Collective Writings: Interior Design & Architecture

AR7043 ADVANCED INTERIOR DESIGN THEORY

Collective Writings: Interior Design & Architecture

MASTER OF ARTS INTERIOR DESIGN UNIVERSITY OF EAST LONDON

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C H

DIVING

Chromophobia

Can a

In Praise of

CONTENTS

Conversati Ligh

AL-TEMNAH OMNIA

FA

M

DO WE STILL SUPPORT INTERPRETATION? THE EMERGENCE OF POP ART DESIGN FOR THE REAL WORLD MODERN ARCHITECTURE THE FIVE SENSES:BOXES NON PLACES: SUPERMODERNITY

THE

ABDULLAH

BARROSO

GR

PRINCIPLES OF CLADDING CHROMOPHOBIA DESIGN ACTIVISM

LIGHT EFFECTS IN ARCHITECTURE Luis Barragan successful designs INTERIOR DESIGN AND SUSTAINABILITY WOMEN IN ARCHITECTURE David Batchelor’s chromophobia The Perception of Color in Architecture

DALAL

INTERIOR ENVELOPE AND SENSORY EXPERIENCE: BOXES

MARAYA SEVEN SENSES

SICLANIA

LE CORBUSI

FROM MO LEA FROM ATM ON

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LAPINSKA

WAREKUROMO

ANALYSING DIFFERENT VIEWPOINTS AND PERSPECTIVES

PLACES AND NON PLACES CHROMOPHOBIA ARCHITECTURE AS PHILOSOPHY THE SENSES AND SENSORIUM THE PRINCIPLE OF CLADDING ATMOSPHERES

MARTYNA

HOW TO DESIGN QUALITY ARCHITECTURE? FEAR OF COLOUR HOW

DID THE HISTORICAL DEPICTION INFLUENCE MODERN PERCEPTION OF COLOUR PINK?

HOW IS COLOUR USED IN INTERIORS TODAY?

SUSTAINABLE DESIGN

H A W A

TEINANE

M E D I N A

W I LT H E W

G IN THE SENSE OF A TOUCH

Breaking the rules: pretentiousness and design

a is perhaps only Chromophilia without the colour.

tions with Students by Louis Kahn ht: Ephemeral or Eternal?

DESIGN ACTIVISM FOR REFUGEES OVERCROWDING: CITIES AND THE PANDEMIC EDIBLE FLOWERS: Case study NOUS WINE MAKING AS A DESIGN CONCEPT SENSUALITY OF COLOR

NATURAL VS. IMITATED MATERIALS SEXUALIZED COLORS CHROMOPHOBIA: OPINION PIECE LIGHT: MEXICAN ARCHITECTS CONTEMPORARY EXHIBITIONS CLOSED SPACES IN 2020-2021

RAHANI

SARGAZI

Y U M R U TA S

DAVID BATCHELOR’S LARGE-SCALE WORKS ORNAMENTATION RECYCLED PLASTIC MATERIAL ATMOSPHERE CORK TASK LIGHTING FOR THE WORK SURFACE

ATMOSPHERES CHROMOPHOBIA BREAKING WITH TRADITION

CHERINE

a place be ever meaningless?

f Shadows By JUNICHIRO TANIZAKI

MOHAMMAD

E PRINCIPLE OF CLADDING ORNAMENT ATMOSPHERES CHROMOPHOBIA FIVE SENSES NON PLACES

SONIA

ATEFEH

RADINAR

TUNCBILEK

IER, early influences and development

THE WAY OF ARCHITECTURAL DESIGN ATMOSPHERE BY PETER ZUMTHOR NORA MOSQUE AND COMMUNITY CENTER TRANSLUCENT BUILDING SKIN BENISCH ARCHITEKTEN CARDBOARD CATHEDRAL

MARIA

ODERNISM TO POSTMODERNISM ARNING FROM LAS VEGAS M PLACES TO NON-PLACES MOSPHERES Peter Zumthor N COLOR AND ORNAMENT

GOZDE

GEORGETTE

YESIM

STAINED GLASS IS HAVING A VERY IMPORTANT MOMENT

GREEN ARCHITECTURE CAN FREIGHT CONTAINER HOUSES OVERCOME HOMELESSNESS?

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PRINCIPLES OF CLADDING A critical reflection on or implementation as it denied the practical aspect “The principle of cladding” of his philosophical stance.

By Adolf Loos His essays clearly express his design ideology since Words by Dalal Abdullah they have a great appeal to the public as well as to artistic detractors. In the work The Principles of Cladding, the author discusses the significance of Adolf Loos’s critique of excessive ornamentation furnished surfaces. He cultivates an innovative conmarked a pivotal turn in public perception of archi- cept of Raumplan, which can only be established tecture. He introduced an innovative but rather a by considering the special characteristics of the controversial stance on the real essence of design spot an artist works on. The author criticizes the and claimed extravagant decoration patterns to be mainstream perception of space as a combination a sign of degeneracy and obsolescence. Loos’s prag- of different patterns. Instead, he prefers a holistic matic view on architecture hindered his perspective approach to interior design. He draws a direct conon decoration as an art form (Masheck 2013, pp. nection between the special perception of a certain 94-95). Moreover, his radical opposition towards place and the ways to furnish its surfaces. The aulavish ornamentation laid the foundation for the thor justifies his opinion by stating that the decocultivation and further development of modern- ration of walls, for instance, may critically change a ism (Tozer 2011, p. 26). Exploring the significance spectator’s perception of space (Loos 2011, p. 241). of Loos’s philosophical and intellectual influence on In fact, the effect that churches, palaces, and govart, it is essential to consider his attitude towards ernment buildings have on a viewer differs considerably due to the contrasts in their cladding styles. certain artistic trends and tendencies.

Despite the fact that exterior design has a signifiFrom Loos’s unconventional perspective on the pur- cant role in the holistic perception of a building, the pose of architecture, building process should focus interior decoration is the main determiner of the on rationality and practicality of a project. In fact, so-called emotional value of any architectural projthe notions of pure form and convenience were ect. central in Loos’s architectural philosophy. The master rejected the artificial necessity for ornamenta- Moreover, Loos claims that the type of cladding tion, as he viewed as it impractical and financially chosen depends on the purpose of the living space insufficient. Instead, being the pioneering philoso- as, for instance, with tiles in bathrooms. Therefore, pher of modernism, he tried to shift detractors’ and the artist develops the so-called law of cladding, public attention to more minimalistic and self-suf- which establishes the necessity to eliminate the ficient designs. Furthermore, while being partially confusion the decoration of cladding material proloyal to exterior decoration, Loos decried its interi- vokes. Therefore, a professional cannot ornament

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Villa Müller.

(Flicker - CC BYNC-SA 2.0, n.d.)

the material cannot in a way that distorts its natural characteristics. The author justified his idea by stating that people perceive the very notion of elegance through the cladding design. Loos demonstrates the experimental conformation of such an assumption. The architect asks his colleagues to decide whether brown or white window bars look more aesthetically pleasing. Surprisingly, the participants of the poll unanimously favored the latter.

Thus, Loos’s concept that the essence of architectural elegance has connection with the way cladding is being done.

In conclusion, Loos’s philosophical perception of space and intuitive knowledge of its true potential determine the peculiarities of his architectural ideology. Declaring that ornamentation of surfaces such as cladding could drastically change viewers’ attitudes towards a building, he established a fundamental concept of minimalistic and aesthetically appealing interior style. However, his contemporaries labeled the author’s desire to cultivate a practical approach in design theory as architectural sanctimoniousness.

Adolf Loos (1870-1933), Fotografie von Otto Mayer (Mayer, 1904)

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CHROMOPHOBIA David Batchelor

Summary and reflection Words by Dalal Abdullah

maintain the superiority of architecture and art.

Batchelor acknowledges the views of Charles Blanc on the inferiority of color over design (Batchelor Color is an important aspect of modern architec- 2001, p.23). Blanc, a critic of color, equated it with tural designs and art. Chromophobia, as a strong femininity. The philosopher agreed that it has to be aversion to color, is David Batchelor’s approach to included in designs as a secondary feature just like describing Western Culture (Batchelor 2001, p.21). a woman has been present in a man for mankind to Color has been used as an object of prejudice by exist, but has to be subordinated (Batchelor 2001, making it a property of a foreign body, which has re- p.23). He also believes in Aristotle’s view that colmained unchecked for a long time (Batchelor 2001, or is a beast that should be tamed (Batchelor 2001, p.22). Like in arts and architecture, which require p.23). One of the effects of the failure to tame color the controlling of color to maintain the quality of a perceptions occurs in the form of undermining the painting, it should be checked to prevent the cor- value of a color by either considering it as alien and ruption of the value of culture in society (Batchelor dangerous or as a secondary experience (Kalderon 2001, p.22). For instance, Western countries have 2016, p. 216). The use of color in culture and preja culture of segregating and discriminating the peo- udices has been exhibited in the social context of ple of color such as African Americans in the Unit- human interactions through symbolism and ethnic ed States of America. Society loses the economic, segregation. political, and cultural benefits associated with the In society, color is not just used for aesthetics but minority groups as a result of the color exclusion. communication and representation of culture. For Color should be carefully blended in design to instance, as observed in most Western countries,

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the color red is used in modern building designs as a warning and as a danger alert. On the other hand, red is a symbol of happiness and celebrations among the Middle and Eastern Asian cultures. In the Western countries in the United States and Europe, color is used to represent a monochromatic culture in various private and public facilities.

They include museums, airport signboards, and billboards that have blue, white, and yellow among other colors. They all are blended into the architectural designs (Batchelor 2001, p.32). In Asian countries such as Indonesia and China the color is integrated with nature rather than design through a mixture of colors in paintings of animals, birds, and flowers (Lukman, Setyoningrum & Rismantojo 2018, p. 86). People blend colors into designs for aesthetics and as a form of communication and cultural representations.

However, color prejudice has taken the form of racial and ethnic discrimination. For instance, in the United State, people used color for white suprem-

acy based on the belief that non-western cultures threatened Western traditions. For centuries, African Americans have endured oppressive practices based on black and white prejudice. In Western cultures and the Bible, the color white has been used to depict purity (Batchelor 2001, p.46). Whiteness has acquired the status of normal. People treated it as the foundation of laws and associated the color with economic and social superiority (Ranganathan & Doshi 2017, p.6). On the other hand, black is associated with crime, corruption, and the lack of structural organization, and is often subjected to oppression (Ranganathan & Doshi 2017, p.6). Accordingly, color should be tamed and categorized to maintain the meaning of designs and purpose of culture in society, and adverse effects like racial discrimination.

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DESIGN ACTIVISM Beautiful Strangeness for a Sustainable World Fuad-Luke

defined design activism as the intended attempt to create change in the place of a marginalized or neglected group such as the Earth’s ecosystem (FuadSummary and reflection Luke 2009, p.80). Based on the social sustainability Words by Dalal Abdullah prism, design activism uses an approach that seeks Design activism is one of the approaches used to to improve nature by reducing the negative impact advocate for socially and environmentally sustain- and ensuring regenerative actions (Fuad-Luke 2009, able actions in planning, building, and construction p.81). Besides, it seeks to improve community welthrough arts. It is characterized by social, environ- fare through education and promote human rights mental, and economic sustainability, goods and through justice and democracy. Other dimensions capital activists, artifacts, and design aspects such of social design include promoting cultural diversity, as location, time, and cultural contexts (Fuad-Luke disaster relief, and health (Fuad-Luke 2009, p.81).

2009, p.2). In the period between 1999 and 2008, The social theory provides an effective approach for the quest for design activists including theorists, re- social sustainability in production and consumption searchers, and practitioners has been to gain mo- actions. mentum and establish an activist agenda that focuses on architecture, co-design meta-design, and Further, activists can also achieve change towards social design (Fuad-Luke 2009, p.77). The 21st Cen- sustainability using artifacts and communication. tury authors and researchers at the Changing the Design activism uses artifacts for demonstration, Change conference in Turin, Italy resolved to involve protests, and proposes solutions to current and community members in moving beyond eco-design future problems (Fuad-Luke 2009, p.81). They (Fuad-Luke 2009, p.78). The focus of social design are used for the inclusion or exclusion of certain activism is the transformation of society towards groups or populations such as the over-consumers more sustainable production, consumption, and or under-consumers. The approaches are used to create awareness in the community to ensure beliving behaviors. havioral changes towards sustainable production The social science model is significant for the ex- and consumption, cohesion, and eco-efficiency. ploration of design activism through a social dimen- For instance, the over-consumers, design activism sion. Using the social science theory, Ann Thorpe teaches the community how to consume less by

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‘

Thanks to an energizing exchange of ideas, we were able to achieve the goal of creating a conceptual tree that, like an organic one, absorbs, filters and mirrors the sunlight to create a shadow to reflect and recharge. It’s my hope that this prototype can influence creative approach to design in public spaces - Said Stefano.

’

Stefano Boeri’s Urban Trees Grow in Milan (Azzarito, 2016)

the issue of under-consumption to ensure provide food, water and shelter, and tackle health problems among communities (Fuad-Luke 2009, p. 126-133).

Reflection

switching from cyclic to linear techniques of production and consumption to ensure environmental sustainability and sustainable population growth (Fuad-Luke 2009, p.86). The concept of over-consumption is addressed through organizations such as the Adbusters and Royal Society of Arts who communicate by providing information (FuadLuke 2009, p.87). Other ways that design activism uses to promote sustainable consumption include eco-efficient projects including smart cities and the zero-emissions hydrogen vehicle prototypes (FuadLuke 2009, p.110-113). Equally, design activism targets the under-consumer who consume less as a result of poverty. Through education and community engagement, design activism addresses

Design activism is one of the most significant approaches to changing traditional perceptions towards futuristic sustainable production and consumption. Mapping from the works of ancient activists, design activism has been significant in the modern architecture and design industry by advocating for economic, social, and environmental sustainability (Fuad-Luke 2009, p.18). Contrary to the past approaches that targeted manufacturers, design activism involves the community by creating awareness through education and communication.

Besides, the use of smart-building, hydrogen, and electric engine vehicle designs and prototypes, the design activists have demonstrated the capacity to eliminate unsustainable construction and automotive that use fossil fuels that emit greenhouse gases such as carbon dioxide and sulphur compounds (Fuad-Luke 2009, p.114). Design activism has also embraced institution and community-led social responsibility in addressing poverty, starvation, and malnutrition among the vulnerable populations in regions such as Asia, Africa, and America.

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his description, he considers not only walls, furniture and other basic elements of interior but also such elements as bedding or clothing (Weinthal, 2011). Although these elements are not permanent and stable details, they reflect the character of a property owner. Thus, he examines interior in close connection to a tenant. Instead of dehumanizing the body, Serres humanizes interior. The philosopher compares our houses with sensoriums, and it is through them that we perceive the world looking at it through the windows curtains and going out through the doors to the street. We Words by Dalal Abdullah can even create our own world inside where a lamp replaces the sun, the window serves as the world, The subject of human perception of interior is aland the picture substitutes the window. By losing ways relevant. The individuality of the perception the protective mechanisms of animals, such as fur of objective reality and interior as a part of it comand claws, the man has created a home that proplicates the process of studying this topic. People tects him combining hard, rough and cold on the evaluate interior through the prism of their world outside and dressing with many soft comfort layers and life views. They choose and value existing spacon the inside. A layer of plaster, paint, wallpaper, es with intrinsic features that they believe will allow textile upholstery of the sofa, a layer of bed linen, them to express their personality and preferences our clothes and finally our own skin protect us, give and engage in the desired activity. For instance, an us softness, coziness, comfort and make the home extrovert can buy a home with a large kitchen to faa place of strength and tranquility. Like a box, the cilitate entertainment, when an introvert might prehouse shuts its openings giving us protection from fer a property with a library (Gosling et al., 2013). the outside world.

INTERIOR ENVELOPE AND SENSORY EXPERIENCE: BOXES

A French philosopher Michel Serres offers a specific view of interior and the role of the house. In

To compare the views, I suggest referring to the de-

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‘

An aid to knowledge, the box supports life. I am that box. I inhabit it. We are soft, and construct softening boxes.

(Serres, 2009)

scription of home and interior by the writer Charlotte Perkins Gilman in her book “Yellow Wallpaper” (Müller, 2014). In the book, the author pays a lot of attention to an old mansion and the main character’s perception of the walls of this house. This description translates her state of mind, dissatisfaction with the current situation and the desire for changes. The girl describes the house as something mysteriously negative, dangerous, and hostile. The old house does not charm her with its Gothic flair.

On the contrary, it oppresses her, crushes and becomes a burden. In the house far from the road, a woman does not feel safe. As Serres wrote, she feels abandoned and isolated as if being in prison.

The bedroom, which is supposed to be a place of relaxation and absolute comfort, reminds the narrator of a torture chamber with its bars on the windows and a wrought-iron headboard. Old furniture and wallpaper give the feeling of dust and old age.

The girl does not feel comfortable since the house does not meet her needs, lifestyle and character, and therefore, tires her.

These two contrasting descriptions of a house, its interior and role confirm the idea that a home for a person is much more than just a dwelling, a place to sleep and relax. The peculiarities of the space we live in affect our activity, well-being, and state of

’

mind; they reflect us as individuals and can tell a lot about us (Graham et al., 2015). For the activities of a designer, such descriptions are important to understand what things are essential when creating a design for a person and what goals he needs to set when starting work. The optimal interior design should reflect the inner world of a tenant and be humane. As Serres wrote, in no case should it cause the desire to run away, like the heroine of “Yellow Wallpaper”.

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MARAYA THE IMMERSION INTO THE SURROUNDING Words by Dalal Abdullah

In the Al-Ula region, located in the northwestern part of Saudi Arabia, among the ancient majestic monuments and endless sands, a modern - the Maraya concert hall with an area of 5000 m2 has appeared (Caballero, 2019). The concert hall, lined with reflective panels on all sides, for all its eccentricity, is a continuation of the environment. The name of the building is translated from Arabic as “mirror” or “reflection”. Thanks to this material, it is practically invisible. This was the intention of the architects, who wanted to highlight the natural beauty of the desert, rich in archaeological monuments, the first among which is the ancient city of Madain-Saleh, included in the UNESCO World Heritage List.

This project is a kind of multi-genre compilation, in-

cluding land art, architecture and scenography; the idea belongs to the Milan studio Giò Forma. Within the walls of the Maraya Hall, there is an immersive theater and an interactive exhibition with kinetic art objects. Tied to the place, the building merged with it, according to the authors, has become an interesting event that makes one think about the non-standard beauty of the region and the unusual “intrusions” of man into the landscape. Designer Florian Boje from Gio Forma: “As can be seen from the architecture of the Nabataeans, the Maraya Concert Hall was created using segmentation and molding of mirror blocks. This unique building makes us think about the unique landscape of AlUla and the human influence on the natural landscape” (Azzarello, 2019).

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Maraya, Concert house (2018) , Dhafer Alshehri.

(Alshehri, 2019)

Maraya, Concert house (2018) , Dhafer Alshehri.

(Alshehri, 2019)

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Maraya, Concert house (2018) , Dhafer Alshehri.

(Alshehri, 2019)

Maraya, a giant mirrored cube, is a building-specific “object architecture,� an experience that makes us wonder about the incomparable spectacle of the geological epic, radical abstraction of the environment, and extraordinary human invasions of the landscape. The mirrored cube emphasizes the surroundings, rather than competing with nature. Unique in its genre, this landscape becomes an exhibition space in itself (The Mirrored Concert Hall in the Saudi Desert, 2020). The installation reflects and reveals the beauty of the location, preserves its significance and only emphasizes its charm even more. After all, looking at the walls of Maraya, a person sees not the building itself, but the beautiful natural forms and everything that surrounds the concert hall.

Looking at the recordings of Peter Zumthor and his Atmospheres, you can see how the craftsmen from Gio Forma managed to achieve such an incredibly impressive result (Zumthor, 2006). The author describes the important points to consider when creating a building. Some of these points are most applicable to the Maraya case. The first is material compatibility. Maraya fits perfectly into the environment thanks to the main material used for cladding - mirror panels. In ordinary life, materials

such as rough stone, red sand and a mirror are not the most obvious combination, which is difficult to imagine within the framework of one architectural object, but in the architects of Maraya it turned out great. Of course, also thanks to the location. This brings us to the second point - surrounding objects.

The art object itself is only half of the success, the other half is the location in which the art object is located. In the case of Maraya, location is also a key part of the concept of being at one with nature. It is the sands of Al-Ula that connect the futuristic cube with the historical past of the area and find its continuation in the mirror dimension of Maraya.

The Maraya Concert Hall is a unique art object that combines technology and modernity with the grandeur of nature and historical sights. With its incredible size and eccentricity, this art object does not concentrate all attention on itself, but rather serves as a reflector and amplifier for broadcasting the beauties of the environment, it is the beauties of the environment, with all its slightly cosmic character, the design immerses visitors in nature, helping concentrate on it, creating an unforgettable experience.

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Maraya, Concert house (2018) , Dhafer Alshehri.

(Alshehri, 2019)

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‘

The door handle is the handshake of the building (Pallasmaa, 2012)

’

SEVEN SENSES A reflection on The topic of the study of human perception of space “An Architecture of the seven senses” is related to two scientific disciplines - psychology

By Juhani Pallasmaa and architecture. Traditionally, research psycholWords by Dalal Abdullah ogists, especially those who advocate an empirical approach, focus on vision as the main driver of perception (Benoudjit et al., 2012). This process is When perceiving space, a person uses all methods described as analyzing the visual images received of obtaining information and uses all his senses to by the brain and comparing them with images from put together a complete picture. We estimate the the past - memories. They focus attention precisely size of a space based on visual information, but on comparing a person’s previously acquired expewe also listen, analyze how sound bounces off the rience with a new one and perceiving new spaces walls and how long it wanders through space unthrough the prism of memories, but this approach til it reaches our ear. We touch and feel the space is rather limited. in order to feel its boundaries. We sniff in order to understand how clean the space is, how long ago Architectural researchers take a more comprehenthe renovation was made, if we smell paint, or who sive look at this issue. According to Juhani Pallaslives here - a man or a woman, if we smell a per- maa, architecture should play with all human sensfume. es, activate each of the receptors (Holl et al., 1994).

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Architecture is choreography: In a conversation with Juhani Pallasmaa (Institut Finlandais, 2020)

Every detail of the interior must interact with a per- to the touch and colors pleasant to the eye, thus son, entering into a relationship with a person, in- helping the inhabitant to integrate into the space tegrating him into the interior, and thus humanizing faster and easier. this interior. For example, he compares the process of opening a door to shaking hands with a doorknob). The inhabitant of the house over time leaves more and more of his “imprints” in the interior, a kind of merging of a person with his abode occurs, so that a person begins to feel and perceive a part of himself in the house, for example, inhale his own smell, see and touch his things and others, and he identifies these phenomena with the house. This echoes the poet Noel Arnaud said: “I am the space where I am.” (Verschaffel, 2017). Modern architecture tries to take into account and use all human sensations, paying attention to such details as the aromatization of the room, sound insulation or, on the contrary, pleasant sounds, materials pleasant

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DO WE STILL SUPPORT INTERPRETATION? By: Omnia Al- Temnah

There has been various opinions regarding interpretation of arts, whether the art is poetry, paintings and drawings, or even novels and stories , they must be explained in order to understand the message it’s portraying or the meaning behind it. However, art critics and philosophers haven’t settled yet if they are with or against it .

Susan Sontag discusses in her essay (Against Interpretation – 1991)the importance of interpreting art and how it worsened the situation by devaluing the art in the current days. It all started as far back as Plato, who stated that in order to interpret a work, it must be first confirmed if it’s an art or not, based on its content, and he proposed the mimetic theory to rule that the value of art is dubious, since he considered that art was not particularly useful , as the things we paint are nothing but an imitation of reality , and that even the best painting of a bed would be only an “imitation of an imitation”. While Aristotle arguments were in defense of art, he does not, however, disagree with Plato’s suggestion, that art is still useless.

Nevertheless, Aristotle concurs that art has a value indeed and that it is a form of therapy as it evokes intense emotions. And according to both, Plato and Aristotle, the mimetic theory

goes along with the presumption that art is constantly allegorical , and advocates of this theory must not overview the decorative and abstract art. Because even though they are abstracted they may carry different meanings to each individual. It is through this theory that art is either mimesis or representation and this defense of it is what lead it to gain the essential content and accessory form.

Even though Nowadays, many artists and critics have preferred the theory of art as subjective expression over the representation theory of art, “Whether we conceive of the work of art on the model of a picture (art as a picture of reality) or on the model of a statement (art as the statement of the artist), content still comes first” (Sontag, 1991).

“None of us can ever retrieve that innocence before all theory when art knew no need to justify itself, when one did not ask of a work of art what it said because one knew (or thought one knew) what it did” (Sontag, 1991). As the case have changed in this modern times and content became a thing that is mainly a restraint and a source of inconvenience , and the practice of approaching arts in order to explain and interpret them is what sustained the idea that content of artworks is still present.

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So when did interpretation actually appeared in our lives ? Well, it first took place in late classical antiquity when the sciences placed the light on the reasonable view of the world , discarding the all the myths and misconceptions. interpretation was demanded back then to reconcile the ancient texts and artworks in order to understand and investigate more about our heritage and culture.” The old style of interpretation was insistent, but respectful; it assembled another meaning on top of the literal one. The modern style of interpretation excavates, and as it excavates, destroys; it digs “behind” the text, to find a sub-text which is the true one”. (Sontag, 1991). And it is treated as a liberating act in some culture , to transvalue or escape the dead past.

But on the contrary , some cultures consider it as an ill-mannered and disrespectful act , especially in our modern times, Sontag thinks that our world today does not need or tolerate any other

Kyriazis, S., 2021. THE ANCIENT GREEK PHILOSOPHER PLATON.

depletion , she sees modern interpretation as this foul act whose main purpose is to degrade and dishonor the body of work , and that modern art is visible enough and does not need tremendous interpretation as we needed in the past times .

“The flight from interpretation seems particularly a feature of modern painting. Abstract painting is the attempt to have, in the ordinary sense, no content; since there is no content, there can be no interpretation. Pop Art works by the opposite means to the same result; using a content so blatant, so “what it is,” it, too, ends by being uninterpretable” (Sontag, 1991).

Another important fact that was discussed is that cinema was not covered with interpretation as it was recently introduced as an art. And unlike the novels, movies and films possess a explicit simple vocabulary and the camera movement allows better understanding of the idea. Although some hidden easter eggs may be placed for the savvy sharp-sited audience.

“Once upon a time (say, for Dante), it must have been a revolutionary and creative move to design works of art so that they might be experienced on several levels. Now it is not. It reinforces the principle of redundancy that is the principal affliction of modem life. Once upon a time (a time when high art was scarce), it must have been a revolutionary and creative move to interpret works of art. Now it is not. What we decidedly do not need now is further to assimilate Art into Thought, or (worse yet) Art into Culture”. (Sontag, 1991) To conclude, the author suggests, and I completely agree with her, is that what we need now is to feel and see more, rather than seek for additional contents in the artwork than what we have already found, our mission is to appreciate the work as a whole and see the bigger picture rather than try to misinterpret it an degrade our elders work . “The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means” (Sontag, 1991).

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THE EMERGENCE OF POP ART By: Omnia Al- Temnah

In a recent article (The Editors of Encyclopaedia Britannica - 2020)the author considered ’The Pop art movement was largely a British and American cultural phenomenon of the late 1950’s and the 60’s and was named by the art critic Lawrence Alloway in reference to the prosaic iconography of its painting and sculpture.’

In the mid of 1950’s, artist such as Andy Warhol, Roy Lichtenstein, Richard Hamilton had contributed the Pop Art movement. The movement was well known by its creative art pieces and mind set, but this movement does not start by this known colours and techniques.

It started as a revolution opposing the dominant approaches to art, culture and the traditional views on what art design should be represented.

Pop art movement faced a lot of negative critic’s reviews, they believe that the pop art influence negatively on art. But on the same time, it had a strong success on the advertisement and media. WHAAM art work is one of the best known works of the American artist Roy

Roy Lichtenstein: Whaam! - Encyclopædia Britannica 2021 -

Lichtenstein (Encyclopaedia Britannica - 2020).

Their iconography that was extracted from the television, comic books, movie magazines and all forms of advertisement has been represented entirely with the lack of praise , but it contained mind-blowing closeness and with the ways of the certain commercial techniques that the media applied by the media from that the iconography was borrowed. Pop art displayed an attempt to return to its universally acceptable and more detached form after the predominance of the highly personal abstract expressionism in both Europe and the united states, however, it was individualistic , refusing the supremacy of the past high art and the pretensions of other contemporary avant-garde art. It has been noted in Pop art article by (The Editors of Encyclopaedia Britannica - 2020) that “Pop art became a cultural event because of its close reflection of a particular social situation and because its easily comprehensible images were immediately exploited by the mass media”.

Even though art critics of pop art described it as this non-aesthetic, indecent, and unworthy of being considered as an art in the first place, some proponents saw it as democratic and fairminded bringing together both connoisseurs and untrained viewers.

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POP ART AND INTERIOR DESIGN Even in interior design as we can see in Interior space designed by Dmitriy Schuka (CAANdesign - 2015), he trusted that everything is intertwined, and this connection appears in their artwork.

The forms in the interior design is unusual, contrasting and bright. Even the colors are bright and vibrant. It is an emotional and energetic style; the space is always giving you the feeling of an explosion of different emotions and vibes.

Furniture in pop art is exceptional and attractive.

Usually it has influenced by the retro futurism style with a rounded form. Abstracted pattern was strongly appearing in their designs and the glossy surfaces and plastic materials. You can easily figure out their portraits by using female silhouettes, carton characters and images of celebrities and their large scale. The finishing materials usually are vibrant. Walls are usually bright and contrasted with each other. The floor is often left neutral leaving the main role to walls and furniture. Another popular option is carpet with striking geometric pattern.

Modern Pop Art Interior by Dmitriy Schuka (CAANdesign- 2015)

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10 Home Star ( Dan Hocking - Sep. 2017)

DESIGN FOR THE REAL WORLD

IDEA CRITIQUE

By: Omnia Al- Temnah

The book “Design for the Real World: Human Ecology and Social Change 2nd Revised ed. Edition” by Victor Papanek is a classic work on a design that examines the attempts of designers to provide sensible and responsible design in this world and combat the useless, frivolous, and tawdry product (Papanek 1985). The key idea of this book is that a designer plays a key role in providing positive influences on a consumerist society by making industrial design socially and ecologically aware. Thus, the main idea of “Design for the Real World: Human Ecology and Social Change 2nd Revised ed. Edition” contributes to the development of sustainability in design that will make the community more sustainable, safer, and better, but the weakness of this idea is that it idealizes the role of designers in combatting sustainability issues.

The value of the idea of this book is that it underlines the significance of sustainable designs

by persuading readers that design must be not only creative, innovative, and research-oriented but ecologically safe and responding to human needs. In addition, the advantage of this idea is that it motivates designers to create such projects that will save natural resources and protect the environment from negative influences of industrial projects. The weakness of this idea is that it is too idealistic and puts designers as primary forces necessary for the sustainability.

However, indeed, designers, as well as people of other professions should do the best and spend all their efforts to contribute to the natural surroundings. I believe that this idea is relevant in modern community as the thought that can inspire modern designers to demonstrate their ecological awareness and sustainability in their design projects. Therefore, I recommend taking into consideration this idea as such that motivates designers to new ways on how to make the community a better place to live and drive sustainability.

This book reminds me by one of the most interesting project 10 Star Home designed by Australian firms Clare Cousins Architects and The social Weaver one of the famous design and building company that encourage the healthy sustainable homes. This home achieved a”10 star” energy rat-

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ing. They used zero waste and building biology philosophies to earn this rating. «We didn’t want to build a home that was either too technical or too expensive for the mainstream market,» said Dave Martin, co-founder of The Sociable Weaver. «We wanted the 10 Star Home to showcase how these sustainability outcomes could be ach ieved easily by any builder for any client’s budget.»

(10 Star Home – The Sociable Weaver, 2021)

In this house they did not concentrate only on the zero waste and low energy usage, it is encouraging the user to live more sustainable life cycle. They used even the organic construction waste to create the heap in the garden and the “ Green Switch” to control the lighting usage and to lessen the impact of electromagnetic frequencies (EMFs).

Even the place is sustainable design but also the overall design looks adorable and the selection of the materials give the feeling of the nature surrounding the place.

10 Home Star ( Dan Hocking - Sep. 2017)

10 Home Star ( Dan Hocking - Sep. 2017)

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MODERN ARCHITECTURE By: Omnia Al- Temnah

Modern Architecture is ambiguous. It can be understood to refer to all the building of the modern period regardless of their ideological basis. Already in the early nineteenth century, there was wide dissatisfaction with eclecticism among architects, historians and critics.

Modernism in architecture is characterized by its emphasis on form over ornament; focuses on materials and structure rather than renovation.

Emphasizes on the importance of the functionality over the aesthetics of the space.

Aldof Loos was a pioneer of modern architecture.

He was one of the architects who focused on the important of the space function and the needs for each used material in and out the building. In his essay ‘The principle of cladding’ (Loos, 2011) he started discussing how in the past, humans were trying to figure out ways to shield themselves from the weather, so they came up with the idea to cover themselves with animal skins and or textiles , according to what was present at the time. Therefore, covering a thing was the oldest architectural detail. Then the covering had to be expanded thus the walls were added, which simultaneously provided protection on the sides. Consequently, architecture was brought in the minds of the mankind in order to survive and shield themselves from the harsh weather

and the environment they were living in, so their main concern was the place itself not what is the materials or the design of it.

He settled and emphasized on the importance of materials and the way we are using them. In Interior spaces the functionality is the priority, the space should be useful, empty, comfortable and permanently unfinished for it to be filled with experiences. Even the furniture design defines the space and help the users to find their desired layout and express their own personality.

Loos managed to derive the law of cladding from these principles, even though it may seem useless because the materials used for cladding had not been yet imitated back then, but now it looks like that it must be protected. His vision appeared strongly in Mies van der Rohe and Le Corbusier works.

The German national pavilion, also known as ‘Barcelona Pavilion,’ in Spain; one of the most influential buildings of the 20th century was designed by Ludwing Mies van der Rohe and Lilly Reich. It was built from glass, steel and different kinds of marble all of them different kinds of stone. The lines were clear and simple.

The form is sharp without any movements which emphasize the modernity of the design .

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On the other hand, Le Corbusier developed five points in 1926 that would become the foundations of modern architecture, and they were as following: pilotis, free design of the ground plan, free design of the facade, horizontal window, and roof garden. They were first materialized in 1929 in the iconic Villa Savoye project, since then they were highly incorporated and developed in modern architecture and they continue to influence the buildings up to this very day.

Corbusier referred to this architecture as the new architecture , and his principles became guidelines for architects and even after decades , and with the development of new materials and technologies, along with increased demands of the society , these principles managed to keep up and meet these requirements. ‘Whenever a building showcases more than one of them - or even all five - the strong relationship between these points is renewed, and the modernist heritage of current architecture is somehow reaffirmed’. (Moreira,2020).

