AN ENCOUNTER IN THE MARGIN
A reflection paper as part of a thesis to obtain a master degree in architecture by Karel Sucaet.
Š Karel Sucaet. All rights reserved. Nothing in this publication may be reproduced, stored in a computer database, in automatic and/or digital files, published, in any form or in any way, either electronically, mechanically, by means of photocopy, pictures or in any other way, without preceding explicit written permission of the author or promotor. KU Leuven Faculty of Architecture Ghent author: Karel Sucaet studio professor: Wim Goes mentor: Carl Bourgeois academic year 2015-2016
an encounter in the margin
ABSTRACT This reflection paper consists of three different parts. Point Ă˜ is a starting point: it is a prologue illustrating a view on a city. Part I includes the paper itself: the writing about the search for the design, but also the drawing. Part II builds up a catalogue of references. In this way they become two separate stories, and yet entirely interconnected. They live in symbiosis, originating from dialogue. This master’s thesis is a search for an architectural language for a library in Graz. The language balances on the edge between an old and a new city. It is right there, on the passage from the one to the other, that it creates tension. This transition is a gradient and gradients consist of several layers. These researched layers are layers of history, function and movement, but also of deconstruction. The idea for this library represents the complexity of knowledge and modern media, the labyrinth in which man falls prey to himself. The design also aspires to be a third place, in addition to the urban work and life. A margin in which the city dweller can withdraw from urban life. The library as a third place. It is right here that the encounter is essential. This encounter takes place in an architecture and good architecture takes place at the edge, in the margin. An encounter in the margin. That is the research.
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My sincere thanks go out to the people who made this graduation project possible. Special thanks to my studio professor Wim Goes for the fascinating studio sessions and insights. And to my mentor Carl Bourgeois for the refreshing talks and for showing me perspective. Thanks to my fellow students and my good friends for the cooperation and mutual support. And to my parents for the chances they gave me and their unconditional support. Ghent, June 2016.
Content Abstract 5
Part Ă˜: A prologue about a city
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Introduction 11
Part I: A margin in the city
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Site 43 A margin in a city
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In between facade and decor
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On the edge
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A transparent space
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Plans/technical proof of functioning
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Part II: A catalogue of references
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References 89 Visual references
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Bibliography 114
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A PROLOGUE ABOUT A CITY
Ø. In search of a place in Graz and a vision on building from a specific view on a master’s thesis in architecture.
Wenen
Innsbruck Graz
N 25m 100 km
INTRODUCTION Late 2015 we headed for Graz, the second largest city in Austria. We went there with a question in mind: to look from a different perspective and so to find. A site and a programme. A master’s thesis. The prologue consists of pictures and text and is an exploration of the city of Graz. It is important to show a specific view on the city before telling the story of the margin.
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a reading of a city
N 25m 500 m
This map reveals a few urban entities in the greater city fabric of Graz. We found them on the go, wandering through the city. They are both influential and attractive, those urban entities. The Schlossberg, Hauptplatz, Lendplatz, ... They are true key points in the city, but oddly enough also bridges between the old and new city. The only links, or should we rather call them border crossings? They stand opposed, in rivalry. A bit like David and Goliath.
In this way, the river Mur can be read as a key point. A contradiction, because despite its central position, it is barely associated with the city itself. It just runs there, murmuring deep below. In the summer it can be almost completely dry. During spring the wild water rages through its watercourse. High above all that the city dwellers: on their bridges, in their cars, on their bikes. Quickly, swiftly across and along the water.
A mere individual chooses to go down along the winding path behind the trees balancing on the river bank. Nonetheless this could have been such a beautiful place. A place beyond the trees, next to the water. But then of course there is the concrete. A retaining wall acting as a straightjacket for the water to avert a calamity.
The river Mur, the pedestrian bridge high above it (picture by author) 13
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The Altstadt (the old city) is dominated by 19th century facade architecture. The first floor as a supporting base, rhythmic windows, big and rational. There is barely a roof edge at the top and the typical red roof tiles go on as a continuous landscape. A city is a decor for urban life. Graz is a decor for the urban parade. The squares are the scene. The facades seem to be made of porcelain, a glazed basrelief.
What is going on behind these facades is a mystery to the passer-by. Life goes on in closed quarters. The occasional glimpse of the inside is limited to the entrance of the inner courts.
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Since the end of the 19th century 1 the river banks have always been subject to decay. Nowadays a cold bunker atmosphere reigns the river banks. The river has been constricted and pushed back to the background of urban life.
