The Architecture of
Kindness By Sandra Lin
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THE ARCHITECTURE OF KINDNESS
THE ARCHITECTURE OF KINDNESS
Sandra Lin Student ID: 915202 21st Century Architecture: ABPL90117 Semester 2, 2020 Word Count: 1988 (excluding references and notations) Cover Image © Juan Bayon Salado
First published by Sandra Lin 2020 This edition copyright © Sandra Lin & Co., 2020 Printed in Australia
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THE ARCHITECTURE OF KINDNESS
Contents A Note on Kindness
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Kindness through Emotion
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Kindness through Relationships
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Kindness through Beauty
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Kindness through Individuality
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THE ARCHITECTURE OF KINDNESS
THE ARCHITECTURE OF
Kindness 2020
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THE ARCHITECTURE OF KINDNESS
A Note on
Kindness
Kindness is the touch of human care and compassion that is missing from twenty first century architecture. If kindness was considered more during design, then the world would be filled with more beautiful, culturally rich, and psychologically pleasing homes and cities.
We live in a world where, despite the advances in digital and virtual reality, we are grounded in the physical environment. As creatures of feeling, the emotional connection to place remains highly relevant. In tumultuous times we need to focus on Kindness in architecture. When we surround ourselves with kind spaces, kind buildings, and kind places then inevitably we enrich our quality of life and that of future generations.
Therefore, Kindness is against the established notion of mass produced and standardised architecture. Kind architecture calls for more humanity than smooth machine perfection. An architecture with no human connection, is non-relatable to us and hence meaningless. Kind means spaces for quiet, for comfort, for activity and green spaces with fresh air and light. Kind architecture puts the human experience at the centre of design because the building is a biological apparatus serving the needs of the body 1.
1
Hannes Meyer, Projects and Writings, (Teufen AR/Schweiz: Arthur Liggli Ltd, 1965).
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Kind architecture reconnects us to our surrounding environment. We must become aware of our emotions in spaces, to tune our spatial relationships. Enhance these everyday relationships my making them beautiful and express our natural individuality. Kind architecture supports, first life, then spaces, then buildings.2 Kindness will manifest itself in different ways in architecture depending on what we seek, and what we need but regardless, ‘architecture is the thoughtful making of spaces’3. Kindness need not be complex. Though cultures and climates differ all over the world, we all live, eat, breathe, and feel 4.
And we all need Kind Architecture in our lives.
2
Jan Gehl, Life between buildings: using public space. (New York: Van Nostrand Reinhold, 1987), 28. Louis Kahn, "Architecture Is the Thoughtful Making of Spaces." Perspecta 4 (1957): 2. http://www.jstor.org/stable/1566850. 4 Gehl, Life between buildings, 45 3
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Kindness Through Emotion
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To determine and understand whether the architecture is kind or not, one must first examine the feeling of the space. An awareness of the emotional and psychological impact can enhance the resonance of the architecture.
The experience of the environment depends on interpretation. Heidegger’s hermeneutics 5 explains that as humans we call meaning out of things, and place
Fig. 1. Secondfloor Architects, Yellow Submarine Coffee Tank, 2015. The experience of the different material textures, patina and chiaroscuro add to the richness of the atmosphere. At first glance it seems dark and harsh, but actually it is the quiet reverence of the golden hour.
this meaning within a framework in our lives, and we make sense of these emotions by questioning them.
For example, one could feel stressed and calm in an office and ask why it makes us feel that way.
It is through this
questioning process that the influence of a building and space becomes evident. Fig. 2. Hil Architects, Meditation Hall, 2019 Compared to the atmosphere above, one could consider this space plain, claustrophobic or uncomfortable, despite the clever lighting. But what do you feel?
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Martin Heidegger, Ontology: The Hermeneutics of Facticity, (Indiana University Press, 1999), 12.
