Will Alsop Painting Architecture

SONG PEI FEN 15022536 P30026 Research Philosophy for Design [2015-2016] Coursework 1 - Question 2 2 December 2015

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Question

Choose an architect or urban designer (mentioned in the lecture series or someone else of your own choice) who uses a method of 1. Filmmaking (Jean Nouvel), 2. Photography (Peter Zumthor), 3. Painting (Steven Holl, Zaha Hadid etc.) or 4. Illustration/cartooning (Jimenez Lai) in their architectural design research. (The designer need not be a star architects. The examples here are just some suggestions to get you started. Feel free to choose someone else.) Sometimes the architectural designer is able to learn and embed in their practice the other disciplinary methods. Otherwise and more often these architects collaborate with people from another discipline in their design research.

Architects and urban designers are often influenced by the practices used outside of those conventionally used in architecture (i.e. architectural drawing or model making), inspired instead by filmmakers, photographers,painters/visual artists, illustrators/cartoonists etc.

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Choose one project by the architect that uses an interdisciplinary or transdisciplinary methodology e.g. designing architecture through film or designing architecture through photography or designing architecture through painting or designing architecture through illustration/cartooning.

Explain what is revealed that would not usually be revealed through conventional architectural methods of design research and exactly what is being researched (e.g. environments/landscapes over time, human occupation, changing lighting, erosion/textual change, historical or cultural information in relation to space etc.).

Set out how the architect collaborates with the person from the other discipline (if they do that) and (referring to some of the relevant texts in ‘Section 6: Reading List’) analyse their work in relation to discourse on interdisciplinary and transdisciplinary practice in architectural design.

Conclude by reflecting on: What is the value of their interdisciplinary or transdisciplinary practice to changing architectural design research process? What is gained and by who?

Fig 1 : Cover page Fig 2 : Alsop at work

CONTENTS

INTRODUCTION

Driven by practicality and price, conventional practice subscribes to research methods such as model making and architectural drawing to generate straightforward representation of design solutions. The increasing demand for a more comprehensive design service within the built environment has led to the emergence of diverse forms of architectural practice. The field of architecture has seen efforts in challenging traditional models of practice and forging an interdisciplinary network.

Interdisciplinary work involves individuals moving between and across disciplines and in so doing question the ways in which they work.

Rendell (2006)

Interdisciplinary practice shifts the emphasis from disciplinary distinctions to the collective working process in achieving mutual goals.

Fig 3a & 3b : Alsop painting with McLean in Minorca

Art and architecture shares a dynamic relationship in collaborative practice. For Will Alsop, painting is a medium of ‘research through architecture’ – both a method and process for exploration. Rendell (2004) describes the term as a practice that takes the design process as the research methodology. The integration of art and architecture facilitates an exchange of ideas and forms of experimentation that generates self-reflection and critical thinking.

Drawing upon Alsop’s background and collaboration with artists, this essay explores the implications of painting in Alsop’s design process.

The study of Alsop’s collaborative work aims to stimulate a discussion about the strengths and challenges of interdisciplinary practice, in the hope that it will play a constructive role in the larger context of built environment. This discourse should provide an exciting platform to advance our perception about the opportunities that interdisciplinary practice can contribute to the future of the profession.

BACKGROUND DESIGN ETHOS Alsop’s early education at Northampton School of Art and Architectural Association form the basis to his conviction that painting and sculpture are fundamental architectural explorative tools. At the AA, Alsop was exposed to the culture of experimentation and diversity based on ideologies of technology, social responsibility and unconventional formalism. The formative years Alsop spent with Cedric Price (1973-1977) established opportunities for him to collaborate extensively with architects and artists. At Price’s firm, Alsop was actively involved in projects of industrial sites fused with community program.

As a result, Alsop expanded his interest in perceiving architecture as an art for social advancement.

