ROOMS WITH A VIEW...AND MORE
Melbourne School of Design 2015_SM2 Thesis Studio 3: Learning Communities and Space Tutor: Pippa Soccio Student: Zhouxing Liu (Phyllis) / 528640
This thesis explores how windows can be used in architecture to give onlookers visual cues about the identity of an organisation. It argues that in a community setting, the views are two ways; both into and out of a building and what the viewer and viewee see can shape their perception of community. The diverse role of window in architecture is carefully explored in the design of the new fine arts facility at St John’s College. In the architecture various window typologies are used to respond to both internal programs and external context, but are focused on the common goal of enabling abundant dialogues to happen between viewers and viewees across architecture to create valuable connections between the community and the specific group that the architecture speaks for.
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CONTENTS
INTRO
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THE PROBLEM
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THE RESARCH
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THE DESIGN
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SUMMARY
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INTRO This thesis studio is led by LEaRN, a multidisciplinary network exploring the relationship between pedagogy and space. This studio aims to explore the role of architecture design in creating, supporting and reinvigorating communities. The site for exploration of the issues and realization of the architecture is St.John’s Greek Orthodox College in Preston. A new fine art education facility will be built there.
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SCHOOL BOUNDARY RAILWAY NEIGHBOURHOOD BUILDING CARPARK SCHOOL FACILITIES
THE PROBLEM St John’s College
is a Greek Orthodox school with 300 primary and senior students, over 99% of which are second or third generations of Greek immigrants. It is now facing a huge shrinkage of students. The school wants to engage with the community to attract future students. However, established in 1972 and being on current site for over 30 years, St. John’s College almost remains unknown for those who are not from the Greek community. It is isolated from its context in this sense.
Qs There are two questions before solving the problem with architecture,
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Q1
WHO IS THE COMMUNITY?
It is clearly stated in design brief that the new fine arts education facility should focus on community engagement meanwhile providing spaces for teaching and learning activities. But when asked who the community is, students couldn’t come up with any other answer except for their Greek community. Therefor the very first question to start this project is that who will be the targeted community? In order to attract more students and benefit from local resources, the answer is residents in City of Preston including future students’ families and local artists.
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Q2
WHY IS IT UNKNOWN?
St.John’s College has been on its current site since 1983. Over 30 years it didn’t establish a well-known reputation in its neighborhood because most residents never know there is such a school that is so close to them. Before inviting the community, St. John’s College needs to make announcement to the community, saying “hey, I’m here!” Despite cultural issues, the second question is to ask what kind of external factors actually makes St.John’s College silent and unknown for years?
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th e inv vis i St sibl ible .Jo e a hn bou nd s C nda oll ry eg of e
Q2
WHY IS IT UNKNOWN?
The northern boundary of St.John’s college is parallel to the railway and only 20 meters away from it. Its west boundary joins separate itself from the Ray Bramham Garden, a quiet public park with less visitors. Most school facilities are hidden by vegetation and hard to access. When traveling outside, one can hardly tell that it is a school that’s behind the fence. The community has no opportunity to know about the school unless it is invited to come in.
IT IS UNKNOWN BECAUSE NEITHER IS IT SEEING OR BEING SEEN.
Oh we cannot see anything inside!
We are in our Greek community. We don't know what's happenning outside.
THUS The architecture should: - inform both the community and school of each other - create a threshold to allow people to communicate
Because St. John’s College is so enclosed and detached from its context, architecture should construct a bridge between the school and the community. While directly contact with the community, another levels of engagement might be needed to create a modest, constant everyday engagement.
Hi there!
THE PASSIVE ENGAGEMENT
THE ACTIVE ENGAGEMENT
Besides offering spaces inside the school for community events, the architecture should also perform as a threshold for different levels of engagement like a window. As a result, this thesis explores the roles of windows in creating a two-way conversation between learning space and community.
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THE RESEARCH ROLES OF WINDOWS
W
INDOWS and ART
Windows are the permanent topic for art through history. There are enormous artwork inspired by windows, whether by the window itself or the view through the window. People tend to work and have all the other activities by the window, which offers great source materials for artistic creation. Windows also creates inspiring stunning light effects that awakes the internal space. Window is significant architectural element for art learning space.
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Exploration of window’s role in such a space starts with Henry Matisse’s hundreds of paintings about windows. Matisse didn’t view windows as barrier between the domestic and the outside world. For him Windows linked those two.(Blum, 2010) Through years of experiments, Matisse depicted different types of windows and it is surprising to see how much a window can change occupant’s perception about both external and internal spaces.