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We
THE ARCHITECTURE OF KINDNESS
have
expectations
of
familiar and habitual places such as our homes, which link to ideas of ‘sanctuary’ and ‘comfort’. Whereas a holiday destination we expect to feel ‘exotic’
or
‘interesting’
because there is a sense of unknown excitement attached to these ideas of places. These emotions and interpretations make suggestions on where to linger or escape to.
Fig. 3. Cathedral of Notre-Dame de Rouen, 1880 The grand height and detailing of the vaults inspire immediate awe, reverence, and a sense of inner peace.
Naturally,
we
seek
and
appreciate more of what we are deprived of. Understanding our emotional response allows us to justify the creation of spaces we want and need, that bring more enjoyment and are kinder to our minds and emotions.
Fig. 4: Le Corbusier, Chapelle Notre-Dame du Haut, 1955 A dark and heavy atmosphere, broken up by pockets of magical filtered light and colour. Are you taken in by the sacntuary of the chapel or uncomfortable by the assymetry?
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Acknowledging our emotions in spaces helps us to be grounded physically and emotionally, and helps find, ‘ourselves’. We recognise ourselves better through understanding what we feel in different atmospheres.
Bohme defines an atmosphere as the site of interaction between subject and object, not a point of observation 6. It is therefore qualitative and personal experience. So free is the outcome that the atmosphere is an “objective sensation spilled into space7”. Atmosphere compliments phenomenology, the search for the being of beings that is covered up and buried over. The true impact and atmosphere of and architectural space being undiscovered, buried over or distorted. For instance, a tranquil space can be distorted by external factors such as loud noises, internal thoughts or emotions projected into the space. Kind architecture is self-aware.
Kind architecture seeks to engage range of emotional experiences because our different characters are suspended in our surroundings, ready to be discovered.
Fig.5.MAD Architects, Harbin Opera House, 2015 Imagine the sense of movement, drama and sound of this opera house. Are you excited or daunted by it?
6 7
Gernot Bohme, "The Theory of Atmospheres and Its Applications," Interstices 15, 2014: 92-97 Bohme, "The Theory of Atmospheres and Its Applications,” 92.
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Kindness in architecture therefore requires the understanding of atmosphere and phenomenology, to provide spaces that offer more of the feelings we want to experience.
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Kindness Through Relationships
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Architecture is the art of putting together spaces and materials in a meaningful manner.
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Kindness is harnessing the
intricacies of these relationships to fully enhance
or
change
the
emotional
experience.
Architecture
is
not
a
self-enclosed
independent entity that produces meaning. Rather, it is the relationships concerning a building and its environment, as well as the relationships between the internal spaces Fig. 6. Cong Sinh Architects, Symbiosis, 2016
that produce the meaning.
There are many relationships around us, above and below, inside and outside, deeper within and further out. This courtyard is hidden from the urbanisation of the street. An Oasis.
Symbiosis is the interaction of two different organisms living in close physical association, and in a mutually beneficial relationship. The building and its environment are the organisms of this symbiosis. Kind architecture acknowledges these relationships and encourages a harmony through a mutual understanding and developing connection.
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Marco Frascari, “The Tell-the-Tale Detail.� (1981): 23, DOI:10.1007/978-1-4615-9328-7_32
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Fig.7. MAD Architects, Tunnel of Light, 2018 Surrounded by our environments and other people, consider where do you stand? What do you engage with, feel, or turn your back to?
Fig,8. Guangzhou Nail House, 2015 The garden around this apartment building does not counterbalance the pollution from the highway. Conveniently located in the city, with green space, large living areas, but would you want to live here?
Kind also means an awareness of wider relationships of ecology and biodiversity. An endless number of green buildings does not make a sustainable city 9, nor does a grey water garden does not negate the impact of a highway.
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Gehl, Life between buildings, 43
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Emotions act as a gauge for the quality and influence of the space, hence they define the relationship. Part of transforming these relationships, especially in modern multi layered cities, is responding to the collective memory.
