Transgressive by Maria Sammut

TRANSGRESSIVE

Transgressive by Daphne Bugjea

Didactic exercise Fall Semester 2010

Transgressive Main Editor Gennaro Postiglione Course of Interior Architecture Faculty of Architettura e SocietĂ Politecnico di Milano www.lablog.org.uk Editor Daphne Bugeja

only for pedagogic purpose not for commercial use

INDEX 00_Transgressive by Daphne Bugeja 01_parc de la villette 02_ offices for kessels kramer 03_falkestrasse 04_ ronacher theatre 05_felix nussbaum museum 06_ national architect headquaters 07_ victoria and alberti museum 08_ museum kolumba 09_ national museum of sculpture 10_ art gallery of new south wales

Transgressive by Daphne Bugeja

Abstract Stripping back, subtraction or even demolition can be considered as a process that actually precursors the real act of intervention. As some step, intellectual or intuitive, that the designer must pass through to reach the main or central point of the design process. The designer often sees this as an important, but secondary stage, it has little more than a minor role in the creative method. Fred Scott describes it as a means â&#x20AC;&#x153;(â&#x20AC;Ś) to establish a means by which the designer can begin a negotiation between the ideal and the actual, and also begin the process of intervention by which disparate parts must be made to cohabit.â&#x20AC;? The reworking of existing buildings, often thought to be the sole territory of restorers or conservationists, or even an adjunct of architectural practice, is actually the most radical and controversial of all spatial disciplines. The desire to re-order what already exists is inherently an act that interprets, conforms to, or even disobeys existing orders. Therefore the process of designing new uses

for existing buildings, of occupying spaces that were once constructed for a particular previous purpose, provokes the installationart and cinematography. This act of appropriation and alteration is not dissimilar to that of the interior architect. The DJ adapts the sounds that he or she owns and customises them to his or her own personality. The process of cutting is very relevant to this discussion. The DJ will take elements of production, such as parts of TV programmes, films, records or radio programmes and refashion them to their own design. Cutting and joining what could be described as dissimilar or disparate sections to create a continuity and thus a sense of order. This process of selection and cutting, of using what the DJ or designer considers to be the best bits and removing the rest is very like the role of the interior architect, who will, through a process of understanding and analysis retain the important elements o building while demolishing the rest.It is an enormous mistake to think that one can lay down a permanent docrine

or still less a scientific definition of architectural intervention. On the contrary, it is only by understanding in each case the onceptions of the basis of which action has been taken that it is possible to make out the different characteristics which this relationship has assumed over the course of time.

Paper Stripping back, subtraction or even demolition can be considered as a process that actually precursors the real act of intervention. As some step, intellectual or intuitive, that the designer must pass through to reach the main or central point of the design process. The designer often sees this as an important, but secondary stage, it has little more than a minor role in the creative method. Fred Scott describes it as a means “(…) to establish a means by which the designer can begin a negotiation between the ideal and the actual, and also begin the process of intervention by which disparate parts must be made to cohabit.” However, this process can be viewed as the most significant and essential element of the design process. Subtraction doesn’t contain the glamour or the productive nature of intervention. It does not construct something new. It is not part of that most basic of human

instincts, that is to create. It does not satisfy the sense of self-worth of the architect or designer. t is less than doing nothing, to take away is a process of reduction, or removal, it reduces what is available and what is there. It is a very strange process indeed and one which is much overlooked but a number of key projects are testament to its significance. The Caxia Forum in Madrid, once a brick power station, was converted into a museum by Herzog and de Meuron in 2008. This project contains two examples of quite brutal subtraction; the first was the extraordinary act of removing the whole of the ground floor of the building, thus bestowing upon it the impression that it is floating or gently hovering above the ground. The second destructive act was to demolish any extraneous structures immediately in front of the museum to create a new public square. The removal of the base of the building allows this