Villa Savoye was built in 1931 in Poissy, France

The Barcelona Pavilion by Ludwing Mies van der Rohe and Lilly Reich in 1929

As we can see they settled a characteristic for the modern architecture, as we can figure out them clearly from any building the use of the traditional materials on their natural features and clear forms and the strong relation between the site and building Loos put the first step to modernity and on the same way by indirect way to the sustainability in using the elements and materials which is the main trend in our the architecture design nowadays. It seems that art and architecture keep renewing and developing and we have to keep up with it and incorporate as much technology and modern techniques to make our lives as simple and practical as possible .

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THE FIVE SENSES:BOXES By: Omnia Al- Temnah

Our perception of the buildings and houses interior does not only affect our comfort in our homes, but it has a huge impact on our productivity and creativity in our personal spaces, and this perception is not confined to the terminology of interior design and architecture, alternatively, the French philosopher Michel Serres established a philosophy language, in which he unravelled the connection between the soft and hard materials within the space and its great connection between the house elements and our sensations and perception of space.

The philosopher represented our houses as boxes, because its main purpose is to shield and protect us from the exterior world , and give us our privacy to be free and express ourselves in our own ways, and in case we want more protection and isolation from the outside, fences can be added.

The philosopher focused on the tiniest details that make us feel cosy, like how the bedsheets

act as wrap or an envelope to warm us when we fall asleep, but even though they cover the body intimately they can not replace our clothes. Time is associated in architecture with lights and shadows of the sun, or weathered materials over the years, but he points mainly to the layers that change at the scale of the inhabitant and daily routines, this approach moves towards humanizing the interior rather than dehumanizing the human body.

Houses function as a calming space where we can lay down our forces an relax, like a high energy converter, the same as how our skulls protect and shield the brain , the box transforms the external world to coloured pictures, into paintings hanged on the walls, and replaces the sun rays with heaters, the noises with quietness, in addition to it acting as an eye, through its windows we can observe the outside world.

While our bedrooms or our study rooms remain intact boxes that only the one that it belongs

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to can reveal what is inside it and perceive the emotions it holds, and how its smell can bring a lot of valuable memories like childhood days, our days in our parents’ house and many precious feelings. And our sheets add another pocket to the nested series.

“The empiricist is astonished by the number of layers, strata and partitions from rough concrete to bed linen, by the number of skins until we reach our real skin” (Serres, 2009). The philosopher holds forth about sensation while he inhabits it while lingering over a kind of sensation, he belongs to his house as the pupil belongs to the eye.

The mankind have learned to survive in the harsh environment by creating and trying to find the most suitable way to survive, not just placing and following some rules in a book, but from using the furs of animals to cover themselves to constructing a building after a building, a box within a box, with the exterior one being the only layer exposed to the outside, Language weaves the closest wall that faces our skin right after the images and paintings. In addition to the media and television have incorporated to a great extent in our lives that it brings the world inside our homes .

And because of all this growth and progress, the architecture we know now keep surprising us with achieving all of our requirements and needs, along with providing a wonderful sensorium and perception in our homes.

An English Oak Tree - (Stephen McKenna- 1981)

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NON PLACES: SUPERMODERNITY By: Omnia Al- Temnah

The book, Auge_Marc_1992_Non_Places, presents the artwork of special analytics that shows the relationship between supermodernity and neo-technology. The author discussed the experience of supermodernity , or as it is also referred to late-capitalist existence, which is basically explaining how in this generation, people started spending their times in impersonal spaces , such as airports, train stations, malls, or in front of TVs and computers, which is considered as invasion of modern life and its possession of our minds and lifestyle.

To the point that people starting avoiding and ignoring the personal, soulful and meaningful places where we gather with our families and old friends and just talk through what happened in work or school Linking between the long-standing organ of anthropology work and chronological port sites, cities, and trading nodes is also the author’s suggestion. The book exploits the importance

of multiple history procedures that expound today›s world as source globalization based on the Yuwi and its nature in China. Auge_ Marc_1992_Non_Places provides the activities network that shows the contemporary trade by upgrading trade into super modernity across the ancient trading activities; in that case, it addresses various reasons and arguments of anthropology such as Yuwi and shows how its position in Chana contributed to modern international trade.

According to Auge_Marc_1992_Non_Places, the works reflects on the historical nature that fosters on recognizing the older communities and evaluate its activities through an anthropological network. Additionally, this literature confirms positive impacts on super modernity in the globalization. The script gives a focus on the technology and traditional transformation process that led to super modernity. The author’s idea expounds the nature of transregional interactions that can take place in the commercial fields (Marc 1992). The author examines the experience, history of traders, and the operations across the globalization process.

The book also expresses the informal economy culture that exposes the trading life trajectories across Asia. The article provides a reference comparison of supermodernity and history of commodity and past trade activities in Asia

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Auge Marc - French anthropologist

(Marc 1992). According to the author, Yiwu is an early designation of supermodernity and international trade based on China’s eastern Zhejiang province.

Auge_Marc_1992_Non_Places focuses on expressing the source of supermodernity through studying anthropology. The artwork expresses the establishment of a trade city and opulent collection of international commercial operators who understand globalization through interfaces of anthropology and chronology. The expression has exemplary arisen of the backdrop of Chinese cities such as Yuwi shows the exploration of economic liberalization. The premise of the book is interesting: non-places lack the significance to be really considered as spaces; they are spaces that are not, anthropologically, places. However, the book falls short.

Therefore, the perception of a non-place is surely subjective, since any person can be considered as a non-place , for example, an airport is not a non-place for an individual who works there every day. A non-place is a place that we do not live in , somewhere which is lonely and unknown.

On the contrary, places offer individuals a space where they share common references and meet people with the same interests , and it is where people empower their identities.

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Light effects in architecture Perception of light spatially

“If light is controlled, it can help the designer create a sense of control of the human response in architecture and interior design” This writing aims to identify the effects of light on the quality of space perception. The presence of light has a linkage to the age when humans knew themselves and grew and developed in the embrace of elegant nature. It has a place in science, some religions, literature etc. And many philosophies and scientist have studied it. Some consider light a symbol of divine wisdom, a source of wellness and innocence linking, it to the heavens.

The real beauty can be understood by the light of wisdom. It is the brilliance and shiny light that causes true beauty. In architecture, light is one of the most important factors along with other aspects, such as materials, structure, colour and spatial order. In light of that, it also has a separate role in the design. One of the light’s properties is colour. Recognition of colour results from radiated light and its changes, reflection, the attraction

and the transmission properties of the surface.

Colour play an important role in stimulating the observer. I point out the effect of light and colour and their features in space perception in reviewing architects designs such as Peter Zumphour, and some other relevant sources.

The human structural and spiritual health is dependent upon light. This writing aims to emphasise the relation of humans mental and moral balance, creativity, quality, etc. Due to our responsiveness to the environment and light. For centuries it has always been the case that warmth is accompanied, by brightness and light, and cold associating with darkness. This topic solely addresses visible light and doesn’t deal with other subjects like invisible light that we can’t see.

What’s beautiful about light is that it creates whiteness and brightness and accompanies everything relaxing and pleasant.

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FIGURE 1, SHOWING LIGHT PERCEPTION : The Therme Vals / Peter Zumthor

Us humans transfer most of our information to the brain just through our eyes due to vision being the most important sense of transition.

Many designers carefully consider the usage of light to impact the mental effect of the users. “If light is controlled, it can help the designer create a sense of control of the human response in architecture and interior design.”(McAuliffe, M. 2015) This quote from the preception of light by Marisha McAuliffe backs my statement on how designers can control users through architecture with light. Architects can guide the user towards the mood the designer wants them to feel with lighting effects.

As you can see from figure1, the light affects the physical properties of the space including its body structure which creates the perception of space. The way the light hits the water creating an elegant light effect. The colour and texture the designer implemented became the specification of the space. Each of them is solely perceived when light is present.

Overall I believe that light is a channel of communication between people and architecture and all the information of space is transmitted to people by this channel.

“The human structural and spiritual health is dependent upon light”

“In architecture, light is one of the most important factor”

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Luis Barragan successful designs MY CRITICAL REVIEW

One of Luis Barragan poetic imagination is that colour plays an important role as dimension or space. The reflection of water and rough textures heightens the impact of bright sunlight in his beautiful colourful buildings (F1). One thing that thrived my curiosity is the vibrancy and how it heightens the architecture itself.

Because I find it interesting, and beautiful about Barragan design is the vibrancy of the colour.

Not only are the walls in Luis Barragan architecture carefully frame views, but shadows are also cast. His compositions incorporate walls with both smooth and rough textures.

Pea-gravel mortar applied to bricks that create vivid, irregular patterns and emphasises a tactile dimension is where the rough texture originates.

The smooth texture of the building comes from regular mortar surface, forms a silent and abstract scenery. The overall structure of the building is kept minimalist, the component of texture and colour produces a poetic experience. Fred Sandback, an American artist, is the one that recently explored this relationship.

Barragan building is located in a hot and humid country with cloudless skies. People would rather be in a shaded area to avoid the harsh and hot weather. The walls provide the users with shade and small screens of windows that add to the comfortable atmosphere in these areas. Barragan also applies this spatial strategy to some of his other projects, where he minimises any direct view of the sky. Barragan criticises designs without dimmed light which he mentions in his website,

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FIGURE 1, SHOWING LIGHT PERCEPTION : The Therme Vals / Peter Zumthor

“Architects are forgetting the need of human beings for half-light, the sort of light that imposes a sense of tranquility, in their living rooms as well as in their bedrooms. About half the glass now used in so many buildings—homes as well as offices—would have to be removed in order to obtain the quality of light that enables one to live and work in a more concentrated manner, and more graciously. We should try to recover mental and spiritual ease and to alleviate anxiety, the salient characteristic of these agitated times, and the pleasures of thinking, working, conversing are heightened by the absence of glaring, distracting light”(Luis Barragán)

A German architect Moritz Bernnoully confirms Barragan statement, Bernnoully mentions that Barragan reduces daylight to a minimum, this is one reason to why I find Barragan successful. His designs are not just physically pleasing with striking colours help reduce heats by implementing techniques that create shadows and shades.

One significant deviation as modernist designers sought to highlight advances in steel construction with wide expanses of glass, Barragan decreases the sizes of windows to shield users against harsh direct sunlight.

“Architects are forgetting the need of human beings for half-ligh”

“Barragan decreases the sizes of windows to shield users against harsh direct sunlight. “

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David Batchelor’s chromophobia David Batchelor’s chromophobia talks about the issues of colour in the Western cultural imaginary of two/three centuries ago. Chromophobia taught me about the history of colour systems. The various chart and palettes that have been used to divide and to regulate the colour continuum.

The author also considers writings, Hollywood films, TV advertisements, and architecture to bring colour’s extremes obscure and checkered past to light. There are claims from cultural producers and philosophers, stating that Batchelor has treated colour as an object of fear and hatred, for example, we associate colours with different fears such as red is associated with blood and blood equals fear.

Bachelor mostly associates colours with fear, in my opinion, this comparison is inaccurate as colours can also signify joy, peace and satisfaction including the colour red.

I’ve researched the exterior of the book, I came to notice that the Chromophobia has an extremely eye-catching cover which gives a bold design of those cultural prejudices about the colour. Also, what I found interesting is the front image of the cover (F1) is a tinted microphotograph of the Hepatitis B virus. My interpretation of this I believe that Batchelor is almost associating chromophobia with the hepatitis disease in a subliminal manner. The fear people have for certain colours in a space is a similar fear of catching a disease.

FIGURE 1, CHROMOPHOBIA COVER

“ we associate colours with different fears such as red is associated with blood and blood equals fear.”

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The Perception of Color in Architecture AND INTERIORS In this reading, I will be discussing some effects colour have on people minds and how they are applied in interior spaces and architecture. Some of the research done from studies of colours that are warm. Which they have the opposite effects on people minds, combining them can create comfortable atmospheres and settings. I also look into architects colour selection of their projects.

When designing a space there are many things to consider. The user should be able to enjoy the atmosphere. What is important is the flow of the flow plan because when a space is too crowded, it can make it uncomfortable for the users. In addition to that, the colours used on interior spaces affects the comfortability. Because it improves the user’s experience, their quality of living and it’s also to transforms peoples lives.

Cool and warm colours Warm and cool, are two ways of classifying colours. F1 visual description shows this. However aside from their differences visually, each group has psychological traits. Warm colours tend to advance in space. Also, it can define boldness and energetic. These features both have negative and positive effects because using them makes an element stand out, too much warm colours can be overwhelming in a sense that it drowns out the other colours.

For example, f2 showing the Casa Blanca by Martín Dulanto, due to the staircase colour being bold and vibrant this becomes the highlighted element in the space. The boldness of the structure overpowers other features of the interior. The vibrancy of the structures warm usage of colour can be associated to also feeling overwhelmed. However, the other aspects of the space the designer only uses cool colours and creates a visual balance. Cools colours cause users to feel calm yet inspired by the designer’s creativity. Cool colours are associated with soothing and tend to recede, it is good to locate cool colours in the background as it can give an illusion of a bigger space this is successfully done my Dulante in casa Blanca.

FIGURE 1, SHOWING COLOUR CHART

FIGURE 2, CASA BLANCA

“ Cools colours cause users to feel calm yet inspired by the designer’s creativity”

FIGURE 3, CASA BLANCA DETAILS

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‘

if the design is to become successf ing to sustainability, then its key m a new idea of beauty Alastair Fuad-Luke

INTERIOR DESIGN AND SUSTAINABILITY I will be exploring the relationship between interior design with the direct impacts of the environment. I explore the close relationship interior designers have to promote environmental sustainability.

Relationship between interior design and some environmental issues: The decisions designers have can support the environment or not. Many environmental issues connect with the works of interior designers.

Such as; Waste, deforestation and many more, I will only be discussing waste and deforestation.

When I analyse these issues, I realise the prospects that the work of interior designers has towards promoting sustainability. Dorothy MacKenzie (1991) also states this analysis concerning design decisions.

Deforestation: The issues regarding forest deforestation are increasing, many species are being destroyed or in danger. Tropical wood is associated with high-value end-uses,

with many purposes such as types of furniture and exterior protection boards for buildings.

The simple design decision isn’t to indicate any tropical woods; Unless it is proven, that it’s been produced sustainably. Merchants that produce timber should provide that information and also should supply alternatives that are good for traditional tropical hardwoods.

Waste: The efficient way of addressing waste issues, it’s to generate less waste. This area is where designers have an important role to play. For example, when designers choose particular materials when launching brand new materials. Interior designers should consider the impact of the materials when it’s disposed of.

FIGURE 1, DESIGN ACTIVISM COVER

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ful when contributmission is to produce

A statement from Fraud-Luke the author of design activism states “if the design is to become successful when contributing to sustainability, then its key mission is to produce a new idea of beauty”(Fuad-Luke 2013) which he calls a beautiful strangeness. This quote to me is important and many designers should consider if a material can not be disposed of sustainably then-new sustainable materials should be implemented instead in the design successfully and beautifully.

’

Sustainable design The sustainable design complies with the principles of economic, social and ecological sustainability, it is a trend that is rapidly growing in today’s society, especially within the field of architecture and interior design. The sustainable design aims to minimise environmental impact.

Tarkett: Tarkett is flooring manufacture founded in 1886.

“Tarkett produces a broad scope of surfaces including laminate, wood and vinyl. What’s amazing about this manufacturer is that all of its products contribute to sustainability. The manufacturer design flooring with low or ultra volatile organic Compounds (VOC) emissions to improve the user’s indoor air quality. Tarkett tries to mitigate the environmental impact of its production by limiting its use of water through closed-loop water systems and using green energy sources”.

(Dezeen) F1. Showing Tarkett sustainable flooring

FIGURE 2, Tarkett flooring

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WOMEN IN ARCHITECTURE For many years I’ve always wondered why many architects are men, especially well-known architects. Even by just typing famous architects in google the results will mainly be men.

This writing seeks to understand the theory of architecture and gender. The reason behind this study is to understand arguments such as; Is architecture a male dominate field and why it’s considered a male dominate field. This writing will also seek the roles of women in architecture, and the reason behind the discretion of their amazing talent that often goes unnoticed.

I have analysed the book “Gender space and architecture” by Jane Rendal (F1), The author expresses her beliefs in gender equality and the elimination of domination on sexuality which led to the transformation of society. Some key points included, which causes a rift between society is; political factors, cultural factors and economic domains where men tend to be more privileged, indirectly leading to the oppression of female in society. Furthermore, in the architecture profession, women prefer to be assigned

like their male counterparts, as opposed to ‘female architect’ which causes a division.

The book gender space explains the disciplines relevant to history, culture, geography etc. This gradually changing the nature of gender discourse. The last subject of the book states the relation between spaces and their distinction in terms of being regarded as a space. This is specific to women, providing insight into the aesthetics style brought forth.

Analysing the reading, opinions are formed on vast topics such as; what are the reasons behind the influence of women and architecture, which aside from economic and political factors,

FIGURE 1, Gender, space and architecture

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FIGURE 2, Zaha Hadid

can mainly be cultural for example women can find it difficult to look after the family and uphold a professional career. For instance, a working mother, in the architectural field may consider it challenging to strike a balance between a career path which can require equal dedication along with looking after their families.

The outcome nonetheless being unsatisfactory, can result in stress and long hours. This conclusion drawn from above is the factual acknowledgement that men are less likely to be in a similar situation.

Case study Zaha Hadid Besides men dominating architecture, many women are bold enough to stand their ground successfully when it comes to handling the exposure in this field. A perfect example is Zaha Hadid, Hadid is a British architect, in 2004 she was the first woman to receive the Pritzker Prize in architecture. Hadid is known for using forms which conveys a sense of the future. Gaining insight into Hadid opinion on the subject, women architects and career. Zaha Hadid explains that “the architectural field is tough for women�(Zaha Hadid) she also stated that some women are disrespected by clients. Her statement proves that society is a little behind of equality.

From the information, I gathered it is clear that the field of architecture is where women are less likely to gain exposure comparing to male architects.

FIGURE 3, Galaxy Soho designed by Zaha Hadid

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BY Cherine Chawa-2021

‘“Ithatwantmoves to create a space people. It doesn’t matter if it is a house, or a museum, or whatever. So, it is somebody sitting on that lawn, just going around and around and feeling really happy. That is something that I’m striving for.”

BY ADOLF LOOS

’

AR7043 / 2021 THEORY SUBMISSION Words By Cherine Chawa-2021

DIVING IN THE SENSE OF A TOUCH. In “The Principle of Cladding”, Adolf Loos touches base on the idea that form strictly follows function and that materials should always be used in their truest form in order to deliver their best capabilities.

Pure materials should be treated with the utmost delicacy and respect to their truest form, and should therefore not be imitated or replaced.

Visual form and appearance should always reflect the core function, and function will greatly be impacted by the choice of material.

Architecture 1903-1932 Photographs by Roberto Schezen Refer to:monacellipress

The process of “cladding” or covering something was the first factor of architecture and other design fields to follow. Any choice of material will impact the general feel and automatically becomes a language that identifies the space. Therefore, it is greatly important to narrow down the choice of material to the function of any given space, and by imitating this material, you are not only losing its core, but also disrespecting its existence. cladding hence came as a cover for the structure that existed beneath it, and every form of cladding has its specific purpose (to keep the cold out, to protect what’s under it, to portray a certain effect, etc.) just like humans are covered with skin. From this, the law of cladding was derived, in which a cladding can take on a form of a specific material, so long as the material does not imitate the look of the original material. For example, wood can be painted any colors as long as it is not painted “the color of wood” as not to rob the material of its essence and create confusion.

Restored Adolf Loos- designed interiors open to the public in Pilsen.

Photos by Simon Glynn 2005 Refer to: DEEZEEN

The law forbids the cladding material to take on the coloration of the underlying material in order to respect the material in its original form. For example, walls that are not built with red brick and white mortar should therefore not be painted in red rectangles separated by white lines because it goes against the law of cladding. He ends the article by stating that no matter how hard you try to camouflage a material and mask it to look like something else, it will never truly feel like its opponent, and therefore it should be prohibited to do so, and instead respect the placement of specific materials in their appropriate placements.

Villa Müller,1930 Photos by Martin Polak POSTED ON JANUARY 11, 2017 Refer to : 1stdibs/The study

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“Now it could be said that he who because he wants to win. So the fir in being indifferent to winning.

Detach yourself from notions of wi indifferent to victory or loss, you w observation, discovery and though Words By Cherine Chawa -2021

Michel Serres views architecture from a philosophical point of view, encapsulating not only the structural elements of spaces, but also their sensorial essence. He focuses his article about humanizing spaces into how they are used, what emotions flow through them, what activities take place in them, and how all of this can be interpreted into how a space is seen and felt, as if the space in itself becomes an extension of its inhabitant’s body. He exposes the relationships between certain materials and gives them a story of how they meet together and play. He romanticizes the house and breathes life into it with his sensual description of how we build our homes to reflect our innermost truths. We build our homes to be peaceful, happy, and calm, protecting us from the harsh outside and enveloping us with the comfort of a mother’s touch and a lover’s embrace. He doesn’t see the house for its structural features alone, but rather focuses on how he perceives the outside world from being inside this space and how the energies we embody in this house define our sensorial experience within it.

He then talks about how we are enveloped in layers within layers of different materials in the space, and how rooms in a house are boxes within the bigger box, and how every piece inside the house can be seen as an even smaller box within the bigger box. This is to show the way we use layering in everything and how that in itself can be seen as a beautiful thing. Our homes becomes our portable boxes and portals to the outside world. The windows are our eyes, the walls our skin, the doors our ears, and so on removing the physical boundary between structure and senses.

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BY Cherine Chawa-2021

cheats and deceits does so rst attribute of God consists

inning or losing, be will enter into science, ht.”

― Michel Serres, The Five Senses, A Philosophy of Mingled Bodies

17 February – 15 April 2018 This new exhibition by Sarah Tripp, takes its title What The Voice Said from the book The Five Senses: A Philosophy of Mingled Bodies by Michel Serres, in which he defends bodily experience against an age of information technology. Part of bodily experience is having a voice and hearing voices. Being heard and being listened to are fraught with risk but also bring the potential for what Serres argues for, a mingling of bodies. This exhibition began with paying attention to voices. The exhibition presents a series of character studies and a hypothetical conversation between two people who are trying to find a way of speaking to each other without restriction, inhibition and ‘regulation’. These pieces of writing slip between fiction and non-fiction; sometimes they are overtly escapist and other times confrontationally ‘real’.

Exhibition photographs by Ruth Clark What the Voice Said by Sarah Tripp. https://www.ghat-art.org.uk/

These texts are set against large scale photography

by Francis McKee, Isobel Lutz-Smith and Tamsin Greenlaw. These photographs become the sensual home for the texts, giving a space and place to texts which sometimes portray generic characters and everyday observations. Particular phrases turn up again and again in the writing and these phrases become aphorisms (concise, often pithy observations) which have been presented as posters.

It is my hope that the exhibition offers the visitor an intimate reading experience, noncommittal aphoristic statements in the form of posters and the very public scenes of the hospital mid-renovation and the street in the early morning when clouded in fog. These images have been chosen as metaphors which suggest both continual renewal and the dense uncertainty of our social and sensory world.

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Chromophobia is perhaps only Chromophilia without the colour.

Words By Cherine Chawa-2021 David Batchelor speaks about color and how it plays a major role in architecture and design, and has been prejudiced and sidelined for quite some time, marginalizing and diminishing its importance due to a fear of contaminating that which is unknown; or in other words, Chromophobia.

Chromophobia is the devaluation of color and shunning of its sophisticated nature and interference in all that we know. Color is seen as an alien and secondary afterthought, detached from what is essential and regarded as “feminine” or “superficial”. And the notion that this “femininity” cannot be dismissed but must be contained and controlled before it is unleashed and wreaks havoc on what is assumed as an orderly state, leading to the fall of culture and the ruin of everything. . It was said that color does not breathe life into lines and translate into an interesting painting, but rather that the lines themselves are what interest the beholder, and that color is perceived as purely sensory beauty to the eye of the beholder.

Color also bled into the film world, creating irrational and unconventional disruption by “falling” into the abyss or “leaving” to a better place, one you dare only dream of.

Then, he goes on reiterating Le Corbusier’s idea that color is an “intoxication” of the senses that creates confusion and imbalance to an otherwise balanced, purely and godly white world. Controlling color came with the notion of classifying it into three scales: the major scale, the dynamic scale, and the transitional scale. It is therefore unimportant how color is precisely classified, so long as it is classified and rhetorically subordinated, no longer intoxicating the mind.

David Batchelor Parapillar 7 (Multicolour), 2006 Steel support with plastic, metal, rubber, painted wood and feather objects https://www.saatchigallery.com/

AR7043 / 2021 THEORY SUBMISSION Words By Cherine Chawa 11-01-2021

David Batchelor https://levittbernstein.co.uk/now/chromophobia/

Concerned primarily with

color and with the way we see and respond to different hues in the digital age, David Batchelor makes sculptural installations out of found objects.

Mining cheap stores, markets, and city streets, Batchelor accumulates mass-produced items, disused domestic objects, and scrap industrial materials—including lightboxes, neon tubing, and plastics—which he repurposes to create colorful, often luminous, structures and forms.

“If I use colors to begin to dissolve forms, I also use forms to prevent colors becoming entirely detached from their everyday existence,” he has said.

Batchelor is also a writer and has written extensively on color theories, including a book, Chromophobia, which argues that a fear of corruption or contamination through color pervades Western cultural and intellectual thought.

“If I use colors to begin to dissolve forms, I also use forms to prevent colors becoming entirely detached from their everyday existence,” he has said.

Batchelor is also a writer and has written extensively on color theories, including a book, Chromophobia, which argues that a fear of corruption or contamination through color pervades Western cultural and intellectual thought.”

By David Batchelor

David Batchelor Magic Hour 2004/07 Installation view Light Show Hayward Gallery, 2013 © the artist 2014, photo: Marcus J Leith

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BY Cherine Chawa 11-01-2021

RRJ Editorial: Please will you introduce yourself for our readers?

David Batchelor: I am an artist and writer based in London. About 25 years ago I stumbled into colour, entirely by accident, and I still haven’t found a way out.

RRJ: You’ve spent your career working with and talking about colour. Why do you think it’s such an important topic for the modern day?

DB: We are surrounded by colour by day and by night in the city, when we are awake and when we are dreaming, but at the same time we don’t really understand what colour is or what use it serves, and we don’t have good enough words to describe it. So colour is both very familiar and deeply strange to us, and that’s enough to make it interesting to me.

In addition, the colours we see in the city are the constantly changing products of industrial chemistry, electrification, and more recently digital technology.

New materials become available and that changes the look of older materials. A few years ago making art from neon looked quite contemporary, now it seems rather quaint and LEDs are everywhere.

RRJ: You talk eloquently in your book Chromophobia about how colour has been reviled and feared for centuries, particularly among the fine arts. Do you see any change in this attitude, either in the present or potentially in the future?

DB: I wrote Chromophobia in the late 1990s and, at the time, it felt like colour was entirely marginalized in the art and the theory that I was aware of. A lot has changed since then and now there is a greater diversity of art from a greater diversity of places.

There is more room these days for different ways of doing doing art to coexist and that has to be a good thing.

Reef, 2016 (Installation shot at Handel Street Projects, London) © David Batchelor.DACS/Artimage 2019.

Photo: Peter White, 2000

RRJ: How does your work as an artist inform your work as a writer and theoretician? Or is it the other way around?

DB: Everything I have written about colour has come out of working with colour in the studio. But I don’t write directly about my own work and I don’t write about colour in the history of art, or not much. In truth I don’t write about colour very much: I write about ideas about colour, which is perhaps cheating but it is also a lot easier.

RRJ: One of the most interesting things about your writing is how you approach a seemingly-simple topic such as colour from such a diverse range of angles, from art to neuroscience. How do you manage the relationship between art and science in your work?

DB: One of the pleasures of working with colour is you can find interesting material pretty much anywhere you look – in philosophy, science, literature, anthropology, linguistics, film, music – so there is always more to discover and more to reflect on in and out of the studio. I certainly work with the products of science but there is nothing very scientific about my approach or method, which is generally improvised and rather haphazard. Notice something, have an idea, do something, watch it fail, notice something in the mess, have an idea, do something, watch it fail: things always get made in the process but rarely – if ever – the things you set out to make. .

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Can a PLACE be ever meaningless?

Words By Cherine Chawa-2021

In “Non-Places”, Marc Auge brilliantly depicts a supermodern world in which all the transient places one encounters as he travels along his daily tasks should be labeled as “non-places”, ones that are empty of essence and void of any relation to history, identity, or to its inhabitants. An ever-increasing portion of our daily routines center around airports, hotels, subways, supermarkets, TVs, and computers, which are just a few examples of these “non-places” which give their inhabitants a sense of falsely belonging to a grandiose picture of a community. However, people do not belong to any of these “non-places”, and there is no direct connection between any individual with these densely packed spaces that are merely temporary and serve as transits in time. He contrasts these non-places with the former anthropological and prfoundly historical places of the past in which he deems worthy of the name “place” as they exist beyond the idea of history or identity. He considers historical places of worship as “places”. He goes on to describe both these notions, the “place” and the “non-place”, as never existing in their purest form, one being eternally incomplete while the other never totally erased. This invasion of the world by these “non-places” are a direct outcome of supermodernity and its huge impact on human awareness. Unlike Baudelairean modernity, where old and new places are closely connected through time, supermodernity is self-reliant and two dimensional. However, Auge still believes that “places” can still exist outside “non-places” and tend to reconstruct themselves within each other. But he stresses on the fact that more and more of our time lately has become in transit through “non-places” more often than “places”.

Non places, 19th of June, 2017 Refer to: Gradoceroprensa.wordpress.com

NON PLACES

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BY Cherine Chawa-2021

Driving Places: Marc Augé, Non-Places, and the Geographies of England’s M1 Motorway Abstract In this article I provide a critical account of the ‘placing’ of England’s M1 motorway. I start by critiquing Marc Augé’s anthropological writings on ‘non-places’ which have provided a common point of reference for academics discussing spaces of travel, consumption and exchange in the contemporary world. I argue that Augé’s ethnology of supermodernity results in a rather partial account of these sites, that he overstates the novelty of contemporary experiences of these spaces, and that he fails to acknowledge the heterogeneity and materiality of the social networks bound up with the production of nonplaces/places.

I suggest that, rather than focusing on the presences and absences associated with the polarities of place and non-place, academics should examine the multiple, partial, dynamic and relational ‘placings’ which arise through the diverse performances and movements associated with travel, consumption and exchange. I then trace the topologies of England’s M1 motorway, examining some of the different ways in which the motorway has been assembled, performed and placed over the past 45 years.

Article by Peter Merriman First Published October 1, 2004 Research Articlehttps://doi.org/10.1177/0263276404046065

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BY Cherine Chawa-2021

In Praise of Shadows

‘“We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates.”

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In praise of shadow (1933) Dialectics and desiderata (wordpress.com) Published 29-10-2017

― Jun'ichirō Tanizaki

AR7043 / 2021 THEORY SUBMISSION Words BY Cherine Chawa-2021

Image 01.

Rikumo Book Club May 25, 2018 Photography by Chris Setty

― Jun'ichirō Tanizaki

Tanizaki battles with the idea of adopting Western ideals of beauty and standard in Japanese culture stating that the Orient is a completely different world which revolves around its own axis, its own norms and ideals, ones that cannot be imitated or adapted upon by Western philosophies. He explains a deep historical connection between the idea of dim lights and its respective shadows within the Japanese culture. Everything in Japan’s history, according to Tanizaki, was treated with this delicate dimness of natural light that enters so casually inside any given space, brushing its subtlety across the lacquer ware, the shoji panels, and the beautiful woman’s dress, creating soft shadows that play around on the inhabitant’s eyes, as they were intended to be seen.

Image 02.

Rikumo Book Club May 25, 2018 Photography by Chris Setty

Shadows played as important a role as light did in the Japanese home, and an excess of one or the other completely destroys the balance and weakens the credibility of the space. He poetically describes little moments of Japanese culture through the lens of light, which he believes were ruined and “the failure is the fault of excessive light”. He strongly dislikes excessive and unnecessary lighting and even labels it as “evil” as it completely ruins the integrity and authenticity of any space it enters unwelcomed, and removes from the richness of the traditional materials and placement of functions within.

Image 03.

Rikumo Book Club May 25, 2018 Photography by Chris Setty

AR7043 / 2021 THEORY SUBMISSION Words BY Cherine Chawa-2021

Conversations with Students

by Louis Kahn

Photographer: Lionel Freedman Louis Kahn Looking into his tetrahedral ceiling in the Yale university Art gallery,1953.

Refer to :Archdaily

Photographer: Bob Wharton Louis Kahn at the auditorium of the Kimbell Art Museum, 1972. Kimbell Art Museum, Refer to :Archdaily

Throughout his conversations with his students, Louis Kahn discusses the many aspects of light and shadow and their impact on our lives. He so shrewdly depicts a conversation between man and wall describing the man’s will to make a hole in the wall so he can see the light. He emphasizes this point to describe man’s deep connection to light and his need for it to enter his life through the spaces he inhabits. We strive on light, it energizes us and heals us both mentally and physically, and we have come to rely on its features in our day to day lives. He goes on to say “Later, man didn’t just hack a hole through the wall, but made a discerning opening, one trimmed with fine stone, and he put a lintel over the opening. And, soon, the wall felt pretty well”. This is to say that man gradually learned to refine his engineered entrance of light into space, crafting beautifully thought out openings in structures. This, to Kahn, is nature simply taking its course, unraveling its laws where “everything is designed by the circumstantial interplay where man chooses ”.

Photographer:Flicker Abrinski.

Louis I. Kahn | National Assembly of Bangladesh,1961-82 Dhaka.

Refer to :Archdaily

He then attacks modern architecture, saying that it has become too programmed and passed down as a set of rules that one must abide by to make buildings, whereas architecture is supposed to be the consideration of the nature of any structure and disregard of the aforementioned “program” of things. Every building is unique to its surroundings, its context, and its function. Architecture should sometimes be treated like art, creating inspired work that inhabitants revel in and come back to with repetitive joy and wonder. And just like any other science, Kahn believes there are still many more unexplored areas of architecture, making it such a delicately intricate field which can evolve in so many various marriages between aesthetics, programs, professional knowledge, functionalities, and more.

“I sense Light as the giver of all presences, and material as spent Light.

What is made by Light casts a shadow, and the shadow belongs to Light.”

BY Louis I. Kahn

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BY Cherine Chawa 11-01-2021

05. Light: Ephemeral or Eternal?

Words BY Cherine Chawa-2021

L O U I S

K A H N

J U N I C H I R O

T A N I Z A K I

“Even a room which must be dark needs at least a crack of light to know how dark it is” stated Louis Kahn. Light is a significant part of our everyday lives and is woven into our cultures, our arts, our cuisines, and much more. Junichiro Tanizaki, for one, brushes upon this sentiment in “In Praise of Shadow” where he poetically describes little moments of Japanese culture through the lens of light. This notion of the importance of light does not waver when you are speaking about architecture.

