Sublime architecture

Abstract

As an Architect, I value Architecture and Art that can transcend time and survive the cloud of preconceived ideas of a particular period; objects and buildings that have a place in space and time; the sublime Architecture.

This essay is my re-search for precedents through history for sublime Architecture and Art. In my inquiry, I noted that there is no single answer; there is no defined recipe or solution to achieve the sublime. It is not only on light or dark, rational or the irrational, evil or good, but in the balance of these worlds.

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Sublime Architecture Edmund Burke, an Irish philosopher from the XVIII century defines the sublime as being the sensation, imagination, and judgment in experiencing art. He claims that pain might be more powerful then pleasure and that one doesn’t override the other. “In order to understand the origin of our ideas of the sublime and beautiful, we must examine the experience of pain and pleasure. Pain is not simply the removal of pleasure, and pleasure is not simply the removal of pain. Pain may be caused by the removal of pleasure, but pain may also arise in and of itself. Similarly, pleasure may be caused by the removal of pain, but pleasure may arise in and of itself. “(1) One of the main differences between Art and Architecture is that Art exists for itself, and Architecture exists to fulfill both pragmatic and semantic roles.

In that instance, the sublime Architecture is not only present in the ascetics of a particular building, but on a series of pragmatic problem solving and experience making issues. At the end, that is the social purposes of Architecture: Beautiful solution “Beauty today can have no other measure except the depth to which a work resolves contradictions. A work must cut through the contradictions and overcome them, not by covering them up, but by pursuing them.”(2) Hilde Heynen analyses modern Architecture in her book Architecture and Modernity. She is concern about the inadequacy of the modern movement, and in most chapters she draws a distinction between modernity, dwelling, and architecture. I see in her lie of questioning that Modernity was concentrating on one side of Architecture, instead of considering the complexity and contradiction of the human spirit. The examples to follow that, in my opinion, truly achieve the sublime are a perfect balanced between elements, valuing the existence of all things.

Examples of sublime Art and Architecture can be found in every period of human history, but for this essay, I will start with the Baroque of the XVIII century.

1: Burke, Edmund - A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, 1757.www.liceoromagnosi.org/Documenti/La%20didattica/MATERIALE%20DIDATTICO/Edmund%20B urke%20sublime.pdf 2: Heynen, Hilde - Architecture and Modernity. 1999, MIT press, Cambridge Massachusetts

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Baroque “And when a building has this fire, then it becomes a part of nature, like ocean waves, or blades of grass, its part are governed by the endless play of repetition and variety crated in the presence of that fact that all things pass. This is the quality itself.” (3) Christopher Alexander is enquiring on timeless buildings in his book. He says that the buildings that consider the social pattern language that one must identify and build form them. Only then it will be possible to achieve a building that will exist in space and time, physically and metaphorically.

Baroque architecture had great examples of buildings that capture that fire. Buildings of such perfection and excellence that can instigate one’s imagination today, even after the pass of time and technologies.

The most interesting characteristic of the Baroque period is how the rules of classicism were challenges. What was set as the right way to make is questioned, and new opportunities raise form there. A fine balance between dark and light is found. Classical order is appreciated, but questioned at the same time.

Borromini brought to his work different layers of thinking: His overlap of geometries, metaphoric elements, relevance to site, reference to the unknown. By juxtaposing all elements in a n harmonic rhythm, he achieves the sublime. His work is personal, intimate, articulated, and the most important, site related. He understood all the rules of classical order and went beyond it, combining order and chaos.

San Carlo alle Quattro Fontane (San Carlino) is in my opinion his masterpiece. The building is carved in space and time, and spaces are carefully articulated within the c shape niches generated by the juxtaposition of the ellipses of the floor plan (image 01). The building is of such complexity that one can feel lost in its beauty at a first look, but after a peculiar familiarity arises form the platonic geometries and hierarchy of spaces both inside and outside.