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In a way window could generate the depth of internal space when contrasting with the view outside and then thus creating a sense of enclosure and seclusion.
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Matisse also depicted another types of window. The flatness emphasizes the equality of interior and exterior where the window and view outside are like a painting on the wall. In some paintings, by using the same intensity of color in an external scene as found within a room, or by eliminating perspective, Matisse pulled the view inward. 
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Vilhelm Hammershoi also produces large amount of artwork about windows. There is a series of paintings depicting the same room and same window with the same perspective with changing characters and light quality. 
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With direct and diffused sunlight, people engage with windows in various ways during different periods of a day.
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Sometimes characters engage with windows in order to communicate with outside. The communication could be simply enjoying the wide view through the window in peace, carefully observing something or someone particularly, sensing the freeze, talking or gesturing to someone out there. In a general sense, the character is the viewer perceiving the world outside the window.
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But how about when the viewer looks out, someone outside happens to look back to him or her? In this case, the viewer inside becomes the viewee. Or should it say that now the character is both the viewer and viewee. It is the same with the person outside who is seeing, meanwhile being seen.
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Alfred Hitchcock (1954) told similar story through his move ‘Rear Window’ where the window frames a scene where the occupant inside expose herself through the window. Seeing a series of activities inside, the outside viewer manage to build up a narrative of the internal space. Interestingly Matisse explored similar ideas. When posing a figure that unexpectly looks towards the viewer as opposed to outward to the view, the window returns the viewer to the interior scene.
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Windows provide artists with meaningful inspirations. Windows also change the way people perceiving the internal space where they are within and the external environment of the space/ building. Viewers and viewee from both sides could communicate and engage with each other passively or actively. In accordance with Jan Gehl’s theory (, activities as attraction generate passive contact, which is likely to lead to a higher level of engagement. Windows enable activities to be seen through architecture. Thus windows play an important roles in engaging with local community for St. John’s College as a predominant architectural element that shapes the art learning space.
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INDOWS and ARCHITECTURE
Artist is not the only one who loves to work by windows. Windows are behavioral elements influencing how people use the space. An art facility is supposed to accommodate different sorts of programs. So how can the windows assist teaching and learning activities?
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Windows for specific zones: designing the conversation Carlo Scarpa used his architecture to argue that every window is important for the space. In Brion Cemetery, one can hardly find two same windows. Each window was assigned with specific function responding to certain external environment and internal program. Some of them frame a panorama view while some encourage people to get close to look at a specific perspective. Diversified characteristics of windows enrich the conversations between two sides of architecture. (Dal Co, 1985)
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The communication is also between occupants and sky. Scarpa used skylight and corner window to invite the blue sky into a building. Light from above is diffused by vertical walls, creating excellent spaces for exhibition and artistic creation. 23
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Windows are also more than the glass which people could see through. Windows are associated with the building in terms of materials and structure. Scarpa thought the shape and the way of framing affect viewers’ sense about the viewee. Thin, light frames produce a pure image like a painting while thick frames are sculptural and are likely to create dramatic light effect.
Technology evolution changed led to the window revolution. The way people seeing has been changed since the emergence of new window typologies. Scarpa’s view about different window types had been discussed in earlier 20th century. There was a hot debate between Le Corbusier and Perret about traditional vertical windows and Corb’s flat long windows. It also influenced window movement in modern art history like Matisse’s window painting as discussed before.
Plain long window creates panorama view, erasing the hierarchy between the interior and exterior. It even allows the view to invade into the domestic space in some sense. 25
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Vertical window responds to a human’s figure. It forces the eyes to look upward rater than into depth to stress the continuity between room and the view.
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The conversation between viewer and viewee are designed through the design of windows. Windows in each room are supposed to respond to the specific programs running in the particular space. They determines indoor environment quality such as lighting and natural flow that might be essential to different kinds of artistic creation. In addition, it also determines how much the viewer and viewee can see each other, resulting in different levels of interaction. 
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When saying window controls the view and interaction, it means that one can control the narrative of the viewee by designing the window. For example, windows as threshold enables the building to be open and closed up. The boundary could be blurred to erase the differentiation of interior and exterior for some activities. In this case, windows might impact on a large area of space and all activities are truly exposed to the viewer. When someone sees people’s movement, it tells the story of a process with a sense of time rather than a moment. However, architect could choose what to show and what to hide by composing windows. The narrative is made up of chosen scenes. Windows can also frame a certain space and the viewee is narrowed down to a controllable size. Thus the rest of the space could serve for the chosen narrative and remain relatively mysterious just like how the backstage in a theater. The difference is that the scene presented by the window could be either intentional or unintentional and that the contact between the performers and audiences, in this case, between the viewer and viewee, could be either passive or active.