A common misconception in architecture and design is the introduction of light as an afterthought into any space, treating it as an add-on rather that an intricate part of the whole. However, many architects like Tadao Ando focused on integrating natural light within his spaces and harmonizing the connection between the exterior and the interior, portraying this story of lights and shadows projected artistically on all specifically selected surfaces within the space.

One does not speak of Ando without discussing the modules of concrete that he so thoroughly used in his architecture which reflects traditional Japanese culture, and more importantly, its connection with natural light.

If I were to describe Ando’s work through the eyes of T A D A O

A N D O

Tanizaki and his beautifully thought out perspective on light, I cannot overlook the sheer brilliance of Ando’s subtle yet beautiful introduction of light into architecture. Although light should definitely be thought of in harmony with any given space, it should not be added onto a finished space, but should be treated as an actual material to be placed with respect to its position, intensity, and connection with its surroundings.

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We must work in a such a way that Of the material clad with it’s impossible Adolf Loos

The principle of cladding WORDS BY MOHAMMAD FARAHANI|2021

In the 20th century Adolf Loos discussed new rules and architectural styles through the use of materials and clothing style.

He tried to target a larger audience including the general public by writing for newspaper.

He analyzed the application of finished surfaces by bringing examples from furniture and clothing to prove the objectivity of his rule.

Historians credit Loos as and early proponent of modernism due to his commitment to rational simplification. He also argued that function results in good aesthetics because he believed that materials used have to perform functionally rather than artistically in an example he looked at clothing and discussed how underclothes can be any color other than the skin color to justify his point about budling material . His ideas about the finished surfaces unveiled a new world for interior design. He described the architecture’s tasks in two different parts , first providing a warm and livable space and second inventing the frame.

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He stated that the idea of architecture sparked in men minds by describing how men used shelter to protect themselves from harsh weather then the use of coverings such as animal skins an then the built of walls to provide shelter for a family. He also described the architect as an artist who sees what he want to create in his mind’s eye and is able to show fear, power respect and horror through design and architecture . He described the “sad time for art” as a time when the artist where forced to sacrifice their art for the sake of masses and only a few contractors gave the artists the freedom to apply their imagination . He also mentioned that nowadays architects don’t use their imagination and art as much, since Imation still prevails architecture.

Adolf Loos stated that “we must work in a such a way that a confusion of the material clad with it’s cladding is impossible “. For instance he describes how the principle of cladding would look like in different scenarios. In stucco work for instance stucco cannot resemble rough brickwork. Similarly the materials used to cover walls are also not to represent squares of brick or stone. He also mentioned that “ the cladding material can keep it’s natural color if the are to be covered happens to be the same color

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a confusion cladding is

For example one metal can be coated with another metal however iron can never be camouflaged with any other metallic color.

At the end Adolf Loos talks about how imitators and surrogate architects are making a huge mistake because they are deceiving people through their tactics and tricks. However people’s sprits will not be fooled. But in my opinion, this is false claim as limiting architects and designers trough rules and restrictions does nothing but killing their imaginative and creative minds.

FIGURE 1, Adolf Loos, Lina’s bedroom, Vienna 1903 (Adolf Loos (Vienna: 1930), p. 17)

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Architecture is true ornament Without it life loses it’s quality Architecture makes life complete But it is neither life nor art.

Oleg Grabar

Ornament WORDS BY MOHAMMAD FARAHANI|2021

Grabar Islamic art specialist stated that “Architecture is a true ornament(…) without it life loses it’s quality. Architecture makes life complete but it is neither life nor art” Since the renaissance architects subordinated ornamentation to the overall organization of buildings. Modernist however seem to ban ornamentation which is an attempt to counteract the idea that the discipline is key in decoration. The return of ornament and it’s importance for the architectural discipline has been discussed in articles such as Greg Lynn’s the ‘structure of Ornament’. Also Adolf Loos has mentioned ornament as unnecessary, childish and even criminal. In my point of view Ornament is unbearable part of architecture and design which should be considered from first step of designing. Also ornamentation did not fully disappeared from modern architecture incontrediction to Adolf Loos opinion. This return can be seen in not only the use of marble and onyx through the work of ‘Mies van der Rohe’ but also every major modern architects specially post wwll. At the 1970s and 80s

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postmodernism began to question ornamentation. Charles Jenks as a critic with modernism stated “ornament, polychromy, metaphor, humor, symbolism, and convention were put on the index and all form of decoration and historical reference were declared taboo”.

The return of ornament today is a result of the use of computer including design software and computer-aided fabrication which allow for generation of texture and patterns. Firstly todays ornament is placed on the most superficial texture with a vividness that makes it an important part of design as Stephen Parrella mentioned “computer software makes possible the texturing of any surface with any picture”.

Second pattern is the most common form of ornament in todays projects as opposed to western ornamental tradition. Lastly topology and movement of the façade can become ornamental. Aside from these there is lots of hybrid ornamental practices such as buldings like Diller and Scofidio.

Architecture demonstrates character, affects, emotions and is fully intentional. Ornament On the other hand shows the role of the architect and the place allotted to artist ,painters and so on .

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Quality architecture to me is when Manages to move me

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Peter Zumthor

Atmospheres WORDS BY MOHAMMAD FARAHANI|2021

Peter Zumthor believe that buildings must be designed in a way to provide people with support and a good place to live therefor he refers to the process of design as “not an straightforward path". To him atmosphere is an aesthetic and through his writings he discusses what is means to him and shares more details about atmosphere’s role with his readers . In the essay it is mentioned that Peter Zumthor delivered a lecture :“Atmospheres, architectural environments ,surrounding objects “at Wendlinghausen and explored the relationship between location and art. The author discusses how the title “atmosphere” was inspired from a questions he had hard time answering which was “what do we mean when we speak of architectural quality ?”.To answer the questions he then talks about how important first impressions are and discusses how the quality of a an architectural building lies in the amount of excitement is creates when one first sees it.

FIGURE 1

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A building

FIGURE 2

The author then refers to a picture (figure2) from Baumgartner man and talks about how the atmosphere of this picture is strong and has a mood and is very powerful and discusses how something like this can be achieved through “craft and graft "and hard work.

The author then reveals how he goes about creating atmosphere in architecture and the concerns he has when doing it. Firstly, he reveals that “The first and greatest secret of architecture” in his point of view Is to collect different things and combine them to create a space and he refers to architectures as a “bodily mass”.second , he talks about “material compatibility “and how one material can be used in so many different ways and these different compositions give rise to unique structures. Thirdly ,”the sound of space” he refers to interior as instruments that can collect and amplify sounds, which come from the materials that have been used , shape of the rooms etc. then he looks at the importance of “The temperature of a space ” which us psychological and physical and can be seen, felt and touched. He discusses the importance of “surrounding objects “such as books, decors, instruments and he mentions how important and unique these are from one place to another.

Next he looks at “Between composure and seduction “which makes architecture not only spatial art but also a temporal one which involves movement. The he looks at how architecture is able to create a turning point between inside and outside,” the transition between exterior and interior “. Next he talks about how one is able to create an atmosphere through the use of different scale which is the idea of “level of intimacy"'. He then discusses the importance of lighting “The light on things” and how light can be used to sparkle of dull surfaces, and how light and shadows can be used to create depth and meaning. Lastly , he looks at “Architecture as Surroundings” and how somethings that is built becomes a part of it’s surroundings and discusses how architecture is about building things with love . He also looks at the importance of “coherence “ and “beautiful form” in architecture .

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Color pervades the interior : no Matter how subtle, color is visible In furniture, objects, and surfaces.

David Batchelor

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Chromophobia WORDS BY MOHAMMAD FARAHANI|2021

Colors role and impact couldn’t be dismissed in interior, it might be subtle but it is existing in all surfaces, furniture and objects. Traditional interior design and architecture are considered as two different things. Architecture is related to the structure of the building and interior design related to what fills the structure also mentioned that first steps form the architecture and last ones makes interior. David Batchelor consider these attitudes to color as stereotypes or fear of color.

Chromophobia described as “loathing of color, this fear of corruption through color.” Two examples of Chromophobia are as follows: firstly, when color is considered as alien, primitive, womanly and oriental. Secondly, when color is considered inessential but rather supplementary. Examples of chromophobia go as far back as Aristotle. According to Charles Blanc the union of design and color is similar to the union of man and women to create mankind, crucial and necessary. The writer looks at the story of ‘fall from the grace’ where the two worlds, world of angels and spirits are shown black and white and the world embodied beings, is shown colorful.

The use of color to represent different worlds (consciousness and unconsciousness) is evident in the wizard of OZ story as well. Also the writer marks a threshold between the masculine and feminine both. In both of these stories falling or leaving considered as a metaphor of color. The writers of Purism Le Corbusier refer to architecture as a kind of painting which includes elements such as composition contour and light and shade. Le Corbusier and Ozenfant stated that color should be classified and controlled and believed that there should be hierarchy.

Therefore they came up with three scales for color. The first is the major scale which is made up of ‘ochre yellows, reds, earths, white black, ultramarine blue and … certain of their derivatives’. This scale is strong and stable and the colors in the scale where used in the paintings of ‘all the great periods’ and the colors used by Le Corbusier in 1925. The colors in the scale emphasize the representation of volume.

The second scale is the dynamic scale and it includes : Citron yellow, oranges and ‘animated’ and ‘agitaded’ colors and lastly the transition scale ‘the madders, emerald green , and all the lakes it is recommended that painters stick with the major scale. Finally color is learned, ordered and tamed by people and intoxicating and narcotic is not common fortunately. However it can be seen in some parts of the world people are using some colors without any interest but the point is the whole attitude towards color has changed.

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An aid to knowledge, the box Supports life. I am that box, I Inhabit it. We are soft and we Construct softening box Michel Serres

Five senses WORDS BY MOHAMMAD FARAHANI|2021

Michel Serres unveiled a new attitude to construction of the house by analyzing the house through it’s layers, opening and closings, and spaces. He went further than considering the house’s layout just by interior design’s terminology or architecture. He established a new outlook to review house details through a samarium by designing a new philosophical language and architecture. He separated the body and interior and layered them by different terms such as skin, clothes and bed sheets.

Serres related the abutting layers for instance floorboard as touch the carpet and in a same way bedsheets touchs the skin. In the past lighting and shadows or weathered materials were the meaning of time in architecture but He changed the inhabitant’s daily routine by analyzing and emphasizing on house layers. In Michel serres point of view, instead of dehumanizing body he humanize the interior by considering body in terminology of architecture and interior design.

He distinguished skins made of hard and soft materials between the house’s exterior layer and body , and also believed that these layers

Connect to each other at the skin, place of intersection of tapestry and wall.

His attitude to shutters and windows is interesting . He likened the window as a tapestry which similarly has sky, ground and so on.

He mentioned house’s function as a energy filler or converter the place where forces are calm. Michel Serres referred to house as a box which protect us from the harsh weather out side and he believed that it’s transforms outside world to other version inside house. For instance he mentioned that “the box transforms the world into colored picture into painting hanging on the wall changes the landscape into tapestry the city into abstract composition. It’s function is to replace the sun with heaters and the worlds with icons.” He named the house as ‘picture box’ same as a skull. His attitude towards the house is interesting and the way he tried to create and imagine outside world in to house objects makes his writing unique. Also the idea of considering the house as ‘Energy filler’ sounds right as we know all of us returning home to refill our energy and forget about what happened outside.

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Design has a connection with Feelings. This can happen in the Feelings, bringing back memories Creating detachment Mark Auge

Non places WORDS BY MOHAMMAD FARAHANI|2021

In virtually all cases, design has a connection with personal feeling. This can happen in the form of generating feelings, bringing back memories (good or bad) or even unconsciously creating detachment. This idea is evidenced in the book “Non-places” by Mark Auge.

In his book, the author distinguishes between places and non-places. The place offers people a space that empowers their identity, where they can meet other people with whom they share social references. On the other hand, the nonplaces are not meeting spaces and do not build common references to a group. They are places we do not live in, in which the individual remains anonymous and lonely.

In connection with this, in his book “Poetics of Space”, Gaston Bachelard urges designers and architects to forget abstract rationales that might or might not affect the users of a space but, instead, focus their work on the experiences and feelings it will create for the user.

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Bachelard's poetics of space explains the psychological effects of an image or design on the consciousness of people. How the design of an image impacts the mind of people is a subject of philosophy and psychology that is not so much understood. The only way to understand this impact is to study the onset of the image in people's mind and the consequences of this onset​. "The only phenomenology, that is to say, consideration of the onset of the image in an individual can help us to restore the subjectivity of the image and to measure their fullness, their strength, and their subjectivity" - (Bachelard, The poetics of space, Introduction p. xix). ​ ​The aftereffects of any image or a design in people's consciousness are very unpredictable. People tend to see images and retain them in their minds. These images then provoke multiple feelings and emotions in people's minds. That said, if we examine this very design, that emerged as a result of post-coronavirus preventive measures.

We can clearly assume that it can develop a sense of fear within people. The author exemplified this fear with the cellar in a house.

The cellar being a confined place in the house evokes fear in the mind of an individual.

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personal Form of generating Or even unconsciously The idea of dark space and a closed-cell is linked to deeply embedded fears within the soul of an individual. And even if people learn to adapt themselves to these fears they will still feel anxious and restless in the presence of these types of architects as the author forces upon the fact that the "​unconscious can't be civilized. It takes a candle to the cellar." This means that no matter how lit your cellar is, your subconscious or unconscious self will always ask you to take a candle into the cellar because the cellar is linked to darkness. Just like this, an image like the one presented above provokes not only claustrophobia but also other types of embedded fear in people's minds. If we see this in the light of Marc Auge's view of space and non-space, it can also tell us the reality of the conversion of a place into a non-place. How a place with people, memories, identity, and history can convert to a non-place with no emotional connection and no identity? The answer is pretty evident from the architecture of this table. Even though the restaurant is a place where people go along with their friends and family members to make lifetime memories and they recall these memories to create a history for themselves. But being in an isolated plexipod like this will disconnect the individual not only from the surrounding anonymous people but also from their own friends or family members.

Figure 1 - Christophe Gernigon proposes suspended Plex'eat hoods for post-virus dining in restaurants

That is how a place is converted to a non-place with no sentimental values and historical context. ​The space of non-place creates neither the singular identity nor relations, only solitude, and similitude.

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“A house is a machine for living in” Le Corbusier

LE CORBUSIER, early influences and development, Kenneth Frampton WORDS BY GRADINAR MARIA | 2021

When talking about modernism and social housing schemes, it is impossible not to talk about Le Corbusier. During my research, I was interested in finding more about this personality, his background and early influences. It is thought that Le Corbusier way of thinking might have been influenced by his Calvinist origin, a dialectical approach as Kenneth Frampton is saying, characterized by an attraction for oppositions, light and dark, solid and void, which could be seen throughout his work (Frampton, 1985, p.149).

Le Corbusier was born in 1887, in the Swiss town La Chaux-de-Fonds, next to the French border. As a teenager he grew up with the image of the rationalized town, being rebuilt, after it has been destroyed 20 years before.

As a teen he will receive the influence of the Arts and Crafts movement, and enrol in the local art school (Frampton, 1985, p.149)

In the autumn of 1907 he is sent to Vienna to learn the craft of Jugendstil, from Josef Hoffman.

He soon rejects this style, a reaction which was partly caused by a meeting he had earlier on, with Tony Garnier who was developing his plan for a ‘Cite industriale’. Le Corbusier utopian socialist sympathies date back from that time.

Another crucial visit that will influence his own interpretation of the socialist ideal, is the visit to the Charterhouse monastery of Tuscany, where he experienced for the first time the commune living. He is appreciating the silence, solitude and daily contact with man, which he considers to be everything someone needs for a fulfilling life (Frampton, 1985, p.150).

In the following years he will receive different influences, from his time spent in Paris and later on in Germany where he will be trained in the reinforced concrete technique which he considered to be the material of the future (Frampton, 1985, p.150).

Maison Domino, Le Corbusier, 1914 (Arkaraprasertkul, 2008)

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(Pinterest)

(Ariza, 2018)

Le Corbusier + Pierre Jeanneret |Weissenhof Estate Stuttgart, Germany [1927], “Semi-detached House” (Bugaric, 2020)

Ville Contemporaine, proposal for Paris 1922, Le Corbusier

From his volume of work, I would like to mention the 2 projects presented in the Salon d’Atoumne in 1922, Maison Citrohan and Ville Contemporaine, which were never realised but revealed his standardized socialist ideals, which will be later developed in different projects.

Maison Citrohan was the physical house prototype of an earlier concept Le Corbusier has developed, called La Maison Domino. Domino was opened to interpretations, on one hand it was a ‘technical device for production’ on the other hand it was an allusion to standardization (Frampton, 1985, p.152).

The name for the Maison Citrohan is inspired by the automobile company, expressing the same idea elaborated in his earlier concept, that a house should be as standardized as a car (Frampton, 1985, p.153).

Through Maison Citrohan, Le Corbusier revealed for the first time the characteristic double height ceiling, completed with a sleeping mezzanine and bedrooms for children on the roof. Even if this project was never realised, there is an interpretation of it built in 1927 in Stuttgart.

The same Maison Citrohan almost anticipated his 5 points of a new architecture, which were later exemplified through his Villa Cook, which referred to: the elevated mass on pilotis, the free plan, the free façade, the long horizontal sliding windows, and the roof garden. These principles will be later applied to his later houses, among which Villa Savoy (Frampton, 1985, p.157).

Ville contemporaine, I would say is the bigger scale interpretation of the standardized idea presented through Maison Citrohan. For this, Le Corbusier was inspired by the sky scrappers of American cities, as well as the image of ‘citycrown’ described by Bruno Taut in his book Die Stadtkrone (1919)

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“Popular requirements instead of luxury requirements” Hannes Meyer

FROM MODERNISM TO POSTMODERNISM The social dimension WORDS BY GRADINAR MARIA | 2021

During my readings on modernism, I paid attention to the Bauhaus movement, for which I developed a fascination because their work is still relevant today. I believe the reason why modernism is still so important and gained so much popularity back then was because they were driven by real social change. Their ideal was to offer affordable design to everybody, and It is under Hannes Meyer dictatorship that Bauhaus had the most proactive social activity, his famous motto being ‘popular requirements instead of luxury requirements’(Fuad-Luke, 2009, p.39). Through their standardization of social housing schemes, characterized by minimal and purely functional design forms, they were hoping to eliminate social inequities.

Their forms were the expression of the technology of that time, being the result of the design processes and production, rather than an intended abstract form allocated to it. However, their forms were criticized later by postmodernists, as being too abstract and hard to read by the regular people, which comes in contradiction with the modernists ideal of creating for the people.

In terms of the context in which modernism emerged, I believe the historical context has had an influence on the role of architecture in the era after World War I. I believe the pioneers of modernism, have thought of themselves as saviors, responsible to reshape the world after this historical disaster. This is when the proposals for standardized housing schemes emerged, led by Mies van der Rohe, during the Stuttgart Exhibition in 1922, as a response to the housing crisis. Modernism was blamed in his latest phase for being socialist and indeed, Hannes Meyer sympathy for socialist ideals have led to his dismissal as Bauhaus director by Nazi Germany, after he had organised a trip to URSS (FuadLuke, 2009).The Bauhaus moment however did not last long, and their social vision was lost once the WWII started, and the members have refugiated in US. This offered opportunities for the modernist movement to manifest itself on American ground. However, things were different now. People have lost faith in the redemptive role of the architect, due to the devastating events from the WW2. The social housing failures created an opportunity for speculation and rewriting architecture theories (Hays, 2000).

These failures however, have occurred on the socio-political and economical background of the newly shaped American ideals and values. In parallel to the economic boom,

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(Pinterest)

Furniture for the ‘People’s Apartment’, Bauhaus Touring Exhibition 1929 (Ariza, 2018)

(Ariza, 2018)

(Fuad-Luke, 2009)

US is facing the tension of the cold war with URSS, together with the Civil Rights Movement in 1960, revealing issues such as poverty and racism.

In the modern capitalist market, designers are generally controlled by business and government. There is a superficiality surrounding the architecture and politics alike, after 1950. The new architecture is a product of the mass-media culture, reflecting the lack of social interest, and emphasis on the image instead (Hays, 2000).

I believe that things have not changed much since then, in terms of the attitude. I believe that architecture is still a product of the economic forces and interests. There are of course some exceptions from the rule, and here comes to my mind Peter Zumthor, who does not accept compromises. Here I am talking about the general attitude of the practice. What deconstructivism has done, has not much to do with social impact, but rather has put an even stronger emphasis on the architecture as a sculptural object that conveys meanings. However, the architectural message is questionable, because it is dictated by economic forces (Hays, 2000). As stated by (Fuad-Luke, 2009) in Design Activism, in order for architecture to have a wider social and environmental impact, it needs to have a bigger societal representation.

Le Corbusier + Pierre Jeanneret |Weissenhof Estate Stuttgart, Germany [1927], “Semi-detached House”

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‘ Modernism is about space.

Postmodernism is about communication. You should do what turns you on’ Robert Venturi

LEARNING FROM LAS VEGAS WORDS BY GRADINAR MARIA | 2021

I have been passionately reading about architecture and politics in US after 1960. I became curious about the transition from modernist to postmodernist, therefore much of my readings are around these 2 periods. This book offered me the possibility to look at the “Las Vegas” phenomenon from a different perspective. Leaving aside its’ moral qualities, Las Vegas should be seen as a form of architectural communication, and as a method for future urban developments (Venturi et al.,1977).

I understand that the signage in this case becomes a new form of architecture. Its’ size and extravagant appearance from the road, it is purposefully thought, to persuade the possible people who would stop by.

The signs dominate the landscape, and are placed at a distance from the actual piece of architecture, which is somewhere in the back, a low, uninteresting building. The role of the signage is to be seen quickly from a distance, to communicate effectively at a glance, and this is done through the use of lighting, striking colours and shapes. Similar

to the medieval bazar, where the persuasion would happen at e physical level, through touch and smell, the strip is doing the same thing, through the use of images and signage.

We could see the widespread use and necessity of signage nowadays, in complex environments such as airports, train stations, hospitals, where the pure architectural from would not be enough. In order to navigate through complex spaces, we need complex structures which involve the use of other media too (Venturi et al.,1977).

I think what we can learn from Las Vegas, is the use of the existing landscape, and the transformation of this dessert area into a new kind of place. The quality of the developments that happened there in terms of architecture value, purpose, context, it is questionable. What is for sure, is that the Las Vegas has offered possibilities of entrepreneurial development, in an area where less would have imagined. The commercial spaces have provided more and more job opportunities for people in the area, so looking at this from this angle it might have had a positive social impact, by contributing in the welfare of the locals and turning the dessert area into a commercial space.

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(Monorail)

(Pinterest) Map extract from the online LAS VEGAS Monorail website, showing the “strip” Robert Venturi is referring to

(Wolf, 2015)

(Lucy, 2020)

Apart from that, I believe there is not much to learn in terms of architectural value. Even though Robert Venturi declares himself as being detached from the content of Vegas, by focusing on the method instead (Venturi et al.,1977), I find it quite hard to separate these two, as Architecture should be looked at from a holistic perspective. Architecture has the power to shape people, and in this case, there is not much to learn apart from the kitsch, unnecessary luxuries, and the drive towards consumerism, which is only contributing to the already critical environmental issues. What Vegas has done was to emphasize even more the superficiality and arrogance so characteristic to the postmodernists.

Vegas is the capital of entertainment, therefore everything must be interpreted accordingly, either as subtle ironies, or purely as attractive forms for generating profits. Despite the benefits the strip development might have brought to the architectural urban planning, I still have an instinctual reaction of “this is not right” in terms of its’ forms and content.

‘What is new is not that the world lacks meaning[...], it is that we seem to feel an explicit and intense daily need to give it meaning[...]’

Marc Auge

FROM PLACES TO NON-PLACES Marc Auge WORDS BY GRADINAR MARIA | 2021

From Places to Non-Places was a very thoughtprovoking read, and insight into what “space” and “place” means, as well as an introduction into the notion of “non-place”. The place is a continuation of the past in the present, defined as relational, historical or something that has to do with identity (Auge, 1992). On the opposite side, we have the non-places, which are attributed to the supermodernity, and which are dominant nowadays, characterized by a lack of identity or any historical reference or meaning. In this category we have the airports, hospitals, supermarkets, shopping centres, leisure centres, all products of the consumerist market. The non-places, are places without a past or future, they seem to always be anchored in the present.

in the present. Another definition for the non-place, is a place without a sense of self.

If place is considered to be the ‘geometrical form’ something fixed in time, characterized by an event that took place or a myth surrounding it, space is seen as the ‘animation’ of the place, ‘the movement of the body’ in it (Auge, 1992).

Words have the power to shape realities.

I found this reading so relevant to today’s society, when it came to the notion of the avid traveller, which is considered to be ‘the archetype for the non-place’ (Auge, 1992).

The traveller is actually in love with the image created around a holiday destination, the image of the curious traveller advertised on book leaflets, with whom he identifies with. In this case, some places ‘exist only through the words that evoke them’, so we become attracted to imaginary places.

Words and images are the main tools used for shaping places or non-places (Auge, 1992).

I found very interesting how this book presents and analyses from a totally different perspective, the main themes of our

Map extract from the online LAS VEGAS Monorail website, showing the “strip� Robert Venturi is referring to

(Legget, 2012)

contemporary world. It seems that all the progress from the last century has only amplified the lack of meaning and identity. This reminds me so much of my current readings, on the superficiality of the postmodernists, but it also heads way back to the modernists and even further. I believe it goes back to the industrial revolution, which has accelerated everything. The fast-leaving, fasttravelling, everything fast today, due to the high pressure and need to earn, but also because of the advanced technologies, have deprived us from the pleasure of enjoying life naturally, of appreciating surroundings accordingly because we are either presented with a distorted reality or we just don’t have the time because we are always on the run (roads, airplanes).The consumerist market has transformed us in some sort of machines, who follow instructions (pay here, take left, exit here)(Auge, 1992). We are doing things, because everyone else around us is doing it, so in fact we are living a life which is influenced by everything around us. Our decisions are subconsciously dictated by the earlier (media or other) influences. I believe in fact that all the travelling and activities we do, represent a way of running away from the self.

At the same time, some places could become non-places for others, and the other way around, depending on the relationship a person has with that environment, or the personal experiences.

For example, a person who works in the airport or at the supermarket and spends most of the time there, will have a different reaction to that space than a person who occasionally passes by.

Another interesting and unusual example Marc Auge is giving, is that with a person lost in a foreign country. In that case, when the person enters the supermarket and recognizes some international brands, that will give her a sense of place, of home and belonging (Auge, 1992).

I am amazed how relevant this book is today, even though it was written almost 30 years ago.

The situations described by the author, could be easily identified as current situations. Places and Non-Places coexist and always have, but today more than ever, we are outnumbered by NonPlaces.

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‘When I start my first idea for a building is with the material.I believe architecture is about that. It’s not about paper, it’s not about forms.

It’s about space and material’ Peter Zumthor

ATMOSPHERES Peter Zumthor WORDS BY GRADINAR MARIA | 2021

Peter Zumthor writings are truly inspirational and meditative in some sense. I think that through his writing on Atmospheres he manages to transcend the reader into a magical space, like the type of architecture he is describing in the book. I find amazing the tone of his writing and well selected words which have the power to transmit a certain sensation or mood.

Going through his chapters I have highlighted the ideas that have inspired me the most.

To begin with, I am fascinated about the way he talks about the ‘Magic of the Real’, the noise of the streets, of the birds, people talking in the café, everything merging into a certain atmosphere. If we were to remove any of these elements, the picture would be ruined. I find this chapter similar in some way with the one where he talks about ‘Surrounding Objects’. He recalls one of his visit at Bienefeld houses, in Cologne, where the surrounding objects, such as the books,the piano, the people dressed like ‘German burghers’ fit in so well with the architecture, as if like that would have been the main purpose of the place (Zumthor, 2003). This reflection reminds me of philosopher Michel Seres affirmation, that the ornamental elements become in fact, the main objective. I believe as well that a good architecture is the one that naturally becomes what it is intended to be, the users take upon the space and contribute in the transformation of that architecture, which maybe subconsciously dictates through its’ nature what it is intended for.

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(DesignRulz, 2013)

Among others, I enjoyed the way he talks about the Sound of the building, and how this could make someone feel. He is recalling the sounds of his mom in the kitchen while cooking, that would give him a sense of homeness. In the same way, buildings have different sounds, some of them could offer a sense of belonging and comfort, while others might give a totally opposite feel.

On the same note, he is also tapping into ‘Levels of Intimacy’, and in his opinion this is something that has to do with proximity and distance, or in more academic terms, the scale. Here he refers to the different sizes and masses of objects, in relation to human scale. Generally, historical monumental buildings, with big columns, such as banks or other institutional buildings, could feel quite intimidating, while a building which is closer to human scale would offer a more comfortable space. However that’s not always the case, and he gives the example of Andrea Palladio, Villa Rotonda, which despite its’ grandiose features, it makes the architect himself feel quite ‘sublime’(Zumthor, 2003).It is all subjective of course, and I believe each person relates in a different way to different environments, depending on their mood and their personal experiences.

I believe that is impossible not to mention the love for Materials when talking about Peter Zumthor, this is one of his biggest passions as he confesses in the beginning of this chapter.

I find interesting the way he speaks about materials having different reactions when placed next to each other, and how important it is to find the right balance between them. One material could elevate the other if used in the right amount, having the right texture and hue.

He is talking in a magical way about materials, and how sometimes it is impossible to predict a certain reaction, unless you see the materials next to each other in reality (Zumthor, 2003).

Through this book Peter Zumthor brings a new and refreshing side to the architecture practice.

I have always thought about architecture as a more technical or structural discipline, but he manages to create this magical aura around it, by revealing these steps he discovered through personal experience. In other words, I feel that he is humanising the architecture, which is seen as a body, that moves and evolves, and is able to transmit emotion.

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‘ Chromophobia is perhaps only chromophilia without colour ’ DAVID BATCHELOR

ON COLOR AND ORNAMENT WORDS BY GRADINAR MARIA | 2021

It is interesting to analyse the relationship between architecture and interior design, as I believe it has always been a very debated topic among our professionals. Where do you draw the line between these two? Why is the interior design practice most of the time subjugated to the imposing practice of architecture? What role does colour play in this equation? Do we as inhabitants have an active role in creating our space? This short essay will try to answer these questions by analysing a few book excerpts from three distinct personalities, the philosopher Michel Seres, the artist David Batchelor, and the architect Adolf Loos.

There is no definitive line between architecture and interior design. These two disciplines cannot exist one without another, and as Adolf Loos argues in his text, the architect first imagines the internal spaces he wants to create, he senses how the inhabitant would feel and circulate in that particular space. This adds up to the idea that a house should be built from inside out, from rugs and linens used to protect us, to the structural frame that would support these elements (Loos, 2002). This idea instantly casts light on the interior design practice, which has always been considered inferior to the “classical ideals “ that architecture embodies (Batchelor, 2000) . The same idea it is supported by philosopher Michel Seres, who in his short text ”The Five Senses:Boxes”, places the body in the centre of architecture, humanising it. We are cocreators of the space we inhabit. He talks about architecture under the form of layers, pointing out at the bed linen used as a form of protection, in the same way as our ancestors would have used furs or other forms of coverings as shelter.

He affirms that the walls are for paintings and tapestry and these ornamental elements become in fact, the main objective (Serres, 2008).

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(Francis, 2018)

Maison la Roche,Interior of the house designed by Le Corbusier & Pierre Jeanneret 1923-25 (Polak, 2011)

Interior design is associated with colour, which has always been a feared element, provocative and superficial, a force that needed to be kept under control. It is associated with the feminine side, intuitive, sensorial, ornamental, contrasting to its’ rational and exact art of drawing. Some will argue that the colour on its’ own has no meaning, and its’ sole purpose is to fill the drawn form.

What colour creates it is a temporary experience for the viewer, just like a concert (Batchelor, 2000) Because of this preconception, we can understand why the interior design profession is dominated by women. It is interesting though, how great personalities such as Le Corbusier contradicts himself when it comes to colour.

On one hand he teaches us about white, clean and sharp buildings, being totally against unnecessary ornaments. However, all of his buildings are colourful, except one. Le Corbusier, an emblematic figure for the modernist movement and their puritan ideals, affirms that in order to emphasize the whiteness of the white, you need a bit of colour, therefore to justify himself, he creates a classification of acceptable colours in architecture (Batchelor, 2000).

As a brief conclusion to this short analysis, interior design and colour respectively, do not play a secondary role in architecture, as they embody the emotion, the core from which architecture unfolds. Without these elements, we would live in senseless beautiful sculptures.

Children’s room at Villa Muller, Prague, Adolf Loos, 1930

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Analysing different viewpoints and perspectives WORDS BY MARTYNA LAPINSKA | 2021

Michel Serres - The Five sesnes: Boxes

world as much as the architect decides to show.

Michel Serres does not perceive interior design as secondary and unnecessary decoration to the house, but rather views it from a philosophical point of view and humanizes it, as if its clothing wrapped around the body. He speaks of interior spaces very poetically and reads between the lines of every detail it consists. According to Serres, architecture registers time in multiple ways, that is for instance, through light and shadows, as well as weathered material made visible over the years and linens that must be washed as time passes by (Serres, 2011). Furthermore, he perceives a house as a softbox separated from the outside world, which ends at the window, he says: ‘only the external house is exposed to the world; the multi-layered apartment is marely exposed to the city.’ (Serres, 2011, p. 270), and makes it sound as if it is the safest place on earth by describing it as a space of transformation, escape from dawn, cold, water, noise, and uses terms such as: ‘Distant, protected, holding the world at bay.’ (Serres, 2011, p. 268). This way of perceiving architecture is very similar to Peter Zumthor’s view which will be discussed in the next How to design quality architecture Chapter, where Zumthor also describes a house as a safe box which only exposes to the outer

Adolf Loos - The principle of cladding In ‘The Principle of Cladding’ Adolf Loof looks mainly into architecture and interior design, and argues, that material’s purpose is to perform functionally instead of artistically. Loos follows logic when speaks of architecture and interiors, and his approach is that the architect’s role is to provide a livable space and that’s how it started. He speaks of the sequence in which architecture has developed, that is as cladding to provide shelter from the weather and while men slept, which has been developed by mankind over the years by introducing covers and so on. Form of space and choice of materials have a huge effect on the final outcome and depending on what effect the architect wishes to have on the audience, those must be carefully considered. Whether it is fear, respect, or homeyness as they both possess their own language, and could as result have the opposite to the desired effect.

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‘

‘A question I put to myself as an a what is this <Magic of the Real>

Zumthor, 1844, p. 18 | 19

How to design quality architecture?

WORDS BY MARTYNA LAPINSKA | 2021

Peter Zumthor - Atmospheres I found this book exceptionally inspirational.

Zumthor takes the reader through his thinking process of how art highly influences the mind engaging all senses. Zumthor shares, what kind of architecture manages to move him, how people interact with objects, unravels the meaning of architectural quality by defining nine senses, and guides the reader in-depth to achieving a successful relationship between building and the surrounding. By architecture, we are either moved and appreciate it, or rather despise it, therefore, the atmosphere within a space can be perhaps compared to the first impression of a person, that is either pleasant or not.