1.  source: postcards from a private collection
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a few pictures
The view from the Kunsthaus. It is a perfect look-out for a first overview, helping to understand the city. The river Mur cutting through the city, the SchloĂ&#x;berg towering above the historical city centre.
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The placement of the Kunsthaus shows the renewed interest in the other side of the river. Just like the lonely floating Murinsel in the middle of the Mur. What does it actually mean?
From this point of view there does not even seem to be a river.
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The petrified inner city is characterized by the classical facade architecture of the 19th and 20th century.
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The historical inner city of Graz is typified by its inner courts, which are barely revealing anything, just like their facades. Below: inner court of the library of the Joanneumsviertel. Left: a glass roof on top of the inner court at the Hauptplatz. This unique view can be seen from the rooftop terrace of the Graz shopping paradise Kastner & Ă–hler.
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Current reading rooms and libraries in Graz. Above and right: the Steyermarkische archives in Joanneumsviertel. Bottom: reading room of the university library.
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The site, the Andreas Hoferplatz is currently reigned by cars. The square is dominated by a pavilion adorning the top of the underground car park as a crown jewel. Actually it is just a further intergrowth of the concrete walls next to the river Mur. In short: a worthy site for a master’s thesis, a true challenge. The first set of the following images have been framed to evoke the atmosphere of the place. The last set of images are collages to provide the reader with a wide view. Intact and raw, they are as objective as possible in their rendition.
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A MARGIN IN THE CITY
I. A part containing a reflection paper on the subject of a library for a master’s thesis in architecture.
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an encounter in the margin Form essentialy involves a positive act of spatial determination, of (de)termination. Precisely in its finitude and specificity it implies the positive existence of something outside itself: by being concerned with ‘itself ’, it necessarily concerns the ‘other’. The concept of form is against totality and thus involves everyting around itself. It is crucial when deciding on the form to determine its edges rather than the reference to itself. Therefore the definition of the form could be: a struggle between inside and out, a relationship between parts rather then a unique singular essence.1 Form is therefore not self-referring, but actively in relation to something different, an entity defined by and in contradiction to its context. It is right there, on this line that architecture takes its first breath and comes to life. It is the communication with and a barrier to the surroundings. In the proces of defining the boundaries, the architectural form learns from the city. The subject of this architectural form, this building, works on two important, different layers. The layer of architectural borders that wants to communicate with the city and that layer which wants to offer its visitor a margin to escape from of the city. In this way they become layers creating a transition in the city. Among the different layers sits the library. A margin in a context.
an early sketch: the initial notion of library and square
1. Own interpretation of an excerpt from “Brussels, A manifesto”
City dwellers look for the best spots to abide. Parks, squares, water sides, stairways, cafĂŠs, libraries, shops, ... They are demanding about their choices on where to spend time. A library is a place where everyone spends his time in a different way. This makes the brief complex and that is important. The library is a public building that calls for accessibility, a place where answers are to be found and encounters can take place. The building presents itself as a third place in the city next to home and work. The library is a physical place that city dwellers search for to educate themselves.
It is neutral ground, a place where they come and go. A library makes you think and dream. It holds so many different memories and stories. It carries that weight and shows it with pride. It should somehow silence the visitor and allow him to claim his proper place. A place to meet knowledge, to meet himself or maybe even the love of his life. An encounter in the margin. And that is the research. 41
SITE This part suggests the current urban composition around the Andreas Hofer Platz and the impact of the building on an urban level. Right now the square is a mere circus of concrete. Cars, buses, pedestrians and bikers: anyone crossing the city, will be passing by in one way or another. The square has always played an important role in the city. It has always hosted a diverse range of programmes. From an abbey to a fish market to the first underground car park to ... a square for a library.
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the site The square is a true traffic junction in the inner city. It is an anti-square. All major urban circulation passes by. Nonetheless it does not take part in the strong fabric of important urban entities (lightblue on the map). This is where the true urban life takes place. All of these places have one thing in common, they have been shaped by a strong periphery. It is this periphery that creates this life.
The Andreas Hofer Platz lacks a fourth facade and a square that “catches� Graz. The Parisian idea of Rogers and Piano. An event plaza reinforced by an activating facade (hiding a hyperactive building). By adding a fourth facade to the square, it could become part of this cluster of urban entities. Through its position the square could even become a central artefact in this chain of urban entities.
