the success of one’s work is a self-desire. It is something invested in by the labourer and is therefore, free for capital. This has also become a popular agenda for Big-Tech companies of Silicon Valley. Their campus-like architecture promotes a self-driven labourer to ‘freely’ better themselves and their work. The worker assumes betterment by aspiring to create an online portfolio, or by seeking education and investing into themselves and the tools they need to be better at their work. As the concept of ‘drift’ suggests, capitalism conceals this self-driven mentality behind the freedom of choice for the individual. Like Deamer confirms, “in this self-congratulation, we (man) substitute the myth of creativity for the reality of our daily experience; capitalist ideology has convinced us that architecture serves a social purpose while hiding its actual real estate-driven agenda.”12 Continuing the criticism of the Rolex Learning Centre, this building and its landscape for ‘selfdetermination’ could be criticized as a space that is solely beneficial for the extrovert. One with an extroverted personality will be the most successful in such a space, as determined by the architecture. Extroverts in this space can situate themselves among the crowd, find identity within the busyness, and develop competition with others. Their ability to easily communicate with others and adapt to work in flexible social spaces allows them to thrive when working in spaces such as this.

Architecture for Introverts Fortunately for the introvert, some workplaces began to challenge the open-office planning layouts, re-introducing divisions of space for employees to be more secluded and private, rather than exposed. The Centraal Beheer Office in Apeldoorn, Netherlands, was built in 1972 and designed by the Dutch architect, Herman Herzburger. The praise of this building is attributed to its dedication to worker conditions, where the architecture is focused on creating ample space for the worker, rather than planning for efficiency and

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economy. The Centraal Beheer office wanted to inspire workers to form small family-like bonds with their colleagues. This project signifies architecture’s function as a tool for manipulating occupant behaviour, amidst the extrovert ideal, and though this project seemingly works in favour of the introvert, it strengthens the binary of the extrovert and the introvert developing within capital.

Figure 1.6

Centraal Beheer Office Building in Apeldoorn Netherlands by Herman Herzburger, 1972.

Figure 1.7

Communal Platform Centraal Beheer Office Building, 1972.

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Figure 1.8

Interior Atrium in the Centraal Beheer Office Building, 1972.

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Figure 1.9

Illustration of social and workspace platform arrangements by Herman Herzburger in the Centraal Beheer Office Building, 1972.

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Architecturally, the building contrasts with projects of open office plans through its repetitive, small platforms. The platforms are designed for eight to ten employees and have an unfinished material quality that inspires workers to customize their platform to best accommodate the needs of their small group. Its building shell is used strategically to define, but not enclose, units of space to create a well-balanced combination of privacy and openness and each platform is accompanied with alcoves that occupy the corners of each platform. The alcove-like spaces support smaller, identifiable, and customizable spaces, that could accommodate either one to four individual workstations or designate a dining space and/or meeting room for the platform-family. Effectively, the planning of these spaces and the humanscale language of the architecture empowers introverted individuals in their work. For the introvert, this workplace potentially provides an ideal work environment. There is a clear ability for an employee to be valued as they work alone, or in a comfortable group, while remaining secluded from the entire office. As a result, there is less of a focus on the individual to represent and express themselves in a large social setting, rather the tiers of separation and seclusion in the planning inspires self-motivation and introverted growth. The employee can create a workplace that best suits their workstyle rather than conforming to the singular, uniform, and repetitive workstation that often dominates the workplaces of neoliberal, capitalist firms. These noted projects demonstrate the first phase of how the binary of introversion and extroversion has influenced architecture. They present an architecture that sees itself as being engaged with making a new world for the extrovert and the introvert person. Stemming from the revolution of industry and technology, architects working during this time would have picked up on the extrovert ideal, and subsequently designed buildings to appease it. Their buildings work as a tool for capital, and as architecture has proven, it will continue to pursue the task of creating spaces that harness certain behaviour types. As noted through the Centraal Beheer Office Building, some projects are challenging the extrovert normative of human standards. However, each project focuses on a human definition of extroversion and introversion and are referenced to illustrate the obvious relationship between social psychology and building making.

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Architecture’s Extrovert Ideal Throughout the twentieth century there was a shift from architecture being created for extroverts, to an architecture that wanted to be extroverted. Architects of post modernism desired to use their architecture as symbols of fame and fortune in the contemporary world, and to do so, the architecture itself needed to be extroverted. In its own unique way, architecture developed an extrovert ideal. An ideal that has redirected the motivation of design, and in turn the entire practice of architecture. Pier Vittorio Aureli, in The Possibility of An Absolute Architecture, begins to investigate this further.13 Aureli comments on the ideal capitalist vision of the city, a city that collapses the spheres of mobility, working, and living into one continuous plane of urbanization. To exaggerate this, Aureli references Hilberseimer’s Vertical City drawings for Berlin, and Archizoom’s Non Stop City. These drawings project the agenda of capitalism, where cities are no longer in need of political governance, but are becoming governed entirely by economy. In this reality, Aureli is concerned there may no longer be any place for architecture. In a context of pure, totalizing urbanization, there is no need to plan, design, and produce architecture. However, Aureli hopes that architecture has a place in this reality and arguably, so would most architects.

Figure 1.10

Non Stop City, Internal Landscapes, Archizoom, 1970.

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Figure 1.11

City of The Captive Globe by Rem Koolhaas and Madelon Vriesendorp, 1972.

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Therefore, as a method to justify architecture in the global narrative, Aureli references Rem Koolhaas’ and Madelon Vriesendorp’s City of The Captive Globe. Referencing the axonometric, Aureli concurs that for architecture to exist, it must monumentalize itself, using monumentation as a method of separating from the uniformity of urbanization, and to justify the act of, and existence of architecture. This architecture, now monuments, act as archipelagos that attempt to counter the sea of existing forces of economy, and the city.14 Evidently, for architects, and architecture, this suggested that to exist beyond uniformity, they must monumentalize, using the spectacle of the building to justify its presence within cities. This desire to monumentalize captivated Koolhaas in his practice of architecture and has evidently influenced the broader architectural profession. This is the foundation of architecture’s extrovert ideal. The desire for monumentation and architecture’s extrovert ideal became exacerbated by the spectacle of imagery. This will be explored through the rise of Playboy, the renowned career of Ezra Stoller, and the impact of imagery on an audience. In the 1960’s, architecture was eradicated by the production of Hugh Hefner’s Playboy magazine. Beyond the full spreads of nude women, Playboy included architectural writings, interviews, images, and plans. Due to the magazine’s exponential popularity, Playboy changed the diffusion of architecture, scattering a collection of buildings and architectural interviews throughout the modern world.15 As millions of copies continued to be sold monthly, the magazine became an unprecedented marketing device for tailors, car companies, and architecture. As Preciado states, Hugh Hefner became a pop-architect of himself, using the multimedia production company of Playboy to lead the transformation of architecture through media in the twentieth century.16 Playboy transformed the value of an image through the ability to profit from the imagery of the pornographic photo. In the modern world prior to Playboy, masturbation was considered to be a problem, as it was solitary, addictive, a world of fantasy – not reality, and non-productive. From the point of view of capital, masturbation was frowned upon because it was free. The creation of Playboy however modified this perspective, as it uncovered a way to profit from the addictiveness of masturbation and introduce it to the economy. Playboy became a necessity for the heterosexual male. Not only did he desire to consume the images of nude women, but he also desired the playboy lifestyle advertised in the magazine.17 The magazine used imagery

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Figure 1.12

The Playboy Townhouse. Concept published in the May 1962 issue of Playboy.

Figure 1.13

Pages from the “Designs for Living” article in July 1961 Playboy Magazine issue. 1.13 Men in Image: George Nelson, Edward Wormley, Eero Saarinen, Harry Bertoia, Charles Eames and Jens Risom

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of men in fashionable suits, cars, interiors, and architecture to convince the heterosexual male that the medium for achieving such a lifestyle was acquiring these clothes, cars, furniture, and homes. The house before Playboy was boring for the heterosexual man. The playboy lifestyle allowed the man to find control of the domestic once again.18 This fabricated persona in the Playboy magazine became a demanding desire for men, as the playboy was the ultimate man of the future, and in relation to the extrovert, the playboy became the preferred extroverted lifestyle. To continue entrancing the man that he needed to be a playboy, Playboy would advertise new erotic environments as an alternative to the suburban family home. The way to do this was, of course, through imagebased media. The images became a tool to convince the reader that what they saw was desirable and necessary to achieve the lifestyle of a playboy, a lifestyle that was considered necessary to be happy, successful, and a man of the future in post-war America. However, for many men, it could be claimed that to achieve being a playboy, it was easier for them to change their environments than themselves. To do this, they pursued the architecture that was advertised throughout the Playboy magazines, as it was perceived as the ticket to becoming a playboy. It was at this critical point, where the image of the architecture became desirable. This phenomenon had architects of the time, such as Gehry, Wright, Fuller, and Saarinen infatuated with creating architecture that was representative of this new, growing desire for erotic life. Images of their buildings, and themselves, were shown in the magazines and accordingly platformed these architects as social prestige, a status, and a symbol of fame – above the working class. Never had architecture found such success through imagery. People desired the architectural style that Gehry was producing but did not need to visit an actual building to experience it. This architecture became a non-physical embodiment of architecture, relying on the spectacle of the image to convey architectural talent, and therefore, demonstrate monumentalism. As Playboy exhibited the spectacle and monumental popularity of imagery, the power of images on architecture is most notably captured through the work of Ezra Stoller. “When you think of a famous building, you are often thinking of a famous photograph…”19 and, if you are thinking of a modern (American) building, eight out of ten times it is through the eyes of Ezra Stoller. Stoller, an American Architectural photographer, was cited in aiding the spread of the modern movement in architecture, and in 1961, his

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photography earned him the first recipient of a Gold Medal for Photography from the American Institute of Architecture.20 His quick rise to fame became so notable that a popular term, known as “Stollerized,” coined by architect Philip Johnson, was given to architects and buildings that found fame and admiration through the photos taken by Stoller. Evidently, Stoller not only influenced how buildings were seen, but how they were conceived. By evaluating Stoller’s 1942 photograph of the Chamberlain Cottage, designed by Walter Gropius and Marcel Breuer, it is cited that this photograph influenced the design of the Hancock Tower by Henry Cobb. “At first glance, there would seem to be nothing to find in that little house of Cobb’s signature masterpiece, the gracile glass skyscraper that still crowns Boston’s skyline and is the quintessence of what design historians call high modernism. But maybe there is everything of the Hancock Tower— conceivably filtered through an intervening thirty years of conscious and unconscious recollections and aspirations—in Stoller’s picture of the Chamberlain Cottage. Cobb’s tower is a slender, prismatic volume. Its floor plan is a narrow parallelogram. The same shape is found in the shadow cast by the cantilevered portion of the house against the stone foundation and the firewood below. Everything in both Stoller’s picture and Cobb’s tower resolves to contingencies of angular deflection and linear array.”21 This relationship between imagery and architecture is iconic in the process of design and production. It demonstrates the influence that imagery has and continues to have on architecture. Evidently, the rise of new media production mediums changed the relationship between the architect and their building. Before photography and lithography, the audience for architecture was the user. Now, in the rise of reproduction, taking off through Playboy and Stoller and accelerating through the digital age, the audience has become the image, the magazine, the tourist, the consumers of media. The observer now gives more meaning to the project than the user ever did. Architecture has transformed from a service for a user to an art object through the agency of the press.22 The criticism that Colomina points out is the relationship these reproductive medias have with the process of creating architecture and lead to the question: have these new

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Figure 1.14

Erza Stoller’s photograph of Walter Gropius and Marcel Breuer’s Chamberlain Cottage, Wayland, Massachusetts, 1942.

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forms of criticism influenced the way architecture is produced, marketed, distributed, and consumed? Yes. As Playboy, and the rise of architecture’s extrovert ideal proves, this excess of image-based consumption forced architecture to be produced so it would be desirable through the image. The image layout in Playboy identified a new form of image consumption practices that demonstrated an innovative relationship between image, pleasure, advertising, privacy, and the production of subjectivity.23 Therefore, the success of architecture became dependent on its ability to be desirable, and to be visually pleasing. The digital age has forced extroverted architecture to seek the image as its method of monumentalizing itself within the world. As a result, in a world of late-capital, architecture, even that of entire cities, now seeks to produce an image-based reaction through design. This image seeking phenomenon has been described as phantasmagoria. Lahiji uses the term phantasmagoria to describe imagery that is deceptive and designed to dazzle. She relates phantasmagoria to how media and technology have changed the way people use their senses. Due to our constant exposure to new visual content, our sight has become the leading sense of human experience, and capitalists have taken advantage of this.24 As noted through the development of Playboy, this dependence on visual sensory has come to control architecture. Lahiji refers to the term hyper-mediated city, to define how cities compete for iconic buildings that enhance their skyline image. New architecture is no more than an attraction on a map, a backdrop for media, and a marketable image. In the hyper-mediated city, architecture becomes phantasmagoria, it is designed to dazzle. Buildings are created for the here and now, they are an image for the moment, and designed in pursuit of the shock factor.25 As a result, much of contemporary architecture has become surficial, as new buildings ground themselves on their ability to push the boundaries of architecture in an attempt to pursue facadism. Through this desire for recognition, architecture has abandoned many fundamental principles of building making, the digital age of production and design has strengthened the extrovert ideal in architecture. Consequently, Extroverted Architecture has re-introduced a unique form of ornamentation into its design, one that works in favour of facadism and against traditional architectural practices. This technologically-driven ornamentation passes the material realm and is misidentified through the rise of digital mediums. This digital paradigm has enabled architecture to use the surface effects and dynamism of CAD

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Figure 1.15

Frank Gehry at 92 at his studio in Los Angeles. Walt Disney Concert Hall, 2003.

Figure 1.16

Bjarke Ingels. KING Toronto, 2022.

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and CAM to push the boundaries of form, materiality, scale, and presence in architecture. This new-age, digital-ornamentation, is architecture’s latest attempt to popularize architectural innovation. Ironically, the extrovert ideal has idolized this ornamentation as a necessity for architecture and design to be successful. This surficial style of architecture governed by the digital, has motivated the continued division of architecture, one that is extroverted, and an architecture that is of the other, introverted. As described, Playboy eradicated the practice of architecture and making an architecture that is replicable as a profitable image is now more important than making the building, itself. To succeed in the modern world of capital, it is essential for an Extrovert Architecture to distinguish itself as superior. To accomplish this, architecture has been forced to find new approaches to being gregarious in its design and its existence, exhausting the most fundamental principles of architecture to stand out, gain status, and remain popular. This desire for an architecture that could be extroverted transformed the way contemporary architecture was produced. Contemporary architects sought innovative and exciting strategies to popularize their own architectural styles. Frank Gehry, Daniel Libeskind, Renzo Piano, and architects alike have developed an architectural style that is recognizable through imagery. These architects created extroverted buildings to staple their names as pop-architects. As these architects developed a strategy for image producing design, it became evident that architecture developed its own extrovert ideal.