Zumthor begins, by introducing The Body of Architecture and its frame, the material presence of things, and those that have a sensual effect on him, for example, beams.

Figure 1 Café at a students’ hostel (2006)

Secondly, it is extremely important to arrange materials in a way that they work together and match with one another, therefore, Material Compatibility. Materials react with each other, moreover, their composition makes the space unique and their supply and varieties are endless, therefore, not only the material itself should be well thought through, but also the way we choose to expose it [Fig. 2]. That is, a stone for instance may be modified in many ways such as polished, split, drilled into, etc. and all would create an entirely different effect, however, it is still the same stone. The possibilities of one material

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architect. I wonder:

â&#x20AC;&#x2122;

are endless, all it takes is passion and imagination.

Thirdly, The Sound Of Space. Zumthor claims, that interiors are like big instruments collecting sound and transmitting it. This is affected by the shape of each room, the materials they contain [Fig. 3], and, the way those have been applied, therefore, questions to consider could be, for example, what sounds do buildings have? Are they familiar? Do they make you feel at home? Do they make you feel safe?

Figure 2 Bruder Klaus Field Chapel (2006)

The Temperature Of Space is also as important, however, in both the physical and psychological sense, that is, in what you see and feel. Materials in general extract the warmth from our bodies, for example, steel is cold and brings the temperature down, however, it is also about searching for the right mood, therefore, the temperature may also be in the psychological sense.

Fifth: Surrounding Objects. A feature that happens naturally, that is objects we surround ourselves within our home, the thing we might love, might want to remember, enjoying looking at and things that speak for us. So it is to consider what relationship do you have with the surrounding objects?

Between Composure and Seduction is about the movement in architecture and temporary art, just like music. How space can be designed,

Figure 3 Thermal Baths Vals (2006)

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to give the freedom of movement, a mood that had less to do with directing people than seducing them. Does it guide you? If so, what does? Is it the light or the corridor? Do you want to stay there or your pass through? For instance, hospitals are all about directing people, however, there is also the art of seduction.

Something that fascinates Zumthor is also the Tension between Interior and Exterior. One box containing both interior and exterior. The difference to how you feel when you are inside to outside, the fact that the two different worlds are separated by just a single door which you are to walk through, and there you are, separated from the exterior, enclosed, enveloped. Every building speaks for itself, that is whether it looks proud or blends in with the surroundings, however, the beauty of the exterior is, that the outer world can only see as much as the architect wants it to tell, like a castle. You may get a glimpse of what is inside.

Figure 4 Palazzo Trissino-Baston (2006)

Levels of Intimacy refers to the proximity and distance, that is the size, dimensions, mass, etc. He explains, that everything provokes us to react with different emotions, how every detail may impact our way of perceiving things, for example, a door people walk through may make them look better or worse, large scale of objects such as columns may intimidate [Fig. 4], whereas those tiny ones make us feel powerful, or another perhaps equal.

Last but not least, The Light on Things. Depending on how the light hits the objects, it might make the surfaces look rather dull, sparkled, or give them depth, however, every material also reflects light differently [Fig. 5]. It might be more or less intense, and some materials have the ability to pick up more or fewer quantities of light than others. For instance, gold has the capacity to pick up the smallest amounts of light.

The choice of materials therefore must be done with knowledge and considering the light and its reflection. If done otherwise, space might turn out to look rather dull and sad.

Figure 5 Toni Molkerei (2006)

It is very clear from this reading that Zumthor shares a huge passion and love for architecture â&#x20AC;&#x2DC;...perhaps it has something to do with love. I love architecture.â&#x20AC;&#x2122; (Zumthor, 1844, p.

64|65). Through the way he communicates his thoughts, describes, and reads into every detail within architecture, shows that he is fully dedicated to it and it gives him an absolute pleasure to know, that his work will be remembered by someone in 25 years time more, than if its mentioned in architectural reference works in 35 years.

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Fear of colour WORDS BY MARTYNA LAPINSKA | 2021 David Batchelor - Chromophobia Critical Reflection

David Batchelor expands on the stereotypes regarding the fear of colour in the nineteenth century and names it Chromophobia.

He touches upon a very controversial topic, that is colour and its importance and suggests, that those trying to exclude it show that it is indeed important, otherwise, they would not be highly determined to do so.

He says, ‘If colour is unimportant, I began to wonder, why is it so important to exclude it so forcefully?‘ (Batchelor, 2011, p. 226).

Analyzing different views, I found it highly fascinating, as Batchelor mentions the extremely high association between women and colour, structure and men, and how structure and paintings are perceived as ‘masculine’ and colour as ‘feminine’ throughout. I believe, that Charles Blanc comparing the use of colour to the fall of mankind because of Eve is a bit of an overstatement and disrespect to such a powerful tool that colour is and women at the same time, especially, when uses phrases such as ‘… if unleashed, would be the ruin of everything, the fall of culture.’ (Batchelor, 2011, p. 227).

As Batchelor said: ‘For Blanc, color could not simply be ignored or dismissed; it was always there. It has to be contained and subordinated

- like a woman.’ (Batchelor, 2011, p. 227). Blanc when speaking of colour, focuses mainly on the negatives and does not seem to see the beauty in it, and it’s potential. He has a highly negative approach upon this topic and claims, that colour is both secondary and dangerous, but how can colour, an expression of emotions with the power to affect us both physically and psychologically (Alter, 2013), takes part in our everyday lives, and is seen everywhere in objects and surfaces be secondary?

Additionally, Blanc claims that colour should either be abandoned or controlled in order to avoid the Fall, which makes me wonder, if maybe perhaps he is simply afraid of it since he is unable to master it.

Blanc claims as follows: ‘The union of design and colour is necessary to beget painting just as it is the union of man and woman to beget mankind, but design must maintain its preponderance over colour. Otherwise painting speeds to its ruin: it will fall through colour just as mankind fell through Eve’ (Batchelor, 2011, p. 227). In my opinion, anything and everything could impact another’s ruin if overused or used without knowledge, therefore, one must simply be used with thought. Eventually, he accepted the fact that colour cannot be ignored, nor forgotten, but rather mastered. According to John Gage in his vast historical survey of colour theory, colour is continuously linked with other phobias such as sexual or racial, therefore, always was and will be a part of a debate. Considering that Blanc’s pessimistic approach and the association between colour and women was based in the nineteenth century, while men and women were not equal and had less rights, explains his point of view. Lastly, since it’s been accepted that colour must be controlled, Le Corbusier and Ozanfant have come up with three scales for colour and those are as follows; major scale, dynamic scale, and traditional scale. The painter is advised to follow the major scale.

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How did the historical depiction influence modern perception of colour pink?

WORDS BY MARTYNA LAPINSKA | 2021 According to Annaemarie Adams, the reason for pink’s strong association with girls is due to the course of events during World War II (Adams, 2010). She claims, that the Nazis have highly influenced our way of perceiving pink today, as to categorise people they have used a colour coding system and pink was used to identify homosexuals (Adams, 2010).

Since then, pink began to be highly associated with weakness, therefore, strongly avoided by men, and over time had become to be perceived as feminine. By the 1950’s pink was accepted to be a feminine colour and newborns were labeled through pink and blue blankets on the beds; that is pink for girls, blue for boys (Adams, 2010), however, she also claims that before World War II, especially during the times of World War I pink was in fact associated with boys and blue with girls (Adams, 2010).

Adam Alter - Drunk Tank Pink As previously mentioned in the Fear of colour Chapter, colour has the ability to affect us physically and psychologically, therefore, it is safe to argue that it is not secondary at all as Blanc seems to have claimed (Batchelor, 2000). Whether it is a result of cultural connotations, memories assembled with a certain colour or saturation, or its shade, Alexander Schauss has run several experiments regarding pink’s weakening effect on individuals physically as well as psychologically. One of his experiments featured 153 young men, and tested whether their strength decreases after stearing at a pink cardboard ‘...experiment featuring 153 healthy young men, a researcher, two large pieces of coloured cardboard, and a well-lit lab.’ (Alter, 2013 p. 1). He divided the men into two groups of which half were to stare at a bright pink cardboard, and the rest at deep blue. After a minute has passed, he instructed them to raise their arms in front of their bodies, and applied pressure to see whether they can resist it, and as they recovered their strength he repeated the experiment. He found, that 2 men staring at the pink cardboard were dramatically weaker, therefore, came up with another more accurate experiment to prove that it wasn’t just luck (Alter, 2013). That is as follows: ‘This time he used a more accurate measure of strength, asking the thirty-eight male participants to squeeze a measurement device known as a dynamometer’ (Alter, 2013, p. 2), and as a result, without fail, all of the participants have squeezed the dynamometer weaker after staring at the pink cardboard. Schauss then suggested that pink has calming abilities, it may be a good idea to use it in prison cells to calm the aggressive inmates.

Two officers at the US Naval Correctional Center in Seattle, Washington,

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undertook this project and have chosen one cell for repainting into bright pink (Drunk Tank Pink also known as Baker-Miller pink). This project lasted seven months, while commander Captain Ron Miller along with Chief Warrant Officer Gene Baker have observed aggressive inmates enter the pink cell and calm down within a fifteen-minute average time, and not one violent incident was reported during the observatory seven month period (Alter, 2013). Findings from this project were highly inspirational and other facilities around the country have begun to use the same strategy, for example, psychiatrists, doctors, dentists, teachers, private homes and buses (Alter, 2013), and as smaller jails begun to repeat their strategy of pink holding cells, the colour was unofficially christened â&#x20AC;&#x2DC;Drunk Tank Pinkâ&#x20AC;&#x2122; (Alter, 2013, p. 2).

pink is also known to be a vibrant colour, some designers choose to use it in interiors with the concept of making it relaxing and fun.

This project analyses only one of many colours and shades, however, every colour has different and significant abilities to impact the human mind and provoke a physical and psychological response. Some may enhance our producitivity, creativity and stimulate mind, therefore, may have an impact on our mental health and personal growth in the long run, for instance, colour affecting our productivity would be highly beneficial in offices, whereas those with calming abilities could perhaps help calm anxiety. That said, colour is not secondary at all and may in fact have a life longing impact.

In many cases, pink is associated with softness and described as sweet (Birren, 2016), therefore, commonly used in spaces such as ice cream shops, candy shops, and cafes, however, also highly associated with pleasure and desire, therefore, used in spaces such as renting apartments [Fig. 6]. Additionally, since rich in history and highly associated with women with the influence of the Nazis (Adams, 2010), also used in projects that reflect on the feminine sensitivity and delicacy [Fig. 7]. It is also highly avoided by men due to its weak associations (Adams, 2010), however, according to Birren no one of an admirable character should be upset by a harmless and innocent colour that pink is (Birren, 1978). Lastly, because

Figure 6 Minimal Fantasy holiday apartment (JC de Marcos 2020)

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Figure 7 Wutopiaâ&#x20AC;&#x2122;s Lab pink and blue houses (CreatAR 2018)

How is colour used in interiors today?

WORDS BY MARTYNA LAPINSKA | 2021

In this Chapter, I will analyse a few colour uses I found fascinating in interiors today according to magazines, discuss what emotions they provoke and how they are perceived.

Brown According to Birren, brown is not one of the most favourable colours (Birren, 1978), however, I do believe that it is a great add-on colour in a darker shade for example in kitchen designs.

Personally, I am not a great fan either, however, it is interesting that even though it does not seem to be popular, looking through Dezeenâ&#x20AC;&#x2122;s 10 most popular interiors ever brown appears more or less on 8/10 of them (Howarth, 2016), see Fig. 8 for an example with its use. According to Birren, brown is also preferred by those with homespun qualities, and a more common choice for people mentally troubled than those at peace with themselves (Birren, 1978).

Figure 8 Starbucks Coffee (Masao Nishikawa 2012)

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Red

Green

According to Birren, there are two types of red and it is in fact one of the most commonly preferred colours. The first type comes with honesty to the colour, usually relate to people with either extroverted or introverted tendencies (Birren, 1978), and those who favorise this colour are often impulsive, possibly athletic, sexy and are quick to speak their mind whether they are right or wrong (Birren, 1978). One of the dominant characteristics of the true red type is also to be given emotional ups and downs, and tendencies to maniac-psychoses (Birren, 1978).

Symbol of nature, balance, and normality, most likely to be preferred by those socially well-adjusted, civilized, and conventional (Birren, 1978).

Green is typically favored by extroverts, those who take part and enjoy civic activities such as theater or cards, and are not known to be impulsive such as those who favourise red (Birren, 1978).

The complementary red type is the person who chooses it because it signifies brave qualities that they may lack, seeks sublimation and hidden desires to have the courage of red (Birren, 1978)

Dislike of green may indicate mental disturbance and lack of balance, for example, by those who experienced a lonely existence.

According to magazines such as Dezeen.com, commonly used in spaces dedicated for kids, office spaces, and restaurants [Figs. 10 & 11].

Those who dislike red, are likely to be frustrated, defeated, bitter, angry and possibly ill mentally or physically (Birren, 1978).

Figure 10 Kindergarten Sighartstein (Angelo Kaunat 2009)

Figure 9 Annaikiki store (Arttteeezy 2019)

Figure 11 Winerwald restaurant (Zooey Braun 2011)

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White, Grey and Black Figure 12 Slice of the City house (Toshiyuki Yano 2015)

According to Birren, white is sterile, emotionless, and not the first choice of heart, however, grey and black figure in responses of disturbed morals (Birren, 1978). It is fascinating, that K. Warner Schaie has found in one of his black and white charts tests, that white was placed first with the high dominance in number by schizophrenic patients 76.6% against normal people (Birren, 1978).

Preference for grey usually indicates that the person seeks security, and relief from ups, and downs (Birren, 1978).

Figure 13 JHW store (Tian Fang Fang 2019)

Regarding black, usually those mentally troubled are fascinated by it although of course, that does not apply to all (Birren 1978). Black may be favored for its sophistication, but may also be an attempt of hiding someoneâ&#x20AC;&#x2122;s true natures (Birren, 1978). Black is also associated with death and despair, therefore, it is a dark colour both mentally and visually (Birren 1978).

Figure 14 The Garage (Pedro Pegenaute and Xia Zhi 2016)

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Sustainable design WORDS BY MARTYNA LAPINSKA | 2021 Alstair Fuad-Luke - Design activism beautiful strangeness for a sustainable world

Alstair Fuad-Luke - Design activism beautiful strangeness for a sustainable world

bility.

Paola Sassi - Strategies for Sustainable Architecture

The introduction gives a very positive energy towards design, it is about joy, power, beauty, strength, relevance, and passion for design, and about the influence of design on our lives.

1. Scoping the Territory: Design, Activism and Sustainability The first chapter â&#x20AC;&#x2DC;Scoping the Territoryâ&#x20AC;&#x2122; is about design activism in general, introduces the reader to activism, and explains what it is; the use of power in design for the greater good for humankind and nature, and for those who believe that design is essential towards more sustainable futures. This paragraph in particular is very eye-opening to the global crisis we as a world are facing today. That is, for example, nature which is dying, languages are disappearing, there is an absolute unequal distribution of food, money, some people are unbelievably rich while others still live in poverty. Moreover, the capacity of the worldâ&#x20AC;&#x2122;s ecosystems that support life is declining , and the rise in temperature we are experiencing is an extreme threat to the global ecological sta-

Land provides space for human inhabitation, resources to enable human activities as well as to absorb waste. Nature supports humans physically and psychologically by, for example, providing food, fuel, fibre, shelter, materials, purification of air and water, decomposition of wastes, controlling diseases, and many other (Sassi, 2006). Since the construction industry has an enormous impact on the environment, sustainable construction should be considered in order to support and protect our environment, for example, plants and animals which are currently disappearing at an extreme rate. In effect, if we do not act, it might be that half may be gone by the end of the century (Sassi, 2006).

Sustainable design aspires to reduce the negative impact on the environment, and may be achieved by applying multiple globally favorable long-term solutions. For instance, by minimising the disruption of the natural environment, making use of brown-field sites, using renewable materials such as timber, using the most of the natural light, and being easily heated (Sassi, 2006).

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‘

Species of plants and animals are disappearing a hundred or coming of humanity, and as many as half may be gone by t geddon is approaching at the beginning of the third millenn and fiery collapse of mankind foretold in sacred scripture. It an exuberantly plentiful and infenious humanity.

Sassi, 2006, p. 3 Designers contribution to help architects create sustainable designs

Today, even though not everyone understands the importance of acting upon this issue, it is widely recognised and many architects and business owners try to adress it.

Ray C Anderson, the founder of Interface in 1973, around 90’s discovered the threat created by manufacturing, and began to radically reexamine his business, and in effect switched to renewable power and pursued to eradicate petroleum from its fabrication processes (Dezeen, 2020). He eventually gained a reputation as a pioneer for environmentalism (Dezeen, 2020). Even though he passed away in 2011, the company continues Anderson’s mission towards sustainable design and created a carpet tile backing CQuestBio using carbon-negative materials which cut its carbon footprint by one-third (Dezeen, 2020).

Another company which takes action on helping architects to create more sustainable designs is the Europe’s largest roofing and waterproofing company BMI Group (Dezeen, 2020). Their response and action upon the environmental crisis is by producing a range of roof solutions such as anti-pollution membrane, green roofs, solar energy solutions, and lightweight concrete tiles (Dezeen, 2020).

Harmful nitrogen oxides contribute to traffic pollution and the company’s anti-pollution membrane, with the use of a photocatalytic ingredient is designed to convert harmful nitrogen oxides into harmless nitrates (Dezeen, 2020).

Green roofs can serve the purpose of improving air quality and as well as acting as a layer of insulation, that is less energy required to heat the building in winter, while cooling it in the summer [Fig. 15].

Figure 15 Green roof solutions (2020)

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more times faster than before the the end of this century. An Armanium. But it is not the cosmic war t is the wreckage of the planet by

’

Solar energy solutions enable the roof to be productive, and produce 70-80 percent of the energy required to power a building. They are also suitable for both pitches as well as flat roofs [Fig. 16] (Dezeen, 2020).

Lightweight concrete tiles are produced using the BMI Group’s Aerlox technology with a reduced amount of concrete, therefore, the tiles have a decreased level of embodied carbon and are lighter. In effect, they can be transported more efficiently by requiring less fuel (Dezeen, 2020).

Green buildings Jean Nouvel along with Patrick Blanc designed plant-covered Sydney towers, which reflect light onto their lower levels with the use of big cantilevered panel of mirrors. The building is divided into two towers, of which one is 84m high and accommodates 383 apartments, of which 38 are penthouses with the access to the 100m high sky garden (Frearson, 2014). Also, its facade features one of the tallest green walls in the world, spanning over 1,000 square-metres, and the 21 plant covered panels include 35 different species (Frearson, 2014). Moreover, by night it uses LED lights which are highly beneficial to the environment since they consume a lot less energy than any other light bulbs.

“Hydroponic irrigation systems, for one, make it possible to grow a soil-less vertical veil of vegetation in planters and on walls all the way up to the tower tops. The resulting green facades trap carbon dioxide, emit oxygen and provide energy-saving shade,” said the studio (Frearson, 2014).

Figure 16 Solar tiles (2020)

Figure 17 One Central Park (2014)

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Breaking the rules : Pretentiousness and design

WORDS BY SONIA MEDINA | 2021

color “suited to simple races, peasants and savages” -Le Corbusier

Rules have defined architects and designers since the beginning of time. The importance in which great architects have regarded themselves is clear in their philosophical works.

Self-importance and their commands hold them untouched and beyond reach.

“Wood may be painted any color except the color of wood” (Loos, 2011) The arbitrary definition of taste and the ideal of luxury dictates what is deemed to be acceptable in design.

These concepts havechanged throughout time and since our global perspectives are so different than Loos who was truly a purist and frankly a snob, we have a viewpoint of successfully conveying even conflicting ideas whether Loos would approve or not. Having said this, many of Adolf Loos concepts hold true to this day, yet we see so many interiors using mock materials for example, “wood” floor tiles. They are obviously imitation wood and despite the fact,

it is still widely used. The question remains should we abide by Loos rules?Are we wrong? Loos would say “...you imitators and surrogate architects, you are mistaken!”. (Loos, 2011) More than the use of this material being right or wrong, we must ask ourselves why we use it? Maybe there lies the rules, humans are always trying to mimic nature either by applying blush in our cheeks, using faux leather furniture or well, using wood tiles. The use of materials could arguably be an expression of emotions and the need to be closer to nature.

“The box transforms the world into coloured pictures, into paintings, hanging on walls, changes the landscape into tapestry”. (Serres, 2011) The critics and philosophers have always wanted to define rules but these tend to segregate and shun the majority of population. Their rules are unattainable and what the rest practices is not art, design or architecture.

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The Gym Of Accessory Store / 45tilt. Image © Hey! Cheese

Le Corbusier declared referring to color “suited to simple races, peasants and savages”. (Corbusier, 2011) The lack of self-awareness in his own work, perhaps like many of these rule makers they feel entitled; above what they criticize without actually acknowledging these aspects in their own work. Design has always been elitist and in our modern world especially during the pandemic we see beautifully curated home offices, while failing to acknowledge the majority of the population shares spaces across their home. When talking about the wizard of Oz, Batchelor “I was devastated to discover when I first saw the film, revealed to be ‘only’ a dream-state”. (Batchelor, 2011) Color deemed rudimentary is actually an expression of emotions, ideas and the courage to use it is not for the virtuous but the bold rule breakers. The fact is as Batchelor so passionately discusses in Chromophobia the architect and the designer fear the unknown or the uncontrollable but color is seductive and we cannot live without it. And why should we, lets impose a new rule we should let go of control and use emotions as our canvas, our concepts. Rules have always helped designers to understand basics but they should not be blindly followed, our humanities depend on it.

IMMERSIVE SPACE SERIES: ARCHES / Tom Harris

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â&#x20AC;&#x2DC;

The principal, Mr. Yehuda Friedman, told us that the atmosphere at the school has changed ever since: the kids have more self-esteem and there is less violence.

Cogley, 2019

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Design Activism for Refugees WORDS BY SONIA MEDINA | 2021

A picture containing person Description automatically generatedThe true mirror of society is the state of our vulnerable stratums. Color can sometimes be left as an afterthought in design.

Applying it as accent or to bring out the geometric sensibilities of specific details.

Having said that, there is an interesting project developed in Tel Aviv for children who are refugees hailing from the biggest humanitarian crisis as of today. The point is not to unpack these crises and the tensions that result in them, but to see how design and color particularly can be used to alleviate the pain in these assailable youths.

When explaining Ann Thorpes’ findings ‘She defines activism as ‘taking intentional action to instigate on behalf of a neglected group” (Fuad-Luke, 2009) The neglected group in this particular case study is the Sudanese and Eritrean children, who have been migrating to Tel Aviv around 2005 as a consequence of the dire circumstances in which they find themselves in their home countries. Some of these include extreme poverty, violence, religious prosecution, famine and drought, these are no trivial conditions. Israel though does not recognize these people as refugees in the legal sense of the word despite their status they remain mainly in Tel Aviv. (Walker & Haroun, 2019) The trauma these children have experienced in their short lives may press challenging towards education and social development.

Hayarden School was built in the 1960s and had been slowly deteriorating, due to its location it became the school for refugees. The remodel project in 2018 had a small budget and was primarily done pro-bono. To pursue a change in how the school was perceived and to empower these children, it was important to creatively use these funds thoughtfully, so every design decision was deliberated. Sarit Shani Hay, the designer specializes in pedagogical environment design and she collaborated with the architect Chen Steinberg Navon and Ayelet Fisher. The designers created house-themed study areas and the application of color was the essence of the project. The color pallete was drawn from the different flags of the childrens’ native countries. ‘Watching the kids on their first day of school was an amazing and emotional experience. They were thrilled with the space and showed a lot of respect for the school’s newly renovated environment. But above all, they were deeply touched that someone had actually made an effort especially for them.’

‘The principal, Mr. Yehuda Friedman, told us that the atmosphere at the school has changed ever since: the kids have more self-esteem and there is less violence.’ (Cogley, 2019) The main conception we need to focus is on the importance of color to generate emotions and the power designers have to change the lives of those they design for.

Itay Benit for Dezeen

Itay Benit for Dezeen

Itay Benit for Dezeen

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â&#x20AC;&#x2DC;

When the budget allows for will use the same type of tex terning for social housing as ANTOINE PICON

Overcrowding: Cities and the pandemic WORDS BY SONIA MEDINA | 2021 When we think of favelas or barrios, we picture these grim, sad conditions where human life renders no value. Our minds fly to the worst and architecture nor interior design definitely cross our minds.

But during this pandemic governments have mandated to keep ourselves inside, order us not to mix with other households. In this situation the bedroom has become the absolute center of our lives. The way we keep our homes was now more important than ever. In developing countries such as Honduras, it is common to for a household to own the latest model of a car or for the teens to own the newest iPhone, but the inside of their homes instead is left to abandon.

Itâ&#x20AC;&#x2122;s not rare that these same households have unfinished walls, or some tattered furniture passed down from grandma, said latest model carâ&#x20AC;&#x2122;s garage has a dirt floor or a leaky roof.

The interior was never important, as long as the outside world perceived us to have wealth was

all that mattered. The fact is, the inside of our homes has never been more important than during the pandemic. We are no longer spending our days in long commutes or at cubicles, we have meetings in lounge wear and have our morning coffee in bed. This is what we want to believe the rest of the world is like, but of course it is quite different. For instance, in Honduras a standard home will house eight to fifteen family members. In London, strangers coexist in six to eight-bedroom homes where they share common areas. What made the amazing cities of the world so special, does not exist anymore, the city is now reduced to the four walls of the bedroom.

The houses in London are over 100 years old, others built during the 1930s, so the way people currently use spaces is completely different.

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r it, an architect xturing and pats for a museum.

Christie Rider Leicester, UK

Those rooms having 1-2 outlets, when the average of devices per household is 9. (Holst, 2021) is what most people can only afford to rent. Before it did not matter who lived with whom, in these shared houses or apartments. Now fear of a deadly virus means everybody is further pushed back to staying within their bedrooms.

This fear has brought the need for change in how interiors are perceived and their shift in importance. Our environments influence our well-being, architects and interior designers must think of non-invasive approaches for designing spaces for renters. Landlords will either be pressured by the market or ideally, they will see the importance of their tenant’s wellbeing.

’

‘London’s housing balance tipping towards renters should help create the pressure necessary to push such changes through.’ (O’Sullivan, 2016) The reality that rented rooms have little to no furniture, so the confinement to these spaces will have psychological effects on those habiting them. ‘When the budget allows for it, an architect will use the same type of texturing and patterning for social housing as for a museum.’

(Picon, 2013)

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â&#x20AC;&#x2DC;

He senses the effect that he wishes to exert upon the spectator: fear and horror if it is a dungeon, reverence if a church, respect for the power of the state if a government palace, piety if a tomb, homeyness if a residence, gaiety if a tavern.

Adolf Loos

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Edible Flowers: Case study NOUS restaurant & flowers

WORDS BY SONIA MEDINA | 2021

There are qualities to the color pink that are in line with the perceptions of dainty or delicate objects, equivalent to those observed in flowers.

This project is a balance between fragility, roughness, color, uses and materials. The materiality is in line with color, apparently decided within the same thought. NOUS Restaurant and Flowers, designed by 0321 Studio in Dongguan, China has a clear division of space using the exterior to create a clear contrast to aid their design intentions. The interior designers’ objective was to use materials, color side by side with the intended uses of the space. ‘We choose a relatively large-scale appearance of transparent colored glass, as the boundary between the store and the outside world, and combine flower display, floral operation, storage and other functions to create a full metal mass.’

(ArchDaily, 2018) The exterior invites the passerby to in the least look, curiosity between the clear storefront and the warmth that the shade of pink exudes. This would be the first stage, the entrance of the space, the clearness of this area bleeds into the second stage: The restaurant.

This combination shop while whimsical, isn’t random. The concept is cohesive enough to the point of being tantalizing as the menu also includes edible flowers. This conveys the clever idea of a single project where you can shop for flowers, eat flowers, sit and chat in a delicate space that feels as the interior of a flower.

‘Florist shop is practically the window of the restaurant. It is a pink glass box between the street, public space and the interior of the restaurant.’ (Karandinou, 2020) The floorplan is thought with not only color placement but materials as well. There is a clear partitioning of spaces and usage.

The user is expected to go through different stages to use the restaurant.

The use of glass and terrazzo would, if applied thoughtlessly be awkward, but in this case instead, highlights the delicate use of color and sensibility of the space. Lighting was also thought of a way of creating excitement, from the exterior we are invited in, with the strong pink lighting and from the restaurant we are embraced. ‘He senses the effect that he wishes to exert upon the spectator: fear and horror if it is a dungeon, reverence if a church, respect for the power of the state if a government palace, piety if a tomb, homeyness if a residence, gaiety if a tavern. These effects are produced by both the material and the form of the space.’ (Loos, 1898) The designers understood their challenge, and using the color pink in China is no coincidence as well since it is considered to be a shade of red with all the same attributes happiness, good fortune and wealth.

This is why the shop’s space is part of the user experience, creating an expectation for what the restaurant would look and feel like, which in turns in creates a growing expectation for the food served. Taking one bite, is the culmination of the user’s experiences created by all the senses.

Meat mountain curated by HAN Shuang

Meat mountain curated by HAN Shuang

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Wine making as a design concept WORDS BY SONIA MEDINA | 2021

Color is dangerous.

It is a drug, a loss of consciousness, a kind of blindness -Batchelor

..chromatic relationship that was generated between the three rooms...

-Isern Serra and Sylvain Carlet

The process of making wine is one that has been reproduced for thousands of years, it is an intrinsic part of many cultures. Wine making is even referenced in sacred texts, From the Gilgamesh to the bible.

The secret behind compelling interior design projects has to be the extensive thought of the emotions and perceptions of the user. Whether the project is supposed to shock, nurture, heal or abhor the people meant to experience it. Orvay Bar took the process of winemaking as its inspiration for the feel of the space. Including the aesthetic of the historic context in which it is located: A medieval passage, on which fairs jousting, tournaments and other activities were celebrated as far back as the XIII century. The designers took this rich heritage utilizing the materials in the exterior context and bringing them inside the wine bar.

‘Color is dangerous. It is a drug, a loss of consciousness, a kind of blindness – at least for a moment.

Color requires, or results in, or perhaps just is, a loss of focus, of identity, of self.’ (Batchelor, 2000) While we intoxicate ourselves in wine, we might lose focus, forget ourselves and find our inhibitions relaxed. The process that is represented through color and materials also brings to relax the user, who in turn might forget whether they are inside or outside.

One might visually go through the stages of wine making on the interior of the bar: extraction, distillation, reflection of the tints, fermentation of the grapes. The interior was mostly left without décor except for red tinted circular mirrors, which resemble a glass of red wine. Seeing through a red wine glass, the tints of red throughout the design exemplify shades of warm colors and natural materials. That is until we see the other perspective

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Salva Lopez, for Dezeen

Salva Lopez, for Dezeen

and a striking color change. ‘So these colors are of the same nature and the same palette of the surrounding area, where as we walk further inside the building they become more particular, more unique, more relevant to the specific space as opposed to the broader context of the city.’ (Karandinou, 2020) The other element shown in this facet of the space is the use of this contrasting color, a dark green reserved for larger groups provides more private secluded feel. “We also liked the chromatic relationship that was generated between the three rooms, so there is no need for an element that separates them physically.” (Levy, et al., 2018) The interesting balance between the rugged, inspired materials in Orvay Bar, is an inspiration for a response to historical contexts.

Salva Lopez, for Dezeen

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‘

Since Aristotle’s time, the discrim lour has taken a number of form some moral, some racial, some sex David Batchelor

Sensuality of Color WORDS BY SONIA MEDINA | 2021

We might want to re-evaluate the use of red to the research on color psychology which intends it to have sexual and passionate meanings. The use of red in red light districts might be actually related to other reasons, in the same way as traffic signs, we stop when we see red. The use of red in design is usually limited to toned down shades of red with greys or browns. The saturated red, combined with neon signs is nothing less than a design choice thought for tell you to stop because you must look.

The state in which these red-light districts are even before the pandemic are now a topic for cultural debate. Since they have now become more of a tourist attraction than an invitation to feast on our hedonistic senses. (Brokke, 2020) The Amsterdam red-light district might be the most recognized in western culture, it is by no means the biggest, but the Netherlands notoriously has had the most relaxed laws on prostitution.

Although there are Asian districts that are bigger and have more sexual driven tourism, their countries have not given the sex workers the respect and protection they deserve and need.

There is no debate on whether sex work is legitimate employment and how these men and women need laws to protect them.

Amsterdam however has now come to face its own challenge. Being so well known that tourists now come only to look at the display windows and not to partake in the diversions, as if the very real women and men behind the glass walls are no more than attractions. ‘Since Aristotle’s time, the discrimination against colour has taken a number of forms, some technical, some moral, some racial, some sexual, some social.’ (Batchelor, 2000)

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mination against coms, some technical, xual, some social.

Prejudice comes into account to these newfound problems to Amsterdam’s Red-Light District. The choice of red, might also come from historic precedents. Sex workers would adorn their cheeks to appear flushed, aristocrats in disguise followed their lead. The church held that ‘a woman who wore makeup was seen as an incarnation of Satan.’ (Chaudhri, 2009) Red represented woman’s sexual desires and it is still widely used as a representation of pleasure and sex. ‘We descend into delirium; we lose ourselves in colour, as colour frees itself from the grip of objects and floods over our scrambled senses; we drown in the sexual heat of colour..’ (Batchelor, 2000)

’

In 2013, My Red Light was established as the first not for profit brothel, a revolutionary concept to protect the rights of sex workers and bringing them to the upfront of the business, recognizing them for what they are, the backbone of their industry.

The interior designers commissioned for this project used the color red as a staple, for intrigue and to articulate the spaces.

Ilvy Njiokiktjien for The New York Times

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David Batchelorâ&#x20AC;&#x2122;s large-scale works WORDS BY ATEFEH SARGAZI, 2021

David Batchelor David Batchelor is an artist who has worked on color many years. He published his books include Chromophobia in 2000, in which he considered viewpoints for denouncing color and excluding it from the society. A cultural phenomenon from the ancient Greek era was Chromophobia. It was a fear of corruption with color, so there was an extreme prejudice about color in Western culture. There were different attempts to clean color by associated it with the oriental, the feminine, the infantile, the vulgar, and the pathological, or by referring it to the superficial, the supplementary, the inessential, and the cosmetic (Batchelor, 2000).Cities are made of steel, leather, and numerous monochromatic and black-and-white works, and these works are inspiring urban landscape photographers to take their black-and-white artistic photographs. On the contrary, Batchelor considered color as a

nature of the urban environment and preferred urban colors, industrial paints, and fluorescent lights to the colors found in nature. Therefore, Batchelor turned to color from his colorless art in the nineties and was inspired by night cityscapes with their street lamps, car lights, and, most importantly, neon signs. He started to create colorful 2D and 3D works, and the most spectacular of his creations are the large-scale illuminated installations motivated by shop signs (Ground Impressions, 2018).