N 25m 300 m N
25m
45
300 m
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Various facades around the square. Starting again with a tabula rasa for the Andreas Hofer Platz. The absurd traffic situation becomes even clearer. The bus station, the parking pavilion and underground car park create a sort of noise over the whole square. Let’s imagine the square without them. The modernist and postmodernist squares are dominating the square. The introduction of a fourth front could provide a sort of monumentality. This monumentality should take its language from the other public buildings that the historical centre boasts, and thus give the library a certain weight in the urban fabric. Not only does the square get a new look, the same goes for the waterfront. The library looks over the water, yearning for the other side. We dare to step into the margin of the Mur, on the river bank. A new urban gesture. Two fluxes: the cycle lane along the water and the walkway a bit higher up run parallel to the river. They are important connections in the city.
N 25m
N 25m 47
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a fourth facade By taking away the road along the river, the square touches the Mur. Traffic actually does not need to pass by there. There many more different traffic connections to the north and south. The road around the square becomes some sort of a barrier. A few trees are a reminder of the green zone along the river. The strong form of the square originates in a critical view of the over-design of a lot of contemporary squares. Through this overspecification they numb theirselves and become useless. The strong form provides a few surplus places that will be created by their very shape and through the user. These two fluxes remain: through the gallery along the square pedestrians make use of the building, even if they do not actually need to be there. Along the water the cycle lane now runs through a gallery with stairs leading down to the water. The downward direction of the square establishes a new connection between the water and the city.
The square slowly descends towards the foot of the library, through the gate to the water. At first sight the facade seems to be classical. It is not. The second layer behind it breaks the symmetry through a play of light and reversed order. 49
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At the other side the facade reveals everything. The building shows its guts.
10m
N
1600 kg
2000 kg
1000 kg
A MARGIN IN A CITY The introduction of the form on the square has been made. An encounter in the margin at an urban level. The choice to put this strong form on these strong fluxes creates a new field of tension. Inside this long form arises a field of layering. Three theorems introduce three different themes. There is (no) space in between facade and decor. On the edge between strong fluxes. A transparent space in between square and water. The whole research revolves around one leitmotiv. An encounter in the margin. The design strategy of the research of architectural language is the last aspect. It is a research into the shifts between the use of classical elements, changing their tectonics through introducing modern construction bearers. It is a research of layers of history, function and movement, but also of deconstruction.
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IN BETWEEN FACADE AND DECOR There is (no) space in between facade and decor. What is the public space in between building and square? Antechambre, f. In classical architecture the antechambre (Latin, ante camera) was the waiting room, the room before entering the next room. It was an important transitional zone between public and private, city and sitting room, in between the square and library. It formed a buffer that brought the edge of the building to the interior.
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an antechambre
Galleries at the edge of the Piazza Duomo1, Milan. They offer shadow and conduct the main flows of people, activating the space between square and buildings. The gallery and loggia are well-known archetypes for us, Europeans. We understand them and they bring a feeling of recognition and identification with the place. At the same time they are good examples of spaces between building and public space, allowing public space to take over part of the building.
1.  Giuseppe Bernardino, View of Milan Cathedral from the Colonnade, 1830s, Oil on canvas, 43 x 60 cm, Private collection
By letting the facade on the square speak the same language as the historical city centre the building blends in. By mimicking the proportions of other public buildings in the city it gains a specific ‘gravity’.
In this way the facade stands apart from the rest of the building, as if it were just a decor in front of the actual construction, sustained by a temporary structure.
The layering of different structures forms a gradient in between water and square, in between two different parts of the city, in between the public and the library, from closeby to deep. A transition from city to river, culture to nature, but also from old to new.
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The role of the building as a double agent is becoming clearer. There actually is space between facade and decor. The fourth facade at the square easily converses with the old city. The facade at the Mur tells a slightly different story. Secretly looking at the other side of the water.
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ON THE EDGE On the edge in between strong fluxes. The site is dominated by a few strong fluxes. The square is still embraced by the busy road, the walkway is crossing the building and the path by the water demands the quality of a usable river bank. But strong fluxes also exist inside the building. Zenithal light enters through tilted roof elements, lightening the central atrium. The bookcases run along the full length of the building. 80 metres. That is a long way. It also creates a strong acceleration. The design of some sort of retardation is required.
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a detail for a bookcase
This bookcase is a brief research on the encounter on a microscale. The acceleration of the continuing bookcase is interrupted by an encounter. Passageways arise at a few points.
