imMaterEality - archive and platform for digital art by suna.p

suna ezra petersen

im|materEality

archive & platform for digital art

Institute for Art and Architecture

"ImmaterEality" Archive & Platform for Digital Art Suna Ezra Petersen

Masterthesis Academic Degree Master of Architecture MArch

Advisors: Univ.-Prof. Mag. Hannes Stiefel Dipl.-Ing. Antje Lehn with Univ.-Prof. Cristina DĂaz Moreno & Univ.-Prof. EfrĂŠn Ga Grinda

Vienna 2019

The amazing gang of C11111A Helvijs, Valentin, Andreas, Cenk, Manu & Victoria Ioanis & my family Anna, Tona, Julia, Anna R., Nora, Jule & Irina Lena & Johanna Maki Tobi Lino Martin & Ferdi+Vinzi

I am endlessly thankful for all your help, support and time! And moreover, for all the laughs, calming words and invested energy, without which I would possibly have cracked up.

ABSTRACT

â&#x20AC;&#x153;The transition towards network culture is not merely technological, it is deeply tied into social changes.â&#x20AC;?1

The question induced by the emergence of digital and virtual artworks and a link of virtual and physical presence for human interaction form the main focus of this project. The Platform for Digital Art in Amsterdam is a speculative architectural project. It approaches a different kind of cultural space at the verge of physical and virtual space. Digital art constantly oscillates between the physical and the virtual realm, thus this project reflects the need to link those realities. Due to these inherent characteristics of digital art, the project connects the usually separated institutions of art gallery, archive, auction house and art storage. As communication technology seems to melt all that is solid, the art storage forms a solid block information. Within it, spaces to accommodate collective experiences are carved out and enable visitors to interact with the digital and physical archive. The platform both accumulates and generates knowledge.

https://sunapetersen.wixsite.com/immatereality

1 Varnelis, K., Baer, W. (Eds.), 2008. Networked publics. MIT Press, Cambridge, Mass.

TABLE OF CONTENTS

CONTENTS

_13 INTRODUCTION changes in society references

_35 ARCHITECTURE & TRADE history of trade trading in the Netherlands the art market

_69 ARCHITECTURE & ART exhibiting art and space new media art interviews virtuality and perception

_95 ARCHITECTURE & MUSEUMS the museum's evolution storing art

_109 AMSTERDAM Site Local Context

_131 PROJECT Hypothesis Conceptual & formal explorations Archive & platform for digital art

_239 APPENDIX

_11

preface to relevant aspects in contemporary culture

CHAPTER_01 INTRODUCTION

CHANGES IN SOCIETY

Todayâ&#x20AC;&#x2122;s society has been captured and smitten by virtual networks,technology, and the state of being permanently connected. The associated scientific and technological progress cause ripples further into our social relations,as well as the realm of art and architecture.

INTRODUCTION

Through advancements in information and communication technologies a cultural shift in our societies has been taking place for several decades. All related characteristics and the globalization are traits of the digital (or third) industrial revolution. Therefore, through the global interconnection, associated barriers of space and time are overcome.1

Thus, the several “layers” of our reality, the here and now, the social level, involving exchange amongst several people, which is mostly limited in time and the virtual, the immersive, enabling a different kind of [social] context, are becoming indistinct. On the basis of this, the thesis of a division of commerce into the several layers can be seen.

scan to see: https://sunapetersen.wixsite.com/immatereality/about

_13

Due to the transfer of information at the speed of light the notion of time becomes unraveled. Simultaneously, as the the geographical location loses its importance, the competition for advances in time increases. One terabyte of information from Amsterdam to New York is sent within 36 milliseconds. And the systems oftentimes decide on whether real processes occur or not.

PROJECT TOPICS COLLAGE

CULTURAL TRANSFORMATIONS

Almost any aspect of our daily lives are in some way connected. An ephemeral network of virtual data and new means of communication have expanded to order today’s life, and leaves invisible as well as visible traces within our surrounding. This enables novel modes of relations in space and the boundaries between physical and virtual become more fluid and porous. Local markets are instantly converted into global markets through the conjuncture of the factors of the globalized communication, as well as the information on hand.

cf. Franck, G., 20. Ökonomie der Aufmerksamkeit: ein Entwurf, 9. [Nachdr.]. ed, Edition Akzente. Hanser, München. page 67

INTRODUCTION

Thus, the altering conditions have and had a great impact on the behavior of users and their habits. And those aggravating changes possibly carry the potential to challenge traditional institutions for art and culture within our societies. Generally, data and time have gradually become dominant aspects of everyday life in our postindustrial society. In the wake of the highly technologized society everyday culture is strongly characterized by the above mentioned “availability” of time and hence, the strive for attention and knowledge. The position, which was once dictated by the heavy industries, has been taken over by the production of knowledge. Subsequently, it is referred to as the information society.3 Antonio Negri, as other theorists, formulated his attempt to define the term mentioned above. He described it as a society, which is primarily characterized by the immaterial labour performed by people, mainly concerning knowledge-production and cultural output.

INFORMATION SOCIETY

Rapidly the handling of those influenced and altered cultural practices, means of communication, as well as digitally interfered interactions and experiences. 2 The transformation initiated the emergence of more participatory models and methods, especially within cultural practices. This means that contemporary experience of culture is grounded in digital technology and mass communication. These changes and the increase of the global digital network opened more and more possibilities for the audience to access, and experience it in various different ways, transformng the culture of production as well as consumption.

Even though, there is no entirely approved definition of the term information society, a vague description of the expression‘s range of influence can be made:

cf. “Author’s rights in th digital age: how Internet and peer-to-peer file sharing technology shape the perception of copyrights and copywrongs” by Milijana Micunovic, Luka Balkovic www.libellarium.org/index.php/libellarium/article/view/232/337

cf. Public Domain, URL https://en.wikipedia.org/wiki/Information_ society (accessed: 21.10.2019)

DIGITAL AGE

CHANGES IN SOCIETY

The digital revolution was initiated by the development in media and new technologies.

Value: “the material or monetary worth of something” “importance, worth, or usefulness of something.” “Principles or standards of behavior; one’s judgement of what is important in life.” Accompanying the fundamental changes is the question of value? The setting of priorities are experiencing an upheaval. Firstly, an almost unlimited accessibility of goods is taking place and more importantly, the virtualization of those has drastically increased, affecting the idea and consistency of value. This leads to the second aspect. Digital technologies have strongly influenced the concept of ownership and the value of property or belongings in the current digital age.

_15

In 2010 Manuel Castells defined the present economic model Informationalism.4 In recent years the collecting of data has been given priority to. Massive amounts of information are generated, stored and eventually acquired in the digital age, pushing commodification further into the realm of social relations and communication.

VALUE

EFFECTS OF THE DIGITAL AGE

The main characteristic of an information society is the fact that the utilization of information on multiple levels, such as the creation, assimilation, handling, manipulation, usage, and trading, is an essential cultural, political and economic act. Those processes, starting off in the 1970s, has fundamentally transformed the structures of our society. The vast amount of produced, consumed, and available data, information and communication technologies have a great impact on social relations, and additionally the realm of economy, health, governmental systems. Basically it drives a shift on the entire existing system’s structure.

“Shockwaves in the New World Order of Information and Communication” by Armin Medosch in book A Companion to Digital Art, First Edition. Edited by Christiane Paul. 2016 John Wiley & Sons, Inc. Published 2016 by John Wiley & Sons, Inc., page 373

CHANGES IN SOCIETY

The Economy of Attention by Georg Franck In his book Georg Franck states that the business of science and knowledge is an organized economy of knowledgeproducing attention. Generally, the author presents his theory as a draft and explains that in the current time the term attention can not be analyzed and integrated in our existing definition of economical system, since our perception of it, is too narrow. Still, he gives a thorough insight into his conception of the economical aspect of attention.

INTRODUCTION

According to Georg Franck, the described attention has become a scarce good and only under certain circumstances it transitions into a form of revenues for others. The attention, which attraction dominates our everyday culture, is on the contrary wanted. Franck describes, the last-mentioned form of attention might not be wanted to purchase other people’s work, but it might rather be wanted due to the fact, that it enables the access of other scopes of experience. The asymmetry between availability and utilization, emerging through the condition of scarcity, has not always existed in the case of attention, nevertheless now it has become a scarce resource.

NEW SCARCITY

Utilization of attention is not a recent phenomenon. Over a longer period of time this change has formed, and has only now reached a rapid process of growth. Cultural and economic progress automatically accelerate the rise of chances for distraction and entertainment and the distribution of objects designed for attraction. These characteristics present themselves in the importunate amount of goods supplied, in the constant desire to educate oneself, in the densification of networks of communication, urbanization and the competition for

AFFECTING SCOPES

“Intellectual capital is the productive potential of cultural heritage.” 5

my translation, cf. Franck, G., 20. Ökonomie der Aufmerksamkeit: ein Entwurf, 9. [Nachdr.]. ed, Edition Akzente. Hanser, München. page 57

cf. Franck, G., 20. Ökonomie der Aufmerksamkeit: ein Entwurf, 9. [Nachdr.]. ed, Edition Akzente. Hanser, München. page 61 ff

The initial position of the impossibility to integrate the term of attention in our existing definition and understanding of economy is slightly shifting through the upcoming of the business with information. An additional influx of information and data has been put in motion by the industrialization. Furthermore, the monetary economy largely contributes to the social product of information since the industrialization. Subsequently, the information economy changes towards an economy mixed between attention and money. The big business made with data is made of the paid creation of attracting elements for the control and steering of large quantities of attention.

In former stages of our economy, tertiary services were apprehended as something unproductive due to their immateriality and therefore not considered as a relevant part contributing to the economic cycle. Today, those services are goods â&#x20AC;&#x153;producingâ&#x20AC;? attention and thereby a productive contribution. To actually become a new or alternative currency, Franck describes the need for a universal exchange value.6 The additional question is raised, if within our society a withdrawal of the excessive materialism. Or do exactly the cited structural changes cause the enablement of an immaterial economy?

_17

DATA ECONOMY

media attention in our everyday life and cities. Information generated through new perceptions and understandings are in fact different to the information released from the growing flow of goods and services. Nevertheless, the influx of each, the overview of supply and awareness of the offered possibilities demand attention. The book describes our society entering a new state of expansion. G.Franck establishes his argument through three parts, the reached enormity of supply, the immense velocity in which distribution enlarges and at last the establishment of itÂ´s own branch for information processing within the realm of production. The command of the technological society makes a new set of demands to attention.

Generally, prestige, reputation, celebrity, as well as fame, are all genuine, real forms of capital. Those four labels are though far from only being “symbolic” capital. French Pierre Bourdieu, one of the most influential sociologist of the latter half of the 20th century, declared the term “symbolic” capital as a worth or legitimacy, which only has capital-like traits. The extent of someone’s publicity or recognition, on the contrary, literally constitutes capital, due to it consisting of accumulated attention, which bears interest in form of effort-free drawn attention. Prestige is the facet of esteem, if only considering purely quantitative aspects. Prestige can be high or low, just like income. Esteem, nevertheless, is not only big or small, but also good or bad. Aside from the quantitative aspect it also has a qualitative. In the barter economy of attention others work for one through talking about you. The design or style of prestige, reputation, celebrity, and fame is a real market price formation. As soon as the rate of publicity starts to be counted, the drawn attention is initially traded further in form of a higher exchange value of the attention of the recipient.

INTRODUCTION

In the economy of attention the border between culture and commerce is drawn fresh. Moreover, in a knowledge society the dichotomy, formerly existing between culture and commerce , slowly becomes obsolete. The only one thing differentiating scientific capital and art is the lack

PRESTIGE, ESTEEM, REPUTATION

CHANGES IN SOCIETY

Appreciation and devotion have always been significant elements within social existence/exchange. Georg Franck outlines the parallelism of exchange of attention and a market. The concern about one’s reputation has always been a motivation for the internal strive. And the appreciation one is to receive is not only depending on direct devotion of others, but as well on the indirect esteem which spreads further. In the convergence towards the materialistic economy, this fact marks an important difference.

The capitalization of attention is induced by mass. Attention can only have an impact, which carries itself further, from a big amount. And those big numbers of attention can only emerge when people see a lot of others assemble and their attention being caught. And the gathering of a lot of people requires occasions and facilities to contain those numbers. So a cultural institution, according to G. Franck, is nothing else than the capital market of attention, which reveals that the meaning of the game for selfesteem really turns into a societal game. As a last point, the question arises in how far the circumstances in the exchange of attention have developed into a proper capitalism. And possibly even more importantly, the question of the effect on the experience itself through the economization of attention? 7

_19

CULTURE & CAPITAL MARKET OF ATTENTION

of an “aura”, which is explained by the “Nutzwert” (use value). And since the artpiece as such does not serve any purpose, it’s attraction can take on auratic qualities.

cf. Franck, G., 20. Ökonomie der Aufmerksamkeit: ein Entwurf, 9. [Nachdr.]. ed, Edition Akzente. Hanser, München. page 106 - 159

Subsequently, the mentioned changes in our society have a serious effect on the manner of ownership. Walter Benjamin in his book “The Work of Art in the Age of Mechanical Reproduction” addresses the issues and modifications, which the possibility of mechanical reproduction carries with itself. The conditions artists and the entire society were facing in those times, are in its most essential traits the same as today. The possibility of being constantly connected within a network and the question of value of originality only now introduce an additional layer of complexity.

Today it is not only a matter of reproduction anymore. New forms of distribution, such as sharing, reconstruct the definition of ownership, as well as authorship.1 Ownership, mostly regarding digital content, has shifted towards the rights or limitations of use of those respective services. For the most part purchasing any content does not give you the right to resell or lend your “property”. A striking example is the purchase of software. Generally it seems to be accepted as self-evidently to buy software and in fact only hold a license for using it. Or one can buy digital content on Amazon, Itunes etc. without actually owning it.8

INTRODUCTION

Those transformations provoke to rethink the existing concepts of ownership. On the one hand there is the wish to avoid the drowning of intellectual property in the values of collaboration and freedom of thoughts within digital culture through rules and technological possibilities to store ownership

“What does Ownership mean in the Digital Age?” December 21, 2016 by Bill Rosenblatt in Book reviews, First Sale /Exhaustion, Law, Uncategrized, URL https://copyrightandtechnology.com/2016/12/21/ what-does-ownership-mean-in-the-digital-age/ (accessed 01.10.2019)

OWNERSHIP IN THE DIGITAL?

CHANGES IN SOCIETY

Ownership today or tomorrow

The digital commons pursue the idea to share digital resources, and this often on the level of digital infrastructure. For artists it enables collaborations on equal levels and gives the opportunity to avoid the commodified world to this still limited extent.

PROJECTS APPROACHING OWNERSHIP

“Open Commons”, a website for sharing of work and tools, was presented at Documenta X in 2002. The digital commons by Raqs was to provide a transcultural platform, which proposed a concept for custodianship of culture9 (Raqs Media Collective 2003, 30-31). The project aimed to progressively emphasize decommodification of culture and knowledge production. Interest towards commons-based models and ideas has increased due to newly emerged potential within the notion of digital commons. As “analogue” commonbased productions disregard exchange value to enable a political economy, which is not based on markets, use values are achieved through shared labor.

“Free culture producers have to eat and pay rent within a capitalist economy while they create economies of abundance.” 10

Artist, primarily creating New Media Art, are especially affected by these questions ownership and copyright emerging today. Additionally, they are facing discussions of authorship, since the role of creators and consumers of cultural content become more and more intertwined.

_21

DIGITAL COMMONS

history within the digital content. On the other hand early models of open source and open access have challenged existing structures from the position of knowledge sharing and common resources. Clearly, it is essential to define novel concepts in a time where arts and business are linked to strengthen culture in the digital age.

9+10

CHANGES IN SOCIETY All these forces transforming existing ideas of ownership and authorship induce a (re)distribution of power. On one side the relation of artists, dealers and collectors, which has been set in their way for a long time, is being challenged. On the other side art and culture is increasingly put under pressure through commercialization and commodification. Theories and thoughts on ownership have already well varied throughout the history of western societies. When before, these topics were also approached on a philosophical and moral level, the concept of (private) property coined the term of copyright at beginning of the 20th century. And today, those issues have become purely driven by economic interest. Currently (economic) rights and common traits of digital culture, such as free access, shared knowledge and autonomy, to some extent meet in opposition.

The post-print culture generally offers a shortcut on the former route from the creator to the public. It enabled the opportunity to make work directly accessible for the consumer, and now even transforming the role of consumers to partially becoming producers, making Individuals become content creators.11

“Both everyday and exotic, public and private, autonomous and commercial the Internet is a chaotic, diverse and crowded form of contemporary public space.” 12

INTRODUCTION

The urge and contest over private property has spread and rather converted (urban) space into an area for the accumulation of private interests. The Internet itself has become an extension of the contemporary public sphere. Rights within ownership and access of digital content are equally a part of the question of what is public(ness) today?

Author’s rights in the digital age: how Internet and peer-to-peer file sharing technology shape the perception of copyrights and copywrongs by M. Micunovic, L. Balkovic

cf. Greene, R., Internet Art, Edition: 01 (2004), Thames & Hudson, page 8

Publicness and Space

HISTORY scan to see https://sunapetersen.wixsite. com/immatereality/kopie-von-amsterdam

In ancient Greece the Agora had a permanent role. It served as an important meeting place and fairground, which can partially be compared to today’s idea of public spaces. The Agora represented a significant part in the cultural, political as well as economical progress. In the Middle Ages the church widely replaced spaces of gathering. The Christian church transformed the division between private and public through the separation of Church and State, and thereby it became the new order of public space itself. With the upcoming of modern societies the definition of private and public continuously gained in importance. As mentioned in the previous paragraph, terms such as private property and ownership were coined. This induced the formulation of associated rights and wrongs. Subsequently, the laws drafted the public and private sphere. Ever since commodification stretches further and further out into our society, the common property of “public space” has been flooded by individuals’ private interests through neoliberal politics.

Moreover, the notion of publicness today is transforming drastically through innovations in communication technology. Public space, if we can still argument it exists, is extending into the realm of virtual networks disconnected from place and time. Through those changes in society and by that as well in the creation of publicness, it becomes more complex to define the public realm and the role of architecture within it. Once again attempting to draw a line between private and public seems to be nearly impossible.

_23

TODAY

PHYSICAL AND DIGITAL PUBLICNESS?

The public realm has undergone a extensive transformation throughout history up to the present day and is tightly connected to architecture and space.

medieval times

CHANGES IN SOCIETY

separation of private and public the cathedral was main institution

christian era former nonpolitical becomes the public (“public entity” = family)

ancient greece public space as fertile ground for religous, political, juridical and intellectual life

INTRODUCTION

“Broadly, public sphere can be comprehended as a “space” for people to meet and discuss, how their lives together should be framed.” 13 13

Hénaff, M., Strong, T.B. (Eds.), 2001. Public space and democracy. Univ. of Minnesota Press, Minneapolis.

early finance | long-distance trading economic activity oriented from private (â&#x20AC;?oikosâ&#x20AC;?) towards commodity market

society private property and ownership;

transformation | shifts in the role of public space

neoliberal privatization private interests laws and regulations concerning public space

remains of public space is mediated by telecommunication technologies; time and space decreasingly serve as boundaries for public space

Fig. 1.1.

post - industrial society

_25

evolution of the public realm

question of possible public space?

DECAY OF PUBLICNESS

Guy Debord associated the term Urbanization strongly with consumption craze, cultural homogenization and mass media marketing. Advancements in communication technologies might have extended modes of entertainment and consumption, and also the economical relocation of production towards distribution and information within the last 50 years have basically not changed the influence of the "spectacle", at best its mechanisms.16 Debord arguments social life in consumer society has transformed into being about having instead about living. Architecture as a mediating agent might have fallen behind in comparison to other instances, such as fine arts or advertisement. Possibly, architecture is still overshadowed by the Crystal Palace. Representational buildings and Shopping Complexes still promise the participation in politics and knowledge through mere visual contact.

PASSIVE CONSUMPTION

CHANGES IN SOCIETY

In the book " Verfall und Ende des öffentlichen Lebens" Richard Sennett14 deals with the decline or dissolution of the publicness as the forum for societal experiences and cultural exchange. He reviews the shifts in meaning of urban public spaces, especially through the increased disconnection between the private sphere and matters of community. In the 1960s the so called Situationist International strove against this mentioned decay of publicness particularly. The S.I., an international organization, acted at the intersection of politics, art, architecture and media. Guy Debord partially laid the foundation for the revolt in 1968.15 In his work "The Society of the Spectacle" formulated a critique on the passive post-war society.