new plaza to flow into the museum, thus creating spaces that are neither inside nor outside, they are under the building, but are not enclosed by it. This is a building that appears to defy gravity, it is full of wonder, ambiguity and whimsy. Another project that uses the quite uncompromising act of subtraction in a trangressive manner is the extraordinary Centre for the Documentation of the Third Reich in Nuremberg. When constructed it was one of the most significant structures in Nazi Germany, but after the end of the Second World War, it lay dormant for years. No one quite knew what to do with it, but equally, its massive social significance meant that it couldnâ&#x20AC;&#x2122;t be demolished. By virtue of its position within the German psyche as a city of great tradition, Nuremberg was in 1933 officially designated the â&#x20AC;&#x153;City of Congressesâ&#x20AC;?, a privilege that entitled it to host the greatest gatherings of the Nazi Party. The great Nazi architect Albert Speer was responsible for the planning and development of a stadium for 400,000, parade grounds, Zeppelin fields, halls, barracks and other structures to house these spectacular shows. The site was linked to the centre of the town by a two kilometre long avenue. The centrepiece of the master plan was the Kongresshalle, designed by Ludwig Ruff, with his son Franz. It was a massive horseshoe-shaped auditorium intended to house 50,000 party officials. It was more than 275m wide by 265m deep, the colossal size and shape being a monumental backdrop for the huge rallies held there. The hall suffered from structural problems caused by the marshy ground that it was built upon, the heaviness of the granite cladding and the sheer weight and size of the roof. It was never completed. The building was declared a national monument in 1973, and after reunification, the government held a competition to remodel the

Kongresshalle to house the documentation centre; Gunther Domenig won it. However, the building is so huge that this project only occupies a small proportion of it, just the rectangular court-yarded hall to the north of the main semi-circular buildings. The centre was designed to contain exhibitions, lecture rooms, film studios and workshops, the purpose of which were to provide a documentation of the events that took place within the city specifically focusing upon the Party Rally Grounds. Domenig made a direct statement of intent which symbolised the new use. He inserted a dynamic diagonal cut directly against the grain of the original orthogonal building. This 21st century shard slices through the building. It begins as an entrance in the most northerly corner of the structure, brutally and uncompromisinglycuts through the rooms and the courtyard and emerges into the massive open space in the centre of the horseshoe building. This blade-like element lacerates the space to create a circulation route through the building. The remodelling is not a subtle statement, as this was not the time or the place for sensitive reappraisals and careful installations. The form of the new directly counterpoints the old. This is a bold proclamation on the history of the building and its relationship with the new function. The heavy masonry of the fabric of the Kongresshalle is literally just cut away to accommodate the insertion. The end of the shard opens out to form an entrance for the museum. Inside it links a series of rooms, which were originally intended as the meeting chambers and offices of the party and now form the exhibition spaces and the documentation archive. The 130m by 1.8m wide corridor is inclined, and rises through the space until it shoots out of the back of the building into the main central arena of the hall. Here the objective of the original architects becomes shockingly apparent as the

enormity of the hall impresses itself upon the viewer. Domenig’s intentions were to counteract, heighten and expose the existing building: “I used oblique lines against the existing symmetry and its ideological significance. To contrast the heaviness of the concrete, brick and granite I turned to lighter materials: glass, steel and aluminium. The historic walls are left in their original state without ever being touched by the new work.” The scale and the orthogonal geometry of the existing building are extremely significant and Domenig undermines these with a direct, almost savage, slice through the very body of the structure. This is a very symbolic event in a notorious building. The reworking of existing buildings, often thought to be the sole territory of restorers or conservationists, or even an adjunct of architectural practice, is actually the most radical and controversial of all spatial disciplines. The desire to re-order what already exists is inherently an act that interprets, conforms to, or even disobeys existing orders. Therefore the process of designing new uses for existing buildings, of occupying spaces that were once constructed for a particular previous purpose, provokes the designer into accepting or editing previous patterns of existence. This can be interpreted as an act of judgement upon the existing. This draws interior theory closer to the disciplines of site-specific installation art and cinematography. Here analysis, understanding, editing and postproduction are central to the creation of each project. Nicolas Bourriaud states in his seminal text on filmaking: “It is no longer a matter of starting with a ‘blank slate’ or creating meaning on the basis of virgin material but of finding a means of insertion into the innumerable flows of production.” Bourriaud uses the example of the methods