Fig.9. Kathleen Castro, Barcelona Birdseye, 2016 An organised city from the sky, but not the same from the ground. There are layers built upon layers in any city. Your relationships and connections that you make through interactions, become the logic patterns to help you navigate the layers. At times this can be overwhelming, but trust in the pattern.
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Collective memory is contained in the relation between the inhabitants of the city and its urban fabric. Kind architecture can use loci 10 either to help us to forget, or it can hold memory and help us to remember. Texture, tactility, and detail are key anchors in space and memory. Kindness is acknowledging the collection of these memories within the city’s urban fabric, including historic indigenous sites. Kind Architecture brings out the locus of collective consciousness to form a ‘public city’ shaped by perception and memory relationships. The affordances 11 offered Fig.10. Anastasia Savinova, Genius Loci, 2016 The city over time is built upon itself, with layers of buildings, intertwined with history, memory and emotion.
by these relationships highlight the interactions
that
architecture
enable.
Fig. 11. Aldo Rossi, The Analogous City, 1976. The collective memory winds around in layer upon layer of time. Architecture is built, destroyed, uncovered and buried once more.
10 11
Frances Yates, The Art of Memory, (London: Routeledge, 1966), 17. James J. Gibson, The Ecological Approach to Visual Perception, (New Jersey: Psychology Press, 1979), 127-138.
should
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Too often, sustainability targets have taken priority over the experience, leaving hollow green solar powered boxes around the city. Instead of underused backyards, parks that are small but dense and diverse make urban residents happier12, because they impart a sense of wonder, tactility, and imagination.
Fig. 12. Sandra Lin, A Walk in the Park, 2020. When was the last time you wandered through trees and walked barefoot on the grass? Consider how close the architecture you chose to live or work in puts you to a park.
Influence
over
relationships
between
architecture,
the
environment and humanity, calls for humility. Sometimes it is kinder to relinquish control to gain order, than to control chaos.
Kindness
in
architecture
is
embracing the freedom to live in spaces that make one feel alive. Kind architecture builds a healthy Fig. 13. Sandra Lin, Early Morning at Home, 2020. Morning light and breeze coming in through the window. What a lovely moment to sit and enjoy. Take a moment for yourself. Be kind and do not put this moment off.
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and considerate relationship with us and the environment.
Charles Montgomery, Happy city: transforming our lives through urban design. (London : Penguin Books, 2015), 53.
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For architecture to be kind…simply let us hear music in the street….
Fig. 14. Richard T Pranke, Bourbon Street Second Line, New Orleans Painting, 2016
Let us feel the sun on our faces and dirt on our fingers……
Fig. 15. Sandra Lin, Elderly man enjoying his garden, 2020.
If we are old give us spaces to walk to….
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And if we are young give us spaces to run to.
Fig. 16. Sandra Lin, Children running on grass in the Summer, 2020.
Give us a place to read in quiet‌. And make it a room with the perfect climate.
Fig.17. Sandra Lin, My Place, 2020. A reading nook at home, with a clear view of the garden and natural light.
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Kindness Through Beauty
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Once
the
relationships
emotions of
and the
environment are understood, Kind architecture aims for self-betterment. A universal kindness in architecture is to create beautiful spaces. Kind architecture basic
goes
beyond functional
requirements. “There are as many styles of Beauty as there
are
visions
of
Happiness”.13
Fig.18. Sandra Lin, Colour me happy. 2020 Colour adds character. Age adds value. Beauty adds a smile.
To call a work of architecture beautiful is to recognize it as a rendition of values critical
to
our
flourishing,
a
transubstantiation of our individual ideals in a material medium. 14 Architects seek a beauty based on ideals, beliefs, values, it is these ideas attract different people to different Fig.19. Anne-Laure Maison, Tableaux D’intimites, variations parisiennes. An architecture show of colours and lights of windows in the dark of the night.
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architecture.
should never be at the expense of beauty and by extension, the promise of happiness15.