‘Art that has to break down barriers, confront social issues, involve itself in the process of regeneration and not sit on a pedestal inviting people to pay their respects.’ (Powell, 2000) His architecture integrates human behaviours and functionality of spaces.

Figure 4 (Above) : Le Grand Bleu completed building Fig 5 (Below) : Le Grand Blue concept painting

Till today, Alsop continues to infuse his artistic sensibility into his own architectural practice. His first breakthrough project is the Hotel Du Department des Bouches-du-Rhone in Marseille, France. In that scheme, Alsop used painting as an exploratory prelude to architectural drawings and model making. As a key medium to express initial investigation of concepts, painting allows Alsop to free himself from any preconceived notion of beauty.

Alsop : because beauty is a fact, and it can change with time. Beauty is not a healthy consideration, but rather a classification afterwards.

(Belogolovsky, 2010)

Alsop’s formative years have imbued in him a vision that architecture begins not in solving problems, but probing a situation through painting. Architecture follows a parallel discovery path as art, and the two disciplines are inseparable. Having defined the foundation to Alsop’s research method, the next chapter will discuss the experimental evidence of Alsop’s collaborative practice using painting in his project.

POTSDAMERPLATZ REDEVELOPMENT PROJECT The interdisciplinary practice using painting as a research tool is exemplified in the Potsdamerplatz redevelopment project proposal undertaken by Alsop & Stormer. They were one of the 17 practices invited to enter the competition in 1992. After the 2nd world war, Berlin was left with an architectural vacuum, replete with memories and history. It was perceived as an opportunity for buildings to regain their autonomy and importance as catalysts of social change. The historically-rich city demands an empathetic new modernism,

~ a place to be.

The proposed design of a new Potsdamerplatz is the outcome of an early series of large scale paintings made by Will Alsop and artist Bruce McLean in their art studio in Minorca, Spain. Their exploration led to a scheme known as ‘City of objects’ – a cluster of modernist objects aiming to regenerate the commercial node of Berlin.

Figure 6 (Below) : Alsop’s earliest representation of Berlin Fig 7a & 7b (Top right) : Potsdamer Platz, West Berlin, 1985 /1992

The alliance with McLean allows Alsop to diversify his perception in architecture through the lens of art. From his painting sessions with McLean, Alsop embraces the technique of abstract painting on a large format.

Painting on large scale enables him to utilize his body movements effortlessly to express his thoughts on canvas. The picture is fragmented by dynamic forces; the subject breaking free from the constraints of the canvas. Bold streaks of colour disturb the scale and depth of field. The rigorous flow of action and energy in the execution stimulates creative and critical thinking to develop architectural concepts.

The spontaneity of abstract painting liberates Alsop from the constraints of rationale that typically stages the production of architecture. As a result of the collaborative practice, Alsop succeeds in discovering design possibilities that are often overlooked in conventional practice.

Fig 8 (Above): Alsop activating his painting as a backdrop to his actions Fig 9 (Centre) : A visual catalogue of Alsop’s painting process in Minorca with McLean Fig 10 (Right) : Alsop utilises his whole body to create a dialogue with his painting

“Paint is much more inte resting; it can be very quick, it deals with colour, with mas s, with transparency ... through this flexing of the muscles using paint, just occasionally yo u se e so m et hi ng th a t yo u ha ve n’ t se en b ef or e which allows you to develop, which e x c i t e s y o u a n d sustains you.”

Will Alsop Interview with Abbie Galvin (1998)

Painting as a research medium helps Alsop understand the social and human context of a project as well as its technical aspects. Alsop’s response to diversity and urban is to paint from an unlimited vocabulary of form and a free expression of colour. (Porter, 2011) Like an artist, Alsop applies colour, material, pattern and transparency to manifest his visions inspired by elements of daily life and actions of human being. Alsop’s painting process unfolds his thoughts of the formal and experiential quality of Potsdamerplatz. He taps into innovative ways of perceiving and living in the world, of articulating ba-

sic human functions into a pragmatic context.