employed by the DJ to construct music. He argues that a new musical work can be produced without the composer being able to play a single note, by making use of existing records. Through the use of the sampling of playlists, new works can be created. The process of crossfading, pitch-control, rapping and cutting of existing music can be combined to generate original, innovative and transient compositions. This act of appropriation and alteration is not dissimilar to that of the interior architect. The DJ adapts the sounds that he or she owns and customises them to his or her own personality. The process of cutting is very relevant to this discussion. The DJ will take elements of production, such as parts of TV programmes, films, records or radio programmes and refashion them to their own design. Cutting and joining what could be described as dissimilar or disparate sections to create a continuity and thus a sense of order. This process of selection and cutting, of using what the DJ or designer considers to be the best bits and removing the rest is very like the role of the interior architect, who will, through a process of understanding and analysis retain the important elements of a building while demolishing the rest. Dominic Roberts of Continuity in Architecture describes this process with the motto: Remember, Reveal Construct. (4) In 1985 The Spanish architectural Historian Ignasi de Solà-Morales outlined a theoretical framework for understanding adapting buildings and remodelling them. In the ground breaking article From Contrast To Analogy – Developments In The Concept Of Architectural Intervention, he described the development of remodelling as a concept that is closely related to understanding history. Solà-Morales also understood the foolishness of establishing a too rigid formula for remodelling buildings. It is an enormous mistake to think that one can lay down a permanent doctrine or still less a

scientific definition of architectural intervention. On the contrary, it is only by understanding in each case the conceptions of the basis of which action has been taken that it is possible to make out the different characteristics which this relationship has assumed over the course of time. This discussion has shown that the transgressive act is not something that is completely lost to the generation of the twenty-first century, an audience who are very difficult to shock. The use of subtraction as a primary method of remodelling buildings can produce results that are full of surprise, wonder and delight as well as deep understanding and symbolic judgement. It is an act that is usually a necessary stage. in the process of interior architecture, but for some projects it can be the most important, the most significant, central and vital method of communicating the character of the building. “Every intervention results in some destruction. Destroy then at least with understanding.”

References References Scott, Fred. 2008. On Altering Architecture. London: Routledge. Capezzuto, Rita. 2002. Confronting the Architecture of Evil. Domus, no. 847: 80-91. Bourriaud, Nicolas. 2002. Postproduction: Culture as Screenplay How Art Reprograms the World. New York: Lukas and Sternberg. de Solà-Morales, Rubio I. 1985. From Contrast to Analogy. Lotus International, no. 46: 37-45. Cramer, Johannes, and Stefan Breitling. 2007. Architecture in Existing Fabric. Basel: Birkäuser.

ATLAS

â&#x20AC;&#x2DC;01/transgressive/Parc de la Villette

Parc de le Villette by Tschumi - 1987 The project was a realization of Tschumi transgressive architecture.His achievement was to create a park for this generation of revolutionaries. His design treated the site as a tabula rasa whose only context was urbanity. The design allow the existence of a â&#x20AC;&#x153;non-place.â&#x20AC;? This non-place, envisioned by Tschumi, is the most appropriate example of space and provides a truly honest relationship between the subject and the object. The unbalance in this architecture allow the possibility of movement and evoke a feeling of pleasure. Everything is organized, designed, made in an interactive because this produces emotions, entertainment, new experiences.

â&#x20AC;&#x2DC;02/transgressive/offices for kessels kramer

Offices for Kessels Kramer by Fat â&#x20AC;&#x201C; 1998 It is the most challenging type of architecture made by Fat architects. The is a transformation of an unused church interior in Amsterdam into the offices of an advertising agency. A number of objects at different scales were chosen from a series of sketches faxed to the client. These were placed within the church to provide workstations, platforms, chill out areas, a library and a TV room. These objects were placed in a way to create different spaces and in a way providing boundaries through the different areas. These additions made inside this church is quite shocking and most probably, reinforcing their strangeness within the context of the church. These major additions are supplemented by a number of smaller ones which include fragments of football pitch, picnic tables, hedges and fences as well as a number of pieces of furniture, ornaments and objects bought by the client from markets.