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Extrovert Architecture Equation

Extrovert Architecture = Desire to Produce an Image + Form Governed by Capital

Describing how extroversion in society has influenced the way spaces were designed is the obvious reality when discussing ‘introvert and extrovert’ architecture. However, the prior discussion reveals an architecture that is focused on the making of spaces for the extrovert, or the introvert, before it transitioned to an architecture focused on monument-making through imagery. As architecture begins to be defined as either extroverted or introverted, an extroverted architecture could be described as aggressive, confident, energetic, and presentable. However, as it desires to produce an image, there is a critical concern regarding the level of conceptual depth that extroverted architecture carries. Extrovert Architecture embodies a surficial experience. Its material, form, planning, and overall production are attempting to reproduce the most attractive and most interesting visuals of the building. This architecture disregards physical existence and often the building becomes disconnected from context, true representation of material, time, and occupancy. Additionally, Extrovert Architecture attempts to resist the formal governance of economy, to the degree that only architecture can exist within the space it occupies. Ironically, this act of rebelling supports the governance of economy, by using the architecture as a marketable object, and action of the architect. It is a product of economy through its effort to resist uniformity, by eradicating the spheres of mobility, living, working, and consumption while occupying space. Extrovert Architecture has projected outwards and abandoned the act of space making to house people and their belongings. It seeks to establish a relationship of dominance over its context, peers, and occupants. This has caused architecture to neglect the human, where the forms and the spaces occupied by people are a formal result governed by the spectacle and by economics.

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Endnotes

4 Susan Cain, Quiet: The Power of Introverts in a World that can’t Stop Talking (Crown Publishers, 2012), 21. 5

Cain, 21.

7 Pier Vittorio Aureli, “Form and labor: Toward a history of abstraction in architecture.” In The architect as worker: Immaterial labor, the creative class, and the politics of design (London: Bloomsbury, 2015), 103-113. 8

Cain, 42-55.

9 Peggy Deamer, ed. Architecture and Capitalism: 1845 to the Present (London: Taylor & Francis Group, 2013), 19-21. 10

Aureli 2015, 112-113.

Deamer, 21.

13 Pier Vittorio Aureli, The Possibility of An Absolute Architecture (Cambridge, MA: The MIT Press, 2011). 14

Aureli 2011, 21-26.

15 Paul Preciado, “Playboy Architecture: Performing Masculinity.” In Pornotopia (Zone Books, 2014), 15–28. 16

Preciado, 25-27.

Preciado, 22-23.

19 Thomas de Monchaux and Nikil Saval, “Ezra Stoller Turned Buildings into Monuments” (The New Yorker, 2019). 20

de Monchaux.

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22 Beatriz Colomina, “Architectureproduction.” In This is Not Architecture: Media Constructions, Ed. Kester Rattenbury (Routledge, 2002), 216-217. 23

Preciado, 25-27.

24 Nadir Lahiji, “Phantasmagoria and the Architecture of the Contemporary City.” In Architecture Media Politics Society 7, no. 4 (2015): 3. 25

Lahiji.

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Figure 2.1

Place, A Point of Introvert Architecture.

CHAPTER 2 THE INTROVERT ARCHITECTURE EQUATION

Absolute Architecture, A Foundation Currently, this thesis has developed a foundation of architecture’s extrovert ideal, grounded by its desire to monumentalize as a method to resist urban uniformity at the hands of capitalism. It is therefore necessary to return to Aureli, and his text, The Possibility of An Absolute Architecture, as it begins to build another foundation, one that begins to inform an Introvert Architecture. In response to architecture’s dire need for monumentation, Aureli also attempts to define an architecture opposite to this; an architecture that he calls ‘Absolute Architecture.’ For Aureli, an ‘absolute architecture’ does not desire monumentation, but rather, it is an architecture that proves its cruciality to the context of the city, where the architecture is superlative for the situation it is given.26 Aureli reflects on how the reality of capital is inescapable, and therefore architecture must operate within the governance of economy. It must subscribe to the spheres of mobility, living, and working, all of which influence the formal production of architecture. As a result, architecture has been reduced to the creation of planes of division.27 Aureli makes this paradigm evident through the architecture of Mies Van der Rohe, specifically the Seagram Building and the Toronto Dominion Centre. He claims that Mies’ architecture, as an absolute architecture, is not simply criticizing urbanization, but transforms urbanization into something graspable, a recognizable dimension that people can choose to accept or neglect. Mies’ architecture is essentially mimicking the continuous grid and uniformity of urbanization, but in doing so, is an act of profanation.28 The success of Mies’ architecture was dependent on the spaces’ ability to adhere to the spheres of economy, and evidently, its persistence to produce free open space allowed for it. Its

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empty plan, homogenous and stacked, accentuates the aura of urbanization. Urbanization is captured in the architecture, and therefore justifies the architecture. Ironically, the Seagram Building and the Toronto Dominion Centre demonstrate an architectural form entirely governed by economy, a key component of Extrovert Architecture. However, the value of Mies’ architecture is its ability to be alone, separated and against the condition of totalizing urbanization. This architecture suppresses monumentation through its form and appearance by accepting the continuous grid of uniformity to define its program. By doing so, the brilliance of architecture, and the exceptional embodiment of its craft, alone, justifies the role of architecture in urbanism. Aureli’s reflection of Mies’ architecture is indirect in extracting the basis for a foundation of Introvert Architecture. Though Mies’ buildings demonstrate an alternative role for architecture beyond monumentation, the space and form of the building remain a product of economy. Therefore, in this context, it cannot be characterized as extroverted or introverted. However, what is key toward the development of a foundation for Introvert Architecture is that Aureli believes Mies’ preoccupation with demonstrating a genuine practice of the craft of building making is the most effective way to justify architecture within capitals exhaustive uniformity. Mies’ projects challenge the relevance of architecture, the architecture is questioning why society has become comfortable with living in this condition of uniformity.29 The Ironically, Extrovert Architecture is a method of defense against this condition, but as it is becoming evidently clearer; like the human-based ideal of extroversion, architecture’s own extrovert ideal also appears as a normative standard of practice. The foundation, therefore, for Introvert Architecture, is to demonstrate an architecture that separates itself from the conditions of uniformity but does so in a way that contrasts itself from the normative way of living in capital and presents an alternative solution to this, one that is not extroverted.

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Introvert Architecture, An Investigation In pursuing the equation of an Introvert Architecture, it was important to build upon the foundation established through Aureli, by investigating existing projects that embody the psychological description of the introvert. According to Susan Cain, introverts prefer quiet, minimally stimulating environments, and are thoughtful and cautious in their actions. It can be assumed their every action is thought through, entirely. From this, a clearer architectural style reveals itself, one that could be considered minimal, or formally quiet, and thoughtful through its design moves and acts of construction. Introverts are also reticent and may resist readily revealing their true talents, suggesting one must become familiar with introverts before understanding their true emotions. Again, architecture can also play this role, by requiring the architecture to form a relationship with its occupants and objects. It does not reveal its true talents from afar, but must be experienced, moved through, lived in. The occupant and the time they spend in the architecture is what demonstrates the architecture’s brilliance. To formulate an identity of an introvert-defined architecture, a selection of built projects by Alvaro Siza, Luis Barragán, and Adolf Loos were examined as each share a similar architectural language that reflects this introvert definition. Alvaro Siza’s Chinese Academy of Art in Hangzhou, China and Capela Do Monte, the chapel in Lue, Portugal, are both driven to be intimate and introspective buildings. Though both buildings serve as public programs, they are notably quiet and self-reflective spaces, a gallery and a chapel. The architecture and planning effectively reflect these behaviors within its walls. In the Chinese Academy of Art, the architecture is organized to provide optimal focus on the contents of the gallery. The building avoids creating distraction from the art, as the minimal outdoor connections and the curated movement from one space to another idolizes self-reflection and individual experience, encouraging one to be with the artwork and similarly, in the Capela Do Monte, to be one with God. Each of these projects by Siza share a strong minimalistic approach to their representation. Their respected use of materials is simple, recognizable, and precise in their application, as neither demonstrate unconventional, ornamental, or false representations of the material.

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The Barragán House and Studio by Luis Barragán in Mexico City, Mexico, is also investigated as an example of the introverted architectural style. Notably, from the exterior, the house looks like any other in the neighborhood, seamlessly blending in with its surroundings. The solid, banal, and homogenized street facade is finished with a uniform gray-stucco and populated with slightly random facade openings. There is no intention to stimulate its neighbourhood context. Upon entering the house and studio, one is introduced to a range of abstract spaces and a landscaped oasis. The building reveals its true beauty on the interior, sheltered by the exterior wall. Critically, the building does not seek to be a symbol of status among its built peers, nor does it use architecture expressively on its exterior. The building is focused inwards, dedicating itself to the user, and to creating space that best fits the desires of the inhabitants. In relation to psychological introversion, the Barragán House and Studio sacrifices exterior expression, to focus on the well-being of the interior spaces. As an introvert, the planning becomes exceptional for private and secluded personal expression. Comparatively, the Villa Müller by Adolf Loos in Prague, Czech Republic, follows a similar introverted attitude as the Barragán House and Studio. In this project, the interior spaces of the home are organized to provide a range of large and small spaces. The interior provides flexibility for different types of programmatic use and personality types. In an effort to categorize these projects, their demand for occupant relationships, and their private, minimal, sublime, and modern architectural styles symbolize an introverted architectural style.

Figure 2.2

Chinese Academy of Art, Hangzhou, China, by Álvaro Siza Vieira, 2018.

Figure 2.3

Capela Do Monte, Lue, Portugal, by Álvaro Siza Vieira, 2018.

Figure 2.4

Casa Luis Barragán in Mexico City, Mexico, by Lois Barragán, 1948.

Figure 2.5

Villa Müller in Prague-Střešovice, Czech Republic by Aldolf Loos, 1930. 2.2 - 2.5 Completed projects by Álvaro Siza Vieira, Lois Barragán and Aldolf Loos used to visualize properties of an Introvert Architecture.

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Dwelling As a foundation of Introvert Architecture prevails through the noted case studies, it becomes apparent that the definition of ‘dwelling,’ by German philosopher, Martin Heidegger, informs the current understanding of this conceptualization. In the essay, ‘Building Dwelling Thinking,’ Heidegger claims that the modern world has played a significant role in severing the relationship between building and dwelling. It could be assumed that this is an outcome of an extrovert ideal in architecture developing in a world of urban uniformity. Heidegger questions the connection between building and dwelling, and what it means to ‘dwell.’ As a simplistic, and rather obvious statement, Heidegger prompts the argument that a structure is essentially designed for a man’s dwelling, but not all buildings are designed for dwelling, i.e., offices, factories, etc.30 To understand this further, Heidegger explains two critical questions. First, ‘what is it to dwell?’ Second, ‘in what way does building belong to dwelling?’ The first question, ‘what is it to dwell?’ prompts the investigation of the origin and meaning of the word ‘dwell.’ He positions the term ‘dwell’ by stating that the art of building, in an effort to remain, and to be at peace, is ultimately, ‘dwelling.’ Humans, or ‘mortals,’ as used by Heidegger, dwell by building a space to preserve and protect their mortal selves. Moreover, Heidegger explains that ‘dwelling’ unites the fourfold of existence: Earth, Sky, Mortals, and Divinities. Heidegger argues that the true and genuine act of building, and the desire to dwell is the act of “sparing the earth” and maintaining it’s true nature without exploitation. This is done by protecting mortal beings, saving the earth from spoliation, accepting the sky as sky, and understanding divinities as divinities.31 In the second question posed by Heidegger, ‘in what way does building belong to dwelling?,’ Heidegger comments on the relations of ‘location and space’ and ‘man and space.’ For a dwelling, in true sincerity to the term, its spaces, size, orientation and the form of the building are reflective of the location and the properties of the fourfold. Additionally, the identity of the space is then determined through the thing that the building is for, being, man. Its programs, use, and extended function are to uphold the desires of a mortal and respect his divinities and would therefore be reflected in the dwelling.32 Introvert Architecture, as a building, should pay respect to the act of dwelling.

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Heidegger’s concept of ‘dwelling’ demonstrates that the built form must be reflective of its relationship with the fourfold. To follow the act of dwelling, architecture should seek to respect, listen to, and build relationships with its contexts, actors, and objects, which are mortals (occupants), sky and earth (site), and divinities (identity and use of space). For Extrovert Architecture, the building would likely establish a relationship of dominance over these actors and ultimately use the built form to control or disregard the actors. However, in respect to ‘dwelling,’ the relationship that a building creates with the fourfold should inspire a certain feeling of hope. An Introvert Architecture that upholds this perspective can move beyond monumentation, as well as stand opposite to Extrovert Architecture. It should be stated that architecture’s need to build relations with the fourfold: man, site, and identity of space, is a prerequisite for Introvert Architecture. Like the introverted person, Introvert Architecture is thoughtful and contemplative in each decision and action to ensure cognizance of and respect for its occupants, site, and the identity and use of space. In doing so, the architecture is building relationships with other actors and honouring them by allowing their influence in the decision-making process of design.

Five Points of Introvert Architecture Drawn from the current understanding of an Introvert Architecture, the following section will attempt to outline a series of unique principles. Each of these principles will seek to demonstrate a specific function of Introvert Architecture and its role in producing a building as a dwelling. Earth, Sky, Mortals, and Divinities, the fourfold as described by Heidegger, acted as the basis for the following five points, and were considered important attributes that greatly influence each of the principles of Introvert Architecture. Moreover, as this thesis has suggested, buildings that exemplify the extrovert ideal are solely focused on the most attractive and most interesting fragments of the architecture, they seek to produce a replicable image. They fail to demonstrate how the building operates, which abandons the very nature of a building’s purpose. These principles will also highlight Introvert Architecture’s ability to resist monumentation and the reduction to an image, in contrast to architecture’s extrovert ideal. The discussion around each principle will be this thesis’ first attempt to classify strategies on producing an Introvert Architecture.