Alain de Botton, The architecture of happiness. (Toronto: McClelland & Stewart, 2006), 9. de Botton, The architecture of happiness, 79. 15 de Botton, The architecture of happiness, 9. 14
Functionality
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Beauty can only add to the sensory
presence
of
architecture, its atmosphere. As one would boast about their beautiful home, one should also boast about their city.
Fig.20. Friedensreich Hundertwasser, The Waldspirale, 1990 An eye catching pallette of shimmer and colour brings fun to all who see it. To those who dislike it, beauty is unique, confident and stands tall and proud.
Urban kindness encourages the people to demonstrate love for their city. The streets, plazas and transport routes are the emotional infrastructure upon which hangs the health and happiness of citizens. Fig.21. Suppose Design Office, Anjo House, 2016
As there is beauty in complexity and dynamism in, there is beauty in simplicity. Kindness requires an open mind, to appreciate all forms of beauty.
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Kindness calls for the reduction of urban cholesterol; a build-up of excessive automobile use in the city’s veins and arteries that needs removal. Instead, embrace self-propelled mobility and the good cholesterol of public transport that make us happier. Clever cities know how to encourage this happiness. Kind architecture asks us to take control and responsibility of the comfort, beauty, and mobility of our environments. We deserve urban kindness.
Fig.22. Bjarke Ingels Group, Brooklyn-Queens Park, 2019 This Queens expressway is due to change for the better after realising the impact of human to nature relationships. It is a demonstration of urban kindness, by moving the cars on the road and adding to the urban beauty with opportunity for self-propelled mobility.
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True kindness is where architecture embodies the difficult unity of inclusion rather than the easy unity of exclusion. Do not concede to bland, uncomfortable, and depressing architecture. More is not less 16.
Fig. 23. Bhutan, Tigers Nest Monastery, 1692 Would it have been easier to build a smaller or simplistic monastery? Or perhaps on a flatter location? Likely so. But Kind architecture calls for a beautiful fullfillment of needs and desires. Do not sacrafice what you want for something easier.
16
Robert Venturi, Complexity and Contradiction in Architecture (New York: The Museum of Modern Art, 1977), 16.
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Urban kindness and beauty together necessitate managing the physical proportion of buildings, but also the proportions of open and enclosed space.
Proportion and symmetry harmonise the human body with architecture. Though Vitruvius called eurythmy (symmetry), ‘the beautiful appearance and fitting aspect of the parts once they have been put together’ 17, in relation to the modern city this principle is difficult to follow. Nevertheless, A kind architect should strive for a visible coherence of form to flatter the eye of the beholder. Beauty and proportional systems were matters of individual preference. Kind architecture calls for an expression of the inhabitants’ collective sense of beauty.
Kind Architecture is selfless, but do not mistake this for subservience. Kindness stands strong for a beautiful, healthy society and built environment.
Fig. 24. Sandra Lin, City Scale, 2020. In layers of city, balancing proportion is hard. Kindness learns to appreciate the different proportions and scales within the city, because there is beauty in both difference and similarity. Design the proportion of what feels right.
17
7.
Vitruvius, Ten Books on Architecture, trans., Ingrid D. Rowland (Cambridge: Cambridge University Press, 1999), Book III, chapter ii, line
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Kindness Through Individuality
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As with emotions, relationships and beauty, the experience of individuality is inherently required to break up the monotony.
Fig. 25. Alejandro Aravena, Quinta Monroy residential development, 2004.
Uniqueness and rarity is not always expensive, sometimes the simple things bring the most difference and value. And most importantly, they bring the most joy.
Mass production demands a search for standards. Standards lead to perfection.18 Contrary to Le Corbusier, one size does not fit all. Mass production is a mass compromise.
Fig.26. Sandra Lin, My House in the Suburbs, 2020. Quaint homes along the street, but how to tell which one is yours? Some individuality would help, and that would be Kind Architecture.
18
Tim Benton, et al. Architecture and Design, 1890-1939: An international Anthology of Original Articles. (New York: Whitney Library of Design, 1975), 24.