Every bit of this building portrays its DNA. The level of detailing is of a divine quality. I could pick any fragment of this building and understand its principals. One of the most intriguing forward thinking design methods in this building is how Borromini addresses the corner. The building turns itself around the corner and engages in a dialog with the particularity of the adjacent building. Considering the rigidity of predecessor classical order, a building would dictate what the corner is, and Borromini transcends that by listening to the existing social pattern language and celebrating it.

3: Alexander, Christopher – A Timeless way of Building.

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(Image 01: Google open-source images and edited by author, 02.11.2015)

(Image 02: Corner strategy http://medioartaudnr.deviantart.com/art/San-Carlo-alle-Quattro-Fontane)

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Manoel da Costa Ataíde (mestre Ataíde) a Brazilian artist of the XVIII century, brought to life sublime art. His paintings transcended the traditional dimensions and elevated the observer to heaven by its perfection. He utilizes of underlining geometric proportions to accomplish perfection, but from that point, Mestre Ataide starts exploring the opportunities that rise from contradicting turns and twist of the physical and metaphorical world.

His best work is the mural at the ceiling the Santa Barbara Cathedral - Santo Antonio Brazil. My first impression when I entered the church was an overwhelming desire of contemplation. I couldn’t explain why tears came out of my eyes. After I set down and the first wave of feelings faded, I then looked up to the ceiling, and the second layer of commotion came up, when I stated noticing each detail of the painting (image 03).

(Image 03: Santa Barbara cathedral – Santo Antonio Brazil, 08.09.2015 http://enciclopedia.itaucultural.org.br/obra24472/ascensao-de-cristo-detalhe-do-forro-da-capela-mor)

The experience inside that space was mostly related to the painting, the illusion of depth and of the existence of a power beyond transformed a relatively simple building (image 04) into a sublime space. The boundary between Art and Architecture is unidentifiable at a first look. Mestre Ataíde understood that for this religious building, he had to transcend that point between Art and Architecture to achieve the experience of entering a sacred room and he makes the space sublime.

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(image 04: Outside of Santa Barbara cathedral. 08.09.2015 www.santabarbara.mg.gov.br/Materia_especifica/6550/Matriz-de-Santo-Antonio)

Modernity Modern Architecture looked at the house as a “machine to live”. Concise and clinical, houses were to rationally responding to physical demands, and sanitize the streets of a “dirty life”. Some of the resulting work of this line of thinking was literal and one-sided visions of human life. But some of the resulting work was truly an unprecedented reference.

“Emptiness was needed, an emptiness that would come from erasing all the teachings, all beliefs, and all knowledge of the past. All the falsehood of the spirit—everything that could not be brought into harmony with steam and electric- —had to be exorcised. Then and then only would the new art be born: “The en- trance of outward life into the inner spirit: this is the new art. . . . “ (4) Le Corbusier is certainly one of the most controversial architects of his time.

He reinvented himself countless times, and he was obsessed with form making and re-search. Some of his buildings fell in the simplistic single answer of one era, but other examples have transcended its time and achieved the sublime. Villa Savoye, in the outskirts of Paris is an object siting in the landscape in solitude. It found it’s moment of transcendence in a distant land detached from the existing fabric, and only taking reference from nude nature in its platonic geometric DNA. Le Courbusier is in my opinion a master in form making, and all his work should have been concentrated in isolated spaces of no consequence to the urban fabric.

4: Benjamin, Water -1933 – Architecture and Modernity

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(Image 05 – abstract drawing of Villa Savoye – By author)

What transcends time in this building is the contradiction of the its own set of rules. Geometric rational forms are questioned with irrational fluid shapes to generate spaces. (image 06) The rigid façade achieves the pure beauty, and Le Courbusier takes it farther by adding layers of complexity that go beyond his time and achieving a timeless building A section through this building also shows an understanding of space making. A clear trasncending rout is celebrated in the middle core and a transitional intimate courtyard leads to each room. Open and close spaces, higher and lower ceilings, textures, all combined will set different experiences through the house (image 07)

(Image 06: Google open source images and edited by author)

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(Image 07: Villa Savoye section: blog.papress.com/post/36694658523/le-corbusier-redrawn08.11.2015)

Salvador Dali uses grotesque to achieve the sublime. He disturbingly arranges human parts with the landscape and ordinary elements to represent much more than the 3dimensioned perceivable reality. He goes beyond representing literal references and achieves the sublime by misplacing parts of the human body in an agonizing beauty. He evokes emotions by defying established standards of beautiful.

