Undergraduate Dissertation

ART AND ARCHITECTURE Tracing influence of Art on thought processes of contemporary architects and demonstrating their design parameters through a project.

Guide: Prof. Percy Pithawala

by

Parthiv Parikh Bachelors of Architecture Batch 2014 14191024/B.ARCH

School of Environmental Design and Architecture Navrachana university, Vadodara, Gujarat 2018-2019

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Navrachana University (SEDA)School of Environmental Design and Architecture

ART AND ARCHITECTURE

Tracing influence of Art on thought processes of contemporary architects and demonstrating their design parameters through a project.

A thesis submitted to the faculty of School of Environmental Design and Architecture, at Navrachana University, in partial fulfillment of the requirement for the degree of Bachelors of Architecture 2019

Submitted to:Prof. Maninder Singh Programme Chairperson (B. Arch) SEDA

Guided by:Prof. Percy Pithawala

Submitted by:Parthiv Parikh 14191024

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DECLARATION I hereby declare that this thesis is my original work and it has been written by me in its entirety under the guidance of Professor Percy Pithawala.

I have duly acknowledged all the sources of information which have been used in the thesis. Although if any reference is missing, it is not intentional.

I also acknowledge that this thesis has not been previously submitted in this university or any other university for the award of any degree, diploma, fellowship or other similar titles of recognition.

Parthiv Parikh In my capacity as guide of the candidate’s thesis, I certify that the above statements are true to the best of my knowledge.

Prof. Percy Pithawala

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ACKNOWLEDGMENT First and foremost I offer my sincerest gratitude to my mentor and guide for the thesis, as well as my faculty for the term of 5 years in architecture school, Prof. Percy Pithawala. I would like to thank him for believing in me and his patience and openmindedness. This allowed me a great deal of freedom, as at certain times what may have seen like unsavory arguments were taken in good humor. Through the ups and downs in this journey I would like to express my great appreciation to him for his constant and valuable inputs throughout the dissertation.

I would like to take this opportunity to expresses my gratitude towards all of the faculty members of School of Environmental Design and Architecture especially Prof. Gurudev Singh and Ar. Shalini Amin for staying as a source of steady help and support.

A special thanks to my colleagues Dhruv Shah for his support and help in giving valuable and critical inputs throughout my thesis, Devansh Patel, Simran Suryavanshi, Vishesh Narola and my fellow classmates, it was a tough journey with some happy moments. I would also like to acknowledge my family and my dear friend Parshva Shah for all they have done over the years, remaining a constant source of guidance and encouragement.

Last but not the least I would like to acknowledge not a person, but the journey itself. From the genesis of the idea for my research to the last leg, and to my architectural term as a student, it has been a journey of memories and great experiences.

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ABSTRACT We search to understand the purpose of our existence from the day we were born till the day we die. With all living creatures there is life and there is death. The struggle is about the life we live, the evolution we undergo and the changes that take place. As we see, certain things function or affect you under this time line, its a part of the journey and it always will be.

Without recognizing them one cannot move forward. Some things ought to be constant and some variable. By changing them, you get different permutations.

The question is about the in-between that happens. And not just about your existence. The things that create a difference is what change you make to the society or undergo till you exist.

As evolution took place people started to find meanings in life, questioning our surroundings, studying every aspect of life as we know it. We humans have always been a part of this cycle or a chain of events. There is a systematic routine that one follows no matter what. It is what we call rules and regulations in ones life, and the way we want to govern it.

Architecture in a similar manner has been part of a greater cause and lies under the realm of this process driven routine.

Without a system we lack all the humanly elements in any built design. Our senses need to reach out to their maximum when an observer moves around a space and can easily collect what the essence or the spirit of the place is.

For architecture to have greater value and meaning, it must break free from the barriers of economical and political expectations and should rather flow in the process one wants to follow irrespective of form, function or fundamentals. It is about celebrating this development of process rather than the final outcome as each step and layer being added to the process eventually portrays a better outcome.

Hence this research is the means to raise important questions which can stir the foundations of our expectations as well as reason its existence. The quest is about understanding how a process functions and that it is what matters. The whole idea of this research is to take something, analyse it and then show how you’ve interpreted it. As process is the most influential and motivating factor in architecture, it can highly influence quality of the outcome produced.

What is a result without the process?

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INTRODUCTION As a research thesis focuses on understanding the subject and with it being able to question what you imagined it to be, this thesis takes the first step in understanding how the architectural processes in design development have come about in the past years and how the author interprets it in his own way with a process of decoding its structure. Architecture has always kept an open eye for different kinds of inspirations. The constant need and quest of getting influenced by a parallel field or being able to interpret art as a point of departure has always given a deeper meaning not by choice but by virtue of exploration and open-mindedness .

But really the question here is, what is this all for? What is expected to unfurl? Why take a process and stick so strongly to it where certain parameters might be left open?

A way to look at this research differently is to look at it as a piece of art. To have an over all glance of the work, try to get into the mind and viewing it from the artists(author) point of perspective and then slowly focusing on the parts where one feels it touched ones heart.

Architecture has always borrowed from other disperses and has had a need for something new, something different to start as an inspiration. There are many parallel fields that architects have taken ideas from and have turned out to be successful, for example, sculpture , mass media, art , theatre , music etc.

Art has been one of the most important aspect for taking inspirations and trying to portray ideas in the form of architecture,W making it a medium of display. The idea here is to understand how art is taken as an inspiration, a point of departure and how has architecture come about by taking it as a design process. The thesis attempts to go through closed observations and learnings from a few art movements and their ideologies and how they triggered architects to use it as a medium for exploration. The sole purpose is to later analyses the learnings taken and how they have been translated into design processes.

The author was inspired to do this while reading about suprematist paintings and looking at the earlier works of Zaha Hadid. Her thesis on Malevich’s Tektonik mainly caught him by surprise and was curious to understand her way of approach.

Also, if you track back to the Deconstruction studio of semester VI, that was about designing a library competition as a program, the initial start to the design was actually a painting that the author derived by looking onto the context and had taken it as a point of departure in resolving the built using a process.

An evaluation of certain works by different architects with understandings from our own point of view helps to create certain parameters for a design proposal. This kind of a format also makes much sense because it makes the thesis look as if it is not just a research but a hypothesis of the whole subject.

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AIM The thesis focuses on taking art as an inspiration, a point of departure and how architecture can come about by taking it as a design process.

OBJECTIVE The main objective of this thesis is first to analyze specific work style of different architects and their way of approach from either a literal form of art or taking certain inspirations from any art movement . The next step is to use this generated research data in form of models, sketches and graphic representations to experiment upon the core idea of the thesis. This would be executed by implicating the parameters that are derived from the study on a site with a program. Here, the permutations of a process would matter and not one final design outcome.

RESEARCH QUESTIONS How does a painting or a sketch convert to a built form?

What are the processes that take place?

How are art and architecture essentially tied together?

Why have architects thought of taking such paths of conversion ?

Is the reverse process also possible?

What are the different methods of analysis?

Can architectural languages be used into formations of these builds?

How has architecture kept on drawing inspirations from parallel fields?

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METHODOLOGY One must look at the structure of this Thesis in a format where the first half involves research based on built projects and art works of architects and artists, while the second half is an extension and further development of one of the case study towards a project conducted to prove the efficiency of research, much like stating a theorem and then proving it.

Self made models, comparative diagrams and sketches play an important role in comparing the two vast attributes in an simpler manner.

The case studies should be seen not only as a pure form of research that involves, architect’s and artist’s perspective about their work but it also compares both in form of an analysis produced by the author for taking inspirations that in the second half of the book are reflected in form of parameters for design development.

These studies are a two stage chapter where we see the first part is the producer’s point of perspective and the second part is about the way the author handles it.

LIMITATIONS In architecture, getting inspired from something and initiating a design idea from that can be intriguing, at the same time there is a possibility that the design might turn out to be a literal form of replica and understanding just the essence of it is lost. Moreover translations of art could possibly turn out as literal forms of extrusion where the sole idea to perceive it in ones own way is neglected.

The attention of this thesis is on the record of a process and interpreting it to its final stretch which can lead to dissolution of the final outcome. Since the focus is always towards generating a fluent process of layers there is a possibility of leaving out certain areas of details that affect the functional aspect of the design.

With the limited time and scope to conduct the thesis and implicating it towards a project, focus shall remain on understanding the studies and keeping the design in that kind of a realm where one doesn’t get to the detailing part and the focus stays on the record of the process. Hence the research will be left open ended for someone to continue, where we sign off.

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SELECTION OF CASE STUDIES

The selection of case studies was based on, Time period.

Architectural style.

Inspiring art form/movement.

Distinct way of working.

Initial works of the architects for this specific project.

Project Type.

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Vitra Fire Station Zaha Hadid

Weil Am Rhein, Germany Suprematism

Architects painting and her translation into architectural form and space.

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House VI

Peter Eisenman

Cornwall, Connecticut Constructivism, De Stijl / Neo-Plasticism

Mondrian’s art composition Translation of the essence into Eisenman’s House VI.

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Development of a Bottle in Space

Umberto Boccioni France , Europe Futurism

Boccioni’s futuristic approach and idea in form of a sculptureReflects Ghery’s Louis Vuitton building with the futuristic shapes and strokes.

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CONTENTS Chapter I

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Chapter II

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Chapter III

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Introductory Reflections of art into architecture

Case study I - Vitra Fire Station, Zaha Hadid

Case study II III.I

House VI, Peter Eisenman

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III.II

In correspondence with Piet Mondrian’s abstract art.

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Chapter IV Case study III IV.I IV.II

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Development of a Bottle in Space, Umberto Boccioni

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In relation with Foundation Louis Vuitton Foundation by Frank Ghery

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Chapter V

Implementation of the Research.

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V.I

Introduction to the Competition

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V.II

Identification Of Parameters

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V.III Design Development

CONCLUSION BIBLIOGRAPHY LIST OF FIGURES REFERENCES

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Chapter I

The quest to understand the inspirational fields surrounding architecture and architects getting inspired from it.

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Art and architecture have always been essentially tied together in form of a collaborative attempt to demonstrate each one’s own point of perspective through a concept. The concept might arrive with a study by borrowing an essence of getting influenced by some other parallel field.

Here the work of artists have become a foreground for architects to get influenced.

Different architects have tried to understand the ideology of their work styles in order to generate a new set of paradigms for their architecture.

This chapter goes about explaining and understanding of different works of artists and their influence. Mainly the study includes works of suprematist artists, cubists, futurists and constructivists . There has been an exceptional amount of potential in terms of the works produced at that time of art periods and the adaptation has given it a appreciative representation in architecture. The focus also stays in understanding a few as examples in this chapter and later select specific works of architects and artist to study them in detail in the form of case studies.

The key thing is to understand the essence of the works of someone and how to translate in ones own understandings, just taking the jist of it and not doing a literal representation if it.

The chapter comprises of different examples where some essence is borrowed and portrayed in form of architectural representation.

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With the Russian avant-garde a large, influential wave of avant-garde modern art that flourished in Russian Empire and Soviet Union, approximately from 1890 to 1930, it produced art works which turned out to fit perfectly in the frame work of architecture designs with their concepts.

Artists achieved breakthroughs in painting, sculpture, theater, film, photography, literature, decorative arts and architecture.

In painting there is no specific style determining Russian avantgarde, since it includes various art movements such as Cubism, Futurism, Neo-primitivism, Constructivism and Suprematism.

The key point in the paintings of this period is that the artists went beyond any accepted norm and conception of art at the time and introduced the viewer to new ideas and great imagination that lead to freedom in art. The key feature of the movement was the experimentation that followed the rejected of any academic tradition.

Wassily Kandinsky’s words: “There is no must in art because art is free”.

SUPREMATISM DE-CONSTRUCTIVISM

Source:https:// useum.org/russianavant-garde/whatis-russian-avantgarde

Kazimir Malevich was a Russian avant-garde artist and art theorist, whose pioneering work and writing had a profound influence on the development of nonobjective, or abstract art.

Malevich worked in a variety of styles, quickly assimilating the movements of Impressionism, Symbolism, Fauvism and Cubism. Gradually simplifying his style, he developed an approach with key works consisting of pure geometric forms and their relationships to one another, set against minimal grounds. His Black Square (1915), a black square on white, represented the most radically abstract painting known to have been created so far and drew an uncrossable line between old art and new art”. Without the use of color or shading, the square moves beyond a sense of Cubist space with its confrontational flatness. The black and white in this composition, which can signify presence from absence Source: Tolstaya, Tatiana.

“The Square,” New Yorker, June 12, 2015. Retrieved March 21, 2018.

Fig-1.

Kazimir Malevich, 1915, Black Suprematic Square, oil on linen canvas

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The three levels of Suprematism were described

by Malevich as black, colored and white. The Eight Red Rectangles is an example of the second, more dynamic phase, in which primary colors began to be used.

The composition is somewhat ambiguous, since while on the one hand the rectangles can be read as floating in space, as if they were suspended on the wall, they can also be read as objects seen from above. The uneven spacing and slight tilt of the juxtaposed shapes in Eight Red Rectangles, as well as the subtly different tones of red, infuse the composition with energy, allowing Malevich to experiment with his concept of “infinite” space.

Malevich unveiled a radically new mode of abstract painting that abandoned all reference to the outside world in favor of colored geometric shapes floating against white backgrounds.

Because his new style claimed supremacy over the forms of nature, he called it “Suprematism.” It rejected the deliberate illusions of representational painting, Malevich saw it as a form of realism—”new painterly realism” was his term—and understood its subject to be the basic components of painting’s language, such as color, line, and brushwork.

The basic units of this visual vocabulary were planes, stretched, rotated, and overlapping.

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Fig-2.

Kazimir Malevich Suprematist Painting: Eight Red Rectangles, 1915

Fig-3.

Kazimir Malevich Suprematist Composition: Airplane Flying,1915

El Lissitzky also, was a Russian artist and architect, an important figure of the Russian avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements and involved working on transition from plane to volumetric suprematism.

He experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design. Perhaps one of the most famous work by Lissitzky in form of a tale from the same period is about Two Squares is a children’s book about a black square and a red square that fly to earth from afar. For Lissitzky they symbolized the superiority of the new Soviet order (the red square) over the old (the black square).

Fig-4.

El Lissitzky About Two Squares: Suprematist picture book for kids,1922.

Fig-5.

El Lissitzky New-man-1923

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Lyubov Popova was one of the first female pioneers in Cubo-Futurism: a fusion of two equal influences from France and Italy. Through a synthesis of styles she worked towards what she termed painterly architectonics that defined her distinct artistic trajectory in abstract form.

The canvas surface for her behaves like an energy field of overlapping and intersecting angular planes in a constant state of potential release of energy. At the same time the elements are held in a balanced and proportioned whole as if linking the compositions of the classical past to the future. Color is used as the iconic focus; the strong primary color at the center drawing the outer shapes together. She describes them as Painterly Architectonic, a series of works Popova created in response to Kazimir Malevich’s Suprematist paintings. The work comprises of brightly colored, irregularly shaped planes against a neutral background.

Popova builds a monumental composition focused on the interrelationships between individual parts. In this work, she combined the respective innovations of Malevich (in her use of colored geometric forms and the working of paint on the surface) and fellow Russian artist Vladimir Tatlin (in the overlapping elements that suggest an abstract relief.

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Her paintings, described as a constructive process, are formed on the building blocks of color and line. Fig- 7 shows there is a red triangle and a white trapezoid suggesting t h r e e dimensionality, while the v i b r a n t colors and jutting edges that seem to extend beyond the frame evoke energetic movement.

Fig-6.

Lyubov Popova Painterly Architectonic 1917

Fig-7.

Liubov Popova The Pianist 1915

P o p o v a combines the influences of Cubism and Futurism in a complex and dynamic fragmentation of the human figure.

Vladimir Tatlin was a Soviet painter, architect and stage-designer. With Kazimir Malevich he was one of the two most important figures in the Soviet avant-garde art movement of the 1920s.

He Is most famous for his design for The Monument to the Third International, more commonly known as Tatlin’s Tower that was never built.

Tatlin’s Constructivist tower was to be built from industrial materials: iron, glass and steel. In materials, shape and function, it was envisaged as a towering symbol of modernity. The main framework would contain four large suspended geometric structures. These structures would rotate at different rates. At the base of the structure was a cube, above the cube would be a smaller pyramid, further up would be a cylinder and at the top, there would be a hemisphere. Its four geometric architectural spaces suggested the idealistic collectivism that was supposed to define the modern socialist Russian culture He abandoned the historic notion of building figurative statues instead, he envisioned creating abstract public monuments that could inspire all people toward a contemplative, meaningful and thoroughly modern future.

Vladimir Tatlin and an assistant in front of the model for the Third International

Fig-8.

Fig-9.

Tatlin - drawing of his Monument to the Third International

Looking at this constructivist sculpture we see how the essence of suprematism is applied in an abstract manner for a monument comprising of shapes and volumes in a confined but non confined manner.

Fig-10.

Model of Tatlin’s Tower in the courtyard of the Royal Academy, London.

Fig-11.

Tatlin - drawing of his Monument to the Third International

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Here we see how Zaha Hadid was influenced by suprematist paintings and its principles and derived two representations from them; The Peak leisure Club Competition and a fourth year thesis project, Malevich’s Tektonik.

The influence of Russian Suprematist painter Kazimir Malevich can be seen on Zaha Hadid in her early work, such as The Peak, that visually connects to Malevich’s strict, regular shapes and lines. She employed Malevich’s painting as a design tool and studied his work and developed an abstract investigative principle from suprematism. She used painting as means of contributing her development of her proposal for the Peak Leisure Club in Hong Kong. In her painting she re imagines the topography by interjecting cantilevered beams and shardlike fragments that seem to splinter the structure into its myriad parts, as if it had been subjected to some powerful destabilizing force. In dissecting landscape and structure into geometric forms and suggesting multiple viewpoints at once. Hadid reveals her interest in Russian Constructivism and Cubism, while the composition of fractured geometries demonstrates an approach known as “deconstructivist architecture.”

The design for the peak proposal was almost a ‘Suprematist geology’, using a range of materials to realise a design that cuts through landscape rejecting traditional principles of organisation.

Fig-12.

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Painting for The Peak Club Competition; Zaha Hadid Architects

Fig-13.

Initial sketches for The Peak Club Competition; Zaha Hadid Architects

As a fourth-year student project Zaha Hadid had devised a conceptual representation and design for a fourteen level hotel near the river Thames in London. Inspired by Russian Suprematist movement and utilising the tektonik to create new possibility for interior space, a painting for the hotel in the form of a bridge, was produced by her.

In her work, Hadid was particularly influenced by Malevich’s writing that stated, “we can only perceive space when we break free from the earth, when the point of support disappears.”