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There is narrative of the internal spaces and people who occupy it. There is also narrative about the building itself. If the brick would say that I’d like to be an arch and then there is an arch window, what would concrete say? What would steel say?
THE DESIGN
St.John’s College Art Centre
St. John’s college proposes a new art facility in its current campus serving for both primary and secondary departments. Besides teaching and learning spaces, St. John’s College also requires spaces for community events including a gallery that is open to the public and a meeting room.
KLIN ROOM
PRIVATE WORKSHOP
PRIMARY SECONDARY LEARNING SPACE LEARNING SPACE
ICT SPACE
STORAGE
LIBRARY
GALLERY
COMMUNITY MEETING SPACE
CAFE
VIEWS
DISPLAY OF ARTWORK
DISPLAY OF ACTIVITIES
NATURAL LIGHT
NATURAL FLOW
INTERACTION
In accordance with the identified problems and research process, this project is aimed at creating conversations between the school and community. The concept is based on seeing and being seen by each other through windows to create passive contact as a starting point for active contact and engagement at other levels. Window allows views across building. It also plays a significant role in controlling indoor environment quality in terms of lighting and natural flow. The following diagram analyzes the spatial quality required by each program. Thus functions of windows are classified as: 1) to allow people to see the external view 2) to allow people outside to see the artwork displayed 3) to allow people outside to see activities happening inside 4) to allow interactions active contact between people inside and outside 5) to bring natural lighting 6) to bring natural flow The following diagram shows analysis of how much each programs requires for each function.
MOST NEEDED
LEAST NEEDED
F
unctions of windows KLIN ROOM
PRIVATE WORKSHOP
PRIMARY SECONDARY LEARNING SPACE LEARNING SPACE
ICT SPACE
STORAGE
LIBRARY
GALLERY
COMMUNITY MEETING SPACE
CAFE
VIEWS
DISPLAY OF ARTWORK
DISPLAY OF ACTIVITIES
NATURAL LIGHT
NATURAL FLOW
INTERACTION
s St G eorg e
SCHOOL BUILDINGS
Railway
Pl
ADJACENT BUILDINGS
PARKING AREAS SCHOOL BOUNDARY
RAILWAY TRAIN STATION SCHOOL ENTRIES
St Ge org
TREES
es
S
public access
students access
ite
In order to explore the power of seeing and being seen to enhance engagement with community, the proposed site is pushed to the east boundary of the school to reduce the distance between viewer and viewee. It is in the middle of primary school and secondary school. All students access from the olive parade while public entrance is on south façade facing the primary school.
W
indows as driving concept
Windows at each level as tools to connect interior and exterior, are where conversations happen. The building is shaped by the composition of windows based on various needs of communication. 
Each window is designed in response of a particular space to achieve specific indoor environment quality according to different teaching and learning programs. 
The ground level is easier to approach and access so windows at this level would involve body and language interaction with external environment and people (including the students and staffs in school and the local community) It is also showcase for both artwork and people’s activities as attractions. The ground level is designed to have
The first floor is designed for relatively private compared with ground level. Private workshop for senior students and library are located at this level. It is supposed to create a quieter and a bit more seclusive space to support artistic creation and self-learning. The idea of seeing and being seen is also applied but the first floor is more for the passive contact with the community when activities are shown like the silent film.
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THE
B
UILDING
KILN ROOM
ICT SECONDAR LEARNING
ART STORAGE
TEACHER'S OFFICE
STORAGE: DRY / WET/ SECURED
PRIMARY LEARNING
OUTDOOR LEARNING
GROUND FLOOR
CAFE
KITCHEN
GALLERY
TOILET
MEETING ROOM / GALLERY
OUTDOOR INFORMAL MEETING SPACE
A
HIERARCHIES OF NARRATIVES
C
B
B
When public approach to this building, they are able to see different types of narrative about the school and especially art programs. There is an informal community meeting space outside the main entrance. The space defined by the external walls of primary learning space and art storage room. Those two spaces offering different kinds of narratives for visitors about what’s going on (the teaching and learning activities) and what has been done (previous artwork). After entering the gallery, it’s a summary of the story. When one goes to the north end, sits down in the café, he or she could glimpse through the small windows on the kiln room. Thus the visitor returns back to the narrative of the present ( by seeing students doing pottery work as part of the learning activities).