Society of spectacle Fig. 1.2.

INTRODUCTION

Art and Architecture have the potential to encourage social interaction and provoke contact instead of serving the purpose of (urban) beautification. This should given priority and demonstrate the diversity of individual artists within the field within publicly accessible spaces. To comprehend art relentlessly demands attention and the capability to question the societal periphery and the world we live in.

14 15

Sennett, R., Kaiser, R., 2013. Verfall und Ende des öffentlichen Lebens: die Tyrannei der Intimität, 2. Aufl. ed, BvT. Berlin Verl, Berlin. The revolts in the 1960s were greatly based on initiating the awareness towards the new social image, which understood political power now to come from the bottom up instead of top down. “Shockwaves in the New World Order of Information and Communication” by Armin Medosch in book A Companion to Digital Art, First Edition. Edited by Christiane Paul. 2016 John Wiley & Sons, Inc. Published 2016 by John Wiley & Sons, Inc. p.359

_27

Fig. 1.3.

New babylon, Constant Nieuwenhuys

The City played a central part in the work of actors of the S.I. and those were particularly shaped by the term "derive". The term in its use describes a somnambulistic wandering through the city without a specific destination, which only then enables the possibility to really explore and perceive one's surrounding. Constant Nieuwenhuys, member of SItuationist International from 1957 until 1959, designed an anti-capitalist city, which was initially known under the name DĂŠriville, coming from ville dĂŠrivĂŠe meaning "drift city". Only later, the project was renamed New Babylon. The project, which was created after he left the organization, presents a utopian anti-capitalist city. It is an artistic urban-vision, continuously expanding across and over existing cities as a labyrinthine mesh and forming a connected network. The city's population are free of working due to the absolute production automization, and subsequently, as well free from settledness. These conditions facilitate the people's opportunity to drift through the city without objectives, as when dreaming, driven by their own imagination and creativity. New Babylon is an open city without borders. The constant movement and accessibility of all places new relations and interactions can emerge.17

The title New Babylon was described as provocative by H. Lefebvre, who described how Constant used a term, which by tradition was representing the evil, and turned it into the name of the future city.

INTRODUCTION

Fig. 1.4.

Very big library, OMA

REFERENCES

With the contribution to the competition of the new grand library in Paris OMA proposed the idea that in the future (now?) architecture's function will be the creation of spaces for collectivity, and will lose all other responsibilities. The Grand library was visioned as massive cubic figure, a three dimensional grid of media libraries, perforated by spatial bodies for the collective use. The spaces intended for the visitors were carved into the solid block of information, the library. At the time it was already assumed that through technological advancements and information systems classic media was largely going to be replaced by digital devices. The central focus of the architecture was the great main hall, the large collective space from where information and people were to spread out and eventually gather again.

“At the moment when the electronics revolution seems about to melt all that is solid - to eliminate all necessity for concentration and physical embodiment - it seems absurd to image the ultimate library."18 The concept for OMA's library is partially related to the vision of Étienne-Louis Boullée for the Deuxieme projet pour la Bibliothèque du Roi in the late 18th century. The french architect planned an enormous reading room spanning over 100 metres in length and 30 metres in breadth. All books on the shelves were freely accessible. The idea of the library shaped an amphitheater of books, leaving a huge collective space for readers surrounded by the knowledge storing media.

_29

Fig. 1.6.

La Bibliothèque du Roi, Ètienne -Louis Boullée

Fig. 1.5.

Very big library, OMA

VERY BIG LIBRARY, OMA

The two presented references have aided to draw the conceptual outlines for the project, a platform for digital art.

URL https://oma.eu/projects/tres-grande-bibliotheque on https:// cdn.sanity.io/files/5azy6oei/production/1df5ca64b2ea79a695b8bceff457374830fe205d.pdf (accessed 20.10.2019)

INTRODUCTION

IMAGE CREDITS

Fig. 1.2. page 26

Evolution of the public realm © Suna Ezra Petersen

Society of Spectacle Public Domian, URL https://en.wikipedia.org/wiki/The_Society_of_the_ Spectacle#/media/File:Debord_SocietyofSpectacle.jpg (accessed 25.11.2019)

Fig. 1.3. page 27

New babylon, Constant Nieuwenhuys

Fig. 1.4. page 28

Very big Library, OMA

Fig. 1.5. page 29

Very big Library, OMA

Fig. 1.6. page 29

La Bibliothèque du Roi, Ètienne -Louis Boullée

Public Domain, URL https://en.wikipedia.org/wiki/File:Bibliotheque_nationale_ boul.jpg (accessed 20.10.2019)

_31

Fig. 1.1. page 24-25

IMAGE CREDITS

Image sources Chapter_01

_33

an excerpt of the emergence of organized trade and its architecture

CHAPTER_02 ARCHITECTURE and TRADE

HISTORY OF TRADE ARCHITECTURE AND TRADE

Trading has always been closely tied to the shaping of cities. Generally, it was based on the physical transfer of commodities or services. Today, trading systems enormously extend the existing networks through the additional exchange of intangibles.

FORUM

latin forum: public place outdoors The Forum Romanum described a public square in Roman cities or along important roads, primarily used for the commodity trading. The accompanied buildings served as shops and the stoas (covered walkways) for open stalls, which together shaped the marketplace. In addition to its standard function as a marketplace, a forum was a gathering place of great social significance, and often the scene of diverse activities, including political discussions and debates, rendezvous, meetings,etc.

The Forum Romanum Fig. 2.1.

AGORA

greek agora: open place of assembly In ancient Greece the central fairground, meeting and market place was the Agora. Therefore it was a important sociatal institution and significant attribute of the greek polis. As a central place of worship, it was the venue for many religious festivals with gymnastic and artistic agonists that were crucial for the formation of a common identity. And for popular and judicial meetings, it played a prominent role in the orderly coexistence.

Fig. 2.2.

_35

The Greek Agora

Trading describes the transfer of commodities or services between people or systems. Before the invention of money, a system of barter was the common way of trading. In early medieval times trade and through that markets in some way took place everywhere. Since the 11th century in Europe’s commercial economy, fairs and markets in various forms have been essential components. They brought regions and cultures together. markets initially served as the important link between the countryside and towns. Laborforce was coming into towns from rural areas and on the other hand the money returning infused the rural economy. Besides the economic factor, also information, knowledge and cultural practices was taken from urban areas to the countryside. On contrary to the smaller markets held in the early middle ages, where goods were sold along church walls or specific places and “openinghours” and sometimes even prices were set by seigniorial authorities, markets now expanded faster. Growth related to the enlargened markets transformed villages into towns and cities. The developement strengthened their role and today’s picturesque image of markets as the centres of social exchange emerged. Induced by the enormous size market authoritties regulated the markets’ hours of operation, fees for vendors and controlled the prices, weights and measures. Before the 13th century money changer, merchants and tradesman met in town squares of italian cities. in the late period of this century bonds were already traded through a socalled “borower’s note” and the fundamental concept of the modern banking system and stock trading was developed. Fairs, furthermore, functioned as a possibly larger markets for more valuable commodities, such as for example agricultural utensils and livestock. The “extraordinary” setting of fairs considering size and perodical occurance, made them significant connective elements within a network of ulterior regions. Fairs were commonly held as a festive event, which combined

EARLY NOTIONS OF TRADE

HISTORY OF TRADE ARCHITECTURE AND TRADE

The emergence of commerce and its role in Europe from the 11th century onwards

TRADE

MARKETS ~3000BC

periodic or permanent

AUCTIONS ~500BC

merchants trading in Taverns/Inns

BOURSE 1460

1602

1613

1639

1700s

Bourse(Bruges) 1500s Commodity Exchange agricultural products Stock Exchange (Commodity) Future Exchange the functions for commodity and stock markets were separated interest in auctions reemerged in Europe

today

Even though fairs had lost importance, they and markets were still remained significant in the early modern period. Nevertheless, they were undergoing some changes reflecting the transformation of society. As already mentioned above, fairs were not representing the financial centres of Western Europe anymore, instead they had grown to become popular commercial and cultural happenings on a regional scale. Markets in an urban context were spreading and growing significantly

_37

emission energy commodity futures stock security

ORGANIZED MARKETS

1300s

goods and ground from Roman victories, liquidation of debtors’ property

commercial exchange, entertainment and banking. Throughout the 13th till 17th centuries the centre of organized trading moved towards more northern parts of europe and an increasingly complex system of markets evolved. A network of fairs spanning from the Low Countries to France and Northern Italy functioned as western Europe’s “institutions for high level finance and credit” 1. In Bruges a system of financial advice for tradesmen and merchants was started to be organized due to the increased importance of transregional trading. At Fairs, such as the old Champagne fairs, the entire western european world of commerce and finance gathered. The international merchant houses met at those events and at some point even bills of exchange as well as currencies were established. Through different regulations passed by royal authorities the importance of fairs decreased in the early 14th century. In the 16th and 17th centuries more and more commodities were traded within the organized system and consequently specialized exchanges emerged and regulated trading with bonds was initiated. The former functions carried by fairs were split into two institutions, the bank and the new institution called “exchange or bourse”. In 1531 one of the first architectures dedicated to the pure purpose of commerce was built in Antwerp, the bourse. Soon after, exchanges in cities such as Antwerp, Amsterdam, and London took over the most important positions within the economic order of western Europe. And most major european cities followed with specialized bourses for grain and other commodities, insurance, stocks and shares.

Montserrat M. Miller, " Fairs and Markets", URL: https://www.encyclopedia.com/international/encyclopedias-almanacs-transcripts-and-maps/fairs-and-markets (accessed: 25.03.2019)

ARCHITECTURE AND TRADE

The later half of the 19th century induced the reemergence of fairs. Huge fair events followed in the upcoming years. The architectural language became ever more impressive and determined by light and glass. The fairs themselves mainly served as a method of represention, displaying a region’s cultural values and to humor the higher middleclass. “Like the old Champagne fairs, they brought together potential buyers, sellers, and onlookers and established the tone for trading relations that operated at the uppermost levels of economic exchange.”

LATE 19th CENTURY

Europe experienced crucial changes from the mid 18th century onwards. The process of industrialization brought along immense economic progress and population growth of cities. Markets and Fairs existed alongside newly emerged shops, but had lost their great economic value. Cities in the early 19th century accommodated a high number of shops and nevertheless, markets were still mainly held in open squares and provided the population with foods. With the ever expanding urban settlements, markets became too crowded, chaotic and a problem with sanitation emerged. After most authorities attempt to enlarge the existing structures, a change of strategy was taken in the second half of the 19th century. For the first time market halls were built and sales could happen indoors. Markets transformed into something more permanent and were, most importantly, held in more “civilized” conditions. The halls’ architecture ranged from concrete structures to stunning iron-truss structures with glass roofs. Often market halls were built attached to train station as a link between cities and the sources of supply.

FAIRS

HISTORY OF TRADE

from mid 15th until mid 17th century. Strict hierarchies and regulations dominated the markets and they functioned as one of the most important factors in the creation and recreation of culture. City-like settlements developed around markets, leaving the market as one very significant public space within the urban context.

London 1851 Great Exhibition of the works of Industry of all Nations

_39

Fig. 2.4.

Fig. 2.3.

HISTORY OF TRADE ARCHITECTURE AND TRADE

“A system or network that allows trade is called market.”2

20th CENTURY

1925 a new era of western european fairs was introduced by the Paris Exposition Internationale des Arts DĂŠcoratifs et Industriels Modernes.

video showing abstract summary of the history of trade

Architecturally, the buildings of commerce were (initially) compelling and representative, mainly due to their purpose to address the wealthier parts of society.

scan to see https://vimeo.com/241857571

The various existing commercial models of today are all still very much compareable to the traditional, early markets and fairs. The difference can mostly be seen in technological advances, scale or capitalization. And the speed at which trade, the movement of goods and capital has drastically increased. Furthermore, the market has gained an additional complex layer, the market of virtual goods. The significant characteristic of virtual products is the inexistance of a tangible substance or an immanent value. The value is purely based on the customersâ&#x20AC;&#x2122; declared intent of giving.

_41

TODAY

In the early years of the 20th century in Europe, the period of markets was coming to an end. Most markets were replaced by shops and stores. In many european cities a small number of markets remained to exist, but rather for a touristic purpose. Advances in technology, infrastructure and distribution, mainly of foods, induced the changes, which equally influenced the entire society. Ultimately with the emergence of shopping malls in the late 20th century, subsequent to the upcoming of shopping arcades, the urban social pattern was reorganized due to the partial loss of their social nuclei, the markets. Furthermore, cultural and entertainment institutions were joined to shopping centers.

Public Domian, URL https://en.wikipedia.org/wiki/Trade (accessed: 15.12.2018)

Fig. 2.5.

First issued bond

Tradeable goods, contracts or shares are bought and sold in hand of laws and rules. It serves a time-wise concentration of exchange under a controlled construction of prices.

The first brokers have their origin in the twelfth century in France. Commissioned by banks “courtiers de change” dealt with the handling of horticultural communities’ debts. About a century later, initially in Venice and soon in other italian city states, bankers began to trade government securities.3 Around 1409 the Exchange Bruges was founded, housed in the Beurze family building, and thus meant the institutionalization of this new form of organized market for the buying and selling of firstly commodities and securities. The name Stock Exchange as the trading venue for merchants arose. Only two centuries later, in 1602, for the first time stocks and bonds were issued by a company, the Dutch East India Company VOC. The company’s acquisitions, as well as seizures in the Dutch name, were thereby enabled and financed.

EARLY DEVELOPMENT

The term burse derives from latin and describes a community, which share funds and dwelling. The history of its development is related to the inn, “Huis ter Beurze” of the family Van der Beurze in Bruges, Belgium. In the 13th century vendors and foreign salespersons from all parts of Europe started trading business within the establishment. The hostelry soon became known for the managers’ advice to the merchants who visited and served only the purpose of commodity trading.

The occurences and developments in the 19th century ultimately and rapidly set the distribution of stock markets in motion. The occurring industrial revolution marked the shift from an agrarian towards an industrial society, which led to accelerated advancement in science, as well as technology and productivity. The progress required significantly great sums of capital all over the world.

19th CENTURY

HISTORY OF TRADE ARCHITECTURE AND TRADE

Bourse - the organized market

This fact was only possible due to the ruling of the city states by citizens and not dukes.

The development of information technology during the late part of the 20th century led to a new type of electronic exchange that replaced the more traditional physical markets. This led to new definitions in financial regulations that recognized these new exchanges, such as the Multilateral trading facility in Europe and Alternative trading system in the United States. Regulators also started using the term trading venue to describe the wider definition which encompasses both traditional exchanges and electronic exchanges. from that point the formerly centralized trading systems became highly allocated and trading has gradually become more immaterial, reaching its peak and entering a more abstract realm through the dematerialization of securities “Breton Woods agreements”.

_43

1970s

Since the computer revolution of the 1970s, we are witnessing the dematerialization of securities traded on the stock exchange. From that point the formerly centralized trading systems became highly allocated and trading has gradually become more immaterial, reaching its peak and entering a more abstract realm through the dematerialization of securities “Breton Woods agreements”. In 1971, the NASDAQ became the primary market quotes computer. In France, the dematerialization was effective from November 5, 1984.

INTANGIBLE TRADE

Fig. 2.7.

schematic overview of the development of trading institutions

Fig. 2.6.

HISTORY OF TRADE ARCHITECTURE AND TRADE

„The termination of the Breton Woods agreements in 1973, which uncoupled the US dollar from the value of gold, and the subsequent digitalization of the financial world, have transformed the world economy into a system of ceaselessly shuttling capital flows, devoid of any lingering materiality and only perceptible through the flickering figures on a computer screen. This „virtualization process“ of

Fig. 2.9.

schematic overview of the development of trading institutions

Fig. 2.8.

The purpose of a stock exchange is to facilitate the exchange of securities between buyers and sellers, thus providing a marketplace. The exchanges provide real-time trading information on the listed securities, facilitating price discovery.

_45

DEMATERIALIZATION

the monetary economy stands in a complex relationship to the parallel transformation of urban space into a more „virtual“ environment.“4

DeMeyer, D., Borret, K., Ghent Urban Studies Team (Eds.), 1999. The urban condition: space, community, and self in the contemporary metropolis. 010 Publishers, Rotterdam.

TRADING IN THE NETHERLANDS ARCHITECTURE AND TRADE

Looking at the progress of national and international trade, organized markets for commodities as well as art, the Netherlands have played a significant role in the historical formation of systems and typologies.

public private

first beurse architecture Fig. 2.10.

The first building to house the specific purpose of a bourse was built in Antwerp in 1531. The City faced a period of prosperity and became the European centre for trade. In the city of Amsterdam the open-air market in Warmoestreet served as the trading venue, later the bride at the Damrak ( waterway in city center). In 1586 authorities gave merchants permission to use the St.Olot’s Chapel during harsh weather conditions and later, the exchange was also held in the Old Church. In the following years Antwerp lost its importance as the centre of the Euopean (art) market. Besides Paris, Amsterdam’s significance for trading of goods as well as art increases. Antwerp remains only to function as an exporting entity. In the early 17th century the importance of the city as a commercial centre grew rapidly and auctions were held increasingly. Additionally second-hand dealers were slowly implementing a secondary market by trading commodities, and also paintings, which were purchased at estate sales. After the already existing bourse in Antwerp, the first stock exchange building in Amsterdam was built in 1611 - Hendrick de Keyser. The architectural concept of the first bourse focused on an outdoor plaza, which was framed by colonnades of star- and net- shaped vaults, directly located at a street crossing. This gallery concept then served as the inspiring model for the new stock exchange building in Amsterdam. The rapid development of the Amsterdam Stock exchange lead to the formation of trading clubs around the city. Traders met frequently, often in a local coffee shop or inns to discuss financial transactions. The clubs had their own rules. The members all knew one another, dealers were probably only admitted through the intercession

_47

THE BECOMING OF A TRADE CENTRE

In medieval times in the Netherlands and Europe, inns and pubs (from public house) were important places to conduct business. Debt issues and shares for sale were written up and posted on the shops’ doors. Later it was also common that an inn would also have one or two private function rooms, which could be hired by local guilds or for private events.

TRADING IN THE NETHERLANDS

of existing members, and, members who failed to comply with the rules of the meetings were excluded from further participation. This was all very different from the exchange and Dam Square. The exchange was a public building. Anyone could mingle with the share dealers and take part in trading. During the first half of the 17th century new trading routes turned Amsterdam into an opulent port city. Amsterdam’s population jumped from 50,000 in 1600 to 200,000 in 1650. and the Dutch Market, also for Art became a highend market with certified merchants and dealers. By the middle of the century auctions were held in Paris and various Dutch cities. In the end of the 17th century regulations continuously increased and auctions rules were handed out on paper prior to the event. In 1845 “The Beurs van Zocher” was given a different location. Jan David Zocher’s design was a rectangular building, with an open inner courtyard and a south-facing entrance. Its appearance was completely different to the former bourse. The Beurs van Zocher had the appearance of ancient Roman architecture and had almost no windows.

ARCHITECTURE AND TRADE

The former bourse in Amsterdam, built from 1884, is organized around 3 large trading halls. Smaller rooms accompanying the trading system are arranged around the main halls. Those halls are articulated similar to inner

Fig. 2.11.

BOURSE VAN BERLAGE

In 1896 the new stock exchange building opened its doors. The completely new building’s bell tower carrying the exchange bell was the most prominent element. Berlage believed the stock exchange trade had a short lease of life. Inspired by the Italian Palazzo Pubblicos, he decided to design the new stock exchange building in such a way that it could serve as a grand communal home, a public palace. The design followed his vision of a building that would unite art, culture, economy and society, and therefore built a ‘public palace’ that could temporarily serve as a stock exchange. The building thus also contained a café, meeting rooms, a post office etc.

Beurse van Berlage

courtyards with light coming through the glass ceilings.

_49

Fig. 2.12.

Centrally within the buildingâ&#x20AC;&#x2122;s ground floor public functions were integrated alongside the trade-adjoining rooms. a view into one of the main trading halls is given from the circulation-galleries around them, connecting the surrounding secondary spaces with the centres. The trading spaces functioned as large open spaces.

SPATIAL ORGANIZATION

Since 2008 the building does not function as the stock exchange anymore, but hosts cultural and social activities and also serves as a conference and event centre.