Hadid used this painting to explore layering as we can see in the white, black and red simple structures, which are compiled to make variations of the layered structures in the bottom right, center, and top left of the painting. Hadid also explored fragmentation in this painting, as we see in the separation of layers, as well as in the bits and pieces of smaller geometric shapes in the lower left of the painting, which make up the larger composite structures

“I wanted to explore the mutation factor for the program requirements of a hotel on the Hingerford Bridge over Thames. The Tektonik conforms to and makes use of the apparent random composition of suprematism forms to meet the demand of the programme and the site”, Zaha Hadid.

Fig-14.

Painting Malevich’s Tektonik Zaha Hadid Architect

Fig-15.

Painting Malevich’s Tektonik Zaha Hadid Architect

Source: https:// www.academia. edu/12332322/ Zaha_Hadid_ and_The_Russian_ Revolutionary_Painter_ Kazimir_Malevich Source: https://sites.google. com/site/allenhadid/Home/ major-works/malevich-stektonik

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DE STIJL CONSTRUCTIVISM

As a pure representation of the human mind, art will express itself in an aesthetically purified, that is to say, abstract form.

The new plastic idea cannot, therefore, take the form of a natural or concrete representation”.

Piet Mondrian

De Stijl, also known as Neoplasticism, was a Dutch art movement founded in 1917. The proponents of De Stijl advocated pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual compositions to vertical and horizontal, using only black, white and primary colors. The members mainly were the painters Piet Mondrian, Theo van Doesburg and the architect Gerrit Rietveld.

The idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary, it finds its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour”.

Mondrian described Neo-Plasticism as a reductive approach to artmaking that stripped away traditional elements of art, such as perspective and representation, utilizing only a series of primary colors and straight lines. He envisioned that the principles of Neo-Plasticism would be transplanted from the medium of painting to other art forms, including architecture and design, providing the basis of the transformation of the human environment sought by De Stijl artists.

The focus here is to see different examples such as the Rietveld Schroder House, Peter Eisenman’s house 10 and the red and blue chair by Gerrit Rietveld and how they interpret the logistics of De stijl.

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Architectural highlight of De Stijl The Rietveld Schroder House, characterizes in the smooth transitions between inside and outside and the tight horizontal and vertical lines. And of course the use of only primary colors, in addition to white gray and black.

This small family house, with its interior, the flexible spatial arrangement, and the visual and formal qualities, was a manifesto of the ideals of the De Stijl has been considered one of the icons of the Modern Movement in architecture.

The difference lies particularly in the treatment of architectural space and in the conception of the functions of the building from that of other significant buildings of early modern movement.

The interiors and furniture are an integral part of its design and should be given due recognition. The Red and Blue Chair Designed

By Rietveld incorporated the characteristic De Stijl scheme of primary colors, Red and Blue Chair is one of the canonical works of the movement.

Rietveld envisioned a chair that played with and transformed the space around it, consisting of rectilinear volumes, planes, and lines that interact in unique ways, yet manage to avoid intersection. The Chair also notably avoids the use of natural form, which furniture designers tend to favor in order to emphasize the idea of physical comfort and convenience.

Fig-16.

Painting for the Rietveld Schroder House.

Fig-17.

Image of the Rietveld Schroder House.

Fig-18.

Image of the Red and Blue chair.

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Peter Eisenman House X. Not to mention its from De Stijl movement, just a study of reduction from the natural forms and appreance of a typical house.

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Most houses are conceptually supportive to their literal, necessary condition of structure and are metaphorically vertebrate.

They have a center, usually a hearth or a stair; their roofs pitch from the center, and their construction exhibits a concern for an overall centrality. The center expresses both the functional core and conceptual unity of the house. In House X, the center is nothing.

In short the approach of Eisenman here is not to create a house with a regular and more nominal approach of what it comprises of. He is not characterizing or imitating the real world definition of a house. His concept reduces to an extent that follows his set process with no additions like exposed linear elements - columns or beams. They are covered by solid vertical and horizontal surfaces, and further, two of the major horizontal living surfaces are void. It is a distortion of the Modern Movements preferred section - two solid horizontal planes – as well as of the houses traditional mimesis of anthropocentric man as Eisenman states.

Fig-19.

House X model image, Courtesy Peter Eisenman.

Fig-20.

House X graphic section, Courtesy Peter Eisenman.

Fig-21.

House X axonometric diagram, Courtesy Peter Eisenman.

The specific configurations of House X can be understood initially as the juxtaposition of four squares.

This configuration is only an initial analogue, a heuristic device used to approach a more complex sign condition, which in itself is only a possible approximation of the reality it signifies. In fact, the final configuration is a cumulative attempt to dissolve its own seeming connection with any initial analogue.

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Chapter II Vitra Fire Station Zaha Hadid

Weil Am Rhein, Germany

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Fig-1.

Fragmented imagery push the visualization of the project to its utmost refinement and dynamic expression.

Original painting for Vitra Fire Station by Hadid.

Courtesy: Zaha Hadid Architects.

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Zaha Hadid’s architectural practice followed suprematist and constructivists ideas. Based on floating lines and planes frozen in time and space, her early representation of architecture presented broken, compound angles with acute interstices that expressed considerable tension. Her reconsideration of architectural drawing, through nontraditional floor plans with spatial configurations open to interpretation, had a major impact on her architecture.

Hadid’s articulation is without origin and not concrete. She creates coloured images either on paper or canvas that precedes reality, a simulation in which the remnants of the world do not exist: they are virtual. This hyper-futuristic transformation of constructivist iconography and suprematist paintings into a claim to reality is a process of translation into a potential for use.

The choice to take an image from the art world and turn it into architecture is an entirely novel proposition. Its a passionate futuristic approach of art uprooted from reality and architecture being realized to its necessity. Moreover, the use of creative simulation with a changing virtuality on paper or canvas, liberates thoughts and forms allowing them to move freely in a finite space. The image overflows into combinations of models in a weightless atmosphereless hyperspace. All of Hadid’s futuristic work pivots on this notion of artistic imagination and virtual hyperspace.

Her definition of these projections what she calls as paintings are adoption of, to an extent, almost aerial views and perspectives of maps and urbanistic charts. Again not resembling with a finite boundary, these perspectives are accompanied with weightless, directionless conditions and angular elements leaving one free to explore the subject without any limits.

Her paintings are really an expression about how to invent a new language, more than just a necessity. As she would say,”It isn’t just about painting something but more about the combination of very complex projections, leading to the complexity in terms of organisation. It is about how the painting indicates light effects or gives a message or a picture about a story, becoming more like an architectural storyboard as opposed to just a perspective of a building.

Fig-2, Project related sketch by Zaha Courtesy: Zaha Hadid Architects.

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Fig-3.

For Hadid, painting was a design tool, an abstract, investigative structure for imagining architecture and its relationship to the world we live in.

Fig-4.

These works on paper and canvas unravel an architecture that Hadid was determined to realise in built structures and is seen in the characteristic lightness and weightlessness of her buildings.

Fig-5.

Her strong encompassing vision of arranging spaces and interpreting realities are well depicted.

Fig-6.

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Zaha Hadid never considered them as paintings, she says ‘I don’t consider them as paintings. They are painted, but really are more. They are illustrations of the project: they are very elaborate sketches, which are very important for the work. The building design begins to be seen through the paintings, and the projections, as was how distortion affected the work, and light and lighting’.

Imagining the end note to existing factory buildings, the Vitra Fire Station defines space in an emerging linear layered series of walls and floating planes, between which program elements are contained.

Drawing and painting were fundamental to Hadid’s practice.

Influenced

by Malevich, Tatlin and Rodchenko, she used drawings as the main method for visualizing her architectural ideas.

Fig-7.

Project sketches on these pages remain almost abstract for the design.

Fig-8.

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Completed in the year 1993 , the Vitra Fire Station in Weil Am Rhein, Germany by Ar. Zaha Hadid was the among the first of Hadid’s design projects to be built. The building’s obliquely intersecting concrete planes serve to shape and define the street running through the complex. This represented her earliest attempt to translate fantastical, powerful and conceptual drawings into a functional architectural space.

The building was “envisaged as a linear landscaped zone, almost as if it were the artificial extension of the linear patterns of the adjacent agricultural fields and vineyards”. Therefore rather than designing the building as an isolated object, it was developed as the outer edge of the landscaped zone: defining space rather than occupying space.

The new fire station - long, linear, narrow- emerges as a layered series of tilted walls breaking at certain points, between which program elements are contained within the spaces created.

The Building is termed, ‘movement frozen’ - a vivid, lucid expression of the tensions necessary to remain alert, to explode into actions at any moment. It resembles in terms of the fluidity of the plans and the movement of space and surface being generated.

The Vitra Fire Station is a work of architecture emerging on the ground where each fragmented piece depicts information about the whole image but does not sum it up. It attempts to create an image of evolutionary momentum based on the variants applying on the linear, layered series of wallsstretching, cutting, bending and slicing of these structures.

It almost creates this orthodox form of visual complexity of architectural montage corresponding to the urban fabric.

With its sharply defined walls and skewed surfaces, the building looks completely different depend on what angle you see it from. The program of the fire station inhabits the spaces between these walls, which puncture, tilt and break according to functional requirements. The whole building is constructed of exposed, reinforced in-situ concrete. The series of sharply angled the planes demonstrate the fluidity and visually dynamic instability of the building’s concept.

In the end, the ‘architecturally’ built piece of art is broken down into parts in such a way that allows the observer to understand the mechanism anatomically, and converges back to a complex, dramatic juxtaposition and collision between the primary elements.

The whole building is shown as a movement frozen in time.

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fig-9,10, on this page are images of the Vitra Fire Station

by Zaha Hadid. The acute planes portray the intangible forces, flows and rhythms that are depicting in her art work.

Fig-9.

Fig-10.

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Fig-11.

Fig-12.

Fig-13.

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Fig-14.

Fig-15.

41

Ground Floor Plan

First Floor Plan

Roof Floor Plan

Fig-16.

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Section AA’

Section BB’

Section CC’ Fig-17.

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Analytical sketches for the process that follows translation of the painting to its final form of architectural representation. The sketches come out in continuations of a process that decodes the painting to its very initial stage and reverts back to the final representation of its architectural form.

The painting emanates as cutouts of an astral, spherical version and appear as partial framings of the city.

This fragmented geometry of elements is subjected to free rearrangements and montage.

The analysis embarks in form tracings leading to the very initial lines where the depiction of curves from an urban fabric of a city going towards infinity are shown.

These trajectories take a step froward with an addition of horizontal segments with a further input of angular strokes as well.

The combinations of these lines convert into planes peeling up from the surface in an orderly manner. Three dimensionality of the planes add to the linear, layered series of walls.

Maintaining the angular geometry from the previous stages the design starts to emerge in form of these acute planes and vertically oriented walls.

The later stages depict the solid mass of the built with further addition of punctures, cutouts and layer of a light.

The final product is the formulation of all these elements put together to produce this architectural piece of art.

The image on the right shows all the consecutive sketches. From the next page elaborative analysis is show.

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Fig-18, A progressive display of sketches defining the process for translating the art work of Zaha to her building Vitra fire Station.

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Diagram-1, Sketch by primary subject.

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Hadid’s painting for the Vitra Fire Station showed characteristics of explosion and fragmentation of some kind. The object is broken down into parts to get an understanding about the compositional anatomy of the dramatic juxtaposition and collision between its primary components.

Fig- 19,20,21, above show Different views of the same model.

Fig-22, Original painting by Zaha.

I.

Fig-23, Physical model for analysis.

As the first step in the process of analysis, the painting produces this image where certain lines of force are trying to extract out of a fabric of some sort producing a strong curvilinear axis towards a vertical direction. These lines almost give out a slow momentary motion due to their dynamic nature. They show no signs of termination and remain in that fluidity of motion almost leading towards infinity.

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Diagram-2, Sketch by primary subject.

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The painting gives rise to these exploded elements hovering around in some sort of space with a secondary dimension mainly, an acute angled one.

Fig- 24,25,26, above show Different views of the same model.

ibid.p.22 Original painting by Zaha.

II.

Fig-27, Physical model for analysis.

With the impression of the previous layer, an addition of horizontal lines from the painting are overlaid. This gives another dimension to the process. Also, these lines do not terminate abruptly, there is a subtle dissolution towards the end. Reason being, the sole idea is about the linear momentum that leads towards infinity in all directions.

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Diagram-3, Sketch by primary subject.

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When you look at the painting carefully you see there is no ground plane on to which the fragmentation process happens. This is because of the reason that Hadid uses air as a foundational element and the generated objects float on that plane.

Fig- 28,29,30, above show Different views of the same model.

ibid.p.22 Original painting by Zaha.

III.

Fig-31, Physical model for analysis.

The slow revealing process of the paining goes on with extraction of all the lines from different directions. This generates a chaotic sketch of lines that have no specific point of emergence yet they lead to a point of dilution. The lines now start extruding in form of linear, layered series of planes that gives a different dimension to the model. A slight trace of the city fabric appears.

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Diagram-4, Sketch by primary subject.

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The painting shows a systemic character lay in the permutation of elemental shapes in colours black, white and grey - beginning with rectangle, trapezium, triangle, ellipse and combination of all of these.

Fig- 32,33,34, above show Different views of the same model.

ibid.p.22 Original painting by Zaha.

IV.

Fig-35, Physical model for analysis.

The previously generated geometric pattern of lines and vertical planes transform in what we see as dynamic planes.

These sharp and angular planes show the effect of peeling up from the per-imagined ground and start to give a floating effect of elements in space. The city fabric is also viewed in a similar form, generating a series of peel -ups and accentuating in form of traces.

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Diagram-5, Sketch by primary subject.

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Hadid’s paintings and drawings, like those of suprematist not only recede into the depth of the space depicted but also advance out of the picture plane.

Fig- 36,37,38, above show Different views of the same model.

ibid.p.22 Original painting by Zaha.

V.

Fig-39, Physical model for analysis.

This leads to the development of a central vertical spine where the change of events keep on occurring. A combination of sharp and angular planes with the linear, layered walls starts to give the idea of the building form but in a very abstract manner. The repercussions of this are seen in the form of smaller exploded elements along the spine.

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Diagram-6, Sketch by primary subject.

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Her paintings are sometimes enigmatic-though they mainly illustrate composite views responding to different vanishing points and projective geometriesthe models further develop notions of transparency, interpenetration and light.

Fig- 40,41,42, above show Different views of the same model.

ibid.p.22 Original painting by Zaha.

VI.

Fig-43, Physical model for analysis.

As we have seen since the start of the process, the analysis has never taken a pause in terms of addition of layers. The way Zaha had drawn this painting, explaining about a ‘movement frozen’, the depiction of that is evidently shown in all the previous analysis done. This now leads to unfolding of the abstract figure into architectural expression and slowly starts matching the resemblance of the building. The model here is still suggesting an abstract version of the Virta Fire Station.

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Diagram-7, Sketch by primary subject.

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Hadid developed forms that separate from each other and involve space within the frame of buildings whose parts open to accept and enfold space within them.

Fig- 44,45,46, above show Different views of the same model.

ibid.p.22 Original painting by Zaha.

VII.

Fig-47, Physical model for analysis.

The previous process shows how the painting unfolds to an architectural expression of a building. Now the focus changes to how the same ideas have been expressed in terms of the building aesthetics. A suggestive model is shown where the three longitudinal box tubes are interlocked generating functional spaces between the enclosure. Only the volumetric analysis is seen retaining the angularity in form of edges and extended linear planes.

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Diagram-8, Sketch by primary subject.

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Air and space have always been Hadid’s preferred medium for foundations. She chose to paint her structures floating against the infinity of a completely white or black background without any substance.

Fig- 48,49,50, above show Different views of the same model.

ibid.p.22 Original painting by Zaha.

VIII.

Fig-51, Physical model for analysis.

In addition to the sequential paradigm of models, the current one shows the use of principles and aesthetics on the building facades and walls. The walls, which appear as pure planar forms from the outside, are punctured, tilted, or folded in order to meet internal requirements for circulation and other activities. The spaces inside show similar characteristics of dynamic volumes, representation of forces and visually disstabilized forms.

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Diagram-9, Sketch by primary subject.

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While studying the revolutionary Russian work, Hadid realized how modern architecture is built upon the breakthrough achieved by abstract art. Her belief is that art is about a re-presentation rather than a creation.

Fig- 52,53,54, above show Different views of the same model.

ibid.p.22 Original painting by Zaha.

IX.

Fig-55, Physical model for analysis.

A final representation of the building form with facade details and structural understanding. It consists of spaces for fire engines, showers and changing rooms for the firemen as well as a conference room and a kitchenette. The planes which form the walls and roof are formed from exposed, cast insitu concrete. Hadid specified that the visual purity of these elements was to be strictly maintained; roof cladding and edging, which would have distracted from the otherwise crisp edges of the concrete, was avoided.

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Fig-56, source: https://www.irishtimes.com/polopoly_fs/1.2594111.1459447020!/image/ image.jpg_gen/derivatives/landscape_490/image.jpg

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Chapter III A comparative case study between art and architecture of different time period and generating certain similarities between them.

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III.I

House VI Peter Eisenman

Cornwall, Connecticut United States

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Fig-1, Peter Eisenman, Study-sketch, House VI, Courtesy Eisenman Architects,

Fig-2, Peter Eisenman, Axon study sketch, Courtesy Eisenman Architects,

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The House VI located in Cornwall,Connecticut was designed

by Ar. Peter Eisenman being one of his most critical works in the modernist period of time. Completed in the year 1975 the building stands out to be “record of design a process”, where the structure that results is the methodical manipulation of a grid. In 1967 Eisenman had begun the first of a series of residential designs, labeled “cardboard architecture” because of their thin white walls and model-like qualities. It was here that he explored the implications of his theories in built form.

COMPONENTS/FOUNDATION

STRUCTURE VS. NON-STRUCTURE

GRINDING / DECONSTRUCTION

AXIS / STAIRS

Peter Eisenman designed the house for two of his clients Mr. and Mrs. Richard Frank,and was built for the purpose of being a getaway house to be used during holiday periods. The building was designed in such a way that the user would be forced to live in a work of art and will have to grow accustom to the house. His early works are mostly residential housing characterized by geometrical designs starting from a cube with vertical and horizontal grid. This shows that the architect was quite influenced by Purism.

House VI is both an object and a cinematic demonstration of a transformational process. The object not only is an end product of its own generative history but also serves as a complete record of it wherein the history, process and product begin to be interchangeable. The perception of space in House VI is a geometric system that has a frontal orientation. However, there are some unquestionable peculiarities in the house – no compositional uniformity or proportional congruences, a lack of dynamic balance, etc. – That resist conventional perceptual relations. These “unassimilable idiosyncrasies” are signs of another geometrical order – topological – operating on a conceptual level.