He envisions Potsdamerplatz as a hub that exudes energy, a space for work and play determined by behavioural possibilities, not limited by functional requirements. In response to the derelict open spaces of Berlin, the scheme considers the landscape to be a series of streets which can be traversed without obstacles. The city of objects is a field of behaviours that can be animated according to various occasions and seasons.

Alsop’s application of colours responds to the climate of the context, often involving bold hues and geometry of the building surface.

Alsop : There should be lots of colour where there is no sun and less where there is a lot of sun.”

(Belogovsky,2010) His chromatic buildings are playful and welcoming on a human level, offering opportunities of use and pleasure.

Fig 11 (Above): Early sketch showing the concept of a permeable street design Fig 12 (Across below): Concept paintings treating Potsdamerplatz as a table of behaviours

Fig 13 (Right): Concept painting Fig 14 (Right below) : Concept painting

Architecture is not about just having a roof over your head, but about a feeling of belonging and feeling comfortable.

In addition to serving emblematic needs, this surface articulation allows for the expression of zones and functions as well as exposing the structure and the insides. (Beck, Cooper, 1999) Alsop takes a pragmatic position towards the inclusion of environmental principles in design.

The buildings are designed to be energy-efficient and responsive to climatic variation and functional needs. Working with Ove Arup & Partners, the project utilises passive design to maximise human comfort and to minimise operational costs. Typical modern materials (concrete, glass, steel) are used successfully to produce cost-effective and durable buildings.

Fig 15 (Above): Fig 16 (Below): A visual catalogue of Alsop’s painting process in Minorca with McLean Fig 17 (Next page) : Alsop and his design team in a roundtable with the clients and building users

(Belogolovsky, 2010)

Besides being a visual diary of Alsop’s imagination, painting is a record of the conversations he has with the client/building users. He paints up to the point where he has defined most of the key details and materials. He then uses the paintings as springboards for discussion with the community, who are asked to respond to them by describing and sketching their own ideas.

With the results of the discussion, Alsop’s paintings are developed into feasible forms for construction. The role of the painting as a medium of discussion drives the architect’s designs to be more receptive towards the visions of the users.

Alsop’s research process reflects its roots in his education and training that brought up his belief that architecture is a generator for social advancement.

ANALYSIS OF ALSOP’S PAINTINGS

CONCEPT Alsop’s paintings of the project illustrate a radial composition of L-shaped blocks. The tyranny of the urban block was stimulated by the vision for the Potsdamerplatz commercial node of the city to be the place to be. In this scheme, the streets, buildings and landscape blend in terms of form and function. The ambiguity between the interior and exterior makes the space multi-functional and flexible to seasons.

CONTEXT Alsop’s sculptural and polychromatic buildings challenge any notion of conventional contextual assimilation. The buildings declare a strong desire for individuality and diversity to reinstate the dynamic character of the site.

Fig 18 (Right across): Fig 19 (Next page top left): Fig 20 (Next page top right): Fig 21( Next page bottom right):

BODY The office towers form the vertical L section of the blocks. The horizontal part of the blocks constitutes the transitional space for workers to traverse from the train station to their office. This is an exemplary design as it diversifies the users’ daily walking experience. On the contrary, negative modernism oppresses the practicality of a working space by compressing its functional layers, producing hermitic public spaces.

COLOUR Colour gives buildings presence and character.

The saturated colours change with light, making the buildings vary in form and transparency between day and night. The solidity of the colours both isolates the building from the surroundings and starkly defines its shape. Colour also has a direct impact on the behaviours of users. The audacious colours create a fun, varied experience.

LEGS Some of the buildings are elevated on pilotis.

This allows for a seamless landscape beneath the buildings to function as public spaces. This composition heightens the sense of arrival and offers diverse landscaping opportunities.