â&#x20AC;&#x2DC;03/transgressive/Falkestrasse

Falkestrasse by Coop , Vienna - 1988 The law firm Schuppich, Sporn, wished to extend their office upwards. The office is situated on the first and second floor of the building on the corner of Falkestrasse and Biberstrasse in the inner City of Vienna. . The addition to the historical building included an abnormal roof top remodelling. All that existed was a visualized line of energy which coming from the street , spans the project, thus breaking the existing roof and thereby opening it . it identifies with parasitical architecture characteristics because of the way the project has latched onto the existing building, thus breaking through the boundaries and limitations that the roof impose. This clearly shows the distinction between what was there and what had been added. This emphasize the project as a parasite .

‘04/transgressive/ronacher theatre

Theatre of Ronacher by Coop , Vienna - 1991 Built by Ferdinand Feliner the Elder in 1871/2, the “Vienna City Theater” was badly damaged by fire in 1884, only the facade remaining.It seems to be a bold proclamation to the histry of the building

â&#x20AC;&#x2DC;05/transgressive/felix nussbaum museum

Felix Nussbaum Museum - 1998 The building consists of three main components: the tall and narrow central Nussbaum corridor, the long main section, and the bridge, which acts as a connection to the old museum. In its pathways with their sudden breaks, unpredictable intersections and dead ends, the building structure reflects the life of Felix Nussbaum. â&#x20AC;&#x153;The different components of the new complex are seen as connecting and composing an integral structure, while at the same time exposing a permanent horizon of disconnection paradoxically linking significant places to the town; substantial points of history to spatial memory. The new building, therefore, does not seek to dominate as a new form, but rather retreats to form a background of hope for the existing Historical Museum and the Villa containing the folk art collection

‘06/transgressive/national architect headquaters

National Architects Union Headquarters, Romania -2000 The building is the headquarters of the association of architects from Romania. The old building was called “Paucescu House” (built in the second half of the nineteenth century) and in 1914, with the last arrangements at the Royal Foundation (1914), part of Paucescu house was demolished. Thereby, the building area was reduced considerably, but even in the new form, it remained a remarkable one. The solution was not a restoration, a reconstruction, nore a preservation but simply keeping a piece of the old building and incorporate it into a new approach. The use of glass in the new addition seems to blend with the old building. The addition , even by the materials chosen ,seems to add detail to the history of the building .The development that the building passed through are still evident.

â&#x20AC;&#x2DC;07/transgressive/victoria and alberti museum

Victoria & Albert Museum Boilerhouse extension - 1997 Extension is too distinctive from the old surrounding building and even the way it is desgined having too many edges is too loud compare to the tranquillity of the street made up of buildings with 2-dimensional facades. Even the location of the building does not give you time to admire the 3-dimensional of the Museum.

‘08/transgressive/museum kolumba

Museum Kolumba - 1997 Peter Zumthor reconstructed the Museum Kolumba in the centre of Cologne. The architect paid alot of attention to historical detail and this can be seen in the end result. He made no difference between old art and new art. The ruins of the late Gothic church “St. Kolumba”, the chapel “Madonna in the Ruins” and the unique archaeological excavation are embedded. He managed not to create a `bilboa effect` – what many architect try to do but this place is different. “Here, people still believe in the art as more than just a good investment. They [the Archdiocese] believe in the inner values of art, its ability to make us think and feel, its spiritual values. This project emerged from the inside out, and from the place.” This place really shows that “Real life requires lots of patience,” and so does the interventions made on this building.