In House VI, a particular juxtaposition of solids and voids produces a situation that is only resolved by the mind discovering a need to change their position. This mental attempt to reorder the elements is triggered by their precise size, shape, and juxtaposition. This produces a sense of tension or compression in a particular space that is not created through the actual position of walls but is in our conception of their potential location. The sense of warping, distortion, fluctuation, or articulation occurs because of the mind’s propensity to order or conceptualize physical facts in certain ways, like the need to complete a sequence A-B or to read symmetries in a straight line.

Source : https://eisenmanarchitects. com/House-VI-1975

House VI is not an object in the traditional sense – that is, the result of a process – but more accurately a record of a process.

INTERIOR VOLUMES Fig-3, Analytical diagrams for the house.

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Some non-functional compositions play a reminding role of an architectural process such as the two coloured stairs one of which(red, upside down) whose function is only to divide the building and provide the house with symmetry.

The columns penetrate walls or floors and even float in the mid air get a compositional role to play.

Fig-1,2,3, Photographed images of House VI by, Peter Eisenman, Courtesy Eisenman Architects,

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Fig-4.

Fig-5.

Fig-6.

Eisenman created a form from the intersection of four planes, subsequently manipulating the structures again and again, until coherent spaces began to emerge.

In this way, the fragmented slabs and columns lack a traditional purpose, or even a conventional modernist one.

The envelope and structure of the building are just a manifestation of the changed elements of the original four slabs, with some limited modifications. The purely conceptual design meant that the architecture is strictly plastic, bearing no relationship to construction techniques or purely ornamental forms.

Fig-7.

This Non-functional composition plays a role as a reminder of an architectural process.

However, the unconventional and nonfunctional design requires the users to get accustomed to it.

Fig-7,8, Photographed images of House VI by, Peter Eisenman, Courtesy Eisenman Architects,

Fig-8.

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Fig-9.

Exterior image of House VI.

Fig-10, Exterior image of House VI.

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Set of nomenclatures that would describe how the undermined process started and was continued with the same principles of design.

ROTATION ARRAY OFFSET STRETCH MONTAGE GRID PANELING

Fig-11, Exterior image of House VI.

INVERSION SLIPPAGE MIRROR VOLUME ARTICULATION IMPIELD SPACE ACTUAL SPACE JUXTAPOSITION ARTIFICIAL EXCAVATION No Compositional Uniformity No Proportional Congruences Lack of Dynamic Balance Juxtaposition of solids & voids Fig-12, Exterior image of House VI Showing details.

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Fig-13.

Ground Floor Plan

Fig-14.

First Floor Plan

Peter Eisenman, Floor Plans, House VI, Courtesy of Archdaily.

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Fig-15.

Section AA’

Fig-16.

Section BB’

Fig-17.

Section CC’

Peter Eisenman,Sections, House VI, Courtesy of Archdaily.

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Fig-18.

Section DD’

Fig-19.

Section EE’

Fig-20.

Section FF’

Peter Eisenman, Sections, House VI, Courtesy of Archdaily.

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Fig-21.

Peter Eisenman, Diagrams, House VI, Courtesy of Eisenman Architects.

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Fig-22.

Peter Eisenman, Diagrams, House VI, Courtesy of Eisenman Architects.

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Fig-23.

Sketches of the related case study of House VI by Author.

1. 4 intersecting lines projected and become intersecting planes.

2. Equal division on these intersecting planes as guides for later stages.

3. The length of two planes is extended.

Rest stay at the previous positions.

4. Inversion of two planes, one previously extended .

5. Two of the planes fall down making vertical level slippage.

6. Some parts of the planes get removed.

7. Paneling of planes with other parts keep extend, subtract and shift to form montage.

8. The sequence of the walls a d d e d elements makes space and form.

9. The result is a record of the process into a built form.

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Sketch for the related case study of house VI, Source: author.

Series of sketches for the related case study of house VI, Source: author.

Diagram-1.

Fig-24.

ibid.p.23.

Fig-25.

House Vi is not an end product of a design development but rather a record of the process.

Fig- 24, 25, 26 show different views of the same model.

Fig-26.

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Fig-27.

Physical model for analysis, Source : author.

I.

The design process of House VI starts with a notion of cube in position. After this, only the outer edge of the cube is considered in the from of a frame and the later process generates a plane of four grid line. These lines are then cornered and extruded to create a composition of four intersecting walls.

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Sketch for the related case study of house VI, Source: author.

Series of sketches for the related case study of house VI, Source: author.

Diagram-2.

Fig-28.

ibid.p.23.

Fig-29.

The process itself becomes an object; not an object of an aesthetic experience or a series of iconic meanings, but an exploration into the range of potential manipulations unknown in the nature of architecture.

Fig- 28, 29, 30 show different views of the same model.

Fig-30.

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Fig-31.

Physical model for analysis, Source : author.

II.

After the four lines projected into four intersecting planes, each plane is sub divided into three parts. The division is not in a literal sense rather just an indication on the planes in form of a trace. These lines have been extended on the ground plane as well in form of an imprint.

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Sketch for the related case study of house VI, Source: author.

Series of sketches for the related case study of house VI, Source: author.

Diagram-3.

Fig-32.

ibid.p.23.

Fig-33.

Eisenman’s early works are mostly residential housing. These houses are characterized by geometrical designs as they start from a cube with vertical and horizontal grid.

Fig- 32, 33, 34 show different views of the same model.

Fig-34.

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Fig-35.

Physical model for analysis, Source : author.

III.

In this sequence of analysis, Eisenman deals with a series nomenclature that defines each step and the change it undergoes. Over here the term extension has been highlighted wherein you see two of the planes extend out of the frame produced earlier, depicting a cube, in the start of the process.

Other details about the division of planes stay constant.

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Sketch for the related case study of house VI, Source: author.

Series of sketches for the related case study of house VI, Source: author.

Diagram-4.

Fig-36.

ibid.p.23.

Fig-37.

Peter Eisenman is one of the architects who sought Semiotic Architecture which means he tried to understand and explain architectural meanings based on the grammar system of language.

Fig- 36, 37, 38 show different views of the same model.

Fig-38.

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Fig-39.

Physical model for analysis, Source : author.

VI.

As the process continues, one of the two extended planes undergoes inversion that creates a major compositional change from the previous ones. The frame still remains constant where as the movement of planes creates a change in the position of the divided marks on them.

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Sketch for the related case study of house VI, Source: author.

Series of sketches for the related case study of house VI, Source: author.

Diagram-5.

Fig-40.

ibid.p.23.

Fig-41.

Eisenman had created a house that was maze like, completely ignoring the rules of a normal house.

His idea about form not following function is quite well portrayed.

Fig- 40, 41, 42 show different views of the same model.

Fig-42.

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Fig-43.

Physical model for analysis, Source : author.

V.

The of extension, inversion and extrusion of planes had created some kind of complex composition which over the later stages will be even more composite. One of the plane is stretched in such a way that the remaining planes seem to float. The idea of slippage generates compositional variations in the planes and they no longer look aligned with each other.

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Sketch for the related case study of house VI, Source: author.

Series of sketches for the related case study of house VI, Source: author.

Diagram-6.

Fig-44.

ibid.p.23.

Fig-45.

Eisenman challenges conventional ideas about how a house should look like. House VI was a study between actual structure and architectural theory.

Fig- 44, 45, 46 show different views of the same model.

Fig-46.

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Fig-47.

Physical model for analysis, Source : author.

VI.

The design process is about shifting, subtracting and extending the elements until it is developed enough. Parts of the planes are removed giving an abstract notion of structure and circulation. Further addition of planes and solids generates internal spaces.

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Sketch for the related case study of house VI, Source: author.

Series of sketches for the related case study of house VI, Source: author.

Diagram-7.

Fig-48.

ibid.p.23.

Fig-49.

Some of the beams and columns do not contribute to the structural support, but are there to enhance the conceptual design.

Fig- 48, 49, 50 show different views of the same model.

Fig-50.

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Fig-51.

Physical model for analysis, Source : author.

VII.

In continuation to the subtracted pieces from the planes, new formed planes in front and side of the cut outs stand to give a compositional complexity. These planes are coloured red and blue just to give an aesthetic sense of colour contrast with white.

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Sketch for the related case study of house VI, Source: author.

Series of sketches for the related case study of house VI, Source: author.

Diagram-8.

Fig-52.

ibid.p.23.

Fig-53.

The purely conceptual design meant that the architecture is strictly plastic, bearing no relationship to construction techniques or purely ornamental form, showing characters of ‘cardboard architecture’, as Eisenman would term.

Fig- 52, 53, 54 show different views of the same model.

Fig-54.

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Fig-55.

Physical model for analysis, : Author.

VIII.

The composition slowly starts to resemble in form of a house more like a piece of art crafted architecturally. The previously generated planes create a montage with other elements and give a sense of space and circulation to the model.

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Sketch for the related case study of house VI, Source: author.

Series of sketches for the related case study of house VI, Source: author.

Diagram-9.

Fig-56.

ibid.p.23.

Fig-57.

There are two coloured stairs one of which is upside down, and columns that penetrate from walls or floors and even float in the mid air. These Nonfunctional compositions play a role as a reminder of an architectural process.

Fig- 56, 57, 58 show different views of the same model.

Fig-58.

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Fig-59.

Physical model for analysis, Source : author.

XI.

At the final stage of this record of process we see the house emerging with certain characteristics that a conventional house wouldn’t possess. It shows a different approach towards architecture and its implications. A few observations include; It gives a spiritual dimension to the house as the users are able to relate to outdoors, one of the column does not touch the ground done intentionally which creates obstruction to human circulation, beams are stacked and overlapped with each other instead of intersecting, slits and planes help create rhythm and geometry of the space.

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Fig-60.

Source : https://bloximages.chicago2.vip.townnews.com/countytimes.com/content/tncms/assets/v3/ editorial/9/90/990b5305-e1c4-5ac2-8021-8a87fa3c61a6/57d191a96e359.image.jpg

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“I believe it is possible that, through horizontal and vertical lines constructed with awareness, but not with calculation, led by high intuition, and brought to harmony and rhythm, these basic forms of beauty, supplemented if necessary by other direct lines or curves, can become a work of art, as strong as it is true.”

Piet Mondrian -Jackie Wullschlager, “Van Doesburg at Tate Modern”, Financial Times, 2010/6/2

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III.II

Composition in Red, Blue, and Yellow Piet Mondrian De Stijl, Modern art

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There are many fields that have contributed to architecture. Art being one of the most crucial one has always been a representation of culture or practice, whatever is there at that time period.

Architects have been trying to adapt these distinct techniques to their work in hopes of achieving a similar, theoretical goal.

Piet Mondrian’s work in this orderly fashion of being abstract and to a minimalistic approach has intrigued architects in understanding the simplest form of translations that could turn out to give a complex yet so powerful design.

“I construct lines and colour combinations on a flat surface, in order to express general beauty with the utmost awareness.

Nature (or, that which I see) inspires me, puts me, as with any painter, in an emotional state so that an urge comes about to make something, but I want to come as close as possible to the truth and abstract everything from that, until I reach the foundation of things”.

-Piet Mondrian -Jackie Wullschlager, “Van Doesburg at Tate Modern”, Financial Times, 2010/6/2

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Piet Mondrian was a Dutch painter who is regarded as one of the greatest artists of 20th century. Known for being the pioneer of abstract art, his paintings changed the direction from being figurative to increasingly abstract styles to a point where it was just simple geometric elements.

Contributor and co-founder to the De Stijl art movement that evolved in a nonrepresentational form of style which he termed Neoplasticism. It was a generation of a new kind of ‘pure plastic art’ which he believed was necessary in order to create universal beauty.

In order to express this notion of plastic art Mondrian limited his formal vocabulary to the three primary colours (red, blue and yellow), three primary values(black, white and grey) and the two primary directions(horizontal and vertical). His work had an enormous influence on not only the course of abstract paintings and art movements, but also fields outside the domain of painting, such as design, fashion and architecture.

Mondrian’s aim was to create the essence of life itself through abstraction, which relies on what he refers to as the universal means of expression: straight lines and primary colours.

Thick black lines separate the forms, which are larger and fewer in number, and majority of the forms are left white. The lines extend all the way to the edges of the canvas, almost giving the impression that the painting is a fragment of a larger work.

Mondrian contributes to the abstract visual language in a large way despite using a relatively small canvas. Thick, black brushwork defines the borders of the different geometric figures.

Fig-61.

Composition in Red, Blue, and Yellow,

by Piet Mondrian.

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In from of a comparative analysis between Peter Eisenman’s work style and that to Mondrian’s minimalist paintings, a hypothesis is derived stating the collation.

Both being from different time periods of constructivism and De Stijl respectively narrate similar congruences in therms of: Compositional Sense Aesthetics Division Of Spaces Idea of Reduction Abstract ideology.

Various architects and artist have shown their respective work in the from of a collaborative approach between art and architecture. Art works from different time period became a source of inspiration to start with. Therefore here we connect Mondrian’s painting to Eisenman’s house VI and how a representation of architectural space and form can be derived in a sequential process.

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Fig-62.

One of Mondrian’s painting taken as an example to show a sequence of analysis on it

Art and architecture have essentially been tied together from the beginning of time. Both have simultaneously shown traits of a culture that is there during that time.

Here the main focus is to understand this abstract notion between architecture of the art piece and show the similar traits in from of a sequence of models. Although there has been no record of Mondrian’s paintings being related that to eisenman’s work, it gives the opportunity to quantify the similar notions between them and later convert to certain set parameters.

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Fig-64.

Diagram-10.

Plan view of the analytical model.

Fig-65.

Fig-66.

Fig-63.

Isometric view of the analytical model.

Fig- 64, 65, 66, 67 show different views of the same model.

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Fig-67.

Fig-68.

Physical model for analysis made by self.

I.

Composition with Red, Blue and Yellow is a product of the Dutch, De Stijl movement that shows characteristics such as reduction to the essentials of form and colour.

The horizontal black lines are extruded and the composition is repeated vertically at different intervals which generate intersection of grids in an orthogonal manner. The distance between these flat compositions of black lines is taken proportionally from the original painting. It gives a similar formation of lines when looked at the model in elevation. The primary colours are shown in form of planes in relation to the three axis. Therefore when looked at the model from any side, different compositions of the same painting are seen.

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Fig-70.

Diagram-11.

Plan view of the analytical model.

Fig-71.

Fig-72.

Fig-69.

Isometric view of the analytical model.

Fig- 70, 71, 72, 73 Show different views of the same model.

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Fig-73.

Fig-74.

Physical model For analysis made by self.

II.

The black lines in the painting tend to go out of the canvas suggesting that they are still in continuation and show no signs of termination. This characteristic shows that Mondrian’s paintings were seen as a part of a bigger picture that had a tendency to grow further, in rhythmic expansion, beyond the edge of the canvas.

T h e composition of black lines creates certain points where they extend out of the frame showing the Idea about infinite canvas. The coloured planes create permutations when intersected with different planes. The idea to add these secondary planes is to eventually show how the composition can be conceived as an architectural expression.

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Fig-76.

Diagram-12.

Plan view of the analytical model.

Fig-77.

Fig-78.

Fig-75.

Isometric view of the analytical model.

Fig- 76, 77, 78, 79 Show different views of the same model.

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Fig-79.

Fig-80.

Physical model For analysis made by self.

III.

The contrasting horizontal and vertical lines represented an active relationship to Mondrian, in which he intended to mimic the rhythm and vibrations of life. The reduced colours of red blue and yellow and accentuated thick, black lines that cross over each other are similarly rendered.

The representation of these in architectural terms of form and space are carried out in the process. The final stage we see here is some abolition of black lines into the masses represented by primary colours where as the others still remain extended and outside the frame to show the record of process and to serve a greater meaning to it.

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Chapter IV

An attempt to capture the infinite lines of force in a futuristic sculpture by an artist Umberto Boccioni and relating the similarity of these force of lines with the work of Ar. Frank.O.Ghery.

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118

IV.I

Development Of A Bottle in Space Umberto Boccioni France

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Fig- 1 Sketch by Umberto Boccioni from his book, “Technical Manifesto of Futurist Sculpture.”

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Umberto Boccioni was an influential Italian painter and sculptor. His works helped shape the revolutionary aesthetics of the Futurism movement as one of his principal figures.

His approach was towards the dynamism of form and deconstruction of solid mass. Boccioni published his book “Technical manifesto of Futuristic sculpture”, in the year 1912 where he attempted to depict a “synthetic continuity” of motion, instead of an “analytical discontinuity” by the means of sculptures.

Development of a Bottle in Space is a bronze futuristic sculpture by Boccioni. Initially being just a sketch(fig 1) in the book ‘Technical Manifesto of Futuristic Sculpture, it was later transformed into a sculpture by him . The attempt was to create a sculpture that both molds and encloses space within itself.

The subject matter of Boccioni’s work, a deconstructed glass bottle, fits into the framework of futurism, a movement largely obsessed with recent technological innovations.

Fig- 2 Image of the bronze sculpture by Futurist artist and sculptor, Umberto Boccioni.

“All things move, all things run. A profile is never motionless before our eyes, but it constantly appears and disappears. On account of the persistency of an image on the retina, moving objects constantly multiply themselves; their form changes, like rapid vibrations, in their mad career. Thus a running horse has not four legs, but twenty, and their movements are triangular.”

-Umberto Boccioni.

From his book,“Technical Manifesto of Futurist Painting”.

Source: http://www.unknown.nu/futurism/ techpaint.html

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Fig- 3 Image of the bronze sculpture by Futurist artist and sculptor, Umberto Boccioni.

Fig- 4 Image of the bronze sculpture by Futurist artist and sculptor, Umberto Boccioni.

Source: http://www. aaronartprints.org/boccionidevelopmentofabottleinspace.php

The artist explains his intention to “open the figure like a window and include in it the milieu in which it lives.” He also stated his desire to “proclaim the absolute and complete abolition of finite lines and the contained statue.”

This 20th century sculpture depicts movement, speed, and technology (Futurist movement). The Development of a Bottle in Space, cast in silvery bronze, was stripped open and sculpted, a process that involved breaking a bottle into winding sections and combining relative and absolute motion to give it a rotary appearance.

Preface of the catalogue for the First Exhibition of Futurist Sculpture in Paris (1913)

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Umberto Boccioni explained his vision for the piece by stressing the need for “fusion of the environment with the object” in order to “make the figure live in its environment without making it a slave to a supporting base.”

Boccioni published, “Technical Manifesto of Futurist Sculpture” in June 1913 and had produced eleven sculptures, including Development of a Bottle in Space.

Rather than delineating the contours of his subject, a bottle, Boccioni integrated the object’s internal and external spatial planes, which appear to unfold and spiral into the surrounding space.

His idea was to abolish the traditional subject matter from a sculpture and in all the arts, removing all emphasis from the subject matter, rendering them unimportant to the viewer.

Fig- 5 Sketch by Umberto Boccioni from his book, “Technical Manifesto of Futurist Sculpture.”