TODAY

TRADING IN THE NETHERLANDS

ound main

Main trading spaces are determining the spatial organization of typical trade architecture. Those spaces are mostly open, and also the visible centre of the building since they are the main spaces of interaction. The trading halls are then mostly accompanied by arcade-like settings and higher up by galleries visually connected to the halls and linking the remaining adjoining spaces. The large halls served the diverse demands of the trading process, including exchange of commodities, social interaction and to a certain extend as well representation. The main large open spaces serve the purpose of bargaining, display and interaction. Through the spatial setting zones and accumulations are defined in various states.

Centrality around main space of interaction gradient of spatial

Fig. 2.13.-15.

inward gallery situation connecting main and secondary spaces

Analysis Beurse van Berlage

ARCHITECTURE AND TRADE

gradient of spatial separation and size y situation

_51

main trading spaces

the exchange building in Amsterdam by the architect H.P. Berlage

Fig. 2.16.-17.

Analysis Beurse van Berlage

ARCHITECTURE AND TRADE

TRADING IN THE NETHERLANDS

centrality space of in

height height differentiation differentiation

threshold of separation

height differentiation5

threshold threshold of separation of separation

visual connections

threshold of separation

visual connections c

visual connections

enevarying heights define heights differentdefine different different the varying the main the visual halls the perform main as hallt the of studied within references the studiedof references of halls performtheas main within the studied within references hand on whenthe one on han centre, atial connections and intimacies. and intimacies. timacies. spatial connections architectures of trade, spatial of trade, centre, spatial on the onecentre, architectures of trade, spatial architectures entering trough the main entering entrance entering trou separation with ais range separation used of with a range of trough the main separation is used with a range isofused and on other hand fromoth t and on the other hand from thethe upper and on the different threshold. different threshold. different threshold. galleries. galleries. galleries.

starting from complete partition

starting from startingthe from the complete partition complete partition

the

far reaching view passing through the building

far reach passing the build

the next “step” the “step” is the the isnext the next “step” is the enabling of enabling a visual of a visual enabling of a visual connection connection connection

the wall is transformed the wall is transformed the wall is transformed walla ofdense wall of into a dense wall into of a denseinto columns columns columns

sight relation between sight relation the adjoining spaces the adjoining and the trading halls and the tradin

the columns arethe reduced, columns are reduced, the columns are reduced, which enables which an almost enables an almost which enables an almost entirely open situation entirely open situation entirely open situation

upper stories are upper stor gradually less visual gradually les connected connected

_53

different spaces blend spaces blend different different spaces blend into eachother,intodefined eachother, defined into eachother, defined by varying levelsby varying levels by varying levels

Images in Graphic: Public Domain, URL: https://commons. wikimedia.org/wiki/File:Hendrik_Petrus_Berlage_(1856-1934),_ Afb_010056915042.jpg (accessed 11.12.2018)

Depending on the time in history and the context various terms have been coined, such as freeport, -zones, transshipment zone, special economic zone etc. In all those cases the fundamental goal was the transitory free storage of dealable goods along trade routes. The areas were mostly ports, trading posts or cities, located at the intersection of important shipping routes. Merchandise was constantly imported and exported, and enabled the development of long-distance trading. Generally, no matter if a port was declared a freezone or it was extended to the scope of an entire city, the declaration repeatedly fulfilled it’s essential purpose of boosting economic growth through the creation of extraordinary conditions within it.

ARCHITECTURE AND TRADE

During the 16th and 17th centuries the Dutch Republic lead the global trade-world. This time is better known under the name "The Dutch Golden Age". In this period of time the Dutch trading system, called "Amsterdam Entrepôt" enabled the nation's success. The City established a staple market economy, even-though never officially approved by the officials. The conditions for trade, transport and technology at this time demanded a network based system called Entrepôt. Gathering the required facilities reduced costs and help the price continuity, as well as profit. Commodities, safely stored, supported the accommodation of demands and minimized risks of fluctuation or interruptions. Additionally, the Dutch Republic granted the Dutch East India Company to monopolize the entire salt and spice trading. These two aspects facilitated the country's wealth and subsequently the approach towards finance and taxing up until present times. Strongly related to the nation's history, the Netherlands are considered one of Europe’s tax havens until today. They occupy the third position of the world’s most

AMSTERDAM

TRADING IN THE NETHERLANDS

Free Zones

TAX HAVEN

prominent corporate tax havens. The Netherlands has tax treaties with over 100 countries and sizeable multinational companies, residing in the country, are offered negotiations for special agreements with the government.

FREEPORTS

Free ports or special economic zones enabling extraordinary conditions within a country still exist today. Now these facilities are purely located in tax-friendly countries around the world. Cities like Singapore, ZĂźrich or Geneva are still known for their zones supporting extraordinary economic conditions. They mainly consist of huge warehouse complexes, accommodating highly valuable goods in the respective required climate. And first and foremost they guarantee absolute confidentiality and the benefit of tax savings. Today, those free ports primarily attract collectors of art and rare objects, who "stash" their possessions as capital assets. 6

_55

Fig. 2.18.

cf. VelimiroviÄ&#x2021; A., The Purpose of Geneva Freeport and Other Facilities Storing Great Works of Art, URL https://www.widewalls.ch/genevafreeport-art-storage-freeports/ (accessed: 10.10.2018)

THE ART MARKET ARCHITECTURE AND TRADE

The art market is represented by a marketplace of buyers and sellers trading in the commodities, services, and worksof-art commonly associated with the various arts. Within the last decades general Interest in the art market has drastically increased.

MARKET HISTORY

The needed structure for the emergence of a market for trading artistic artifacts can be followed back to the Renaissance. In the middle ages and the Renaissance period art was practically only commissioned, meaning the artist's work was ordered by a patron. In the Renaissance primary markets for paintings arose as a derivative of the commission market in the 15th century in Florence and Bruges. When Burges became the commercial centre, the art market took place at ponds and public market places, where artists exhibited their work in stalls or shop windows. The formation of the initial group of collectors, containing of the middle class in cities of today's Belgium, Netherlands or Florence and Venice, particularly set of the development of the art market in motion. The emergence of those liquid markets were essential for the succeeding market system, which is or was in place until recent times. Subsequently, an organized system of dealers and auctions facilitated the thriving market of mostly paintings. In the 16th century private collections of wealthy members of the nobility and the church formed the precursors of the museum. Artwork, objects or artifacts were on displayed in wonderrooms or cabinets of curiosity, which formed a kind of physical encyclopedia.

COMMERCIALIZATION

A mass demand for paintings across the social spectrum occurred principally in Antwerp and Amsterdam, though also in Spain. Resale markets followed retail with a lag. The second hand traders were the first instance, which were not in direct relation to the production. As mass markets emerged, so too did specialist dealers. Followingly, up until today, the market is generally divided into two separate parts: a primary and a secondary market. On the one hand the direct sales and on the other collections and resales. In the seventeenth century Amsterdam was the first centre of the secondary market. Auction houses were appearing, and a exchange network evolved.7

_57

At first the market was not driven by the elite's high-end consumerism, mainly due to the protestant Dutch society. Only in the eighteenth century the French art dealer

cf. Spieth, D., Art Markets, URL http://www.oxfordartonline.com/ page/art-markets (accessed: 10.03.2019)

ARCHITECTURE AND TRADE

The twentieth century certainly affected the trading with valuable artifacts. While the market yet regained stability during the 1920s, the economic crises followed by World War || and the related historic events prevented its progress in a great measure. After the Second World War a general desire "not to look back" changed the primary players within the market. Collectors, critics, and dealers called for modern and contemporary art. Pieces by artists, such as Picasso or DalĂ, were quickly in high demand. Soon after so-called multiples entered the art world. Many well-known artists of those times, utilized this special opportunity of limited print editions, which possibly aided their publicity.

20th CENTURY

THE ART MARKET

EdmĂŠ-Francois Gersaint initiated the transformation of the market towards a luxury oriented commercialism. Art auctions started to be held in coordination between European cities, mainly Paris, London, Amsterdam and Brussels and a international market evolved. During the period of the nineteenth century the art market continued to flourish and with the expansion of global trade imported artifacts from other continents entered the European market. And due to several historical events, as for example the French Revolution, London became and remained the new centre of the art market.8

The art market is a coordinated, unified market. It is an economic model which is not based on the relation of supply and demand, rather a hybrid depending of the perceived cultural value and a predicted value for the future.

Art and its value The value of art was and is generally decided by our culture? In the Middle Ages and up until a part of the Renaissance period artist were considered to be craftsmen. Their work was seen as a skill and profession. This perception changed in latter period of the Renaissance. At that time artists insisted to be treated and perceived as innovators, which hereafter influenced the status of artists as well. Antique artwork usually included precious materials, like gold or also expensive ingredients for various colors. The used materials served the purpose to indicate the patron's wealth and status or religious worship. To a certain degree this worth was represented in an art piece's value. Today, the value of a painting or any kind of artwork is entirely detached from the value of the used materials. A drawing on a napkin by a famous artists could be "worth" an enormous amount of money. Art is today valued for the artist's expression and a work's price is assumably purely depending on the buyer's believe in it's future value and the artist's prospective esteem.9

_59

ART AS INVESTMENT

Today the market has become a global, highly connected market. And through technological advancement the expansion and growth have risen further. It is considered to be one of the least regulated industries in the 21st century. Art was first considered a kind of instrument for investment in the 1970s, and stands very much in relation to the dematerialization of the financial market. Banks, fund managers, and wealth managers began to take a sharp interest into the business with art. It is very well known, that the contemporary art market's highs and lows are tightly related with the motions on Global Capital.

For further details and timelines, see Appendix page 252 ff.

Rodini, E., A brief history of the art museum, URL https://www. khanacademy.org/humanities/art-history-basics/beginnersart-history/a/a-brief-history-of-the-art-museum-edit (accessed 03.05.2019)

To an extent those changes are linked to the arrival of video art as a accepted and valued part within the art world, and technological applications and set-ups are obviously an inherent element. Nevertheless, the stronger factor transforming the art world is the upcoming of online marketplaces and alternative strategies challenging the traditional market. The three current leading art auction houses are Sotheby's, Christie's and Philips de Pury & Company. Even those big name can feel pressure coming Furthermore, art fairs are currently representing 25% of annual art sales, and according to Benjamin Genocchio, the Executive Director of the Armory Show, art fairs have become "a kind of new cultural institution" 10, whose layout has become comparable to shopping malls.

ARCHITECTURE AND TRADE

These transformation have caused a division in roughly three different tendencies. Firstly, in connection with the openness of young collectors to risk and the easy online access,the transformations emphasize investment in art.

ONLINE MARKETPLACE

The traditional structure's of the art market are increasingly affected and partially disrupted by takeover of digital technologies. All processes in place, from creation to display, sale and distribution are affected.

Secondly, new concepts such as online galleries and marketplaces within the digital network have attracted a new group of collectors,who are comfortable with "click-and-buy" purchases. This respons to the changing demographic within the art world. And besides, the online technologies offer an easier way for direct engagement between artists and consumers.11 The third tendency is the one bending traditional structures the most. It formulates an opposite pole to the elite, exclusive, established hierarchies in the art world. This group of interested parties acquainted with concepts of sharing and ways of buying art. At the same time also artists are looking for new modes to present and distribute their work, instead of waiting to be "lucky" to be found by a gallery. Galleries themselves are struggling due to the increased interest more into the direction of art fairs or just Instagram. And on top of the already complex situation is the emerging of blockchain technologies, which by optimists seen as the opportunity to democratize the art market and to bypass the long-established big names of auction houses and more. Furthermore, the question of an art piece's material presence has become more complex, and to those new challenges the traditional art market has no appropriate answers. While considering the role of a painting between artists, dealer

DEMOCRATIZATION

THE ART MARKET

The current art market

Flynn, Tom. The A-Z of the International Art Market: The Essential Guide to Customs, Conventions and Practice, 2017. URL https://www. artsy.net/article/artsy-editorial-time-reinvent-art-fair (accessed 03.05.2019)

Adam, G., What will 2018 hold for the art market?, 2018. URL https:// www.theartnewspaper.com/analysis/what-will-2018-hold-for-the-artmarket (accessed 03.05.2019)

and possible buyers might still seem relatively simple, the conditions when talking about immaterial art, such as examples of digital art, immediately exceed the structures of the system in place. For the last 500 years purchasing art was mainly driven by the desire to say "I own this piece of art",one was required to buy a piece to enjoy it. But how does digital ownership work?

PORTION.IO

Portion represents a decentralized digital platform connecting art and cryptocurrencies. Through the blockchain system the authenticity is ensured, and provenance tracked. Subsequently, purchases are only possible with cryptocurrencies.

new distribution/market strategies A new generation and their thoughts have entered the art world within the last decade.

SuperRare

As mentioned above those concepts spread out in various directions. I chose to point out two main trends. On the one hand there is the vein towards an even stronger version of art investment through "share-trading" enabled through technological advancements. On the other hand there is the vision of the avoidance of the commodification of art. As seen in other fields, e.g. literature and music industry, a process of dematerialization has been initiated, which could splash over with the art world's digital transformation. Introductions in a direction away from traditional ownership are already taking place and many emerging platforms assume that supporting artists might replace owning an art piece. Models enabling alternative processes of consume, sharing and support, possibly have the potential to enlarge the community of participants in art.

offers the possibility for artists to be supported by patrons via the blockchain-based platform. Besides collectors can buy, sell and collect digital artworks from a network of artists.

MAECENAS.CO

is a tokenised Fine Art investment platform. Maecenas is also blockchain-based and facilitates buying, selling and trading of "shares" of fine art on a liquid exchange.

YAIR.ART

novel markets

_61

is a platform for new media artists and collectors. They provide blockchain-based artwork tokens and the free access to purchased artworks via a mobile application.

THE ART MARKET

PRIVATE COLLECTORS

collectors bequest collection to galleries

PUBLIC GALLERIES EXHIBITION OR PURCHASE

collector lends to public gallery

dealers build artistsâ&#x20AC;&#x2122; reputation through sales including art fairs

CRIT

legitimization adds value and status to collector and profit to dealer and artist

purchase or exhibition in major public gallery

legitimization adds value and status to collector and profit to dealer and artist

DEA

PUBLIC COLLECTIONS

ARCHITECTURE AND TRADE

PUBL FUN SPAC

INDEPENDENT GALLERIES

attracts private collectors

ARTIST LED/CURATED EXHIBITIONS

activity attracts critical attention

TICS

attracts attention of dealer

PEERS

ARTISTS ART SCHOOL

_63

LICLY NDED ACES

Fig. 2. 19. Art’s “eco-system”

ALER

Fig. 2.1. page 35

The Forum Romanum

Fig.2.2. page 35

The Greek Agora

Fig.2.3. page 39

London Great Exhibition 1851

Fig.2.4. page 39

Crystal Palace

Fig.2.5. page 42

First issued Bond

Fig.2.6. page 44

Beurse Antwerp

Fig.2.7. page 44

Beurse Zurich

IMAGE CREDITS

IMAGE CREDITS ARCHITECTURE AND TRADE

Image sources Chapter_02:

Public Domain, URL https://commons.wikimedia.org/wiki/File:Trajan_forum.jpg, (accessed: 17.12.2018)

URL http://som300.info/17/3047869-greek-agora-plan.html, (accessed: 17.12.2018)

Public Domain, URL https://de.wikipedia.org/wiki/Great_Exhibition#/media/ File:Crystal_Palace.PNG, (accessed 17.05.2019)

Public Domain, URL https://en.wikipedia.org/wiki/Bond_(finance)#/ media/File:Vereinigte_Ostindische_Compagnie_bond_-_Middelburg_-_ Amsterdam_-_1622.jpg (accessed 26.11.2019)

First Beurse Architecture

IMAGE CREDITS

Fig.2.11. page 48

Beurse van Berlage

Fig.2.12. page 49

Beurse van Berlage

Fig.2.13-16. page 50-52

Analysis Beure van Berlage

Fig.2.17. page 53 Fig.2.17. page 53

Analysis Beure van Berlage

Fig.2.18. page 55

Beurse Amsterdam de Keyser

Fig.2.19. page 62-63

Arts' "Ecosystem"

Public Domain, URL https://de.wikipedia.org/wiki/Beurs_van_Berlage#/media/ Datei:Overzicht_klokkentoren_met_uurwerk,_aan_de_Beurspleinzijde_de_ hoofdingang_met_bordestrap_-_Amsterdam_-_20408819_-_RCE.jpg (accessed: 17.12.2018)

Public Domain, URL https://commons.wikimedia.org/wiki/File:H.P._Berlage_ Koopmansbeurs_interieur_1.jpg

Used Image Sources used in Graphic: Public Domain, URL https://commons.wikimedia.org/wiki/File:Hendrik_Petrus_ Berlage_(1856-1934),_Afb_010056915042.jpg (accessed 11.12.2018)

Public Domain, URL: https://en.wikipedia.org/wiki/Euronext_Amsterdam#/media/ File:Engraving_depicting_the_Amsterdam_Stock_Exchange,_built_by_Hendrik_ de_Keyser_c._1612.jpg (accessed 17.12.2018)

_65

Fig. 2.10. page 47

_67

Alternating roles of art within culture history until today

CHAPTER_03 ARCHITECTURE AND ART

EXHIBITING ART AND SPACE

Throughout the last two centuries changes in theory of perception and individuality have deeply influenced spatial characteristics and methods of how to present art.

During the 16th century cabinets of curiosity or also known as wonderrooms formed a kind of physical encyclopedia. Collectors displayed art, objects and artifacts in those spaces, which subsequently formed a kind of physical encyclopedia and were accessible for selected people. The main characteristic of wonderrooms was the large number of artifacts displayed together. As mentioned, the focus was put on the encyclopedic aspect, which does not indicate the that single objects and artworks were not valued, but the gathering of knowledge was the collectors' priority. Privately established museums, open to the public, began to be established from the 17th century onwards, often based around a collection of the cabinet of curiosities type.

_69

WONDERRROOMS

Fig. 3.1.

partially accessible art collection at the Palace of Versailles

EXHIBITING ART IN EARLY TIMES

Throughout most of history, art, which was also in some way publicly displayed, were mostly commissioned by rulers, religious institutions or sometimes the wealthiest elite. Subsequently, the art works were presented in churches, palaces or other pretentious spaces. In the classical age religious institutions enacted as places similar to today's concept of art galleries. Towards medieval ages the architecture of palaces, castles or villas entered the range of art exhibiting establishments. The elite occasionally opened their spaces to parts of the public, and presented their private collections. Those private collections of wealthy members of the nobility and the church formed the precursors of the museum.1 In the following centuries it became more common to turn single or multiple spaces into spaces for art, primary known as studiolos. In Renaissance times the first spaces sheerly for art were created and still very exclusive. The architectural composition was reduced to a single longitudinal hall and a "Zentralrund".

The following chapter focuses on the evolution of the museum, which was directly related to the mentioned developments of early private collections .

"Were spectators to be treated as a liberal body politic that could learn, in galleries, the art of citizenship? Or were they individuals seeking intimate, emotionally charged encounters with masterpieces?"3

ARCHITECTURE AND ART

In the early twentieth century the position towards intimate experiences of art, detached from overcharged surroundings, was dictating the modes in which art was displayed. Those strategies put the art pieces in the foreground, and cleared facilitating spaces of color and patterns. At the time it was a rather radical idea to strip the room free from disturbance, and has roots in various with the evolution of displaying art. Slowly the concept of the White cube entered the art world, and entered to stay. It describes a definite idea characterized by white walls within simple cubicle shapes, which is lit indirectly from the top. The establishment of this tradition is also positioned in strong relation to the increased abstraction in modern art in the early twentieth century. Art collectives and groups, which received increased attention and esteem in the same period of time, like De Stijl, encouraged the trend, which supported their colorful, expressive work in front of neutral backgrounds. Exhibiting art in current times, has become more complex, since installation, video and new media art is pushing the traditional institutions' comfort zone. This challenge is of course to a certain degree a very technical as well as organizational,

Public Domain, URL https://de.wikipedia.org/wiki/Farbenlehre_ (Goethe) (accessed 30.09.2019)

Klonk, C., Spaces of Experience: Art Gallery Interiors from 1800 to 2000 , 2009. URL https://frieze.com/article/spaces-experience-artgallery-interiors-1800-2000

WHITE CUBE

EXHIBITING ART AND SPACE

In the 19th century scientific theories were the basis of gallery design and new systems around how to exhibit art. Soon museum directors adjusted the interior wall colors in correlation to the displayed paintings. This followed the discussion of J.W. Von Goethe's book Theory of Colours2. In latter part of the 19th century cultural institutions weaved the novel scientific concepts together with the social and political aspects of displaying art. The question of the visitors or spectators was increasingly given priority.