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We see globally how one concrete, steel, and glass skyscraper copies another, and one house in one suburb blends into the next. There is no life, no character, no soul in this standardised architecture. There is no kindness.
Fig.27. Timothy A Clary, Hudson Yards, 2019 These skyscrapers all disappear into the sky, so why build bigger to stand out, only to blend in? Why be the same as everything else?
Detail and individuality allow humans a psychological satisfaction 19 . Hence, mass-produced copies of any house, office, apartment, is unkind to architecture. Kindness in architecture calls for self-expression in a world oversaturated with replicas.
As Rem Koolhaas observes, contemporary buildings are “characterless and standardized” 20, with no clear function and larger than they need to be.
Why do we choose to design and live in characterless and standardized cityscapes? Have we no sense of pride, culture, and enjoyment left?
19 20
de Botton, The architecture of happiness, 70. Rem Koolhaas, ‘Bigness, or the Problem of Large’. In SMLXL, (Monacelli Press, 1995), 495–516.
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Fig.28. MVRDV, Silodam, 2003 Simple architecture, with an expression of individuality. No maps or directions needed to find it.
Suburbs, with the repeated detached house, do not make us happier 21. As humans we grasp onto uniqueness and differences, if our homes represent who we are, then we lose our identities in a sea of similarity because there is no detail to attach ourselves to.
Fig.29. Willem Jan Neutelings and Michiel Riedijk, Netherlands Institute for Sound and Vision, 2006 This faรงade is simply detailed, yet adds a sense of playfulness and child like amusement to the homogenous surroundings. Individuality is a kindness that adds energy back into the city.
21
Montgomery, Happy city, 59
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Perhaps truly, “Architecture is tired, and the architect’s role no longer the same,”22 If so, the remedy is more Kindness in architecture. Take a break from Bigness and building, to let inspiration for beauty and emotion come. Rather Fig.30. Sandra Lin, Art as Architecture, 2020. If architecture is an art… why are not all buildings masterpieces?
than explore hundreds of iterations, parametric software, and computer code, simply ask, “What do you want, brick?” 23.
Ask the architect…
Would you live here? Work here? Let your children study and play here?
Fig. 31. Frank Gehry, The Dancing House, 1996 Love it or not, at least it is interesting. Be kind, laugh a little and just enjoy the difference.
Kind architecture challenges us to design quality, as if for ourselves and our families. There can be no beauty without individuality. So be kind to the eccentricity of buildings, culture, and humanity.
22 23
Rem Koolhaas, OMA/Rem Koolhaas: Generic City. (Tokyo: TN Purobu,1995). Wendy Lesser, You Say to Brick: The Life of Louis Kahn, (Washington DC: Farrar, Straus and Giroux, 2017), 5.
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Do not let the meanness of architecture design the city.
“If you touch my heart, you do me good. I am happy and I say: “This is beautiful”. 24
Let the people fill the street with light, song, colour, richness, and life.
Because with each façade muted…. Each crafted detail smoothed…. And each hearth light drowned out by city lights…. We lose an opportunity for happiness.
Be kind to your individuality.
Fig.32. Sandra Lin, Lively City Street at Dusk, 2020. To human scale, an architecture with detail, full of people, laughter and light. That is the power of Kind architecture with individuality.
24
Le Corbusier. Towards a new architecture (New York: Dover Publications, 1986), 203.
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Kind architecture without attention to emotions and relationships becomes unconnected and soulless. Beauty without individuality becomes basic, and bland. Architecture that is reproduced everywhere is unkind because in an oversaturated and over exposed world, rarity has the true value. So, show kindness and selflove by expressing our individuality in our environments. It will produce more diverse emotions, stronger, more meaningful relationships, and more beautiful places, all of which are manifestations of kindness in architecture.