From the study of Will Alsop’s design approach in the Potsdamerplatz project, it is evident that the integration of art plays a constructive role in his architectural development. Having discussed the value of collaborative work in Alsop’s architecture practice, the following chapter addresses the current discourse on interdisciplinary practice in contemporary architectural design.

Elevating the buildings gives them presence and the users views out. Architecturally this idea resembles Archigram’s Walking City project. The legs evoke ideas of adventure and mystery.

Fig 22 (Top left across): Fig 23 (Top left): Fig 24 (Centre left): Fig 25 ( Bottom left): Fig 26 (Next page right):

VALUES OF INTERDISCIPLINARY PRACTICE In order to fully acknowledge the value and opportunities of interdisciplinary practice, it is imperative to understand the advantages interdisciplinary approaches have over conventional architectural practice.

Conventional practice works around the specific expectations and parameters of designers and clients. ‘Architecture is often judged by a set of rules imposed upon it by others who cannot do it.’ (Alsop, 2003) Architects are being told what to design and how to design. This deflects and dilutes the originality of design concepts and the goal of achieving social change.

In conventional practice, architects are often confined to a single field of knowledge and skills. They have become increasingly dependent on existing framework of architectural strategies when designing a building.

On the other hand, interdisciplinary practice expands the perspectives of viewing architecture brought by the expertise and knowledge of multiple disciplines.

It was not only the ideas proposed by artists but also their working methods and techniques that played an important role in the transformation of architecture in the 1960s. (Schmiedeknecht, 2003) This point is clearly illustrated in Alsop’s research method. The creative dialogue between art and architecture provides multifaceted readings of the city and explores unconventional representation of form, space control and human behaviours.

‘Today, however, we have fostered a world that wants to know everything before almost anything has started.’

(Alsop, 2003)

Fig 27 :

Fig 28 (Top to bottom): Minorca painting session

This conservative attitude towards design is challenged through interdisciplinary practice.

The interaction between an artist and architect minimizes the reliance on precedent and style being justified for a proposal. To achieve this, it is imperative for the product to reflect the process. In the case of Alsop, he designs from the inside out. Painting has proven to be a successful tool to exercise the brain to probe the limits of architecture and stimulate innovation.

Every project should be a surprise built upon the accumulated experience because architecture is an exploration, not a confirmation.

The mediums for exploration in conventional architectural research – sketching and model making are slow and tedious compared to Alsop’s method of free painting. To Alsop, the speed of painting is critical to generate an unimpeded flow of ideas.

The discussion has proven the benefits of interdisciplinary practice compared to conventional practice. However, the method of collaborative working has raised various reactions and disputes over the differences in disciplinary working practices and objectives. It is important to recognize and perceive the challenges of interdisciplinary practice as opportunities for improvement.

The mechanical actions of painting allow the preconception contained in the memory to be exorcised with a minimum of intellectual interruption.

(Alsop, 1985)

The formal consultation process between architects and clients/users limits the room for a creative synergy. This results in an ideological detachment between the two parties. Art effectively communicates the nature of a proposal by engaging the community in a proactive discourse. Alsop’s paintings propose a dynamic feeling about possibilities and encourage people to contribute their ideas to the design. This research phase is important to progress his work from hypothetical exploration to practical application of ideas in a built form. With its stress on the user and on buildings which responded to, rather than predicated, human lifestyles, its commitment to flexibility and freedom and its colourful expressiveness, (Powell, 2001), Alsop’s architecture achieves the notion of cultural validity.

Fig 29a & 2b (Top, across): Alsop and McLean engage with their large scale painting in Minorca Fig 30 (Previous page, right): User-architect workshop for the Public West Bromwich project Fig 31: Consultative public workshop for the Islington, Manchester project

CHALLENGES & OPPORTUNITIES OF INTERDISCIPLINARY PRACTICE Communication conflict can arise when there is poor understanding of the different priorities, goal and structure of each discipline. This leads to a dispute over definition of roles, ownership and responsibility of each party in a project. In the alliance of art-architecture, Melhuish (2001) found that part of the problem lies in the primitive preconceptions that artists and architects may have not only about what collaboration has to offer but also about each other. This is further exacerbated when academics are locked within the specificity of their field (Kristeva 1998). The sense of being too rooted in their own domain with a prejudiced view to unconventional ideas could be an obstacle to a productive collaboration.