Fig. 3.2.

White Cube And even though, in the past there have been several concepts presented concerning alternative paradigms of exhibiting art, such as work by Friedrich Kiesler or Heimo Zobernig today,the power of the neutral white space seems unquestionable.

_71

NEUTRALITY?

but as Cristian Teckert points out in his essay "Display als Dispositiv"4, this questions appears at an important moment in time and brings light to a discussion owed to contemporary culture. In the text, Teckert states the repeating phenomena of today's museums-architecture shaped by the economization of contemporary culture, which is mirrored by expressive "star-architeture" and its uniform interior. As the answer to the question of the adequate spatial setting of art, two intertwined tendencies are mentioned. The modest context is explained by the need of maximal flexibility and the demand for neutrality. The concept regarding "neutrality" has been exposed by Brian OÂ´Doherty's essay called Inside the White Cube5. He escribes that the term of art-space's neutrality actually primarily is an ideological argument. Related to this proposition is Tony Bennett's analysis of the museum as an institution in his book "The Birth of the Museum"6. Bennett presents a direct relation between the design of museum spaces and mechanisms of control, he bases his theory on the thorough analysis of historical setting at the emergence of the institution. The question of vision, and visibility of subject and object within a public space was essential to the models of regulation and control. So simultaneously to the spectators experiencing art, they become subjects of control, they are on display. Teckert further floats the suggestions that the controlling visibility seems to be an inherent part of the white wall interior of today's museums, which absorb context and history in its neutrality.

Teckert, C. (2007). Display als Dispositiv. Kunstforum (No. 186) page 180ff. Available at: https://www.kunstforum.de/artikel/display-alsdispositiv/ (accessed: 20.10.2019)

OÂ´Doherty, B., Inside the White Cube, The Lapis Press, 1976.

cf. Bennett, T., The Birth of The Museum, Routledge;Edition: 1, 1995.

NEW MEDIA ART ARCHITECTURE AND ART

“What is new about this new media art is its humanization of technology, its emphasis on interactivity, its philosophical investigation of the real and the virtual and its multi-sensory nature. “ 7

DEFINITION

The field of media art is difficult to circumscribe and divide into precise subclasses. Generally speaking, media art refers to the creation or presentation process through new media technologies. Through out the process of this thesis the mentioned definition is followed, meaning that new media art also encompasses art such as virtual art and net art. Origins of new media art can be seen in inventions of moving photographic work in the late 19th century and multiple forms of light and kinetic art in the 20s until the 50s of the 20th century. New Media art is inextricably linked to advancements and innovations of the military and commerce. The essential part of Digital Art are digital technologies for creation as well as presentation. Methods of mass production and digital media are broadly used.8

â&#x20AC;&#x153;The Art challenges the technology, and the technology inspires the artâ&#x20AC;?

Many of the art pieces are tightly connected to the world of coding and the newest advances in communication technologies. Modes of possible representation vary from homepages, projections, mobile applications, games, CGI and VR experiences. Nevertheless, it is impossible to draw rigid borders defining the range of possibilities of digital art. A striving example it the controversial work of Amalia Ulman. Her performance "Excellences and Perfections" was an Instagram activity over a period of 4 months. The artist created a set-up profile of a blogger, who slips in a downward spiral, going from the sweet country girl to become an urban escort. The performance strongly underlines how the increased digitalization of our society affects the question of how art is made. An other aspect, which is clearly represented in the realm of digital art, is the irrelevance of geographical locations. Digital artists come from all over the world, and within a global network of agents/protagonists exceeding the field of artists.

_73

MEDIA

Many times, the created art is contradictory, illogic, ambiguous or contextual and thereby it eludes the given categorizations. Issues and changes within contemporary society such as technological advancements and accessibility, consumption and decentralization are central topics and intertwined with new media art. The approach often involves a certain interaction of artist, observer or artwork. Therefore, it also lies in its character to expand out of the sphere of museums and galleries.

Popper, F., 2007. From technological to virtual art, Leonardo. MIT Press, Cambridge, Mass.

Raw audio data, digitized text files, or raw video recordings are themselves typically not considered digital art.

John Lasseter

NEW MEDIA ART

Much of the content is not created from scratch but rather generated through a voracious sampling, scraping and repurposing of the memes, images and clips that swirl around in the ether. Copyright seems a tangential issue here. “Artists make work about the world we live in,” he says. “And in our society, nearly everything involves private companies -- even individuals act like brands. So if we want art about the contemporary world and brands are protective of usage and copyright, then how are you supposed to make art today?”

ARCHITECTURE AND ART

“[New Media art] questions everything, the most fundamental assumptions: What is a work? How do you collect? What is preservation? What is ownership? All of those things that museums are based upon and structured upon are pretty much thrown open to questions." (Jeremy Strick, Director, Museum Of Contemporary 10 Art, Los Angeles) “

Morris S., Museums and New Media Art: A esearch Report Comissioned by the Rockefeller Foundation, October 2001. Available at: https:// www.cs.vu.nl/~eliens/archive/refs/Museums_and_New_Media_Art. pdf ( accessed April 17, 2019)

Sa ra

wa r

Lud y

mbi Pasc al D o

Nicola

Straate

Plant

Lorna Barnshaw

Eric van

za Eli

ssi Ro el h c Ra

usm Ha ilip h P

Lia lina

unti ng

Jodi

0100101110101101.org

ive art

3D prin

t art

e Reb interact

th B

sic

Hea

Cris

ka eri Am

hu lgi

Ol ia

ling Ster

rk Ma

k Vu Al ex ei S

l tua

eir

n Alle cca

you e Bena Mauric

art

vir

MEDIA ART

Jeffrey Shaw art g

ame

internet art

bio gy

al a

olo

digit

tec

lissett Luther B

Jul ia

jar

r B. Ric hte

nO pie

m an

s Rea

Paul Se rmon

en k

hen

e rg eo

an fm Ra

ila

G es m

Jon ey Cas

Ka m

Ro sa

o an Ja

v sta

m Ro

va C

_75

scot t

dĂş An

Roy A

ia arc

itchell Kerry M

Fig. 3.3.

l nie Da

Jeno

[11]

Michael BielickÂ´y

protagonists in early times of new media art

iller

Sp Teo

Fig.3.4.

NEW MEDIA ART Laurie Anderson ‘Chalkroom’, VR

Jon Rafman `Transdimensional Serpent` Oculus rift VR installation

Fig.3.6.

ARCHITECTURE AND ART

Fig.3.5.

Jon Rafman ´You are Standing in an Open Field´ Archival pigment print

Fig.3.9.

Fig.3.8.

Rosa Menkman ‘PSD Vernacular File Formats’ Direct print on dibond

Jon Rafman Kool-Aid Man in Second Life HD video

_77

Fig.3.7.

Rosa Menkman ‘Xilitla’ 3D Videoscape

NEW MEDIA ART Uwe Rieger , Yinan Liu ´Light Tank´ mixed reality Installation

Fig.3.12.

Mr. Erbil, Volker Kreidler ´The Third Room´

Fig.3.11. ARCHITECTURE AND ART

Fig.3.10.

James Bridle ´Contiuous Monument´ digital file

Fig.3.13.

Jon Rafman ´Giacomo Balla 50’s Living Room´ print mounted on dibond

Christian Lemmerz ´La Apparizione´ VR

_79

Fig.3.15.

Fig.3.14.

Petra Cortright ´FIRE (FANTASTIC PLANET)´ Webcam video

NEW MEDIA ART

New media art and today's art market Access and Ownership

Since about ten years the global art market has increasingly shown interest in new media art. As mentioned in the previous chapter, the art market, online platforms around art, and market conditions appeared within the art world. Initially this was dominated by art galleries in collaboration with investors or institutions. But soon after, even online trading places and start-ups approaching new ways of purchasing art slowly entered the generally strict and traditional realm of the art market. With the emergence of start-ups, also new modes of accessing art, or even collecting art online were developed. Users are have possibilities of collecting artpieces within online "vaults" or visit online galleries. The rise of blockchain technology gave an additional spark to the exploration of novel models for collecting, selling or trading art. As stated in the previous chapter, the history of the art market and the related institutions are very well grounded within the field. The structures are hierarchical and in my opinion, the system is very much depending on all agents to "play" their role. Interestingly, the processes related to the advancements in digital technologies almost formed an area besides the existing models and mechanisms. "This coexistence is not without frictions since, by its own nature, selling art online or in a digital format can lead to questioning or overriding core principles of the traditional art market such as the asymmetry of information, the concept of ownership or the scarcity of the artwork as the basis of its economic value."11 Only slowly some of the new innovative concepts begin to come closer and closer to the existing structures, and possibly already cause the art world to totter.

ARCHITECTURE AND ART

Generally speaking, the process surrounding the collecting and buying of art has been for long time very exclusive, almost presented like secrets. And the experience strongly tight to the presence of collectors. As mentioned in the chapter_02, the art market, the value of art is decided by our culture and basically coined by the buyers' believe in the piece's or artist's future value and esteem. Hence,these essential aspects largely hindered the entering of transformations in relation to online access and commerce. When start-ups entered the realm of art and its market and presented the potentials of reaching new interested parties, only then more known galleries initiated their own attempts of making use of digital technologies and networks.

Waelder P., Contemporary Digital Art. Available at: http://www. fondation-langlois.org/html/e/page.php?NumPage=2305 ( accessed 20.10.2019)

Ownership and Scarcity?

Ownership in a common understanding has until today mainly been based on physical objects. Especially within the field of art, this has played an important role. As stated in the previous paragraph, the "value" of art is directly defined by the buyers believe. And this has obviously always been tied to the uniqueness or scarcity of the artwork. With the appearance of digital art this foundation is challenged. On the one hand many digital artworks are nevertheless sold in form of physical objects, namely prints, 3d sculptures or integrated in special types of screens. On the other hand the utilized production techniques for an increasing number of artpieces, no longer limit the amount of editions or pieces of one artwork. Most works digitally produced can easily be reproduced, and possibly even to an infinite amount. The art piece The Waiting Room by Mark Napier was exhibited in a New York gallery already in 2002. The work is a collective virtual space, which can be shared by a large number of people. Through owning a share of the artpiece, users can adapt the space individually, which is then also seen by the other owners. Moreover, different methods to "guarantee" ownership have been explored.Several platforms have established concepts supporting additional physical objects, which buyers receive when they purchase an artpiece. Objects as special USB sticks or also certificates of ownership have been used to guarantee originality and ownership. More recently, companys have increasingly emphasized concepts concerning special kind of devices or even more just enabling access via mobile application or online "Vaults". It can be stated that similar to the already existing spread of streaming service within the field of music and film, also parts of art world are slowly approached by these consuming concepts of licenses and time. An other very recent example emphasizing the novel opportunity of collective owning is the platform YAIR - your art is real. Collectors can co-own digital artpieces, and moreover, the platform is based on the principle of supportng artists in the creation of pieces. Interested collectors can "invest" into artpiece, and subsequently have a share in future profits of the artpiece.

_81

This, such as many other new models regarding digital art, are largely based on systems of blockchain technology. Firstly, entries within the blockchain enable the tracking of owners and authenticity. And secondly, this artifically generates the needed or wanted effect of scarcity.

INTERVIEWS ARCHITECTURE AND ART

In conversation with Alessandra Cianchetta and JĂźrgen Hagler about digital art and its role in contemporary culture within a society in transformation.

in conversation with Univ.-Prof. Alessandra Cianchetta12

scan to see https://vimeo.com/241857571

_Q.1 The traditional art market is specialized in artpieces, which only exist once. This does not apply to digital art anymore. Is this fact and the online distribution of photos of art changing the art marketâ&#x20AC;&#x2122;s structure? What does digital art mean for collecting art? _Q.2 Does media art and its characteristic, have the potential to affect the accessibility and diffusiveness of art to a wider audience? _Q.3 How do the challenges of digital art change the way art is exhibited today? _Q.4 In how far can/does the present communication between architectural space and art benefit art and an exhibition? ( instead of the spatial container)

_Q.6 Are innovations through digitalization an opportunity for museums to redefine their position as a place for (educational) exchange? 12

CV and more information: https://awp-architecture.com/content/2-about/ac_cv_11.2018-en.pdf

_83

_Q.5 Does the realm of art and exhibitions today fall victim to the liking of eventism?

INTERVIEWS ARCHITECTURE AND ART

The interviews and many of the mentioned aspects greatly supported the process of making and articulating my project. Firstly, it was very interesting to see that many of the questions I raised and encountered during the framing of my thesis, were actually also a part of larger discussions and topics approached by various actors and fields. Secondly, the conversations encouraged me to actually work with a novel architectural articulation of an art institution and to specifically address the topic of new forms of ownership and distribution. And generally, I have to say that both interviews served as a kind of affirmation of my thesis topic's relevance and my project's "path".

in conversation with FH-Prof. Mag. Dr. Jürgen Hagler13 _Q.1 Der traditionelle Kunstmarkt ist darauf ausgerichtet, dass die Werke im Orginal einmal vorhanden sind. Dies gilt für Digitale Kunst nicht mehr. Verändert dies und Verbreitung von Fotos online die Strukturen des bestehenden Kunstmarkts? Und was bedeutet Digitale Kunst für das Sammeln von Kunst? Ich bin hier keine Experte, aber auch digitale Kunst kann so wie „traditionelle“ Kunst gesammelt werden, und es gibt dafür auch einen Kunstmarkt. Auch bei der Ars Electronica gibt es ein Archiv, sowohl eine analoge als auch ein digitales. Das Thema Original bzw. Das Kunstwerk im Zeitalter der .... Reproduzierbarkei ist nicht neue und wurde bereits zuvor intensiv diskutiert. Interessant ist hier aber auch die Frage nach dem Autor, Stichwort Crowd Art oder AI. _Q.2 Hat Medien Kunst und ihre Eigenschaften das Potenzial die Zugänglichkeit und Ausbreitung von Kunst für eine größere Masse zu ermöglichen? Ich würde meinen ja, Ars Electronica hat dafür viele Beispiele, beispielsweise Digital Communities, Crowd Art, Participatory Art, etc. _Q.3 Wie verändern die mit Digitaler Kunst einhergehenden Herausforderungen, wie Kunst heutzutage ausgestellt wird? Die Ausstellung von Digitaler Kunst ist vielschichtig. Interaktive Kunst stellt besondere Herausforderungen für Musen und Gallerien – auch hier gibt es vielfältige Beispiele – von digitalen Galerien bis hin zu interaktive reale Räumen. _Q.4 Inwieweit kann Kunst und Ausstellung von präsenter Kommunikation zwischen Raum und Kunstprofitieren? (anstatt der räumliche Container/Programmlosigkeit)

_85

Das ist eine interessante Frage. Kommunikation ohne Raum, egal ob digital oder real, ist nicht möglich. Die Wechselwirkung zwischen Raum/Architektur und Kunstwerk ist von großer Bedeutung.

Professor Hagler teaches at the University of Applied Sciences Upper Austria in Linz at the Department for Digital Media and is the coordinator of the Master program “Digital Arts”

VIRTUALITY AND PERCEPTION ARCHITECTURE AND ART

Opposing the commonsense perspective of (naive) realists stands the idea that the world as we experience it is equal to the physical world. In fact, some scientists and philosophers argue that the reality we encounter everyday is strongly colored by our individual perception.14

Fig. 3.16.

Panoramic Building

_87

Virtual reality started from the 360Â° panoramic paintings in the nineteenth century.15

cf. Smythies JR. The walls of Plato's cave. The Science and philosophy of brain, consciousness, and perception. Aldershot, England: Avebury, 1994.

The panoramic buildings of the 18th century renounced the recipients' specific position. Immersion is achieved through the complete enclosed space and the frameless painting around all 360Â°.

VIRTUALITY AND PERCEPTION

The evolutionary step in developing augmented or virtual environments was the creation of depth sensing. Machine space is defined differently the our physical space. So the aim of creating experiencable virtual space is actually the superimposition of our human understanding of space with the computer's perception of it.

"Perception is Reality: On the Construction of Reality and Virtual Worlds." The Frankfurter Kunstverein curated an exhibition on human perception in connection to current conditions associated with technological advancements. A group of artists were invited to contribute and propose projects regarding the potential and intellectual question of artificially constructed visual worlds within our society.

ARCHITECTURE AND ART

The exhibited pieces challenged the visitors' perception, consciousness and limits of expectation through the create analogue and virtual spaces.

And how it has with so many other things in the past, now that a certain level of progress has been reached, the question in how far virtual space has the potential to differ from a sheer computer understanding of reality from a human's point of view.

The virtual in the real Virtual Space has the potential to dissolve physical space in architecture. Virtuality is mostly understood as a counterpart to the real. Gilles Deleuze writes that the virtual

possess/holds reality. He states that the term "virtuality" describes something real, but not actual. This means that the virtual can be seen as an intrinsic part of the real. It can be said that virtuality and actuality, as the two sides of reality, form a creative momentum, which enables something new. In architectural space one can observe how recipients in a process of actualization of the virtual, from the correlation of perceived, represented and built reality, experience the space. Subsequently, the assumption, that due to the new importance of virtual worlds reality becomes shapeable to a larger extent, suggests itself.16

“Verknäulen wie ein Moebius Band, koexistieren unendlich viele virtuelle Räume. Innerhalb jedes materiellen, physischen Raums, lagerns sich unendlich viele Welten über diese eine Welt."17 Media for representation of virtuality of architetural spaces can through the utilization of drawings, animations and models, be formulated embodied and therefor actualized, whereas every form of representation actualizes different aspects of the architecture's virtuality.

_89

Besides, physical distances, which present barriers of experience within architectural space, have yield through the digital interconnection.

Virtual realities in architectural spaces have appeared in all eras. An important example is the Newton-Leegrab from Etienne Lousi Boulée from 1784. The interior space has the shape of a sphere, which followed the astronomical model of scientific knowledge at the time. The perception of the infinity's virtuality is facilitated through the differentiation of light and darkness.

Novak, M. (1996). transArchitektur. Availbale at: https://www.heise. de/tp/features/transArchitektur-3445867.html?seite=all (accessed: 21.10.2019)

Fig.3.1. page 69

partially accessible art collection at the Palace of Versailles

Fig.3.2. page 71

White Cube

Fig.3.3. page 75

Protagonists in early times of new media art

Fig.3.4. page 76

Chalkroom

Fig.3.5. page 76

You are standing in an Open Field

Fig.3.6. page 76

Transdimensional Serpent

Fig.3.7. page 77

Xilitla

ARCHITECTURE AND ART

Fig.3.8. page 77

IMAGE CREDITS

Image sources Chapter_03

Public Domain, URL https://en.wikipedia.org/wiki/Art_museum#/media/ File:Zuidgevel_Corps_de_logis_rond_1675_Anonieme_schilder.jpg (accessed: 20.10.2019)

PSD Vernacular © Rosa Menkman

Kool-Aid Man in Second Life

Fig. 3.10. page 78

Continuous Monument © James Bridle

Fig.3.11. page 78

The Third Room © Mr. Erbil, Volker Kreidler

Fig.3.12. page 78

Light Tank © Uwe Rieger, Yinan Liu

Fig. 3.13. page 79

Giacomo Balla 50´s Living Room © Jon Rafman

Fig.3.14. page 79

FIRE (Fantastic Planet) © Petra Cortright

Fig.3.15. page 79

La Apparizione © Christian Lemmerz

Fig.3.16. page 91

Panoramic Building

IMAGE CREDITS

Fig.3.9. page 77

_91

Public Domain, URL https://en.wikipedia.org/wiki/Panoramic_painting#/media/ File:Cross-section-of-the-rotund_0.jpg (accessed: 21.10.2019)

_93

An institution for knowledge production and the reflection of culture

CHAPTER_04 ARCHITECTURE AND MUSEUMS

THE MUSEUM'S EVOLUTION

â&#x20AC;&#x153; A museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment.â&#x20AC;?

http://www.icom-deutschland.de/schwerpunkte-museumsdefinition. php, download 16.12.2018 1

ANTCIENT TIMES RENAISSANCE

It took almost one thousand years until those two types were brought closer to each other. In the 14th century the study room was situated directly beside the treasure room. In Renaissance times the first spaces purely dedicated to art, appeared. Those were though only accessible by an exclusive audience. Daylight played an important role, since glare and hard shadows on the objects were to be avoided. Possibly due to that, one of the first museum architectures was built under the open sky. The Statue Court in the Vatican Belvedere formed the nucleus of the Vatican Museum. Statues and sculptures were arranged around a strict octagon. The closest thing to a museum in early modern Europe were the "Wunderkammern", or cabinets of wonders. Usually owned and allocated by noble men. Simultaneously to European explorations and the extension of its culture, wonderrooms were spaces

_95

WONDERROOMS

Fig. 4.1.