â&#x20AC;&#x2DC;09/transgressive/national museum of sculpture

National Museum of Sculpture - 1998 This is an expansion to the museum of National Museum of Sculpture . The Old College of San Gregorio is a cloister structure and is a fine example of gothic structure of the late fifteenth century. The work carried out on the old College and Cloister respects the original architectural structure, conserving and restoring the architectural elements of greatest value. The modern addition is kept contemporary in shape and even in materials. The addition is quite distinctive from the gothic structure. This is done in a way to establish a dialogue on its scale with the existing architecture and to knit the life of the building over the course of life. It is a conservation project which respect what was already there and revival the history of the place.

‘10/transgressive/art gallery of new south wales

Art Gallery of New South Wales - 1972 The original building of the Art Gallery of New South Wales was a Beaux Art. It was a classical building and a contemporary addition was made to display and appreciate the works of that time and later twentieth-century works. That was the part of ‘complexity and contradiction’ that made architecture vital and interesting. The junction of the old and new architecture was made by a kind of top-lit gallery with windows to the west and windows to the harbour. The new building was completely transparent and permeable so that the old building could be appreciated. It makes the visitor comfortable walking through the place and appreciating the vistas and the breaking of the traditions.

â&#x20AC;&#x2DC;10/transgressive/mcnamaraaluminicentre

Mcnamara Alumini Centre , Minneapolis 2000 Located at the intersection of University Avenue and Oak Street SE, the landmark building resides on land formerly home to Memorial Stadium. In fact, the interior of the building features an arch that was once an entrance to the stadium. Here we can see a combination of two types of architecture, the old and the new one . The mixing of these two types of architecture can be transgressive when looking at it but the way the architect uses the materials, the forms and the design elements the natural assets of the site and the building are still respected.

â&#x20AC;&#x2DC;10/transgressive/nortonhouse

Norton House , Venice - 1983 Venice`s best known building designed by Frank Gerhy. Gehry is playing with traditional element. The floating room which is based on a lifeguard stand much more like a tree hous. It follows quite a distinctive type of architecture, having the ability to follow a different format from the surrounding houses. This can give the public quite an unexpected feeling when passing by due to its unusual form. It can be noticed both from its structure and even from the range of colours used.

â&#x20AC;&#x2DC;08/transgressive/thegaybaby

The Gay Baby , Germany - 1998 This installation was created for the German pavilion in the Venice Biennale. Isa Genzken installations are quite complex, having a jangle of materials and sculptures, each of which have a message although in some may be transgressive. Her artistic vocabulary interprets modernism as a lot model and uses broad range of materials, like kitchen utensils, rods, colours. Like this piece of artwork, the title itself has a shock value that is typically transgressive. The question is whether this transgression is used to embrace the right fram of reference or to stay stylistic.

â&#x20AC;&#x2DC;08/transgressive/rose

Rose , Fair Leipzig, 1997 Isa Genzken presents a new installation as part of the New Museum ongoing faĂ§ade sculpture. One can see this sculpture as a transgressive one when seen in comparison with the adjacent building and architecture due to its scale, being twenty-eight feet tall together with the integration of architecture, nature and mass culture. Therefore it can be a crucial figure in Post-war contemporary art, Genzken is a sculptor whose work re-imagines architecture, giving form to new plastic environments and precarious structures. It has to be seen more as a message to the way we perceive objects and images through our senses

â&#x20AC;&#x2DC;08/transgressive/ spoonbridgeandcherry

Spoonbridge and Cherry , Minneapolis - 1988 The Minneapolis sculpture Garden is designed by Claes Oldenburg and Coosje van Bruggen. The giant spoon stretches 52 feet across a small pond shaped like a linden tree seed. A fine stream of water, just enough to make the aluminium cherry gleam, flows over the cherry from the base of the stem. A second stream of water sprays from the top of the stem over the cherry, down into the spoon and the pool below. In winter, snow and ice accumulate on the cherry and the bowl of the spoon, changing the sculptureâ&#x20AC;&#x2122;s character with the seasons. One if the think that sculptures think is of the scale. Although it is quite a unusual type of sculpture the architects seems to find a balance between the sculpture and nature. Although it quite noticeable, it does not over power the other sculptures found in the garden and the other architecture in the background, the highway, the cathedral.