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These principles follow the ‘five points’ style as used by Le Corbusier in his manifesto of a ‘Five Points of Architecture.’ Distinctively, these principles are being labeled as a ‘Five Points of Introvert Architecture’.

Five Points of Introvert Architecture:

Constructed – The architecture rejects totalization. Its realization is curated through the coming together of space, material, time, and object.

Place - The architecture is shaped by its surroundings. There is a desire to be sublime and unthreatening to its environment.

Void - The architecture desires volume. It desires to be the creation of space over the creation of the partition. It rejects facadism.

Occupancy - The architecture is dependent on occupancy. Only by dwelling in the architecture can one truly appreciate the architecture.

Time - The architecture is not static. It exists within time, containing stories, energy, sound, shadow, and environment.

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Constructed

Constructed – The architecture rejects totalization. Its realization is curated through the coming together of space, material, time, and object.

The extrovert ideal has pushed architecture to crave monumentation. There is no longer any desire to develop a deeply conceptual design. The architecture is simple, recognizable through its insistence to be an icon. Introvert Architecture, however, rejects the icon, as it cannot be summed up into an instance. This is a result of Introvert Architecture’s critical relationship between space, material, detail, object, and time. None of these entities can act as a sole identity for the architecture and can therefore not be reduced to resemble a building in its totality. Introvert Architecture is developed through an overlapping relationship with each of these entities, a collective that when put together starts to form an identity of the architecture. It has a dependency on being experienced by an occupant, as the coming together of elements serves as a catalyst for an individual’s consciousness to bring a distinctive meaning to their experience of physical space. The architecture would resist the totalizing effects of any singular image, as there is no possibility to totalize the complexities of relationships in the assembly of Introvert Architecture. The Bruder Klaus Field Chapel by Peter Zumthor demonstrates an architecture that resists totalization. No singular perspective can simplify this building into a replicable experience. From the physical approach through the field, the story of materiality, to the relationship of the oculus and the sun throughout the day, it is a network of factors that work together to create a collective experience of the architecture. However, due to the dynamics of the factors participating in the design, such as the sun, the approach, and the occupants’ own divinities, this project continues to develop unique and complex experiences that are unable to be reproduced and are internal to the architecture. Both the experiences and the complexities of how material, history, context, and faith come together in a building are critical to the architecture, its story, and the people who visit it. Every factor of the project is critical to the overall understanding of the architecture, they cannot be separated or summarized.

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Figure 2.7

Peter Zumthor’s Bruder Klaus Field Chapel, 2007.

Figure 2.6 (Left)

Constructed, A Point of Introvert Architecture.

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Place

Place - The architecture is shaped by its surroundings. There is a desire to be sublime and unthreatening to its environment.

The Extrovert Ideal has forced architecture to become obtrusive, as a method to stand out in its context. An Extrovert Architecture does not require a site to decide on its design or planning. It is independent from external factors and desires to be represented as such. On occasions, an Extrovert Architecture will use its context as a method to compliment or contrast itself, as this has become a popular method to strengthen the image of the architecture. As developed through the concept of ‘Dwell,’ Introvert Architecture desires to avoid being obtrusive in its environment and surroundings. Architecturally, this suggests that it need not take control over its place, as it uses the context to make decisions. This may suggest an architectural relationship between the land it rests on, or the atmosphere it exists within. The place it resides will influence design, planning, material, and construction. Saya Park by Alvaro Siza and Carlos Castanheira effectively demonstrate this principle of ‘place.’ The project consists of a collection of structures that are born out of their site. Adapting their form, program, and construction to harness all aspects of the gentle woodland mountains of South Korea. Though the structures are constructed with concrete, a nonnative material, the use of the material was chosen to allow the architecture to take on the natural lay of the land. The concrete, although a rough and hard material, is able to demonstrate a form that is gentle and reflective of the hillside it is built on. It becomes reflective of the grittiness and elegance of the surrounding landscape. The architecture works to compliment the sunlight, the shadows it casts, and the seasons that pass through the mountains. The architecture desires nothing more than to exist within the land and its context. An architecture that cannot be replicated, as it is inseparable from its context.

Figure 2.8

Place, A Point of Introvert Architecture.

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Figure 2.9

Saya Park by Alvaro Siza and Carlos Castanheira, 2018.

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Void

Void - The architecture desires volume. It desires to be the creation of space over the creation of the partition. It rejects facadism.

Extrovert Architecture often disregards space. It focuses on the way spaces are outlined and divided. As space is often associated as void, or emptiness, an Extrovert Architecture focuses on the production of boundaries. The partitions and the facades become dominant in the architecture, and therefore become the defining factor that monumentalizes the building. This is evidently clear in the architecture of Frank Gehry and Jakob + MacFarlane, as many of their most notable works clearly demonstrate how void space has been objectified through the façade. The spaces of their projects only exist as products of the partition, and the envelope, and become excuses for public displays of architectural talent. Unfortunately, the likeliness of this architectural talent has enabled these buildings to disguise spatial quality behind the uniqueness or attractiveness of a partition. The extrovert ideal has caused architecture to lose touch with the practice of creating space. Buildings are being designed through walls rather than through spaces defined by experience and occupancy. Though an Extrovert Architecture may produce a ‘brilliant’ space, its focus is not on how the space is occupied, but rather how it becomes the attention of the architecture. Introvert Architecture does the opposite. It desires to create space, focusing on scale, function, emotion, and levels of intimacy. It uses architecture to produce a spatial environment for its occupants, and therefore, the way the spaces are divided and bounded are products of the void. The Chichu Art Museum by Tadao Ando is a prime example of the power that space has in architecture. The project consists of a series of void spaces that create a curatorial experience of the overall gallery. The architecture does very little to distract from the presence of the void, using them to evoke emotion and reaction in its visitors. Additionally, the materiality, the distinction of openings for movement, and the positioning of light and shadow, are fundamental tools used by the architecture throughout the building to empower the voids. There is a purity in the way the building becomes a backdrop for both the voids and the interior spaces. Though some of the voids are grandiose in scale and emotion, not one void begins to define

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the project, as so evidently seen in Extrovert Architecture. Often, Extrovert Architecture will attempt to create a space that overtly tries to embody the full story of the project, potentially resulting in other areas being neglected or forgotten in the architecture. The Chichu Art Museum, on the other hand, effectively generates a unique language for each void, by considering how each space is telling its own story and using the architecture uniquely to do so.

Figure 2.11

The Chichu Art Museum by Tadao Ando, 2004.

Figure 2.10 (Left)

Void, A Point of Introvert Architecture.

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Occupancy

Occupancy - The architecture is dependent on occupancy. Only by dwelling in the architecture can one truly appreciate the architecture.

(Visualized through Absalon’s Cell + Robert Bray Playboy Penthouse) As a critique of extroverted architecture, there is often an absence of the human in the monumentalized image. Frequently, Extrovert Architecture disregards the person in its representations, as the human body is often deemed as a distraction to the attractiveness of the architecture, and the objects within it. Returning to the dialogue of Playboy, many of the featured architectural images included drawings by Robert Bray, who designed a series of rooms titled, ‘Six Designs for A Playboy Penthouse Pad.’ In one of the drawings there is a description as follows, “‘you are standing in the foyer of our duplex penthouse, looking toward the living-room area …. In front of the fireplace wall are leather Domino Chairs; behind them, a multipaneled abrasion proof painting covers an array of audio and video equipage’.”33 Even through the description, the reader of the magazine is forced to admire the architecture, guided to certain furnishings, objects, and artworks. Neither the drawing, nor the description seeks to describe how people would occupy the space. This is because the drawings of the rooms are not a representation of one’s life, they neglect life and the one who would move through, react to, and develop emotions within the architecture. The image here is used to exhibit an architecture that is attractive. The use of the word ‘our’ in the description of the image, “you are standing in the foyer of our duplex penthouse…”34 suggests that this architecture has been claimed by Playboy and Bray. They produce these images of this extroverted architecture because they desire the attention the image provides. By avoiding placing people living in these spaces, Bray himself, can remain desirable through his own architecture. Once a person occupies the space, no longer is the architecture desirable, but the occupant is desirable, as they are who claims ownership of that space. For an architect producing an Extrovert Architecture, and therefore producing images to monumentalize it, it is expected to disregard

Figure 2.12

Occupancy, A Point of Introvert Architecture. Visualized through Absalon’s Cell.

Figure 2.13

Occupancy, A Point of Introvert Architecture. Visualized through Robert Bray’s Playboy Penthouse.

INTROVERT ARCHITECTURE

Figure 2.14

Two Drawings from “Six Designs for a Playboy Penthouse Pad” by Robert Bray in Playboy, 1940.

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the occupant and keep the attention focused on the architecture, and subsequently, the architect. While the architecture of the extrovert ideal has continued, architects and architecture persistently desire to bring attention to themselves. Unfortunately, people, their movement, their lifestyles, and their emotions do not change the outcome of the architecture. This not only has influenced the representations of architecture, but also the design and construction of it. In architecture’s extrovert ideal, the disconnect between building and dwelling becomes more obvious. For Introvert Architecture, the intention is to harness the occupant, and build a relationship with their actions and emotions. As stated by the principle of ‘place,’ the Introvert Architecture is a product of its surroundings. This is also evident in the principle of ‘occupancy.’ Here, the architecture is a product of how it is to be used and occupied. The person shapes the space, as the space is simply for the person, not for the architecture. Though architecture may act as an enabler or disabler of occupancy, Introvert Architecture wants to ensure functionality, and avert distractions from usability. It is simple in the means of program, where the architecture works exclusively for the way an occupant wished to use a space. Here, the desires of the mortal, as used by Heidegger, become clear, as their lives and aspirations should build the spaces they occupy. The two examples chosen to demonstrate this point were selected to show the contrast between extroverted and introverted architecture. Both were chosen as rooms, as the room is the most obvious form of architecture.35 As the room becomes a tool to define the role a person has within a space, these drawings attempt to show how the room is ultimately a backdrop to the person when their occupancy is considered the forefront of an architecture’s experience. Even in the most opposite of rooms, Absalon’s Cell and a derivative of Robert Bray’s Playboy Penthouse Pad, the room, or the architecture, is ultimately a product of the occupant. In an Introvert Architecture, there is a desire to ensure that the room responds to and works for those who use it. It should not disregard movement, emotion, and lifestyle, rather each of these become fundamental in the creation of an Introvert Architecture.

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Time

Time - The architecture is not static. It exists within time, containing stories, energy, sound, shadow, and environment.

Time is a unique and fundamental principle of Introvert Architecture. Time harnesses each of the previous four points, as it is connected to each in a unique manner. Time affects material through history and lifespan. It exists a part of site and place, being an ever changing, growing, and dying entity consuming the architecture. Time is a dependent of space and void, as the analog relationship that the architecture has with time should be considered in the creation of space. Last, occupancy is a product of time, where the processes of life, and person-architecture relationships can only occur through time. Introvert Architecture recognizes that it is a part of time, and it cannot isolate from it. Time will affect its design and its existence. The extrovert ideal has disconnected architecture from time. Notably, the introduction of the image has isolated architecture from time, as the image, itself, is independent from time. Increasingly, architecture has been at the mercy of planned obsolescence.36 New architecture is being designed with an expiry date, as buildings are being forced to conform to the unstable rise and fall of popular design trends. There are architectural discoveries and fads that tend to sweep through architecture every few years, causing an altercation with everything in practice, from the building itself, to the way it is being produced through drawing. This ‘popular architecture’ that is often delivered by ‘starchitects’ continue to produce an architecture that egotistically seeks to discredit all architecture before it. This escalates an architecture’s extrovert ideal, as it forces cities to constantly rebuild, in search of their own icon of popular architecture. Introvert Architecture embraces time. It is an architecture that desires to be a part of time, embracing changes in human-architecture relationships. It understands material decay, weathering, and the grievances through occupancy. It creates a relationship between time on all scales, daily and yearly cycles, as well as generational cycles. Figure 2.15

Time, A Point of Introvert Architecture.

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Five Point Conclusion As developed by the Five Points of Introvert Architecture, it appears that there is a binding relationship that context has with architecture’s ability to be introverted. ‘Context’ in this case, used as a noun that encapsulates the fourfold, and the ‘Five Points,’ all of which are essential in the development of Introvert Architecture. For Introvert Architecture, form cannot exist without context, and context cannot exist without form. An Introvert Architecture demonstrates the importance of cultural backstories and critical theory in how buildings are designed and constructed. There is honesty and genuine concern for the material being used and how it is being crafted. There becomes an intense treatment of even the simplest objective, as they become so critically studied and analyzed as integral to the making of the overall architecture. The process of design and construction is not influenced by the image, nor influenced by its ability to distinguish itself. Rather, the architecture places a critical focus on the ‘objects’ of the architecture, where the relationship an Introvert Architecture builds with ‘objects’ is a necessity of design. The Introvert Architecture becomes background to the craft, to its environment, and to its operation. It is sublime in the essence of presence and is opposite to extroversion. Additionally, the power in introverted buildings must be rooted in their introspective design, focus on human-scale, and genuine care for the ability of individuals to live the way they choose.

Introvert Architecture Equation

Introvert Architecture = Desire to Build Relations + Form Governed by Context

An Introvert Architecture is reflective of a genuine practice, it is not born from a desire for accolades, attention, or status. It seeks to simply be. To be built from its physical existence, users, site, environment, socioeconomics and occupants. It is not vain, but it can still be beautiful. Introvert Architecture exists within the context of economy, but it does not desire distinguishment. It may operate in or separate from the uniformity of urbanization but has no dependency on such. The attempt to use forms and spectacular expressions

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like Extrovert Architecture is not justified through the image but can only be justified through context and relations. Introvert Architecture is calm, gentle, and reflective. It is interior, not in the respects of interior or exterior space, rather, it is internal to the context it resides. There is no intention to engage beyond its interior actors. As an extroverted building would likely establish a relationship of dominance, an introvert building would carefully examine its actors and be reflective of the intimate relationships it creates with them.

Endnotes

26 Pier Vittorio Aureli, The Possibility of An Absolute Architecture (Cambridge, MA: The MIT Press, 2011), 45. 27

Aureli 2011, 16.

Aureli 2011, 35-44.

30 Martin Heidegger and Albert Hofstadter, “Building Dwelling Thinking.” In Poetry, Language, Thought (New York, NY: Harper Perennial Modern Thought, 1971). 31

Heidegger.