Statue Court, Vatican Belvedere

The beginnings of the museum go back to the Ancient Greece. First manifestations emerged at that time, which later united formed today's museum as an institution. Through forays of Great Powers around 500 BC treasure houses were built to display wealth. The Temple of Delphi in Athens, a Doric temple of 6 by 15 columns, functioned as a treasure house. The aspect of security which we know from today's museums, was already then of great importance. The buildings can partially be viewed as an early form of banks. Almost simultaneously, around 400 BC, the plaza in front of the library in Alexandria was named "musio". The word “museum” comes from the nine Muses, the classical Greek goddesses of inspiration, though the famed “Museion” of ancient Alexandria was more like a university, with an important library, than a place for the display of objects. While scholars generally place the earliest museum (in the sense that we understand it today) in 17th or 18th-century Europe, there were earlier collections of objects and sites of display, including the public squares or fora of ancient Rome, medieval church treasuries, and traditional Japanese shrines where small paintings were hung to draw good favor.

THE MUSEUM'S EVOLUTION

to collect and exhibit the gained objects, power and knowledge. The primary priority was to educate and generate knowledge through the presentation of artifacts. Nevertheless, "Wunderkammern" differed from the institutions of museums today. "Wunderkammern" were very much private and intimate places. They were space for the higher classes, the well educated, wealthy elite. 2

ENLIGHTENMENT Around the middle of the 18th century many transformations within western societies were initiated by the Enlightenment, amongst others.

Museums played an important role in (re-)presenting the gained knowledge and defining explanations. Gradually museums become specialized in certain fields of knowledge, such as science, natural history and art. The central aspect of all collections was the creation of narratives focussing on the communication of advancement, a collective, societal progress.

MUSEUMS

Museums in today's society the concepts, which those were initially based on, are being questioned. Especially art museums face issues regarding their accessibility, exclusivity and relevance. They are dominated by the preselection of curators, which often results in a passive involvement with the collections' content. To a certain extent some professionals even fear the return to former elitism and the isolation of museums to a small amount of visitors and consumers of culture. And others worry about a complete commercialization of museums as important agents within the production of culture.

TODAY'S ROLE?

ARCHITECTURE AND MUSEUMS

This intellectual change, which was tightly connected to the European explorations around the entire globe and colonalization, provoked new concepts of understanding. Many of those new models and methods coined the emergence of modern science.

See page 68ff, chapter_03, exhibiting art and space. For further details and timelines, see Appendix page 248 f.

Fig. 4.2.

Wonderroom

_97

(DIGITAL) MUSEUM?

Since the emergence of digital technologies a number of projects and concepts have been "tested", varying from an integration of communication technologies within exhibitions up to purely virtual museum galleries. Nevertheless, it is hard to categorize or foresee in which direction most developments will go.

ARCHITECTURE AND MUSEUMS

THE MUSEUM'S EVOLUTION

Virtual Museums

Museums

Mori Building Digital Art Museum

One of the world’s first digital art museum located in Tokyo. Across the museum’s five zones, interaction dissolves the boundary between visitors and artwork. The digital artworks are provided through 470 projectors and 520 computers.

DAM

The Digital Art Museum was founded in 1998, it is a project, which approaches the influence of the computer and the digital on art and society. The (digital) art is present in the Online-Museum and two Galleries in Germany.

AMODA

DIMODA

The Digital Museum of Digital Art is a virtual institution. It was founded by A.Salazar-Caro and W.Robertson in 2013. The institution’s dedication is to preserve, commission and exhibit VR artworks.

LACDA

The Los Angeles Center for Digital art was established in 2004 and acts as a gallery for the display of digital artwork.

VMC

_99

The Virtual Museum of Canada is the national virtual museum and functions as a virtual museum bringing together Canadian heritage instiutions and a large amount of virtual exhibitis. The institution gives access to virtual exhibitions, educational materials and over 900 000 images.

new media art

overview of institutions in the realm of new media art

The Austin Museum of Digital Art is located in Austin, Texas, USA. It was founded in 1997 and is exclusively dedicated to the display of digital art. Digital Art, defined by AMODA, is art that uses digital technology on one of three ways: product, process or subject.

ARCHITECTURE AND MUSEUMS

Fig. 4.3.

Stored Artifacts

STORING ART

Museums and Galleries require large spaces to store art works, but also the associated equipment.

The Schaulager as a typology bridges the gap towards an (publicly) accessible architecture. One important reference project to the development of novel institutions on the intersections between art exhibition spaces and storages is the Schaulager Laurenz Stiftung by Herzog De Meuron. The building facilitates the art collection of the Emanuel Hoffmann-Stiftung. It functions as a kind of warehouse, but still at the same time as an exhibition space with a representational concept. The pieces are stored unpacked in accessible spaces, hanging or standing side by side. The setting is reduced and enables the required conditions from a preserving point of view. Nevertheless, the spaces are accessible to the public, in includes open spaces for exhibitions and permanent installations. Overall the building presents an very interesting approach towards how art is exhibited and how multiple pieces within a composition have the potential to encourage new discussions.

_101

Fig. 4.4.

Area Distribution of Spatial Program

SCHAULAGER

Museums especially face the challenge of storing their collections since the period of time an art piece actually is exhibited is comparably very limited. Large institutions often own additional warehouse facilities in other locations. The Kunst Historische Museum in Vienna, for example, just built an external storage facility of 14.000mÂ˛. Furthermore, a museum such as the MOMA in New York owns 200 000 art pieces. Subsequently, large museums typically only have 5% of their collection on display at the same time. Institutions' and private storages are usually treated equally delicate. The are located in secured areas, and not accessible to any other parties.

The structures represent well-elaborated logistic centers, they are generally highly equipped with robotic tools, scanners and the complex computer system, which is protected as the company's most valuable secret. There might be a similarity in how the computer algorithm and art collections are protected.

FULFILLMENT CENTER

Fig. 4.5.

STORING ART ARCHITECTURE AND MUSEUMS

Quite the contrary are developments in storing commodities in so-called fulfillment centers. Warehouse spaces are optimized to their limit. Storing arrangements in the past were greatly relying on systems of categorization based on characteristics, such as size, material or rate of usage. The automated fulfillment centers' storage systems are stripped of categories, or at least of those we are traditionally used to. The distribution of goods is based on the shortest path and the locations of unoccupied shelf-space. An essential aspect of the placing of goods is actually the degree of difference between the objects closest together. So the distinction between products guarantees the correct selection when picked up anew.

Fig. 4.6.

Automated Storage

_103

ARCHITECTURE AND MUSEUMS

IMAGE CREDITS

Fig.4.1. page 103

Statue Court, Vatican Belvedere Public Domain, URL https://www.flickr.com/photos/146095643@ N07/42220380825/in/photostream/ (accessed: 10.10.2018)

Fig.4.2. page 104-105

Wonderroom Public Domain, URL https://hu.m.wikipedia.org/wiki/Fájl:Salon_du_ Louvre_1787.jpg (accessed: 10.10.2018)

Fig.4.3. page 108

Stored Artifacts © Riproduzione Riservata URL http://www.upsidedownmagazine.it/istanbul-e-il-museodellinnocenza-di-pamuk-le-ferite-tra-morte-e-memoria-in-dvdrecensione/ (accessed: 21.10.2019)

Fig.4.4. page 109

Area Distribution of Spatial Program © Suna Ezra Petersen

Fig.4.5. page 110

Fulfillment Centre © John Brownlee URL https://www.fastcompany.com/1672939/think-your-officeis-soulless-check-out-this-amazon-fulfillment-center (accessed: 19.09.2019)

Fig.4.6. page 111

Automated Storage © UPPA/Photoshot, URL: https://www.democraticunderground.com/1166909

_105

IMAGE CREDITS

Image sources Chapter_04

_107

localized in Buiksloterham

CHAPTER_05 AMSTERDAM

SITE AMSTERDAM

Buiksloterham, Amsterdam Netherlands Amsterdam Area: 219,3 kmÂ˛ Population: 821 752

_109

Fig. 5.1.

Site Buiksloterham

The project is situated in the context of the (post-) industrial zone, Buiksloterham, in the northern area of Amsterdam, once the site of the cityâ&#x20AC;&#x2122;s most polluting industries. Today the area is undergoing a gradual transformation into a mixed-use urban neighborhood. The drain of the industrial area (to third world countries), together with the financial crisis, caused the area to empty out and gave the opportunity to start something new and give the public access to this zone of the city. Now it functions as a field for experimentation and has great potential for new creations.

AMSTERDAM

SITE

_111

Fig. 5.2.

Siteplan

SITE The project is located on a piece of land projecting out into the riverbed. The site, situated in Amsterdam Noord was marshland, a polder, which was gradually constructed from deposited dregde materials. Over a century ago the area was offically dammed. Afterwards, the area of Buiksloterham became the primary location of industry in Amsterdam. The lack of rail or road infrastructure amplified the boom of water-based industries. Subsequently, large areas of the underground soil was contaminated with chemicals related to the industries. Today, this has been "reversed" and the underground conditions present the same set-up as in the most areas of Amsterdam. Land

Grundwasser

AuffĂźllungen nicht durchgĂ¤ngig linear

-20 m

2.Sandlage

-30 m

Sand (Eem) Klei (Eem)

AMSTERDAM

-40 m

Fig. 5.3.

Wattablagerungen 1.Sandlage Lehm

Underground Soil Condition, Area

-10 m

Torf / Klei

20° 10° 8.8 13.2 14.4 12.3 10.1 9.2 9.4 7.9 6.2 7 6 7.7 7.2 7.9 9.5 10.2 11.8 12.5 7.5 8.4 9.1 6.4 5.6 5 4.6 5.6 5.3 5.5 6.7 .9 11 .3 15 .3 16 .2 177.7 1 6.2 1 6.9 1 2.2 1 .5 9 10 .3 8 .6 8 .5 8 .9 7 .8 9 0.4 1 0 1

12.4 6.2 5.1 5 6.5 9.6 7.1 3.6 4.5 5.3 5.1 4.6 5.1 4.9 4.6 5.7 5.8 8.8 6.3 4.5 5.3 4.9 5.6 2.7 1.8 1.8 2.2 4.2 5.2 7.8 6 8 .2 7.6.9 6 7.3.1 3 2 .2 4 .6 3.7.4 5 6 7 .6 4.3 .9 2 6.1.7

0°

April

[N]

45° 750

500

2.4 .9 -1 3.2 - 2.5 - 0.6 - 0.5 .6 -0 1.1 1.9.7 3 .1 6 .1 9 7.4.5 6 6.4.5 3 3.4 7.8

8 5.1 6.4 6.6 6.7 5.7 8 4.6 6.4 5.3 4.7 8 6.5 3.9 3.7 3.5 5.6 5.8 0.9 -0.9 -2.7 -3.4 -1.6 0.7 3.6 3.3 4.3 6.4 8.3 5.1 6.4 5.5 5.8 6.5 7.7 8 5.9 5.5 0.6 -0.1 0.2 0.1 4.2 1.4 4.8 5.8 4.6 2 0.6 0.6 2.9 4.4 4 7.67 6 4.6.9 3 6.6.6 1 8.2 11 0.4 9.7.9 0.2 2 3 3 .9 6 .3 6.4 .2 4.5 2

75°

-75°

250

[E]

105°

135°

[S]

Septe mbe r

Fig. 5.4.

_113

Environmental Conditions, Site

Temp.

average

Octob

Au g

1 1 6.6 1 5.1 1 4.2 1 5.2 1 6.8 1 5.8 15 4.5 1 .2 1 4.2 1 3.5 1 3.8 1 4.3 145.3 15 .7 15 .3 15 .2 14 14 .3 12 .3 12 .4 12 12 .5 13 .3 16 .4 17.3.2 14.3 12.4 14.1 13.6 16.4 14 16.8 14.3 15.7 16.7 16.1 14.6 13.3 14 14.2 13.5 13.2 14.8 11.5 15.1

r be em

6.7 .7 3 .5 -1 0.5 3.1.2 7 .9 8 .8 9 .6 9 .4 9 9.9.7 8 .5 7 9.7.7 11 .8 10 .2 10 5.7 4.79 11 11 5.3 4.7 4.2 4.9 6.8 9.2 12.5 12.3 11 9.9 12.4 11.7 13.2 11.9 11.5 13.5 12.5 12.2 13.5 14.1 15.6 18.7 16.5

165°

No v

t us

-135°

Decem ber

-105°

-165°

ary Janu

June

Fe br

-45°

[W]

July

15°

1000 [h]

-15°

ry ua

8 8 .2 1 .8 9 0.1 1 1 0.9 17 5.5 1 .1 1 5.8 1 6.4 1 6.1 1 7.4 1 5.5 1 3.7 133.6 13 .4 14 .1 15 .6 20 .4 23 .7 25.4.1 21 14 .2 19 .5 19 .3 15 .4 13.5.1 11.9 13.7 15 16.5 14.5 12.7 11.7 11.4 11.7 11.5 11.8 12.3 15 15 15.2 13.1 14.3 15.6 15.3 17.6 20.9 21.3 16.9 14.9 14.9 16 15 16.8 17.9 20.7 21.3 16.2 14.9 16.7 16.9 15.1 14.6 14.8 15.7.2 16 .3 17 .8 19 .7 18 .1 17 .4 17 .8 16 .3 15 .6 15 .8 20 .9 23 .1 242.4 2 19 9.1 1 8.8 1 8.5 1 7.8 1 7.3 1 8.2 1 9.3 1 6.5 1 5.5 1 6.5 1 7.6 1 6.8 1

March

>12

>28

>50 [km|h]

>19

>38 >61

LOCAL CONTEXT AMSTERDAM

Amsterdam has a population of approximately 850 000 within the city, and 1 350 500 in the greater urban area. The cityâ&#x20AC;&#x2122;s name comes from the origin around a dam in the river Amstel, from this small fishing village the city of today arose. The city is geographically as well as culturally strongly connected to water. Today, the canals criss-crossing the city terminate in the river Ij. And the city itself is situated 2 metres below sea level.

NEW CIVIL SOCIETY

The republic’s independence changed the balance in power, power which for the first time was passed into the hands of commoner and translated into a sizeable urban middle class with disposable income to purchase art. Amsterdam’s religious and intellectual freedom, and the country’s wealth gave a great momentum to the arts. Opposing to other parts of Europe, art mirrored the emergence of a new kind of civil society, one largely run by and for its Protestant mercantile burghers. Evidence shows that art-dealers had been present in Amsterdam from as early as the 16th century. And rather than working on commission, artists sold their paintings on an open market in bookstores, fairs, and through dealers. Lotteries and auctions as well played a huge role in the circulation of art works. The two also worked as a gateway for the common public to access art, both as owners and viewers. This gradually made art more accessible to the general population. Due to the emergence of this new kind of civil society, religious patronage was no longer a major source of income for artists and the artistic focus began to also include worldly subjects.

_115

THE DUTCH GOLDEN AGE

After the Netherlands became independent from the spanish empire in the late 16th century the country was heading towards a century of explosive economic growth. The socalled Dutch Golden Age braught political enlightenment and economic prosperity. Soon the Netherlands were the most wealthy, urbanized nation with the highest standard of living in Europe. They already began to reclame land from the sea and the coutry with its capital Amsterdam evolved to be of the world’s most important centres of commerce. Associated with the success in trading the port and exchange building became the city’s important areas. The two companies, Dutch East and West India were mainly owned by merchants from of the Port of Amsterdam and from there they acquired territories in all parts of the world. Through innovations in approaching organized commerce, the Dutch East India Company, VOC, became the first company that ever sold bonds. Subsequently, starting from the Port of Amsterdam an international trade network emerged.

Today, Amsterdam is still the cultural and commercial capital of the Netherlands with the second largest port of the country. The city is well known as an “innovation hub” and for a progressive experimental ideas regarding urban planning, culture, tourism and virtuality or technology. Within the last decades Amsterdam has been growing rapidly and consequently, the city redevelops zones northwest and west from the city centre.

FINANCE TODAY

LOCAL CONTEXT

During the 18th century Amsterdam experienced a decline in prosperity and was deeply in debt. This low point was followed by a change in the nature of Dutch economy, from one which invested primarily in trade and industry into one in which a significant financial sector played a dominant role. The Netherlands and specifically Amsterdam gradually surrendered of the position as the centre of world trade and an entirely new role ensued, the role of the financier of the world. Today the Netherlands are defined as the first modern market economy. In the late 19th century Amsterdam experience another upsurge, and city was revived. Simultaneously to the industrial revolution arrived in the city, new museums, a new station and more were built.

Amsterdam Noord

AMSTERDAM

The city of Amsterdam underwent no urban extension north of the river IJ until after World War One. Before the area of today’s Amsterdam Noord was marshland, barely populated, and of little significance for the city. Until the middle of the 19th century most of the villages were not part of Amsterdam’s municipality. A large area, Buiksloterham, was a polder in North Amsterdam and it was gradually constructed from deposited dregde materials until 1886, when it was officially dammed. Successively the land was cultivated by farmers.

EXTENDING NORTH

lies on the northern bank of the IJ waterway, and was once just marshland and then became the site of Amsterdam’s most polluting industries.

Fig. 5.5.

Map of Amsterdam 1935 Fig. 5.6.

_117

Map of Amsterdam 1909

AMSTERDAM

After the Second World War another wave of housing construction took place. The city expanded to the north, but the neighborhoods were nevertheless among the poorest in Amsterdam. The area was not portrayed by diversity and cultural institutions. Only in 1957 a land connection crossing the river was established, and Amsterdam Noord could be integrated into the city more substantially and until today the public ferry transport is the main link to the city. Through the last three decades the industrial companies have gradually moved away from the area, which caused a crisis for Amsterdam Noord. One of the former shipyards, called NDSM was quickly squatted and transformed into a cultural hotspot by arists. In the year 1999 the Shell company’s move of most of their faility initiated a transition of the entire area of Amsterdam

INDUSTRIAL BOOM NEW HOUSING

In the following year after World War One multiple new neighborhoods were established around today’s area of Buiksloterham, some times based on the concept of the garden city, coined by Ebenezer Howard.1 Amsterdam was in need of more housing for the increasing amount of workers as well as the people living in the city’s slums. Due to the influencing factors in the formation of the diverse area, Amsterdam Noord’s appearance reminds of a plaid of small villages. Today the villages are regulated under the laws of social housing, since they were financed by the Municipal Housing Department. At the same time a municipal power plant, and a waste incinerator were built in Buiksloterham, which were then moved to the Western Harbour District late in the preceding century.

(POST)INDUSTRY

LOCAL CONTEXT

Due to the fact that in the end of the 19th century the storage of oil was banned from the city by the municipal authorities, oil companies moved to the north side of the IJ river. In the early years of the 20th century industrial activities then transformed the area substantially and Amsterdam Noord became the primary location for industry in Amsterdam. The lack of rail or road infrastructure amplified the boom of water-based industries. Subsequently, the polder was partly elevated, and harbours were excavated as well.

MASTERPLAN

Noord. It triggered intense efforts in planning the revival of the entire area. Amsterdam’s authorities purchased available plots and in 2003, the municipality presented a masterplan for the former industrial area with the aim of connecting it with the centre of Amsterdam and creating new urban mix-use development. The decline of the industries affected the areas varyingly strong. Buiksloterham was touched less by the departure due to the smaller scale of industries and became an opportunity for an urban redevelopment. The aim was and is to unite a diverse use north of the river with industrial activities still taking place and to simultaneously contribute to the solution of Amsterdam’s general lack in housing. The approached area included the neighborhoods NDSM, OVerhoeks, Buiksloterham and Hamerstraatgebied, each with a very distinct planning methods. The situation changed when the Dutch economy crashed in 2008. Subsequently, more and more developers withdrew from the project. Due to the crisis and high costs, the masterplan never went through. Thereafter, an informal group of citizen and planners proposed an alternative to the initial masterplan. Their rather experimental idea was to reshape the area into a “living laboratory” and give the opportunity for all sizes of projects. Now the masterplan still functions as a kind of guideline for the re-development of the neighborhoods, but single family houses are built as well as housing or office complexes and cultural institutions. The participating parties aim to follow, as they call it, a "dynamic" masterplan, which enables an adaptable plan for the complex context.