There are numerous fluorescent plastic objects in his studio, clothes pegs, fly-swatters, buckets, spades, children's toys, empty bottles of household products found in shops and markets in cities the world over. Batchelor combines these things with steel shelving, commercial lightboxes, neon tubing, warehouse dollies, acrylics, plastics and produces extraordinary colored lightboxes or unlit composites sculptural installations.

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Saatchi Gallery, 2003, Brick Lane Remix 1

He has been created several temporary and permanent large-scale works made from 2003, including Spectrum of Brick Lane 2, 2007, Para pillar, 2006, Brick Lane Remix, 2003, etc. (Ingleby Gallery). When Batchelor makes large-scale works with lightboxes or old plastic bottles with lights inside, he hopes the illumination suspended their objecthood to some degree and makes the viewer see them a little differently and see them as colors before seeing them as objects (Saatchi Gallery).

Saatchi Gallery, 2006, Parapillar 7

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Ornamentation WORDS BY ATEFEH SARGAZI, 2021

In architecture, ornamentation introduces the decoration of a building that makes it unique.

There have been various viewpoints about ornament in architecture throughout time, from the beginning of Egyptian to Renaissance.

Primarily, the ornamentation of buildings could demonstrate the social class of people who were settled in them. After the Industrial Revolution era and the turn to the modernist era, ornamentation was changed by some architects such as Adolf Loos and Le Corbusier (Kaleivaani, 2017).

Le Corbusier Le Corbusier is famous as a modernist architect. In terms of creating beautiful architecture, he used ornamentation and decoration in buildings. He believed that both practical and aesthetic aspects are essential architectural requirements for successful architecture. Therefore, Le Corbusier decided to use decoration to add harmony and beauty to Modernism's main framework. He recognized that the ornamentation could satisfy an intensive range of aesthetic and functional requirements relevant to human experience's difficulties. Also, his modernist ornament is associated with the functional parts of the architecture.T herefore, Le Corbusier found it crucial to inspire beauty into architectural elements, especially those vital to a building's practical benefits.

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Unite d' Habitation

One of his sophisticated works is the UnitĂŠ dâ&#x20AC;&#x2122;Habitation in Marseille.

The ornament on concrete surfaces of this building is associated with the evocative of the Ruskinian ornament (Poppy, 2010).

Swiss Sound Box Expo 2000, Hanover

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Adolf Loos

Vienna's Looshaus, also known as the Goldman and Salatsch Building

by Adolf Loos.

Swiss Sound Box Expo 2000, Hanover

Loos was an Austrian architect who influenced modernist architects in Europe. He considered ornament as an unnecessary part of the architecture and discouraged the use of excess ornamentation, so he wrote essays about denouncing ornament and decoration. One of his essays was “Ornament and Crime,” and he stated that simplicity in architecture is related to spirituality, and extra ornamentation is equal to crime. He believed that ornamentation wastes the material on the one hand and covers its originality on the other hand. He mentioned in his essay that material should keep its originality to demonstrate pleasant actual architecture. Therefore, numerous residential projects were redesigned by him, and he utilized only original material without any ornamentation.

His style, including undecorated horizontal windows, open plans, flat roofs, and white walls, influenced modern architecture (Boyer).Adolf Loos designed buildings that were famous for their organic simplicity.

Loos’s best-known large structure is the Goldman and Salatsch Building, Vienna. A little classical surface detail is offset by large areas of blank, polished marble (The Editors of Encyclopaedia Britannica).

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â&#x20AC;&#x2DC;

I want to make people reflect on their use of single-use plastics, make them more aware of their footprint

,

Brodie Neill

Recycled plastic material WORD BY ATEFEH SARGAZI,2021

Nowadays, a considerable amount of plastic rubbish wastes worldwide, so designers try to find various ways to reduce these nonenvironmentally-friendly materials. They work with the plastic recycling industries to produce new practical products on a larger scale in different projects.

material often has a grey hue, the team sorted all wastes according to their colors to create shingles in different colors. The building was constructed without glue, nails, or other methods to damage the materials. So, all elements and materials, including plastic shingles, gabled glass roofs, concrete slabs, the lighting, and heating, returned to their suppliers and producers after the Design Week event to use for other projects (Gibson, 2017).

Pretty plastic shingles A vast pavilion was temporarily created in Ketelhuisplein for the 2017 Design Week and used for plays, music concerts, and workshops.

Architects Bureau SLA and design agency Overtreders W decided to build the pavilion with recycled materials to use again after the event.

Therefore, they considered a type of cladding called Pretty Plastic Shingle and made of residence's wastes for covering the building. So, they asked the plastic recycler Govaplast to create that cladding. Although recycled plastic

Pavilion renderings (Vingtsix Visualisations, 2017)

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Colorful terrazzo

Photography (Wiedemuth, 2020)

bench with an ocean-plastic surface, 2017

Marten van Middelkoop and Joost Dingemans founded Dutch startup Plasticiet to collects colorful pieces of plastic waste and turns them into marble and granite shape sheets. They picked out colorful plastic pieces from Suez company recycled all collected plastics.

Nowadays, recyclable plastics are used in many industries, so they decided to use recycled plastic material to demonstrate how we can reuse this material, which is dangerous for the environment. Amsterdam-based eyewear company Ace & Tate collaborated with Plasticiet company for the shop in Antwerp. Plasticiet created panels of plastic terrazzo to cover shop interiors. The combination of plastic terrazzo, display boxes for the glasses and sunglasses, and mirrors make an attractive display in this shop (Block, 2020).

Ocean terrazzo Designer Brodie Neill was concerned about plastic pieces in the pristine ocean and beaches.

He wanted to encourage other people to think about plastic waste and its harmful pollution in the oceans. Therefore, he decided to produce furniture pieces with recycled ocean plastic. He poured numerous small pieces of plastic into a resin surface and developed a type of material similar to marble and granite called ''ocean terrazzo''. Flotsam is the name of his new furniture collection at the Australian Pavilion at London Design Biennale 2016. He used the innovative Ocean Terrazzo, including a bench with an ocean terrazzo surface and other furniture pieces with this type of facade in this collection (Flotsam, 2017).

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Atmosphere WORDS BY ATEFEH SARGAZI, 2021

Peter Zumthor Atmosphere and mood are poetic words of architecture that inevitably come to mind when confronted with Zumthor's inspiration sources.

The poetics of architecture ables viewers to realize what matters in the house design process, including the composition of materials, the consideration of proportions, and the effect of light.

He wanted to give us several concise chapters of what he had found out about how he went about things and what concerned him most when he tried to generate a particular atmosphere in one of his buildings. Pictures of places and buildings that affect him are inevitably crucial as particular pieces of music or books inspire him.

The body of architecture: Zumthor considers architecture, including collecting various materials and combinations for creating a space as human anatomy covering skin and what we cannot see inside it.

Material Compatibility: The combination of various materials makes something new because each material has unique properties and can react differently.

The Sound of a Space: He considers interiors of each specific room's shape, surface, and materials as large instruments that collect sound, amplify it, and transmit it elsewhere.

The Temperature of a Space: He believes each building has a particular temperature and mentions a specific style and material to construct a pavilion that keeps the temperature moderate.

Surrounding Objects: He imagines a building's future and what happens without him when it will actually be in use. It gives them a good insight into what he decides to build.

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Domino de Pingus Winery

The tension between Interior and Exterior: another interesting aspect that influenced him is that architecture is a tiny piece of the world and has its interior and exterior.

The Light of Things: He feels glad to have light in life because he considers light beyond other aspects of architecture. In his view, daylight is admirable compared to artificial light, as it has a spiritual quality.

All in all, Peter Zumthor wants to describe mood, harmony, beauty, and the presence of feeling in the space (Zumthor, 1996).

Swiss Sound Box Expo 2000, Hanover

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â&#x20AC;&#x2DC;

The Cork House is an innovative and thought-provoking response to pressing questions about the materials that we build with

,

Howland, Milne and Wilton

Cork WORDS BY ATEFEH SARGAZI, 2021

Cork Cork is a tree that is harvested from the cork oak tree's bark; it will continue to grow and reproduce cork and harvested by hand in cycles of nine years without any deforestation. Cork is a soft and flexible material and can return to its initial form after putting pressure on it, so its ability makes it a suitable flooring material. Also, it is good for sub-flooring because it can absorb noises. Cork is naturally fire-resistant, so it is a perfect thermal insulator, and there are no toxic gasses when it burns. Also, it is impermeable and does not absorb water. The lightweight and less energy for shipment are other advantages of this material. ,

Recyclable cork house A Cork House was built in Berkshire, England, by Matthew Barnett Howland with Dido Milne and Oliver Wilton. They wanted to respond to the architecture industry's impact on biodiversity, greenhouse gas emissions, and reliance on single-use materials. so they have used cork blocks in their project. They recognized that cork is a carbon-negative material because it absorbed more carbon dioxide than released carbon dioxide during the whole construction process (Crook, 2019).Cork granules are heated to form firm Cork blocks; they are then cut in a lego-like shape to easily joint each other. There is no use of glue, chemicals, or cement in this structure, so all 1268 cork blocks can be reused and recycled in the future. This Cork House has five intercommunicating blocks that end in pyramid-shaped roofs and supported by timbers, and daylight can come to the interior space from top skylights (Fuller, 2019).

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Studio Bark cork building

Studio Bark cor building, (Codd, 2018)

Recyclable cork house , (Howland, Milne and Wilton, 2019)

London-based architects Studio Bark wanted to use cork in a whole building, so they have built Studio Bark cork building. Cork blocks are produced from leftover pieces of the wine cork.

A natural resin releases to bind the cork granules together and turn them into cork blocks through a heating process. Cork blocks are produced from leftover pieces of the wine cork making process. After that, the blocks were cut into suitable slab sizes and joined on-site.

After the building's life, all the natural materials of this building and solid corks can be reused, and other components are entirely recycled because all materials were connected without any toxic varnishes, glues, tapes, or other bonding materials (crook, 2018).Throughout the process, two different densities of cork blocked were used. The lower density blocks were used for the floor because they had isolation properties, so they were appropriate blocks to lay on leveled sand without a concrete foundation.

Cork is a common interior floor finish and has even been used as external rain screen cladding.

The higher density blocks were joined to each other with recyclable screws to be firm against wind or lateral force, so they are suitable for constructing flat roof and walls (Studio Bark, 2018).

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Task Lighting for the Work Surface WORDS BY ATEFEH SARGAZI, 2021

The problem of reflected glare Reflected glare is the problem of The standard strip fluorescent task light fixtures. There is the examination of qualitative aspects of task lighting for horizontal work surfaces.

Grosslight suggested a test to check the amounts of glare reflection. If we put a small mirror on a worktop where we read and write and see a reflection of light, there is a reflected glare problem (Grosslight, 1984).

Figure 1 is a scaled drawing that shows that the worker who sees the strip fluorescent task light fixture's reflected light mounted on the bottom of a shelf and represents the site's vertical size and shape. It shows that the average adult's eye is located about 16.5'' above the work surface and approximately in line with the desk's front edge.

The three-dimensional offending zone of light is when a light source is at the mirror angle.

Figure 2 is a top view, orthographically demonstrated from Figure 1 and shows the 10''

square task space's location, reported being the most efficient work area. It is a drawing that shows the reflected glare zone and hand shadow zones. The best place for task light sources is the small space between these zones (Walter, 1990).

Personal trial and error are the best way for lighting designers to understand different lighting effects and possibilities and use them in light installations. Also, Noel Florence, a lighting design consultant for the Genlyte Group, stated that lighting designers can go to the lighting labs and test luminaireâ&#x20AC;&#x2122;s lighting effects. For example, Shellko and Williams did an an experiment in a small open-plan office, including five workstations to test task ambient light fixture designs in different locations. 8â&#x20AC;? circular fluorescent lamps were used for the task lighting and they mounted under the shelves of work surfaces.

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Figure 1.

Also two For the task lighting were installed For the task lighting.

In other words, these two researchers showed that light directed at the task from outside the mirror angle offending zone would produce sufficient quantities of glare-free illumination. A top view of preferred locations of task light sources shows in Figure 2.

Although Shellko and Williams did this work during the mid-1970s, and at that time there were two limited choicec, including, circular and U-shaped fluorescent lights, they were able to demonstrate fluorescent task lighting should not be in front of the desk worker.

Figure 2.

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THE WAY OF ARCHITECTURAL DESIGN

BY PETER ZUMTHOR Words by Gozde Tuncbilek

Therme Vals Thermal Bath (Ceriani,2009)

According to â&#x20AC;&#x153;Thinking Architectureâ&#x20AC;? by Zumthor (1998) Architectural design starts like an essay. For instance, a design process has its own introduction which is an idea and includes sketches and 2d renderings. The body paragraphs contain lights, functions, materiality, shapes, geometrical forms, and dimensions.

And, finally, the conclusion which has a concrete structure and final rendering. He defined the way he thinks and designs by his words and suddenly these similarities came into my mind and I created this diagram on my own.

IDEA Zumthor, (1998) argues that Geometry is all about the laws of lines. Starting with his imagination which is brought into his mind by work experience and education. But, some images come from his childhood. He describes a smell coming from behind the kitchen door handles and the corridor which darkens his grand village.

1-IDEA Purpose Sketches 2D rendering 2-Body of Architecture Geometrical forms and sections Functions Dimensions Materiality Lights Reflections Sounds 3-Final Form Concrete structure Final render and model

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Therme Vals Thermal Bath (Zumthor,1996) Imaginary observation and exploration which is the epitaph of our youth. Memories like these are based on architectural experience which started in childhood.

Zumthor(1998) directs to imagine yourself in the construction that you are going to build in the future, close your eyes and focus on how it makes you feel, how it smells, what about the sounds?

What is the temperature? Is it light or dark? Think in 3D and feel it! This is the only way to create operable designs and when ideas come up, write it down and draw it! While designing, personal feelings are significant so let them occur. Mostly architects hide their feelings in their works, paying special attention to speak in a more rational way.

They probably think logical transposition is a good idea. The design process is based on intent and the interaction of emotion and mind and therefore to a large degree is based on understanding an order establishing system. Every work we deal with it supposed to be based on passion and joy. If we want to be successful, we need to love the way, the process, not the result. This is the key to success.

First chapter describes an architectural drawing detail, the information describes it very carefully and thoughtfully. I enjoyed reading what we do through philosophical observations, perspectives, and terms. It is up to us, up to our imaginations, to reveal which type of house we will design. It could be a house without an entrance which is hidden within a mysterious purpose or a building which has got its own rhythm - it depends

on us. Architecture’s artistic task gives poetry which is an unexpected truth to the building, the building itself is never poetry. It may contain subtle qualities within its details.

BODY According to “Thermal Bath at Vals” ( Zumthor, 2006) Vibrant atmosphere - everything has its own specific place and form. Only an architect can make an object and ambience poetic and meaningful. Additionally, light and material can be used to mean something in a particular architectural context. He always says spiritual architecture is supposed to move people inside, move them, and influence them such as instruments affect music via harmonic and rhythmic elements.

Zumthor (2007) argues that architecture is not a vehicle or symbol for things it is a challenge counteract the waste of forms and meanings and to speak its own language. Every construction is built for justification in a specific place and society. Everything that we draw in our building is supposed to have meaning otherwise the design will become a machine with superfluous parts. You never see a superfluous piece in any machine, it may cause it to be faulty rendering it inoperable. (Zumthor, 1998) Structures are artificial constructions. To get the larger degree, the pairings should have quality which joint properly so basically the large degree of architecture is based on the quality of the pairings.The details distinguishing architecture from sculpture are functional and technical and symbolizes the fundamental mission. Always start thinking of your design or building as a building than keep ahead on details. Architects must contend with rational construction forms for edges and joints. Moreover materials, dimension, various function, and forms which contain numerous details. The thing that distinguishes architecture from sculpture is functionality. When you have placed even a simple new thing in some place the place is no longer the same. (Zumthor, 2006) Theory of architecture, as a form of thought, is based on the self-sufficient corporal wholeness of an architectural object as essential. Moreover, when you have placed even a simple new thing in some place the place no longer the same. If artistic process endeavour for whole, it will always be creative and similar with natural jects or atmosphere.

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DECIPHERE FORMS! Words by Gozde Tuncbilek

Designation is a factual complex, according to the purpose of a whole, buildings must be thought of as complexes whose specifics have been rightly identified and put into a factual relationship with each other - a genuine relationship. In addition, to create a genuine effect, ambience should be as natural as possible, (Zumthor, 1998) Artificial things create artificial acts, the truth lies within the things themselves.

Finally, the Conclusion, Zumthor (1998) argues that you need to ask yourself these questions below to complete the process; What do we feel is missing?

What is disturbing us in this design now?

Ask these questions to enhance and develop more.

Magic - the building supposes to be itself. Being a building, not representing anything - just

Therme Vals Thermal Bath (Ceriani,2009) not for saying anything; define every last detail and the entire magic of building is lost.

My personal criticism is it would be great if we could see images of works of art, buildings, and the special designed table he mentioned about.

Unfortunately, that being said, the book has got quite a bit absence of regarding imagery.

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ATMOSPHERE

BY PETER ZUMTHOR VIA MOST CRUCIAL PARTS Words by Gozde Tuncbilek

Bruder Klaus Field Chapel (Ludwig, 2007)

In this review (Zumthor, 2006) the expression of the book was reviewed... Atmosphere is the magic of real life. Reading the intelligent notion of his own mind from his own pen is an unbelievable experience... it is strongly recommended for individuals who desire to become more open-minded. He used a very sincere, humble, and friendly language in his expression and he demonstrated the identical sensitivity when mentioning other architects.

Goethe, Le Corbusier, and even his student which designed a unique table for him.

The atmosphere created in a building habitats an ambiance and therefore the architect can reflect any emotion that he wants to individuals inside the buildings, making them feel alive. The ambiance inside the construction may make people feel either dizzy or suffocate them in its gloom.

Briefly, the book is written in 9 chapters: titled Secret of Architecture

1-Body of Architecture 2-Material Compatibility 3-The Sound of a Space 4-The Temperature of a Space 5-Surrounding Objects 6-Between Composure and Seduction 7-Tension Between Interior and Exterior 8-Levels of Intimacy 9-The Light on Things •Architecture as Surroundings •Coherence •The Beautiful Form

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Peter Zumthor continuously asked himself, “What can this building contribute to me, how can I use these elements as my own? Can I replicate an atmosphere like that? The answer is yes you can! But sometimes, no you cannot... and the reason I can because there are good things and things that are not so good in the world…” (Zumthor.,2006, p. 19) The building which has got an atmosphere has also got sounds, don’t you hear it? “Process and interests and tools are all part and parcel of my work” (Peter Zumthor) Ambience is how we make people experience a congruent feeling in one atmosphere.

A musicologist creating sounds via instrumentals coupled with creativity lets loose a melody of expression. It’s impossible to ignore this vivacious accumulation of soulful delight! It can be said the same for architecture in which a building is created in the same atmosphere.

An other important question that we need to ask ourselves is: How we can make people in one atmosphere have the same feeling via instrumental sounds? (Zumthor.,1998) It depends on the music, for heavy metal: Dark colour concrete and creepy natural sounds from outside the building (such as winds or thunderstorms.) Whereas, for classical music, we may favor an open, airy, and natural atmosphere with free-flowing air, big windows, and a forest view.

According to the author, supreme secret of architecture, is collecting distinctive things in the world and combining them; he adds a sort of anatomy of body. However, for me an anatomy of ideas which is more abstract and difficult to calculate and manage - the thing that we cannot see exactly, but we can fee,l and make people feel via the atmosphere we created. One of the Important aspects of the book is this sight: material is endless and easy to create unique designs via material compatibility. We can change some material into different ones, such as utilizing marble or onyxstone drilling it, splitting it, and polishing it.

(Peter, 2006, pg.25) “Thousand time different possibilities in one material alone.”

CASTLE SAYS “GO AND MIND YOUR OWN BUSINESS”

The secret of a unique design is exploring and creating elements, deciphering the mystery under it on your own. You can create an ambience and change the atmosphere.

Regarding the author, it’s pretty hard to create a spatial with no sound in our noisy world. However, no noise is also a noise. Imagine this: thick concrete, too much isolation, a dark room, an artificial light, and one swinging armchair in the corner - maybe, it will be seen as a place of tranquility for a few hours but afterward it will become a prison - hearing nothingness.One other important point he mentioned is dealing with exterior and interior design. Every exterior design speaks itself to the environment, to the street or avenue - it tells a story. For instance, living inside the castle as a home, the castle says, “yes, there are a few amazing things inside, but you should go and mind your own business”, with its rude, strong, gloomy and serious facade. (Zumthor.,2006, p. 49)

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(Shutterstock, no date)

Its always about levels of intimacy, always supposed to be proximity and distance.

(Zumthor,1996) Secret of Exploring: Reaction of the light you create. Go and experiment with the element you are planning to use. See the real reflection first and then start to design.

Understanding light: he described light, something beyond all understanding, something big and powerful. Such as morning light’s ability to make you feel marvellous and fantastic when it comes up. Light is something that you can be grateful for. In addition, he says, (Zumthor, 2006, p. 61) “for an architect that light is a thousand times better than artificial light” (Zumthor,1996) Secret of Exploring: Reaction of the light you create. Go and experiment with the element you are planning to use. See the real reflection first and then start to design. Understanding light: he described light, something beyond all understanding, something big and powerful. Such as morning light’s ability to make you feel marvellous and fantastic when it comes up.

Light is something that you can be grateful for.

In addition, he says, (Zumthor, 2006, p.61) “for an architect that light is a thousand times better than artificial light” The transcendent level of architecture is attempting to conceive of architecture as a human environment. While designing a big or small building, it should be considered with its surroundings. A professional level of architecture requires decision- putting it on the spot and making the correct choice. The way his design begins from starting points, which is based on these this specific criteria and notions mentioned, and at the end of the day he steps back, looks at he work and surprisingly, tells himself, he could never have imagined this would be the outcome.

In conclusion, it is never about creating an amazing exterior design - if you want to do it there are numerous books on aesthetic. Its all about the atmosphere of form. The main question is (Zumthor, 2006, p.73) “how something has found its form?”

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NORA MOSQUE AND COMMUNITY CENTER

BY EMRE AROLAT

Nora Mosque Community Center (Arolat, 2018)

Words by Gozde Tuncbilek

Yilmaz detailly explains that (2018) Nora Mosque and Community Center has design by the Turkish firm, Emre Arolat Architecture (EAA,) in Ajman, United Arab Emirates (UAE).

The land is located within a 10,000 square meter block and situated just north of Dubai, near a massive high rise residence. Nevertheless, (Overstreet, 2018) “ it creates its own unique ambiance and spatial setting with a composition of shell-like platforms that spring from the earth.”

(Zumthor,2007) Its is so easy to see Peter Zumthors thermal bath effect in this design.

The mosque’s masterful exterior allows it to blend and assimilate into it’s natural surroundings. Both projects are innovative, contemporary, land-embedded, influenced by organic architecture, and most critically use linear daylight.

(Overstreet, 2018) This new avenue helps to

the environment while also connecting all functions located within the complex. The overall form of the design creates a variety of walk-able surfaces and platforms by seamlessly transitioning the walls into the roof and the roof into pedestrian paths. The sloped surface is also partially landscaped to provide a shaded area that leads up to a meditation terrace and features a northern view of the sea.

(Overstreet,2018) Emre Arolat Architecture’s genuine method for religious curriculum was preceded by the award-winning Sancaklar Mosque in Istanbul. This project is expected to incorporate the firm’s revolutionary designs, but this time, on a much larger scale in a entirely distinct context.

(Yilmaz,2018) The roofs which serve as pedestrian paths lead to a meditation terrace where people can also enjoy northern views of the sea. The shelllike forms impose on each other in a way to create huge slits through which the internal spaces can

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Nora Mosque Community Center (Arolat, 2018)

Therme Vals Thermal Bath (Ceriani,2009)

be lit. The effect of light and shadows is very apparent.(Mutuli, 2018) â&#x20AC;&#x153;It speaks to the use of daylight in not only illuminating spaces but defining them and building into a sense of calmness.â&#x20AC;?

(Hauser, 2007) Peter Zumthor defined exactly the way he thinks as an architect while designing, he also described how he explores a unique new design and starting point in his book. In this case it is so obvious that the Turkish architect, Emre Arolat, has gotten several inspirations from Zumthor.

However, according to Thinking Architecture by Peter Zumthor, (Bziotas, 2014) he clearly states that he had gotten some inspiration from Turkish baths and thermal springs while visiting Istanbul, Turkey.

In Conclusion, both buildings, architects, and cultures got some inspiration from each other. A common point found in their thought processes.

That being said, think of architecture as an artful design and architects as an artist.

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TRANSLUCENT BUILDING SKIN Words by Gozde Tuncbilek

BY MURRAY SCOTT VIA MOST CURICAL PARTS

Kunsthaus Bregenz (Scott,2013)

Scott, (2013) “Translucent Building Skin” the expression of the book was reviewed... The thing which makes a building special or spectacular is uniqueness. It may have been provided by materiality, innovation, a unique design of kit which is used as a clap, etc. It is supposed to be something that has never been tried before.

(Scott, 2013) The book examines the influence of translucency as describing a certain feature in architecture with analysis of two buildings.

The ultimate project compared with historical ones. Highlighting how architects in different eras have noticed the discriminating effects of translucency ; each of the projects offer a sample case study of innovations in materiality.

(Scott, 2013) Briefly, sunlight consists of three distinct categories of light such as visible light, ultra-violet light, and infrared light. Only visible light is perceptible to the human eyes.

In sunlight, 90 percent of direct radiation passes through normal flat window glass. Also, the glazing, which is in the exterior, is just for design which means a quite low amount of sunlight filters in because of the blue film or solar control coating just behind the window, in the curtain wall the light permeability is almost non-existent. The main justification, of why this type of curtain wall is on the exterior of the construction is for decoration, blocking the possible harmful effect of ultra-violet lights is a second concern to make people not feel like themselves in a closed area (psychologically) and to create open atmosphere.

Playing with the reflection without artificial lights and shadows is interesting. Le Corbusier famously depicted architecture as “ the masterly, correct, and magnificent play of masses brought together” Louis Kahn advocated that “ no space, architecturally is a space unless it has natural light”

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Kunsthaus Bregenz (Scott, 2013)

(Scott, 2013) Although all these buildings examined by Scott Murray have got several common points, the strongest common point of all these architectural projects lies with the lighting and translucency glass wall buildings as they become big shinning, building scaled, lanterns during the night time, the second strongest point is the purpose of using translucency for privacy. One positive point is I loved that every unique translucent material has got their own coherent drawing detail perspective.

A few important points for reaching the maximum amount of natural light when Pierre Chareau started to look for an element to make unlimited surface. The building which is used for medical and residential purposes has had some privacy and maximum natural lighting and therefore it has used translucency glass walls. He used a series of external floodlights to glow at night and attempted to create an unexpected illumination, which means during the night you will not to be

see any source enhances. After the creation, you will be able to see mystery provided by a translucency wall. He explored different materiality to create his own unique design. This is an admirable and exemplary principle which people seeking success as an architect should follow.

Secondly, every building’s translucency glass is unique which has been explored by the architects such as Nevada glass, channel glass, translucent glass lenses, acid-etched glass, thermalox glass fibres, Spandrel glass, cathedral glass, polycarbonate panel, hollow glass block, curved laminated glass, and Vermont Danby marble.

The author gives us every detail of these unique materials and usage and the ways of application the architect used for the buildings.

Another specific building detail that may also be found very interesting here is some sort of fixture has been used to clamp two glass plates for an entire building and ceiling too. It is such an innovative, clever, and unique design.

(Scott, 2013) A stainless- steel angle supporting glass panel. A double-skin enclosure which turns at night into a glowing box, by Peter Zumthor, in Kunsthaus Bregenz. This building in used as a contemporary art museum. It absorbs the sky’s changing lights, reflects luminary and hue, and gives a hint of its inner life regarding the angle of vision, the sunlight, and the weather.

While the author compares Museum of Modern Art Building (MoMA) and in Kunsthaus Bregenz, each building was examined separately. Another point that draws attention and needs to be highlighted while examining the MoMA building: it has used Terminology glass on the exterior part of the building and then it had been replaced with spandrel glass. After removal, the magical quality of light transmission has gone. Moreover, according to the visitors after this point there was no longer an indication of the translucent. Therefore, it returned back to its original façade, the Thermolux curtain wall.

(Scott, 2013) Steiff factory building: the primarily aim is this stunning intensive translucent building creating a spectacle affect or atmosphere and the main issue of this building’s privacy and/or publicity and reaching maximum daylight.

The products main intent has become a spectacle

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Laban Dance Center (Stephenson,2016)

or aesthetic expression of phenomena. It was extremely important to provide a flexible space and natural, abundant light for manufacturing.

The author is mentioning a unique material for each building which deeply and critically effects every property of the building. The technical information has been given inch by inch, material by material.

(Scott, 2013) One of the buildings which was examined in detail has used polycarbonate glass materials. The most effective reason for this selected material is that it is less expensive than glass. Herzog de Meuron has designed Laban Dance Centre, here the movement of dancers has been used as a exterior design via translucency building glass and interior artificial light. While they are dancing, the shadow movement of dancers had seen from outside during the night.

Innovation was created by contemporary materials such as glazing, translucent, polycarbonate, and onyx stone. Moreover, translucent elements are appropriate for both building skin, interior detail, and furniture design. It is crucial that modern groupings of architects and designers understand how to incorporate perspective of translucent into their buildings.

Innovation was created by contemporary materials such as glazing, translucent, polycarbonate, and onyx stone. Moreover, translucent elements are appropriate for both building skin, interior detail, and furniture design. It is crucial that modern groupings of architects and designers understand how to incorporate perspective of translucent into their buildings.

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Translucent Polycarbonate Building

by Behnisch Architekten

Karlsruhe Institute of Technology (Matthiessen, 2020) Words by Gozde Tuncbilek

(Scott, 2013) Translucent polycarbonate glass is literally an innovative material and very fashionable for 21th centuries. This glass makes a marvellous difference between buildings and even may change the era. It depends on how it is utilized, otherwise, it would surely be randomly designed.

(Astbury,2020) Translucent building skin is enveloped in the concrete and timber laboratory at the Karlsruhe Institute of Technology which is situated on the northern campus of the Karlsruhe Institute of Technology (KIT) by Behnisch Architekten, (John, 2020) , the lab dominates a site previously used for solar energy experiments. It is grooved in plastic cladding and a unique asymmetrical roof reverberates the industrial structures that enclose it.

Pintos (2020) Behnisch Architekten split the area into two, in order to combine an space for laboratory experimentation with more conventional

workspaces. Following the hall is a thin preparatory strip and office spaces. (Jon,2020) The individual office and laboratory parts are divided by what the studio describes as a glass vestibule.

The entrance corridor works in cooperation with the offices and overviews the test hall through a glass divider, permitting for views amongst the two. A design of a staircase and lift, which is made by a straightforward steel and wood, lead up to the second floor of office area. The second floor has a view from upstairs towards the hall and opens up onto a thin bridge leading opposite to a raised steel gallery. ”The hall and the saw-tooth roof are generously clad with polycarbonate plates, which allow a consistent amount of daylight to enter the entire test area,” said the studio. “Window openings set in specific places in the office facade enable a selective illumination of the interior spaces with their unobtrusive design.”

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Karlsruhe Institute of Technology (Matthiessen, 2020)Karlsruhe

(Astbury, 2020) At night, this cladding creates a lantern-like flame from the testing hall, brightened by the shadows cast by the timber frame and the steel walkway.

(Scott, 2013) Translucent building materials offer breath-taking effects during nighttime.

It may convert to a contraction of a big building scaled by a fascinating lantern and in the daylight everyone living inside can enjoy maximum day light, privacy, and comfort at the same time.

Laban Dance Center (Scott, 2013)

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CARDBOARD CATHEDRAL

Cardboard Cathedral (Anderson ,2013) Words by Gozde Tuncbilek

Shigeru Ban has designed the Cardboard Cathedral, formally called the Transitional Cathedral in Christ Church, New Zealand. Replacing the Christ Church Cathedral which was substantially damaged in the 2011 Christ Church earthquake (Wikipedia, 2014). Shigeru (2009) explains concern when “green design” is imposed strictly to be fashionable, but he is most interested in “using materials without wasting.” The most significant challenge, in this project, is using 96 cardboard tubes which are reinforced with laminated wood beams. According to Architectural Journal’s writer, Frearson (2014), the key scheme is Ban’s ‘emergency architecture’ which contains paper tubes, shipping containers, and a lightweight skin. The Guardian published this building as “Internationally it is the most recognized building in the country,” according to Andrew Barrie, professor of architecture at Auckland University.

According to Dezeen (Barrie, 2013) “These surround a coloured glass window made from tessellating triangles, decorated with images from the original cathedral’s rose window” After over thinking on glass manufacturing, communication with the Metro Performance Glass company was initiated. The initial design included coloured triangles until Metro Glass had demonstrated that they can utilize digital printed glass. The original rose-window pictures were used by printing directly onto the glass. According to Metro Glass, they are using advanced GlassJetTM technology for industrial direct onglass printing. Because its appropriate for almost every use with glass materials.

(Scott, 2013) Over the years the translucent building element has been used for several purposes. However, the most important point of this element is the ability to use maximum daylight effect and create privacy. Even if the entire

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Cardboard Cathedral (Anderson,2013)

building was enveloped or clad by translucent element it would have privacy; therefore it is available for residences or religious place such as cathedrals, mosques, and other places which may require the same effect.

In this project, we are able to see entire building facades clad in colourful stained glass to create a spiritual effect and privatize spaces.

(Peter,2007) When daylight filters in through the stained glass, it creates a supernatural, mystic, spiritual curtain wall portraying serenity for pray.

Cardboard Cathedral (Shigeru,2011)

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‘

To practice space is thus to repeat t experience of childhood; it is, in a and to move toward the other.

MICHEL DE CERTEAU

PLACES AND NON - PLACES

WORDS BY TEINANE WAREKUROMO I 2021

The French anthropologist, Marc Augé writes of the’non-place’ as a space which cannot be defined as relational or historical or concerned with identity. An anthropological space of transience where the human beings remain anonymous and do not hold enough significance to be regarded as a ‘place’, that is; relational, historical and concerned with identity and social interaction is not possible (Augé, 1995). The term nonplace assigns two complementary but different realities: spaces formed as a means to certain ends (transport, recreation, commerce) and the experience of individuals within these spaces. A connection that exists between disparate non-places is a perceived absence of cultural definition, a sort of shared public amnesia (Brogden, 2011).

Augé examines the fluidity of supermodernity in an experience such as traveling, from the drive to the airport, to arrival and boarding. Everything is designed to be hassle free and in a space where it belongs leading Augé to be of the notion that supermodernity creates non-places.

A similar school of thought is in Michel De Certeau’s post-structuralist theory of space which states that space is not simply the location of everyday life, it is the product. Thus, bodies do not exist in space, space is rather, the means by which bodies are and can be connected (Reynolds et al, 1999).

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the joyful and silent a place to be other

â&#x20AC;&#x2122; The author postulates that places and non-places exist together but can be exchanged within one another depending on the subject. He also expands on the subjective nature of non-places, as a space can be considered a space for some and at the same time considered a non-place for others on a short or long term basis. For example, a retail outlet would certainly feel different for the retail workers compared to the customers.