To break free from the traditional notions, futurists admired and emphasized elements of modern society: speed, technology, youth and violence, the car, the airplane, the industrial city, all that represented the technological triumph of humanity over nature.

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Over the course of the year following the creation of this document, Boccioni created a dozen sculptures. He cast them only in plaster, evidently demonstrating the classic Futurist mentality, being concerned more with ideals than with making something that will last through the ages. His sculptures were primarily concerned with the idea of conveying what he called “succession,” or a series of events.

He believed that succession should be conveyed by a single abstracted composition, through an “intuitive search for the unique form which gives continuity in space.” Umberto Boccioni used that phrase as the title for one of those first dozen sculptures, which he believed embodied the idea’s essence.

Source: https://www. ideelart.com/magazine/ umberto-boccioni-uniqueforms-of-continuity-inspace

One of Boccioni’s most intriguing Futurist sculptures, the Development of a Bottle in Space, depicts the motion of a manufactured industrial product in the process of assembling itself in physical space.

Fig- 6 Image of the bronze sculpture by Futurist artist and sculptor, Umberto Boccioni.

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The attempt here is to capture the motion and the flux that the sculpture reveals to us in form of these series of sketches which will be later converted in the form of modeled sculptures portraying the same energy. The stages shown bellow go through a reverse process of extracting these infinite lines of force from this contained statue of the sculpture.

STAGE I Sketch of the original sculpture in its actual scale and proportions.

Diagram-1.

STAGE II Tracing some strokes from the previous sketch edges.

Diagram-2.

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STAGE III The stroke lines start getting abstracted, turning into curved lines.

Diagram-3.

STAGE IV They are now almost representing the idea of infinite lines with speed and velocity.

Diagram-4.

STAGE V The notion of bottle almost disappears and is just represented inform of curved strokes.

Diagram-5.

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I.

Diagram- 6.

The process takes a reverse direction in assembling of the sculpture with a series of models that slowly unfold in order to attain what could be the initial stage of the sculpture. It is imagined that the sculpture was initially just a bottle with a solid base and a frame that showed the sign of being contained. The sculpture suggests that it was developed in form of cuts and sections rotating around it. These cuts on the sculpture therefore suggest that the initial lump of mass was just an inorganic shaped material which had the tendency of getting molded, and is then developed in form of a bottle that continues to form the sculpture. Even in the initial sketch from the book, Technical Manifesto of Futurist Sculpture, it is evidently seen that the current shape of the figure relates to the profile of a bottle.

Fig-7.

Fig-8.

Fig- 7, 8, 9 , show different views of the same model.

Fig-9.

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Fig-10.

Physical model for analysis, Source : author.

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II.

Diagram- 7.

The futurist movement was associated with speed, velocity and momentum.

The depiction of these terms was well established in any form of sculpture or art form. The process of unfolding of events continues and the next stage shows how the transformation starts. With some cuts starting from the top and going around the bottle giving it a rotatory motion and how the mass is changing in terms of winding sections, a stage of reduction is achieved.

The other focus here is about reducing the object till a point where it doesn’t remain original but reminds us of the original, a sense of reduction in terms of layers. With the development on the bottle, the side elements start to emerge in an abstract yet fluidic form with some modulation on the base while giving it a dynamic form.

Fig-11.

Fig-12.

Fig- 11, 12, 13, show different views of the same model.

Fig-13.

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Fig-14.

Physical model for analysis, Source : author.

131

The figures on the page 133 basically capture how the primary subject went about in making each stage of the sculpture. It shows the record of each winding section in a sequential progression.

With every stage a relation to the original sculpture is considered and each cut is produced with a tinch of futuristic ideology. Every stage when seen individually can be proclaimed as a convolution of sections twisting and turning to give the bottle a revolving appearance.

As the artist proclaims that it’s depicting motion of manufactured industrial products under a process of assembling itself in physical space, the piece offers a foreboarding clue to the futurist’s adoration of mechanized world to which they react. It is a vision about self sustaining industrialized future that has in many ways come to pass, in which products assemble themselves and mechanized movement occurs on its own without human interaction.

On a different point of perspective one could say that the sculpture is just an abstract assortment of geometric forms lumped in some sort of a mountain.

132

Fig-15.

Fig-16.

Fig-17.

Fig-18.

Fig-19.

Fig-20.

133

III.

Diagram- 8.

The sculpture is formed through a process that involved breaking a bottle into contortion sections and combining relative and absolute motion to give it a rotatory appearance. The idea now is that throughout the process the essence of the bottle, being the initial stage, was never lost. So in order to continue the process every stage needs to retain the original form of bottle as a diluted essence, and continue adding the curvatures around it in a rotating manner. The third stage behaves a as pivotal point between the initial model and the final sculpture where its form needs to satisfy both the ends with the kind of transformation it undergoes.

With some simple cuts in an orderly manner on the bottle, shifting of the mass in form of section planes, certain gestures on the base adjoining the central piece and the base getting completely dynamic with some cuts, it shows a systematic sequence of decoding the sketch into stages of intervals.

Fig-21.

Fig-22.

Fig- 21, 22, 23, show different views of the same model.

Fig-23.

134

Fig-24.

Physical model for analysis, Source : author.

135

IV.

Diagram- 9.

Fig-25.

With the process coming to an end what we see is the final stage of it, the sculpture itself. Through this sequence of models, the interpretation of the final one comes about, that the way its been sculpted from a primary source, a bottle, to the final outcome, an essence of that bottle is never lost. Things start wrapping around it, shifting and moving from the mass in a transformed manner, still the inherent idea about something being contained still remains. As Boccioni claims that you cannot separate a subject from its surroundings, the subject here being a profile of bottle is still retained.

Fig-26.

The eye can only capture what is visible to it, but to arrive at something that resides beyond the eye in the mind,in the heart, or in the spirit, is something that art can provide.

Fig- 25, 26, 27, show different views of the same model.

Fig-27.

136

Fig-28.

Physical model for analysis, Source : author.

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138

IV.II

Louis Vuitton Foundation Frank.O.Ghery Paris, France

139

Fig-29.

Fig-30.

Fig-29,30,31, are project sketches

by Frank Ghery.

Courtesy El Croquis

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Fig-31.

Designed by Frank.O.Ghery, The Louis Vuitton Foundation was completed in the year 2014 in Paris, France, is an art museum and a cultural center. Ghery successfully met the challenge of designing the building as an institution that tangibly expresses art and culture of the city. The building site is designed after the founding principles of 19th century landscaped gardens. It responds to the setting of the Jardin d’Acclimatation(children’s amusement park) in north, evoking the tradition of 19thcentury glass garden buildings, and fulfills the desire to create this contemporary art museum.

The built had to be within the area and a two-story volume of a bowling alley that previously stood on the site. Anything higher had to be glass. The outer form of the building takes the form of a sailboat’s sail inflated with winds.

Constructed on the edge of a water garden created especially for the project, the building comprises of an assemblage of white blocks (known as “the icebergs”) clad in panels of fiber-reinforced concrete, surrounded by twelve immense glass “sails” supported by wooden beams. The sails give the building its transparency and sense of movement, while allowing the building to reflect the water, woods and garden and continually change with the light.

Source : Ghery Partners https://www.archdaily. com/555694/fondationlouis-vuitton-gehrypartners

“To reflect our constantly changing world, we wanted to create a building that would evolve according to the time and the light in order to give the impression of something ephemeral and continually changing”’ -Frank Ghery

Source : FIDIC Awards 2015 http://fidic.org/sites/ default/files/SETEC%20 Candidature%20-%20 Fondation%20Louis%20 Vuitton%20_1.pdf

Fig-32.

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Fig-33.

The building rises from a grotto-like level below grade.

Fig-34.

Glass sails projecting form ‘ice bergs’.

The building is originally conceived as a cloud floating above water and among trees, encapsulates light and motion while merging harmoniously with the 19th century park. It is a luminous building, perfect for the City of Light.

Fig-35.

Glass sails enveloping the LV Foundation building.

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From an initial sketch drawn on a blank page in a notebook to the transparent cloud sitting at the edge of the Jardin d’Acclimatation in the Bois de Boulogne, the artistic statement is inspired by the 19th century glass roof architecture of French gardens, the natural, ephemeral shapes and power of icebergs, and the sails of a ship.

The project has been a catalyst internationally for innovation in digital design and construction, setting a new standard for the use of advanced digital and fabrication technologies.

It required innovative technological developments, from the design phase with the use of 3D design software, Digital Project, specially adapted for the aviation industry.

The built masses and the glass sails were metaphorically compared to solid ice bergs and to a boat’s sail. It also gave a resembling idea about clouds floating above water and around the foliage of trees.

Fig-36.

View of the roof terrace.

Fig-37.

View of the wooden supports for the glazed roof “sails.”.

Fig-38.

“A veritable ship amongst trees.”

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STAGE I According to the functional requirement, the area is distributed and these vertical volumes are erected metaphorically as ‘ice bergs’.

On this, the tripods are subjected to hold on the later structure.

Fig-39.

STAGE II A layer of skin is covered on these volumes of function .

Material being mainly glass, concrete and ceramic tiles.

The use of gluelam beams as structural tripods gives quite a setting of the building with the garden landscape.

Fig-40.

STAGE III Onto these tripods, the structural part of these sails is constructed which starts covering the inside volumes and gives the building a dynamic look.

Fig-41.

STAGE IV The structural sails are covered with a layer of glass panels giving the building a smooth and a very motion like kind of feel.

Fig- 39, 40, 41, 42 Show progressive animated images for layered sequence of construction.

Courtesy: Arch Daily

Fig-42.

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I.

Diagram- 10.

Fig-43.

To begin a comparative analysis of Umberto Boccioni’s Development of bottle in space, with Frank Ghery’s Louis Vuitton Foundation, they express similar characteristics in terms of the futurist movement and the process both undergo.

The building reflects the notions of futurism dealing with force,speed, momentum and technological advancements in terms of construction. The Louis Vuitton Foundation resolves itself in form of a conventional building with architectural expression of form and space. The circulation aspect, fenestrations and other functional aspects of the building are resolved as the program provided and the design continues.

The first stage of analysis shows a regular composition of volumes of spaces, termed ice bergs by Ghery, with horizontal floor plates. Some articulation in the sense of creating mezzanine floors, double heighted spaces and the circulation not being repeated in an orderly manner are perceived. The building sits on an artificial water body and goes a floor height underground due to construction norms.

Besides this its a well crafted architectural composition of volumes and functions.

Fig-44.

Fig- 43, 44, 45 s h o w different views of the same model.

Fig-45.

146

Fig-46.

Physical model for analysis, Source : author.

147

II.

Diagram- 11.

Fig-47.

Stage one of the process does not reveal that sense of futuristic building as imagined, but when the skin in form of the sails covers up the building the characteristics start to emerge. These fins or sails as Ghery says start wrapping around and above the building when at a certain point if you look at it, one can’t imagine what the inside looks like. The idea of sails comes from that of a sail boat, abstracted and shown with curvilinear form of enclosures.

The fins give a dynamic look from the exterior part and produce these forces of infinite lines. Even after wrapping around the built volumes, the essence of the inside is not lost in a way that the skin on the structure is glass which gives a translucent view of the inside.

Both the sculpture and the building are understood in a comparative way of leading futuristic concepts of art and architecture and how they produce similar ideas in terms of the process of development they undergo.

Fig-48.

Fig- 47, 48, 49 s h o w different views of the same model.

148

Fig-49.

Fig-50.

Physical model for analysis, Source : author.

149

Fig-51.

Louis Vuitton Foundation in context with Eiffel tower

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Chapter V

Implementing the essence of case studies in form of a design proposal that quantifies the quantum of data recorded and doesn’t leave the research open ended.

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154

V.I

Identification of a project mainly a competition with set constrains in order to demonstrate the parameters derived form the research and make it quantifiable.

155

The research has come a long way in establishing a strong foreground with associations of different ways to approach a design following a series of process. The soul idea of parallel fields to architecture play a role by giving the design, a point of departure solely to convey the strong basis of research. All this data, was carrying itself the gravity of conviction. Yet one cant say they were a means to define something inevitable or new.

Given that the research, has to this point lead to a quantum of data which could be put to good use of understanding, now is the part were its implication in terms of a design become a part of a new trajectory of innovation.

The Ross Pavilion Design Competition in west Princess Street Gardens, Edinburgh has been preferred. It isn’t an ongoing competition and dates back to the year 2017. The parameters for selecting a competition was that it came with a set brief, site with context and a small function. It is better if the project remained in that kind of a realm where one dose not get into the detailing aspect of the design reason it might just dilute the process.

The study up until now has used all modes of exploration to analyze both art and architecture, in the form of physical models, diagrams, axonometric and sketches by the primary subject. The learnings from case studies is about how the architects perception has been for the project and how has the author interpreted it in terms of analysis. Also the main focus in understanding them was towards the process and not literally the final form because the implementation part included a mode of replicating the process of their working, how they approach a design solution and sequentially matching the whole process.

This chapter includes identification of the site, its contextual background, historical monuments and the history of the place, critical sections and introduction to the brief and program.

THE ROSS PAVILION INTERNATIONAL DESIGN COMPETITION RE-IMAGINING EDINBURGH’S WEST PRINCESS STREET GARDENS

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SEARCH STATEMENT

THE ROSS PAVILION INTERNATIONAL DESIGN COMPETITION REIMAGINING EDINBURGH’S WEST PRINCES STREET GARDENS

Fig-1.

Cover page of the competition brief source:https://competitions.malcolmreading.co.uk/rosspavilion/concept

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OVERVIEW EDINBURGH : A WORLD CITY A much-admired capital city brimming with exceptional creativity and renowned for its quality of life, Edinburgh successfully mixes its unique traditions and heritage with contemporary energies and an international outlook.

Currently the fastest-growing city in the United Kingdom, Scotland’s capital welcomes over four million visitors a year, nearly eight times its resident population. This sophisticated influx is drawn by Edinburgh’s cultural and historical attractions, universities, and festivals, including the world’s largest arts festival, the Edinburgh Festival Fringe.

The city of Edinburgh council is committed to the continuing development of Edinburgh as the destination of choice for the artistic and cultural visitor. A number of key projects are under way across the city , including improvements to the public reals, retail, transport links, and cultural venues.

Building on the vision that ‘a creative city is a successful city’, the council is currently developing its new cultural policy building on a citywide initiative to sustain and develop Edinburgh’s image as a dynamic world city.

The cultural policy will focus on maintaining and embracing support for Edinburgh’s world-famous festivals and events, and developing Edinburgh’s reputation as a cultural world capitol.

source:https://competitions.malcolmreading. co.uk/rosspavilion/concept

Fig-2.

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THE ROSS PAVILION AND GARDENS Edinburgh’s civic realm has always been one of its strengths, but as competition between world cities intensifies and city residents increasingly value public green spaces, so it has become a priority for both the public and private sectors. Accordingly, the Ross Pavilion International Design Competition focused on regenerating and renewing an emblematic site at the heart of West Princes Street Gardens.

This nationally-important space in the Old and New Towns of Edinburgh UNESCO World Heritage Site, adjoining Edinburgh’s most famous shopping street, is ‘a place for people’. For much of the year a tranquil space in the lively city, it is also the seasonal focus for some of Scotland’s most high-profile events and celebrations, notably Hogmanay and the Edinburgh International Festival’s closing fireworks concert.

Ross Pavilion and Gardens will provide a new landmark Pavilion to replace the existing Bandstand, as well as a visitor center with cafe, and subtle updates and improvement to the surrounding landscape. The initiative is intended to create a flexible contemporary venue, which is sensitive to context and historic setting, and where both residents and visitors can engage with a variety of cultural events all year round.

In its design and quality, the new Pavilion should be of the highest order: able to hold its own, and of its time, but respectful of the Castle and the historic setting; inspiring imaginative cultural programming, while raising the overall aesthetic and sensory experience of the Gardens.

source:https:// competitions. malcolmreading. co.uk/rosspavilion/ concept

Fig-3.

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Fig-4.

Fig-5.

160

PROJECT KEY OBJECTIVES -Be an original design of international quality and significance, of and for its place, enhancing Edinburgh’s reputation and image as a dynamic and creative city.

-Demonstrate civic and sustainable place-making which is sensitively - balanced within this landscape and setting of international and historical significance.

-Re-imagining and rejuvenate West Princes Street Gardens, reconciling the cultural, civic, commemorative and botanical nature of the gardens with the requirements of the ross pavilion.

-Address and respect the natural environment and biodiversity of the Gardens and its context.

-Create a modern and flexible venue which can operate 365 dates a year, and is capable of hosting a combination of large and small scale events.

-Consider the daily rhythm of the gardens and its uses from dawn to dusk, ensuring that the tranquility of the gardens as a ‘green lung’ is intrinsic to the design.

-Create a self-sustaining attraction which enhances the cultural experience of the West Princes Street Gardens and the surrounding areas, complementing Edinburgh’s identity as a haven for lovers of art and culture, famous for the Edinburgh International Festival, the Festival Fringe and the Hogmanay celebrations.

-Affirm sustainable values - from design through to operations and use.

-Improve physical and intellectual access for visitors while also enhancing the visual and sensory pleasure of the gardens. source:https://competitions.malcolmreading. co.uk/rosspavilion/concept

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Fig-6.

Source: https://www. historyscotland.com/ images/image/ EWH%20Site%20 Boundary%20Map%20 copy-1.jpg

Fig-7.

Fig-8.

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CONTEXT AND HERITAGE THE OLD TOWN Centered on the Royal Mile, which stretches from Edinburgh castle to Holyrood Palace, Edinburgh’s Old Town dates back to the medieval period, and is characterized by narrow cobbled streets, closes and hidden courtyards.

Archaeological evidence has demonstrated that Edinburgh has been occupied since at least 8500 BC. The present layout of the Old Town was established soon after the foundation of Holyrood Abbey in the early 1100s and was build around Edinburgh Castle, which is now Scotland’s most popular paid attraction. The majority of the existing castle buildings date back to th sixteenth and seventeenth centuries, although settlement on the site has been recorded from Bronze Age. The oldest part of the castle is the twelfth-century St. Margaret’s Chapel, believed to be the oldest building in Edinburgh.

The old town features Edinburgh’s most prominent buildings, such as St Giles’ Cathedral, the General Assembly Hall of the Church of Scotland, the National Museum of Scotland and the Scottish Parliament Building.

THE NEW TOWN The New Town was build in stages between 1767 and 1850, as a response to the increasing population and unhealthy conditions in Edinburgh’s Old Town. Edinburgh City Council ran a competition to produce an overall plan for the new settlement, which was won by 23-year-old James Craig.

The New Town is dominated by neo-classical and Georgian architecture, and its simple axial grid plan. The area contains Edinburgh’s main shopping streets.