_119

“Along with the spatial department of the municipality of Amsterdam, the local water board and future residents it pushes forward an innovative form of urban development.” 1 1

DELVA Landscape Architects, Studioninedots (2014). URL http://www. beta-architecture.com/cityplot-buiksloterham-delva-landscapearchitects-studioninedots/

AMSTERDAM

LOCAL CONTEXT

Fig. 5.7.

Progress in Amsterdam Noord

_121

AMSTERDAM

LOCAL CONTEXT

OVERHOEKS

Overhoeks, the area north of the IJ river is now undergoing a conventional development process. Within the area of 20 hectares upscale housing projects are constructed through private project developers. In 2014 520 residences were to be finished and an other 1200 residences by 2018. The new national museum for film “Eye”, located at the most southern tip of the area, was opened in 2012.

BUIKSLOTERHAM

In contrast to the development process in Overhoeks, Buiksloterham is undergoing a gradual, more organic transformation and enables a larger range of “players” flexibility. There are some “guidelines” for projects to follow instead of the usual very strict regulations. Generally it is a progressive process and varying outputs, from single family houses to corporations, are possible. The municipality attempts to enable this transformation through laws and interactive governance. Furthermore, many projects with a strong focus on participation and engaging of citizens are taking place.

Fig. 5.8.

Progress in Amsterdam Noord

_123

NDSM

NDSM, the leftover from Amsterdam’s biggest shipyard has become a cultural hub. additionally to the existing 65000m², another 45 000 m² gross floor area will be constructed. the functions as living, shops, culture, offices and tourism are widely mixed. nevertheless with an additional 2000 residences, housing will become the main usage.

AMSTERDAM

LOCAL CONTEXT

ZONING PLAN FOR RE-DEVELOPMENT public, squares, education etc. public docks, private piers working - living

industry

100

500

1000m

Fig. 5.9.

residential

Masterplan Zoning Buiksloterham

living - working

AMSTERDAM

IMAGE CREDITS

Fig.5.1. page 117

Site Buiksloterham

Fig.5.2. page 118-119

Siteplan

Fig.5.3. page 120

Underground Soil Condition, Area

Fig.5.4. page 121

Environmental Conditions, Site

Fig.5.5. page 125

Map of Amsterdam 1909

Fig.5.6. page 125

Map of Amsterdam 1935

Fig.5.7. page 128-129

Progress in Amsterdam Noord

Fig.5.8. page 130-131

Progress in Amsterdam Noord

Fig.5.9. page 132-133

Masterplan Zoning Buiksloterham

IMAGE CREDITS

Image sources Chapter_05

Public Domain, URL https://commons.wikimedia.org/wiki/File:Hendrik_Petrus_ Berlage_(1856-1934),_Afb_KOKA00549000001.jpg

Public Domain, URL https://nl.wikipedia.org/wiki/Bijlmerkwestie#/media/ File:Algemeen_Uitbreidingsplan_Amsterdam_-_General_Expansion_Plan_for_ Amsterdam_(8157209840).jpg

_127

_129

IMMATIReALITY archive and platform for digital art

CHAPTER_06 PROJECT

HYPOTHESIS PROJECT

Through my research approaching trade and art in the current information society,it became very clear that the increased importance and presence of intangible goods, of any kind, already has and will strongly affect existing systems within our society and our life together.

Intangibles society

today's

Digital Art, in its nature, questions concepts within our society, such as

_131

The platform enables to experience digital art in its various forms. It is a hybrid place, an intersection of an art storage, a gallery and an archive. The spatial composition of the platform questions the potential of creating a physical space that is interwoven with the virtual world. How can these two encouter each other? Virtuality is not to be seen as the substitute to our physical world and the physical is considered to be more than a canvas to the virtual. Architecture, within the physical and virtual, possibly offers opportunities for multiple individuals to negotiate and design space and experiences within the collective, interweaving the physical and virtual realm. This defines a space for knowledge production and collective experiences.

Extension of possible spaces and relations

DIGITAL ART

HYBRID INSTITUTION

"ImmaterEality", archive and platform for digital art is a speculative architectural project, which calls the possibility as well as the need for novel interpretations of existing institutions into question.

Co A r t de A r CH -O-R t Fai AR am r, C T A a, op r t F M a en air, rse hag Co ille en pe nh age n

Aff o Cos rdabl mo e A r sco t w, M Fair, M ownership, collecting and most thingsoscow elbou rn 1

Elec

io, Rio d e Janeir ARTBO, o Bogota

r be m e

See page 80ff, chapter_03, new media art. See page 11ff, chapter_01, changes in society.

e Th

n lo Sa

Aff

da or

ng ir ha Fa , S Art oto air

Digital Art, its worldwide context and possible progress

Octob

y h a n F rar s P sig po ari on P l De m e t& te Ar Con ee arc nd ai , B und Bu gh s t an IRA , D We Sh M or f oN eld NE uss lgium e e, D ital mur B a dig die ikk, N k

PROJECT

Festivals

No v

S GO LA rin T X , Tu AR sima is m Ar t rda ste Am DC air, ton rt F ing eA ash abl W , ord ne! Aff erfi Fall Sup ork Y ew AF N nto TEF oro T Ar t York New Fair, rint ille Ar t P ashv Fine Art N Paris , FIAC aris r, P rt Fai i ider A Art Taipe Outs ondon rsea,L : Batte ian Art Fair rt Fair s able A OW: Paris A N Afford A I S A kholm air, Stoc ble Art F venue, Paris Afforda Bien a ArtVeron Houston emporary, Texas Cont ong Kong Fine Art Asia, H Art Fair, Seoul Korea International Sunday Art Fair, London British Art Fair, London Minneapolis Print & Drawing Fair Frieze Art Fair, London

prospective progression

Affordable A rt Fair, New York Swab, Barcelon a START Art Fair, Lo ndon vienna Contemporary , Vienna PAD London Art + Design

1 2

t us

Septe mbe r

Au g

e art institutions are based on. Itonic a , offers novel relations of values Linz within a culture, which greatly P OS I Jack TIONS &media. dissolves through digital son Ho Art Ber Sydn change These factors ultimately l in ey C le Fine the A o C on t accessibility of art today. emp ntempo rt Fair rary orary FBN A and New modes of distribution Inst are RT JO ways URG, anbul constantly initiated, and a Bstrongly Joha Beirut nnes shaped by the characteristics ofburg A EXPO rt Fair C h today's time, where U value highly icagis o nseen , defined through attracted erd Photofa Amstattention 2 irs, Sha am and esteem. nghai Ar t R

status quo

HYPOTHESIS

Ars

June

[now]

July

digital art

a y

rarly in clude di art inn tradit disrupt stitu iona i on o tion l f tra s ditio nal art ma rke t

ch an is

exp an din g

ho rac

ta igi f [d t

t of

April

p nce co in

r l] a

ge an ch

ip ersh own

[digital] [art]

il sib ces

March

ac der broa

m su on ion in c lus ity nc gi win gro

pt io

-c

dis on trib su utio me tim r n be e& co me att s pro en duc tio er n

be com e fo

rm o f

curre ncy

Fe br

ry ua

[then] ary Janu

Decem ber

PROJECT

CONCEPTUAL & FORMAL EXPLORATIONS

A very important aspect of the project was the mode of approaching and coming in contact with the site in relation to the topic. Several explorations with data connected to the site and the topic exposed the arguement, that the architectural site exceeds the geographic location.

_135

Visualized FlickR Data connected to Site

HYPOTHESIS

With the sprawl of digital data the building and its context are now extending the local area and equally related to the widely connected world.

Mapping the actual physical couterpart of the virtual world, the submarine cables spread all over the planet, are an essential part in the process of understanding that the physical and virtual are interconnected. This is accurate in the relation to the topic of social space, as well as to digital art, its content and medium of communication.

PROJECT

The mapping output process greatly influenced the further formal exploration. The cables connecting the Netherlands with other parts of the world, and travelling further, are an important parameter in the later perturbation of the systamtic grid placed on the project site.3

Context, including the worldwide submarinecable routes

Mapping the virtual?

See page 152f, chapter_06, conceptual & formal explorations.

_137

data 3D print trial

CONCEPTUAL & FORMAL EXPLORATIONS PROJECT

initial experiments to explore storage logic

In relation to experiments with data from stocks of auction houses and companys specialized in artmarket observations, two essential aspects regarding the development of the project became clear. Firstly, data are volatile, whether it is market data, or user data or also digital art work itself.The content is constantly alternating. And this also affected the second aspect emphasized through working with art related data. The building's "content" would equally be in a constant mode of organization and re-organization. This partially shaped the idea of an architecture of spaces but no rooms.4

This spatial idea was additionally related to the analysis of beurse buildings and their spatial organization. See page 48ff, chapter_03, trading in the netherlands.

51,12 31.10.2017 16:00:00

01.11.2017 16:00:00

51,04 01.11.2017 16:00:00

02.11.2017 16:00:00

50,54 02.11.2017 16:00:00

03.11.2017 16:00:00

48,91 03.11.2017 16:00:00

06.11.2017 16:00:00

45,46 06.11.2017 16:00:00

07.11.2017 16:00:00

44,08 07.11.2017 16:00:00

08.11.2017 16:00:00

44,78 08.11.2017 16:00:00

09.11.2017 16:00:00

45,65 09.11.2017 16:00:00

10.11.2017 16:00:00

46,25 10.11.2017 16:00:00

13.11.2017 16:00:00

45,84 13.11.2017 16:00:00

14.11.2017 16:00:00

45,44 14.11.2017 16:00:00

15.11.2017 16:00:00

44,4 15.11.2017 16:00:00

16.11.2017 16:00:00

46,2 16.11.2017 16:00:00

17.11.2017 16:00:00

46,29 17.11.2017 16:00:00

20.11.2017 16:00:00

47,15 20.11.2017 16:00:00

21.11.2017 16:00:00

48,09 21.11.2017 16:00:00

22.11.2017 16:00:00

48,71 22.11.2017 16:00:00

24.11.2017 13:00:00

48,44 24.11.2017 13:00:00

27.11.2017 16:00:00

48,33 27.11.2017 16:00:00

28.11.2017 16:00:00

48,64 28.11.2017 16:00:00

29.11.2017 16:00:00

49,51 29.11.2017 16:00:00

30.11.2017 16:00:00

50,35 30.11.2017 16:00:00

01.12.2017 16:00:00

49,18 01.12.2017 16:00:00

04.12.2017 16:00:00

50,34 04.12.2017 16:00:00

05.12.2017 16:00:00

49,91 05.12.2017 16:00:00

06.12.2017 16:00:00

49,72 06.12.2017 16:00:00

07.12.2017 16:00:00

49,94 07.12.2017 16:00:00

08.12.2017 16:00:00

50,52 08.12.2017 16:00:00

11.12.2017 16:00:00

50,67 11.12.2017 16:00:00

12.12.2017 16:00:00

51,14 12.12.2017 16:00:00

13.12.2017 16:00:00

51,14 13.12.2017 16:00:00

14.12.2017 16:00:00

53,49 26.07.2018 16:00:00

54,94

27.07.2018 16:00:00

52,56 27.07.2018 16:00:00

54,33

30.07.2018 16:00:00

51,97 30.07.2018 16:00:00

53,03

31.07.2018 16:00:00

51,95 31.07.2018 16:00:00

53,68

01.08.2018 16:00:00

52,72 01.08.2018 16:00:00

53,78

02.08.2018 16:00:00

52,05 02.08.2018 16:00:00

52,97

03.08.2018 16:00:00

52,66 03.08.2018 16:00:00

53,51

06.08.2018 16:00:00

47,38 06.08.2018 16:00:00

50,78

07.08.2018 16:00:00

48,98 07.08.2018 16:00:00

50,21

08.08.2018 16:00:00

48,4 08.08.2018 16:00:00

49,48

09.08.2018 16:00:00

47,54 09.08.2018 16:00:00

48,61

10.08.2018 16:00:00

46,67 10.08.2018 16:00:00

47,85

13.08.2018 16:00:00

46,19 13.08.2018 16:00:00

47,42

14.08.2018 16:00:00

46,42 14.08.2018 16:00:00

48,5

15.08.2018 16:00:00

45,55 15.08.2018 16:00:00

47,22

16.08.2018 16:00:00

46,23 16.08.2018 16:00:00

47,44

17.08.2018 16:00:00

46,34 17.08.2018 16:00:00

47,57

53,47 20.08.2018 16:00:00 53,52 21.08.2018 16:00:00

46,56 20.08.2018 16:00:00

47,6

47,02 21.08.2018 16:00:00

47,65

46,7 22.08.2018 16:00:00

47,61

53,6

52,83 16.03.2018 16:00:00

53,78

52,63 19.03.2018 16:00:00

54,18

52,47 20.03.2018 16:00:00

53,7

52,05 21.03.2018 16:00:00

53,59

50,69 22.03.2018 16:00:00

52,06

49,49 23.03.2018 16:00:00

51,05

49,98 26.03.2018 16:00:00

51,32

50,77 27.03.2018 16:00:00

51,92

50,6 28.03.2018 16:00:00

52,02

50,33 29.03.2018 16:00:00

51,87

49,37 02.04.2018 16:00:00

51,24

47,17 03.04.2018 16:00:00 47,48 04.04.2018 16:00:00

49,72 03.04.2018 16:00:00

51,02

49,87 04.04.2018 16:00:00

52,11

48,11 05.04.2018 16:00:00 49,15 06.04.2018 16:00:00

52,17 05.04.2018 16:00:00

53,45

51,94 06.04.2018 16:00:00

53,35

49,35 09.04.2018 16:00:00 49,28 10.04.2018 16:00:00

52,05 09.04.2018 16:00:00

52,82

48,99 11.04.2018 16:00:00 49,98 12.04.2018 16:00:00

52,52 11.04.2018 16:00:00

50,9 13.04.2018 16:00:00 51,7 16.04.2018 16:00:00

53,7 13.04.2018 16:00:00

51,67 19.03.2018 16:00:00 53,5 20.03.2018 16:00:00 49,3 21.03.2018 16:00:00 46,03 22.03.2018 16:00:00 47,33 23.03.2018 16:00:00 47,06 26.03.2018 16:00:00 46,94 27.03.2018 16:00:00 46,43 28.03.2018 16:00:00 46,66 29.03.2018 16:00:00 46,05 02.04.2018 16:00:00

52,2 10.04.2018 16:00:00 53,13 12.04.2018 16:00:00 53,92 16.04.2018 16:00:00

51,39 17.04.2018 16:00:00 51,87 18.04.2018 16:00:00

54,22 17.04.2018 16:00:00

50,79 19.04.2018 16:00:00 50,55 20.04.2018 16:00:00

53,71 19.04.2018 16:00:00

51,08 23.04.2018 16:00:00 51,36 24.04.2018 16:00:00

53,8 23.04.2018 16:00:00

54,28 18.04.2018 16:00:00 53,66 20.04.2018 16:00:00 53,36 24.04.2018 16:00:00 53,68 25.04.2018 16:00:00 53,18 27.04.2018 16:00:00

50,3 14.12.2017 16:00:00

52,34 27.04.2018 16:00:00 51,43 30.04.2018 16:00:00

15.12.2017 16:00:00

50,6 15.12.2017 16:00:00

51,97 01.05.2018 16:00:00

51,92 01.05.2018 16:00:00

18.12.2017 16:00:00

51,91 18.12.2017 16:00:00

53,62 02.05.2018 16:00:00

52,2 02.05.2018 16:00:00

19.12.2017 16:00:00

52,45 19.12.2017 16:00:00

54,44 03.05.2018 16:00:00

51,4 03.05.2018 16:00:00

52,72 20.12.2017 16:00:00

26.07.2018 16:00:00

52,35 15.03.2018 16:00:00

51,73 25.04.2018 16:00:00 51,84 26.04.2018 16:00:00

20.12.2017 16:00:00

processing data & prices from the art market

51,91 15.03.2018 16:00:00 52,18 16.03.2018 16:00:00

53,29 04.05.2018 16:00:00

53,35 26.04.2018 16:00:00 52,8 30.04.2018 16:00:00

51,57 04.05.2018 16:00:00

54,29 22.08.2018 16:00:00 54,43 23.08.2018 16:00:00 54,5 24.08.2018 16:00:00 54,59 27.08.2018 16:00:00

46,37 23.08.2018 16:00:00

47,1

46,33 24.08.2018 16:00:00

47,18

46,4 27.08.2018 16:00:00

47,94

47,61 28.08.2018 16:00:00

48,15

47,39 29.08.2018 16:00:00

48,57

47,87 30.08.2018 16:00:00

49,15

47,4 31.08.2018 16:00:00

48,16

54,58 04.09.2018 16:00:00 54,23 05.09.2018 16:00:00

46,45 04.09.2018 16:00:00

48,03

46,35 05.09.2018 16:00:00

47,72

54,26 06.09.2018 16:00:00 54,1 07.09.2018 16:00:00

47,02 06.09.2018 16:00:00

47,74

46,77 07.09.2018 16:00:00

48,13

54 10.09.2018 16:00:00 52,87 11.09.2018 16:00:00

47,54 10.09.2018 16:00:00

48,25

47,27 11.09.2018 16:00:00

47,96

52,83 12.09.2018 16:00:00 52,54 13.09.2018 16:00:00

47,33 12.09.2018 16:00:00

48,59

48,55 13.09.2018 16:00:00

49,6

54,75 14.09.2018 16:00:00 57,21 17.09.2018 16:00:00

48,59 14.09.2018 16:00:00

49,33

48,57 17.09.2018 16:00:00

49,12

54,71 28.08.2018 16:00:00 54,51 29.08.2018 16:00:00 54,24 30.08.2018 16:00:00 54,55 31.08.2018 16:00:00