One of the most intriguing of his paintings is called “sleep” (Image 08). He represents a world that only exists in the freedom of the intangible human mind, contemplating Nature’s simplicity, and projecting his own melancholy into the emptiness landscape. “The profound sense of nature’s modesty”

(Image 08: Sleep, Salvador Dali, 1937: www.dali.com, 10.11.2015)

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Image 09 is called soft construction with boiled beans. The combination of ordinary objects with body parts, all arranged with the emptiness of the landscape captures feelings of the agony present in human life, and portrays at the same time beauty in human nature and the self inflicted agony of war. The balance of diverging forces acting in the helm of the unconscious mind resulted in tortured reality.

(Image 09: Soft Construction with Boiled Beans – Salvador Dali – 1936 10.11.2015)

Contemporary period:

“From the functional neurosis to the new Empiricism”(5) in this chapter of his essay, Peter L. Laurence is saying that a lesson must be learned from both Modernity and early Post-Modernity. They are both valid and necessary.

Complexity and contradiction has to coexist with practical solutions.

Contemporary Art Architecture is hard to define. The world of redundant nothingness packed in a nice envelope that we live in has too much space for the simplistic. But, some artists and architects are making good use of the endless opportunities of contemporary technologies.

(5) Peter L. Laurence mentions in his essay (Modern Architecture Circa 1959)

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Rafael Moneo is in my opinion one of the most remarkable architects of our time. He is capable of combining contemporary technologies with a timeless design. Through his simplicity, he expresses the richness his design design One of his best works is the New Town Hall in Murcia, Spain. The site is located in a historically important square, composed by centenary buildings. In order to be part of the same space, Moneo draws elements that are constantly repeated in the square, identifying the existing social pattern language, and applies them. But that is only enough to achieve perfect beauty; the sublime in this building is in subtle details and articulations that elevate this building from the ordinary. The best example is in the front façade, when the columns do not meet vertically, he is using contemporary technologies to defy the pre-established norm allowing the imagination of the viewer to wonder.

Image 10 shows Moneo’s building (to the right) and a historical existing building (to the left). They both have the same lines of design, but in different eras. They have the same sense of scale and space making.

Image 11 shows the opposite 18th century baroque Murcia Cathedral and how in a metaphorical way Moneo, by the absence of decoration, uses the extravagant detailing of the surrounding in his building, only by framing views.

(Image 10 and 11: Rafael Moneo New Town Hall – Murcia

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http://www.galinsky.com/buildings/murciacityhall/, 15.10.2015)

A contemporary artist from South Africa, Adrienne Silva, is also producing remarkable work. She gets her inspiration from intangible feelings. When I look at her distinguished paintings, I see anger and melancholy, at the moment of rupture, she captures the very essence of a moment.

Adrienne’s best work, in my opinion, is called “I came to look for you” (image 12). The first impression when I see the image is solitude and melancholy, but when I look in more detail, I see there is a way out. The silhouette of the human figure seems to be walking to an endless pit, but in the far distance, feels that he or she is about to transcend the current world and enter the helm of the far beyond cliffs. I see this painting as the portrait of the moment of death when the color at the end of the cliff is the same as the sky, suggesting that to transcend, one must transform through suffering and pain.

(Image 12: I came to look for you – Adrienne Silva, http://www.saatchiart.com/account/profile/311059 15.10.2015)

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My own work In my search for the sublime Architecture, I have not yet found the answers, but one of the things I have noticed is that every architectural masterpiece that I value has a strong connection with platonic defined geometries.