Prominent buildings located on the Mound between East and West Princes Gardens include the National Gallery of Scotland and the Royal Scottish Academy.

Princes Street, the main thoroughfare in the New Town, faces the castle and the Old Town across the valley occupied by Princes Street Gardens. source:https://competitions.malcolmreading. co.uk/rosspavilion/concept

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Site

Fig-9.

Google Earth image source; https://www.google.com/ maps?ll=55.94954,-3.19953&z=16&t=h 100m

300m 200m

164

400m

Contextual Plan Areal View

165

THE SITE Princes Street Gardens, comprising both the East and West Gardens, is an important green space at the heart of Edinburgh’s bustling city center.

Nestled in a dramatic valley landscape between the Old Town and the New Town, Princes Street Gardens was described by Sir Walter Scott as the ‘great arena’. Edinburgh Castle sits on a volcanic, rocky hilltop above the western end of the Gardens.

The competition site covers West Princes Gardens, and in particular the area shown within the blue line. The extent of the West Princes Street Gardens is illustrated on the plan opposite, and includes the area to the south of the railway line, at the foot of the Castle.

Fig-10.

West Princes Street Gardens occupies a key strategic site within the city, close to many important transport links including Waverly Railway Station and keyroad, cycle and walking routes. The Gardens are bordered by Princes Street to the north; St. John’s Episcopal and the Church of St Cuthbert to the west; King’s Stables Road to the southwest and an access road and railway tracks to the south.

The Gardens are located at the center of the Old and New Towns of Edinburgh UNESCO World Heritage Site, and are listed in the Inventory of Gardens and Designed Landscape in Scotland. The Gardens also lie adjacent to the Edinburgh Castle’s Scheduled Ancient Monument area. West Princes Street Gardens lies within the New Town Conservation Area, and is designated a Premier Park in the Edinburgh Parks and Gardens Strategy.

Fig-11.

West and East Princes Street Gardens are separated by the Mound, an artificial hill which houses some of the most significant buildings in Edinburgh, such as the National Gallery of Scotland, the Royal Scottish Academy, the General Assembly Hall of the Church of Scotland, and the headquarters of the Bank of Scotland.

West Princes Street Gardens features a number of buildings and structures, the most prominent of which is the centrallylocated Ross Bandstand. Other structures include the nineteenth century Gardener’s Cottage (listed Category C), and three 1950s shelter buildings (listed Category B) located at the eastern end of the Gardens.

Within the Gardens there are also a number of notable sculptures and monuments, including the Ross Fountain, one of the finest examples of a gilded cast-iron fountain; the Royal Scots Greys Monument; William Brodie’s ‘The Genius of Architecture’ statue; the Robert Louis Stevenson Memorial; and one of the world’s first floral clocks source:https://competitions.malcolmreading. co.uk/rosspavilion/concept

Fig-12.

166

THE COMPETITION SITE The competition site covers the area indicated on the plan bellow and described in the brief section. The areas of specific design consideration are highlighted, but these should be considered within the context of the entirety of West Prince Street Gardens and the surrounding.

source:https:// c o m p e t i t i o n s . malcolmreading.co.uk/ rosspavilion/concept

CEC ownership boundary Area of specific design consideration Princes Garden

Fig-13.

Google Earth image Source; https://www.google.com/maps?ll=55.94954,-3.19953&z=16&t=h

Fig-14.

Fig-15.

Fig-16.

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Fig-17.

168

EMERGING BRIEF The Ross Pavilion and Gardens project should be considered within the context of an integrated landscape master plan for West Princes Street Gardens, the aim being to re imagine and reanimate one of the most important civic spaces in the city, whilst considering its connections to the wider city area.

The new Pavilion must be compatible with the different existing and potential botanical, civic, cultural and commemorative uses of West Princes Street Gardens, which include a tranquil respite from the surrounding urban area; a daily venue for small-scale indoor and outdoor events; and a space for occasional large-scale outdoor events.

The Ross Pavilion and Gardens project is comprised of three elements:

1. A visitor center,

Including a viewing platform; café with indoor and outdoor seating; and flexible spaces and support facilities for a range of uses including small-scale performances, community meetings, events and certain large events. The visitor center should provide a new, step-free gateway to the Gardens from Princes Street.

3. A natural amphitheater

Created by returning the hard-surfaced seating bowl to a softer landscaped finish, restoring more of West Princes Street Gardens to green space. The seating area should be capable of accommodate people for large-scale events (with many more standing throughout the Gardens), but also being used for more intimate outdoor events as well.

4. A landscape masterplan

of West Princes Street Gardens including landscaping improvements, access, way-finding and lighting. The landscape interventions should improve connections through the Gardens between the Old Town and the New Town, as well as restore the promenade condition of the border between Princes Street and West Princes Street Gardens. source:https://competitions.malcolmreading. co.uk/rosspavilion/concept

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2.

1.1.

6.

1. Ross Pavillion Fountain 2. Amphitheater 3. Ross Band Stand 170

4. Railways 5. Proposed site for design 6. Edinburgh Castle

3.

4.

5.

Fig-18

CONTEXTUAL PLAN 171

6.

6.

1. Princes Street 2. Amphitheater 3. Ross Band Stand 172

4. Railways 5. Proposed site for design 6. Edinburgh Castle

5.

1.

2.

3.

4.

SECTION AA’

5.

4.

SECTION BB’

Fig-19.

SITE SECTIONS 173

Fig-20.

Fig-21.

Context model photos, made by author

Fig-22.

174

Fig-23.

Context model photos, made by author

Fig-24.

175

176

V.II

Further development of the chapter III, case study II has been considered and parameters leading to design development have been listed.

177

The chapter comprises of certain parameters derived for the design development of the pavilion after looking at a few more projects of Eisenman that associate or are of similar scale of landscape. Projects like, The Wexner Art Center, Romeo Juliet Project, The Canaregio Project, The Giardino Project, House 11a, Parc de la Villette Project, Yenikapi archaeological museum,

are understood and certain parameters have been devised. This would, in the later part of the design, help to generate certain texts that express the work style of Eisenman and have been constantly seen throughout his works.

Eisenman’s architecture has always been ‘process’ driven.

These procedures are under the control of the architect, carried out by graphical means, and have their own internal logic. That logic in turn is seen to be embedded in the architectural object as meaning and formal organisation. This set of working procedures achieves a kind of conceptual clarity.

After every parameter certain terminologies have been listed which would later help in governing the design project.

178

DERIVED PARAMETERS FOR DESIGN DEVELOPMENT

PARAMETER I Contemplating the Context

PARAMETER II Ideology

PARAMETER III Scaling and Proportions

PARAMETER IV Movement and Circulation

PARAMETER V Materiality and Colour

PARAMETER VI Landscape Intervention

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PARAMETER I

Contemplating The Context

Diagram-1.

180

Fig-25.

Source: Eisenman Architects Drawing for the Cannaregio project.

This parameter focuses on how the context can be used as a point of departure for a project. Eisenman at an early stage or his architectural practice had not taken context as a key part of his design process. A lot of his earlier works fall in the notion of ‘cardboard architecture’ as he describes, which neglects the architectural material, scale, function, site, and all semantics associations in favor of architecture as “syntax”: conception of form as an index, a signal or notation.

Where as at a later stage Eisenman gets associated with the term artificial context and tries to create a narrative about the approach to the context is in an indirect way, establishing a grid on site that starts to behave as a new context.

About the project; It starts from the notion of an architecture that invents its own site and program. Instead of trying to reproduce or simulate an existing Venice whose authenticity cannot be replicated, the project generates another fictitious Venice. In this case, the gridded structure of Le Corbusier’s Venice Hospital, designed in the 1940s, was expanded and used as a structure over the given site. This grid is marked as an absence, a series of voids, which acts as metaphors for man’s displacement from his position as the central instrument of measure. In this project, architecture becomes the measure of itself.

Introducing Artificial Context Proportions of Grids Generating nodes for Follies

Reference text Courtesy Eisenman Architects.

Source: https:// eisenmanarchitects. com/Cannaregio-TownSquare-1978

Terminologies strongly associated with the parameter, later in use for design.

181

PARAMETER II

Ideology

Diagram-2.

182

-Juxtaposition Fig-26.

Courtesy: Eisenman Architects Source: https:// eisenmanarchitects.com/ Wexner-Center-for-the-VisualArts-and-Fine-Arts-Library-1989

Fig-27.

Courtesy: PETER EISENMAN: MOVING ARROWS, EROS, OTHER ERRORS

Fig-26.

Fig-27.

Source: http:// blogs.cornell.edu/ arch5302sp15/2015/03/16/ peter-eisenman-movingarrows-eros-other-errors/

The Romeo and Juliet scheme is interesting precisely because it achieves a positive advance regarding the question of the limits of architectural sense. Eisenman has achieved a series of juxtapositions which, if built, would serve as gentle reminders in a city.

-The first superposition reveals the idea of division.

-The second superposition reveals the idea of union.

-The third superposition reveals the idea of a dialectical relationship between union and division.

The proposal of Eisenman in wexner center again handles 2 kinds of grids, one being the extended internal grid from the central campus Oval, and the other being the city grid which then integrates the geometries of both resulting in the projection of an image belonging both to the campus and to the larger context of Ohio.

With the imposition of this layer, different congruences to the design start to emerge. Though it creates a complex combination of junctions, the compositions lead to give out certain clarity to the process in which it is carried out. As a helping factor, certain lines or configurations give rise to functional buildings or sometimes extensions to landscape.

THE IDEA ABOUT WORKING WITH AN URBAN GRID, A LOCAL GRID AND AN ARTIFICIAL GRID Terminologies strongly INTERSECTIONS AND SUPERIMPOSITIONS associated with the parameter, later in use OVERLAPPING OF FUNCTIONS for design.

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-Mutually Independent System

Fig-28.

Source: Eisenman Architects Image of Wexner Art Center.

Fig-29.

Source: Eisenman Architects Image of Wexner Art Center.

Eisenman’s proposal integrates the geometries of both the city grid and the OSU Oval within a new Center for the Visual Arts on the campus, which projects an image of belonging both to the campus and to the larger context of Ohio. The city street grid generates a new pedestrian path into the campus.

Besides Serving as a direct route of entry to the arts center, the trajectory initiated by this path projects much further: along the ragged northern edge of the Oval, reinforcing its form, through the main tower of University Hall, all the way to the flat end of the horseshoe of Ohio Stadium, where the city grid picks up once again. Thus, the confrontation between the city street pattern and the geometry of the Oval is given a much greater dramatic impact.

The clear explanation for Mutually Independent Systems in case of Eisenman’s work is about the fact that the juxtapositioning of different layers in the sequence of design process gives a complex outcome which creates ‘unassailable idiosyncrasies’ as Eisenman says. The outcomes mainly show no compositional uniformity or proportional congruences, lack of dynamic balance,visually hindering situations,etc. Although all this is actually the result of a process that the architect strongly follows, these compositions have been celebrated as a part of the process and what eisenman would say, ‘Celebrating the complexity in architecture’.

OVERLAPPING DIFFERENT LAYERS OF GRIDS GENERATING COMPOSITIONAL CONGRUENCES RESPECTING THE ADDITION OF EACH LAYER CELEBRATING THE COMPLEXITY 184

Terminologies strongly associated with the parameter, later in use for design.

-Artificial Excavations

Fig-30.

Source: Eisenman Architects Drawing for the Cannaregio project.

In the Cannaregio project, we witness a new order that initiated the Cities of Artificial Excavation.

‘I began to learn about the difference between living in your head and living in your body, with the reality of the earth, the ground, which had to do with the ground, digging into the ground and making marks on the ground.

I realized that what was wrong with my architecture was that it wasn’t from the ground, from inside the unconscious, beneath the surface. So the first evidence of this occurs in Cannaregio where for the first time I do a project that is totally in the ground. And it’s not only in the ground, it’s also urban. But it’s also not real. It’s conceptual; and uses Corbusier’s unbuilt hospital project as an initial context.’

-Peter Eisenman Eisenman associates with the notion of ground and the sublime fact of indulging with it. The built no longer stands alone as the ground of a certain site with context starts playing a role in the process of design development. These associations start generating a metaphysical landscape in the surrounding.

CUTS ON THE LANDSCAPES EXTENUATING THE IDEA OF RUINS ARTIFICIAL DIGGING MODULATING GROUND

Terminologies strongly associated with the parameter, later in use for design.

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-Figurative Elements

Fig-31.

Fig-32.

Fig-31,32,33,34, Courtesy: PETER EISENMAN: MOVING ARROWS, EROS, OTHER ERRORS.

Fig-33.

Fig-34.

Source: http:// blogs.cornell.edu/ arch5302sp15/2015/03/16/ peter-eisenman-movingarrows-eros-other-errors/

The project Romeo Juliet is taken as an example to show what and how these figurative elements come into play. The walls of the castle of romeo are superposed on the walls of the old city of Verona, the three elements of the site of Montecchio fall in a divided relation to the walls of the real castle of Juliet, a simulated castle of Juliet falls inside the real castle of Juliet, a simulated church falls within the wall of the real castle, and a simulated castle of Romeo falls outside of the walls of the real castle of Juliet, hence the idea of division.

A basic understanding about contextual builds is used as a transpositional element into the aspects of textual narratives, city objects scaled and superimposed with other layers of design and different permutations produce diagrams showing overlapping of these elements with other layers.

USE OF CONTEXTUAL ELEMENTS SCALING THEM IN NON-ANTHROPOCENTRIC MEANS

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Terminologies strongly associated with the parameter, later in use for design.

-Idea of Trace and Imprints

Fig-35.

Fig-36.

Fig-35,36,37,38, Courtesy: PETER EISENMAN: MOVING ARROWS, EROS, OTHER ERRORS

Fig-37.

Fig-38.

Source: http:// blogs.cornell.edu/ arch5302sp15/2015/03/16/ peter-eisenman-movingarrows-eros-other-errors/

Since matter cannot move without disturbing other matter along its path,there always is -and must be - a trail of some sort. Eisenman gets acquainted extensively with the idea of trace and imprints. A suggestive figure of what the earlier representation of the site was is carried forward in the design process. Eisenman uses this idea in terms of a suggestive graphic or at times in form of a figure generated on the site.

‘I have always been interested in the evolutionary process of the physical traces left by the previous building. It didn’t matter if it was built or not built, and it didn’t matter whether I was going to build my project or not. It mattered that the idea of using the trace as a key, as a beginning to project something, to make a project.’

-Peter Eisenman.

Source: Archdaily Interview between Eisenman and Iman Ansari.

Source: https://www.archdaily.com/429925/ eisenman-s-evolution-architecture-syntax-andnew-subjectivity/?ad_source=myarchdaily&ad_ medium=bookmark-show&ad_content=currentuser

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PARAMETER III

Scaling and Proportions

Diagram-3.

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Fig-39, Source: Eisenman Architects House 11a used in different scales.

House 11a is used here at three different scales: A real scale or the house scale, and model of the house scale, and then the house becoming the model of a larger project.

The objects that inhabit the landscape in canaregio are variations of an earlier project, House 11a, shown at different scales. The smallest object is too small to shelter, but raises question whether it is a house or the model of a house. The middle-sized object may be a house, but it contains the smaller object inside. Is it a house or a museum of houses?

The largest object is twice the size of the middle-sized object.

What can this object be called?

Source: Eisenman architects.

Source: https:// eisenmanarchitects. com/Cannaregio-TownSquare-1978

Eisenman questions the notions of human scale in architecture and how it has always been generated according to our convenience. His architecture pivots on the notion that nonanthropocentric means generate spaces that does not agree with human conditions.

Diagram-4.

Source: author

Illustrations showing how the three scales in Eisenman’s project have been shown and how can architecture brought about by nonanthropocentric means.

SCALING ELEMENTS IN NON-ANTHROPOCENTRIC WAY ABSENSE AND PRESENCE

Terminologies strongly associated with the parameter, later in use for design.

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PARAMETER IV

Movement and Circulation

Diagram-5.

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Fig-40, Source: Eisenman Architects Drawing for the Wexner project.

‘The idea is that architecture is never about a meaning that is simply assigned to various parts to project a particular reading. The whole idea of my architecture is about stopping any communication and placing within architecture itself a device that causes you to react emotionally, physically, and intellectually. Without representation. My architecture means nothing. But the experience is something else.’, -Peter Eisenman.

Source: Archdaily Interview between Eisenman and Iman Ansari.

Source: https://www.archdaily.com/429925/ eisenman-s-evolution-architecture-syntax-andnew-subjectivity/?ad_source=myarchdaily&ad_ medium=bookmark-show&ad_content=currentuser

The idea is to create a particular experience in the space by being in that space. Accentuating the idea of generating pauses in circulation of a design so that the observer takes a moment of pause and absorbs the architecture of that place.

For any circulation to be experiential, the movement corresponds to certain kind of pauses in order to feel the space as well as to look back and see the previous journey.

MOVEMENT AND PAUSE EXPERIENTIAL SPACE CIRCULATION ON THE LINES OF TRACES AND IMPRINTS SET OF GRID LINES GIVE OUT CIRCULATION

Terminologies strongly associated with the parameter, later in use for design.

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PARAMETER V

Materiality and Colour

Diagram-6.

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Fig-41, Source: Eisenman Architects Image of IL GIARDINO DEI PASSI PERDUTI

‘I am not interested in details. I deny the idea of beauty in architecture. Beauty does not disrupt anything. If you see something beautiful, you don’t pay enough attention to it.

Beauty, because of its very nature does not demand close attention.’

-Peter Eisenman

Source: Archdaily Interview between Eisenman and Vladimir Belogolovsky Source: https://www.archdaily.com/785334/ interview-with-peter-eisenman-i-amnot-convinced-that-i-have-a-style/?ad_ source=myarchdaily&ad_medium=bookmarkshow&ad_content=current-user

Eisenman dose not get associated with the concept of materiality or aesthetics and the idea about beauty of material, texture and other related things do matter in his design development. His belief about architecture is that it needs to be strong and bold in terms of applications and not just mere aesthetic appearance by materials and textures.

Where as the idea of using the colour red in representing certain important things such as traces or ruins or imprints get associated very well with the process he follows and demands his architecture to go about. Also denoting the functional elements and spaces with a tint of the colour, shows specific importance about the object.

RED AS A HIGHLIGHT NEGLIGENCE TO MATERIALITY SYMBOLISING IMPORTANT ELEMENTS

Terminologies strongly associated with the parameter, later in use for design.

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PARAMETER VI

Landscape

Diagram-7.

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Fig-42, top left Source: Eisenman Architects Image of Wexner center Fig-43, bottom left Source: Eisenman Architects Image of yenikapi archaeological museum and archeo-park Fig-44, center Source: Eisenman Architects Image of Parc de la Villette

The process that Eisenman follows generates layers of superimpositions which later produce lines that can be extended outside the design built in form of landscape extensions. These lines give rise to different leaves of land modulations as well as justify the implications on site. The trajectories could be converted into walk ways or gardens depending on the function and location of the them.