21.12.2017 16:00:00

52,49 21.12.2017 16:00:00

53,24 07.05.2018 16:00:00

54,93 07.05.2018 16:00:00

22.12.2017 16:00:00

51,98 22.12.2017 16:00:00

52,99 08.05.2018 16:00:00

55,06 08.05.2018 16:00:00

56,8 18.09.2018 16:00:00

48,38 18.09.2018 16:00:00

49,25

26.12.2017 16:00:00

51,8 26.12.2017 16:00:00

52,91 09.05.2018 16:00:00

54,56 09.05.2018 16:00:00

56,15 19.09.2018 16:00:00

48,57 19.09.2018 16:00:00

49,55

27.12.2017 16:00:00

52,21 27.12.2017 16:00:00

53,15 10.05.2018 16:00:00

55,84 10.05.2018 16:00:00

56,92 20.09.2018 16:00:00

48,82 20.09.2018 16:00:00

49,9

28.12.2017 16:00:00

52,1 28.12.2017 16:00:00

52,79 11.05.2018 16:00:00

56,47 11.05.2018 16:00:00

57,14 21.09.2018 16:00:00

48,83 21.09.2018 16:00:00

50,31

29.12.2017 16:00:00

51,58 29.12.2017 16:00:00

52,66 14.05.2018 16:00:00

56,45 14.05.2018 16:00:00

57,86 24.09.2018 16:00:00

47,86 24.09.2018 16:00:00

48,99

02.01.2018 16:00:00

52,01 02.01.2018 16:00:00

53,2 15.05.2018 16:00:00

56,12 15.05.2018 16:00:00

56,93 25.09.2018 16:00:00

47,86 25.09.2018 16:00:00

48,71

03.01.2018 16:00:00

51,77 03.01.2018 16:00:00

52,86 16.05.2018 16:00:00

56,35 16.05.2018 16:00:00

56,92 26.09.2018 16:00:00

48,46 26.09.2018 16:00:00

49,53

04.01.2018 16:00:00

51,39 04.01.2018 16:00:00

52,55 17.05.2018 16:00:00

56,65 17.05.2018 16:00:00

57,9 27.09.2018 16:00:00

48,42 27.09.2018 16:00:00

49,36

05.01.2018 16:00:00

50,54 05.01.2018 16:00:00

51,58 18.05.2018 16:00:00

57,03 18.05.2018 16:00:00

57,88 28.09.2018 16:00:00

48,46 28.09.2018 16:00:00

49,46

08.01.2018 16:00:00

50,76 08.01.2018 16:00:00

51,68 21.05.2018 16:00:00

55,38 21.05.2018 16:00:00

57,35 01.10.2018 16:00:00

48,98 01.10.2018 16:00:00

50,17

09.01.2018 16:00:00

50,81 09.01.2018 16:00:00

51,76 22.05.2018 16:00:00

55,39 22.05.2018 16:00:00

56,15 02.10.2018 16:00:00

48,32 02.10.2018 16:00:00

49,87

10.01.2018 16:00:00

50,94 10.01.2018 16:00:00

51,87 23.05.2018 16:00:00

54,82 23.05.2018 16:00:00

55,61 03.10.2018 16:00:00

47,22 03.10.2018 16:00:00

48,94

11.01.2018 16:00:00

51,14 11.01.2018 16:00:00

52,21 24.05.2018 16:00:00

54,48 24.05.2018 16:00:00

55,4 04.10.2018 16:00:00

45,27 04.10.2018 16:00:00

47,11

12.01.2018 16:00:00

51,63 12.01.2018 16:00:00

52,88 25.05.2018 16:00:00

55,19 25.05.2018 16:00:00

56,2 05.10.2018 16:00:00

43,89 05.10.2018 16:00:00

45,65

16.01.2018 16:00:00

52,63 16.01.2018 16:00:00

53,33 29.05.2018 16:00:00

54,74 29.05.2018 16:00:00

55,78 08.10.2018 16:00:00

43,58 08.10.2018 16:00:00

44,95

17.01.2018 16:00:00

51,99 17.01.2018 16:00:00

53,14 30.05.2018 16:00:00

55,34 30.05.2018 16:00:00

56,1 09.10.2018 16:00:00

43,38 09.10.2018 16:00:00

44,04

18.01.2018 16:00:00

51,3 18.01.2018 16:00:00

55,87 10.10.2018 16:00:00

41,79 10.10.2018 16:00:00

43,45

51,53 19.01.2018 16:00:00

52,37 31.05.2018 16:00:00 53,9 01.06.2018 16:00:00

54,63 31.05.2018 16:00:00

19.01.2018 16:00:00

55,02 01.06.2018 16:00:00

56,3 11.10.2018 16:00:00

41,51 11.10.2018 16:00:00

42,91

22.01.2018 16:00:00

52,59 22.01.2018 16:00:00

55,82 04.06.2018 16:00:00

56,39 12.10.2018 16:00:00

42,47 12.10.2018 16:00:00

43,33

23.01.2018 16:00:00

52,08 23.01.2018 16:00:00

53,42 04.06.2018 16:00:00 52,99 05.06.2018 16:00:00

55,97 05.06.2018 16:00:00

56,37 15.10.2018 16:00:00

42,84 15.10.2018 16:00:00

43,64

24.01.2018 16:00:00

52,35 24.01.2018 16:00:00

56,07 06.06.2018 16:00:00

57,29 16.10.2018 16:00:00

43,27 16.10.2018 16:00:00

44,73

25.01.2018 16:00:00

52,95 25.01.2018 16:00:00

53,88 06.06.2018 16:00:00 55,15 07.06.2018 16:00:00

56,93 07.06.2018 16:00:00

58,01 17.10.2018 16:00:00

44,24 17.10.2018 16:00:00

45,1

26.01.2018 16:00:00

53,93 26.01.2018 16:00:00

57,73 08.06.2018 16:00:00

59,91 18.10.2018 16:00:00

43,83 18.10.2018 16:00:00

44,78

29.01.2018 16:00:00

53,23 29.01.2018 16:00:00

55,35 08.06.2018 16:00:00 54,61 11.06.2018 16:00:00

59,43 11.06.2018 16:00:00

60,16 19.10.2018 16:00:00

43,69 19.10.2018 16:00:00

45,09

30.01.2018 16:00:00

52,42 30.01.2018 16:00:00

59,73 22.10.2018 16:00:00

42,99 22.10.2018 16:00:00

44,49

52,44 31.01.2018 16:00:00

53,65 12.06.2018 16:00:00 54,08 13.06.2018 16:00:00

58,5 12.06.2018 16:00:00

31.01.2018 16:00:00 01.02.2018 16:00:00

52,16 01.02.2018 16:00:00

02.02.2018 16:00:00

51,97 02.02.2018 16:00:00

05.02.2018 16:00:00

47,44 05.02.2018 16:00:00

06.02.2018 16:00:00

46,65 06.02.2018 16:00:00

58,06 13.06.2018 16:00:00

59,2 23.10.2018 16:00:00

42,44 23.10.2018 16:00:00

43,63

53,74 14.06.2018 16:00:00 53,48 15.06.2018 16:00:00

57,95 14.06.2018 16:00:00

58,65 24.10.2018 16:00:00

41,09 24.10.2018 16:00:00

43,42

58,09 15.06.2018 16:00:00

51,73 18.06.2018 16:00:00 49,7 19.06.2018 16:00:00

58,82 25.10.2018 16:00:00

41,01 25.10.2018 16:00:00

42,2

58,36 18.06.2018 16:00:00

59,2 26.10.2018 16:00:00

40,68 26.10.2018 16:00:00

41,85

07.02.2018 16:00:00

48 07.02.2018 16:00:00

08.02.2018 16:00:00

46,49 08.02.2018 16:00:00

48,9 20.06.2018 16:00:00 48,23 21.06.2018 16:00:00 47,41 22.06.2018 16:00:00

09.02.2018 16:00:00

44,89 09.02.2018 16:00:00

12.02.2018 16:00:00

46,21 12.02.2018 16:00:00

13.02.2018 16:00:00

45,76 13.02.2018 16:00:00

14.02.2018 16:00:00

46,01 14.02.2018 16:00:00

15.02.2018 16:00:00

46,72 15.02.2018 16:00:00

16.02.2018 16:00:00

47,39 16.02.2018 16:00:00

20.02.2018 16:00:00

46,82 20.02.2018 16:00:00

21.02.2018 16:00:00

46,88 21.02.2018 16:00:00

22.02.2018 16:00:00

47,31 22.02.2018 16:00:00

23.02.2018 16:00:00

47,19 23.02.2018 16:00:00

26.02.2018 16:00:00

46,97 26.02.2018 16:00:00

27.02.2018 16:00:00

46,77 27.02.2018 16:00:00

28.02.2018 16:00:00

46,04 28.02.2018 16:00:00

47,63

01.03.2018 16:00:00

47,76 01.03.2018 16:00:00

53,01

02.03.2018 16:00:00

49,53 02.03.2018 16:00:00

51,14

05.03.2018 16:00:00

50,45 05.03.2018 16:00:00

51,77

06.03.2018 16:00:00

50,53 06.03.2018 16:00:00

51,67

07.03.2018 16:00:00

50,92 07.03.2018 16:00:00

52,77

08.03.2018 16:00:00

51,48 08.03.2018 16:00:00

52,78

09.03.2018 16:00:00

51,94 09.03.2018 16:00:00

53,1

12.03.2018 16:00:00

53,1 12.03.2018 16:00:00

54,74

47,63 25.06.2018 16:00:00 46,54 26.06.2018 16:00:00 47,73 27.06.2018 16:00:00 47,83 28.06.2018 16:00:00 48,9 29.06.2018 16:00:00 48,48 02.07.2018 16:00:00 48,53 03.07.2018 13:00:00 48,51 05.07.2018 16:00:00 48,22 06.07.2018 16:00:00 48,42 09.07.2018 16:00:00 47,82

58,21 19.06.2018 16:00:00

59,28

58,68 20.06.2018 16:00:00

59,88

56,75 21.06.2018 16:00:00

58,73

57,05 22.06.2018 16:00:00

57,84

55,02 25.06.2018 16:00:00

56,77

55,77 26.06.2018 16:00:00

56,46

54,3 27.06.2018 16:00:00

55,73

53,45 28.06.2018 16:00:00

54,6

54,05 29.06.2018 16:00:00

54,7

53,19 02.07.2018 16:00:00

54,87

54,7 03.07.2018 13:00:00

55,61

54,84 05.07.2018 16:00:00

55,9

55,73 06.07.2018 16:00:00

56,72

56,49 09.07.2018 16:00:00

57,26

10.07.2018 16:00:00

56,07 10.07.2018 16:00:00

57,3

11.07.2018 16:00:00

55,58 11.07.2018 16:00:00

56,22

12.07.2018 16:00:00

55,27 12.07.2018 16:00:00

56,28

13.07.2018 16:00:00

56,27 13.07.2018 16:00:00

56,85

16.07.2018 16:00:00

55,15 16.07.2018 16:00:00

56,63

17.07.2018 16:00:00

55,34 17.07.2018 16:00:00

55,92

18.07.2018 16:00:00

55,05 18.07.2018 16:00:00

55,73

19.07.2018 16:00:00

54,63 19.07.2018 16:00:00

55,26

20.07.2018 16:00:00

54,85 20.07.2018 16:00:00

56,09

23.07.2018 16:00:00

54,1 23.07.2018 16:00:00

55,26

_139

31.10.2017 16:00:00

PROJECT

flows and paths of the various approaches to the site

CONCEPTUAL & FORMAL EXPLORATIONS

Approaching the Site The geographic location of the building is defined by its position at the main river IJ on the hand, and on the other hand through the connection the surrounding bodies of land. The analysis of the local areas around Buiksloterham and ther paths of people surrounding the project's site led to the conclusion that the building required several entrances for its multiple users.

_141

Visitors and interested art connoisseurs approach the site with public transportation by boat, or via the main bridge connecting the site with the neighboring creative district. Physical artpieces, employees and involved artists enter the site from the southeast, opposing the visitors' direction.

PROJECT

organization diagram

Two directions of flows entering the site

CONCEPTUAL & FORMAL EXPLORATIONS

_143

concept model

PROJECT

distruption of organized grid logic

CONCEPTUAL & FORMAL EXPLORATIONS

_145

PROJECT

Fluid distruptions

CONCEPTUAL & FORMAL EXPLORATIONS

centrality around main space of interaction

_147

exploration in relation to spatial analyis of beurse

the exchange building in Amsterdam by the architect H.P. Berlage

PROJECT

formfinding rigid storage system

CONCEPTUAL & FORMAL EXPLORATIONS

_149

formfinding rigid storage system

PROJECT

concept and formfinding model

CONCEPTUAL & FORMAL EXPLORATIONS

_151

fluidsystem formfinding

The building's physical storage and server form the architecture's crust. The storage is based on an efficient grid, which is dissolved by a fluid system, hosting the people using the architecture. It is based on the idea of the intangible characteristic of the virtual and free movement through this. These two strong counterparts are facing eachother and partly overlap within the physical as well as virtual building.

PROJECT

ARCHIVE & PLATFORM FOR DIGITAL ART

The architecture becomes an interface, a joystick and a building all together. As a platform for digital art and an archive, it both accumulates and generates knowledge. Within individual and collaborative spaces, people can intensely experience and interact with art.

_153

spatial propram and relations

clo nits

ge s

ts en

16°°

20°

Un it

tm ar p A

18°°

ag eU

Sto r

Deliver y

sed

Sto ra

accessibility

Crowe [day]

0°° [gallery]

[storage]

[wunderkammer]

[main hall]

[trade]

accessibility over 24 hours

8°°

4°°

tory Co mp ute r

Lab

Lab ora

6°°

ARCHIVE & PLATFORM FOR DIGITAL ART

ry S

Gal le

PROJECT

14°°

r Se r ve

Ar tis t s ‘ W o

rk s p ac e

22°

12°°

2°°

a derk k or W

a sp ce

10° °

er mm

Main

acessibility & characteristics

all

ry S pac e

Gal le

all Main H

Un its

Un it

2°°

22°

Sto r

ag e

[day]

2°°

er mm

rve

sed

clo

Crowed owning

Gal le

erka

° 22°

Sto ra

0°°

ry S pac e

all Main H

d Wun

er mm

[day]

erka

0°°

d Wun

Crowed owning

all

4°°

20°

4°°

[trade]

Lab ora

[main hall]

tory

8°°

Co mp ute

[wunderkammer] 16°°

[storage]

6°°

accessibility over 24 hours

18°°

[trade]

r La

Lab ora

[main hall]

Co mp ute

[wunderkammer]

14°°

public

semi natural light darkness artificial light

public private semi natural light darkness artificial light

_155

private light Conditions open Access

light Conditions open Access

Ar ti

12°°

sts ‘W or

ks or W

12°°

r La

[gallery] 10°

artists

spatial characteristics

[storage]

ks pa ce

14°°

ks or W

10°

rtm pa

tory

8°°

[gallery]

ts en

preservation

accessibility over 24 hours

storage

preservation

6°°

Delivery

artificial light

semi public_semi private

darkness

private

natural light

artificial light

semi public_sem

darkness

private

natural light

publicly accessib

publicly accessible

PROJECT

crosssection

ARCHIVE & PLATFORM FOR DIGITAL ART

_157

PROJECT

groundfloor

ARCHIVE & PLATFORM FOR DIGITAL ART

_159

PROJECT

userpaths and organization

ARCHIVE & PLATFORM FOR DIGITAL ART

"IMMATEREALITY" ARCHIVE AND PLATFORM FOR DIGITAL ART The spatial idea for the platform is based on early examples of beurse architectures, which served as research references, due to the early demand to the architectural typology to approach a duality of virtual and physical presence and goods.

preservation

all visitors

The physical building, which is exceeded by the virtual building, is based on idea of multiple users and paths with their varying velocities, and furthermore their two possible modes of presence, the physical and virtual.

artists

On one side the platform offers a space for intense engagement with art, discussions through and about its content and a space, which serves as an interface between its users, such as artists and visitors. On the other side the archive and platform present a novel art institution, which is moreover greatly defined by making an art storage widely accessible.

artists

storage unaccessible

scan to see: https://sunapetersen.wixsite.com/immatereality/movies

_161

links to virtually visitable architecure

USER PATHS

storage wunderkammern

PROJECT

_163

ARCHIVE & PLATFORM FOR DIGITAL ART The main hall, the central open space within the building, encourages and offers the possibility for collective experiences and a platform for discussion. This big open space largely connects all accompanying spaces. Together those form a composition of spaces but no rooms. Within the solid block of storage the main hall enables all users the opportunity for discussion, and allows shortterm processes to take place. Visitors can interact with the digital archive and snippets of experiences can become part of the building as traces of the users' presence. People become active users within the architecture.5

PROJECT

Furthermore, the embedded digital content and presented artpieces are utilized as tectonic elements and equally create part of the architecture. So the main open space, connecting functions and users, is filled with a cloud of people gathering, light and dust, all the same.

model representing flowing spaces

MAIN HALL

Users are given the possibility to engage with the stored artpieces, which replaces the common aspect of "hypercuratorism" and emphasize the active participation of the users. See page 26f, chapter_01, changes in society.

_165

ARCHIVE & PLATFORM FOR DIGITAL ART PROJECT

“A fold is a wrinkle that gives the surface of the digital enough texture to engender a friction with the actual, to perturb the human world “ (Evans, page 158)

_167

formfinding of spatial superimposition

PROJECT

superimposition of spatial layers

ARCHIVE & PLATFORM FOR DIGITAL ART

_169

the space of interaction is overlayed by digital content and visitors experiences. constantly changing and overlapping.

ARCHIVE & PLATFORM FOR DIGITAL ART

New forms of distribution, such as sharing, reconstruct the definition of ownership and demand a systemic change of the marketconcept. Ownership, especially of digital content has shifted towards the rights or limitations of use of respective services. Initial movements pointing into a direction awaw from traditional ownership are already in action.6 This platform for digital art offers a novel concept within market for art and pursues the idea to co-own artpieces instead of traditional ideas of owning. Furthermore, based on my research, I assume that supporting an artist will become an increasingly dominant aspect within the art world. Supporting an artists within this platform is based on the outlook on further "success" and esteem. Supporters can co-own an artpiece based on blockchain technology, which still offers a certain control of usage and especially future profit.

PROJECT

The main hall within the building on the one hand serves as a occasional platform for artists presenting their work and as a place to enable supporters to come into contact with them and to contribute to works of art. On the other hand, it is a space that is influenced by the visitors interaction and curation within the building. What do we want to discuss? What do we want to interact with?

See page 80ff, chapter_03, new media art.

_171

PROJECT

ARCHIVE & PLATFORM FOR DIGITAL ART

_173

PROJECT

ARCHIVE & PLATFORM FOR DIGITAL ART

_175

Within the project immatErality the storage space takes up the largest area.

42.5 27.9 88.8

50 50 30 45 38 63

390 25 55

2661. 144.1 4

30.8 33.2 27.1

20 20 20

30 20 40 14 22 3

22.2 6.4 20.3

3D print

digital canvas

robotic painting

digital print with AR 3D print sculpture

data engraved hardware

digital print aluminium 10 10 10

3D print sculpture

robotic painting 27.9 27.9 157.5

3D printed sculpture

Binary Jacquard weave

robotic painting GIFs on LED panels

intermedial painting 3D printed sculpture

intermedial painting

100.3 125.1 15.2

3D printed sculpture

binary weave UV print on plexi

print on dibond

Forex aluminium sim cards

print on canson

pigment print, resin

Digital painting on aluminum

plotter drawing

Digital painting on canvas, gel medium & GPS tracker

excerpt of the used artpiece catalogue PROJECT

pigment print on dibond

121.9 238.8

41 54

117 182

152.5 203

76.2 91.4 127 101.6

40 30

website + print

184 184

200 200 90 60

200 300

70 100 70 100

150 150

64 40

30 30

190 115

Light Sculpture

The majority of institutions' art works, especially museums, are usually in storage. And other art storage facilities are mainly not accessible to visit. Due to the immateriality of digital art, accessible spaces to store art can be reapproached. Preserving, and storing digital art always requires physical media. Nevertheless, artworks are not devided in those exhibited and those dusting in storage anymore. These changes give the possibility to reclaim space for collective experience within an art institution and a space which offers a platform for discussion and articulations of new definitions for categories, which are 120 yet to evolve. 60

installation + pc projection

ARCHIVE & PLATFORM FOR DIGITAL ART

ART STORAGE

182.9 365.8 5

TOTAL STORAGE AREA

40% of the building’s area is storage area; 75 % 0.875 the approximately 6000 m² area is m within dedicated to a closed storage system. the

0.875 m

CLOSED STORAGE

OPEN STORAGE WUNDERKAMMER

[75 %]

[25 %]

40% of the building’s area is storage area; 75 % within the approximately 6000 m² area is dedicated to a closed storage system. the other part is accessible and works as “chambers of curiosity”. Of he subsequent 75 % and total of 90% is assigned to the storage of physical pieces, and devided in the storage of 2-dimensional and 3-dimensional objects.

35 % 2D ARTEFACTS 40 % [40 %] 25 %

25 % 30 % [10%] 45 %

DIGITAL STORAGE

other part is accessible and works as “chambers of curiosity”. Of he subsequent 75 % and total of 90% is assigned to the storage of physical pieces, and devided in the storage of 2-dimensional and 3-dimensional objects.

35 % 40 % 25 %

2D ARTEFACTS

3D ARTEFACTS

25 % 30 % 45 %

DIGITAL STORAGE

3D ARTEFACTS

[50 %]

7.0 x 7.0 x 7.0 m 3.5 x 3.5 x 3.5 m 1.75 x 1.75 x 1.75 m 2D ARTEFACTS

DIGITAL STORAGE

3D ARTEFACTS

1.75 x 1.75 x 1.75 m 3.5 x 3.5 x 3.5 m 7.0 x 7.0 x 7.0 m distribution of storage units’ size on the basis of the catalogue of artefacts

The storage is composed of a catalogue of components and can constantly re-organize its content. Based on a chosen preselected "collection" of digital art pieces, purchasable on the current market, the storing categories and subsequently its components were defined. Almost half of the building is dedicated to storing physical as well as digital art pieces. Two thirds of that area facilitates closed storage units. The other part is accessible and represents a kind of wonderrooms within the building.

_177

total Storage area 6000m²

[6000 m²]

ARCHIVE & PLATFORM FOR DIGITAL ART

The storage categories are devided into three main classes, twodimensional, threedimensional objects and digital files. Due to position of the site within its context the two main entering points define the flow of people and "goods". These trajectories of movement fracture the monolithic body, representing the storage complex. The distribution of storage units is based on the position in relation to this flow. The determining factors are the distance to the arrival point of physical objects, the distance to the associated spaces of preservation and thirdly the distance to the main hall for exhibitions and spectators. Those factors are balanced with the possible capacity of the units.