33 Robert Bray, “Six Designs for A Playboy Penthouse Pad.” In Playboy January 1970. Accessed August 26, 2021. https://drawingmatter.org/robert-bray-six-de signs-for-a-playboy-penthouse-pad/. 34

Bray.

35 Dogma, The Room of One’s Own: the Architecture of the (Private Room) (Milano: Black Square, 2017). 36 Daniel Abramson, Obsolescence: An architectural history (Chicago, IL: The University of Chicago Press, 2016).

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Figure 3.1

Context, Human, and Dwelling.

CHAPTER 3 ALLAN GARDENS TEMPORARY EXHIBITION MUSEUM

Context, Human, and Dwelling The Resting Station was an early design exercise that evaluated Introvert Architecture and its relationship to people and context, based on the Introvert Architecture Equation. The goal of the design was to create a ‘project’ that had a simple program and used the definition of an introverted person to help influence the design of the architecture, creating a resting station suitable for introverted people. Moreover, the project was placed on a simplified landscape, so it did not compete with the architecture. The decision for the simplified parameters was to focus directly on the architecture’s relationship to people and land, with minimal distractions. Through the process of this design charrette, the first notable obstacle of an Introvert Architecture was its form. As noticed early on, the minimal site and program posed a challenge to the formal development of the architecture. Other than an arbitrary path placed alongside the project site, no other factors contributed toward formal decisions. Initially, the project began as individual segments that were similar in form but were separated to create distance between the people occupying the architecture. The thought behind this was in respect to an introvert’s intention to be evasive. At first pass, the building, the Resting Station, should be minimal, self-effacing, and simple, as if it only served to provide a sheltered bench for one person or a small group. However, it appeared that the collection of isolated objects in an open space resulted in bringing more attention to the architecture and the people who occupied it. Therefore, it was apparent that the architecture’s scale needed to be large enough that the introverted person could occupy the space, but not be framed by it.

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This resulted in the architecture taking on a seemingly random formal arrangement. However, the logic for this arrangement fell back on the spatial experience of an introverted person. The dynamic placement was to use the architecture to draw attention away from the individual. As learned through projects such as the Centraal Beheer Building, for an introvert, they want to exist within an environment, separated from people, but not isolated so much that they become identifiable as alone or standing out. The occupant can feel concealed within the architecture, while simultaneously existing among a variety of people who use it, through observation. Therefore, the architecture attempts to create an environment that allows a person to situate themselves freely within it. The openness and randomness prevent definable areas in the architecture, which results in no location, or person, being spotlighted by the building. Additionally, its simple form, materiality, and construction work to bring little attention to the building, it simply exists in a most basic form and expression. The act of being simple in form, materiality, and construction, is necessary for an Introvert Architecture. However, it was clear that a genuine development of an Introvert Architecture requires more contextual, programmatic, and human influences to be designed, appropriately. Therefore, this informs the next strategy of research on an Introvert Architecture. An approach that occurs alongside the development of ‘relations’ and the reevaluation of the ‘Five Points of Introvert Architecture.’ It considers how an architecture that desires no monumentation or recognition, makes formal decisions based solely on context, program, and people.

Figure 3.2

Plan, Resting Station.

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Figure 3.3

Axonometric, Resting Station.

Figure 3.4

Perspective, Resting Station.

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Museum Typology The Resting Station design charrette demonstrated an architecture that did not require a context, program, and a relationship with people to exist. Though it was an abstracted attempt to draw an Introvert Architecture, it demonstrated how an architecture that was considered introverted required a deeper connection to real, physical, and social factors. Introvert Architecture cannot exist separate from these factors, because a project without them is not far from a monument and therefore could not be distinguished from an extroverted identity. To be able to support and critique an Introvert Architecture, and the Introvert Equation, these concepts must be applied in a design project that grounds the design, and its research, in a real, practical setting. A setting that carries the realities of building in a contemporary environment and shares similar challenges that many existing (extrovert) projects have faced in the past, and present. This allows the Introvert Architecture to exist within a prospectively real context, with a real program, and with real occupants. Factors that are seemingly essential to the understanding and creation of a genuine Introvert Architecture. To strengthen the discussion of the extrovert ideal in architecture and therefore, an Introvert Architecture study, the conversation of architecture as a broad range of building types has been narrowed down to the museum typology. The museum has remained an iconic building typology, as well as a prominent contributor to architectural conservation throughout history. As this thesis has outlined, architecture has succumbed to its own extrovert ideal, where the museum is no exception. Many museums erected from late modernism to present times could easily be classified as Extrovert Architecture. As museums seek to remain relevant in the contemporary context, they have begun to adapt image-centered operations and therefore, their architecture has become reflective of such. Unfortunately, this adoption has led to museums becoming less didactic. The extroverted museum promotes an architecture driven by visuals and allows the architect to focus on making an iconic building to match the visually stunning, fast-paced, marketable space that capitalism promotes. As expressed by Macleod, a reoccurring criticism of many new and renewed museums is that the vision and desire of the architect to create a signature building has completely overshadowed the needs and aims of the traditional museum.37 While some of these buildings may succeed as icons and cultural landmarks, they often

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do so without achieving the levels of accessibility, usability, and relevance for both visitors and staff, promised during their conception. Macleod continues to state, “iconic buildings can compound the separation between the building, its contents, and its context, assuring the persistence of a rather limited and partial understanding of architecture as the aesthetic outcome and privileged activity of the architect…” which is “…a view that ignores the complexity and difficulty of any architectural project.”38 This demonstrates that architects feel an immense need to create architectural symbols and icons, rather than addressing the contexts of the museum. Furthermore, Macleod reaffirms how museums often desire to be portrayed as architecture existing in its purest form, before the communities of use move in. This has led to architectural histories privileging the museum as an architectural object above all else.39 Therefore, recognized as often drawing mass appeal and admiration, buildings such as Frank Gehry’s Guggenheim Bilbao and Libeskind’s Jewish Museum in Berlin, work against the other agendas of the museum. Confirming to the broad public that museums, and their inherent programming, are not for them.40 Even in Toronto’s Royal Ontario Museum, the renovation by Daniel Libeskind, Studio Libeskind describes the building as “a structure of organically interlocking prismatic forms turning this important corner of Toronto, and the entire museum complex into a luminous beacon… The design succeeds at inviting glimpses up, down, and into the galleries… (The Crystal) transformed the ROM’s fortress-like character, turning it into an inspired atmosphere dedicated to the resurgence of the museum as the dynamic center of Toronto.”41 It is apparent that Libeskind’s facelift of the ROM was motivated by the buildings need to be an icon, or a ‘luminous beacon,’ as if the museum culture in Toronto would suffer if the project took a non-extroverted approach. Like many other museums, the ROM became a success story for Toronto, it’s tourism and museum attendance, platforming its success on its monumentalism. Unfortunately, this project disregards the complexity and difficulties that should be a part of a museum design project. On its interior, the spaces offered to the museum exhibition by the Crystal expansion fail to offer the museum any effective didactic or curatorial experiences. Its organization is confusing, and it forces people, as well as the art, to yield to the physical boundaries of The Crystal. The architecture removes agency from the art, artists, and its visitors.

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Critically, the museum typology, and inherently, the ROM, is challenged by its desire for monumentation. An issue that Macleod highlights in her statement about museums is that they are “…consciously recognized as drivers for social and economic regeneration, the architecture of the museum has developed from traditional forms into often-spectacular one-off statements and architectural visions.”42 There is an apparent tension between the spectacular space of distraction and functional curation in recently built and renewed museums, where acts of Extrovert Architecture are at play.

Figure 3.5

Toronto’s Royal Ontario Museum, Michael Lee-Chin Crystal extension by Studio Libeskind, 2007.

In contrast to the extrovert ideal of museum architecture, the museum carries a rather introspective identity. An identity that introduces introversion as not only a social and human-based function, but also an architectural action. The museum, defined as Mouseion, (muse-ion): A seat of the muses - A philosophical institution or place of contemplation, inherently reflects a set of actions that are illustrative of introverted behaviours. To contemplate

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and to think, a highly intrapersonal action, involving only oneself. To sit and watch, feel, and to listen, each being a process guided by oneself. These actions and behaviours are attached to the definition of the museum, while simultaneously connected to the definition of the intrapersonal actions. The museum, in this sense, should uphold its own meaning, being a place that facilitates contemplation, and intrapersonal action. A space that allows the visitor to control their own experience and have their own thoughts. Unfortunately, museums of Extrovert Architecture, like the ROM, struggle to uphold their own definition, as they use architecture to control experience, thoughts, and remove all efforts to offer space for contemplation. These museums take agency away from their objects: art, artists, visitors, and site, as they attempt to assimilate all art, and curatorial experiences. The introvert museum should give agency back to the objects that reside as part of the building. Allowing artists to display their art in their own way, rather than being forced to innovate curatorially when their practice exceeds the capacities of the existing curatorial structures of the museum. This allows art to remain ‘lively,’ a term used by Muller and Langill, to describe that objects (art) speak, offers suggestions, make demands, and pose problems. Unfortunately, these ‘lively’ objects and their physical processes, obscure impacts, and entanglements with other actors are being endangered by the curatorial restrictions posed by modern museum architecture.43 They assume that all art is to be received the same way. Therefore, a museum of Introvert Architecture should act in a way that services its own meaning. Using architecture as a tool that facilitates not only the display and didactic experience of the objects in the museum, but also supports the harmonious act of contemplation, curation, and reflection for the people who move through it. The museum typology has an inherent connection with the contents of this thesis and therefore, is selected as the program for the final design project, and the topic of discussion for architecture through the lens of the Extrovert and Introvert Architecture Equations.

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Project Narrative To ensure the design project could impose existing influences and challenges, the site and program were chosen because they offer a real context, program, and occupants. Allan Gardens, a park located in downtown Toronto, has been challenged by Toronto’s continued development, and struggles to stay relevant in the city’s robust, new urban life. The design project stems from a call for action outlined in a public document released by Allan Gardens in the wake of Toronto’s accelerating modernization. The document outlines an extensive list of upgrades and transformations that are needed for this iconic parcel of land to continue to engage with Toronto’s modernizing landscape. The Refresh document highlights the park as a location that has always engaged with local and international communities. A place where neighbouring residents and tourists come together to the shifting identities of Allan Gardens. Historically, the park has acted as a place for community expression, giving voices to many of the marginalized communities that contribute to Toronto’s overall identity. It is a place to gather, to perform and share, a place of refuge, a place for play and for education. The park is a multifaceted actor in Toronto, it is free and flexible, which is an attribute the community hopes to maintain.44 Preserving its excellence to ensure everyone continues to feel welcomed by the park and the people who share its spaces. To improve Allan Gardens, the Refresh document calls for a building that can continue to promote, respect, and provide for the communities of the park. The proposed building should foster relationship building between people and nature. It should respect the existing heritage and natural sites and uphold the parks social functions. Moreso, the building should provide an extension of the neighbourhood, while simultaneously being a landmark destination for Toronto. These requirements serve as the drivers of the design project. To keep in mind, the project’s primary function is to serve as a museum. Therefore, the project will offer a museum-based program that upholds the requests of the Refresh document. Aspiring to build a relationship with Allan Garden’s context, its community, Toronto, and its visitors. As a method to ensure that the proposed building, and the design process reflects the discussion of Introvert Architecture, the program and role of the building is to serve as a temporary-exhibition museum for Allan Gardens. This decision was made to ensure that the dialogue regarding the programmatic function of the museum did not outperform the reality of this design project. Avoiding the production of a museum that represented a

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Figure 3.6

Aerial of the Palm House, looking west.

Figure 3.7

View of the Children’s Conservatory. Northernmost greenhouse of the Conservatory.

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horticultural, aboriginal, or queer identity was a tactical decision to ensure the design project would continue to address the topic of Introvert Architecture, and its relationship to the processes of design, building, and documentation. The project’s non-defined identity allows the building to serve as a temporal exhibition space, free from the programmatic constraints that may follow a study of colonial horticulture, or aboriginal architecture, for example. This reserves the building’s capabilities to assume shifting identities, much like the way Allan Gardens embraces its own identity. To preface the design project, the architecture has been developed through the attributes and variables that have built up the Introvert Architecture Equation: the desire to build relations + form governed by context. It desires to be built from its context’s physical existence, users, site, environment, socioeconomics, and occupants. To better describe the design process, the project embodies the Five Points of Introvert Architecture, which have been used in the development of the Introvert Architecture Equation. The Five Points: place, occupancy, constructed, time, and void, work collectively to inform design decisions, and building functions. Additionally, the project strives to construct intimate relationships between the architecture, its actors and objects: site, art, artists, and visitors.

Design Project The Allan Gardens Temporary Exhibition Museum (The Museum) offers new and enhanced exhibition, administrative, culinary, and utility services to the Allan Gardens Park and the Conservatory. The leading purpose of The Museum is to create a series of exhibition spaces that offer space for artists and performers to occupy and engage with the surrounding site and community. These exhibition spaces, both interior and exterior, become a dynamic space for display, creation, assembly, and performance. Giving agency to the artist and visitors to make use of and experience the space in their own distinctive style. The architecture of the exhibition spaces is designed and planned to be easily controlled by the artists and their display and performance intentions, allowing them to adapt the spaces how they desire. Additionally, the building offers utility programs that are necessary to the function of The Museum. This includes administrative offices, public and private meeting rooms, a designated café and dining area with a full-service kitchen, collection storage and additional artist preparation spaces.

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COLLEGE ST > CARLTON ST

GERRARD STREET

DUNDAS STREET

QUEEN STREET

KING STREET

GARDINER EXPRESSWAY QUEENS QUAY

Figure 3.8

Locational Site Plan, Allan Gardens Park.