Conflict can be a source of energy and creativity

Fig 32a & Fig 32b (Next page): Alsop and McLean painting and contemplating on their work

and, an opportunity to capitalize on individual differences and integrate them into common goals.

It is crucial to understand and respect the value of each discipline in order for individual talents to be fully developed and achieve a common goal.

Alsop’s successful interdisciplinary practice proves that architecture could benefit from a collaborative base if the qualities of art and architecture are acknowledged as a valuable asset. Alsop: ‘The prime requirement is a mutual respect, an established friendship and a discreet flexibility – to avoid the question of what the individual role is.’ (Powell, 2001) On top of that, individuals must adopt a more experimental and encompassing attitude to explore beyond the comfort of specialist routines. Therefore, if interdisciplinary practice is to work seamlessly, the disciplines have to work in fluid hierarchy in bringing essential expertise that the group can draw upon.

Kristeva (1998) suggests that the integration process can be reductive – the hybridization of disciplines may dilute the qualities of individual disciplines. For example, Alsop’s abstract painting technique inspired by Bruce McLean is against conventional architectural notions of accuracy and precision. The outcome of the exploratory process of painting often seems hypothetical in its form and structure.

Such criticism fails to realise that when multiple disciplines fuse, the outcomes are not attached to a single field.

Interdisciplinary design does not isolate and selectively apply the qualities of respective disciplines to create design solution. Instead, it reflects the synthesis of complementary elements to achieve mutual goals. This collaborative way of working diversifies the paths to achieving more holistic designs that are both functional and imaginative. The collaboration with McLean allows Alsop to enhance the artistic creativity in his architecture without compromising his own architectural identity. Therefore, the properties of a discipline are not annulled in a collaborative gesture.

CONCLUSION The studies conducted in this essay illustrate that Will Alsop’s collaboration with Bruce McLean has been constructive in his design approach for the Potsdamerplatz redevelopment project. Alsop borrows the character of fluidity and unpredictability from art to inform his architectural work. The abstraction liberates Alsop’s imagination from preconceived notions and parameters that typically structure the production of architecture.

Alsop’s alliance with McLean has facilitated the discovery of research elements that would not be revealed in conventional practice. The collaborative process allows Alsop to develop a pragmatic approach in redeveloping Potsdamerplatz, based on his visions of formal and experiential qualities. Painting also proves to be an excellent communication tool to generate proactive discourse with the building’s clients/users.

So what does this mean for architecture in terms of professional practice ?

Conventional practice in architecture does not constitute a holistic understanding of the prospects of the industry in an evolving context with its limited resources. But when multiple disciplines work together, the synergy forms a remarkably rich and diverse set of perspectives to keep the construction industry adaptive to technological and cultural advancements.With the broader expertise of an interdisciplinary practice, architecture can expand its design arena from simply buildings to a broader context, such as product design and installation art.

These arguments imply that architecture must adopt a more experimental and encompassing attitude to welcome the integration of their work with others in the wider industry in order to remain progressive and versatile.

From the evidence of Alsop’s work, collaborative practice plays a positive role in shaping the architect’s attitude towards design and rethinking the relationship between architects and the clients/users. The cooperation opens architects’ perception to new horizons, bringing inspiration and multifaceted representations of the world. (Margolius, 2003) What the contemporary discourse on interdisciplinary practice tells us is that we need to engage in a more critical conversation with our work through the lens of other disciplines. Collective minds work more productively in imagining design ideas and solutions. However it is crucial to recognize that a lack of awareness and understanding of the differences in disciplinary working practices and objectives may have negative implications on the team.