‘08/transgressive/ bootleof notes

Bootle of notes, England - 1993 This piece of art was commissioned to help revitalize the economy of this region. The architects felt that a nautical subject might not be inappropriate, especially since the famous explorer Captain Cook was born in the area. They settled with a bottle form which was made of writing itself and therefore reflect the history of Middlesbrough through writing. One can immediately notice the difference in form of the bottle and that is unlike the surrounding building but this as one of their aim to capture attention in this area and therefore provide employment for the abandoned shipyards. More than the unusual architecture one must notice more the message it is giving. “We had every advantage we could desire in Observing the whole of the passage of the Planet Venus over the Sun’s disk.”

â&#x20AC;&#x2DC;08/transgressive/ gianticebag

Giant Ice bag , California - 1969 A high scale punching bag in the parking lot outside Krofft Enterprises, in California, designed by Claes Oldenbur. It is shocking in the way it is kept in place. It was produced with Gemini G.E.L. and has a motorized system of fans that inflate, deflate, twist, and turn the kinetic sculpture into various positions. Are these fans that hold this installation in place. The architect created a marvellous piece of art presenting his great talent in the American pop art, a creator of wickedly visionary public sculptures reflecting his sense of humour .But on the other hand he seems to go further away because it seems that it is not in context with the surrounding environment.

â&#x20AC;&#x2DC;08/transgressive/ knifship

Knif ship , Venice - 1985 This is a motorized sculpture resembling a mammoth Swiss army knife that floated on a barge down a Venice canal. It is a large scale building, and as a result of changing the scale of an object, the meaning meaning and will also change . He placed this sculpture in an unexpected context--the canals of Venice, Italy. This can be quite shocking and difficult to understand its meaning. if it is difficult to understand the meaning, the context will also be difficult and therefore the relationship of the object to its surrounding . As a result is many can find it abstract and nonsense.

â&#x20AC;&#x2DC;08/transgressive/ themerzbau

The Merzbau, hanover 1933 This was designed by a German artist Karl Schwitters. He transformed six rooms of the family house in Hannover. He create it with a piece of paper and other miscellaneous things which he found on places like the sidewalk. He describes this room as his life`s work. The ceiling was covered with three dimensional shapes and countless nooks and grottos were filed with a variety of object. His art works followed the Zurich Dada and abstract art. He followed no rules and dramatically altered the number of spaces. The artist is proffering a revelatory, transgressive, shock. This revelatory shock constitutes a spark that in turn propels a change of state.

â&#x20AC;&#x2DC;08/transgressive/ pinkfloydpig

Pink Floyd Pig , London 1977 The Animals stadium tour of the USA in the summer of 1977 followed the European arena tour of 1976. The indoor dates headlined the original inflatable pig, built by Jeffrey Shaw and Hipgnosis for the album cover shoot at Battersea Power Station in London Pink Floyds performances, almost from the beginning, were unlike any others. Within a couple of years their shows had become legendary, intensely visual live performance art. They always wanted to shock the audience and turns audiencesâ&#x20AC;&#x2122; experience of watching a set of small figures performing a hundred yards away into a stunning memorable occasion. What they do is take the personality of the performers and reflect and reinforce them in as extreme a visual way as they will allow.

â&#x20AC;&#x2DC;08/transgressive/ foutain

Foutain by Duchamp, 1917 . This is one of the readymade artwork, which he choses and uses them as a piece of art. In this case he used a urinal, where he transformed it into a fountain. It a very controversial piece infacr it was refused entry in the society of independent artists frst exhibition as it was seen as something shocking to the public. Artworks in the Independent Artists shows were not selected by jury, and all pieces submitted were displayed. However, the show committee insisted that Fountain was not art, and rejected it from the show. This caused an uproar amongst the Dadaists, and led Duchamp to resign from the board of the Independent Artists Duchampâ&#x20AC;&#x2122;s Fountain was voted the most influential artwork of the 20th

‘08/transgressive/ Baba antropofágica

Baba antropofágica -1973 In this work, Anthropophagical, Lygia Clark initiates psychic processes of exchange which transform the dichotomy of subject and object. Most of her last work, She include more happenings and performance. In doing so, she follows the transgressive logic of vomiting. But escaping this phantasmal staging of the body seems almost impossible: kneeling over a guinea-pig-like subject lying on the floor, a figure pulls from its mouth—like spiders do from their bodies—a spittle-drenched thread and spins a cocoon around the reclining figure. The precarious division of subject and object is eliminated by this thread-like weaving, with the gestural webbing of the passive subject completing the inversion of the internal and external.