DON VALLEY PARKWAY

PARLIAMENT STREET

SHERBOURNE STREET

JARVIS STREET

YONGE STREET

AVENUE RD > UNIVERSITY AVE

BLOOR STREET

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The organizational strategy of The Museum is developed through three site axes. Each axis is critical to the building’s relationship to the park and the adjoining Conservatory and preserve the pre-existing circulation routes through the park. On the first axis, The Museum follows a dominant east-west alignment that harnesses the pedestrian transition from the western and eastern sides of the Conservatory. This axis is rather unresolved in the existing state of the park, and therefore, The Museum acts to promote this improved, but apparent axis. On the site’s most western front, set back from Jarvis Street, the built form engages with a notable pre-existing pedestrian path that delivers predominant access for people passing through the park to and from the park’s southwestern corner to the northernmost access along Carlton Street. Resultingly, the building’s westernmost areas rotate 15 degrees from the park’s natural cartesian plane to maintain this pedestrian route. The last axis connects The Museum’s east-west axis to the conservatory’s northernmost greenhouse building. This connection acts to complete an interior loop with the greenhouses. Cooperatively, these three definitive axes are the foundational planning strategy for the building. To address this, the building establishes two directional walls that serve to organize the building’s spatial and programmatic relationships to the park and its occupants. These two walls are directly aligned to the east-west and 15-degree axes. They are the architecture’s tools to choreograph building circulation, room and exhibition placement, and the building’s engagement with the exterior. Though they become the leading architectural action that controls the spatial and formal product, they strive to create a harmonious relationship between the building’s major circulation routes and the park’s native transitory paths. Collectively, the walls act as core avenues and exist as the architecture’s most direct intention to impose itself on the site and the exhibition spaces. The Museum is assembled with five identifiable program-driven masses that are guided by these two foundational walls. Two of the masses house the building’s non-exhibition spaces: the Standing, and Service masses. These utilitarian masses are then complimented by the other three masses, which are the exhibition spaces: the Transitory Gallery, the Working Gallery, and the Formal Gallery. Each exhibition space offers their own dynamic relationship to adjacent exterior courts: the Natural Courtyard, Working Courtyard, and Formal Courtyard. The five masses are designed in a manner to uphold the introvert equation, and collectively contribute to the action of the overall building, which is to be a disciple of Introvert Architecture.

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Figure 3.9 p. 67

Diagram of design progression. (Top) West side of Allan Gardens Park, the Allan Gardens Conservatory. (Middle) Project site. (Bottom) (Pre)dominate circulation routes.

Figure 3.10 p. 68

Diagram of design progression. (Top) Imposed ‘foundational’ walls along major site axes. (Middle) Introduction of gallery masses. (Bottom) Introduction of utility masses.

Figure 3.11 p. 69

Diagram of design progression. (Top) Enhanced site circulation. (Bottom) Overall project massing on site. Illustrating three exhibition spaces, three courtyards, and two utility masses.

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CARLTON STREET

JARVIS STREET GERRARD STREET E. Figure 3.12

Site plan, Allan Gardens Temporary Exhibition Museum. Drawn at 1 : 1000.

Project North | True North

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CARLTON STREET

SHERBOURNE STREET

GERRARD STREET E.

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B N F

A G

C Q

M I

D J

Figure 3.13

Ground Floor Plan, Allan Gardens Temporary Exhibition Museum. Drawn at 1 : 500.

Project North | True North

ALLAN GARDENS TEMPORARY EXHIBITION MUSEUM | CHAPTER 3 Program Legend. Ground Floor Plan A-A Section (Figure 3.14 p. 74) B-B Section (Figure 3.15 p. 74)

Transitory Gallery A Main Entrance B Interior Gallery C Reception D Designated Event Space E Natural Courtyard

Standing Mass F Public and Private Meeting Rooms G Skyroom H Reception Services / Utility I Full Service Kitchen J Café / Bistro K Outdoor Dining Area

Working Gallery L Interior Gallery M Working Courtyard (Outdoor Gallery)

T R

Formal Gallery N Interior Gallery O Formal Courtyard (Outdoor Gallery) P North Conservatory Transition

Service Mass Q Secondary Entrance R Conservatory: Existing Utility S Loading T East Conservatory Transition

U V W

Existing: Palm House Existing: Children’s Conservatory Utility Courtyard: Loading / Parking

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Figure 3.14 (Top)

A-A Section, east-west, looking south, Allan Gardens Temporary Exhibition Museum.

Figure 3.15 (Bottom)

B-B Section, north-south, looking east, Allan Gardens Temporary Exhibition Museum.

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Transitory Gallery Moving along Jarvis Street, the west side of Allan Gardens Park reveals itself between two of Toronto’s older limestone churches, one at the south, and another at the north corner. The presence of the park between the churches divides Jarvis Street’s street wall. This break in the street’s façade gives way to a valuable section of old growth trees, and one of Toronto’s most important park landscapes. When at the park’s west edge, the Allan Gardens Temporary Collections Museum unveils itself as a simple rectangular massing set back from the road and sheltered behind the parks tree canopy. This view would show The Museum’s two most western spaces, the Standing Mass, a gentle two storey object, the tallest portion of the museum, and in front of it, the Transitory Gallery, a long, low-lying object, nestled beneath the tree canopy, occupying the sightlines of only those moving through the park. Rotated 15 degrees to the northeast, the Transitory Gallery aligns with the park’s most predominant pedestrian path, creating a promenade along the pedestrian route. Resultingly, this space, projected onto the park’s ground, serves as the building’s threshold between the park and the rest of the museum. On its exterior, a careful combination of a solid and transparent façade develops a visual dance with the park’s pre-existing vegetation and open spaces. When solid, the façade becomes a canvas for the park’s foliage in the forefront, highlighting its presence in the park. When transparent, the façade becomes an opening, reflective of the open spaces between the trees. These openings are the moments where the building engages with the pedestrian, creating entrances and visual connections between the gallery’s interior and the park. Additionally, all the adjacent rooms and openings in the Transitory Gallery’s interior are reflective of the façade’s relationship with the park’s vegetation density. The placement of the solid or transparent sections of the west façade are mirrored by the placement of rooms and other openings. Areas of transparency house most of the gallery’s adjoining rooms, whereas the areas with little to no adjoining rooms are found along the solid sections. This continues the building’s methodology of occupying the space within the openings of the trees, rather than obstructing or replacing the park’s trees. When approaching from the west, a wall aligned to the 15-degree axis extends far beyond the interior boundary of the space, and is continuous through the entire length of the gallery. This is the first foundational wall of The Museum.

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Figure 3.16

View from Jarvis St. looking east towards the Museum’s Transitory Gallery, and Service Mass.

Figure 3.17

View from Allan Gardens’ western lawn looking east towards the Transitory Gallery and its west entrance.

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Figure 3.18

View from the building’s north-west, looking south-east at the primary entry of the Transitory Gallery.

ALLAN GARDENS TEMPORARY EXHIBITION MUSEUM | CHAPTER 3

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This foundational wall serves as the building’s most direct boundary with the park, where it divides the western lawn of Allan Gardens with the building and conservatory to its east. A simple notion that tells the park and its occupants that the space beyond the wall is being occupied by The Museum, and therefore, the language and experience of the park between this wall and the existing Allan Gardens Conservatory will be different than the rest of the park. Additionally, the wall’s extension to the north and south guide people into the central space of the Transitory Gallery, and therefore into the rest of the building. On the Transitory Gallery’s interior, the foundational wall becomes a tool that helps create an ever-changing and dynamic spatial experience. Organized along a 1600mm grid, a series of white-oak panels cover the foundational wall through the entire length of the gallery. The panels can be opened, rotated, and removed, and in doing so, new rooms and openings within the gallery space are revealed. As well, the panels can close off sections of the gallery, and isolate areas from one another. In its most neutral position, the Transitory Gallery is a long, seamless space that is unobstructed by

Figure 3.19

Interior of Transitory Gallery, looking north. Shown, 15-degree foundational wall (right side of image).

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objects or rooms. Simply, a promenade that serves to shelter those travelling along the predominant pedestrian route. In any of its varied positions, the Transitory Gallery becomes a café, a dining hall, a reception, gathering space, or a place of rest. Day to day, the space may be one large gallery, or multiple galleries, divided by the mobile panels of the foundational wall. Quiet or lively, empty or bustling, simple or dynamic, the Transitory Gallery’s effort to permit variations of spatial understanding is a technique to ensure The Museum and its exhibition spaces can adapt and evolve to the changing needs of artists, their art, and others occupying the building.

Natural Courtyard On the northeast end of the Transitory Gallery, the foundational wall extends to section off a portion of the park. A natural fragment of Allan Gardens that finds itself enveloped by The Museum and one of the Conservatory’s greenhouses. This rather informal courtyard serves to protect more of the park’s natural land, emulating what is occurring on the building’s west side. As the foundational wall that extends north towards the conservatory, it avoids connecting to the greenhouse and closing off the courtyard entirely. This is to ensure that the courtyard does not separate itself from the park and create a feeling that the space is different, or not native to Allan Gardens. Therefore, the space between the wall and the greenhouse is just large enough to ensure that those who occupy the space are aware they are returning to the park and returning to this landscape that is within the bustle of Toronto. Inherently, this ‘park-as-park’ courtyard serves as a gentle, but continuous reminder to the building’s occupants that The Museum is borrowing its space from the park and its trees, its bushes, and its grass. To achieve this, various spaces create openings and moments that seek to reveal the courtyard. Key openings, windows, and doors create a simple visual and physical connection between the Natural Courtyard and the building’s exhibition spaces. In addition to the courtyard’s constant reminder of the park’s natural presence around and throughout The Museum, it also provides a space for people in the building to disconnect and separate themselves, once again, from the building and its existence. An occupant can choose to break away from The Museum, and the events held within by retreating to this courtyard that preserves the identity of the park.

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Figure 3.20

View from the northern end of the 15-degree foundational wall, looking south towards the Natural Courtyard.

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Standing Mass and Skyroom The Standing Mass is the two-storey structure that sits behind the Transitory Gallery and is the building’s most direct control of program and circulation. This mass offers many of the essential programs that are critical to the day-to-day functions of The Museum. Meeting rooms, administrative offices, dining, kitchen, storage, and other utility spaces are all meticulously organized into its rectangular plan. Its walls, rooms, and openings on both the interior and exterior are aligned to an 800mm grid. This ensures that the Standing Mass remains as practical and efficient as possible. The rooms inside are more rigid and there is an apparent sense of permanence in the planning. This brings value to the building’s programmatic function and underlines their importance to the operations of The Museum. For the building as a whole, it is important that this massing does not impede on or dominate the experiences of the exhibition spaces and the courtyards. Like its interior, the Standing Mass’ exterior strives to reside in the background of the exhibition spaces and the courtyards. It does this by mirroring the efficiency and organization of its interior on its exterior. Using a simple and logical façade system, the Standing Mass’ façade is carefully crafted with a Viroc wood fibre panelling that is meant to keep visual attention focused on the park and the other spaces of The Museum. The grey-green panel finish helps the two-storey mass blend into the dominant colours of the site. The colour combines tones extracted from the park’s vegetation, the city sky, the limestone of the nearby churches, and the iconic green that is refracted through the glass of the Conservatory’s greenhouses. Additionally, the panels are strategically aligned to the 800mm grid, as used on the interior, in which the strategic placement of windows, doors, and other openings slot into the controlled spacing of the panels. The extruded fins on either side of the panel work to minimize the visual dominance of the windows and other openings that share the façade. Additionally, the fins add depth and dynamism to the exterior surface, working to break down the building’s long, two-storey façade into smaller sections, matching the width of the Viroc Panels, 800mm or 1600mm. Throughout the long façade of the Standing Mass, the fins shift in density based on the intimacy of the adjacent spaces. In areas where people would be closer to the building, such as the outdoor dining area, or the northern courtyard, the fins are closer, spaced to reflect a more human-like scale. The higher density of the panels works to break down the Standing Mass’ façade, making the surface feel less large and dominant in these more intimate spaces.

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B A

Figure 3.21

Second floor plan, Standing Mass, Allan Gardens Temporary Exhibition Museum. Drawn at 1:500.

Program Legend. A Skyroom (Below) B Event Space C Utility D Administrative Offices

Project North | True North

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B 1600 A 800

T.O. BUILDING - 10,000

B.O. ROOF SLOPE - 8,500

F.L. SECOND - 4,000 FOUNDATION WALL - 3,000

1600

800

T.O. BUILDING - 10,000

B.O. ROOF SLOPE - 8,500

F.L. SECOND - 4,000 FOUNDATION WALL - 3,000

Figure 3.22

Standing Mass Elevation. (Top) West Elevation. (Bottom) South Elevation.

ALLAN GARDENS TEMPORARY EXHIBITION MUSEUM | CHAPTER 3

Figure 3.23

View looking north-east at the south entry of the Transitory Gallery. Shown: Standing Mass behind.

Figure 3.24

View of Transitory Gallery, looking east. Shown: exterior connection to café that opens into the gallery space. Standing Mass behind.

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The larger panel spacing occurs in instances where people are removed from the building’s exterior. From the west side, the Standing Mass’ second floor appears above and behind the low-lying Transitory Gallery. On this façade, the panels are larger in size, they create a more uniform and seamless surface that acts like a canvas for the tree canopy in its forefront. As a rather utilitarian component of The Museum, the Standing Mass is the building’s most direct control of program use and circulation. However, the gentle and strategic organization of its rooms and its façade, work collectively to ensure the building remains as a backdrop to the park and the exhibition spaces. To ensure that the internal and progressive experience of The Museum is not interrupted by the Standing Mass and its inflexible spaces, the building divides itself with a two-storey atrium. Slicing directly through the middle of the mass, the atrium draws a direct connection between the Transitory Gallery and the Working Gallery, while also existing as an entry point to the Standing Mass’ main and second floor spaces. When moving through the Transitory Gallery, the 15-degree foundational wall directs the occupant towards the entrance to the atrium. A wide, low-lying threshold through the wall opens into the atrium. The atrium serves as a central position to The Museum, a point to start and to end a journey. As this space is essential to the entry and exit of the building, it was important for this space to be used as a place for people to refresh and reflect before entering and exiting. Therefore, the design of the atrium imitates a James Turrell ‘Skyroom,’ a strategy used to generate a space where a user is inspired to pause and contemplate. In the Skyroom, the passerby would be enticed to break their travels for a moment, and look up through the seamless, circle skylight. The entrances to the other spaces are pushed aside, and placed beneath the low-lying ceiling on either end of the atrium, which is a method to keep the Skyroom unobstructed and undistracted. Spatially, these circulation points are accessible and fluid, but sectionally, they reside beyond the boundaries of the Skyroom. The cropping of the sky above becomes the architecture’s most direct action to invoke emotion on an occupant. It seeks to inspire people to pause, refresh, and reflect, before entering or exiting the exhibition spaces. This space is critically important, because even though an Introvert Architecture should not attempt to control people’s thoughts or emotions, it is necessary for the people who pass through the Skyroom to know they are moving from one space to another, spaces that are functionally different. The Skyroom reminds occupants that they are transitioning from the city street and the park to the museum spaces, beyond.

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Figure 3.25

Isometric of the Viroc exterior cladding on the Standing Mass.

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Figure 3.26

Sectional Perspective of the Skyroom. Shown: seating against the east-west foundational wall.