LEARNING SPACE PUBLIC SPACE OURDOOR LEARNING SPACE A
C
OURDOOR PUBLIC SPACE
ROOF GARDEN
skylight secondary learning space
LIBRARY
skylight for primary learning space
FIRST FLOOR
PRIVATE WORKSHOP
'PERSONAL' WORKSHOP 'PERSONAL' WORKSHOP
'PERSONAL' WORKSHOP STUDENT LOUNGE
A
C
Art students in St. John’s College have a strong identity of themselves. They have been in a very protective small community for a long time. Therefor when open the new facility for the community, they still require spaces that belong to their own.
B
B
A
C
The private studio is for senior art students only who want to work as individual or small groups for sophisticated art creation. The large space is divided by semi-transparent curtains into several zones. It is very flexible to arrange the space for different uses. The small protruded room is called personal workshop. It emphasized the sense of belongs while at the same time offering a look out spot for passive community engagement.
LEARNING SPACE OURDOOR LEARNING SPACE
skylight for workshop skylight for workshop
light well for circulation space
ROOF Skylights are designed to improve indoor lighting conditions by creating evenly diffused natural daylight. It is also a way to invite the sky into the building to have another conversation with the nature. 
SECTION A-A 1:100 SECTION A-A 1:100 SECTION A-A
SECTION B-B 1:100 SECTION B-B 1:100
SECTION B-B
EAST FACADE - VIEWS FOR ALL
The building is pushed against east school boundary. Its east façade is fully exposed to the public. Openings on this side are more than windows for the building. They are also windows for the school greeting the community. Artwork on display and human activities around windows can be seen by people walking by and those on train as well. It is the showcase of the school, constantly telling stories of St. John ’s College. When activity inside becomes attraction to the community, it turns into passive contact. The community gets to know about St. John’s College at where it is. Students also actually see the neighborhood with their own eyes.
FROM PASSIVE TO ACTIVE ENGAGEMENT WITH COMMUNITY
Passive contact is the starting point of other levels of engagement. When the community is attracted by scenes seen on east façade, they are more likely to attend community events host by St. John’s College than those who never see this building before. Spaces for community activities are designed in Art Centre. There are indoor community spaces such as the gallery and meeting room as well as informal outdoor gathering space. While having direct contact and conversations with each other, communication through windows still happens. The combination of passive and active engagement createz hierarchies and depth of narratives about the school.
SECTIONS CUTTING THROUGH PUBLIC SPACES It shows combination of passive and active engagement with different scenes and narratives presented by the window
SECTION C-C
WEST FACADE - WINDOWS AS BEHAVIOURAL ELEMENTS
West façade faces inner school. It is less protective than the west. Communications from this side are between students including those who are doing art and those who are not. The west façade explores how people in and out would behave with different window typologies.
KILN ROOM WINDOW SECTION @1:20
When designed at a human’s scale, windows have the most powerful impact on occupants’ behaviors.
PRIMARY LEARNING SPACE WINDOW SECTION @1:20 Window are carefully chosen for different groups of users. There are usually more than one type of windows to ensure the best performance of indoor space. For primary learning space, awning window is embedded into double glass channel wall system. The double glass channel system turns afternoon sunlight into evenly diffused light and resists heat gain. Awning windows are at a pupil’s height. It brings natural flow and presents a view of the outdoor learning space and the lawn.
SKYLIGHT FOR SECONDARY LEARNING SPACE SECTION @1:20 (IN ROOF GARDEN)
VIEW TO THE ROOF GARDEN FROM LIBRARY
PERSONAL WORKSHOP WINDOW SECTION @ 1:20
In order to achieve thin frame window in brick wall, it has to combine with steel structure to replace the traditional lintel. Structure system has a significant impact on the choice of windows. Emergence of new typology is always resulted from the development of construction technologies. If one uses window as driving designing concept of a building, then which system is capable for the desired window must be taken into consideration before concept development stage.
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VIEW THROUGH CIRCULAR WINDOW IN THE PERSONAL WORKSHOP TOWARDS ANOTHER WINDOW.
You are the viewer You are the viewee
VIEW OF THE PRIVATE WORKSHOP
Matisse visualized the domestic interior as the center of a private pictorial world. The ceiling height is gradually reduced from 3.5m to 2 meters to stress the sense of belonging and seclusion. But how about using the flat window that presents a panorama view to allow exterior to invade into the private space? How about using the same brick for both internal floor and external façade to create the continuity of interior and exterior? Will the flatness scene and three dimensional space merge together and generate a total perception of the community?