“Forms exist independently of things. All particular beautiful things could also be destroyed, yet this will not destroy beauty itself. So beauty must be a separate thing, existing in its own right. Particular things ‘share’ or ‘participate’ in the Forms, but these exist independently.”(6) Something about a defined geometry is both captivating and intriguing. A familiar response raises from the first interaction with those buildings. These forms also have proven to survive longer through the process of changing in history.

I am far from where I want to be as a designer, but I aim at the quality of the work presented in this essay. I start designing with a series of diagrams, in which all forms and shapes are placed to best identify the pattern languages of the site. Form that point, I will start sculpturing the building’s form and draw it over and over until I am satisfied with the result.

Image 13 is final result of an academic project from 2014. A climate house in Tiffindell , to be built in an isolated site on the top of the mountains. That is the first project I did in this method.

(Image 13: Academic work 2014 – by author)

Images 14, 15 and 16 are my final project for the course. A multi-use building in Salt River that has both symbolic and pragmatic challenges to be addressed.

6:http://documents.routledgeinteractive.s3.amazonaws.com/9781138793934/A2/Plato/PlatoTheoryForm s.pdf

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(Image 14: Major project North elevation render, U-Grow headquarters, Salt River, 2015 – By author)

In this building, there are 3 layers of construction, which allows the spaces to be adapted for future modifications. Its skeleton composed of round columns and slabs responds to the non-variables of the site; therefore, new programs or shifts can be accommodated within a logical framework. The outside walls are brick, detached from the columns to allow maximum special opportunity and future changes of finishes. And internal wall are light construction dry wall, facilitating future changes.

The roof of the towers was extended to the side and became cladding. The extra 700mm of floor space in each floor will be steel frame, allowing that space to be flexible for vertical pipes, ducts, connections, furniture etc.

(Image 15: Major project ground level plan – By author, 2015)

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The train station of Salt River is one of the most important buildings of the area. It will connect the neighborhood to the rest of the city, and it will bring people in transit to its surroundings. Therefore, the immediate area around the station is the most valuable if one considers the existing infrastructure and possibilities for business opportunities.

I re-designed the train station, making the building to the size of its importance and allowing it to fulfill its social role at its best.

The site of the major project building (the black square mark) is at the intersection of the new connection to the space beyond the railway line and the train station.

Principals of the urban strategy: - Allow urban farming to take over neglected spaces, crating business opportunities and allowing the private sector and individuals to take responsibility for parts of the city that the council is not capable to maintain.

The Train station is now much bigger, considering that it is a civil building, to fulfill many different roles in the city.

- Keep the rich dense urban fabric existing in the area, and respecting the ground level as the border between public and private. A building has to fulfill it role as a component of the city. And such role is mostly played in the ground level, through the making of urban niches commercial activities.

- Identifying converging spaces within the urban fabric to be transformed in social areas.

(Image 16: Urban strategy Salt River area. By author, 2015)

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Reflections on History and Theory of Architecture VI Through the HATA course, we have been presented to architects that produced outstanding work. I have compiled one drawing or image that best represents the essence of each of the lectures in the second semester 2015.

Lecturer 1: John Soane’s house

(Image 17: John Soane’s own house, section, Schinkel http://www.soane.org/about/our-history 02.11.2015)

John Soane, an architect of the XIX century built his house over time. He collected many object from his travels and he valued the richness in the differences. A remarkable characteristic of this building is the duality of the outside façade, which portrays a well mannered house of pure values, and in juxtaposition, a world of differences that exists and inside, world of the complexity John used the every opportunity that came with every phase of construction of this house. The section above tells a very deep narrative about the house. It informs what the buildings is made of, how it feels like inside the rooms, how this men lived, how light is let in various ways and the different scales of the rooms.