Difference is inevitable; we need to capitalize on the differences as stimuli for invention analysis.

Therefore, interdisciplinary practice can be seen to have a significant role in improving the performance of architecture over the long term.

Fig 33 : The alliance between Alsop and McLean

REFERENCES Alsop W., 1985, ‘Architecture into Art’, Studio international, v.198, no.1011, p.3437 Alsop W., 2003, Can the architect’s art afford to be about beauty and style?

Available from : <http://www.architectsjournal.co.uk/home/can-the-architectsart-afford-to-be-about-beauty-and-style/147165.article> [1 November 2015] Beck H., Cooper J.,1999, ‘Introduction’, In: Dobney S., The master architect, s., III, Alsop and Störmer: selected and current works. Edited by., Mulgrave, Australia : Images Publishing Group Pty Ltd Belogolovsky V., 2010, One-on-One: Putting Colors Together: An Interview with Will Alsop. Available from : <http://www.archnewsnow.com/features/Feature346.htm> [1 November 2015] Galvin, A. and Alsop, W., 1998, ‘Interview: London’s Will Alsop answers Abbie Galvin after headlining the Museum of Sydney’s Nexus festival’, Architecture Australia, v.87, no.1, pp. 32-32.

Kristeva, Julia, “Institutional Interdisciplinarity in Theory and Practice: an interview” in Alex Coles E and Alexia Defert eds. (1997) De-, Dis-, Ex, Volume Two: The Anxiety of Interdsiciplinarity, London: Black Dog, pp 1-22 Margolius I., 2003, ‘Introduction’, In : Doing As Understanding, Architecture Design, v.23, no.3, pp. 9-13 Melhuish C., 2001, ‘Art and Architecture’, In Nicoletta T., Interdisciplinary Architecture, Architectural Design, Great Britain:Academy Press Porter, T., 2011, Will Alsop: the noise. Abingdon:Routledge.

Powell, K., Keates, J., Schumacher, P. and British, P., 2000, 4 city visionaries. London: British Council Powell, K., 2001, Will Alsop. Book 1. London: Laurence King Rendell, J., 2004, Architectural research and disciplinarity. Architectural Research Quarterly, vol 8, pp 141-147 Rendell, J., 2006, Art and architecture: a place between, London: I. B. Tauris.

Schmiedeknecht T.,2003, ‘Art and Architecture – A reciprocal relationship?’, Architectural Design, v.73, n.3, p.86-100

LIST OF IMAGES Fig 1 Song P.F., 2015, ‘Will Alsop – Painting Architecture’ (own image)

Fig 13 Powell, K., 2002, In : Will Alsop, Book 2, 1990-2000. London: Laurence King.

Fig 2 Porter, T., 2011, ‘Alsop at work’, In : Will Alsop - the noise.

Abingdon: Routledge.

Fig 14 Dobney S., 1999, The master architect, s., III, Alsop and Störmer: selected and current works. Mulgrave, Australia : Images Publishing Group Pty Ltd

Fig 3a & 3b Castle H. 2003, In In : Doing As Understanding, Architecture Design, v.23, no.3, pp. 77.

Fig 4 & 5 Alsop W., (n.d.) Retrieved from http://www.all-worldwide. com/what/office/le-grand-bleu/ Fig 6 Gooding, M., Alsop, W., Störmer, J., Appleyard, B. and McLean, B., 1992, In : City of objects designs on Berlin, Demands of the future. London: Architectural Press.

Fig 7a McPherson C., 1985, Potsdamer Platz, West Berlin, Retrieved from Available at http://www.colinmcpherson.com/2014/11/04/ ich-bin-ein-berlinerberlin-2/ Fig 7b McPherson C., 1992, Potsdamer Platz, Berlin, Retrieved from http://www.colinmcpherson.com/2014/11/04/ ich-bin-ein-berlinerberlin-2/ Fig 8 McLean B., Alsop, W., 2003, In : Malagarba works. Chichester : John Wiley & Sons Fig 9 Powell, K., 2002, In : Will Alsop, Book 2, 1990-2000. London: Laurence King.