As we see in the project Parc de la Villette, different layers add as a series of process generate layers of elements that suffice development of the garden in terms of landscape intervention.

DEVELOPMENT OF SUNKEN GARDENS TRAJECTORIES EXTENDING OUTSIDE THE SITE TRACE LINES AS IMPRINTS ON THE LANDSCAPE OVERLAPPING OF DIFFERENT GRIDS, GENERATING POCKETS OF GARDENS ASSOCIATING WITHIN THE TERRAIN UNDERGROUND INTERVENTIONS

Terminologies strongly associated with the parameter, later in use for design.

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DESIGN DEVELOPMENT. USING THE PARAMETERS AS A FOUNDATION FOR THE PAVILION, THE DESIGN CONTINUES TO FIND NARRATIVES AND BUILD ON THEM.

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Taking the ideologies of Eisenman that associate well with him and the parameters devised from the earlier chapter, the thesis conducts a design outcome in order to sum up the research.

With accomplishment of the previously done research the thesis implicates it through a process of layering principles for design. A pavilion project has been selected which fits well with the constrains of what the research focused on, i.e., ‘record of a process’. Ross Pavilion Competition serves the purpose of what the design aims to go through with a small function and a landscape part on the site.

The whole idea of the design generates from building up a series of diagrams that express the work style of Eisenman with the author’s interpretation. Picking out terminologies that are associated with his work serve a foundation point in progressing through the design. Its about borrowing the essence of the architect’s work, understanding his way of approach and then demonstrating it on the site not in a literal way but through the sequence of processes that the design generates.

The idea of pavilion here is to create a very landscape oriented design where people engage with the contextual heritage of the garden with some momentary pauses generated by the design. These pauses are the depiction of structures on the site that behave as monumental follies, following the principle terminologies of eisenman such as juxtaposition, rotation, array, mirror, montage, grid, etc, they start to develop. It is through this that the landscape elements start emerging where adults and children both engage with them and it serves as a positive activity generator on the site. With this, the focus is to create some sunken landscape gardens that emerge through the traces of lines being generated from the process. Some elements lay softly on the landscape such as a deconstructed Castle Wall Element that serves as a representation of historic means, and is translated into a modern way that the common crowd can associate to.

In addition to this, we focus on the functional part of the design that is a Visitor Center and an Open Air Amphitheater.

The Center is again formed by taking a square imprint on the site and moving with the process of, intersection of planes creating light source, shifting of the smaller spaces generated after the cuts and joining it with an ambulatory as a part of circulation. It gets almost sunken into the ground showing a few notions of it coming out of the soil as the attempt was not to visually disturb the landscape of site and keeping these monumental sculptures visible at all time. The amphitheater on the other hand sits on the terrain in a step formation and gently laying down with it. It originates the seating areas from pockets created by the city grid as an extension on site. The circulation inside happens through the same lines of this grid in a horizontal as well as vertical directions.

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Finally with all elements in position what we have is a landscape pavilion of monumental follies, a small function provided, which depict the record of process with strong foundations and is translated as a design output.

Fig-45.

Graphical image showing the element red and Follies generated from the design.

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Expressing the work style of Eisenman through these derived terminologies and statements that associate well with his work.

THE IDEA ABOUT WORKING WITH AN URBAN GRID, A LOCAL GRID AND AN ARTIFICIAL GRID INTERSECTIONS AND SUPERIMPOSITIONS OVERLAPPING OF FUNCTIONS

USE OF CONTEXTUAL ELEMENTS SCALING THEM IN NONANTHROPOCENTRIC MEANS

200

CUTS ON THE LANDSCAPES EXTENUATING THE IDEA OF RUINS ARTIFICIAL DIGGING MODULATING GROUND

MOVEMENT AND PAUSE EXPERIENTIAL SPACE CIRCULATION ON THE LINES OF TRACES AND IMPRINTS SET OF GRID LINES GIVE OUT CIRCULATION

RED AS A HIGHLIGHT NEGLIGENCE TO MATERIALITY SYMBOLISING IMPORTANT ELEMENTS

SCALING ELEMENTS IN NON-ANTHROPOCENTRIC WAY ABSENSE AND PRESENCE

DEVELOPMENT OF SUNKEN GARDENS TRACE LINES AS IMPRINTS ON THE LANDSCAPE GENERATING POCKETS OF GARDENS ASSOCIATING WITHIN THE TERRAIN

201

CONTEXT IDENTIFICATION OF RED The design emerges with taking context as a point of departure and generating certain grids as reference for further design. By looking at the parameter it shows that Eisenman works with the idea of an urban grid and a artificial grid and the superposition of that generating different permutations for design.

As a point of emphasis, the grid proportions of Canaregio project have been considered in an orthogonal manner on which an angular grid, from the urban context of the new town, is overlapped.

The two grids serve different purposes at later stages where one gets into generating strategic points of intersection for Monumental follies(identification of red), to develop where as the other one promotes to the circulatory aspect of the design and giving a few repercussions as traces on the terrain in from of slits or marks.

The focus on context parameter is more because of the reason that the site holds a very ancient historic ground onto which the design is going to establish its foundation. Therefore the contextual reference as a start helps to justify that the project leads to a site specific design. Also looking at the scale of the project taking contextual reference as an point of departure is what the parameter suggests.

Fig-46.

ARTIFICIAL GRID -Proportions of Canaregio.

Fig-47.

Isometric of the red element and the site with the grid.

Fig-48.

CONTEXTUAL GRID -Generated from the urban context.

Fig-49.

The grid overlayed on site in isometric view.

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Fig-50.

Identification of site with city context.

Fig-51.

Identification of site in isometric view.

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Fig-52.

Superimposition of the two grids, finding strategic point for follies.

Fig-53.

Perspective view of traces on site

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Fig-54.

IDENTIFICATION OF THE RED, -Generating locations for monumental follies.

Fig-55.

Perspective view of follies on site, traces of red falling on the site shown in terms of graphical representation.

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FUNCTION MOVEMENT CIRCULATION With the grids imprinted on the site, the functional part for the design needs to be resolved. A small function of Visitor center with a cafeteria and a Open Air Amphitheater have to be incorporated.

The process starts with taking a square imprint on the ground for the visitor center and on that work with the contextual lines acting on it. These lines start dividing the cuboid into different parts which get collected to an ambulatory generating a pause in the main journey of circulation.

Later the divided masses juxtapose and generate different volumes of varied height and shift vertically creating disjunction between them. Keeping in mind the non-anthropocentric heights, certain tight spaces are created as the process continues.

The built is considered underground to give the landscape a seemless view and being a historic site the idea was not to create something overpowering the existing topography.

The Open Air Amphitheater emerges on the converging part of the site with no trees to obstruct visually. it generates from the traces of contextual lines on the site.

The lines act as references and the circulation happens on them in from of horizontal and vertical. The pockets created comprise seating for the amphitheater.

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Fig-56.

In Axonometric view, - Location of visitor center and the amphitheater.

- Imprint of grid lines used in different ways, where on becomes slits for light source and the other for vertical circulation.

- An ambulatory connecting the two functional areas to entrance.

- Movement happens in terms of ramps and stairs connecting each other at different intervals and creating pauses with the circulation.

- The visitor center is under the ground not disturbing the natural ecosystem where as the amphitheater softly sits on the terrain.

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Fig-57.

Site with overlay of two grids and the hatched part shown is the area allocated for the functional part of design.

Fig-58.

Establishing primary circulation amongst the functions and individually in the amphitheater.

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Fig-59.

Grid marks on the site, the visitor center, amphitheater and the circulation.

Fig-60.

Combination of the follies with the built create a new landscape topography.

Fig-61.

Isometric view of these components on site with the visitor center submerged under the soil and the amphitheater sitting softly on the terrain.

209

FIGURATIVE ELEMENT TRACE AND IMPRINT JUXTAPOSITION Castle wall is personified as a figurative element and is used as in intervention on the site. The wall is first scaled in two different ways and juxtaposed on the site with a proportional height of the original. Next it gets reduced in accordance to the contours laying flat and merging with the terrain. With the consideration of the site, the wall gets shaped along the contours. The intention being it does not stay as a literal element i.e, the Fort Wall rather undergoes this process of getting deconstructed.

It gets removed where the build elements are placed undergoing the process of reduction.

The idea or creating the wall as an element on the ground it to make it as an interactive intervention which the people can engage with, move around and over it and consider it as a separate channel for moving through the garden.

Fig-62.

Axonometric about the wall element and its progressive transformation on the landscape of the site.

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Fig-63.

Castle plan and the fort wall shown in red. Using this element in two different kinds of proportions and scales.

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Fig-64.

Overlaying the previous diagram on the site in plan view.

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Fig-65.

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Discarding the traces outside the site boundary and establishing an imprint of it on the site.

Fig-66.

With all the components overlaid the imprint of the element is trimmed from certain areas and whats left is just a trace from the previous process.

Fig-67.

Isometric view of the element in connect with the context and other components on site.

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LANDSCAPE ARTIFICIAL EXCAVATIONS The pavilion being a landscape oriented project has been in a constant flux with the context, surrounding and addition of layers.

The parameter uses terrain and the traces of previous layers to generate patches of sunken gardens around follies and entrance to the pavilion in an orderly manner. These gardens start to serve the purpose of human interaction with the soft scape and the follies. Being the main focus of the project it serves stepped gardens that nullify the slope of the terrain and generate easy of motion around the installations.

The traces of the two grids are extended outside the site periphery and have been a point of departure in generating walkways, patches of greens, smaller modulations of the ground and extruded frames above the ground.

With a overlap of all the previous layers and parameters the site generates a pavilion derived from a ‘record of the process’.

Fig-68.

In Axonometric view, - Site - Grid overlay - Function and circulation - Figurative element and landscape layer - Extensions outside the site.

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Fig-69.

Site with context, superimposition of the two grids and identification of the red.

Fig-70.

Addition of figurative element being the castle wall overlapping with the previous two grid layers.

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Fig-71.

Layer of function adds up with some sunken gardens generating near the entrance.

Fig-72.

Some extensions in landscape outside the site in terms of ground modulation, frames and walkways.

Fig-73.

With an overlap of different layers from the parameters derived earlier the project generates a landscape oriented pavilion with a numerous play of assorted elements.

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FOLLIE

I

The follies here are considered as monumental landscape sculptures that engage with the terrain and are generated using the principles of design by Eisenman. Here the initial start of the follie is a square with a cross in its center. The process starts with using this square as a frame and offsetting it in a diagonal direction with which certain elements such as columns, walls and beams in terms of frames are highlighted.

Some volumes in terms of mass get generated which under go change in terms of cut and shift and dis-stabilizing it by breaking at some points. The process generates certain lines and each juxtapose is at the end of it kept as a trace reminding of the previous step.

- INITIAL CROSS-HAIR FRAME. - OFFSETTING THE PREVIOUS LAYER, GENERATING A SECONDARY FRAME. - INVERSION OF BOTH THE FRAMES. - ROTATING THE PRIMARY FRAME AND REMOVING THE PARTS WHERE IT EARLIER RESIDED. - KEEPING A RECORD OF ALL THE LAYERS THE TRACE OF THE PRIMARY FRAME CONVERTS TO A CROSS WALL AND 4 CUBES ALONG IT. WITH SOME TRACES OF THE SECONDARY FRAME REMINDING THE PRESENCE OF THE ABSENT PIECES. - STRETCHING TWO EXTRUDED WALLS IN OPPOSITE DIRECTION AND ESTABLISHING A GROUND PLANE WITH JUXTAPOSING OF THE 4 CUBES. - PUNCTURES ON THE STRETCHED WALLS AND COLOUR CONTRASTING THE CUBES, IT SLOWLY SITS ON THE SITE TERRAIN WITH SOME EXCAVATIONS IN TERMS OF LEVELS AND MOVEMENT AROUND THE FOLLIE.

Fig-79.

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Graphical image OF Follie in plan.

Diagram-2.

Sketches showing the record of the process.

Fig-80.

Fig-81.

Fig-80,81,82,

Fig-82.

Show different views of the same model.

Fig-83.

Axonometric view of the process of transformation.

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FOLLIE

II

As an addition to the functional part of the design, the follie emerges as an element as well as serving the pavilion with a small cafeteria.

The process starts with the same cross-hair imprint with which two kinds of spaces are generated namely, served and service spaces. The two separate diagrams are then overlapped, with one rotated to a certain angle and the service space moved to the bottom creating this montage of structure, mass and void. The original imprint of the square serves the purpose of structure and the mass stays devoid of it.

- INITIAL CROSS-HAIR FRAME. -FOLLIE TYPE - FUNCTIONAL. - THE FOLLIE AREA IS DIVIDED IN TWO PARTS, SERVED SPACE AND SERVICE SPACE. - AS A STRUCTURAL EXPRESSION THE FRAME IS BRACED WITH A FEW MORE CONNECTIONS. - ROTATING THE MASS INSIDE, THE FRAME REMAINS AS A CONSTANT. - FURTHER MODIFICATION ON THE SPACES WHERE THE SERVICE SPACE STRETCHES OUTSIDE GENERATING A POINT TO ENTER THE FOLLIE. - WITH THE DIVISION OF FLOORS AND OPEN SPACES WITH THE SERVED AREA, A PROCESS OF CONVERSION FROM A FRAME TO A CAFE IS SHOWN.

Fig-74.

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Graphical image OF Follie in plan.

Diagram-1.

Sketches showing the record of the process.

Fig-75.

Fig-76.

Fig-75,76,77,

Fig-77.

Show different views of the same model.

Fig-78.

Axonometric view of the process of transformation.

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FOLLIE

III

With addition of layers and terminologies giving justice to the process one follows here, the follie is generated with repetition and fragmentation of these frames achieving a juxtaposed image of these layers.

The process starts with dividing the frame into quadrants and repeating that frame in a diagonal axis. The new generated frame is rotated and further fragmented to give out an expression of structure. With the excluded part becoming a solid volume of space the frame structure stays as a personified area of steel jungle where kids could indulge in. With addition of some circulation in terms of ramps and steps the follie generates different levels of spaces.

- INITIAL CROSS-HAIR FRAME. - OFFSETTING THE PREVIOUS LAYER, GENERATING A SECONDARY FRAME. BOTH FRAMES ARE DIVIDED INTO 4 QUADRANTS. - ROTATION OF THE NEW FRAME. TRIMMING THE ELEMENTS OF THE ORIGINAL FRAME IN CONTACT. - FURTHER GRID MODIFICATION OF THE SECONDARY FRAME. - CONVERTING PART OF FRAME INTO A MASS-VOID CORELATION AND MONTAGING BOTH THE LAYERS. - ESTABLISHMENT OF GROUND ZERO WITH ADDING A LAYER OF CIRCULATION AND MOVEMENT. - OVERLAYING THE FOLLIE ON SITE WITH THE CONTOURS AND CONTEXTUAL ELEMENTS. LEAVING SOME IMPRINTS OF THE PROCESS OIN TERMS OF GROUND MODULATION.

Fig-84.

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Graphical image OF Follie in plan.

Diagram-3.

Sketches showing the record of the process.

Fig-85.

Fig-86.

Fig-85,86,87.

Fig-87.

Show different views of the same model.

Fig-88.

Axonometric view of the process of transformation.

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FOLLIE

IV

This follie is generated from the site context when the ambulatory for primary circulation cuts through the imprint of the follie, it splits apart into two parts.

The action of force and shift is shown with mass and void. The shifted part becomes a frame that is detached from the original follie and the remain becomes a solid volume showing the idea of mass and void. It is an expression that the author generates with come additional elements line the ambulatory and the force generated by it movement.

- INITIAL CROSS-HAIR FRAME. - FRAME IS INTERACTED BY AN AMBULATORY CUTTING THROUGH IT. - SPLITS THE CUBE IN TWO DIFFERENT PARTS, ONE BEING SOLID AND OTHER JUST A FRAME. - A CLEAR DEPICTION OF MASS AND VOID IS CAPTURED. - THE FRAME SHIFTS ALONG THE VERTICAL AXIS OF CROSSHAIR ADJOINING THE RAMP. - FURTHER DEVELOPMENT OF THE OBJECTS IN TERMS OF SCALE. DIVISIONS ON THE FRAME AS A STRUCTURAL EXPRESSION. - OVERLAYING THE FOLLIE ON SITE WITH THE CONTOURS AND THE FIGURATIVE ELEMENT IN CORRELATION WITH IT, THE EXPRESSION MERGES WITH THE LANDSCAPE.

Fig-89.

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Graphical image OF Follie in plan.

Diagram-4.

Sketches showing the record of the process.

Fig-90.

Fig-91.

Fig-90,91,92,

Fig-92.

Show different views of the same model.

Fig-93.

Axonometric view of the process of transformation.

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Railway Track Entrance Sunken Gardens Visitor Center Free Landscape Follie Amphitheater Stage Landscape Extensions 10. Primary Circulation 11. Castle

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SECTION AA’

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Fig-96.

SECTION BB’

Fig-97.

Fig-98.

Fig-99.

Fig-97,98,99, Show different views of the same model.

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MODEL PHOTOGRAPHS.

Fig-100.

Physical model for design.

Source : Author.

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RENDERS.

Fig-101.

Fig-102.

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Fig-103.

Fig-104.

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SUMMARY Since the beginning of the research, it hasn’t been easy figuring out the correlation between the two attributes art and architecture. However after analyzing works, questioning basic principles and decoding works of different architects with authors own perspective, it was possible to generate a research that supported the earlier quest.

As a part of research, three distinct case studies were taken wherein one was the architects work as a piece of art (painting) and her own architectural built project derived from that. The second was a hypothesis generated, between works of an artist and an architect, that drew relevance based on certain common grounds. In the third case study the two attributes have been compared by the virtue of falling in the same time period and how a sculpture and a building generate similarities based on the characteristics of that time period.

Thus this diversity of examples produces a comparative form of analysis on the relation of art and architecture and how a certain kind of process is generated with the help of some derived parameters that are later converted to a design outcome.

As an overall view, the quest about understanding the collaboration is fulfilled when it follows certain kind of a process with defined layers and therefore one of the case studies was taken forward in order to generate some parameters for design and then extracting outcomes for the project based on them. The thesis conducts a closure here in terms of a concluding part but has been left open ended for extension of comparisons for someone to continue where we sign off.