Studies have shown that various classifications of space as place and non-place can be also be attributed to age range, a survey carried out on a large number of adolescents showed that the mall is a place where teens do not meet by chance, nor with the sole purpose of purchasing goods and services, but to socialize and have fun. Whereas shopping malls are yet prejudicially regarded by adults as non-places as their sole purpose there is shopping (Lazzari, 2012).

FIGURE 1. OFFICE (PLACE) AND ESCALATOR (NON-PLACE).

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CHROMOPHOBIA WORDS BY TEINANE WAREKUROMO I 2021

In his essay Chromophobia, David Batchelor challenges the eschewance of colour by western culture in general, as it is perceived as secondary and superfluous, discerning the prejudice against colour as merely a mask of fear; fear of corruption by the unknown, hence the title, Chromophobia. According to his narrative (Batchelor, 2000) colour is either discriminated against as alien, meaning dangerous or secondary, meaning unworthy of consideration. Representation of translation into colour as a fall from grace or a descent into madness is a common theme in the arts and media, black and white or grey tones are commonly used to designate order and seriousness while colour is used to denote chaos and playfulness.

Similarly, Charles Blanc asserted that the only ways to avoid the metaphorical fall into colour were either to control it or abandon it completely. (Blanc, 1867).

David Batchelor analyzes Chromophobia from the perspective of traditional Western views on color and the development of these views. He notes that the traditional perception of color is as a foreign and chaotic element with perspectives likened to those traditionally towards the feminine, the primitive, the child like and the vulgar, reminiscent of the psychoanalytical theory of the Anima by Carl Jung, which is both a personal complex and an archetypal image of woman in the male psyche (Jung et al 1964).

An interesting notion about this topic is the rationale that the conscious mind has to revert back to a rudimentary state of thinking or reduced to its primitive form to experience and appreciate colour. In my opinion, colour is an element of reality perceived through vision which is vital in shaping reality, much like sound and light or darkness. One cannot fully experience reality and itâ&#x20AC;&#x2122;s gifts; arts, architecture , science without acknowledging colours and its various illustrious effects.

FIGURE 1. THE STARRY NIGHT BY VINCENT VAN GOGH.

Le Corbusier theorized that the psychology of each person is controlled by one or more dominant colours proving that colours play an extremely significant role above just filling a space (Jeanneret, 1930), he also went ahead to state that a painting is an association of purified, related and architectural elements which also inevitably contradict his writings on his voyage through the Balkans, in which he states that the overstimulation of colour is enough to drive him to abandon and actually actively avoid the use of colour, therefore associating it with the hard structure and architecture of his practice (Jeanneret, 1911).

FIGURE 2. CHARLES BLANC COLOUR THEORY.

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ARCHITECTURE AS PHILOSOPHY: PLATONIC THEORY IN ARCHITECTURE WORDS BY TEINANE WAREKUROMO I 2021

The Greek philosopher Plato proposed The Theory of Forms which asserts that the physical realm is only a shadow or image of the true reality of forms, experience is changing and unreal whereas it interacts with senses which he does not believe in, meanwhile ideal forms are unchanging and real (Rogers, 1935).

In architecture, the notion and technicality behind the construction of a building, its interactive design and living experience, the unchanging nature of aesthetic and the permanence of buildings is Platonic in nature.

The theory of form gives way for the theory of essentialism which is the view that every entity has a set of attributes that are necessary to its identity and function. Plato’s theory of essentialism is also thought to be responsible for uniformity in architectural design and a one-size-fits-all design philosophy (Henry, 2011). The universal sense of form attributed to the theory of essentialism is also believed to be the reason behind evolution’s insufferably late discovery (Mayr, 2002). Plato’s school of thought led him to consider all variations between humans as corrupted shadows projected by the pure human form.

As per Plato’s Theories of Form and Essentialism, a singular and perfect essence/definition of any form or idea must exist aspatially and permanently in order to gain universal suitability among its different representations. For example, wether drawn on paper or with the use of computers, we can easily recognize a circle when we see one, we do this with ease because we automatically interpret any alteration as a deviation from the true essence of a circle.

Diversity has constituted a major philosophical question for those on the exploration for objective truths both in design and in life as a whole. Plato’s philosophy of essentialism strived to bring objective truths to what he perceived as relative and subjective experiences.

FIGURE 1. DIAGRAMATIC REPRESENTATION OF PLATO’S THEORY OF FORM SHOWING THE IDEAL CHAIR AND A TRUE CHAIR.

By specifying the singular human essence, architects and designers can conceptually create spaces that the true self, represented by the corrupted shadow would find universally appealing and accessible, once this is achieved; our different spaces and environments would be equally appreciated by everyone at all times.

In conclusion, the possibility of an objective universally appealing design is a driving force for architecture and the nature of the true human essence is something every architect should strive to understand.

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‘

The skin is a variety of contingency: in it, through it, with it, the world and my body touch each other.

MICHEL SERRES

’

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THE SENSES AND THE SENSORIUM WORDS BY TEINANE WAREKUROMO I 2021

The French philosopher Michel Serres explores consciousness and human perception relating to the house through empirical evidence. (Serres, 1985).

He deciphers the experience of a house through the interaction of the five senses with its various layers and openings, philosophically postulating that the house acts as a sensorium, just as the five senses dwell blended in the body, so do the various elements of architecture as described by Gottfried Semper. Their overlap, complementary nature and interaction form their perception (Semper, 1989). Serres describes this study into the human consciousness as a cry out at the empire of signs. (Arbor, 1995).

Michel Serresâ&#x20AC;&#x2122; ideas of interior are elements often unassociated with architecture such as bedsheets on beds, clothes on skin and carpets on floorboards, a good example of their significance to perception within the house is the poetic quality of bedsheets contributing to the dreams of the individual sleeping on it. Serres further classified the house into skins with hard and soft materials, ranging from the body to the houseâ&#x20AC;&#x2122;s most exterior layer. These elements within each other make up a box that serve as an extension of our senses. Serres notion of the sensible exchanged bears similarities with Maurice Merleau-Ponty later concept of a universal flesh which explores the potential symbiosis between formerly separated subjects and objects, sentience and the sensible (Merleau-Ponty, 1968). The concept of the flesh is developed by Merleau-Ponty as a way of breaching the rift between the sentient body and the objective world.

In conclusion, breaking the concept of a house down into strata of boxes enveloped by the world around us, gives rise to a more in-depth understanding and deeper appreciation of architecture, not just as space but as living space.

FIGURE 1 & 2. VISUAL REPRESENTATION OF THE HOUSE AS A SENSORIUM..

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THE PRINCIPLE OF CLADDING WORDS BY TEINANE WAREKUROMO I 2021

Adolf Loos; twentieth century Austrian Architect who, often in an imposing and self-righteous manner, rationally discussed architectural styles and rules for constructing in architecture and interior, manufacturing of furniture and ornaments through the use of materials and clothing style (Loos, 1898). ‘The principle of Cladding’ examined the application of finished surfaces and principles surrounding them, one such principle is; The principle of cladding forbids the cladding material to imitate the coloration of the underlying material. Loos was of the rationale that form follows function and strictly in that order, therefore, if it is the Architect’s objective to provide warm, livable spaces, the function of the space is primary while the form is secondary. Here’s what he had to say about people who break his particular rules of Modernism:

‘But no, you imitators and surrogate architects, you are mistaken! The human soul is too lofty and sublime for you to be able to dupe it with your tactics and tricks. Of course, our pitiful bodies are in your power. They have only five senses at their disposal to distinguish real from counterfeit. And at that point where the (person) with his sense organs is no longer adequate begins your true domain. This is your realm. But even here – you are mistaken once more! Paint the best inlays high, high up in the wood ceiling and our poor eyes will have to take it on good faith perhaps. But the divine spirits will not be fooled by your tricks. They sensed that even those (wood carved) decorations more skillfully painted to look “like inlay” are nothing but oil paint.

That begins the long-discussed and unanswerable question: who are the divine spirits that will not be fooled?’

Loos also firmly believed that the evolution of humanity would cause ornament to disappear from functional objects, an evolution which would allow its ineluctable and logical path, rather than to enforce its systematic abolishment, Loos believed that it is only when the passage of time makes ornamentation disappear that it cannot be reborn (Loos, 1924).

FIGURE 1. ADOLF LOOS.

The dispute in architecture, between ornamentation and modernism, aligned with Adolf Loos’s personal struggle between his status as a member of Europe’s avant-garde and his desire to be accepted into noble society. Eventually, Loos was able to develop an architecture that defied many of the consequences that other architects were unable to avoid. Loos was not dogmatic when it came to his designs. Like all good architects, he had principles, however these principles allowed him to maneuver through the field with a different mindset than most modern architects. His principles did not produce a unified language per se, but instead prevented a formulaic approach. In short one might say that he invented a formula that did not allow a formula. This approach was very different from his contemporaries. Loos’s theories dictated all manner of concerns in one’s life, from manners, etiquette, dress, and art and of course architecture. Loos was opposed to “styles”, or even the notion of style (Andrews, 2004).

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ATMOSPHERES

WORDS BY TEINANE WAREKUROMO I 2021

Materials react with one another and the resultant effect is a radiance, so that the material composition gives rise to a unique circumstance. From the composition and presence of the materiality to the effect of light and the understanding of proportions, Swiss architect, Peter Zumthor describes his mindset as he sets about creating the atmosphere of his buildings through a process of self-observation (Zumthor, 2006).

Zumthor dissects the atmosphere of a house into nine comprising elements which are body of architecture; which refers to the material presence of an object as a body, covered by a layer, a membrane or a fabric creating the effect of a bodily mass. Material Compatibility; which is the nearly infinite possibilities which a material entails, itâ&#x20AC;&#x2122;s reaction with other materials, how it can be crafted, itâ&#x20AC;&#x2122;s weight and how it is used. The sound of a space; referring to the sound of the building in both a literal and metaphorical sense. Likening interiors to instruments, collecting and amplifying and transmitting sounds, sounds from conversations, footsteps, electronic devices.

The temperature of a space; the psychological reaction to the cold of steel or the warm radiation of wood. The surrounding objects; the components of the building within the building as it acts as a receptacle to house these objects. The tension between the interior and the exterior; referring to the sense of privacy compared to the sense of exposure, perspectives from inside looking out and perspectives from outside looking in. Levels of Intimacy; the contrast of the building to the body. Scale, size, proximity and distance, spaces that make you feel small and some that make you feel large and finally, the light on things; the manner in which objects reflect light and shadows are thrown to the corners when the light seeps in.

FIGURE 1. BROTHER KLAUS FIELD CHAPEL

In conclusion, I am of the opinion that atmosphere FIGURE 1. KOLUMBA ART MUSEUM OF THE COLOGNE ARCH within a house relies not only on the sensory organs DIOCESE but also on the imagination and the mind at large.

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‘

That means, for example, that wo any color except one—the color of ADOLF LOOS

NATURAL VS. IMITATED MATERIALS WORDS BY GEORGETTE WILTHEW | 2021

Currently, there is a controversy about whether it is positive or negative to use artificial materials.

Previously, our ancestors built with materials that were available in nature, mainly wood and stone (clearly they worked these materials in terms of cutting or manipulating them in some way, but there was no process beyond that), also, there was no decoration, since architecture functioned more as a refuge from the weather and wild animals. With the passage of time and the evolution of man and technology, these materials and many others such as steel have been processed in a certain way that makes them easier to work with. And after that, the imitation of these materials began.

In ‘The principle of cladding’, Adolf Loos expresses his ideology on how materials shouldn’t be imitated. He prefers functionality rather than aesthetics, and for that, the material may not be clad with an imitation of itself. For example, wall-

papers that imitate bricks, fabrics, cork, or other materials. Art has nothing to do with lying, paths should be pure. He gives an example of how underclothes should not be designed in the same color as skin and makes a comparison of how wood should not be painted in the same color as the wood. ‘We must work in such a way that a confusion of the material clad with its cladding is impossible. That means, for example, that wood may be painted any color except one—the color of wood’, (Loos, 2011, p.243).

I agree with his ideology since I think that materials should not be false, the experience and interaction that a person has with them, the texture, the smell, the color, the appearance, are very important aspects that make a space enriching. When there are imitated materials, all that is lost, and in a certain way the concept or the design, in general, generates a false environment. For me, a pure material will always be a better option when we talk about architecture and design, but what happens when the process of the material is controversial for the environment? Or if we speak for example for the fabric of an armchair, do we really need to use animal leather? As reported by Drieli Roveda (2019), ‘We also discover that in a recent report,

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ood may be painted f wood

’

FAUX

REAL FIGURE 1. FAUX LEATHER VS. LEATHER

Sustainable Apparel Materials by Massachusetts Institute of Technology, the annual global impact of animal leather is approximately 130 MT Co2e.

This is the same amount of damaging emissions as those from 30 million passenger vehicles each year’. This process and handling of animal skin in addition to exposing that it is negative for the environment also has a high impact on animal cruelty, for which I consider that faux leather has been an important creation for the use in furniture or other elements used in architectural and interior design. So I can conclude that in some cases, imitated materials aren’t a bad idea after all. I consider that it is best to always use the materials in their nature without imitations as long as they do not affect the surrounding environment.

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SEXUALIZED COLORS WORDS BY GEORGETTE WILTHEW | 2021

Do you ever think about why parents dress their babies in pink clothes if they are girls and blue if they are boys? For a long time, it has been thought that colors have gender, and it is evident how society follows these stereotypes, now less than before but it keeps happening. I have seen men laugh at another for wearing pink, but since when did this trial begin? According to Dolores Firpo (2019), ‘The convention changed after the First World War when red disappeared from military uniforms and, consequently, from men’s fashion. In the second war, pink began to be considered “feminine”: it was used to mark homosexual people in concentration camps’.

FIGURE 1. PINK TRIANGLE IN SUITS FOR HOMOSEXUALS IN CONCENTRATION CAMPS (Diego del Ojo)

So it could be said that since then, color has been used to identify people depending on their sexual preferences, even judging if those people are more feminine or masculine. It is also true that there is a constant struggle to leave these beliefs behind and take gender from color. For example, there is a prison in Switzerland that uses the color pink on the walls of some cells to calm the aggressiveness of its prisoners. As stated in Konica Minolta (2006), ‘Pink is a color for relaxation, according to psychologists. It is believed to help calm angry feelings and produce a calming effect on the nerves when exposed to this color for a period of time’.

And as they reported, the time it takes to lower the levels of aggression is 15 minutes, however, in this prison, they are left in that cell for a period of 2 hours.

Maybe the intention is to manipulate them through pink color because for them it could be embarrassing, but according to psychologist Daniela Spath, it works to get them less aggressive.

‘Color is made out to be the property of some “foreign” body - usually the feminine, the oriental, the primitive, the infantile, the vulgar, the queer or the pathological’. (Batchelor, 2000, p.227). Batchelor in his writing on chromophobia talks about the fear of using color, and if we relate it to this issue of the sexualization of color, there is an immense fear of using certain colors when designing a space. Returning to the theme of pink, in my old job (a hotel chain) they did not allow us to use this color for the design of hotels since the highest percentage of guests were men and this could affect the demand and the percentage of occupancy. I do not judge the strategy because, in the end, brands have to take care of the market and the sector it is aimed at, but why are male guests going to feel bad for being in a pink space? How long is this judgment on ‘feminine and masculine’ colors are going to remain?

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CHROMOPHOBIA An opinion on the beliefs of David Batchelor and LeCorbusier WORDS BY GEORGETTE WILTHEW | 2021

For a long time there has been a fear of the use of color either in art or architecture, but why?

Where does this fear come from? Why do many people prefer monochrome? ‘Since Aristotle’s time, the discrimination against colour has taken a number of forms, some technical, some moral, some racial, some sexual, some social’. (Batchelor, 2000, p.29). Since then, color has been marginalized, and there has been ideologist against it. There have also been many architects who have developed the use of colors in their works and thanks to that they have allowed a change for the ‘life of color’ within our daily context.

In ‘Chromophobia’, by David Batchelor, he expresses the problem of color in the last two centuries in western culture through philosophical ideologies. He shows the color as an object of fear and loathing and how this fear is connected to social structures. Color as a stereotype associated with the masculine and the feminine and its discrimination through forms, techniques, moral, racial, sexual, and social ways. Also, color has been related to drama, as if the use of color takes away it and in certain cases takes away meaning or purity from the artwork. ‘…when Hollywood discovered colour, it was deemed suitable mainly for fantasies, musicals and period pieces; drama remained a largely monochrome issue’. (Batchelor, 2000, p.31). It is true that drama sometimes comes better in black and white, I can’t imagine watching Psycho by Alfred Hitchcock in color, but still, there are so many ways to show drama with colors, such as the works of art by Edvard Munch.

Batchelor also relates this theme to some architects such as LeCorbusier, ‘Coming from the man who would later say that colour was “suited to simple races, peasants and savages”, it’s surprising to find that his first published writing is in fact an ecstatic, intoxicated, confusing, delirious, sensuous plunge into colour’.

Studying Le Corbusier is somewhat more complicated and confusing, since throughout his life as an architect, different opinions about color are reflected on his part. In its architecture, we can find designs with primary colors but also at a certain time he used only white to reflect the purity of its constructions. So, I cannot confirm with certainty at this point what the use of color meant for him as there is much debate on this topic even today. But I can say that in his last years of life he designed two collections of color scale one in 1931 and the other in 1959. So probably, with the passage of time, he leaned more towards the use of colors. A phrase of his that catches my attention is the following… ‘Colour in architecture – a means as powerful as the ground plan and section. Or better: polychromy, a component of the ground plan and the section itself’.

FIGURE 1. COLOR PALETTE OF 1931 BY LECORBUSIER (LesCouleurs)

FIGURE 2. COLOR PALETTE OF 1959 BY LECORBUSIER (LesCouleurs)

Taking the opinion of Batchelor and this design strategy of Le Corbusier through the color palette, I think that color is a very important element to consider in art and design, the effects and emotions that they can generate will depend on the appropriate use of themselves and that is why I think there is a lot of controversy between whether it should be used or not. But as Batchelor talks about it, If the color was not so important then why avoid it so forcibly? The drama of monochrome would not exist if the color weren’t so important.

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‘

Light and space are fundamental, due to the type of natural light and its consequences in spaces

’

RICARDO LEGORRETA

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LIGHT

Mexican architects WORDS BY GEORGETTE WILTHEW | 2021

The meaning of light in the Cambridge dictionary is ‘the brightness that comes from the sun, fire, etc., and from electrical devices that allow things to be seen’. A phrase of the successful architect Louis Kahn (although not Mexican) is, ‘I feel the light as the giver of all presences and the material as spent light. What is made by the light casts a shadow, and the shadow belongs to the light’.

For me light is a very important factor in our lives, it is a symbol of energy, intention, motivation. There is a big difference between waking up and seeing the sunlight through the window than just seeing the light of day (a cloudy day also has light), the energy with which we start the day depends a lot on this. Through evolution, man has created what we know as artificial light, which is what we have inside our houses or in the headlights on the streets and in many other places. The reason is that light allows us to see and perform certain activities even at night. This is why light (natural or artificial) plays a very important role in architecture and interior design.

The purity of light in architecture has permanence. Luis Barragán specialized in the use of natural light to accent certain spaces, always with a significant intention. He framed the openings of spaces through light, such as windows, achieving that the penetration of light generated a change in the colors of the same space. In fact, when he designed he did not think about color, he defined them once the construction was finished and visiting it at different times of the day. ‘I use color, but when I design, I don’t think about it. I commonly define it when space is built. So I visit the place constantly at different times of the day and I begin to “imagine color”, to imagine colors from the craziest and incredible’, (Luis Barragán).

I greatly admire architects who manage to generate unique spaces through light. In our time, a great effort is made to excessively decorate the spaces we inhabit without realizing that there are simpler and at the same time, more elegant details such as the game of lighting.

The first pioneer in Mexico to successfully manage and control this issue was Luis Barragán, who, in addition to inspiring many other architects in Mexico, inspired architects from all over the world.

FIGURE 1. THE ENTRY OF LIGHT AND PLAY OF COLORS IN GIRALDI HOUSE (Coddou)

Some of the Mexican architects who have been inspired by Luis Barragan’s work are Miguel de la Torre and Javier Sanchez, Javier Sordo Madaleno, Tatiana Bilbao, Alberto Kalach, and many others.

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This last architect is also recognized for his great use of light in his works. He uses light to generate atmospheres, to create environments, and narratives. For example, he designed a building in Monterrey, ‘The building of silence’. It is a building for relaxation and meditation in the middle of a wooded area. The first impression upon entering the building is a flash of light on a golden Venetian mosaic, this in a triple-height space that causes the lighting to be appreciated in a better way. Its walls have grooves that also allow the passage of natural light to cause different sensations depending on the time of day.

I find this work of art by the great Kalach fascinating as the design is superbly thought out in conjunction with the selected materials (which are all apparent and do not break with context).

Through these factors, a unique, pure, and elegant space is achieved. (FIGURE 2) Another architect worth mentioning is Frida Escobedo who, in addition to having a lot of work recognized in Mexico, was the first Mexican architect invited to develop the Serpentine Pavilion in London. ‘For the Serpentine Pavilion, we have added light, shadow, reflection, and refraction as materials, transforming the building into a clock that marks the passing of the day’ (Frida Escobedo). According to the magazine Codigo ‘Beyond being a play of light, Escobedo’s proposal also reflects on time: the exterior of the pavilion is positioned according to the structure of the gallery, while the interior is aligned with the Greenwich meridian; thus, the passage of light also reflects the passage of time, of the hours, of the changes that occur in the environment’. The pavilion is made of latticework that allows a play of light and shadow reflected in the water mirror inside and the other parts of the pavilion, this

being (the light) the main design element, also achieving a game in time. (FIGURE 3)

FIGURE 2. BUILDING OF SILENCE DESIGNED BY ALBERTO KALACH (Nowotka)

FIGURE 3. SERPENTINE PAVILION 2018 BY FRIDA ESCOBEDO (Gamo)

There are many ways to create environments through light and there are undoubtedly many Mexican architects who have achieved that the spaces they design are enriched and empowered through it.

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CONTEMPORARY EXHIBITIONS WORDS BY GEORGETTE WILTHEW | 2021

‘Architecture is one more component to produce relevant changes in society’ Michel Rojkind

Because technology has progressed over time, we have the opportunity to explore new ways of representing our ideas. We have a whole world to generate architecture and interior design through technology, either with light, sound, visual, movement, objects, among other things.

Indeed, architecture must be adapted to its temporality and therefore some exhibits are worth studying. While studying for a master’s degree in Interior design, our teacher Anastasia Karandinou presented us exhibits that used technology to display their art pieces. An example that struck me was the Russian Pavilion at the Venice Architecture Biennale 2012 as it consisted of having QR codes on the walls so that people could scan them on their cell phones and from their device they could see the different exhibited pieces. Space is a route created only with these codes and with light, which makes the exhibition more enriching and attractive. In this case, the architecture had to adapt to the new trends of using our cell phone or tablet all the time, making it a different experience to what we know even with the use of it and interacting with the device in a different, funny, and cultural way.

Another great exhibition with the use of technology was Dark Matters presented at Manchester’s Whitworth Art Gallery. The intention of it is that viewers have a language between shadows and darkness interacting with their body and their movements, this effect is achieved by sensory technology. According to Alice Vincent (2011), ‘The image above shows some of the work on display, which places the viewer in the frame to create mysterious and ethereal art’ (FIGURE 1).

Without being for or against technology, I can say that thanks to the advances in technology today, how man interacts with spaces is different and positive. The exhibitions are no longer just a journey in a space where the viewer was walking to see each piece and contemplating it, now also interacts with them.

FIGURE 1. DARK MATTERS EXHIBITION (Vincent)

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‘

My home is my refuge, an emotio tecture, not a cold piece of conven LUIS BARRAGAN

CLOSED SPACES IN 20202021 WORDS BY GEORGETTE WILTHEW | 2021

We are currently facing an abnormal situation in our daily life, confinement. It is a situation in which many of us have had a hard time assimilating since we were not prepared for it. Now the normality is to stay locked up at home and carry out all the activities within it (eat, work, exercise, take classes, take care of the children, play with the pets, among other things). For many, this can be a pleasant situation but for many others not, I consider that it depends a lot on the way of being of the person but also on the space where they live.

It is interesting to find, at least, in Central London, extremely small spaces to live. According to Jonh Henley in The Guardian news (2012), ‘…a 2007 Riba survey found the average floor space of a new dwelling in England and Wales was 76 sq m, against 81.5 sq m in Italy, 92 sq m in Japan and 115 sq m in Holland, all as densely populated. It’s because builders make more money that way – and, perhaps, because we are the only EU country not to have minimum-space standards for the homes we live in’. I understand that the sales strategy works better in this way, it is not

the same to sell or rent one large apartment than two small ones since due to the demand it is a better option to have the spaces divided into the largest number of fractions. In my opinion, this situation becomes inhumane at least from what I have seen and discussed with other people.

I recently moved to London and my first experience in this city (in terms of housing) was a room (because I can only call it that) with a kitchenette and a bathroom (without common areas or corridors that connect to other spaces), it was located in the basement of a building and the only window I had was facing the back of the building, the view was the window of the ‘rooms’ above.

The height was not much, around 2.40m and the space was very small. At first, it did not seem so serious since my stay would only be 20 days but as the days went by, I witnessed some anxiety due to how locked up I felt (it is worth mentioning that I had to pass the quarantine there for having arrived from another country due to Covid19). Being in that place began my concern about how people live that way, fortunately, I was only there for a short time, but what about families who live in very limited spaces? What happens now with the lockdown? How do they distribute the spaces in the house with their family?

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onal piece of archinience

’

Obviously, we are not going to be able to change the amount of space we have, but at least with a few changes, we can change the perception of space. The distribution of walls, the selection of finishes, the selection of the color palette, the location of the furniture, the type of furniture, the color of the same, the natural and artificial lighting of the space, the accessories such as curtains or pots, all these elements that can be simple, can make a significant change.

FIGURE 1. BEFORE (A ROOM IN A HOUSE)

Before our homes were our shelters from the acceleration of the cities and our daily acceleration of activities, now that shelter has changed its function since it is not only our space for rest and comfort but it has become our entire external environment of what it was our everyday life.

‘The house constructs an orthopedic sensorium around us, conversely, the sensorium constructs our little portable house, our fragile vessel, a soft membrane ready to burst open under the assault of the smallest thorn. The philosopher forgets the house he inhabits, but also this house of sensation, the last softening box’. (Serres, 2011, p.270). But what happens when that membrane loses its function?

I believe that as architects and designers now more than ever we have the responsibility to design based on this experience (the one we all lived in 2020 and continue to live in 2021), we have to become aware of spaces and how to transform them into something much more pleasant. Probably, the limitation in terms of m2 will not change but if we can make a room or space more rewarding for the person who inhabits it, we can prevent or avoid a lot of negative emotions. It is very important to consider several factors as priorities: The distribution, the lighting, the color, and the height.

FIGURE 2. AFTER (A ROOM IN A HOUSE)

In the photo ‘before’, you can feel a tight space and at the same time old due to the type of furniture which does not help. The arrangement of the furniture is another factor that hinders the space. On the other hand, in the picture ‘after’, you can see the great selection of color palette preserving the walls in white, which causes a feeling of spaciousness and the floor of a very subdued color that makes space feel more illuminated. Some furniture are also proposed in white which helps and as a complement they use gray for the sofa and a mat with contrasting colors which allows space not to look flat. It is also important to mention that having opened the wall to change the kitchen location helped the room feel more spacious, this was achieved with a slight change in the distribution of the spaces. In the end, this is something simple to achieve, but will everyone have the same awareness to develop it?

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Atmospheres Words by Yesim Yumrutas

“I think space, architectural space, is my thing. It’s not about facade, elevation, making image, making money.

My passion is creating space” Peter Zumthor Atmospheres is architectural poetry to Peter Zumthor’s personal inspiration. Phenomenology introduces the idea of how one’s environment affects the foundational character of lived experience. Space does not refer to a locality but consists of factors that come together to form the personality of the environment. Human value and participation are the basis of the rationality of design and construction. This book explores the conceptual and transcendental dimension of meaning in architecture. Zumthor explains how atmospheres are perceived and how different qualities must be taken into account to achieve this. As he continues to explain that architecture is not just an automated, indifferent process, the process of observation and appreciation is crucial, but something that in-volves emotional feeling and human understanding. It is an art

The Island of the dead (Böcklin,1880)

Model of the bar frame exterior model (Zumthor)

that attracts people’s attention and significant ly affects their mood, occupying all the senses.

Zumthor begins the conversation with the Magic of the Real, how people actually perceive things and process of individual observation and emotional reflection about people’s behaviour, interaction patterns, and relationships with other things. He describes how the task of creating an architectural atmosphere comes below to craft and graft. A lot of work and thought must be spent to create a harmonious quality to the building.

The Body of Architecture; that is, the anatomy of a building is very important in architecture. The exterior is a membrane, and when each component comes together, a body is formed.

The material existence of things in an architectural piece leads us to material compatibility - the ability to turn the idea into reality.

AR7043 / 2021 THEORY SUBMISSION “temperature in this sense is physical, but presumably psychological too. It’s in what I see, what I feel, what I touch, even with my feet.”

(Zumthor, 2006) The Temperature of a Space, he draws to the heat extraction character of each material which gives individual effect to space. By pulling an example of his Swiss building pavilion, he explains the role of wood as an insulating material, how the pavilion remains cool as a forest when it was hot outside, and when it was cool the pavilion was warmer than it was outside, although it was open to the air. Each building has its own unique way to adopt its environment, governed by its material composition and reactions.

Surrounding Objects is what creates a ‘sense of home’ adding personality and vigour to an area, as well as influencing movement involved in architecture. Zumthor describes all the tiny things people create around them while living in a place. It’s a future of space that happens without architects. The idea of things that have nothing to do with an architect taking their place in a building – it is a thought that gives insight into the future of the buildings: a future that happens without the builder.

Model of lead floor and water. Bruder Klaus Chapel (Zumthor)

The material existence of things in an architectural piece leads us to Material Compatibility the ability to turn the idea into reality. The capabilities of the materials with each other cause the space to apear in real appearance. Observing the reactions of materials and their limitless possibilities through different compositions allows a person to truly understand that they will best complement a space.

Between composure and seduction, he describes his perception of movements in architecture, describing is as a temporary art, like music defined by the movements of the people around it. How space can be shaped as self-drifting, discoverable, and defined by a mood that has less to do with directing people than seducing them.

And out of his, all work Thermal Bath, silhouettes in the best way.

Comfort and familiarity can create a space that defines the individual’s connection to the place, even if physically unfamiliar but psychological. It is stated that the factors affecting this are the Sound of the Space. Interiors are like large instruments, collecting sound, amplifying it, transmitting it elsewhere. The shape and material composition of a room affects this sound generation. A familiar voice relaxes those around them by allowing them to relate to memory.

Model of opening to the sky. Bruder Klaus Chapel (Zumthor)

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Thermal Baths Vals, Peter Zumthor (Vals Graubunden, 1996)

An ideal balance in the tension between interior and exterior is performed by constructing thresholds deceiving the eye. Zumthor explains the interior space as private space and exterior speaking to streets, square and other buildings around. Something that can be inside and outside, movement across, is an insignificant transition from being enclosed to clarity.

These relations, which take us to the level of intimacy, refer to the various aspects, dimensions, scale, masses and weights of objects. He explains how a building speaks of themself. Sometimes they stand too grand and sometimes too small or the same as you. How these spaces sparked different emotions within us - forgotten, exalted and liberated, intermediate, allowing us to feel both extremes.

The Light of Things, shadow, and surface quality incorporates itself into this idea of enhancing spacial quality. Zumthor describes this process as hollowing out the darkness from a mass, allowing light to seep in. Thinking about daylight and artificial light

he admits that daylight, the light on things, is so moving to him that he feels nearly a spiritual quality. When the sun comes up in the morning – which he always find so marvellous, absolutely fantastic the way it comes back every morning – and casts its light on things, it does not feel as if it quite belongs in this world. He does not understand light.

It gives him the feeling there is something beyond him, something beyond all understanding. And he is very glad, very grateful that there is such a thing.

Architecture integrates itself into people’s lives.

Becoming a part of one’s surroundings allows interactions to take place and memories to be created.

When buildings become consistent, “everything refers to everything else, and it is impossible to remove one thing without destroying the whole.”

From the early stages of construction and anatomy that his biology wants in the logical fashion, architecture turns into art that probably needs to move the person. It must be beautiful. Its speech, silence, anatomy, but mostly, its atmosphere.

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Chromophobia Words by Yesim Yumrutas

“Chromophobia is perhaps only chromophilia without the colour” David Batchelor Chromophobia has been known as a cultural phenomenon since the ancient Greek period, which is simply a fear of corruption or contamination through colour. David Batchelor is an artist and writer discuss with forms of resistance to chromophobia and analysing the work of a range of writers, philosophers and artists who have tried to vilify colour from western society. David Batchelor analyses the history and different motivations behind chromophobia from the examples of literature, architecture and films. Batchelor suggests how colour enters or fails into the cultural imagination of the western culture and discuss attempts to purge colour from art and literature.

When Batchelor was at art school, he was trying to remake a work that was going wrong, and he needs to do is emphasise the difference between the front and the back, so he painted the front of the sculpture pink.

Sculpture (David Batchelor, 2003)

Then suddenly he asked himself “where’s the colour?”. And he realised that none of the work he had made previously used any colour at all of any significance. When he talks about his work now, he describes this moment of making this little pink sculpture as if it was some sort of shaft of light. He began to read more widely about how colour was represented in art and art history. He pretty quickly began to notice that colour was often seen as being primitive or oriental. It was seen as being feminine rather than masculine, or infantile rather than a grown-up. So, colour has often been aligned with the female and line with the male. This traditional opposition of line and colour, masculine and feminise, has continued, it seems to him, in different formations but almost throughout Western art history. (Tate 2008)

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Andy Warhol was the great, colourists artist of modern cosmetics in the twentieth century. His innumerable Marilyns are homages to make-up, as are his Liz’s, his Self Portraits, his Disasters and his Flowers. It is as if each day colour was reconfigured and reapplied.