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Bibliography: Benton, Tim. Architecture and Design, 1890-1939: An international Anthology of Original Articles. New York: Whitney Library of Design, 1975. Bohme, Gernot "The Theory of Atmospheres and Its Applications," Interstices: Journal of Architecture and Related Arts 15 (2014): 92–97. Doi: https://doi.org/10.24135/ijara.v0i0.480 De Botton, Alain. The architecture of happiness. Toronto: McClelland & Stewart, 2006. Frascari, Marco. “The Tell-the-Tale Detail.” (1981): 1-25. DOI:10.1007/978-1-4615-9328-7_32. Gehl, Jan. Life between buildings: using public space. New York: Van Nostrand Reinhold, 1987. Gibson, James J.. The Ecological Approach to Visual Perception, New Jersey: Psychology Press, 1979. Heidegger, Martin. Ontology: The Hermeneutics of Facticity, Indiana University Press, 1999. Kahn, Louis. "Architecture Is the Thoughtful Making of Spaces." Perspecta 4 (1957): 2-3. Accessed October 14, 2020. http://www.jstor.org/stable/1566850. Koolhaas, Rem. ‘Bigness, or the Problem of Large’. In SMLXL, 495–516. Monacelli Press, 1995. Koolhaas, Rem. OMA/Rem Koolhaas: Generic City. Tokyo: TN Purobu,1995. Le Corbusier. Towards a new architecture. New York: Dover Publications, 1986. Lesser, Wendy. You Say to Brick: The Life of Louis Kahn, Washington DC: Farrar, Straus and Giroux, 2017. Meyer, Hannes. Buildings, Projects and Writings. Teufen AR/Schweiz, Arthur Liggli Ltd, 1965. Montgomery, Charles. Happy city: transforming our lives through urban design. London : Penguin Books, 2015. Venturi, Robert. Complexity and Contradiction in Architecture. New York: The Museum of Modern Art, 1977. Vitruvius, P., I. Rowland, T. Howe, and M. Dewar, Ten Books on Architecture. Cambridge: Cambridge University Press, 1999. Yates, Frances. The Art of Memory, New York: Routledge & Kegan Paul, 1966.
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List of Figures Cover Image: Salado, Juan Bayon. Marche Rue Mouffetard, Paris. c. 1965. Oil on canvas, 46x 55cm. Montefiore Auction House, Israel. https://www.invaluable.com/auction-lot/juan-bayonsalado-1912-1995-marche-rue-mouffetard-157-c-53d4113ba6 Fig. 1. Wongwan, Ketsiree. Coffee Shop, Pak Chong, Thailand. 2015. Photograph. https://www.archdaily.com/794208/yellow-submarine-coffee-tank-secondfloor-architects Fig. 2. Yellowtrace09, Meditation Hall in Huanghua China by Hil Architects.2019. Photograph. https://www.yellowtrace.com.au/meditation-hall-china-hil-architects-wellness-interior-design/ Fig. 3. DXR, The nave of Notre-Dame de Rouen. 2014. Photograph. https://en.wikipedia.org/wiki/Rouen_Cathedral. Fig. 4. Bozon, Sebastien. Notre Dame du Haut in Ronchamp. Photograph. https://www.theguardian.com/artanddesign/architecture-design-blog/2014/jan/23/vandalsbreak-in-le-corbusier-ronchamp-chapel-scandal Fig. 5. Mork, Adam. Harbin Opera House. 2015. Photograph. https://www.architecturalrecord.com/articles/11368-harbin-opera-house Fig. 6. Oki, Hiroyuki. Symbiosis/Cong Sinh Architects. 2016. Photograph. https://www.archdaily.com/795266/symbiosis-cong-sinh-architects Fig. 7. MAD, Light Cave. 2018. Photograph. http://www.i-mad.com/press/mad-kiyotsu-gorge-tunnelof-light-2018-echigo-tsumari-triennale/ Fig. 8. China Stringer Network. An old residential building is seen surrounded by a newly-built ring viaduct, June 18, 2015, in Guangzhou, Guangdong province, China. 2015. Photograph. https://abcnews.go.com/International/chinese-highway-runs-circles-residents-refusedleave/story?id=32635243 Fig. 9. Castro, Kathleen. Birdseye of Barcelona Banner. 2016. Photograph. http://www.barcinno.com/event/ethical-cities-urban-innovation-forum/birdseye-banner/. Fig. 10. Savinova, Anastasia. Symbol and Place. Genius Loci: Germany. 2016. Collage. http://materialsoul.com/graphic-anastasia-savinova/?lang=en Fig. 11. Rossi, Aldo. Collage The Analogous City.1976. Paper, ink, wood. 60x60cm. Museum of Anthropology, Italy. http://website.museumofanthropocenetechnology.org/cat-nr-22. Fig. 12. Lin, Sandra. A Walk in the Park, 2020. Digital Artwork. Fig. 13. Lin, Sandra. Early Morning at Home, 2020. Digital Artwork.