ALLAN GARDENS TEMPORARY EXHIBITION MUSEUM | CHAPTER 3

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Working Gallery and Working Courtyard The Working Gallery is The Museum’s second exhibition space. It is located to the east of the Standing Mass and is connected to the Transitory Gallery directly through the Skyroom. The Working Gallery serves as the primary space for artists and members of the community to assemble and simultaneously display their work. It is a space that advocates for the presentation of creation and thinking. Combining the largest interior exhibition space and exterior courtyard, the Working Gallery establishes a substantial public presence on the Allan Gardens site. Opening up to the Southern lawn, and it’s pre-existing access route, the Working Gallery invites guests to explore the space and observe the events occurring on the working surface. On its interior, like the Transitory Gallery, the Working Gallery is guided by one of The Museum’s foundational walls. Following the project’s major east-west axis, this wall acts as both a physical guide for building circulation while upholding The Museum’s ability to adapt and change based on the needs of the artist and their art. As the largest exhibition space, the Working Gallery consists of four eight-meter bays that expand outward onto the exterior courtyard. These bays can effectively act as one open gallery or can be divided into a string of smaller galleries. To achieve this, the exhibition space is populated with a series of movable partitions (freestanding and guided), pocket doors, and operable walls that can change the organization of the gallery. This ensures that The Museum continues to advocate for adaptability in art presentation and spatial curation. In the Working Gallery, the architecture exists as a tool that can be used by artists, and therefore, its adaptability allows it to remain reflective of the object’s intentions. As doors open and close, and partitions are guided along their tracks or removed entirely, the dynamic space can shift from one strategy of artistic presentation and curation to a completely different one. The process of changing the space to suit the differing needs of artists is simple, as the partitions are identifiable, easily movable, and their movements are clearly defined through the architecture. The materials of the galleries are selected to ensure that the building remains background to the function and objects occupying the space. The simple, recognizable materials help communicate the intentions of the surfaces imposed by The Museum. Concrete and stone on the gallery floors endure the constant adaptations of the space and the

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Figure 3.27

Interior view of Working Gallery.

Figure 3.28

View looking north at the Working Gallery and the Working Courtyard.

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wear and tear of these changes. White plaster on the walls, mobile partitions, and interior dividers exist to eliminate hierarchy between exhibition spaces and to uphold the canvasing act of The Museum. The material proportions and joints are gentle and reflective of the scale of the gallery’s bays, and other planning layouts. In section, the height of the four bays work to dissolve spatial restrictions, as they are large enough to house objects at both small and large scales. Effectively, the gallery’s roof pitch reduces the dominance of the exhibitions height and returns it to a familiar context, reflective of the greenhouses of the Conservatory. On its exterior, the use of familiar materials, concrete, limestone, and steel-roof cladding works to eliminate the architectural and material distractions on the space. The colour palette is muted to bring attention to the context in the forefront of The Museum, emphasizing the park, the people, and the exhibition objects. The Working Courtyard allows the Working Gallery flexibility to be an interior space as well as an exterior space. The four bays can be opened entirely onto the courtyard, creating a near-seamless transition between interior and exterior space. On its interior, the south wall of the Working Gallery is capped with four large doors on each of the bays. The large swing doors can be pushed outward onto the courtyard, and it invites the exterior space to flow into the exhibition space that is sheltered beneath the pitched roofs. The scale of the doors, as well as their open position inform the site and those passing by that The Museum invites their approach and that the objects being housed on this exhibition plane want to be experienced. When the doors are closed, it may imply that the artist desires their work to be solely interior or exterior, and the way they decide to curate the space is left entirely up to them.

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Figure 3.29

Interior view looking west in the Working Gallery.

Figure 3.30

View looking north at the Working Gallery.

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Figure 3.31

Axonometric drawing, illustrating curatorial adaptability in the Working Gallery.

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Service Mass The Service Mass is located at The Museum’s intersection with the Palm House, the central dome building of the Allan Gardens Conservatory. This space introduces additional utility services and refurbishes the existing mechanical and loading spaces of the Conservatory. Alike the Standing Mass, the Service Mass embodies a simple and organized architecture. Mirroring the internal planning and façade organization of the Standing Mass, the Service Mass is designed to be efficient and unobtrusive to The Museum’s exhibition spaces and its courtyards. On its interior, the east-west foundational wall stretches through the space, ultimately connecting The Museum to the Conservatory. The part of the corridor that bridges the Working Gallery and the Conservatory reintroduces the attitudes and emotions invoked by the Skyroom. A notion towards spatial change, this corridor introduces a long linear skylight that when looking through, creates a direct visual connection to the domed roof of the Palm House, above. Serving as a space of transition, the corridor reminds users that they are about to disconnect from The Museum and be introduced to a new space. Regardless of the direction of travel, the journey beneath the skylight serves as a moment to reflect and refresh before entering the new space.

Figure 3.32

View looking north at the Service Mass.

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Formal Gallery and Formal Courtyard The space between The Museum’s east-west foundational wall and the northernmost greenhouse of the Conservatory is occupied by the Formal Gallery and the Formal Courtyard. This gallery space connects The Museum to the north greenhouse, completing the interior loop of The Museum with the conservatory. The gallery is made up of three eight-meter bays that are identical in width and height to the bays of the Working Gallery. The interior of the gallery space continues to uphold The Museum’s continuous pursuit of adaptability and flexibility for the artist and their curatorial preferences, using mobile partitions and operable doors. Regarding The Museum’s interior, the Working and Formal galleries share the same architectural and material properties. This is a method used to remove hierarchy between the exhibition spaces. As all exhibition spaces are equally capable of adapting to the artists and object’s preferences, the universal architectural and material application of the exhibition spaces keeps the focus of the gallery on the object that occupies its space. Alike the Working Gallery, the Formal Gallery shares its space with its own exterior courtyard. Using a series of vertical sliding doors, the interior space of the gallery opens to create a seamless transition of space with the Formal Courtyard. Uniquely, this courtyard is the only exterior space of The Museum that is completely closed off from the park. Occupying the northern bay between the existing greenhouses, and capped by the Formal Gallery, the courtyard is bounded by the glass walls and vegetation of the greenhouses, and the north side of The Museum’s Service Mass. The seclusion of this space allows The Museum to better isolate the art from the distractions of the park. Though this may not be required, it was important to offer a space where the artist could completely control their art, and the ways in which it is displayed, performed, and curated.

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Figure 3.33

View looking east at the Formal Courtyard.

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Figure 3.34

View looking west at the Natural Courtyard from inside the middle bay of the Formal Gallery.

Figure 3.35

View looking south in the Formal Courtyard.

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However, to ensure that the courtyard does not feel isolated from the rest of the project, the edges of the courtyard are filled with vegetation that backs onto the greenhouse walls. The presence of plants and the visual connection from the courtyard to the inside of the greenhouse reminds the occupant that The Museum remains a part of a broader context. The Formal Courtyard serves to remind occupants of the presence of the Conservatory, and the importance the greenhouses hold in the context of Allan Gardens. Additionally, this apparent visual relationship between the Conservatory and the Courtyard ignites a shared experience that The Museum has with the Conservatory. From one space or the other, people are invited to continue their journey to the next space, ensuring The Museum does not dominate, but it rather shares the interior experiences with Allan Gardens, and with its greenhouses.

Endnotes 37 Suzanne Macleod, ed, Reshaping Museum Space (Florence: Taylor & Francis Group, 2005), 10. 38

Macleod, 2.

Studio Libeskind, “Royal Ontario Museum” (Studio Libeskind Projects, 2007).

Macleod, 2.

43 Lizzie Muller and Caroline Seck Langill, Curating Lively Objects: Exhibitions Beyond Disciplines (Routledge, 2022), 7. 44 FOAG, Refresh: A Vision Document for Allan Gardens (Toronto, ON: The Friends of Allan Gardens, 2017).

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Figure 4.1

An Introvert Architecture, Allan Gardens Temporary Exhibition Museum.

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Design Analysis The Allan Gardens Temporary Exhibition Museum is a design project to study and demonstrate the practical application of the Introvert Architecture Equation. Resultingly, many of The Museum’s architectural actions are reflective of the Equation’s variables, and the application of the Equation’s influential theories. To restate the equation:

Introvert Architecture = Desire to Build Relations + Form Governed by Context.

To recall Aureli, an architecture that does not monumentalize must then prove its cruciality to the context of the city by transforming urbanization into something graspable. Where the spheres of mobility, living, and working, are a recognizable dimension that people can choose to accept or neglect.45 Introvert Architecture should be recognizable, where neither the building’s use, nor the building design distract from the purpose of the building. Thus, for The Museum, it is important for the building to create an environment that transforms the program of what a museum is, into something graspable, a perceptible dimension of what it is to be a space for exhibition and a place to assemble, to act, to display, and to perform. The Museum is not trying to change the meaning of a museum, or introduce unfamiliar experiences, but rather, it wishes to emphasize the relationship that art and performance has with architecture. The Museum’s assembly of comprehendible forms, rooms, and materials attempt to emphasize the experience of art and performance over the experience of architecture. Therefore, The Museum must consider how it is perceived by an occupant. It should be evident that their journey

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through The Museum is being controlled by the art and respectively, the artists, and is much less controlled by the architecture. The occupant must feel in control of their movements and should be naturally drawn to the events of the exhibition. The architecture is nothing more than a tool to assist them in navigating the space. To ensure that people feel in control of their experience, The Museum consists simply, as a string of open galleries, gently connected by small moments of transition. By putting the exhibition spaces at the building’s forefront, The Museum is primarily understood through its galleries and the events that occur within them. There is no intention for the spaces that are directly controlled by the architecture, such as the Standing and Service masses, to monumentalize themselves as significant spaces. The functionality of these spaces demonstrates adequate purpose to the endurance of The Museum, therefore, they need not prevail over the galleries. Additionally, the design of the various galleries and courtyards continue to suppress monumentation through form and appearance. By accepting uniformity in its architecture, The Museum better defines its program, as a building to serve the adapting requirements of the exhibition. This act to serve as a space for exhibition alone, justifies The Museum’s purpose, its craft, and its existence.

Figure 4.2

View looking west at the Working Courtyard.

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The Museum’s effort to build relationships with its location, its occupants, and other actors, fundamentally controls the way it is experienced and realized. The Museum’s talents cannot be recognized entirely from afar or through media. It must be experienced and moved through, occupied by art, performance, and people. This is extracted from the Introvert Architecture Equation, particularly from the first variable, which is the ‘Desire to Build Relations.’ In Heidegger’s description of ‘dwelling,’ he draws a vital connection between ‘location and space,’ and ‘man and space.’ To reiterate, the way a building belongs to dwelling is through how its spaces, the size, the orientation, and the form reflect the location and the properties of the fourfold. Additionally, the identity of the space is then determined through its programs, use, and extended function, which is to uphold the desires of man and respect his divinities.46 For The Museum, it is therefore critical that the building addresses the site, and its surrounding environment by developing an intimate relationship with its context. Once this relationship between the site and architecture (location and space) was established, the building’s internal experience was attuned to the desires of the occupants. In this case, The Museum’s occupants are more than just man but includes assembly, art, and performance. These two relations ultimately worked hand-in-hand to develop the project. However, it could be simplified by saying The Museum’s larger architectural gestures are reflective of the building’s relationship with its location. As noted in The Museum’s foundational walls and its other predominant spaces, the building’s footprint, height, size, orientation, and prevailing circulation strategies all consider the building’s relationship to its location, and the various constraints and influences imposed by the location. As the perceptive scale gets smaller, and the building becomes more intimate, the architecture and design decisions are more reflective of the building’s relationship to its usefunction identity, which is reflective of the desire to be an exhibition space. This informs The Museum’s aspirations to be adaptable and non-defined. The building’s familiar shapes and materials work harmoniously with the adaptive methodologies introduced by the exhibition architecture to ensure that the identity of the space remains in the control of its occupants: people, art, and other objects. The architecture wants to ensure that The Museum’s experience is constantly related to the building’s relationship with its site, and with its occupants. Thus, the value in the architecture lies in its ability to read, study, and develop relations with the building’s location and program. The Museum has no intention to establish dominance in these relationships,

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but rather gently responds to constraints and influences imposed by Allan Gardens, and the desires of occupants. Architecturally, The Museum is reflective of the innate relationship it shares with location and program. However, The Museum is also derived from the second variable in the Introvert Architecture Equation, which is ‘Form Governed by Context.’ Context, as part of this variable, draws from the fourfold as developed by Heidegger: earth, sky, mortals, and divinities, as well as the Five Points of Introvert Architecture: constructed, place, void, occupancy, and time. Each of these factors carry their own description and information about what an Introvert Architecture could be. It should be noted, the Equation’s variables are interdependent and do not exist separate from one another in an Introvert Architecture, though the Equation may imply they do. In The Museum, it is necessary to recognize and value the relationships it builds and the context’s role in every design decision.

Five Points and The Allan Gardens Temporary Exhibition Museum To therefore examine The Museum’s response to the Equation’s second variable, it is necessary to reassociate the ‘Five Points of Introvert Architecture’ into the process of this design project. This was deemed necessary as the second variable, ‘Form Governed by Context,’ was built from the Five Points.

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Constructed

Constructed – The architecture rejects totalization. Its realization is curated through the coming together of space, material, time, and object.

Introvert Architecture rejects the icon, as it cannot be summarized into an instance. This is a result of Introvert Architecture’s dynamic bond between space, material, detail, object, and time. None of these entities can act as a sole identity for the architecture and therefore, cannot be reduced to resemble a building in its totality. The Allan Gardens Temporary Exhibition Museum is dependent on how many of these entities relate to one another. In a basic understanding, The Museum strives to be a tool for the display of art and performance. However, to achieve this, the architecture must recognize the influences of space, material, time, and object. To properly display the object, the building must use space and material to properly highlight the object above, and in the forefront of, architecture. To be able to address The Museum’s shifting needs as a temporary collection’s museum, the concept of time becomes more important. Answering how The Museum’s spaces, materials, and relationship to site change through time to uphold its temporalities was important to the success of this building. Its adaptability, and variability in the way the exhibition spaces can be organized and experienced, depend on how space, material, site, and objects come together through a process over time. In The Museum’s Standing and Service masses, the building is finished with a grey-green Viroc panel. This material was not only selected to respond to the site’s natural vegetation and colour palette, but it was also chosen to address the spatial intimacy these structures would have with people. Understanding that it was necessary for the building to attempt to blend into the park’s background, it was also important that in the instances where it could not be background, it would not feel so massive and dominant over the space. The material, and its meticulous organization, work together to address these entities. The Museum cannot simply be totalized based on its ability to adapt, or to sit harmoniously into the backdrop of the park. The Museum, in its entirety, is based on the influence of one or many instances.