This table is the table of the encounter. It offers only two places, diagonally opposite to one another. Each of these spots is accessible from only one side of the bookcase. This way the encounter is a surprise for the visitor.
The distortion of the mirror is another important shift in the language. By placing it on certain asymmetric positions the arch is visually deconstructed and another type of retardation in the repetition takes place. A shift in the classical language comes into existence. 63
A TRANSPARENT SPACE A transparent space between square and water. The deployment of the structure as a gradient provides a transition between square and water through certain shifts. As mentioned before, a distortion in the image occurs. This fata morgana has the aim to make the visitor think about how this building works. This happens by bringing in the light indirectly. At certain places in the western facade light bounces off the reflective panels and into the library, providing clear and serene light, pleasant to read in. In this way it also lights the front facade in a mysterious way.
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Right now it really becomes clear what the facade at the waterfront is all about. Staircases and terraces, small spots to retreat. A true climate facade, as a barrier against the heating western sun but also as a dynamic and accessible facade for the river.
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The whole length of the library has one continuing bookcase, running under the arches. The aluminum screens providing the spaces with light, break the space and make them into a sort of enfilade. Reading rooms above a river. From time to time they contain a different function, a working spot for the librarians, a lecture room for a book presentation.
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a story about language
Once upon a time ... The story of the architectural language is essential. The shifts in that language initiate the transition. Starting with the massive facade, through the brick arches that are built up in the steel structure, towards the climate facade. All these layers form the gradient through the building. We know the language of the massive facade by now. It communicates with the old city. The language of the arches is that of the primary structure, bearing the weight of the building and bookcases, guiding the techniques to the upper levels. They are built using the classical language but by masking the steel columns that actually bear them, this becomes yet another shift. The dimension of the pendants becomes minimal thanks to the steel. A wooden grid is bearing the floor in between the steel grids. It is a reference to the way old warehouses were built. The crossing of the beams is a shift. This could also make the acoustics more enjoyable. The last layer is the one of the climate facade. The ultimate expression of technology: smart and light. The margin in between these two panes of glass is a pleasantly warm space on a cool winter day, during a hot summer day it is the buffer to keep the heat from entering the building. This is the spot where you can look down to the river Mur. On the edge with your nose against the glass, you can really experience the water flowing by and feel its power. A forgotten river now receiving well-deserved attention.
Unlike classical arches these are built in reverse order. The largest span is at the top. The pendants follow the reversed logic, narrowing while going up. 71
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Section model, scale 1/100. 73
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A detail of the essential connection in the building. On the edge, the steel bears the joint languages.
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PLANS/TECHNICAL PROOF OF FUNCTIONING
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2.
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A' 1000
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A
2000
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technical space for heating and ventilation escape route technical space trap door to dispatch
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1600
-2 N
5m
kg
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2000
kg
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1. 2. 3. 4. 5. 6.
connection to the square cycle path administrative archive entry lorries processing room dispatch exhibition space
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5m
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A' 1000
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2. 2000
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1. 2. 3. 4. 5. 6. 7.
atrium return counter/sorting room toilets and lockers exhibition space reading cafĂŠ with terrace esplanade/main entrance climate facade
0 N
5m
1600
kg
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A
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2000
kg
children's library study room reading room
1600
kg
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5m
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A' 1000
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2000
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1600
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5m
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2000
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polyvalent space oďŹƒce space for employees study space
1600
kg
3 N
5m
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84
22.20 m
15.20 m
9.70 m
bookcase
part of the cultural arches
4.60 m
0.00 m
exhibition space
-4.53 m
AA'
2m
-7.10 m
technical basement
200
777
465
1720
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stucco concrete hard insulation plasterboard
steel columns and beams UB 127 automatic windows for ventilation
ďŹ rst surface climate facade
HP 240 steel columns alternating with round steel hollow-core columns sliding windows
second surface climate facade
HP 320 steel columns arches in brick, steel IFB beam
cultural archgallery
1 cm 30 cm 15 cm 5 cm
massive facade
A OF
C ATA LO G U E REFERENCES
II. A reference book for the design of a library and the further enrichment of thoughts for a master’s thesis in architecture.
REFERENCES “A reference work is a book, a series of books or a digital collection of data in which information can be found quickly. Some reference works are specific (like a medical or biographical dictionary). References are an important part of the design process. They can be images that lead the design in a certain direction, text passages that teach a new insight, or maybe just visual help that shifts the design in a new direction. They offer a hold and reveal a true richness of connection with a broader spectrum.