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CHAPTER I Fig-1:- Source: https://upload.wikimedia.org/wikipedia/commons/ thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_ Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_ Gallery%2C_Moscow.jpg/896px-Kazimir_Malevich%2C_1915%2C_Black_ Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_ Tretyakov_Gallery%2C_Moscow.jpgn Fig-2:- Source: https://upload.wikimedia.org/wikipedia/commons/6/6d/ Malevich-Suprematism..jpg Fig-3:- Source: http://www.moma.org/ mediaW1siZiIsIjE1MTE2MyJdLFsicCIsImNvbnZlcnQiLC IsImNvbnZlcnQiLCItcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ. jpg?sha=81038228ec82dd67

Fig-7:- Source: https://images.adsttc.com/media/images/53d0/ f7ce/c07a/8045/9b00/00a6/large_jpg/1298158855-vitra-painting3. jpg?1406203850 Fig-8:- Source: http://2.bp.blogspot.com/-G-zzqdOAmAE/ UBEySxPYBvI/AAAAAAAAASE/1ytvPGEFhrE/s1600/image19.jpg Fig-9:- Source: https://images.adsttc.com/media/ images/5038/0113/28ba/0d59/9b00/0886/slideshow/stringio. jpg?1414207185 Fig-10:- Source: https://www.vitra.com/en-us/_storage/asset/570330/ storage/v_fullbleed_1440x/36753586.jpg Fig-11:- Source: https://live.staticflickr.com/7102/7064164789_44a6b7 56e6_b.jpg

Fig-4:- Source: https://i1.wp.com/thecharnelhouse.org/wp-content/ uploads/2015/06/1467320.jpg?fit=1316%2C540

Fig-12:- Source: https://www.lifegate.com/app/uploads/vitra%20 fire%20station.jpg

Fig-5:- Source: https://uploads5.wikiart.org/images/el-lissitzky/newman-1923.jpg

Fig-13:- Source: https://www.vitra.com/en-us/_storage/asset/77459/ storage/preview/733026.jpg

Fig-6:- Source: http://www.moma.org/media/ W1siZiIsIjI0MjMyMSJdLFsicCIsImNvbnZlcnQiLC ItcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg?sha=7dda39c192181e62

Fig-14:- Source: https://live.staticflickr. com/2946/15471181745_90c69ab5bc_b.jpg

Fig-7:- Source: https://uploads5.wikiart.org/images/lyubov-popova/thepianist.jpg Fig-8:- Source: https://upload.wikimedia.org/wikipedia/commons/ thumb/f/ff/Tatlin%27s_Tower_maket_1919_year.jpg/800px-Tatlin%27s_ Tower_maket_1919_year.jpg Fig-9:- Source: https://arkinetblog.files.wordpress.com/2010/03/tatlin001. jpg Fig-10:- Source: http://s1.drugiegoroda.ru/8/763/76321-Model_of_Tatlin_ Tower_Royal_Academy_London_27_Feb_2012-768x1024.jpg Fig-11:- Source: https://arkinetblog.files.wordpress.com/2010/03/tatlin002. jpg Fig-12:- Source: https://www.zaha-hadid.com/wp-content/files_mf/ cache/th_65d1300db123ce22f6e2569fb36764f8_822_thepe_rend_0118.jpg Fig-13:- Source: https://www.zaha-hadid.com/architecture/the-peakleisure-club/ Fig-14:- Source: https://sites.google.com/site/allenhadid/_/ rsrc/1228877748697/Home/major-works/malevich-s-tektonik/tektonik. jpg?height=420&width=296 Fig-15:- Source: https://www.centrepompidou.fr/media/picture/10/ df/10df83674008519802d606df4ada7140/thumb_large.jpg Fig-16:- Source: https://images.adsttc.com/media/images/5037/ f339/28ba/0d59/9b00/0626/slideshow/stringio.jpg?1414206048 Fig-17:- Source: https://i.ytimg.com/vi/-Pp2JGmslFg/maxresdefault.jpg Fig-18:- Source: http://www.moma.org/media/ W1siZiIsIjQwMjU2OSJdLFsicCIsImNvbnZlcnQiLCItcmVzaXp lIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg?sha=4633e539094a7b57 Fig-19:- Source: https://freight.cargo.site/t/original/i/ c8a3321135864ee566969cefb347f3007a4dc32ff3a 4dc32ff3a037e18e01ac2310df8b9b/07_HOUSEX_MODEL7.jpg Fig-20:- Source: https://freight.cargo.site/t/original/i/ a30c8eaabe6d605b4c007f5f9bfbe08c56eb7c94480ef 567fce334b798596d9c/07_HOUSEX_DRAWING4.jpg Fig-21:- Source: https://freight.cargo.site/t/original/i/7c9db48718e93723 a38f71a520ae4fbfc878c0c88aca8dd84a715864cd6c4ab9/07_HOUSEX_ DRAWING2.jpg CHAPTER II Fig-1:- Source: https://circuitboardcityblog.files.wordpress.com/2016/03/ fsdd.jpg?w=700 Fig-2:- Source: http://artishock.org/sites/default/files/vitra_fire_station_15. jpg Fig-3:- Source: https://www.zaha-hadid.com/wp-content/files_mf/cache/ th_65d1300db123ce22f6e2569fb36764f8_901_paint_06.jpg Fig-4:- Source: https://www.zaha-hadid.com/wp-content/files_mf/cache/ th_65d1300db123ce22f6e2569fb36764f8_901_paint_07.jpg Fig-5:- Source: https://www.zaha-hadid.com/wp-content/files_mf/cache/ th_65d1300db123ce22f6e2569fb36764f8_901_paint_08.jpg Fig-6:- Source: https://www.zaha-hadid.com/architecture/vitra-firestation-2/

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Fig-15:- Source: https://www.vitra.com/en-us/_storage/asset/100869/ storage/preview/926691.jpg Fig-16:- Source: https://visuallexicon.files.wordpress.com/2017/10/ plan4.png?w=723 -Edited by primary subject.

Fig-17:- Source: https://visuallexicon.files.wordpress.com/2017/10/ section2.png?w=723 -Edited by primary subject.

Fig-18:- Source: Sketches by Primary subject.

Fig-19:- Source: Model photograph by Primary subject.

Fig-20:- Source: Model photograph by Primary subject.

Fig-21:- Source: Model photograph by Primary subject.

Fig-22:- Source: https://circuitboardcityblog.files.wordpress. com/2016/03/fsdd.jpg?w=700 ibid.p.22:- Source: Fig-23:- Source: Model photograph by Primary subject.

Fig-24:- Source: Model photograph by Primary subject.

Fig-25:- Source: Model photograph by Primary subject.

Fig-26:- Source: Model photograph by Primary subject.

Fig-27:- Source: Model photograph by Primary subject.

Fig-28:- Source: Model photograph by Primary subject.

Fig-29:- Source: Model photograph by Primary subject.

Fig-30:- Source: Model photograph by Primary subject.

Fig-31:- Source: Model photograph by Primary subject.

Fig-32:- Source: Model photograph by Primary subject.

Fig-33:- Source: Model photograph by Primary subject.

Fig-34:- Source: Model photograph by Primary subject.

Fig-35:- Source: Model photograph by Primary subject.

Fig-36:- Source: Model photograph by Primary subject.

Fig-37:- Source: Model photograph by Primary subject.

Fig-38:- Source: Model photograph by Primary subject.

Fig-39:- Source: Model photograph by Primary subject.

Fig-40:- Source: Model photograph by Primary subject.

Fig-41:- Source: Model photograph by Primary subject.

Fig-42:- Source: Model photograph by Primary subject.

Fig-43:- Source: Model photograph by Primary subject.

Fig-44:- Source: Model photograph by Primary subject.

Fig-45:- Source: Model photograph by Primary subject.

Fig-46:- Source: Model photograph by Primary subject.

Fig-46:- Source: Model photograph by Primary subject.

Fig-48:- Source: Model photograph by Primary subject.

Fig-49:- Source: Model photograph by Primary subject.

Fig-50:- Source: Model photograph by Primary subject.

Fig-51:- Source: Model photograph by Primary subject.

Fig-52:- Source: Model photograph by Primary subject.

Fig-53:- Source: Model photograph by Primary subject.

Fig-54:- Source: Model photograph by Primary subject.

Fig-55:- Source: Model photograph by Primary subject.

Fig-56:- Source: https://www.irishtimes.com/polopoly_ fs/1.2594111.1459447020!/image/image.jpg_gen/derivatives/ landscape_490/image.jpg Diagram 1:- Source: Hand sketch by Primary subject.

Diagram 2:- Source: Hand sketch by Primary subject.

Diagram 3:- Source: Hand sketch by Primary subject.

Diagram 4:- Source: Hand sketch by Primary subject.

Diagram 5:- Source: Hand sketch by Primary subject.

Diagram 6:- Source: Hand sketch by Primary subject.

Diagram 7:- Source: Hand sketch by Primary subject.

Diagram 8:- Source: Hand sketch by Primary subject.

Diagram 9:- Source: Hand sketch by Primary subject.

BIBLIOGRAPHY

LIST OF FIGURES

CHAPTER III.I Fig-1:- Source: https://freight.cargo.site/t/original/i/ a08a1ac53a5926b674d43e9e368245b7e76 b14cc4abd098fa2f0762daacb96f4/06_HOUSEVI_CONCEPT2.jpg Fig-2:- Source: https://freight.cargo.site/t/original/i/7497cfb49e25fb91 b4ed0c196a0eaba654e3b03183f26e128ff0aa6915a92f76/06_HOUSEVI_ CONCEPT1.jpg Fig-3:- Source: https://mir-s3-cdn-cf.behance.net/project_modules/ fs/3f9f0935354839.56f36a417d18e.jpg Fig-4:- Source: https://freight.cargo.site/t/original/i/ ec3aefb71a863b09b92cd05cb974e996490f574b0 5c19552d5b306e38d12ca04/06_HOUSEVI_IMAGE10.jpg Fig-5:- Source: https://freight.cargo.site/t/original/i/89fd861b5320df1cd 2a54ca13319588739168c6dac7e6a5a3bc99424ab4e819d/06_HOUSEVI_ IMAGE6.jpg Fig-6:- Source: https://freight.cargo.site/t/original/i/97ded3ac1d7ded9 fa8492fed40df80b30772518e4cd765159c6a5aff7ca6288b/06_HOUSEVI_ IMAGE4.jpg Fig-7:- Source: https://freight.cargo.site/t/original/i/625743564cb3aacc29c af9ec2b1ba34614295ee2f04bfbff67f6a4efa26b094b/06_HOUSEVI_IMAGE1. png Fig-8:- Source: https://freight.cargo.site/t/original/i/ b8a65fa95529ccb91ea655e52d511f56ad08e0645339c2ea 52f009fed488b5ea/06_HOUSEVI_IMAGE2.jpg Fig-9:- Source: https://composizioneunoa2014.files.wordpress. com/2014/10/lct-favroom-03-l.jpg Fig-10:- Source: https://bloximages.chicago2.vip.townnews.com/ countytimes.com/content/tncms/assets/v3/editorial/6/93/69377479-360e5e57-a3ec-3eb53ff3127d/57d19434f0e64.image.jpg Fig-11:- Source: https://freight.cargo.site/t/original/i/658be4e4dc5e652 d5f0314cbdf1db367f7c9bbe6fe43312c72477afe0904ffb2/06_HOUSEVI_ IMAGE11.jpg Fig-12:- Source: https://freight.cargo.site/t/original/i/8d54f82340ab862f 0af2a17d45a2cc6d6658f68a6ec4829dc6ee661f1a8013c7/06_HOUSEVI_ IMAGE12.jpg Fig-13:- Source: https://images.adsttc.com/media/images/5037/ e0cf/28ba/0d59/9b00/0187/slideshow/stringio.jpg?1414230715 Fig-14:- Source: https://images.adsttc.com/media/images/5037/ e0cb/28ba/0d59/9b00/0186/slideshow/stringio.jpg?1414230718 Fig-15:- Source: https://images.adsttc.com/media/images/5037/ e0d2/28ba/0d59/9b00/0188/slideshow/stringio.jpg?1414230720 Fig-16:- Source: https://images.adsttc.com/media/images/5037/ e0d4/28ba/0d59/9b00/0189/slideshow/stringio.jpg?1414230723 Fig-17:- Source: https://images.adsttc.com/media/images/5037/ e0c8/28ba/0d59/9b00/0185/slideshow/stringio.jpg?1414230725 Fig-18:- Source: https://images.adsttc.com/media/images/5037/ e0c6/28ba/0d59/9b00/0184/slideshow/stringio.jpg?1414230727 Fig-19:- Source: https://images.adsttc.com/media/images/5037/ e0c3/28ba/0d59/9b00/0183/large_jpg/stringio.jpg?1414230730 Fig-20:- Source: https://images.adsttc.com/media/images/5037/ e0c1/28ba/0d59/9b00/0182/slideshow/stringio.jpg?1414230732 Fig-21:- Source: https://eisenmanarchitects.com/House-VI-1975 Fig-22:- Source: https://eisenmanarchitects.com/House-VI-1975 Fig-23:- Source: Sketches by Primary subject. ibid.p.23:-

Fig-24:- Source: Model photograph by Primary subject.

Fig-25:- Source: Model photograph by Primary subject.

Fig-26:- Source: Model photograph by Primary subject.

Fig-27:- Source: Model photograph by Primary subject.

Fig-28:- Source: Model photograph by Primary subject.

Fig-29:- Source: Model photograph by Primary subject.

Fig-30:- Source: Model photograph by Primary subject.

Fig-31:- Source: Model photograph by Primary subject.

Fig-32:- Source: Model photograph by Primary subject.

Fig-33:- Source: Model photograph by Primary subject.

Fig-34:- Source: Model photograph by Primary subject.

Fig-35:- Source: Model photograph by Primary subject.

Fig-36:- Source: Model photograph by Primary subject.

Fig-37:- Source: Model photograph by Primary subject.

Fig-38:- Source: Model photograph by Primary subject.

Fig-39:- Source: Model photograph by Primary subject.

Fig-40:- Source: Model photograph by Primary subject.

Fig-41:- Source: Model photograph by Primary subject.

Fig-42:- Source: Model photograph by Primary subject.

Fig-43:- Source: Model photograph by Primary subject.

Fig-44:- Source: Model photograph by Primary subject.

Fig-45:- Source: Model photograph by Primary subject.

Fig-46:- Source: Model photograph by Primary subject.

Fig-46:- Source: Model photograph by Primary subject.

Fig-48:- Source: Model photograph by Primary subject.

Fig-49:- Source: Model photograph by Primary subject.

Fig-50:- Source: Model photograph by Primary subject.

Fig-51:- Source: Model photograph by Primary subject.

Fig-52:- Source: Model photograph by Primary subject.

Fig-53:- Source: Model photograph by Primary subject.

Fig-54:- Source: Model photograph by Primary subject.

Fig-55:- Source: Model photograph by Primary subject.

Fig-55:- Source: Model photograph by Primary subject.

Fig-56:- Source: Model photograph by Primary subject.

Fig-57:- Source: Model photograph by Primary subject.

Fig-58:- Source: Model photograph by Primary subject.

Fig-59:- Source: Model photograph by Primary subject.

Fig-60:- Source: https://bloximages.chicago2.vip. townnews.com/countytimes.com/content/tncms/ assets/v3/editorial/9/90/990b5305-e1c4-5ac2-80218a87fa3c61a6/57d191a96e359.image.jpg Diagram 1:- Source: Hand sketch by Primary subject.

Diagram 2:- Source: Hand sketch by Primary subject.

Diagram 3:- Source: Hand sketch by Primary subject.

Diagram 4:- Source: Hand sketch by Primary subject.

Diagram 5:- Source: Hand sketch by Primary subject.

Diagram 6:- Source: Hand sketch by Primary subject.

Diagram 7:- Source: Hand sketch by Primary subject.

Diagram 8:- Source: Hand sketch by Primary subject.

Diagram 9:- Source: Hand sketch by Primary subject.

CHAPTER III.II Fig-61:- Source: https://upload.wikimedia.org/wikipedia/ commons/thumb/a/a4/Piet_Mondriaan%2C_1930_-_Mondrian_ Composition_II_in_Red%2C_Blue%2C_and_Yellow.jpg/800pxPiet_Mondriaan%2C_1930_-_Mondrian_Composition_II_in_ Red%2C_Blue%2C_and_Yellow.jpg Fig-62:- Source: https://live.staticflickr. com/8383/8585241172_8e5a36e84d_b.jpg Fig-63:- Source: Isometric view of the analytical model.

Fig-64:- Source: Model photograph by Primary subject.

Fig-65:- Source: Model photograph by Primary subject.

Fig-66:- Source: Model photograph by Primary subject.

Fig-67:- Source: Model photograph by Primary subject.

Fig-68:- Source: Model photograph by Primary subject.

Fig-69:- Source: Isometric view of the analytical model.

Fig-70:- Source: Model photograph by Primary subject.

Fig-71:- Source: Model photograph by Primary subject.

Fig-72:- Source: Model photograph by Primary subject.

Fig-73:- Source: Model photograph by Primary subject.

Fig-74:- Source: Model photograph by Primary subject.

Fig-75:- Source: Isometric view of the analytical model.

Fig-76:- Source: Model photograph by Primary subject.

Fig-77:- Source: Model photograph by Primary subject.

Fig-78:- Source: Model photograph by Primary subject.

Fig-79:- Source: Model photograph by Primary subject.

Fig-80:- Source: Model photograph by Primary subject.

Diagram 1:- Source: Graphical representation by Primary subject.

Diagram 2:- Source: Graphical representation by Primary subject.

Diagram 3:- Source: Graphical representation by Primary subject.

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CHAPTER IV.I Fig-1:- Source: https://i.pinimg.com/originals/3c/ cc/7d/3ccc7de2767bf15471c6fb585a7f0f38.jpg\ Edited bu primary source.

Fig-2:- Source: https://live.staticflickr.com/3946/15511659596_ fdeba28c90_b.jpg Fig-3:- Source: https://upload.wikimedia.org/wikipedia/ commons/1/10/Development_of_a_Bottle_in_Space_MET_DT6408.jpg Fig-4:- Source: https://collectionapi.metmuseum.org/api/collection/ v1/iiif/485529/1005474/main-image Fig-5:- Source: https://i.pinimg.com/originals/3c/ cc/7d/3ccc7de2767bf15471c6fb585a7f0f38.jpg\ Fig-6:- Source: https://i.pinimg.com/originals/d9/20/62/ d920625890d7e2b7e3e1a3e0e8c8d2fe.jpg Fig-7:- Source: Model photograph by Primary subject.

Fig-8:- Source: Model photograph by Primary subject.

Fig-9:- Source: Model photograph by Primary subject.

Fig-10:- Source: Model photograph by Primary subject.

Fig-11:- Source: Model photograph by Primary subject.

Fig-12:- Source: Model photograph by Primary subject.

Fig-13:- Source: Model photograph by Primary subject.

Fig-14:- Source: Model photograph by Primary subject.

Fig-15:- Source: Model photograph by Primary subject.

Fig-16:- Source: Model photograph by Primary subject.

Fig-17:- Source: Model photograph by Primary subject.

Fig-18:- Source: Model photograph by Primary subject.