The Wizard of Oz (1939)

One film stands out from all the others: the extraordinary, wonderful The Wizard of Oz. Made in 1939, this

movie’s great set-piece is a spectacular descent into brilliant Technicolor. The film begins in grey, Kansas is grey, the farm is grey. Along comes, a grey tornado makes everything even greyer, and Dorothy and her little dog Toto get whisked up in the tornado, and then they fall from this greyness into a kind of hyper-chromatic Munchkin Land. So, she falls into colour. But then you realise of course by the end of the film that she does not just fall from the tornado into Munchkin Land, you learn, at the end of the film, that she falls into unconsciousness. Colour represents a kind of space not bound by rationality, not bound by good sense and logic and order. And then of course at the end of the film, she says: ‘There’s no place like home’. She has to leave colour and return to the greyness of Kansas. (Batchelor 2000)

Marilyn (Warhol, 1967)

He each portrait, the colours would be configured differently, the lips would be green or maybe pink, the face would be orange, or yellow or brown, and so colours are constantly mobile. In a way, he applies colour like people apply cosmetics, that would tend to identify colour as the feminine again, but at the same time, it could also be camp or queer. It fits within the world of drag queens, and clubs that we know Warhol was at least observing if not fully participating in. (Batchelor 2000)

Self-Portrait (Warhol, 1986)

The Wizard of Oz (1939)

Flower 72 (Warhol, 1970)

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Sixty Minute Spectrum on the Hayward Gallery

David Batchelor’s Sixty Minute Spectrum Redux (2018) is an extension of the 2017 commission, Sixty Minute Spectrum, that transforms the newly restored Hayward Gallery roof into a chromatic clock. This striking commission, at Southbank Centre, highlights the rooftops and balconies of Queen Elizabeth Hall, Hayward Gallery and Royal Festival Hall, all now open after a long period of restoration. (Ingleby, 2018) Sixty Minute Spectrum is part of Batchelor’s ongoing exploration of the intense, synthetic colour that characterises modern cities, and the ways in which we respond to colour in our advanced technological age.

In more depth, Sixty Minute Spectrum on top of the Hayward is that the Hayward itself is a rather dark, monochromatic, grey-to-dark brown building. Over the course of an hour, the colours would change very gradually through the visible spectrum. So, on the hour it would be red and gradually go through orange, yellow, green, blue, purple and back to red. In essence, it is exactly like looking at a minute hand on a clock.

Sixty Minute Spectrum on the Hayward Gallery

Colour is uncontainable. It effortlessly reveals the limits of language and evades our best attempts to impose a rational order on it... To work with colour is to become acutely aware of the insufficiency of language and theory – which is both disturbing and pleasurable.

(David Batchelor)

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Breaking with Tradition Words by Yesim Yumrutas

“Wood may be painted any colour except one -the colour of wood”.

Adolf Loos The Principle of Cladding by Adolf Loos published in 1897 at Neue Freie Presse, Viennese Newspaper. Adolf Loos wrote to the newspaper about architectural styles, constructing rules, and fabricating furniture and interior arts using a different type of materials and clothing style.

Against the architectural scene of imitation in Vienna the true meaning of cladding was forgotten in the last century. Adolf Loos created the law of cladding which insisted that the cladding material should only to be intended to be itself in material and not to imitate what lies behind to get better looking reality.

ners without realizing effect such as reverence if a church or warmth and cosiness if a house.

He developed his essay on logic with pure materials by analysing the application of finished surfaces. Loos argued that chosen materials to perform functionally rather than artistically also provide finished results in good aesthetics. His modernism way of thinking led him to create aesthetic by choosing to specific materials such as enamelled tile in bathrooms.

Adolf Loos created a very precise law from the principle of cladding. The rule of Loos which he call the law of cladding set up: The principle of cladding forbids the cladding material to imitate the coloration of the underlying material. He concluded that for example underclothes can be any colour other than that of the colour of skin. His law of cladding states that for instance wood may be painted any colour except one – the colour of the wood.

Loos mentions there are architects creates not rooms but walls then they clad the internal walls with the material that seems most appropriate. However, the true architect must first of all gets a feeling for the effect he wants to create. The architect must sense the space he intends to create for purpose in his mind other than just creating walls and cor-

He stressed that the general task of the architect is the creation of swarm and liveable pace.

However interior furniture must lay in harmony which is architects another task to create correct frame for correct place for interiors. Loos added this is the correct way the idea of architecture developed in the minds of mankind in the beginning of cladding. Loos mentioned cladding progressed even before the structure itself such as to provide protection against harsh weather.

Principle of cladding forbids the cladding material to imitate the coloration of the underlying material. Loos state for example iron can be painted with oil colours or galvanized but it can never be covered with any metallic or bronze colour.

Similarly, any material used to cover walls such

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Le Corbusier apartment (Philipp Mohr Design Studio 2019)

as wallpaper, fabric or tapestries should not reflect building materials like squares of brick or stone. Adolf Loos does not reject finishing treatment to material but actually he does rejects is dishonesty. He follow logical clarity in term of design as he added “no pigment should be added to imitate the material underneath.”

Adolf Loos was a true radical with love for simplicity and desire for freedom. After breaking with tradition, he redefined the timelessness of architecture and paved the way for architects like Le Corbusier with the elegant, refined Modernism of the 20th century.

Loos’ colour sensibility is very different and for very specific reasons. Loos uses colour like a decorator. He splashes it all over. It covers surfaces, delineates volumes and saturates space. Loos’ colour is all enveloping and immersive. It uses high contrast but not to draw attention to specific objects but to more clearly create differences in mood and intensity of experience.

For instance, Villa Muller’s kids playroom is a riot of colours; blue and yellow furniture sits on a terracotta-coloured floor with red lacquered radiators. Not insignificantly this room looks like what it is: a nursery.

There are many differences between Corbusier and Loos when they think of colour in the houses they select.

Le Corbusier uses colour in a painterly way. In other words, the same way that he uses it in his paintings.

It identifies objects and planes and highlights the differences between them for example, a grey column in front of a red wall. Basically, it looks like a modernist sensibility, a desire for clarity of communication and a definition of the elements: ceilings are ceilings, walls are walls. The duo will never come together, or at least as long as there is a shadow gap between them.

Loos Villa Muller’s kids’ playroom (Pilsen)

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Loos Interiors (Pilsen) Another great example, Adolf’s’ apartment in Leo Brummel contains perhaps his most unusual colour scheme. The ceiling and the upper part of the walls are painted bright yellow.

The skirtings and cupboards are vermillion red while the architraves and lower sections of the wall are matt black. And the carpet is pea green. Colour here not only creates mood and ambience but is also deeply involved in the creation of boundaries: the boundaries between spaces and moods, people and things, men and women. Loos’ interiors are nothing if not symbolically charged.

In The Principle of Cladding, Loos manages to make painting a surface an issue of honesty and ethics. But his honesty is of a complex kind. A faithfulness to effect is as important as faithfulness to materials or to structural logic. Paint, thick glossy paint, is for Loos a material, a kind of cladding.

“The house has to please everyone, contrary to the work of art which does not. The work is a private matter for the artist.

The house is not.”

Adolf Loos

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Stained Glass Is Having a Very Important Moment Words by Yesim Yumrutas

“There is a world that can be seen only through stained glass. It is like no other.”

Brian Clarke Many people think that the idea of stained glass sounds old fashioned, complicated and extravagant. Until we started to see the coloured material utilized in a very modern way, in regular homes.

Although the process of producing stained glass has remained virtually unchanged for centuries, the possibilities for its appearance and application are constantly evolving.

Through experimentation with these possibilities and our fresh approach to its design, Lightworks continue to create exciting, vibrant and inspirational contemporary works in stained glass.

Brian Clarke is widely recognized as the most significant artist working in stained glass in the contemporary world.

Clarke is a British architectural artist, painter, and printmaker known for his large-scale stained glass and mosaic projects, abstract and symbolist canvases, and collaboration with key figures of Modern and contemporary architecture. He is one of those very rare artists who understand architecture’s spatial world -the core issues of space and light Clarke not only paints but designs spectacular stained glass mostly large semi-abstract canvases. When we see his stained glass, there is a sense of joy, which raised and carried into a different atmosphere. Despite this feeling, his

work can also be brought to nervous, anxious feelings. Therefore, this is an art as a process in which human emotion is forever taken in the material. Furthermore, Clarke’s stained glass truly achieves to show us what his art is really about, and a significantly broader idea of spirituality what stained glass is about. It is about the abstractness of coloured light, and what that does to people when they look at it.

Stained glass has undoubtedly provided our civilization with the greatest works of art from the times of the pharaohs, Mesopotamia and Greece. This art certainly exists in European Gothic architecture and also in Modernism.

Charles Rennie Mackintosh and various of the greatest artists have dealt broadly with stained glass. It encouraged them to advance their primitive worldview. Many of the greatest artists such as Mondrian, Matisse, Albers, De Kooning, Le Corbusier, Richter were heavily involved stained glass with their most famous works. As a matter of fact, that stained glass is generally misunderstood and fundamentally classified as a specific description of religious art. Stained glass was always art in cathedrals and churches, but it was elsewhere as well. His works great example to prove that this art can be used in many places. Clarke has chosen to work in public spaces, shopping malls and churches, mosques and synagogues, airports, and private homes and cor-

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porate headquarters. He believes passionatelythat light, shining through large sheets of coloured glass, has the power to change people’s lives.

Perhaps this commitment to touching people directly and changing the architectural and urban spaces they move through has alienated a critical consensus that would have art provoke conceptual questions, rather than create accessible moments of transcendence. Stained glass is a truly universal medium. Stained glass can be seen anywhere, but it does retain this, for majority people, this feeling of more profound spirituality. Clarke puts a lot of architectural knowledge into the context of his pieces, applying a very creative and likeable interaction with the environment that performs the work fluently and continuously changing.

Working with respected architects such as Zaha Hadid, I.M Pei, Renzo Piano and Norman Foster, Clarke’s work is closely linked to architecture.

Beautiful stained glass created by Clarke decorates both the interior and exterior of numerous buildings and skyscrapers worldwide. His installations

can be found in some of the most outstanding examples of contemporary architecture in the world.

Palace of Peace and Reconciliation in Kazakhstan designed by Foster and Partners, with a stained glass apex and windows by architectural artist Brian Clarke. The Pyramid of Peace and Accord incorporated a stained glass ramp that climbed to its peak paired with a series of diamond-shaped stained glass windows at ground level, as the only transparent element of the grey granite building. The stained glass apex is visible at night as a landmark and beacon from across Nur-Sultan.

“I like to see my art go up walls, across ceilings, down staircases, across floors, I like it in frames, I like to see it as tapestries, mosaic-stained glass, tiles, ceramics. I do not care what the medium is. I like to combine them to create an entire environment.”

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The Shard (with Renzo Piano) London Bridge 2012 Preliminary painted studies, models and visualisations for an unexecuted stained glass and bronze sculpture, a planned public artwork at the base of The Shard in London in collaboration with Renzo Piano.

In 2009, when Zaha Hadid saw a set of personal drawings for stained glass in Brian’s sketchbook, she designed a sofa for the space in his home he’d conceived them for, with room for the two to sit facing each other in conversation, taking its shape from the shape of the room – its lacquered blue finish reflects the window and the coloured light that passes through it – and he made this stained glass ‘for’ her. Fragments of 19th century stained glass from bombedout churches in Lancashire and Bavaria are set into the completed window. The watercolour, pencil and collage design has 17 panels; the final executed window is an 8-panel polyptych.

In 1996, Brian Clarke and Sir Norman Foster collaborated on a proposal for a series of bus stops with JCDecaux. Externally designed by Foster + Partners, each would feature a stained glass ceiling by Clarke related to the stop’s location, paired with an etched entry on the area from Nikolaus Pevsner’s ‘The Buildings of England’. In 1999, two were executed, one at Notting Hill Gate and the other on Kensington High Street: the world’s first combined bus shelter and toilet with disabled access. Each site-specific stained Bermuda Triangle (with Zara Hadid) glass artwork provides a coloured canopy that casts Peel Cottage, London 2009 – 2010 shifting light across the street and shelter.

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Green Architecture Words by Yesim Yumrutas

“The best thing about this material is that nobody needs to touch the tropical forests anymore”

Bamboo In the world, the concept of “green architecture” has never been talked about so much as it is now. “Green architecture” or “sustainable architecture” is used to refer to the construction of buildings and the use of environmentally friendly and effective methods. It is noteworthy that sustainable interior design always considers key factors, such as material selection and energy use to ensure a micro-climate of the environment. The danger from the devastation of the environment is becoming more and more seriously, greatly affecting the life of every species on earth. Sustainable, environmentally friendly use of materials is an important goal of many interior design and construction companies.

The architecture and interior design industries have recently moved to learn more and more towards sustainable and eco-friendly materials.

Even though technically bamboo is a kind of grass, it is a solid, durable and highly flexible material. Initially, it was a popular flooring material and next started being used as a building material as well. Today, there are many cool ways to use bamboo, both in architecture and interior design and decor. Its beautiful aesthetic is an excellent plus, often a selling point that convinces many to adopt the eco-friendly route.

Bamboo is quite versatile and can adapt to any weather conditions. Changes in temperature, humidity, soil and climates does not affect its growth. The rate of growth of bamboo is so high that it does not require any usage of fertilisers or pesticides. That plant itself is anti-fungal, anti-bacterial and anti-pest and hence it does not require any other form of pest control.

AR7043 / 2021 THEORY SUBMISSION Bamboo wood is way much stronger and hence durable and any other type of wood available in the market as flooring material. It is affordable and easy to install, maintain and clean.

Crushed bamboo can be converted into panels that can replace plywood or wood composites in the manufacturing of earthquake and water-resistant wall panelling or in building furniture with an appealing tropical look. Bamboo is also used in interior decoration as well as for an indoor garden.

As a textile, bamboo is created from the pulp of bamboo grass. These natural fibres are then mechanically combed out and spun into yarn. As a result, you have a fabric with a very soft feel similar to linen.

Nowadays bamboo is being addressed as a building material that can contribute to sustainable development. It is uniquely qualified because of its environmental, social and economic benefits. The use of bamboo as building materials has occurred in a long period. Most of the traditional houses in Indonesia and Asia use bamboo as building materials, both as structural and non-structural materials.

Bamboo as a sustainable construction material arises from the fact that bamboo, when harvested in a sustainable manner, can have a more positive impact on the environment than other building materials. Sustainable harvesting can be achieved by maintaining a regular population of current live stems by cutting selectively the 20% of mature stems since they will be replaced annually by an equivalent emergence of young shoots (Minae 1989).

“I think bamboo and laminated bamboo will replace other materials and become the ‘green steel’ of the 21st century, I hope many architects realise the potential of the material and build with bamboo more and more.”

(Nghia, 2014)

Wind and Water Bar (Vo Trong Nghia 2014) Vo Trong Nghia has proven that sustainability is stylish. The Vietnamese architect has completed several bamboo projects, including restaurants, cafés, a community hall and Vietnam’s national pavilion.

The pavilion’s design was inspired by lotus ponds, with thick clusters of bamboo columns that appear to sprout from a shallow body of water. The bamboo elements were prefabricated, allowing them to be easily assembled, disassembled and recycled.

Green School Bali

Above sustainable bamboo buildings is, not only its architecture but its entire concept. The Green Village school in Bali was built to educate younger generations on sustainability, providing them with a natural learning environment and teaching them a holistic and purposed lifestyle that is combined with taking care of our planet.

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The Innhouse Eco Hotel (Law, C) Bamboo is the primary material for the Innhouse Eco Hotel in Kunming. Law says that, with a steel frame a laminated bamboo structure could rise as high as nine storeys. (Law 2016)

“This is the first time in more than a hundred years that we’ve found a new way to build with an entirely sustainable material. We can’t stop” (Law 2016)

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Can Freight Container Houses Overcome Homelessness?

Words by Yesim Yumrutas

â&#x20AC;&#x153;Small rooms or dwellings discipline the mind, large ones weaken it. -Leonardo Da Vinciâ&#x20AC;?

Shipping Countainer Houses In recent years, tiny houses made from shipping containers have become getting popular. From throughout the globe, shipping containers have been celebrated as a cheap and effortless way to provide prefabricated affordable housing.

Due to a shortage of social housing and the excessive cost of private renting, more families in the UK are facing homelessness.

very environmentally friendly alternative. Transforming a shipping container to house is often much cheaper than building a traditional home.

On the other hand, there are some disadvantages in living a container. For instance, the fundamental problem of width, which is they are just too narrow, uncomfortable to live as they are constructed from stainless steel, temperature and

People want to have home which they feel like permanent resident. Freight containers have been used to house homeless people all over the UK. So, it is thought containers will have to overcome the thought of being stopgap, make do dwellings if they are ever to become a popular solution to the housing crisis.

The one of the benefits of shipping container housing as It is very quick to build. The container house building is much faster than traditional construction methods. Easy to transport as they are a standard size, shipping containers are incredibly easy to move. They are manufactured initially to last sustained periods at sea. As a result, they are naturally made strong and durable. Eco-friendly, instead of relying on new materials to build a home, the freight containers are repurposed and used again. Such homes are, in a way, a kind of recycling and a

Loha Design (Los Angeles)

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humidity levels inside the container are a concern to health and safety. However, these problems seem relatively easy to overcome, for example, by adding adequate climate control and insulation. As we can recognize converted shipping containers and ‘container living’ could be precisely what the many countries need to resolve the housing crisis – at least temporarily – and put a roof over the head of those who are homeless.

Despite overcome homelessness architects have criticised converting shipping containers into accommodation for the homeless after a report revealed the trend was gaining popularity among councils.

people in container. It is unwise to take something that might do the job it was designed for well and adapt it to do another badly. Using repurposed containers as a site office, garden summer house, emergency shelters, great; but for permanent housing, no.

The lack of affordable housing is just one factor contributing to the global housing crisis. This is an extremely complex issue with no quick fix solution.

In many countries, the problem is one of attitude – too much emphasis is put on home ownership, and far too many of them treat properties as a tradeable asset rather than a fundamental requirement.

Building more affordable homes will not solve the global housing crisis overnight. But the situation’s getting critical, and desperate times call for a creative approach to problem-solving. There are many millions of unused containers in the world, and many millions of people who need homes urgently.

Tallest Shipping Container Building (Patalab 2019) .

Earlier this year, London and Berlin-based architects Patalab Architecture company won approval for a nine-storey office building in Whitechapel which it claims will be, on completion, the tallest building in the world made from shipping containers. However, shipping container houses have sparked more debate with fears about whether the units meet minimum space standards and have proper daylight and insulation.

While Chris Medland of One-World Design, said while understands why some architects are looking at shipping containers and seeing their reuse potential, ‘houses are not suitable places where you can store

Digital Trends (Coomes 2019)

“Durable, plentiful, and affordable, cargo containers have taken the architecture world by storm, metamorphosing into much more than simple metal boxes.”

(Waldek, 2015)

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PRINCEPLES OF CLADDING words by: Dalal Abdullah Loos, A 2011, The principle of cladding, D Simon (ed.), Princeton Architectural Press, New York.

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CHROMOPHOBIA words by: Dalal Abdullah Batchelor, D 2000, Chromophobia, Reaktion Books, London.

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DESIGN ACTIVISM words by: Dalal Abdullah Fuad-Luke, A 2009, ‘Contemporary expressions: Design activism, 2000 onwards’, Design Activism: Beautiful Strangeness for a Sustainable World. Routledge.

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INTERIOR ENVELOPE AND SENSORY EXPERIENCE: BOXES words by: Dalal Abdullah Gosling, S. D., Gifford, R. and Mccunn, L. (2013) “The Selection, Creation, and Perception of Interior Spaces: An Environmental Psychology Approach,” The Handbook of Interior Architecture and Design. doi: 10.5040/9781474294096.ch-020.

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MARAYA: THE IMMERSION INTO THE SURROUNDING words by: Dalal Abdullah Azzarello, N. (2019) maraya concert hall appears as a giant mirrored mirage in the desert, designboom. Available at: https://www.designboom.com/architecture/maraya-concert-hall-mirrored-saudi-arabia-winter-at-tantora-02-26-2019/ (Accessed: January 9, 2021).

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SEVEN SENSES words by: Dalal Abdullah Benoudjit, M. A., Derix, C. and Coates, P. (2012) Human perception and space classification : The Perceptive Network: Semantic Scholar, Semantic Scholar. CECA, School of Architecture &amp; Visual Arts, University of East London. Available at: https://www.semanticscholar.org/paper/Human-perception-and-space-classification-%3A-The-Benoudjit/a756c4579247047ffc9f14890497ee9ce9409c55 (Accessed: January 10, 2021).

Holl, S., Pallasmaa, J. and Pérez-Gómez Alberto (1994) Questions of perception Phenomenology of architecture. Tokyo, Tokyo: A+U, Architecture and Urbanism.

Verschaffel, B. (2017) “The interior as architectural principle,” Palgrave Communications, 3(1). doi: 10.1057/palcomms.2017.38.

Pallasmaa, J., 2012. The Eyes Of The Skin. 3rd ed. Hoboken: Wiley, p.62.

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DO WE STILL SUPPORT INTERPRETATION ? words by: Omnia Al-Temnah Sontag, S., 1991. Against Interpretation : And Other Essays. Knopf.

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THE EMERGENCE OF POP ART

words by: Omnia Al-Temnah

The Editors of Encyclopaedia Britannica,(2020),’pop Art’. Available at : https://www.britannica.com/ art/Pop-art (Accessed: 07 January 2021).

Biography.com Editors, (2014), Andy Warhol Biography. Available at : https://www.biography.com/ artist/andy-warhol . (Accessed: 07 January 2021).

DESIGN FOR THE REAL WORLD words by: Omnia Al-Temnah Fineder, M & Geisler, T 2010, ‘Design criticism and critical design in the writings of Viktor Papanek (1923-1998)’, Journal of Design History, 23 (1), 99-106.

Papanek, V 1985, Design for the real world: Human ecology and social change 2nd revised ed. Edition, Academy Chicago, Chicago, III. Thesociableweaver.com.au. 2021. 10 Star Home – The Sociable Weaver. [online] Available at: <https://thesociableweaver.com.au/houses/10-star-home/> [Accessed 10 January 2021].

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THE FIVE SENSES: BOXES

words by: Omnia Al-Temnah

Serres, M., 2009. The Five Senses. London: Continuum.

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NON PLACES: SUPERMODERNITY words by: Omnia Al-Temnah Marc. A. 1992. Non-Places: An Introduction to Anthropology of Supermodernity. Le Seuil: Verso.

Augé, M., 2021. Marc Augé | Planeta De Libros. [online] PlanetadeLibros. Available at: <https://www. planetadelibros.com/autor/marc auge/000020156> [Accessed 10 January 2021].

MODERN ARCHITECTURE words by: Omnia Al-Temnah Loos, A., Whiteside, S. and Masheck, J., n.d. Ornament and Crime.

Loos, A. 2011, The Principle of Cladding, D Simon(ed), New York: Princeton Architectural Press.

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Light effects in architrcture words by: SICLANIA BARROSO McAuliffe, M. 2015. The Perception of Light. Australia. lulu.com.

Bahamón, A. and Álvarez, A., 2010. Light Color Sound. New York: W.W. Norton & Co. Millet, M., 1997. LIGHT REVEALING ARCHITECTURE. New York: Wiley.

Frearson, A., 2021. Peter Zumthor’s Therme Vals Spa Photographed By Fernando Guerra. [online] Dezeen. Available at: <https://www.dezeen.com/2016/09/25/peter-zumthor-therme-vals-spa-bathsphotography-fernando-guerra/> [Accessed 11 January 2021].

Luis Barragan successful designs words by: SICLANIA BARROSO D&P Architecture. 2021. Inspiring Architect: Luis Barragán - D&P Architecture. [online] Available at: <http://d8p.archi/inspiring-luis-barragan/> [Accessed 7 January 2021].

Alfaro, A., Garza Usabiaga, D. and Palomar, J., 2011. Luis Barragan. Mexico City: RM. Buendía Júlbez, J., Palomar, J., Barragán, L. and Eguiarte, G., 1997. The Life And Work Of Luis Barragán. New York: Rizzoli.

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The Perception of Color in Architecture words by: SICLANIA BARROSO Pinterest. 2021. Cool/Warm Color Wheel | Color Theory, Color Wheel, Warm And Cool Colors. [online] Available at: <https://www.pinterest.co.uk/pin/301389400035977432/> [Accessed 11 January 2021].

Dezeen. 2021. Martin Dulanto Installs Orange Staircase Inside Peruvian House. [online] Available at: <https://www.dezeen.com/2016/06/12/martin-dulanto-vibrant-orange-staircase-house-residential-architecture-lima-peru-casa-blanca/> [Accessed 11 January 2021].

Porter, T, Mikellides, B. 1976. Colour for Architecture. UK. Studio Vista Gerhard Meerwein, Rodeck, B., Mahnke, F.H., Bruce, L., Gaskins, M.D. and Cohen, P. (2007). Color : communication in architectural space. Basel ; Boston: Birkhauser Verlag.

David Batchelor’s chromophobia words by: SICLANIA BARROSO Batchelor, D. (2013). Chromophobia. London, England: Reaktion.

Goodreads.com. (2011). Chromophobia. [online] Available at: https://www.goodreads.com/book/ show/351621.Chromophobia [Accessed 26 Mar. 2019].

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Interior design and sustainability words by: SICLANIA BARROSO Fuad-Luke, A., 2013. Design Activism. Taylor & Francis: Earthscan Hitti, N., 2021. Eight Design Brands Leading The Way In Sustainability. [online] Dezeen. Available at: <https://www.dezeen.com/2019/06/04/sustainable-design-brands/> [Accessed 10 January 2021 home.tarkett.co.uk. (n.d.). F looring specialist for the home in the UK - Tarkett. [online] Available at: https://home.tarkett.co.uk/ en_GB/ [Accessed 11 Jan. 2021].

Winchip, S.M. (2011). Sustainable Design : for interior environments. Fairchild Books.

Hosey, L. (2012). The shape of green : aesthetics, ecology, and design. Washington, Dc: Island Press.

Women in architecture words by: SICLANIA BARROSO Rendell, J., Penner, B. and Borden, I. (2000). Gender space architecture : an interdisciplinary introduction. London ; New York: E & Fn Spon.

Leaf, C. (2019). Zaha Hadid : architect. Minneapolis, Mn: Bellwether Media, Inc. Etherington, R. (2012). Galaxy Soho by Zaha Hadid Architects. [online] Dezeen. Available at: https:// www.dezeen.com/2012/10/29/galaxy-soho-by-zaha-hadid-architects/.

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DIVING IN THE SENSE OF A TOUCH. Words BY Cherine Chawa-2021 Adolf Loos A. (2011) The Principle of Cladding. New York: Princeton Architectural Press.

Adolf Loos Architecture 1903-1932 Photographs by Roberto Schezen, Introduction by Kenneth Frampton, Building Descriptions by Joseph Rosa https://www.monacellipress.com/book/adolf-loos/ Restored Adolf Loos- designed interiors,(2005) http://insideinside.org/project/villa-muller/ Villa Müller,1930 Photos by Martin Polak POSTED ON JANUARY 11, 2017 Available at :https://www.1stdibs.com/blogs/the-study/adolf-loos-villa-muller/ Michel Serres, M. (2016) The Five Senses, Bloomsbury Publishing.

Article What the Voice Said by Sarah Tripp,(2017) Available at: https://www.ghat-art.org.uk/

Chromophobia is perhaps only Chromophilia Words BY Cherine Chawa-2021 without the colour. .

Batchelor, D. (2011) Chromophobia. New York: Princeton Architectural Press.

David Batchelor exihition Parapillar 7 (Multicolour), 2006 https://www.saatchigallery.com/ David Batchelor Magic Hour 2004/07 Available at :https://artsandculture.google.com/ Reef, 2016 (Installation shot at Handel Street Projects, London) © David Batchelor.DACS/Artimage 2019.

Available at : https://www.artimage.org.uk/

Can a place be ever meaningless?

Words BY Cherine Chawa-2021

Article by Peter Merriman First Published October 1, 2004 Research Article Available at https://doi.org/10.1177/0263276404046065 Marc Augé, Non-places. Introduction to an Anthropology of Supermodernity, New York-London, Verso,1995, pp77-96 (ed. or. Non-Lieux, Introduction à une anthropologie de Ia surmodernité, Paris, Seuil, 1992) Available at :https://people.unica.it/ Non places, 19th of June, 2017 Available at :https:// Gradoceroprensa.wordpress.com/.

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In Praise of Shadows By JUNICHIRO TANIZAKI

Words BY Cherine Chawa-2021

In praise of shadow (Leete’s island books 1977) Dialectics and desiderata (wordpress.com) Rikumo Book Club (2018),Available at : https://journal.rikumo.com/ Article: grassonthewayside published on October 29, 2017. https://dialecticsanddesiderata.wordpress.com/

Conversations with Students

by Louis Kahn.

Words BY Cherine Chawa-2021

Louis Kahn, (1953) Looking into his tetrahedral ceiling in the Yale university Art gallery,.Avalable at: Archdaily https://www.archdaily.com/83110/ad-classics-yale-university-art-gallery-louis-kahn Louis Kahn at the auditorium of the Kimbell Art Museum, 1972. Kimbell Art Museum, Avalable at: Archdaily https://www.archdaily.com/123761/ad-classics-kimbell-art-museum-louis-kahn Louis I. Kahn | National Assembly of Bangladesh,1961-82 Dhaka.

Avalable at: Archdaily https://www.archdaily.com/83071/ad-classics-national-assembly-building-of-bangladesh-louis-kahn

Light: Ephemeral or Eternal?

Words BY Cherine Chawa-2021

Tanizaki, J. (1977) In Praise of Shadows Schielke, T. (2018) When Sunlight Meets Tadao Ando’s Concrete. Available at https://www.archdaily.com/915270/when-sunlight-meets-tadao-andos-concrete Kahn, L. (2011) Louis I. Kahn: Conversations with Students. 2nd edn.

Published on Sep 19, 2011 Available online at: https://issuu.com/papress/docs/louiskahn_conversations_screen

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The principle of cladding words by: MOHAMMAD FARAHANI The principle of cladding , Adolf Loos,

Adolf Loos (Vienna: 1930), p. 17 , https://www.pinterest.co.uk/pin/496873771388408710/

Ornament

words by: MOHAMMAD FARAHANI

Oleg Grabar, the mediation of ornament ,(Princeton:pnnceton university press,1992,)p193.

Charles Jenks,post and late modern : the essential definition, Chicago review vol35 no4,1987 pp3158, P45 in particular

Atmosphere

words by: MOHAMMAD FARAHANI

Peter Zumthor, from G.E kidder smith , architecture in America, American heritage publishing co . Inc newyork 1976 Sammlung hans Baumgarrtner , Forostiftung Schweiz ,Winterthur ,VG Bild-kunst

Chromophobia

words by: MOHAMMAD FARAHANI

Charles Blanc, quoted in Charles A, Rilly || ,color codes(honver and London,1995) Aristole,quoted in Jacqueline,Lichtenstein,the Eloquence of color : Rhetoric and painting in the French Classical Age, Trans E.Mcvarish(Berkeley,1993),p.59 Salman Rushdie,the Wizard of OZ (London 1992) p.16 Le Corbusier , the decorative art of today, on Essential Le Corbusier,

Five senses words by: MOHAMMAD FARAHANI Michel Serres,Five senses A philosophy of mingled body ,2008,146-48 ,

Non places

words by: MOHAMMAD FARAHANI

Non places, Mark Auge, Dezeen magazine ,https://www.dezeen.com/2020/05/22/christophe-gernigon-plex-eat-coronavirus-face-shielddining-design/ https://www.dezeen.com/2020/12/14/stefano-boeri-vaccination-pavilion-italy-coronavirus/

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LE CORBUSIER

words by: GRADINAR MARIA

Frampton, K. (1985) Modern architecture: a critical history, London: Thames and Hudson Ariza, H. (2013). Le Corbusier + Pierre Jeanneret |Stuttgart, Germany [1927], Available at: https://architecturalvisits.com/en/weissenhof-le-corbusier/ (Accessed 07 January 2021) Arkaraprasertkul, N. (2008). Le Corbusier, Maison Dom-Ino 1914, Source: Le Corbusier Foundation, Paris, Available at: https://www.researchgate.net/publication/232939554_Toward_Modernist_Urban_Design_ Louis_Kahn%27s_Plan_for_Central_Philadelphia/figures?lo=1 (Accessed 07 January 2021) Bugaric, B. (2020). Ville Contemporaine,Paris,Le Corbusier Available at: http://architectuul.com/architecture/ville-contemporaine (Accessed 06 January 2021) Pinterest, (1920) First version of Maison Citrohan (Concept) - Le Corbusier Available at: https://ro.pinterest.com/pin/305963368413341668/ (Accessed 07 January 2021)

FROM MODERNISM TO POSTMODERNISM SOCIAL DIMENSION

words by: MARIA GRADINAR

Fuad-Luke, A. (2009) Design Activism: Beautiful Strangeness For A Sustainable World , London, UK : Earthscan Ariza, H. (2013). Le Corbusier + Pierre Jeanneret |Stuttgart, Germany [1927], Available at: https://architecturalvisits.com/en/weissenhof-le-corbusier/ (Accessed 07 January 2021) Fuad-Luke, A. (2009). Furniture for the ‘People’s Apartment’, Bauhaus Touring Exhibition 1929 Available at: Design Activism: Beautiful Strangeness For A Sustainable World (Accessed 07 January

FROM PLACES TO NON-PLACES

words by: MARIA GRADINAR

Auge, M. (1992) Non-Places : An Introduction to Anthropology of Supermodernity, London: Verso Legget, B. (2012). Departures: The Novel, the Non-Place and the Airport Available at: https://www.alluvium-journal.org/2012/09/01/departures-the-novel-the-non-place-and-theairport/(Accessed 07 January 2021)

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ANALYSING DIFFERENT VIEWPOINTS AND words by: MARTYNA LAPINSKA PERSPECTIVES Loos A. (2011) The Principle of Cladding. New York: Princeton Architectural Press.

Serres, M. (2016) The Five Senses, Bloomsbury Publishing.

HOW TO DESIGN QUALITY ARCHITECTURE? words by: MARTYNA LAPINSKA Zumthor, P. (2006) Atmospheres: architectural environments - surrounding objects. Switzerland, Basel: Birkhauser Verlag.

Zumthor, P. (2006) Bruder Klaus Field Chapel. Switzerland, Basel: Birkhauser Verlag.

Zumthor, P. (2006) Café at a students’ hostel. Switzerland, Basel: Birkhauser Verlag.

Zumthor, P. (2006) Palazzo Trissino-Baston. Switzerland, Basel: Birkhauser Verlag.

Zumthor, P. (2006) Thermal Baths Vals. Switzerland, Basel: Birkhauser Verlag.

Zumthor, P. (2006) Toni Molkerei. Switzerland, Basel: Birkhauser Verlag.

FEAR OF COLOUR words by: MARTYNA LAPINSKA Alter, A. (2013) Drunk Tank Pink. London: Oneworld Publications, pp.1-3.

Batchelor, D. (2011) Chromophobia. New York: Princeton Architectural Press.

HOW DID THE HISTORICAL DEPICTION INFLUENCE MODERN PERCEPTION OF COLOUR PINK? words by: MARTYNA LAPINSKA Adams, A. (2010) The Power Of Pink: Children’s Bedrooms And Gender Identity. Available at: https:// www.researchgate.net/publication/304130346_The_Power_of_Pink_Children%27s_Bedrooms_ and_Gender_Identity) (Accessed: 6 January 2021).

Alter, A. (2013) Drunk Tank Pink. London: Oneworld Publications, pp.1-3.

AR7043 / 2021 THEORY SUBMISSION Birren, F. (1978) Color & Human Response. New York: Van Nostrand Reinhold Company.

Birren, F. (2016) Color Psychology And Color Therapy: A Factual Study Of The Influence Of Color On Human Life. Pickle Partners Publishing.