SUMMARY Architecture shapes viewers and viewee’s perception of community by guiding inward and outward view through windows. The designed visual conversation across architecture creates passive engagement and would potentially encourage contact at other levels. Explorations of views into and out of a building help the architect to think about what exact activities would happen in a certain space. Thus the window could be designed to respond to predicted events, improve indoor environment quality and assist internal programs. In other words, human’s behavior is designed to a certain degree. A series of seen behaviors then establish the narrative of the organization inside. However, during the design process, it is crucial to realize that space that is impacted by one window is very limited. Only can activities within a certain distance communicate with outside. The depth of space is essential. Windows automatically generate hierarchies of internal spaces.
Windows as architectural element is strongly associated with building structure. Detailed window sections reflect lack of understanding of the the construction process and a rational overview of different structure systems. There are problems when the chosen structure couldn’t support a certain type of window. For example, it is hard to create a frameless view for double cavity wall. Even the frame is managed to be hidden into the cavity in between, thickness of the wall is still obvious when someone is seeing through the window. The desired flatness of the view is disturbed. Despite difficulties in rationalizing window typologies into proper construction system, it is proven that windows do create valuable conversations. There are conversations between the school and target community, between school and nature as well as between individuals who both belong to school community. Seeing enbles viewers to acquaint themselves with viewees. Being seen by someone reminds viewees to rethink their self- images and values. The roles of viewer and viewee could be widely applied to everyone who is visually impacted by the architecture. Therefor architecture diffuses a wide network to attract the community and build up strong engagement with it
BIBLIOGRAPHIES 1.Blum, S. (2010), Henri Matisse: Rooms With A View. New York: The Monacelli Press 2.Dal Co, F., & Mazzariol, G. (1985). Carlo Scarpa: The Complete Works. New York: Rizzoli. 3.Gehl, J. (1987). Life Between Buildings : Using Public Space. New York: Van Nostrand Reinhold. 4.Hitchcock, A. (Director). (1054) Rear Window [Video]. US: Paramount Pictures, Patron Inc. 5.Reichlin, B. (2005). For and Against the Long Window: The Perret – Le Corusier Controversy. In Deplazes A (Eds.), Construction Architecture: Materials Processes Structures, A Handbook (pp175-195). Berlin: Birkhauser. 6.Yoshiharu Tsukamoto Laboratory, Tokyo Institute of Technology. (Eds). (2011). WindowScape : window behaviourology. Singapore: Page One
ILLUSTRATIONS 1.Matisse, H 1919 or 1020, Interior at Nice, oil on canvas, viewed 3 November 2015, < http://www.artic. edu/aic/collections/artwork/2816> 2.Matisse, H 1919 , Interior at Nice, room at the Hotel Mediterranee, oil on canvas, viewed 3 November 2015, < http://www.metmuseum.org/exhibitions/listings/2012/matisse/images> 3.Matisse, H 1919-1921, Woman with a Red Umbrella, seated in Profile, oil on canvas, viewed 3 November 2015, <https://en.wikipedia.org/wiki/File:Henri_Matisse,_1919-21,_Woman_with_a_Red_ Umbrella_Seated_in_Profile_(Interior),_oil_on_canvas,_81_x_65_cm,_private_collection.jpg> 4.Matisse, H 1914, Porte-Fenetre a Collioure, oil on canvas, viewed 3 November 2015, < https:// en.wikipedia.org/wiki/File:Porte-Fenetre_a_Collioure_1914.jpg> 5.Matisse, H 1913, The Blue Room, oil on canvas, viewed 3 November 2015, < http://www. robertaonthearts.com/InTheGalleries/idG18.html> 