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Fig. 14. Prank, Richard T. Bourbon Street Second Line, New Orleans Painting. 2016. Oil on canvas. 40x 20x 1.5 inches. Fine Art America. https://fineartamerica.com/featured/bourbon-streetsecond-line-new-orleans-richard-t-pranke.html Fig. 15. Lin, Sandra. Elderly man enjoying his garden, 2020. Digital Artwork. Fig. 16. Lin, Sandra. Children running on grass in the Summer, 2020. Digital Artwork. Fig.17. Lin, Sandra. My Place, 2020. Digital Artwork. Fig.18. Lin, Sandra. Colour me happy. 2020. Digital Artwork. Fig. 19. Maison, Anne-Laure. Tableaux d’intimites, variations Parisiennes. 2017. Photograph, digitally edited. https://www.annelauremaison.com/tableaux-dintimites-variationsparisiennes/ Fig. 20. Hundertwasser, Friedensreich. Unique Architecture by Friedensreich Hundertwasser. 2012. Photograph. https://viola.bz/unique-architectural-designs-by-friedensreich-hundertwasser/ Fig. 21. Suppose Design Office, Anjo House. 2016. Anjo, Japan. https://www.archdaily.com/783995/house-in-anjo-suppose-design-office. Fig. 22. Bjarke Ingels Group BIG. Rendering of proposed Brooklyn-Queens Park. 2019. Image. https://www.nytimes.com/2019/04/10/arts/design/bqe-construction-nyc.html Fig. 23. SP Rabbito. Tiger’s Nest Monastery. 2019. Photograph. Shutterstock. https://www.fodors.com/world/asia/bhutan/experiences/news/tigers-nest-monastery-101-howto-make-the-hike-to-bhutans-incredible-sacred-site Fig. 24. Lin, Sandra. City Scale, 2020. Digital Artwork. Fig. 25. Alejandro Aravena, Quinta Monroy residential development. 2004. Iquique, Chile.https://dornob.com/2016-pritzker-architecture-prize-goes-to-socially-minded-alejandroaravena-devoted-to-solving-the-global-housing-crisis/. Fig.26. Lin, Sandra. My House in the Suburbs, 2020. Digital Artwork. Fig. 27. Clary, Timothy A.. Hudson Yards in New York City. 2019. Photograph. Getty Images. https://www.independent.co.uk/news/world/americas/new-york-skyscraper-ban-glassgreenhouse-emissions-climate-change-a8882241.html Fig. 28. MVRDV. Silodam. 2003. Photograph. https://www.mvrdv.nl/projects/163/silodam Fig. 29. Netherlands Institute for Sound and Vision. 2017. Photograph. Getty Images. https://www.architecturaldigest.com/gallery/colorful-architecture-buildings-slideshow Fig.30. Lin, Sandra. Art as Architecture, 2020. Digital Artwork.
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Fig. 31. Bonek, Petr. Dancing House in Prague’s New Town. 2015. Photograph. Alamy Stock Photo. http://www.coloringwithoutborders.com/2015/08/monday-exposure-dancing-house-inprague.html Fig.32. Lin, Sandra. Lively City Street at Dusk, 2020. Digital Artwork.