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Lecturer 2: Melnikov House

(Image 18: Melnikiv House interior and floor plan. http://www.archdaily.com/151567/ad-classicsmelnikov-house-konstantin-melnikov, and edited by author. 02.11.2015)

Konstantin Melnikov was a Russian architect of the beginning of the XX century. He produced only a few buildings through his career due to political disagreements. His best work is his own house; a juxtaposition of two vertical cylinders with very peculiar windows that rose from understanding how the forces are transmitted through the structure and where he could make a void with the least impact on the integrity of the building.

The most valuable lesson is in how the arranged the floor plan, how he dealt with the circular geometry and where the two cylinders meet.

This house was meant to be a prototype for a worker’s house that could set a new precedent to how people lived in Russia. I see very little to learn when this house is placed on a rich urban fabric. The outsides of the cylinders, in my opinion do not make a room of the street, but as an isolated object in a place that has no impact on the urban fabric it is a beautiful building.

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Lecturer 3: Stockholm public library

(Image 19: Stockholm public library, interior of the central cylinder: http://www.utzonphotos.com/guideto-utzon/inspirations/new-inspiration-page-5/, 02.11.2015)

Erik Gunnar Asplund designed the Stockholm library and the building was completed in 1928. This building came from the highest pick of the modernism movement, but Asplund transcended his time. He looked at classical order and created a contemporary version of those values.

In the main dram, he celebrated the norm of three layers to heaven, a escalation from rustic to the intermediate level and finally to transcendence, being books and knowledge the very foundation.

The building was made of no extraordinary materials, but in a unique arrangement that gave a deep complexity to the architecture.

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Lecturer 4: Casa Baldi

(Image 20: Paolo Portuguesi: Paolo Portoghesi, Casa Baldi, Roma, Italy, 1961 www.atlasofinteriors.polimi-cooperation.org/2014/03/20/paolo-portoghesi-casa-baldi-roma-italy-1961, 02.11.2015)

Paolo Portuguesi designed in 1961 a house that challenged the traditional way of building. He uses his walls create both internal and external spaces.

Looking at the floor plan, I imagine the feeling of a room if I was standing outside. Paolo takes the opportunities of the broken walls and makes the best of it. I imagine these lines deriving from various hidden layers of design, and the building being drawn many time until it is just right.

One of my favorite architects is Borromini, and I see a strong influence of Borromini’s work in this building. Paolo captured an unique baroque complexity and has order and chaos in a perfect balance.

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Lecturer 5: wheels of heaven church

(Image 21: Aldo Van Eyck: https://quadralectics.wordpress.com/5-essentials/5-1-space, 02.11.2015)

Aldo Van Eyck’s drawings for “wheels of heaven church” is one of my favorite floor plan diagrams. Van Eyck drew this building over and over until it was perfect. The various layers of thinking that made him derive to a simple form are present in these diagrams, giving it the depth of a sublime building. He challenges the established spatial relationships and at the same time draws elements from classical order, for example the tall windows raising through the flat roof to allow a particular experience of divine that I see coming from the gothic, or the linear dominant axis of the floor plan with adjacent niches aside as smaller contemplation spaces, coming from a traditional cross church arrangement.

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Lecturer 6: Archigram

(Image 22: Archigram walking city http://walkingthecityupolis.blogspot.co.za/2011/03/guest-postarchigrams-walking-city.html, 02.11.2015)

Archigram was a movement from the middle of the XX century as a reaction to the modernist clinical static city diagrams. The rise of new technologies empowered the imagination of the designers to create a dynamics city that can move and adapt fluidly.

The picture above is from the walking city diagram by Ron Heron. These gigantic live buildings would move with people’s homes and belongings from one place to another. A result of a changing world, from static to fluid, one could easily move to where opportunities were.

I see Archigram as a well-intentioned movement, and with valuable lessons, but as equivocated as its predecessor. Cities are not playgrounds that designers can play and twist as he/she pleases, as a designer we must work together to move to a better, not create a new one. Cities are made of complex layers of human history that cannot be disregarded or erased. We have to change the existing, not destroy and build a new one.