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Spinning mill in Northern Italy The use of long factory halls leads to a nearly endless production line of spinning machines. At the same time the narrow body of the building provides it with a natural light and a cheap way of spanning the space.
fig. 01
Filanda Bocchese Tissino, Po Valley, Northern Italy, date unknown.
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Negative space/square Rachel Whiteread is an artist who mainly creates sculptures, by using all sorts of objects as a mould. In this way she searches for a negative space in the most common spaces. They show us an unknown world in well-known places. Looking at everyday spaces in this way helps to look beyond banalities. The negative space helps us to understand that constructing above the ground is actually meant to embrace emptiness. By filling this void we become physically aware of what it contains. The sequence of open space compared to the density and height of the surrounding objects generates some sort of urbanity. Or is it actually the open space that surrounds these objects?
fig. 02
Embankment Rachel Whiteread, Tate Modern Museum, London, 2005
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Negative space/square The formation and clearing of a path in the desert brings to mind a feeling of scale through the revelation of a form which we know the scale of. It is this form that makes us realize the impact of the vastness of the emptiness. This realization is not by definition a problem that craves for a solution. It is rather an idea that should be paid attention to, because it is through this creation of awareness that the user is actually able to make a connection with his surroundings.
fig. 03
Touareg Sahara Desert Circle Richard Long, Sahara Desert, 1988
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Through the use of classical elements by the river a playful landscape of opportunities. A passer-by can easily appropriate a personal spot. The distance between the water and the footpath is shortened immensely.
fig. 04
North Bank Office OMMX, Thames North Bank, London, 2012
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Enfilades of usable space (charcoal drawing ) The enfilade of usable space is an abstraction of the functionality in its most extreme form.
The factory Levi Van Veluw, artist’s website, 2014
Duality in function Several functions combined in the same space: flexibility of space. By using a movable filter that protects the books, they are still present when the space is used for a different function. In this way the weight of the books is always present.
Library faculty of architecture Office KGDVS, Ghent University, 2015
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fig. 06
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Detail, construction A piece of furniture in a space is a roof and a specific place at the same time. It divides the space, thus creating new space. The panneling has a double function, it both frames and anchors it to the ceiling.
Piece of furniture Houtatelier Ternier, Ghent, date unknown
Buren is an artist who usually makes temporary installations at special locations. This mirror at the bottom of a car park in Lyon shows the continuation of space, but actually starts the dialogue between the reflected and the reflection.
Sens Dessus-dessous Daniel Buren, Lyon, 1994
fig. 07
fig. 08
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Art in the public space does not always have to please. Serra created a steel screen in a slow curve between the square and the empty fountain. With this installation he intended to separate the empty basin from the part of the square he considered worthwhile. This was such a radical gesture that it comes to a trial. The verdict is clear: the wall had to be torn down.
fig. 09
Tilted Arc Richard Serra, Foley Federal Plaza, New York, 1981
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The deconstructive techniques used by dvvt architects in their design are an inspiration for the constructive details and composition. They tell a story of material and reference, referring to uncountable other layers. But it is mainly a language of shifts, of structure, concept and tradition.
Service centre Ledeberg architecten de vylder vinck taillieu, Ledeberg, 2016
Les Ballets C de la B en LOD architecten de vylder vinck taillieu, Ghent, 2008
fig. 10
fig. 11
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VISUAL REFERENCES A number of references on the next page are an inspiration. They are the formal inspiration, but can also be read in their concept and thus show the project from a different perspective. The language of the project makes important references to classical architecture. From the archetypes of the amphitheatre, loggia and gallery, to the round arch and the column. But it is also the urban placement in classical architecture that inspires. The way the forum is influenced by the strong facade is a concept that finds its roots in the theatre with the scene, an important theme for this design.