Fig 10 Powell, K., 2002, In : Will Alsop, Book 2, 1990-2000. London: Laurence King.

Fig 11 Gooding, M., Alsop, W., Störmer, J., Appleyard, B. and McLean, B., 1992, In : City of objects designs on Berlin, Demands of the future. London: Architectural Press.

Fig 12 Gooding, M., Alsop, W., Störmer, J., Appleyard, B. and McLean, B., 1992, In : City of objects designs on Berlin, Demands of the future. London: Architectural Press.

Fig 15 Dobney S., 1999, The master architect, s., III, Alsop and Störmer: selected and current works. Mulgrave, Australia : Images Publishing Group Pty Ltd Fig 16 Gooding, M., Alsop, W., Störmer, J., Appleyard, B. and McLean, B., 1992, In : City of objects designs on Berlin, Demands of the future. London: Architectural Press.

Fig 17 Dobney S., 1999, The master architect, s., III, Alsop and Störmer: selected and current works. Mulgrave, Australia : Images Publishing Group Pty Ltd Fig 18 Powell, K., 2002, In : Will Alsop, Book 2, 1990-2000. London: Laurence King.

Fig 19 Porter, T., 2011, In : Will Alsop - the noise. Abingdon: Routledge.

Fig 20 Gooding, M., Alsop, W., Störmer, J., Appleyard, B. and McLean, B., 1992, In : City of objects designs on Berlin, Demands of the future. London: Architectural Press.

Fig 21 Dobney S., 1999, The master architect, s., III, Alsop and Störmer: selected and current works. Mulgrave, Australia : Images Publishing Group Pty Ltd Fig 22 Gooding, M., Alsop, W., Störmer, J., Appleyard, B. and McLean, B., 1992, In : City of objects designs on Berlin, Demands of the future. London: Architectural Press.

Fig 23 Gooding, M., Alsop, W., Störmer, J., Appleyard, B. and McLean, B., 1992, In : City of objects designs on Berlin, Demands of the future. London: Architectural Press.

Fig 24 Gooding, M., Alsop, W., Störmer, J., Appleyard, B. and McLean, B., 1992, In : City of objects designs on Berlin, Demands of the future. London: Architectural Press.

Fig 25 Herron R., 1964, ‘Walking City in New York’,Retrieved from : http://design.designmuseum.org/design/archigram Fig 26 Gooding, M., Alsop, W., Störmer, J., Appleyard, B. and McLean, B., 1992, In : City of objects designs on Berlin, Demands of the future. London: Architectural Press.

“Painting has helped me rediscover what architecture is and what it is not.”

Fig 27 McLean B., Alsop, W., 2003, In : Malagarba works. Chichester : John Wiley & Sons Fig 28 McLean B., Alsop, W., 2003, In : Malagarba works. Chichester : John Wiley & Sons Fig 29a & 29b McLean B., Alsop, W., 2003, In : Malagarba works. Chichester : John Wiley & Sons Fig 30 Porter, T., 2011, In : Will Alsop - the noise. Abingdon: Routledge.

Will Alsop (Powell, 2001)

Fig 31 Porter, T., 2011, In : Will Alsop - the noise. Abingdon: Routledge.

Fig 32a & 32b McLean B., Alsop, W., 2003, In : Malagarba works. Chichester : John Wiley & Sons Fig 33 McLean B., Alsop, W., 2003, In : Malagarba works. Chichester : John Wiley & Sons Fig 34 McLean B., Alsop, W., 2003, In : Malagarba works. Chichester : John Wiley & Sons

Fig 34 : Alsop at work