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Lecturer 7: Stuttgart

(Image 23: Stuttgart - James Stirling, 1982 https://herrmanns.wordpress.com/2011/10/31/james-stirling/, 02.11.2015)

Post-modernism searched for human references. Some architects looked at ancient orders, others looked at traditional house shapes, and others looked at enhancing hidden patters that exist in society.

Stuttgart, designed by James Stirling is a remarkable example of Architecture from Post-modernism. James uses the existing pattern languages of the site to create outstanding spaces. He identified a desirable rout through the site and used it to guide his design. Human movement is celebrated in a rout that connects one street to the other, and the change of level was used to produce spaces.

I think this is a very successful way of bringing familiarity to the design of human spaces. Some Post-modernists have failed to really understand the fine line between literal copy and a contemporary interpretation of precedent.

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Lecturer 8: O leao que ri

(Image 24: Pancho Guedes https://delagoabayworld.wordpress.com/category/pessoas/pancho-guedes/, 02.11.2015)

Post-modernity has produce new precedents for a contemporary democratic Art and Architecture. Buildings are to coexist with humans in the same level, instead of a divine space mechanically produces derived from fascist values of the modern era Pancho Guedes designed in 1958 a building that he called “O leao que ri� (the laughing lion), he based his building on his child’s drawing. He was interested in creating democratic recognizable reference to overcome the impartial clinical modernist movement. The pure interpretation of a house by a child that is both playful and pure is used combined with the 2dimensioned deliberate simplistic geometrical mural to create democratic Architecture.

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Lecturer 9: Learning from Las Vegas

(Image 25: Learning from Las Vegas , Complexity and Contradiction: http://www.quondam.com/41/4142c.htm, 02.11.2015)

Modern era was orientated around the motor vehicle. The new technologies in the beginning of the XX century shaped the city to come.

Robert Ventury maps Las Vegas to understand the new typology of building and urban spaces that derived from this era.

Ventury draws the new relationship of proportion between the highway and the adjacent buildings, and the space in between called parking lot.

Buildings in this new ferocious arrangement are either a “duck” or a “decorated shed”. A shed is now monumental because of the sign that says so. The self-empowered ferocious economy gave rise to an expensive nothingness packed in a pretty container.

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Lecturer 10: Sesc Pomoeia

(Image 26: Lena bo Barde Sesc http://linabobarditogether.com/2012/08/03/the-making-of-sescpompeia-by-marcelo-ferraz/, 02.11.2015)

Western culture has set precedents of what is right or wrong throughout the globe. The concept of beautiful and ugly has been sold to many nations by the dominant colonial powers of the past 5 centuries.

Lina Bobard spent her career discovering new references. She realized the Eurocentric western society has oppressed valuable references from cultures other then European. Image 26 shows a window opening of the Sesc Pompeia in Brazil. She recognizes the fluidity of the concrete wall and allows the opening to the anything it wants to be, and even farther, she recognizes that the considering local humid and hot climate, a mesh would be more appropriate than a glazed frame traditional window.

As a Brazilian, it is sad to see contemporary architects producing glass boxes today in my country. The social desire to associate oneself to outside references has allowed inappropriateness and copy/paste to be the current norm for many colleagues that are practicing architecture in Brazil.

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Conclusion: After analyzing iconic work from baroque, modern and contemporary, I see that the sublime is actually not related to the rules of a time, but to the various complex considerations behind what you are doing; considerations that of a tenuous balance between right and wrong, dark and light, tangible and intangible, rational and irrational. The hidden layers in which one has to go through to get to a final answer will give the depth and complexity that may elevate your work to the a timeless referential status .

Sublime is not opposed to ugly, but to mediocre. The sublime can be achieved by using beauty, grotesque, literal, intangible, but not with a simplistic result. I noticed that in every example of sublime in this essay has the subtle but essential presence of hidden layers of refinement to get it to perfection.

It will only come with time, but I aspire to achieve in my career a measure of the level of depth in the examples in this essay.