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Figure 4.3

View from the Formal Gallery looking east into the Formal Courtyard.

Figure 4.4

View looking west towards the south end of the Standing Mass. Shown, exterior Viroc panel.

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Figure 4.5

Isometric of the Viroc exterior cladding on the Standing Mass.

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Figure 4.6

West entrance in the Transitory Gallery, Allan Gardens Temporary Exhibition Museum.

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Place

Place - The architecture is shaped by its surroundings. There is a desire to be sublime and unthreatening to its environment.

Introvert Architecture avoids being obtrusive to its environment and its surroundings. Architecturally, this suggests that it resists dominance over its place, as it uses the place to inform decisions. This may suggest an architectural relationship between the land it rests on, or the atmosphere it exists within. The place it resides will influence design, planning, material, and construction. The concept of place is quite close to the development of the architecture’s relationship with location. As described through the last variable on the Introvert Architecture Equation, many of The Museum’s larger architectural gestures reflect the constraints and influences imposed by Allan Gardens. The project’s placement, scale, and orientation are attuned to the place it resides, to respect it. The building is cognizant of natural vegetation and pre-existing site axes. Where its height, and gallery’s roof pitches resonate with the greenhouses of the Conservatory. There is an effort for the architecture to simply exist from the hand of its place. By understanding the park, in addition to its constraints and influences, The Museum’s architecture does not raise any questions about why a space looks a certain way or faces a certain direction, it simply does not exist in the way it does without the influences of Allan Gardens.

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Figure 4.7

View looking south towards the Natural Courtyard.

Figure 4.8

View overlooking the western portion of the Museum. Shown, existing Palm House (right).

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Void

Void - The architecture desires volume. It desires to be the creation of space over the creation of the partition. It rejects facadism.

The extrovert ideal has caused architecture to lose touch with the practice of creating space. Buildings are being designed through walls, rather than through spaces defined by experience and occupancy. Introvert Architecture does the opposite. It desires to create space, focusing on scale, function, emotion, and levels of intimacy. The Allan Gardens Temporary Exhibition Museum strives to use partitions as a tool to help space function and create experiences. Though the walls are definitive boundaries, and they build architectural forms, they are simply a product of the spaces within. They are simple in shape, material, and construction. They are graspable, as they do not overpower the spaces they bound. In the galleries, the effort to be adaptable and movable eliminates the wall from the exhibition. The walls’ presence in those spaces is ultimately controlled by the gallery’s occupants, and the way they wish to define space. It was also important for The Museum to highlight the volume of the park. By offloading onto the exterior courtyards, it gestures at the importance of the space provided by the park. A relationship between how The Museum occupies certain areas and leaves others untouched is the architecture’s response to the volume of the park, and all the content that is contained in it. For this building, the exhibition spaces and the park are the volumes that control the buildings partitions.

4.9 Working Gallery. Glass partitions are able to be lowered down into the ground to create a seamless interiorexterior condition. The solid-exterior partitions act like swing doors, rotating on a pivot point embedded into the foundation. 4.16 Formal Gallery. Both the glass and solid-exterior partitions are able to be lowered down into the ground to create a seamless interior-exterior condition.

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Figure 4.9

Diagrams illustrating the continued variety of the exhibition spaces. Working Gallery.

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Figure 4.10 (A)

The Working Gallery’s most closed state. Large exterior doors seal off the glazing behind.

Figure 4.11 (C)

Large swing doors all opened onto the Working Courtyard. Interior space now offloads onto the exterior court.

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Figure 4.12 (B)

Working Gallery in transition. Spaces remain closed off, while others open, serving the needs of the exhibition.

Figure 4.13 (D)

The Working Gallery’s most open state. Glass partitions retreated.

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Figure 4.14

Diagrams illustrating the continued variety of the exhibition spaces. Formal Gallery.

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Figure 4.15 (A)

The Formal Gallery’s most closed state. Large exterior partitions seal off the glazing behind.

Figure 4.16 (B, C, D)

Formal Gallery in transition. Spaces remain closed off, while others open, serving the needs of the exhibition.

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Occupancy

Occupancy - The architecture is dependent on occupancy. Only by dwelling in the architecture can one truly appreciate the architecture.

In Extrovert Architecture, people, their movement, lifestyles, and emotions do not change the outcome of the architecture. This not only has influenced the representations of architecture, but also the design and construction of it. In architecture’s extrovert ideal, the disconnect between building and dwelling becomes more obvious. Introvert Architecture wants to ensure functionality and avert distractions from usability. It is simple in the means of program, where the architecture works exclusively for the way an occupant wishes to use a space. Respectively, in the Allan Gardens Temporary Exhibition Museum, there is a desire to ensure that the exhibitions respond to and work for those who occupy them. In pursuit of mobility and adaptable space, The Museum requires occupancy for the building to function. The gallery’s natural and varied states of arrangement are dependent on the emotions and desires of the occupants. The exhibitions do not disregard movement, emotion, and lifestyle, but rather, each of these become fundamental to the architectural outcome.

Flâneur: 4.17 He often happens upon Allan Gardens during his daily commute to work. On this particular morning in late August, he entered from the children’s conservatory entrance at the north, with his coffee in hand, and casually moved through the exhibition spaces. He landed in the shade, beneath the shelter of the Formal Gallery when he realized he had a few more minutes to spare. Facing the peaceful scene of the Natural Courtyard, he decided to take a moment to organize his belongings and prepare his thoughts, before resuming his journey. 4.18 On a cool June morning, local families, groups of friends, and university students explore the Farm Haus Exhibition in the Formal Courtyard. As the weather permitted, the Allan Gardens staff decided to move a few planter boxes into the Formal courtyard, which benefited the display as well as the experience of the occupants. After seeing all they’d like of the exhibition, the occupants are free to move into the other spaces of the Museum.

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Figure 4.17

Morning Coffee on the way to work, Natural Courtyard.

Figure 4.18

Saturday’s Farm Haus Exhibition, Formal Courtyard.

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Figure 4.19

Axonometric drawing, illustrating curatorial adaptability in the Formal Gallery.

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Time

Time - The architecture is not static. It exists within time, containing stories, energy, sound, shadow, and environment.

Introvert Architecture embraces time. It is an architecture that desires to be a part of time, embracing changes in human-architecture relationships. The concept of time creates and shares a dynamic web of relationships to all other theories that build the Introvert Architecture Equation. Collectively, time is apparent in all aspects of design. Nevertheless, The Museum’s most direct response to time occurs through the adaptability of the exhibitions, as the spaces are ultimately only temporary, and occupants create new experiences through time. However, Introvert Architecture also understands material decay, weathering, and grievances through occupancy. The decision to use durable, common materials in the building ensure that The Museum will withstand the mobility of its occupants. The common wear and tear of these materials does not limit the function and usability of its spaces. The materials also reflect the timelessness of the park, using a colour palette that does not compete with the site, as it understands that it is a space of pause within the fast-moving urban context. Collectively, the materials, although important to the architecture, are not depended on for the identity of the building. It is the events that occur within The Museum that create identity and experience.

Flâneur: 4.20 Two third-year students arrived early for their plans to explore the museum and conservatory. After finishing class, they made their way to the museum, together, and moved through the west entrance of the Transitory Gallery. Lately, they’ve been frequenting the museum and were delighted to see that the Transitory Gallery had been rearranged to expose additional seating and artwork. They decided to relax for a moment, while awaiting their third friend, to decompress from the demands of their university lives. 4.21 Starting at the beginning of July, the Allan Gardens staff hosts two classes, every week until the end of September. On this particular day, in the midst of summer, they organized a gardening class about harvesting and displaying flowers. This image captures the minutes of serenity before the class begins.

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Figure 4.20

Waiting for a friend, Transitory Gallery.

Figure 4.21

Preparation for a gardening class, instructed by an Allan Garden’s Conservatory staff member, Working Courtyard.

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Each of the variables that build the Introvert Architecture Equation are tied to an actual reality that should be inescapable when creating buildings. The architecture must be reflective of a context, where its execution as a complete, thorough, and appropriate design are directly connected to how it creates relationships with context. The architecture is dependent on these realities because it is formed from them. If the realities were to change, so would the architecture.

Response to Museum as Factory The act to establish an exhibition that adapts to the artist’s intentions may already be commonplace in gallery curation. Exhibition spaces are often made with easily replaceable platforms and partitions. Enabling the spaces to change their orientation of display to be built to a certain standard as dictated by the artist or art. As an Introvert Architecture, the Allan Gardens Temporary Exhibition Museum cannot be defined as introverted because of its ability to differentiate between artists and their artistic preferences, or its dynamic curatorial capabilities. However, it is The Museum’s resistance to totalizing curation that contributes to its introverted definition. Returning to the Extrovert Architecture Equation, it would be assumed that Extrovert Architecture seeks to dominate experiences. For an extroverted museum, it too would form dominance over its context, and attempt to form total control over the experiences of users. In these museums, from the street and into the galleries, much of the journey is direct. They are calculated journeys that use architecture as an instrument to pull people through the exhibitions, efficiently. A method to control the entire experience, from what you see, how you move, to even what you think, is all meticulously controlled by the Extrovert Architecture. The following section includes a personal journal segment of an observational experience from Toronto’s Art Gallery of Ontario. The observation reviews the architectural influences on human behaviour, as an approach to understanding the impact of built form on museum curation. To note, the analysis of the AGO does not claim that the building is extroverted or introverted. It is simply a study of the power that architecture has on people in curated environments. The experience outlined in this journal, is a result of totalized curation, occurring through the dominance that architecture has over the space and its experiences. This instance could be signalled as extrovert architecture by the AGO.

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Observation of AGO, October 2021. An observation of the transition route from exterior to interior, the passing through the lobby along the Dundas Street West entrance, and the transition into the first circulation space of the Gallery: This route is the only route that contains a direct change in physical environment, interior to exterior. People moving through this route tend to slow down entirely as they approach the front doors, they become still, hesitant, and calm, as they await direction from the AGO attendant. From the interior, there is a complete shift of human experience, where visitors become aware of their bodies, cautious of where and how they walk, their speed, and noise. The same experience is reversed when leaving the gallery, interestingly, as people exit the gallery, their calmness remains until they travel down the steps onto the sidewalk. It is as if the sidewalk becomes a space to exhaust the irregularities and emotions one is expected to contain while inside the gallery: laughter, group conversations, sitting (on the steps), phone calls, and even stretching. The entrance acted as a catalyst for behavioural change. People moving from the exterior to interior and interior to exterior demonstrated a clear shift in behaviour. The lobby embodies a complete disconnect from the atmosphere that is on it’s exterior. The ceiling contrasts the outside space, existing as low and obvious, creating a space that is dark, quiet, and void of distraction, almost as if the city no longer exists. At this point, people are expected to be orderly, professional, slow, and quiet. And this was in fact the reality. The lobby space was large enough that by the time one would reach the first stair (the start of the curatorial experience), they have completely changed their behaviour. The architectures physical presence is now more in control of social behaviour than ever before. People tend not to stand and wait in this space, perhaps because at this point in the experience, you are already expected to have been admitted

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into the Gallery and are ready to commence on the journey through the exhibition spaces. Resultingly, there becomes a clear organization of traffic flow into the gallery. People are direct, as they move from the check-in counter, directly to the stairs up, or down, to their first exhibition. For myself, standing and observing from the interior, I felt that my stillness and reluctance to move forward, toward the circulation stairs, became somewhat of a distraction for others. It was as if they questioned my presence, or perhaps my difference, even though I physically posed no threat on their ability to move through the Gallery. This exaggerated the recognition of order that the AGO promotes. There is a sense of stillness on the interior. I feel welcome, but not relaxed. I was reluctant to spend any notable amount of time in one place when observing due to this temporal feeling. In the exhibition spaces I feel like my stay is assumed to be longer, but again I am not relaxed. The imposed order and professionalism expected by the gallery forces one to be aware of all their actions: where they walk, how loud they talk, and where they stop for a moment to pause. The curation of the AGO’s Andy Warhol event was a strategically placed hallway, winding through the building with art appropriately placed on its walls. This control of experience causes one to fixate on any minor inordinance, something that would be completely neglected if they were outside or in a less controlled physical environment. The retail shop, following the path out of the gallery is the first space that seems to reunite people with their normal behaviour. Close to the exit, but not entirely outside, people feel comfortable returning to their normal conversational habits: laughter, talking, texting. However, physically, people are still slower, moving through the space with caution – most likely carrying the same fear of knocking something over that is so apparent when inside the exhibition spaces. Hache, 2021.

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This journal entry made it very clear how the architecture of the AGO completely totalized its curation. The gallery offered hand picked venues with such an effective organization, that visitors were effectively being pushed through. Like a factory, the people are forced through a space by influences beyond their control, and exposed to art in an efficient manner, like the sequence of car parts being assembled on the body, moving down the assembly line. Like the AGO, the museum typology has become dependent on participation to succeed, which translates to income generated by guests and tourism. Effectively, the extroverted act of producing visually pleasing spaces inside photographable buildings serves as free marketing for galleries and museums. No longer does the extroverted museum typology count on creating individual educational experiences or user reflections, nor do many of them care, as their interests have proven to be elsewhere. The Allan Gardens Temporary Exhibition Museum rejects totalizing curation. The exhibition spaces are large, internally undefined, and able to be changed, instantaneously. Occupied by a series of mobile partitions, an artist can curate an experience around their work. However, collectively The Museum’s exhibitions are ultimately open floors for exploration. If an artist chooses to occupy the entire Transitory Gallery, or simply a single bay of the Working Gallery, those spaces may become curated. However, this act to curate is a decision made at the hands of the artists and their intentions. The building itself does not pose any architectural gestures, barriers, walls, or thresholds, that would force people to follow a pre-determined journey. With the exception of the utility programs and the visual guides generated by the foundational axes, The Museum ultimately opposes spatial lineage. The gallery spaces are not a set of strictly defined rooms but are rather a series of exhibition fields, which are able to be happened upon freely and willingly by the occupant. Each exhibition space serves equally as an area to pass through briefly when travelling elsewhere, or a place to pause and explore. The exhibition spaces ultimately have no defined start or end. They can be entered from the west, or through the east, starting at the Conservatory, as well as from the middle, by transitioning through one of the 7.5-meter-wide doors inside the Working Gallery and into another space of the building. When moving through the building, the various instances that reconnect The Museum space to the park allow people to disassociate from it and the content

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of the exhibitions. They can pause their journey, continue in a different spot than the one they left off at, they can choose to pass entirely by without being forced to observe the content, or they can end their experience with The Museum, altogether. The occupant controls their experiences, as much as the artist and the art controls it’s curation.