‘08/transgressive/L.H.Q.Q,

L.H.Q.Q, 1919 L.H.O.O.Q., a cheap postcard-sized reproduction of the Mona Lisa, upon which Duchamp drew a mustache and a goatee . This was a reproduction of Leonardo Da Vinci explifying Duchamp`s humour The “readymade” done in 1919, is one of the most well-known act of degrading a famous work of art. The title when pronounced in French, puns the frase “Elle a chaud au cul”, translating colloquially in “She has a hot ass”. Marcel Duchamp, French Dada artist, whose small but controversial output exerted a strong influence on the development of 20th-century avant-garde art. Many people seem to interpret this as an attack on the iconic Mona Lisa and traditional art but this was to present the audience a new perspective of classical art.

â&#x20AC;&#x2DC;08/transgressive/ pantonchair

Panton Chair -1973 Thi s was an advertisment poster for the mostly known chair in the world designed by Verner Panton. It featured a series of photographs showing model Amanda Lear in various stages of undress next to a red Panton Chair .The title itself , â&#x20AC;&#x2DC; How to undres infront of your husband â&#x20AC;&#x2DC; is eye rolling in itself. and created a media sensation. The chair is is widely recognie zed also because of this advertisment. But on the other hand there were revlutions when it first appeared. It was quie shocking and unexpected for that time

REFERENCES

‘01: Parc de le Villette by Tschumi Paris, France “Great city parks”, Alan Tate pg56-63 `pwpeics` - http://www.pwpeics.se/france_pz.htm `02: Offices for Kessels Kramer by Fat Amsterdam, Holland ‘‘Architects Today, Volume 2004’’, Kester Rattenbury, Robert Bevan, Kieran Long pg 19951996 ‘03: Falkestrasse by Coop Hammelblau Vienna , Austria ‘Coop Himmelblau’ , http://www.coop-himmelblau.at/ ‘04: Theatre of Ronacher by Coop Hmmelblau Vienna , Austria ‘Coop Himmelblau’ , http://www.coop-himmelblau.at/ ‘05: Felix Nussbaum Museum by Daneil Libeskin Osnabrueck, Germany ‘daniel libeskin’ , http://www.daniel-libeskind.com/projects/ show-all/felix-nussbaum-haus/ ‘06: National Architects Union Headquarters, Romania ‘rate it all’ ,

‘rate it all’ , http://www.rateitall.com/i-3191927-national-architects-union-headquarters-bucharest-romania.aspx ‘07: Victoria & Albert Museum London ‘skyscrapercity’, http://www.skyscrapercity.com/showthread. php?t=864448

‘08: Museum Kolumba by Peter Zumthor Cologne ‘coolboom’ , http://coolboom.net/architecture/kolumbaart-museum-by-peter-zumthor/#more-5779 `09: National Museum of Sculpture by Francisco Rodríguez Partearroyo Valladolid ‘on diseno’ , h t t p : / / w w w. o n d i s e n o . c o m / f i c h a p royecto_en.php?pageNum_ producto=12&totalRows_producto=59&cat egoria=arq&subcategoria=Museos%20y%20 espacios%20expositivos ‘10: Art Gallery of New South Wales Sydney

â&#x20AC;&#x2DC;recllectionsâ&#x20AC;&#x2122; , http://recollections.nma.gov.au/issues/ vol_4_no1/notes_and_comments/andrew_ andersons_interviewed_by_leon_paroissien/