6.Matisse, H 1912, Window by Tangier, oil on canvas, viewed 3 November 2015, < https://en.wikipedia. org/wiki/Window_at_Tangier> 7.Hammershøi V 1901, Interior,Stramdgade, oil on canvas, viewed 3 November 2015, < http://www.theathenaeum.org/art/list.php?m=a&s=du&aid=2536> 8.Hammershøi V 1900, Woman Reading in the Sunlight, oil on canvas, viewed 3 November 2015, <http:// www.theathenaeum.org/art/list.php?m=a&s=du&aid=2536> 9.Hammershøi V 1901, Interior From Stramdgade with Sunlight on the Floor, oil on canvas, viewed 3 November 2015, <http://www.theathenaeum.org/art/list.php?m=a&s=du&aid=2536>
10.Hammershøi V unknown, Woman Sewing in an Interior, oil on canvas, viewed 3 November 2015, <http://www.theathenaeum.org/art/list.php?m=a&s=du&aid=2536> 11.Hammershøi V unknown, Interior, oil on canvas, viewed 3 November 2015, <http://www.theathenaeum.org/art/list.php?m=a&s=du&aid=2536> 12.Hammershøi V 1904, The Coin Collector, oil on canvas, viewed 3 November 2015, < http://www.theathenaeum.org/art/list.php?m=a&s=du&aid=2536> 13.Friedrich CD 1822, Woman at a Window, oil on canvas, viewed 3 November 2015, <https://www. khanacademy.org/humanities/becoming-modern/romanticism/romanticism-in-germany/v/caspar-davidfriedrich-woman-at-a-window-1822> 14.Vrel J 1650, Woman at a Window, Waving at a Girl, oil on canvas, viewed 3 November 2015, < http:// www.independent.co.uk/arts-entertainment/art/great-works/great-works-woman-at-a-window-waving-at-agirl-c1650-475cm-x-392cm-by-jacobus-vrel-8390336.html> 15.Vrel J 1654, Woman at a Window, oil on canvas, viewed 3 November 2015, <http://www.khm.at/ besuchen/ausstellungen/2009/raum-im-bild/> 16.Heinrich J 1787, Wilhelm Tischbein Gothe at the Window of His Room, oil on canvas, viewed 3 November 2015, <http://40.media.tumblr.com/56f989beb27e0a68a48556d8e2443228/tumblr_ n7fipuFVSj1qf6wxho1_1280.jpg> 17.Hitchcock A 1054, Scene in Rear Window, viewed 4 November 2015,< http://the.hitchcock.zone/files/ gallery/org/8649.jpg>
18.Unknown, Carlo Scarpa Brion Tomb, photograph, viewed 4 November 2015,<http://cdnstatic.visualizeus.com/ thumbs/d4/9a/d49ab64471bf5df73d336362a0d8decf_i.jpg> 19.Coleman B 2012, Brion Cemetery by Carlo Scarpa, photograph, viewed 4 November,<http://www.flickriver.com/ photos/32215181@N08/7474743662/> 20.Unknown, Carlo Scarpa Brion Tomb, photograph, viewed 4 November 2015,< https://architectcouture. wordpress.com/2011/08/17/carlo-scarpa/g> 21.Guthrie P Unknwn, Castelvecchio Museum, photograph, viewed 4 November 2015,<http://www.peterguthrie.net/ scarpacanova/f6seo1nilq8agcde2om8uqhflaremj> 22.Unknown, Carlo Scarpa Castelvecchio Museum, photograph, viewed 4 November 2015,< http://inspiredm. com/10-inspiring-masters-of-light-and-darkness> 23.Unknown, Gallo Apartment, photograph, , viewed 4 November 2015,< http://vesta-mebel.eu/wp-content/ uploads/2014/11/vesta-mebel-blog-casa-gallo1.jpg> 24.Unknown, Carlo Scarpa Brion Tomb, photograph, viewed 4 November 2015,< https://architectcouture. wordpress.com/2011/08/17/carlo-scarpa/g> 25.Deplazes A (Eds.), Construction Architecture: Materials Processes Structures, A Handbook (pp175-195). Berlin: Birkhauser. 26.Friedrich CD 1806, View From The Artist's Studio Right, oil on canvas, viewed 3 November 2015, < https://smedia-cache-ak0.pinimg.com/736x/d5/c5/ce/d5c5cea88585990eecabf45c3d838388.jpg> 27.Unknown, Terragni in Mostra, photograph, viewed 3 November 2015, < http://www.archinfo.it/wp-content/ uploads/sites/29/2012/09/03b.jpg>
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28.Unknown, Pratt Institute Higgins Hall, photograph, viewed 3 November 2015,< https://s-media-cacheak0.pinimg.com/736x/90/b7/f7/90b7f7d89eacf07d61aea62b9819ac9d.jpg> 29.Unknown, Project Orange, photograph, viewed 3 November 2015, < http://lh3.ggpht.com/S7x8WthT-B8/UhyBy1wHczI/AAAAAAABjqQ/Kckjtnxdzdw/New-Picture-174_thumb2.jpg?imgmax=800>