JC de Marcos (2020) Minimal Fantasy holiday apartment. Available at https://www.dezeen. com/2020/09/30/minimal-fantasy-apartment-patricia-bustos-studio-pink-interiors (Accessed: 6 January 2021).

CreatAR (2018) Wutopia’s Lab pink and blue houses. Available at https://www.dezeen. com/2018/03/23/wutopia-lab-pink-blue-houses-masculine-feminine-shenzhen-china (Accessed: 6 January 2021).

HOW IS COLOUR USED IN INTERIORS TODAY? words by: MARTYNA LAPINSKA Angelo Kaunat (2009) Kindergarten Sighartstein. Available at: https://www.dezeen. com/2009/06/10/kindergarten-sighartstein-by-kadawittfeldarchitektur/ (Accessed: 6 January 2021).

Arttteeezy (2019) Annaikiki store. Available at: https://www.dezeen.com/2019/07/25/annakiki-store-red-steel-interiors-joy-season/ (Accessed: 6 January 2021).

Birren, F. (1978) Color & Human Response. New York: Van Nostrand Reinhold Company.

Howarth, D. (2016) Dezeen’s 10 most popular interiors ever. Available at: https://www.dezeen. com/2016/03/02/dezeen-10-most-popular-interiors-ever-instagram/ (Accessed: 6 January 2021).

Masao Nishikawa (2012) Starbucks Coffee. Available at: https://www.dezeen.com/2012/02/23/starbucks-coffee-at-dazaifu-tenman-gu-by-kengo-kuma-and-associates/ (Accessed: 6 January 2021).

Pedro Pegenaute and Xia Zhi (2016) The Garage. Available at: https://www.dezeen. com/2016/11/24/the-garage-neri-hu-missile-factory-conversion-car-repair-workshop-offices-cafe-beijing-china/ (Accessed: 6 January 2021).

Tian Fang Fang (2019) JHW store. Available at: https://www.dezeen.com/2019/07/07/ jhw-store-grey-interiors-china-atelier-tao-c/ (Accessed: 6 January 2021).

Toshiyuki Yano (2015) Slice of the City house. Available at https://www.dezeen.com/2015/10/16/ alphaville-slice-of-the-city-house-japan-trio-staircases/ (Accessed: 6 January 2021).

Zooey Braun (2011) Winerwald restaurant. Available at: https://www.dezeen.com/2011/01/11/wienerwald-restaurant-by-ippolito-fleitz-group/ (Accessed: 10 January 2021).

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SUSTAINABLE DESIGN words by: MARTYNA LAPINSKA

Dezeen (2020) BMI Group produces roofing solutions for more sustainable buildings. Available at: https://www.dezeen.com/2020/12/09/bmi-group-sustainable-roofing/ (Accessed: 6 January 2021).

Dezeen (2020) Green roof solutions. Available at: https://www.dezeen.com/2020/12/09/ bmi-group-sustainable-roofing/ (Accessed 6 January 2021).

Dezeen (2020) Interface creates carpet tile backing using carbon-negative materials. Available at: https://www.dezeen.com/2020/11/10/interface-creates-carpet-tile-backing-using-carbon-negative-materials/ (Accessed: 6 January 2021).

Dezeen (2020) Solar tiles. Available at: https://www.dezeen.com/2020/12/09/bmi-group-sustainable-roofing/ (Accessed 6 January 2021).

Frearson, A. (2014) Jean Nouvelâ&#x20AC;&#x2122;s Sydney towers boast vertical gardens and a huge sunlight reflector. Available at: https://www.dezeen.com/2014/10/10/one-central-park-sydney-jean-nouvel-vertical-gardens/ (Accessed: 6 January 2021).

Frearson, A. (2014) One Central Park. Available at: https://www.dezeen.com/2014/10/10/one-central-park-sydney-jean-nouvel-vertical-gardens/ (Accessed: 6 January 2021).

Fuad-Luke, A. (2013) Design Activism. Routledge.

Sassi, P. (2006) Strategies for sustainable architecture. Taylor & Francis.

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Breaking the rules: pretentiousness and design words by: Sonia Medina Batchelor, D., Le Corbusier, Adolf, L. & Serres, M., 2011. Toward a New Interior An anthology of Interior Design Theory. 1 ed. New York(New York): Princeton Architectural Press.

45tilt. Image © Hey! Cheese, I., n.d. Photograph. s.l.:Dezeen.

IMMERSIVE SPACE SERIES: ARCHES / Tom Harris, I., n.d. Photograph. s.l.:Dezeen.

Design activism for refugees words by: Sonia Medina Fuad-Luke, A., 2009. Design Activism : beautiful strangeness for a sustainable world. s.l.:Earthscan.

Walker, G. & Haroun, T., 2019. Safety but No Stability in the “Backyard of Tel Aviv”. [Online] Available at: https://static1.squarespace.com/static/599720dc59cc68c3683049bc/t/5da720359691 04796c364e46/1571233848598/RIT+Report+Tel+Aviv+Israel.pdf [Accessed 2 1 2021].

Cogley, B., 2019. Colourful booths enliven Hayarden school for children of refugees in Tel Aviv. [Online] Available at: https://www.dezeen.com/2019/02/11/hayarden-school-for-children-of-refugees-telaviv/ [Accessed 1 2021].

Benit, I., n.d. Photograph. s.l.:Dezeen.

Overcrowding: Cities and the pandemic words by: Sonia Medina Picon, A., 2013. Ornament: The Politics of Architecture and Subjectivity. West Sussex: John Wiley & Sons Ltd. Holst, A., 2021. statista. [Online] Available at: https://www.statista.com/statistics/1107269/average-number-connected-devices-uk-house/ [Accessed 05 01 2021].

O’Sullivan, F., 2016. In London, Renters Now Outnumber Homeowners. [Online] Available at: https://www.bloomberg.com/news/articles/2016-02-25/in-london-renters-now-outnumber-homeowners [Accessed 5 1 2021].

Life in Lockdown, Rider, Leicester, UK, I., n.d. Photograph. s.l.: Christie Rider

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Edible Flowers: Case study NOUS restaurant & flowers words by: Sonia Medina Loos, A., 1898. The Principle of Cladding. s.l.:Princeton Architectural Press.

Karandinou, A., 2020. MA Interior AR7043 Week 2 Theory 1, Seminars. London, University of East London.

ArchDaily, 2018. NOUS Restaurant&Flowers / 0321 STUDIO. [Online] Available at: https://www.archdaily.com/892754/nous-restaurant-and-flowers-0321-studio [Accessed 1 2021].

Batchelor, D., 2000. Chromophobia. London: Reaktion Books Ltd. Meat mountain, curated HAN Shuang, I., n.d. Photograph. s.l.:Arch Daily.

Wine making as a design concept words by: Sonia Medina Batchelor, D., 2000. Chromophobia. London: Reaktion Books Ltd. Karandinou, A., 2020. MA Interior AR7043 Week 2 Theory 1, Seminars. London, University of East London.

Levy, N., Serra, I. & Carlet, S., 2018. Barcelona’s Orvay bar takes design cues from winemaking. [Online] Available at: https://www.dezeen.com/2018/11/26/barcelona-orvay-bar-isern-serra-winemaking/ [Accessed 12 2020].

Lopez, S., I., n.d. Photograph. s.l.:Dezeen.

Sensuality of Color words by: Sonia Medina Batchelor, D., 2000. Chromophobia. London: Reaktion Books.

Chaudhri, S. &. N. J., 2009. History of cosmetics. Asian Journal of Pharmaceutics, Volume 3.

Brokke, K., 2020. What it’s like to live in Amsterdam’s red-light district. [Online] Available at: https://edition.cnn.com/travel/article/living-in-red-light-district-amsterdam-netherlands/index.html [Accessed 1 2021].

Ilvy Njiokiktjien,S., I., n.d. Photograph. s.l.: The New York Times.

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David Batchelorâ&#x20AC;&#x2122;s large-scale works words by: ATEFEH SARGAZI Batchelor, D. (2000), Chromophobia, United States: Princeton Architectural Press Ground Impressions, 2018, A city made of color, URL: https://groundimpressions.home.blog/2018/08/30/a-city-made-of-colour-spectrum-of-brick-lane-22007-by-david-batchelor/

Ingleby Gallery, URL: https://www.inglebygallery.com/artists/28-david-batchelor/overview/ Saatchi Gallery, URL: https://www.saatchigallery.com/artist/david_batchelor

Ornamentation words by: ATEFEH SARGAZI Boyer, E. No Date, Adolf Loos, URL: https://www.famous-architects.org/adolf-loos/ Desjardins, V. Unite d' Habitation, URL: https://www.archdaily.com/85971/ad-classics-unite-dhabitation-le-corbusier Kaleivaani, (2017), What Ornamentation Has to Offer in the New Era of Architecture, URL: https://kfynm.wordpress.com/2017/08/01/ornamentation-and-austerity/ Poppy, B. (2010), Le Corbusier and Ornament, URL: http://poppybevan.com/author/poppy/ Homer (1997) The Iliad. Translated by J. Davies. Introduction and notes by D. Wright. London: Dover Publications.

Simak, S. Vienna's Looshaus, also known as the Goldman and Salatsch Building by Adolf Loos. URL: https://www.thoughtco.com/scandal-in-vienna-the-looshaus-177737 The Editors of Encyclopaedia Britannica, No Date, Adolf Loos, URL: https://www.britannica.com/biography/Adolf-Loos

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Recycled plastic material

words by: ATEFEH SARGAZI

Block, I. (2020), Ace & Tate uses colorful terrazzo made from local plastic waste throughout Antwerp store, URL: https://www.dezeen.com/2020/03/11/antwerp-ace-tate-plasticiet/ Flotsam, (2017), URL: https://brodieneill.com/flotsam/ Frearson, A. (2017), Brodie Neill showcases his "ocean terrazzo", URL: https://www.dezeen.com/2017/09/16/drop-in-the-ocean-brodie-neill-ocean-plastic-london-designfestival-2017/ Hislop, V. (2014) The sunrise. Available at http://www.amazon.co.uk/kindlestore (Downloaded: 17 June 2015).

Gibson, E. (2017), Dutch Design Week pavilion will feature recycled plastic shingles and borrowed materials, URL: https://www.dezeen.com/2017/09/28/dutch-design-week-ddw-peoples-pavilionbureau-sla-overtreders-w/ Vingtsix Visualisations. (2017), Pavilion rendering, URL: https://www.dezeen.com/2017/09/28/dutch-design-week-ddw-peoples-pavilion-bureau-slaovertreders-w/ Wiedemuth, L. (2020), Photography, URL: https://www.dezeen.com/2020/03/11/antwerp-ace-tateplasticiet/

Atmosphere

words by: ATEFEH SARGAZI

Zumthor, P. (1996), Atmospheres: Architectural Environments Surrounding Objects

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Cork words by: ATEFEH SARGAZI Codd, L. (2018), Photography, URL: https://www.dezeen.com/2018/12/20/studio-bark-cork-studiorecyclable-building-sustainable-architecture/ Crook, L. (2019) Recyclable house is built from cork blocks, URL: https://www.dezeen.com/2019/07/29/cork-house-matthew-barnett-howland-sustainablearchitecture/ Crook, L. (2018) Studio Bark builds "fully biodegradable and recyclable" cork building, URL: https://www.dezeen.com/2018/12/20/studio-bark-cork-studio-recyclable-building-sustainablearchitecture/ Saatchi Gallery, URL: https://www.saatchigallery.com/artist/david_batchelor Fuller, A. (2019) Recyclable house is built from cork blocks, URL: http://www.allanfuller.co.uk/blog/recyclable-house-is-built-from-cork-blocks

Howland, M, Milne, D and Wilton, O. (2019), Photography, URL: https://www.dezeen.com/2019/07/29/cork-house-matthew-barnett-howland-sustainablearchitecture/ The Cork Studio, Studio Bark (2018) Buildings can be made of solid cork, URL: https://studiobark.co.uk/buildings-can-be-made-of-solid-cork-we-built-this-to-prove-it/

Task Lighting for the Work Surface words by: ATEFEH SARGAZI

Grosslight, J. (I 984), Light: Effective use of daylight and electric lighting in residential and commercial spaces, Tallahassee, FL : Durwood Publishers pp. 54-170 Shellko, P. L., & Williams, H. G. (1976), The integration of task and ambient lighting in office furniture. Lighting Design &Application.

Walter J. Moran, (1990), Task Lighting for the Work Surface: The Problem of Reflected Glare, Journal of Interior Design, Volume 16 , Issue 1.

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THE WAY OF ARCHITECTURAL DESIGN words by: GOZDE TUNCBILEK Zumthor, P. (1998) Thinking Architecture, 2nd edn, Germany, Baden.

Zumthor, P. (2006), Atmospheres Architectural Environments - Surrounding Objects, 1st edn, Berlin, Basel-Boston.

Hauser, S. (2007) Zumthor,P. essays Therme Vals. pp. 1-174.

Bziotas, E. (2014) Therme Baths at Vals, Switzerland, Peter Zumthor, pp. 1-17.

Ceriani, A, (2009) Therme Vals Thermal Bath. Archdaily. Available at: https://www.archdaily. com/13358/the-therme-vals (Accessed: 10 Jan 2021).

Zumthor, P, (1996) Therme Vals Thermal Bath. Pinterest. Available at: https://tr.pinterest.com/ pin/115967759129321722/ (Accessed: 10 Jan 2021).

ATMOSPHERE words by: GOZDE TUNCBILEK Zumthor, P. (1998) Thinking Architecture, 2nd edn, Germany, Baden.

Zumthor, P. (2006), Atmospheres - Architectural Environments - Surrounding Objects, Basel-Boston-Berlin Zumthor, P. (1996) Thermal Bath at Vals, 2nd edn. London. Architectural Association Publications Ludwig, S, Mayer, T. (2020) Bruder Klaus Field Chapel. Archdaily. Available at: https://www.archdaily. com/106352/bruder-klaus-field-chapel-peter-zumthor (Accessed: 10 Jan 2021).

Shutterstock (2020) Castle Image Available at: https://www.shutterstock.com/tr/search/castle (Accessed: 10 Jan 2021).

BEHNISCH ARCHITEKTEN words by: GOZDE TUNCBILEK Astbury, J. (2020), Behnisch Architekten clads energy laboratory in translucent polycarbonate Available at: https://www.dezeen.com/2020/03/19/behnisch-architekten-energy-lab-karlsruhe-institute-of-technology-germany/ (Accessed: 06 January 2021).

Pintos, P. (2020), Behnisch Architekten clads energy laboratory in translucent polycarbonate Available at: https://www.archdaily.com/944337/kit-energy-lab-behnisch-architekten (Accessed: 06 January 2021).

Murray, S.. (2013) Translucent Building Skin. Maidenhead: Taylor and Francis Group Matthiessen,D. (2020) Behnisch Architekten clads energy laboratory in translucent polycarbonate.

Dezeen. Available at:https://www.dezeen.com/2020/03/19/behnisch-architekten-energy-lab-karlsruhe-institute-of-technology-germany/ (Accessed: 10 Jan 2021).

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NORA MOSQUE AND COMMUNITY CENTER words by: GOZDE TUNCBILEK Mutuli, I. (2018) Emre Arolat Architecture Unveil The Nora Mosque And Community Centre Concept.

Available at: https://www.archute.com/emre-arolat-architecture-unveil-the-nora-mosque-and-community-centre-concept/ (Accessed: 06 January 2021) Yilmaz, E. (2018) Emre Arolat Mimarlık’ın Ajman’da Yapacağı Caminin Tasarımı Belli Oldu. Available at: https://www.arkitera.com/haber/emre-arolat-mimarlikin-ajmanda-yapacagi-caminin-tasarimi-belli-oldu/ (Accessed: 06 January 2021) Overstreet, K. (2018) Emre Arolat Architecture Reveals Design for Nora Mosque Near Dubai. Available at: https://www.archdaily.com/896813/emre-arolat-architects-reveals-design-for-nora-mosquenear-dubai (Accessed: 06 January 2021) Zumthor, P. (1998) Thinking Architecture, 2nd edn, Germany, Baden.

Zumthor, P. (2006), Atmospheres Architectural Environments - Surrounding Objects, 1st edn, Berlin, Basel-Boston.

Hauser, S. (2007) Zumthor,P. essays Therme Vals. pp. 1-174.

CARDBOARD CATHEDRAL words by: GOZDE TUNCBILEK Barrie, A. (2014) Cardboard Cathedral by Shigeru Ban in Christchurch, New Zealand. Available at: https://www.architectsjournal.co.uk/archive/cardboard-cathedral-by-shigeru-ban-in-christchurchnew-zealand (Accessed: 10 Jan 2021) Frearson, A. (2013) Shigeru Ban completes Cardboard Cathedral in Christchurch. Available at: https:// www.dezeen.com/2013/08/06/shigeru-ban-completes-cardboard-cathedral-in-christchurch/ (Accessed: 10 Jan 2021) Wikipedia, (2014). Cardboard Cathedral. Available at: https://en.wikipedia.org/wiki/Cardboard_Cathedral (Accessed: 10 Jan 2021) The Gardian. (2014). How temporary ‘cardboard cathedral’ rose from the ruins to become most recognised building in Christchurch. https://www.theguardian.com/cities/2014/sep/17/temporary-cardboard-cathedral-ruins-christchurch-new-zealand-earthquake (Accessed: 10 Jan 2021) Found in (2014) Metro Performance Glass. Available at: https://www.metroglass.co.nz/terms-and-conditions/ (Accessed: 10 Jan 2021) Anderson,B. (2013) Cardboard Catherdral. Archdaily. Available at: https://www.archdaily. com/413224/shigeru-ban-completes-cardboard-cathedral-in-new-zealand (Accessed: 10 Jan 2021).

Ban,S. (2011) Cardboard Catherdral Sketches, Archdaily Available at: https://www.archdaily. com/413224/shigeru-ban-completes-cardboard-cathedral-in-new-zealand/5202bd41e8e44ebcd3000152-shigeru-ban-completes-cardboard-cathedral-in-new-zealand-image?next_project=no (Accessed: 10 Jan 2021).

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TRANSLUCENT BUILDING SKIN words by: GOZDE TUNCBILEK Mutuli, I. (2018) Emre Arolat Architecture Unveil The Nora Mosque And Community Centre Concept.

Available at: https://www.archute.com/emre-arolat-architecture-unveil-the-nora-mosque-and-community-centre-concept/ (Accessed: 06 January 2021) Yilmaz, E. (2018) Emre Arolat Mimarlık’ın Ajman’da Yapacağı Caminin Tasarımı Belli Oldu. Available at: https://www.arkitera.com/haber/emre-arolat-mimarlikin-ajmanda-yapacagi-caminin-tasarimi-belli-oldu/ (Accessed: 06 January 2021) Overstreet, K. (2018) Emre Arolat Architecture Reveals Design for Nora Mosque Near Dubai. Available at: https://www.archdaily.com/896813/emre-arolat-architects-reveals-design-for-nora-mosquenear-dubai (Accessed: 06 January 2021) Zumthor, P. (1998) Thinking Architecture, 2nd edn, Germany, Baden.

Zumthor, P. (2006), Atmospheres Architectural Environments - Surrounding Objects, 1st edn, Berlin, Basel-Boston.

Hauser, S. (2007) Zumthor,P. essays Therme Vals. pp. 1-174.

Stephenson, J (2016) Herzog & de Meuron’s Laban Dance Centre captured in new photographs. Dezeen. Available at: https://www.dezeen.com/2016/12/11/herzog-de-meuron-laban-dance-centrenew-photographs-jim-stephenson/ (Accessed: 06 January 2021)

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PLACES AND NON-PLACES words by: TEINANE WAREKUROMO Augé, M. (1992). Non-Places: Introduction to an Anthropology of Supermodernity. (Trans. by Howe, J.) Le Seuil, London: Verso Print.

Brogden, J. (2011). Terra Nullius: Encountering the Non-Place. University of Leeds.

Lazzari, M. (2012). The Role of Social Networking Services to Shape the Double Virtual Citizenship of Young Immigrants in Italy. IADIS International Conference on ICT, Society and Human Beings 2012.

Reynolds, B., Joseph, F (1999). The Transversality of Michel De Certeau: Foucault’s Panoptic Discourse and the Cartographic Impulse. Diacritics, vol. 29, 3. pp. 63-80.

CHROMOPHOBIA words by: TEINANE WAREKUROMO Batchelor, D. (2000) Chromophobia (Focus on Contemporary Issues), pp. 225-239. Reaktion Books.

Jeanneret, CE. (1930) Architectural Polychromy. (Trans. Arthur Rüegg, 2007) Birkhäuser Architecture.

Jeanneret, CE. (1911) Journey to the East. (Trans. Ivan Zacknic, 1997) MIT Press.

Jung, C. G., Luise Von Franz, M (1964) Man and his symbols. New York: Dell Pub.

ARCHITECTURE AS PHILOSOPHY: PLATONIC THEORY IN ARCHITECTURE words by: TEINANE WAREKUROMO Henry, C., N. (2011). The Plato Effect in Architecture: Designing for Human Diversity. Archdaily, accessed January 2, 2021. https://www.archdaily.com/175518/the-plato-effect-in-architecture-designing-for-human-diversity Mayr, E. (2001). What Evolution Is (Science Masters Series). pp. 74 - 75. Basic Books, New York.

Rogers, A., K. (1935). Plato’s Theory of Forms. The Philosophical Review Vol. 44, 6, pp. 515 - 533. Duke University Press.

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THE SENSES AND THE SENSORIUM words by: TEINANE WAREKUROMO Arbor, A. (1995) Conversations on Science, Culture and Time. (Trans. Lapidus, R.) University of Michigan Press. Pp. 131-2.

Merleau-Ponty, M., Lingis, A. & Lefort, C. (1968) The Visible and the Invisible: Followed by working notes. Northwestern University Press.

Serres, M (1985) The Five Senses: A Philosophy of Mingled Bodies (Trans. Sankey, M. and Cowley, P.) Bloomsbury.

Semper, G. (1989) The Four Elements of Architecture and Other Writings. (Trans. Mallgrave, H. and Herrmann, W.) Cambridge University Press.

THE PRINCIPLE OF CLADDING words by: TEINANE WAREKUROMO Andrews, B (2004). Ornament and Materiality in the work of Adolf Loos. University of Nebraska-Lincoln Press.

Loos, A. (1898) The Principle of Cladding. Neue Freie Presse. September 4, 1898.

Loos, A. (1924). Ornament and Education. Riverside, California. Ariadne Press.

ATMOSPHERES words by: TEINANE WAREKUROMO Zumthor, P. (2006). Atmospheres: Architectural Environments, Surrounding Objects. Basel: Birkhäuser, 2006.

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NATURAL VS. IMITATED MATERIALS words by: GEORGETTE WILTHEW Loos A, (1982), Spoken into the void: collected essays, 1897-1900: The principle of Cladding, Cambridge, Massachusetts, The MIT Press, pp. 66-69 Roveda D., (2019), ‘The Environmental Impact of Animal Leather VS Faux Leather’, Available at: https://www.ethicalgallery.com.au/blogs/ethical-gallery-blog/the-environmental-impact-of-animal-leather-vs-faux-leather. (Accessed: 02 Jan 2021).

SEXUALIZED COLORS words by: GEORGETTE WILTHEW Batchelor D, (2000), Chromophobia, p.225-239 London, Reaktion Books Dolores F., (2009), ‘Ni rosa, ni celeste, los colores no tienen género’. Available at: https://feminacida.com.ar/ni-rosa-ni-celeste-los-colores-no-tienen-genero/ Konica Minolta, (2006) Celdas de Cárceles Pintadas de Rosa para Calmar a Reclusos Agresivos’.

Available at: https://sensing.konicaminolta.us/mx/blog/celdas-de-carceles-pintadas-de-rosa-para-calmar-a-reclusos-agresivos/ Ojo F., (2020), ‘Vídeo: así era el calvario de los homosexuales en el holocausto nazi’, image, Homosexuales con el triángulo rosa en el pecho, Available at: https://www.elplural.com/politica/espana/ video-calvario-homosexuales-holocausto-nazi_232287102, (Accessed: 02 Jan 2021).

CHROMOPHOBIA An opinion on the beliefs of David Batchelor and LeCorbusier words by: GEORGETTE WILTHEW Batchelor D, (2000), Chromophobia, London, Reaktion Books LesCouleurs, (2020), ‘Architectural Polychromy’. Available at: https://www.lescouleurs.ch/en/ the-colours/colour-system/

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LIGHT Mexican architects

words by: GEORGETTE WILTHEW

Arceo, D., (2012), ‘Lecciones de luz: Luis Barragán’. Available at: https://www.plataformaarquitectura.cl/cl/02-155277/lecciones-de-luz-luis-barragan (Accessed: 27 December 2020).

Cambridge Dictionary, (2021), ‘light’, Available at: https://dictionary.cambridge.org/es/diccionario/ ingles/light (Accessed: 27 December 2020).

Coddou, F., ‘Casa Gilardi’, image, Casa Giraldi. Available at: http://www.flaviocoddou.com/portfolios/casa-gilardi/. (Accessed: 27 December 2020).

Gamo, R., (2018), ‘Serpentine Pavilion 2018, designed by Frida Escobedo’. Available at: https:// www.serpentinegalleries.org/whats-on/serpentine-pavilion-2018-designed-frida-escobedo/ (Accessed: 27 December 2020).

Muñoz, A., (2013), ’Luis Barragán: La luz y el color’. Available at: http://anamunozgonzalez.es/luisbarragan-la-luz-y-el-color/ (Accessed: 27 December 2020).

Nowotka, M., (2020), ‘Kalach y el edificio del silencio’. Available at: https://www.arquine.com/kalach-y-el-edificio-del-silencio/. (Accessed: 27 December 2020).

Revista Codigo, (2018), ‘La luz como material. El pabellón de Frida Escobedo para la Serpentine Gallery en Londres’. Available at: https://revistacodigo.com/frida-escobedo-serpentine-gallery/ (Accessed: 27 December 2020).

CONTEMPORARY EXHIBITION words by: GEORGETTE WILTHEW Etherington R., (2012), ‘Russian Pavilion at the Venice Architecture Biennale 2012’, DeZeen web magazine. Available at: https://www.dezeen.com/2012/08/29/russian-pavilion-at-venice-architeture-biennale-2012/ Vincent A., (2011), ‘Dark Matters: Gallery Exhibit Looks at Technological Illusion’. Available at: https://www.wired.com/2011/08/art-technological-illusion/

CLOSED SPACES IN 2020 - 2021 words by: GEORGETTE WILTHEW Henley, J., (2012), ‘Why are houses in Britain so sall?’. Available at: https://www.theguardian.com/ global/shortcuts/2012/may/16/architecture-housing Rogers S., ‘Before and After: Impressive Tiny Apartment Transformation in London’. Available at: https://dornob.com/before-and-after-impressive-tiny-apartment-transformation-in-london/ Serres M., (2008), The five senses: A Philosophy of Mingled Bodies: Boxes, New York, pp.267-270

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ATMOSPHERES words by: YESIM YUMRUTAS

Zumthor, P. (2006). Atmospheres. Switzerland: Birkhauser, p35 All photographs sourced from ‘Atmospheres’ - Peter Zumthor; Zumthor, P. (2006). Atmospheres. Switzerland: Birkhauser, p6, The Island of the dead(first version) Zumthor, P. (2006). Atmospheres. Switzerland: Birkhauser, p22, Architekturburo Zumthor,Topography of Terror Berlin view of the bar frame exterior model Zumthor, P. (2006). Atmospheres. Switzerland: Birkhauser, p24, Bruder Klaus Chapel, under construction.

Mechernich Model of lead floor and water.

Zumthor, P. (2006). Atmospheres. Switzerland: Birkhauser, p62, Bruder Klaus Chapel, under construction.

Mechernich opening to the sky, model Zumthor, P. (2006). Atmospheres. Switzerland: Birkhauser, p28, Thermal Baths Vals, Graubunden,

CHROMOPHOBIA words by: YESIM YUMRUTAS

Batchelor, D. 2000, Chromophobia, Apocalypstick, Reaktion Books p61 Batchelor, D. 2000, Chromophobia, Reaktion Books p39 Buxton, P.(2017) David Batchelor, Sixty Minute Spectrum on the Hayward Gallery Available at: https://www. ribaj.com/culture/wayward-hayward-david-batchelor-sixty-minute-spectrum-review-pamela-buxton (Accessed 7 January 2021) David Batchelor (2003) Sculpture ;Steel shelving units, found light boxes, fluorescent light, acrylic sheet, vinyl, cable, plugboards, Available at: https://www.davidbatchelor.co.uk/works/sculpture/2000-2009/bricklane-remix-01/ (Accessed 7January 2021) Ebert, R.(1996) Reviews Great Movie; The Wizard of Oz, Available at: https://www.rogerebert.com/reviews/ great-movie-the-wizard-of-oz-1939 (Accessed 7January 2021) Ingleby (2018) David Batchelor : Sixty Minute Spectrum Redux - Hayward Gallery https://www.inglebygallery.com/news/7171-david-batchelor-sixty-minute-spectrum-redux/ (Accessed 20 December 2020) Tate (2008), BP Artist Talk: David Batchelor, Available at: https://www.tate.org.uk/context-comment/audio/ bp-artist-talk-david-batchelor (Accessed 23 December 2020) The Wizard of Oz (1939) Tiny Home Sent for A Near Fatal Ride; The Mountain Jackpot News, Available at: https://www.mountainjackpot.com/2019/02/09/southern-teller-victimized-by-wizard-of-ozwind-conditions/(Accessed 7January 2021)

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CHROMOPHOBIA words by: YESIM YUMRUTAS

Warhol, A. (1967) Marilyn Monroe (Marilyn) Available at: https://www.masterworksfineart.com/ artists/andy-warhol/marilyn-monroe (Accessed 7January 2021) Warhol, A.(1986) Self-Portrait; Tate Available at: https://www.tate.org.uk/art/artworks/warhol-self-portrait-t07146 (Accessed 7January 2021) Warhol, A. (1970) Flower 72 Available at: https://www.guyhepner.com/product/flower-72-andy-warhol/ (Accessed 7January 2021)

BREAKING WITH TRADITION words by: YESIM YUMRUTAS

Philipp Mohr Design Studio (2019) Le Corbusier apartment Available at; https://bluprint.onemega.com/pwhilipp-mohr-le-corbusier-apartment/ (Accessed 25 December 2020) Pilsen (2021) Loos Interiors, The Work of Adolf Loos in Pilsen Available at; https://www.pilsen.eu/ tourist/visit/the-best-from-pilsen/loos-s-interiors/chap_71278/looss-interiors.aspx (Accessed 25 December 2020) Pilsen (2021) Loos Villa Muller’s kids’ playroom, The Work of Adolf Loos in Pilsen Available at; https://www.pilsen.eu/tourist/visit/the-best-from-pilsen/loos-s-interiors/chap_71278/looss-interiors.aspx (Accessed 25 December 2020) Simon, D. (2011) Adolf Loos , The Principle of Cladding ; Princeton Architectural Press, p243

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STAIN GLASS IS HAVING A VERY IMPORTANT MOMENT words by: YESIM YUMRUTAS Clarke, B.(2006) Pyramid of Peace, Kazakhstan Available at; http://www.brianclarke.co.uk/work/ works/item/84/5 (Accessed 20 December 2020) Clarke, B.(2012) The Shard, London Bridge Available at; http://www.brianclarke.co.uk/work/works/ item/65/5 (Accessed 20 December 2020) Clarke, B.(2010) Bermuda Triangle, Peel Cottage, London Available at; http://www.brianclarke. co.uk/work/works/item/355/5 (Accessed 20 December 2020) Clarke, B.(1999) Notting Hill Gate Bus Shelter, Notting Hill Gate, London Available at: http://www. brianclarke.co.uk/work/works/item/160/5 (Accessed 20 December 2020) Hyde, M.(2017) Brain Clarke interview, ‘How is the greatest work of art Produces? Together’ Available at; https://1granary.com/interviews/greatest-work-art-produced-brian-clarkes-answer-may-unexpected/(Accessed 20 December 2020) All photographs sourced from Brain Clarke Available at; http://www.brianclarke.co.uk/work/works/ projects (Accessed 20 December 2020)

GREEN ARCHITECTURE words by: YESIM YUMRUTAS Bconnectedmallorca (2019) Bamboo in Architecture & Design ‘Why is Bamboo so popular nowadays in Architecture & Design’ Available at; https://bconnectedmallorca.com/en/blog/architecture/ bamboo-architecture-design/ (Accessed 2 January 2021) Bconnectedmallorca (2019) Bamboo in Architecture & Design ‘Why is Bamboo so popular nowadays in Architecture & Design’ Available at; https://bconnectedmallorca.com/en/blog/architecture/ bamboo-architecture-design/ (Accessed 2 January 2021) Dewolf, C. (2016) Materials ‘Bamboo style’ Cladmag Issue 1. Available at; https://www.cladglobal. com/architecture_design_features?codeid=30649 (Accessed 5 January 2021) Law, C. (2016)Materials, Bamboo style Available at; https://www.cladglobal.com/architecture_design_features?codeid=30649 (Accessed 5 January 2021) Minae, S. (1989). Socio-Economic Issues in Bamboo Production and Utilization in Kenya; Present and Future Potentials, Nairobi: Kenya Forestry Research Institute and IDRC. https://idl-bnc-idrc. dspacedirect.org/handle/10625/26043 (Accessed 2 January 2021) Vo Trong Nghia (2014) Wind and Water Bar Available at; https://www.dezeen.com/2012/09/03/ wind-and-water-bar-by-vo-trong-nghia/ (Accessed 2 January 2021) Vo Trong Nghia (2014) Wind and Water Bar Available at; https://www.dezeen.com/2012/09/03/ wind-and-water-bar-by-vo-trong-nghia/ (Accessed 2 January 2021)

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CAN FREIGHT CONTAINER HOUSES OVERCOME HOMELESSNESS?

words by: YESIM YUMRUTAS

Coomes, K.(2019) Digital Trends ‘Smart Home’ Available at; https://www.digitaltrends.com/home/ best-shipping-container-homes/(Accessed 28 December 2020) Medland, C.(2019) Architects Journal ‘Architects slam shipping containers to house the homeless’ Available at; https://www.architectsjournal.co.uk/news/architects-slam-shipping-containers-tohouse-the-homeless (Accessed 28 December 2020) Mckight, J. (2019) Dezzen “Loha designs affordable housing complex for difficult site in Los Angeles”. Avail able at:https://www.dezeen.com/2019/12/09/loha-affordable-housing-complex-los-angeles/ (Accessed 28 December 2020) Patalab Archtecture (2019).‘World’s Tallest Shipping Container Building’ Available at: https://www. patalab.com/news/planning-permission-for-worlds-tallest-shipping-container-building/ Accessed: (Accessed 28 December 2020) Waldek, S.(2015) Architectural Digest ‘Shipping Container Architecture Around the World’ Available at; https://www.architecturaldigest.com/gallery/container-architecture-slideshow (Accessed 28 December 2020)

AR7043 ADVANCED INTERIOR DESIGN THEORY MASTER OF ARTS INTERIOR DESIGN UNIVERSITY OF EAST LONDON LONDON, UNITED KINGDOM JANUARY 2021