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Bibliography Heynen, Hilde - Architecture and Modernity. 1999, MIT Alexander, Chistopher – A timeless way to build. New Your Oxford University Press, 1979 Loos, Adolf - Ornament and Crime. Cahiers d'aujourd'hui, 1908 Venturi, Robert – Complexity and Contradiction in Architecture. Yale school of Architectuere, 1965.

Venturi, Robert; Brown, Denise and Izenour, Steven. Learning from Las Vegas A Krista Sykes – The Architecture reader. George Braziller Publishers, 2007 Benedikt, TaschenDali – Dalí, Gilles Néret, 2009 Peter L. Laurence mentions in his essay (Modern Architecture Circa 1959 www.liceoromagnosi.org www.archdaily.com www.soane.org www2.gwu.edu www.publico.pt

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Table of images Image 01 Image 02 Image 03 image 04 Image 05 Image 06 Image 07 Image 08 Image 09 Image 10 and 11 Image 12 Image 13 Image 14 Image 15 Image 16 Image 17 Image 18 Image 19 Image 20 Image 21 Image 22 Image 23 Image 24 Image 25 Image 26

Floor plan of Borromini’s San Carlo Alle Quattro FontaneGoogle opensource images and edited by author, 02.11.2015 Corner strategies - http://medioartaudnr.deviantart.com/art/San-Carloalle-Quattro-Fontane, 02.11.2015 Santa Barbara cathedral – Santo Antonio Brazil, http://enciclopedia.itaucultural.org.br/obra24472/ascensao-de-cristodetalhe-do-forro-da-capela-mor, 08.09.2015 Outside of Santa Barbara cathedral. www.santabarbara.mg.gov.br/Materia_especifica/6550/Matriz-de-SantoAntonio, 08.09.2015 Abstract drawing of Villa Savoye – By author, 2015 Floor plans of Villa Savoye, Google open source images and edited by author, 2015 Villa Savoye section: blog.papress.com/post/36694658523/le-corbusierredrawn08.11.2015 Sleep, Salvador Dali, 1937: www.dali.com, 10.11.2015 Soft Construction with Boiled Beans – Salvador Dali – 1936 10.11.2015 Rafael Moneo New Town Hall – Murcia, http://www.galinsky.com/buildings/murciacityhall/, 15.10.15 I came to look for you – Adrienne Silva, http://www.saatchiart.com/account/profile/311059 15.10.2015 Academic work 2014 – by author Major project North elevation render and detail of ground leveel, U-Grow headquarters, Salt River, 2015 – By author Major project ground level plan – By author, 2015 Urban strategy Salt River area. By author, 2015 John Soane’s own house, section, Schinkel http://www.soane.org/about/our-history 02.11.2015 Melnikiv House interior and floor plan. http://www.archdaily.com/151567/ad-classics-melnikov-house-konstantinmelnikov, and edited by author. 02.11.2015 Stockholm public library, interior of the central cylinder: http://www.utzonphotos.com/guide-to-utzon/inspirations/new-inspirationpage-5/, 02.11.2015 Paolo Portuguesi: Paolo Portoghesi, Casa Baldi, Roma, Italy, 1961 www.atlasofinteriors.polimi-cooperation.org/2014/03/20/paolo-portoghesicasa-baldi-roma-italy-1961, 02.11.2015 Aldo Van Eyck: https://quadralectics.wordpress.com/5-essentials/5-1space, 02.11.2015 Archigram walking city http://walkingthecityupolis.blogspot.co.za/2011/03/guest-post-archigramswalking-city.html, 02.11.2015 Stuttgart - James Stirling, 1982 https://herrmanns.wordpress.com/2011/10/31/james-stirling/, 02.11.2015 Pancho Guedes https://delagoabayworld.wordpress.com/category/pessoas/panchoguedes/, 02.11.2015 Learning from Las Vegas , Complexity and Contradiction: http://www.quondam.com/41/4142c.htm, 02.11.2015 Lena bo Barde Sesc http://linabobarditogether.com/2012/08/03/themaking-of-sesc-pompeia-by-marcelo-ferraz/, 02.11.2015

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