Response to Architecture’s Extrovert Ideal Architecture’s extrovert ideal has established a preconception that successful architecture must be monumental, or attractive, to exist within capitalism. The Allan Gardens Temporary Exhibition Museum attempts to prove that modern architecture does not need to equate success with these attributes. As demonstrated by The Museum, the success of the architecture is not dependent on views and opinions from afar, rather, it is directly tied to the way the building is used and experienced. The aspiration that Extrovert Architecture must popularize itself based on non-physical avenues of experience may result in a design process that disregards the connection between the architecture and its physical/built execution. Architecture should not abandon its occupants in the design of its spaces. For Introvert Architecture, it is important that the physical spaces of the project (all of them) are reflective of the occupants, objects, and their affinities. To occupy architecture is to be with the building, physically. The Museum, as a disciple of Introvert Architecture, resists dominance over its relations. Unlike Extrovert Architecture, the power in Introvert Architecture is to create a space that is a genuine reflection of its social, communal, and physical location. The Museum is for Allan Gardens, a place that responds to the park, the vegetation, the greenhouses, and the community that occupies them. The value in the building is not determined by its ability to redefine the park, or the museum typology. It is regarded for its ability to serve the community while upholding the fundamental processes of a temporary exhibition. As Introvert Architecture is to be calm, gentle, and reflective, The Museum practices this throughout the design. It is calm in the selection of forms, materials, spaces, and it is gentle in the application of these on the site and in the program. The forms, materials and spaces are recognizable and

AN INTROVERT ARCHITECTURE | CHAPTER 4

do not prompt inquiries, as they are practical and used in a manner that does not impede on each other or the context. As a design exercise and a study of Introvert Architecture, to write about the design and the decisions that were made to address certain issues or create certain experiences, does not need to be complex. It is not complicated to explain the design, nor should it be. To respect the modesty of Introvert Architecture, it should therefore be simple, both in its physical embodiment, but also in its description. The building is clear, concise, organized, and gentle. The design decisions are reflective of this, and resultingly, so is the way it is written about. The process of over complicating design and descriptions often dominates those instances of architecture that are less complex. There is value in being simple.

Endnotes 45 Pier Vittorio Aureli, The Possibility of An Absolute Architecture (Cambridge, MA: The MIT Press, 2011). 46 Martin Heidegger and Albert Hofstadter, “Building Dwelling Thinking.” In Poetry, Language, Thought (New York, NY: Harper Perennial Modern Thought, 1971).

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Figure 5.1

Conclusion.

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CONCLUSION

In exploring how architecture has responded to capitalism and media throughout history and in current times, this work identifies two specific equations that attempt to classify an architecture that is extroverted, and conversely, an architecture that is introverted. The methods to build the Extrovert Architecture Equation isolate a familiar ideal that architecture has built for itself. Whereas the Introvert Architecture Equation is less obvious. This thesis, therefore, seeks to develop an understanding of what an Introvert Architecture is in the context of architecture’s extrovert ideal. The ideal capitalist vision of the city collapses the spheres of mobility, working, and living into one continuous plane of urbanization.47 Cities are no longer in need of political governance and are becoming governed entirely by economy. In a context of pure, totalizing urbanization, there is no need to plan, design, and produce architecture.48 Resultingly, to succeed in the city, buildings were designed to offer clear, open space for capitalist expansion, and during architecture’s late modernist era, notably demonstrated through buildings by Ludwig Mies van der Rohe, it was clear that architecture had been reduced to a product of capitalism. However, like man, in retaliation to the uniformity of urbanism, architects and architecture developed their own embodiment of extroversion, as architects believed it would lead to more recognition, value and success in architecture. This aspiration for extroversion was propelled by the power of the image, which stemmed from the success of Playboy and the fame of architectural photography. By creating photogenic buildings, architects and architecture found an avenue to stand out from urban uniformity. This extrovert ideal plagues architecture with the preconception that successful buildings and design must be attractive, it must separate itself from its neighbour, it must be extroverted. Unfortunately, by abandoning the planes of urbanism, it often resulted in architecture’s abandonment of

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its relationship with context, occupants, and objects. Using dynamic forms, technology, and advertisement to justify extrovert architecture’s dominant actions in the competing world of urbanization. The Design Research portion of the work introduced the Allan Gardens Temporary Exhibition Museum. The design process and analysis of the project worked to visualize an Introvert Architecture, created from the Introvert Architecture Equation, and the theories behind each variable. Like man, architecture exists within the spectrum of extroversion and introversion. It exists at both ends of the dichotomy, and everywhere in between. However, architecture’s extrovert ideal has clouded the architecture that exists outside the image. What the Extrovert Architecture Equation concludes, is that much of architecture shown in media, addressed by the profession, or subjected to the public as successful or valuable, is extroverted. Achieved through the persistent power of extroverted actions. However, The Museum considers an architecture that is not created from a desire for monumentation or recognition, but rather, uses its relationships to site, context, and occupants as the governing body for the architecture. The building is entirely natal to its context and its relationships with the act of exhibitions. Collectively, the book “Quiet” by Susan Cain, the Introvert Architecture Equation, and the Allan Gardens Temporary Collections Museum design project, attempt to demonstrate the power of the non-extroverted, the introvert. The recognition of introverted architecture parallels society’s reflection of introverted and extroverted people and acknowledges a world that is shifting toward recognizing all personality types. For architecture, this thesis attempts to describe an architecture that exists beyond the accolades and is simply a product of its context and occupants. It demonstrates an architecture where design, construction, and planning are developed through thoughtful consideration and relationships with its location, function, and users. As demonstrated through the Museum, Introvert Architecture cannot exist without these realities. In lieu of maintaining architecture’s preoccupation with extroversion, this work argues that it is imperative for the design discourse to understand the value in architecture that disregards extrovert design, and in turn embodies an introvert process of building making.

CONCLUSION

Endnotes

47 Pier Vittorio Aureli, The Possibility of An Absolute Architecture (Cambridge, MA: The MIT Press, 2011), 15-34. 48

Aureli 2011, 15-34.

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Figure 5.2

Allan Gardens Temporary Exhibition Museum.

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APPENDIX A. DRAWING GUIDE

Figure 6.1

Drawing Guide.

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Q P

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Appendix A. Drawing Guide. Chapter 3.

APPENDIX A

Drawing Guide. Chapter 3 A . . . . . . . . . . Figure 3.1 p. 54 Context, Human, and Dwelling.

M . . . . . . . . . . Figure 3.30 p. 95 View looking north at the Working Gallery.

B . . . . . . . . . . Figure 3.16 p. 77 View from Jarvis St. looking east towards the Museum’s Transitory Gallery, and Service Mass.

N . . . . . . . . . . Figure 3.32 p. 98 View looking north at the Service Mass.

C . . . . . . . . . . Figure 3.17 p. 77 View from Allan Gardens’ western lawn looking east towards the Transitory Gallery and its west entrance. D . . . . . . . . . . Figure 3.18 p. 78 View from the building’s north-west, looking south-east at the primary entry of the Transitory Gallery. E . . . . . . . . . . Figure 3.19 p. 80 Interior of Transitory Gallery, looking north. Shown, 15-degree foundational wall (right side of image). F . . . . . . . . . . Figure 3.20 p. 82 View from the northern end of the 15-degree foundational wall, looking south towards the Natural Courtyard. G . . . . . . . . . . Figure 3.23 p. 87 View looking north-east at the south entry of the Transitory Gallery. Shown: Standing Mass behind. H . . . . . . . . . . Figure 3.24 p. 87 View of Transitory Gallery, looking east. Shown: exterior connection to café that opens into the gallery space. Standing Mass behind. I . . . . . . . . . . Figure 3.26 p. 90 Sectional Perspective of the Skyroom. Shown: seating against the east-west foundational wall. J . . . . . . . . . . Figure 3.27 p. 93 Interior view of Working Gallery. K . . . . . . . . . . Figure 3.28 p. 93 View looking north at the Working Gallery and the Working Courtyard. L . . . . . . . . . . Figure 3.29 p. 95 Interior view looking west in the Working Gallery.

O . . . . . . . . . . Figure 3.33 p. 100 View looking east at the Formal Courtyard. P . . . . . . . . . . Figure 3.34 p. 102 View looking west at the Natural Courtyard from inside the middle bay of the Formal Gallery. Q . . . . . . . . . . Figure 3.35 p. 102 View looking south in the Formal Courtyard.

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H C

A M

B F D G

Figure 6.2

Appendix A. Drawing Guide. Chapter 4, Conclusion.

APPENDIX A

Drawing Guide. Chapter 4, Conclusion A . . . . . . . . . . Figure 4.1 p. 104 An Introvert Architecture, Allan Gardens Temporary Exhibition Museum. Figure 4.6 p. 112 West entrance in the Transitory Gallery, Allan Gardens Temporary Exhibition Museum. B . . . . . . . . . . Figure 4.2 p. 106 View looking west at the Working Courtyard. C . . . . . . . . . . Figure 4.3 p. 110 View from the Formal Gallery looking east into the Formal Courtyard. D . . . . . . . . . . Figure 4.4 p. 110 View looking west towards the south end of the Standing Mass. Shown, exterior Viroc panel. E . . . . . . . . . . Figure 4.7 p. 115 View looking south towards the Natural Courtyard. F . . . . . . . . . . Figure 4.8 p. 115 View overlooking the western portion of the Museum. Shown, existing Palm House (right). G . . . . . . . . . . Figure 4.10 p. 118 The Working Gallery’s most closed state. Large exterior doors seal off the glazing behind. Figure 4.11 p. 118 Large swing doors all opened onto the Working Courtyard. Interior space now offloads onto the exterior court. Figure 4.12 p. 119 Working Gallery in transition. Spaces remain closed off, while others open, serving the needs of the exhibition. Figure 4.13 p. 119 The Working Gallery’s most open state. Glass partitions retreated. Figure 4.21 p. 127 Preparation for a gardening class, instructed by an Allan Garden’s Conservatory staff member, Working Courtyard.

H . . . . . . . . . . Figure 4.15 p. 121 The Formal Gallery’s most closed state. Large exterior partitions seal off the glazing behind. Figure 4.16 p. 121 Formal Gallery in transition. Spaces remain closed off, while others open, serving the needs of the exhibition. I . . . . . . . . . . Figure 4.17 p. 123 Morning Coffee on the way to work, Natural Courtyard. J . . . . . . . . . . Figure 4.18 p. 123 Saturday’s Farm Haus Exhibition, Formal Courtyard. K . . . . . . . . . . Figure 4.20 p. 127 Waiting for a friend, Transitory Gallery. L . . . . . . . . . . Figure 5.2 p. 138 Allan Gardens Temporary Exhibition Museum. M . . . . . . . . . . Figure 6.1 p. 141 Drawing Guide.

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Colomina, Beatriz. “Architectureproduction.” In This is Not Architecture: Media Constructions, 207-21. Edited by Kester Rattenbury. Routledge, 2002. Deamer, Peggy, ed. Architecture and Capitalism: 1845 to the Present. London: Taylor & Francis Group, 2013. Dogma. The Room of One’s Own: the Architecture of the (Private Room). Milano: Black Square, 2017. FOAG. Refresh: A Vision Document for Allan Gardens. Toronto, ON: The Friends of Allan Gardens, 2017. Foucault, Michel. Of Other Spaces: Utopias and Heterotopias. Architecture/Mouvement/ Continuité, 1984. Gudkova, Tatyana Valentinovna. “Minimalist Architectural Space as a Carrier of Connotations of Social Benefits (High Quality of Life).” In Review of European Studies. 6, no. 4, 2014. Heidegger, Martin and Albert Hofstadter. “Building Dwelling Thinking.” In Poetry, Language, Thought. New York, NY: Harper Perennial Modern Thought, 1971. Lahiji, Nadir. “Phantasmagoria and the Architecture of the Contemporary City.” In Architecture Media Politics Society 7, no. 4, (2015): 1-17, DOI: 10.14324/111.444.amps.2015v7i4.001 Linder, Mark. Nothing Less than Literal: Architecture After Minimalism. Cambridge, MA: The MIT Press, 2004. Lorne, Colin. “Spatial Agency and Practising Architecture Beyond Buildings.” In Social & Cultural Geography 18, no. 2, (2017): 268-287, DOI: 10.1080/14649365.2016.1174282 Loos, Adolf. “Ornament and Crime.” Essay. In Programs and Manifestos on 20th-Century Architecture, 19–24. Cambridge, MA: The MIT Press, 1970. Lynch, Kevin. The Image of the City. Cambridge, MA: The MIT Press, 1960. Macleod, Suzanne, ed. Reshaping Museum Space. Florence: Taylor & Francis Group, 2005. Marx, Leo. The Machine in the Garden: Technology and the Pastoral Ideal in America. Oxford: Oxford University Press, 1964. Monchaux, Thomas de and Nikil Saval. “Ezra Stoller Turned Buildings into Monuments.” In The New Yorker. Accessed October 6, 2019. https://www.newyorker.com/culture/photobooth/ezra-stoller-turned-buildings-into-monuments.

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Muller, Lizzie and Caroline Seck Langill. Curating Lively Objects: Exhibitions Beyond Disciplines. Routledge, 2022. Preciado, Paul. “Playboy Architecture: Performing Masculinity.” In Pornotopia, 15–28. Zone Books, 2014. Scott, Felicity D. “On Architecture under Capitalism.” In Grey Room, no. 6 (2002): 45-65. Accessed February 8, 2021. http://www.jstor.org/stable/1262615. Schindler, Sarah. “Architectural Exclusion: Discrimination and Segregation Through Physical Design of the Built Environment.” In The Yale Law Journal 124, no. 6 (2015): 19342024. Accessed February 7, 2021. http://www.jstor.org/stable/43617074. Signore, Marcella Del and Gernot Riether. Urban Machines: Public Space in a Digital Culture. Trento: LIStLab, 2018. Studio Libeskind. Royal Ontario Museum. Studio Libeskind Projects, 2007. Accessed January 3, 2021. https://libeskind.com/work/royal-ontario-museum/

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By Jack Hache

Introvert Architecture | M.Arch Thesis 2022

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