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fig. 12
West-Germany Rene Burri, 1985
fig. 13
Busseto Luigi Ghirri, 1985
fig. 14
Enclosures Charles Matton
fig. 15
St. Benedictusberg Dom Hans van der Laan 109
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fig. 16
The Factory Ricardo Bofill, 1975
fig. 17
Schwarzwald Sailstorfer, SMAK, 2010
fig. 18
Study Model Studio Christian Kerez ETH Zurich, date unknown
fig. 19
Aspendos Theatre Zenon, Antalya, 155 AD 111
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fig. 20
Lljubljana Market Jože Plečnik, Lljubljana, 1939
fig. 21 en 22
A Study of the Studiolo Patrick Hughes, British Academy, 2013
fig. 23
Voyage John Ross, collography, date unknown 113
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BIBLIOGRAPHY Goodiny, Mel, 1997. National and University library, Ljubljana by Jože Plečnik, London: Phaidon press, 60pp. Tijdschrift OASE #91 sfeer bouwen, met Junahi Pallasmaa en Peter Zumthor, nai010 publishers, Rotterdam, 128pp. Atelier Bow-Wow, 2009. Echo of Space - Space of Echo, Tokyo, INAX publishing, 140pp. architecten de vylder vinck taillieu, 2011-2012. 1 boek 1, 2 & 3, Antwerpen, Mer. Paper Kunsthalle/DeSingel Internationale Kunstencampus, 302, 307 & 390pp. Architecture Without Content, London, Bedford Press. 5 separate issues. Kenneth Frampton, 1995. Studies in Tectonic Culture, The Poetics of Construction in Nineteenth and Twentieth Century Architecture, Cambridge, MA, The MIT Press, 421pp. NAi Publishers & Berlage Instituut, 2007. Brussels, a Manifesto, Towards the Capital of Europe, Rotterdam, NAi, 237pp.
credits for the pictures fig. 01:
http://www.videorunner.com/news-item/accenni-22-contest-la-filanda-bocchese/ (last consulted on 22 March 2016)
fig. 02:
https://www.flickr.com/photos/watz/110028445/ (last consulted on 27 March 2016)
fig. 03:
http://www.richardlong.org/Sculptures/2011sculpupgrades/toureg.html (last consulted on 13 March 2016)
fig. 04:
http://www.officemmx.com/North-Bank (last consulted on 19 March 2016)
fig. 05:
http://levivanveluw.com/work/collapse-cohesion-charcoal-drawings (last consulted on 05 April 2016)
fig. 06:
http://www.officekgdvs.com/ (last consulted on 07 May 2016)
fig. 07:
Scans of an old postcard ‘houtatelier Ternier’
fig. 08: fig. 09:
http://catalogue.danielburen.com/exhibits/view/870 (last consulted on 25 April 2016) http://www.artpractical.com/column/sequences-travels-into-several-notions-of-the-museum/ (last consulted on 28 April 2016)
fig. 10:
http://www.ney.be/project/renovation-city-hall-ledeberg.html (last consulted on 15 May 2016) Š Filip Dujardin
fig. 11:
http://www.vai.be/nl/project/productiestudios-les-ballets-c-de-la-b-en-lod (last consulted on 16 May 2016) Š Filip Dujardin / OWI
fig. 12:
http://thinkingform.com/2013/04/09/thinking-rene-burri-04-09-1933/ (last consulted on 11 April 2016)
fig. 13:
http://ommx.tumblr.com/post/34561676896/luigi-ghirri-busseto-1985 (last consulted on 12 May 2016)
fig. 14:
http://www.anothermag.com/art-photography/1323/charles-matton-enclosures (last consulted on 01 May 2016)
fig. 15:
http://socks-studio.com/2014/08/17/the-st-benedictusberg-abbey-at-vaals-by-hans-van-der-laan/ (last consulted on 07 May 2016)
fig. 16:
http://www.archdaily.com/294077/the-factory-ricardo-bofill/50a48227b3fc4b263f000022-the-factory-ricardo-bofill (last consulted on 12 March 2016)
fig. 17:
http://pietmondriaan.com/tag/michael-sailstorfer/ (last consulted on 04 May 2016)
fig. 18:
https://www.pinterest.com/pin/271623421252787977/ (last consulted on 03 April 2016)
fig. 19:
http://travellingsspots4you.blogspot.be/2015/04/aspendos-turkey.html (last consulted on 20 May 2016)
fig. 20:
https://www.visitljubljana.com/en/visitors/things-to-do/sightseeing/central-market-market-halls-by-architect-joze-plecnik/ (last consulted on 07 May 2016)
fig. 21:
http://wsimag.com/art/8096-patrick-hughes-studiolospective (laast geconsulteerd op 04 April 2016)
fig. 22:
http://www.flowersgallery.com/uploads/exhibitions/-installation_shots/flowers/2014/ny/patrick-hughes/ (last consulted on 04 April 2016)
fig. 23:
https://oldprintgallery.wordpress.com/tag/john-ross/page/2/ (last consulted on 07 May 2016)
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