Fig-19:- Source: Model photograph by Primary subject.

Fig-20:- Source: Model photograph by Primary subject.

Fig-21:- Source: Model photograph by Primary subject.

Fig-22:- Source: Model photograph by Primary subject.

Fig-23:- Source: Model photograph by Primary subject.

Fig-24:- Source: Model photograph by Primary subject.

Fig-25:- Source: Model photograph by Primary subject.

Fig-26:- Source: Model photograph by Primary subject.

Fig-27:- Source: Model photograph by Primary subject.

Fig-28:- Source: Model photograph by Primary subject.

Fig-42:- Source: https://images.adsttc.com/media/images/5437/4843/ c07a/80e4/c800/00a0/slideshow/5503_modelisation_3d_ desphasesdeconstructiondubatimentdelafondationlo_original. jpg?1412909099 Fig-43:- Source: Model photograph by Primary subject.

Fig-44:- Source: Model photograph by Primary subject.

Fig-45:- Source: Model photograph by Primary subject.

Fig-46:- Source: Model photograph by Primary subject.

Fig-47:- Source: Model photograph by Primary subject.

Fig-48:- Source: Model photograph by Primary subject.

Fig-49:- Source: Model photograph by Primary subject.

Fig-50:- Source: Model photograph by Primary subject.

Fig-51:- Source: https://images.adsttc.com/media/images/56bc/7217/ e58e/cea3/6900/0001/slideshow/_mg_2921_am_150203. jpg?1455190538 Diagram 1:- Source: Hand sketch by Primary subject.

Diagram 2:- Source: Hand sketch by Primary subject.

Diagram 3:- Source: Hand sketch by Primary subject.

Diagram 4:- Source: Hand sketch by Primary subject.

Diagram 5:- Source: Hand sketch by Primary subject.

Diagram 6:- Source: Hand sketch by Primary subject.

Diagram 7:- Source: Hand sketch by Primary subject.

Diagram 8:- Source: Hand sketch by Primary subject.

Diagram 9:- Source: Hand sketch by Primary subject.

Diagram 10:- Source: Hand sketch by Primary subject.

Diagram 11:- Source: Hand sketch by Primary subject.

CHAPTER V.I Fig-1:- Source: https://competitions.malcolmreading.co.uk/ rosspavilion/concept Fig-2:- Source: Edinburgh City photograph by Simran Suryavanshi.

Fig-3:- Source: Edinburgh City photograph by Simran Suryavanshi.

Fig-4:- Source: Princess Park photograph by Simran Suryavanshi.

Fig-5:- Source: Princess Park photograph by Simran Suryavanshi.

Fig-6:- Source: https://www.historyscotland.com/images/image/ EWH%20Site%20Boundary%20Map%20copy-1.jpg

CHAPTER IV.II

Fig-7:- Source: Bandstand photograph by Simran Suryavanshi.

Fig-8:- Source: Royal Castle photograph by Simran Suryavanshi.

Fig-29:- Source: https://images.adsttc.com/media/images/5446/6e16/ e58e/cea2/d500/00d7/large_jpg/image.flvcrop.1200.5000. jpg?1413901840

Fig-9:- Source: https://www.google.com/maps?ll=55.94954,3.19953&z=16&t=h

Fig-30:- Source: https://www.fondationlouisvuitton.fr/content/ dam/flvinternet/Images/la-fondation/4634-croquis-preliminaireInternalSlideshow.jpg Fig-31:- Source: https://www.fondationlouisvuitton.fr/content/ dam/flvinternet/Images/la-fondation/18271-croquis-preliminaireInternalSlideshow.jpg Fig-32:- Source: https://www.huftonandcrow.com/images/uploads/_ tablet/Frank_Gehry_LVMH_Paris_Vanity_Fair_Shoot_HuftonCrow_003. jpg Fig-33:- Source: https://www.huftonandcrow.com/images/uploads/ Frank_Gehry_LVMH_Paris_Vanity_Fair_Shoot_HuftonCrow_006.jpg Fig-34:- Source: https://www.huftonandcrow.com/images/uploads/ Frank_Gehry_LVMH_Paris_Vanity_Fair_Shoot_HuftonCrow_018.jpg Fig-35:- Source: https://www.huftonandcrow.com/images/uploads/ Frank_Gehry_LVMH_Paris_Vanity_Fair_Shoot_HuftonCrow_022.jpg Fig-36:- Source: https://www.huftonandcrow.com/images/uploads/ Frank_Gehry_LVMH_Paris_Vanity_Fair_Shoot_HuftonCrow_046.jpg Fig-37:- Source: https://www.huftonandcrow.com/images/uploads/ Frank_Gehry_LVMH_Paris_Vanity_Fair_Shoot_HuftonCrow_043.jpg Fig-38:- Source: https://www.huftonandcrow.com/images/uploads/ Frank_Gehry_LVMH_Paris_Vanity_Fair_Shoot_HuftonCrow_016.jpg Fig-39:- Source: https://images.adsttc.com/media/images/5437/4823/ c07a/80a7/4a00/00ac/slideshow/5495_modelisation_3d_ desphasesdeconstructiondubatimentdelafondationlo_original. jpg?1412909062 Fig-40:- Source: https://images.adsttc.com/media/images/5437/4823/ c07a/80f8/7c00/00ab/slideshow/5498_modelisation_3d_ desphasesdeconstructiondubatimentdelafondationlo_original. jpg?1412909062 Fig-41:- Source: https://images.adsttc.com/media/images/5437/484b/ c07a/80f8/7c00/00ac/slideshow/5500_modelisation_3d_ desphasesdeconstructiondubatimentdelafondationlo_original. jpg?1412909107

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Fig-10:- Source: Princess Park photograph by Simran Suryavanshi.

Fig-11:- Source: Princess Park photograph by Simran Suryavanshi.

Fig-12:- Source: Princess Park photograph by Simran Suryavanshi.

Fig-13:- Source: https://www.google.com/maps?ll=55.94954 Fig-14:- Source: Princess Park photograph by Simran Suryavanshi.

Fig-15:- Source: Princess Park photograph by Simran Suryavanshi.

Fig-16:- Source: Princess Park photograph by Simran Suryavanshi.

Fig-17:- Source: Princess Park photograph by Simran Suryavanshi.

Fig-18:- Source: Context Plan produced by primary subject.

Fig-19:- Source: Site Sections produced by primary subject.

Fig-20:- Source: Model photograph by Primary subject.

Fig-21:- Source: Model photograph by Primary subject.

Fig-22:- Source: Model photograph by Primary subject.

Fig-23:- Source: Model photograph by Primary subject.

Fig-24:- Source: Model photograph by Primary subject.

CHAPTER V.II Fig-25:- Source: https://freight.cargo.site/t/original/i/71095e47fbd 3f4f85fc0b8791b0fceef2fda027185032fc1ce1a227166314973/08_ CANNAREGIO_DRAWING1.jpg Fig-26:- Source: https://eisenmanarchitects.com/Wexner-Center-forthe-Visual-Arts-and-Fine-Arts-Library-1989 Fig-27:- Source: http://blogs.cornell.edu/arch5302sp15/2015/03/16/ peter-eisenman-moving-arrows-eros-other-errors Fig-28:- Source: https://freight.cargo.site/t/original/i/7e0bd7f8ff6fffa18 21ef22d72b1ea4938d1455d36e2a5f1d001b29e52d96307/12_WEXNER_ IMAGE7.jpg Fig-29:- Source: https://freight.cargo.site/t/original/i/62090188621b adf7bd464d6e9b5f78ebd6773e02e1daa63584cc71ea7fa01759/12_ WEXNER_IMAGE8.jpg Fig-30:- Source: https://freight.cargo.site/t/original/i/563e8181e484 4c35cbf66694b5be3e46f475d3bd7475acc0d7f753d135172ec8/08_ CANNAREGIO_DRAWING2.jpg

Fig-31:- Source: https://cpb-us-e1.wpmucdn.com/blogs.cornell.edu/ dist/d/5499/files/2015/03/presentation_Page_09-16xjgpe.jpg Fig-32:- Source: https://cpb-us-e1.wpmucdn.com/blogs.cornell.edu/ dist/d/5499/files/2015/03/presentation_Page_09-16xjgpe.jpg Fig-33:- Source: https://cpb-us-e1.wpmucdn.com/blogs.cornell.edu/ dist/d/5499/files/2015/03/presentation_Page_11-24h3nr4.jpg Fig-34:- Source: https://cpb-us-e1.wpmucdn.com/blogs.cornell.edu/ dist/d/5499/files/2015/03/presentation_Page_09-16xjgpe.jpg Fig-35:- Source: http://mainprjkt.com/mainprojekt/series-11-weekseisenman-1986 Fig-36:- Source: http://mainprjkt.com/mainprojekt/series-11-weekseisenman-1986 Fig-37:- Source: http://mainprjkt.com/mainprojekt/series-11-weekseisenman-1986 Fig-38:- Source: http://mainprjkt.com/mainprojekt/series-11-weekseisenman-1986 Fig-39:- Source: https://freight.cargo.site/t/original/i/6617857c989d eeabb8f6f400419b9d94232c96e6ac067b1ce5245f0afbdd228d/08_ CANNAREGIO_MODEL4.jpg Fig-40:- Source: https://freight.cargo.site/t/original/i/9ab9925fd00d aab1f7dbf78316905be5d21d0f2e5ed903bded102e72943db08a/12_ WEXNER_CONCEPT3.jpg Fig-41:- Source: https://freight.cargo.site/t/original/i/4c25c3803fa59 ef0bf8813645ce130a901cbb940dc6d8e9c61fc5abb3e0cc3da/50_ILGIARDINO_IMAGE3.jpg Fig-42:- Source: https://freight.cargo.site/t/original/i/069806ef881cb 0f98dde63d4df2eabd22ac5a679f591f5cdece54c9bb5b613a2/12_ WEXNER_MODEL1.jpg Fig-43:- Source: https://freight.cargo.site/t/original/i/ d143246e45aeff1cb8a416c2f17f3b72f581c223bd73 9e9b32f96f3cd2e6c7e4/54_YENIKAPI_MODEL1.jpgv Fig-44:- Source: https://freight.cargo.site/t/original/i/57cd8a306ce626f9 f771f2a32486961e6e68b3445751904508abe90a529fdf1b/17_LAVILLETTE_ DRAWING3.jpg Diagram 1:- Graphical representation of parameter by primary subject.

Diagram 2:-Graphical representation of parameter by primary subject.

Diagram 3:-Graphical representation of parameter by primary subject.

Diagram 4:-Graphical representation of proportions by primary subject.

Diagram 5:-Graphical representation of parameter by primary subject.

Diagram 6:-Graphical representation of parameter by primary subject.

Diagram 7:-Graphical representation of parameter by primary subject.

CHAPTER V.III Fig-44:- Source: Graphical representation of element red and follies by primary subject.

Fig-45:- Source: Graphical representation for the parameter context and identification of red by primary subject.

Fig-46:- Source: Graphical representation for the parameter context and identification of red by primary subject.

Fig-47:- Source: Graphical representation for the parameter context and identification of red by primary subject.

Fig-48:- Source: Graphical representation for the parameter context and identification of red by primary subject.

Fig-49:- Source: Graphical representation for the parameter context and identification of red by primary subject.

Fig-50:- Source: Graphical representation for the parameter context and identification of red by primary subject.

Fig-51:- Source: Graphical representation for the parameter context and identification of red by primary subject.

Fig-52:- Source: Graphical representation for the parameter context and identification of red by primary subject.

Fig-53:- Source: Graphical representation for the parameter context and identification of red by primary subject.

Fig-54:- Source: Graphical representation for the parameter context and identification of red by primary subject.

Fig-55:- Source: Graphical representation for the parameter context and identification of red by primary subject.

Fig-62:- Source: Graphical representation for the parameter figurative element, trace and imprint and juxtaposition by primary subject.

Fig-63:- Source: Graphical representation for the parameter figurative element, trace and imprint and juxtaposition by primary subject.

Fig-64:- Source: Graphical representation for the parameter figurative element, trace and imprint and juxtaposition by primary subject.

Fig-65:- Source: Graphical representation for the parameter figurative element, trace and imprint and juxtaposition by primary subject.

Fig-66:- Source: Graphical representation for the parameter figurative element, trace and imprint and juxtaposition by primary subject.

Fig-67:- Source: Graphical representation for the parameter figurative element, trace and imprint and juxtaposition by primary subject.

Fig-68:- Source: Graphical representation for the parameter landscape and artificial excavations by primary subject.

Fig-69:- Source: Graphical representation for the parameter landscape and artificial excavations by primary subject.

Fig-70:- Source: Graphical representation for the parameter landscape and artificial excavations by primary subject.

Fig-71:- Source: Graphical representation for the parameter landscape and artificial excavations by primary subject.

Fig-72:- Source: Graphical representation for the parameter landscape and artificial excavations by primary subject.

Fig-73:- Source: Graphical representation for the parameter landscape and artificial excavations by primary subject.

Fig-74:- Source: Graphical image of follie in plan.

Fig-75:- Source: Model photograph by Primary subject.

Fig-76:- Source: Model photograph by Primary subject.

Fig-77:- Source: Model photograph by Primary subject.

Fig-78:- Source: Axonometric view of the process of transformation.

Fig-79:- Source: Graphical image of follie in plan.

Fig-80:- Source: Model photograph by Primary subject.

Fig-81:- Source: Model photograph by Primary subject.

Fig-82:- Source: Model photograph by Primary subject.

Fig-83:- Source: Axonometric view of the process of transformation.

Fig-84:- Source: Graphical image of follie in plan.

Fig-85:- Source: Model photograph by Primary subject.

Fig-86:- Source: Model photograph by Primary subject.

Fig-87:- Source: Model photograph by Primary subject.

Fig-88:- Source: Axonometric view of the process of transformation.

Fig-89:- Source: Graphical image of follie in plan.

Fig-90:- Source: Model photograph by Primary subject.

Fig-91:- Source: Model photograph by Primary subject.

Fig-92:- Source: Model photograph by Primary subject.

Fig-93:- Source: Axonometric view of the process of transformation.

Fig-94:- Source: Site plan produced by primary subject.

Fig-95:- Source: Site section(AA’) produced by primary subject.

Fig-96:- Source: Site section(BB’) produced by primary subject.

Fig-97:- Source: Model photograph by Primary subject.

Fig-98:- Source: Model photograph by Primary subject.

Fig-99:- Source: Model photograph by Primary subject.

Fig-100:- Source: Model photograph by Primary subject.

Fig-101:- Source: 3D render image by Primary subject.

Fig-102:- Source: 3D render image by Primary subject.

Fig-103:- Source: 3D render image by Primary subject.

Fig-104:- Source: 3D render image by Primary subject.

Fig-105:- Source: 3D render image by Primary subject.

Fig-56:- Source: Graphical representation for the parameter function, movement and circulation by primary subject.

Fig-57:- Source: Graphical representation for the parameter function, movement and circulation by primary subject.

Fig-58:- Source: Graphical representation for the parameter function, movement and circulation by primary subject.

Fig-59:- Source: Graphical representation for the parameter function, movement and circulation by primary subject.

Fig-60:- Source: Graphical representation for the parameter function, movement and circulation by primary subject.

Fig-61:- Source: Graphical representation for the parameter function, movement and circulation by primary subject.

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REFERENCES -https://www.theartstory.org/movement/suprematism/artworks/ -https://www.moma.org/collection/works/79269 -https://thecharnelhouse.org/2015/06/11/about-two-squares-el-lissitzkys1922-suprematist-picture-book-for-kids/ -https://www.moma.org/collection/works/78444 -https://www.gallery.ca/collection/artwork/the-pianist -http://architectuul.com/architecture/tatlin-s-tower -https://www.ideelart.com/magazine/vladimir-tatlin-monument-to-the-thirdinternational -https://www.theartstory.org/movement/de-stijl/ -https://www.theartstory.org/movement/de-stijl/history-and-concepts/ -https://whc.unesco.org/en/list/965 -https://www.rietveldschroderhuis.nl/nl/rietveld-schroderhuis?set_ language=nl -https://www.theartnewspaper.com/news/how-a-design-for-hong-konglaunched-zaha-hadids-career -http://hiddenarchitecture.net/the-peak-leisure-club/ -https://www.moma.org/collection/works/202 -https://www.vitra.com/en-us/campus/architecture/architecture-fire-station -http://www.galinsky.com/buildings/vitrafire/index.htm -https://www.curbed.com/2015/8/5/9933580/21-first-drafts-zaha-hadids-vitrafire-station -https://medium.com/@shawnvictor/vitra-fire-station-the-phoenix-ofarchitecture-11aead623fa3 -https://www.e-architect.co.uk/germany/vitra-fire-station -https://www.archdaily.com/63267/ad-classics-house-vi-petereisenman?ad_medium=gallery -https://eisenmanarchitects.com/Projects -http://mainprjkt.com/mainprojekt/series-11-weeks-eisenman-1986 -http://blogs.cornell.edu/arch5302sp15/2015/03/16/peter-eisenman-movingarrows-eros-other-errors/ -https://www.archdaily.com/tag/peter-eisenman -https://www.architectural-review.com/essays/interview-petereisenman/8646893.article -https://www.archdaily.com/785334/interview-with-peter-eisenman-i-amnot-convinced-that-i-have-a-style -https://www.archdaily.com/429925/eisenman-s-evolution-architecturesyntax-and-new-subjectivity/?ad_source=myarchdaily&ad_ medium=bookmark-show&ad_content=current-user -https://www.archdaily.com/785334/interview-with-peter-eisenman-iam-not-convinced-that-i-have-a-style/?ad_source=myarchdaily&ad_ medium=bookmark-show&ad_content=current-user -https://www.aaronartprints.org/boccioni-developmentofabottleinspace. php -https://www.writework.com/essay/boccioni-response-technical-manifestofuturist-sculpture -https://www.ideelart.com/magazine/umberto-boccioni-unique-forms-ofcontinuity-in-space -http://www.unknown.nu/futurism/techpaint.html -http://homanart.wordpress.com/2011/04/27/umberto-boccioni/ -http://www.unknown.nu/futurism/techsculpt.html -http://www.metmuseum.org/collections/search-the-collections/210005742 -https://www.britannica.com/art/Futurism#ref1052829 -https://www.theartstory.org/movement-futurism.htm -https://www.archdaily.com/555694/fondation-louis-vuitton-gehry-partners -https://www.fondationlouisvuitton.fr/en/exhibitions/beyond-the-walls/frankgehry-beijing.html -https://www.designbuild-network.com/projects/louis-vuitton-foundationparis/ -https://en.wikiarquitectura.com/building/louis-vuitton-foundation/ -https://www.architectmagazine.com/design/buildings/fondation-louisvuitton-designed-by-gehry-partners_o

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LIST OF BOOKS REFERRED

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