PROJECT

organizationed flow of goods and people

7.0 m

storage distribution system

46.3 45.1

38.2 36

46.3 45.1

43.2 41.8

38.5 37.3 36.4

35.3 34

32.2 30.7 29.6

38.2 36

35.7 33.3 31.1 29.2 27.5 26.2

44.3 43.6 42.8 42

37.2 36.2 35.2 34.3 35.9 34.8 33.7 32.8

32.2 30.7 29.6

35.7 33.3 31.1 29.2 27.5 26.2

33.4 30.8

24.4 22.9

33.4 22.3 21.6 30.8

24.4 22.9

21.6 22.3

31.2 28.4

21.4 19.7

31.2 18.1 28.4 18.9

21.4 19.7

18.1 18.9

27.8 24.6 21.5 18.6 15.9

26.6 23.3 20

16.8

26.6 23.3 20

16.8

25.8 22.4 19

15.6

25.8 22.4 19

15.6

18.5 15

26.4 23

19.6 16.4 14.5

14.5

27.4 24.2 21.1 18.1 16.4 17.8 15.7

16.4

14.8 16.5 18.7 17.8 21.3 15.7 24.1

20.6 18.8 17.6 17.1 17.2 18 32.8 30.1 27.7 25.4 23.5 22

19.5 21.4 20.6 23.7 18.8 26.2 17.6 17.1 17.2 18

20.5 32.8 21.4 27.7 20.7 30.1 24.3 23.5 22.6 25.4 26.3 2228.6 21

28.7 28 27.1 26.4 25.6 24.8 24.1 23.2

37.5 35.3 33.2 31.4 29.8 28.7

27.6 35.3 37.5 28.2 33.2 29.1 31.4 30.4 29.8 32.1 28.7 34

27.6 28.2 29.1 30.4 32.1 34

40.2 38.1 36.1 34.5 33.1 32

31.1 38.1 31.6 36.1 40.2 32.4 34.5 33.6 33.1 35.1 3236.9

31.1 31.6 32.4 33.6 35.1 36.9

39.2 37.7 36.4 35.4 34.8 34.5 34.6 35 39.2 35.8 37.7 36.9 36.4 38.2 35.4 39.9 34.8 34.5 34.6 35 42.3 40.9 39.7 38.9 38.3 38

38.1 38.5 42.3 39.2 40.9 40.2 39.7 42.9 38.3 38 41.4 38.9

32.9 31.5 34 32.6 35.1 33.8 32.6 31.4 30.2 29.1 36.3 35 33.8 32.7 31.6 30.5 35.1 34 33 32 36.5 35.4 34.4 33.4 37.9 36.8 35.9 34.9 39.3 38.3 37.3 36.5

61.1 59.7 58.5 57.5 56.7 56.1 61.9 60.9 60.1 59.6

45.1 45.4 46

41.9 41.1 43.5 42.7

46.9 47.9 49.3

48.6 48.9 49.4 50.2 51.2 52.5

52.1 52.4 52.9 53.6 54.6 55.7

64.3 63

31.4 31 33.1 32.7

32.9 31.5 20.3 22.4 21.6 20.9 20.8 21.4 22.2 23.2 34 32.6 22 22.5 23.9 23.2 22.6 23.1 23.8 24.7 35.1 33.8 32.6 31.4 30.2 29.1 36.3 35 33.8 32.7 31.6 30.5 35.1 34 33 32 29.3 30 36.5 35.4 34.4 33.4 30.9 31.6 37.9 36.8 35.9 34.9 31.4 31 30.2 30.3 31.3 31.9 31.6 39.3 38.3 37.3 33.1 32.7 31.9 32.1 3336.5 33.5

20.3 20.8 21.4 22.2 22 22.5 23.1 23.8 29.3 30 30.9 31.6 30.2 30.3 31.3 31.9 31.6 31.9 32.1 33 33.5

41.9 41.1 38.1 38.6 43.5 42.7 39.8 40.2 40.7 40.8 42.4 42.5 44.2 44.3 44.4 44.7 45.9 46 46.2 46.4 48.4 48.8 50.1 50.5

38.1 38.6 39.8 40.2 40.7 40.8 42.4 42.5 44.2 44.3 44.4 44.7 45.9 46 46.2 46.4 48.4 48.8 50.1 50.5

61.9 62 63.6 63.8

61.9 60.9 60.1 59.6

66.1 66.3 66.7 67.3 68

75.3 74.6 73.9 73.5

23.2 22.4 21.6 20.9 24.7 23.9 23.2 22.6

61.1 59.7 58.5 57.5 56.7 56.1

62.6 62.8 63.2 63.9 64.7 65.6 66.8 68.1 62.6 62.8 63.2 63.9 64.7 65.6 66.8 68.1

71.1 70.5 70

16.4 17.5 18.7 20.1 21.5 24.1 18.8 20 21.2 22.5

35.8 36.9 38.2 39.9

38.1 38.5 39.2 40.2 41.4 42.9

41.6 4741.9 45.5 45.5 44.2 43.1 42.3 41.8 41.5 48.7 42.6 44.2 43.5 43.1 44.7 42.3 46.1 41.8 41.5 41.6 41.9 42.6 43.5 44.7 46.1

51.8 50.1 48.7 47.5 46.5 45.7 45.3 45 51.8 45.1 50.1 45.4 48.7 46 47.5 46.9 46.5 47.9 45.7 49.3 45.3 45

14.9 15.7

16.4 19.3 17.9 17.5 18.7 20.1 21.5 24.1 18.8 20 21.2 22.5

19.5 21.4 23.7 26.2

20.5 20.7 21.4 22.6 24.3 26.3 28.6 24.1 24.8 25.8 27.3 29.1 31.2

38.4 37.9 36.8 36.2

16.1 16.4 14.7 20.2 18.5 14.9 20.8 19.1 15.7 18.4 16.9

14.8 16.5 18.7 21.3 24.1

35.1 32.6 30.3 28.3 26.6 25.3 24.4 24 35.1 24.8 30.3 24.1 32.6 25.8 28.3 27.3 26.6 31.2 24.4 24 29.1 25.3

64.3 63

37.2 36.2 35.2 34.3 35.9 34.8 33.7 32.8

24.7 23.4 22.1 20.9 23.7 22.3 20.9 19.6 25.8 24.3 22.7 21.3 25 23.4 21.9 20.3 21.1 19.5 15 20.5 18.9

16.1 16.4 14.7 20.2 18.5 20.8 19.1 18.4 16.9 19.3 17.9

18.8 15.3

19.6 16.4

27.4 24.2 21.1 18.1

48.7 47

44.3 43.6 42.8 42

18.5 15

18.8 15.3 26.4 23

28.7 28 27.1 26.4 25.6 24.8 24.1 23.2

24.7 23.4 22.1 20.9 23.7 22.3 20.9 19.6 25.8 24.3 22.7 21.3 25 23.4 21.9 20.3 21.1 19.5 15 20.5 18.9

29.4 26.4 23.5 20.9 18.5 16.6 15.2 14.5 29.4 14.7 26.4 15.7 23.5 20.9 18.5 16.6 15.2 14.5 14.7 15.7 27.8 24.6 21.5 18.6 15.9

38.4 37.9 36.8 36.2

70.1 71.3 66.1 66.3 66.7 67.3 68

71.4 7072.3 7270.2 71.1 70.7 70.5

70.2 70.7 71.4 72.3

75.7 75.3 74.9 73.5 73.6 74.6 74.2 73.9

73.6 74.2 74.9 75.7

70.1 71.3

_179

24.1 1

PROJECT

storage component distribution

ARCHIVE & PLATFORM FOR DIGITAL ART

_181

storage component distribution

The body of storage is additionally separated into the general criteria of accessibility.

PROJECT

casted pieces of storage model

ARCHIVE & PLATFORM FOR DIGITAL ART

_183

casted pieces of storage model

PROJECT

ARCHIVE & PLATFORM FOR DIGITAL ART

_185

PROJECT

ARCHIVE & PLATFORM FOR DIGITAL ART

_187

PROJECT

evolution of storage "alphabet"

ARCHIVE & PLATFORM FOR DIGITAL ART

_189

catalogue of all storage components

PROJECT

closed storage

_193

server

PROJECT

archive - solid block of information

ARCHIVE & PLATFORM FOR DIGITAL ART

_195

engraved plexi model

light map in plan

ARCHIVE & PLATFORM FOR DIGITAL ART

light intensity for various mat materials

textiles, prints, drawings, unprimed th

oil and tempera paintings, plastics, wo

metal, glass, and most ceramics

PROJECT

750 - 2000 lux 300 lux

third floor

50-100 lux 0 lux

groundfloor

first floor

light intensity for various materials of art

first floor

materials

sensitivity

rec. Lux Level

textiles, prints, drawings, unprimed thinly coloured paintings on canvas

high

50 Lux

oil and tempera paintings, plastics, wood, photographs

medium

100 Lux

metal, glass, and most ceramics

low

300 Lux

light map in plan

ARCHIVE & PLATFORM FOR DIGITAL ART

light intensity for various mat materials

textiles, prints, drawings, unprimed th

oil and tempera paintings, plastics, wo

metal, glass, and most ceramics

PROJECT

750 - 2000 lux 300 lux

third floor

50-100 lux

second floor

0 lux

light intensity for variou materials

textiles, prints, drawings, unp

oil and tempera paintings, pla

metal, glass, and most ceram

750 - 2000 lux 300 lux

third floor

50-100 lux 0 lux

PROJECT

open storage

storage orangization

closed storage

ARCHIVE & PLATFORM FOR DIGITAL ART

threshold of separation

OPEN STORAGE within the studied references of architectures of trade, spatial separation is used with a range of different threshold.

starting from complete partition

the

The cabinets of curiosity or wonderrooms in the 16th century formed a kind of physical encyclopedia and the gathering of knowledge was the primary priority. The encyclopedic collections were of artifacts, whose categorial boundaries were yet to be defined. The open storage within the platform presents wonderooms within the project. The accessible components form the transition between the closed, inaccessible storage and the fluid open spaces. The architecture forms the context to discuss and attempts to draw borders defining new categories within the field of digital art.7

the next â&#x20AC;&#x153;stepâ&#x20AC;? is the enabling of a visual connection

the wall is transformed into a dense wall of columns

different spaces blend into eachother, defined by varying levels _201

beurse analysis

the columns are reduced, which enables an almost entirely open situation

See page 68ff, chapter_03, exhibiting art and space.

PROJECT

wonderrooms-customized experiences

ARCHIVE & PLATFORM FOR DIGITAL ART

_203

wonderrooms-customized experiences

PROJECT

ARCHIVE & PLATFORM FOR DIGITAL ART

_205

PROJECT

open storage experience

ARCHIVE & PLATFORM FOR DIGITAL ART

_207

PROJECT

ARCHIVE & PLATFORM FOR DIGITAL ART

_209

PROJECT

_211

PROJECT

_213

PROJECT

_215

PROJECT

longitudinal section

ARCHIVE & PLATFORM FOR DIGITAL ART

_217

PROJECT

structural details

ARCHIVE & PLATFORM FOR DIGITAL ART

_219

structural details

PROJECT

PROJECT EXHIBITION

_221

PROJECT

physical section model, 1:100

PROJECT EXHIBITION

_223

PROJECT

PROJECT EXHIBITION

_225

PROJECT

physical section model, storage detail

PROJECT EXHIBITION

_227

PROJECT

PROJECT EXHIBITION

_229

PROJECT

PROJECT EXHIBITION

_231

PROJECT

exhibition set-up

PROJECT EXHIBITION

_233

IMNAGE CREDITS

Bibliography

DeMeyer, D., Borret, K., Ghent Urban Studies Team (Eds.), 1999. The urban condition: space, community, and self in the contemporary metropolis. 010 Publishers, Rotterdam. Flynn, T., 2017. The A-Z of the international art market: the essential guide to customs, conventions and practice. Franck, G., 20. Ökonomie der Aufmerksamkeit: ein Entwurf, 9. [Nachdr.]. ed, Edition Akzente. Hanser, München. Graham, B. (Ed.), 2014. New collecting: exhibiting and audiences after new media art. Ashgate, Farnham. Greene, R., 2004. Internet art, World of art. Thames & Hudson, London. Hénaff, M., Strong, T.B. (Eds.), 2001. Public space and democracy. Univ. of Minnesota Press, Minneapolis. Paul, C. (Ed.), 2008. New media in the white cube and beyond: curatorial models for digital art. Berkeley, Calif. [u.a.] Univ. of California Press. Micunovic, M. , Balkovic, L., Author’s rights in the digital age: how Internet and peer-to-peer file sharing technology shape the perception of copyrights and copywrongs. O´Doherty, B., Inside the White Cube, The Lapis Press, 1976. Paul, C., Härer, H., Richter, K., 2011. Digital art, Deutsche Erstausgabe. ed, dkv Kunst kompakt. Deutscher Kunstverlag, Berlin München. Popper, F., 2007. From technological to virtual art, Leonardo. MIT Press, Cambridge, Mass. Sennett, R., Kaiser, R., 2013. Verfall und Ende des öffentlichen Lebens: die Tyrannei der Intimität, 2. Aufl. ed, BvT. Berlin Verl, Berlin. Serexhe, B., Zentrum für Kunst und Medientechnologie Karlsruhe (Eds.), 2013. Konservierung digitaler Kunst: Theorie und Praxis: das Projekt digital art conservation. Ambra V, Wien.

PROJECT

Ursprung, P., Canadian Centre for Architecture, Ausstellung Herzog & de Meuron: Archaeology of the Mind, Herzog & de Meuron (Eds.), 2005. Herzog & de Meuron Naturgeschichte: Katalog anlässlich der Ausstellung 'Herzog & de Meuron: Archaeology of the Mind" ; 23. Oktober 2002 bis zum 6. April 2003, Neuaufl. ed. Müller, Lars, Baden.

_235

all Figures

IMAGE CREDITS

Image sources Chapter_06

_237

SUPPLEMENTARY TIMELINES

APPENDIX

STOCK EXCHANGES

Headquarters Dutch East India Company

Fig. 1.

Antwerp 1460

1606 Amsterdam

Fig. 3.

Fig. 2.

Hamburg 1841

Fig. 4.

London 1844

_239

Architecture of the first “offical” bourse buildings

Fig. 5.

Amsterdam 1903

1285

Cities of Northern Italy bonds were traded on paper “borower’s note”; development of fundamental concept of modern banking system and stock trading

14th century Bruges, Belgium junction of two major trading empires former hostelry’s manager offered judicious financial advice to traders and merchants who frequented the building

1322

Fig. 7.

APPENDIX

1460

Antwerp First Commodity Exchange “Bourse” as a trade centre more and more commodities were traded, consequently specialised “Bourse” emerged

Bruges consistend and organised cash market with exchange rate quotation

Fig. 6.

increased importance of transregional trading consequently “securities” in form of debentures gained relevance

1409

Plaza “Ter Buerse” important merchants rented/bought “nation-houses” to in front of the tavern “Ter Buerse”

"Ter Buerse" building

HISTORY OF THE BOURSE

money changer, merchants and tradesman met in public town squares in italien cities, Venice, Florence, Genua and Lucca to make bargains and mainly trading of goods

1532

start of regulated trading with bonds (broker, speculator)

1602 1613

17th century Netherlands first time to use the stock market to finance companies First trading of Stocks

Amsterdam

Fig. 8.

First official Stock Exchange trading of stocks, bonds, borrower’s note, and forward contracts

1970s BOURSE history of organized exchange markets

_241

dematerialization of securities traded ”Breton Woods agreements”

source: The World’s First Stock Exchange, Lodewijk Petram, Columbia University Press, 2014

1585 1637

DUTCH ECONOMICS

The netherlands were the most wealthy and urbanized nation at the time. highest standard of living in Europe: - early industrial revolution - land reclamation from the sea - agricultural revolution

1600-1650

Dutch Golden Age a moment in Dutch history, characterized by political enlightenment and economic prosperity, that generated a veritable boom in artistic creation. Opposing to other parts of Europe, art mirrored the emergence of a new kind of civil society, one largely run by and for its Protestant mercantile burghers.

APPENDIX

Tulip Mania the prices for tulips collapsed. it is generally considered the first recorded speculative bubble.

1670s 1700s

abrupt end of boom: -wars with France and England -adverse economic developments

Many European sovereigns and countries in search of money were keen to use the wealth of the Netherlands, and they placed bonds on the Amsterdam exchange. In 1695, Austria was the first in line. Other European countries, such as Spain, Russia, Sweden, France, and England, followed soon after.

independency from spanish empire lead towards a century of explosive economic growth for the country rapid accumulation of trade capital

financial strength: leading to major power position within European conflicts

1713

deeply in debt: -change in the nature of the economy from one, which invested primarily in trade and industry into one in which a significant financial sector played a dominant role.

late 1700s

18th century: gradually surrendering of the position as the center of world trade and an entirely new role ensued from this: that of financier of the world.

Republic major market for sovereign debt major source of foreign direct investment

1800s Kingdom of the Netherlands deindustrialized & deurbanized

THE NETHERLANDS 16th - 19th century The Netherlands are viewed as the first modern Economy in the 17th and 18th centuries, the Dutch pioneered several financial innovations that helped to lay the foundations of the modern financial system.

_243

1815

financial and economic crisis after warfare against French Empire, which was disastrous for trade and industry

Fig. 9.

VOC Building

VOC COMPANY APPENDIX

DUTCH EAST INDIA COMPANY - VOC The first multinational corporation that was founded in 1602 from a government-backed consolidation of several rival Dutch trading companies and the first corporation ever to be listed on the offical stock exchange, issueing bonds and shares of stock to the general public.

Ost-Indisch Huis

prior to the construction of the Ostindisch Huis, the Amsterdam chamber of the VOC met in a warehouse on the canal. the 20 regents of the Amsterdam chambers met here and meetings for all regents of the company were held here. the buildings included archives and map collections of all the visited and explored areas of land and sea.

Jakarta

Over the next two centuries the Company acquired additional ports as trading bases and safeguarded their interests by taking over surrounding territory. Other trading posts (subsidiaries) were on other indonesian islands, the artifical island close to the japanese coast of Nagasaki, others in Taiwan, Malaysia, South Africa and more.

Dissolution

All assets were taken over by the government, with VOC territories becoming Dutch government colonies.

_245

1602 1606 1799

Fig. 11.

VOC Headquarter

1619

Fig. 10.

First Issued Bond

one of the first stocks on paper from 1606

foundation

originally eastablished as a chartered company to trade with India and Southeast Asia, when the Dutch Government granted it a 21-year monopoly on the Dutch Spice Trade. effectively a state, an empire, or a world in its own right. the company was given the legal power to wage war, create overseas settlements, and upholds its own jurisprudence first company to issue stocks and bonds

from latin: “mouseion” - Greek term meaning “a shrine to the Muses” Classical Greek mythology: nine muses, goddesses of the arts and sciences

500 BC

Plaza in front of the Library of Alexandria, “Mouseion” the world’s oldest public collection of art

400 BC

THE MUSEUM

MUSEUM

treasure houses to display wealth in Ancient Greece the Temple of Delphi, a Doric temple of 6 by 15 columns, functioned as treasure house. A large number of votive statues and “treasuries” are placed from the entrance of the site towards the temple. Many were built to celebrate victories and as thankful gesture for the oracle’s advise. Every 4 years Games war hosted on the site.

1471

Fig. 12.

Temple of Delphi

the Capitoline museums evolved initially due to the donation of a collection from the Pope to the people of Rome and is therefor the world’s oldest public collection of art

15th century

1509

Statue Court in the Vatican Belvedere daylight was essential for exhibiting in the Renaissance. this was one possible reason for the first architecture, with the pure function of exhibiting, to be built under the open sky. the courtyard became a well-visited destination for study of humanists and artists.

1683

Fig. 13.

APPENDIX

16th century

wonder rooms private collections of wealthy members of the nobility and the church formed the precursors of the museum throughout the Renaissance. art, objects or artifacts were on displayed in wonder rooms or cabinets of curiosities, which formed a kind of physical encyclopedia and accessible for selected people. renaissance study of natural world again encouraged

Ashmolean Museum antiquary E.Ashmole gave away the content of his own wonder room to the University of Oxford. it is the world’s first university museum and the first time that a building was exclusively dedicated to the purpose of hosting art, and it was always open to the public.

studiolo it become common for rulers to create one room or a number of rooms into studiolos, as a “shrine to the muses”.

17th century

science and education many collectors had a strong interest in natural science and putting collections on displayed, on the one hand served the purpose to present new discoveries and on the other hand it was considered a way of sorting and classifying the materials

early 1700s

Fig. 14.

Ole Worm famous wonderroom of the 17th century naturalist

1743

Fig. 15.

The Medici in Florence, Italy, were the first family, which donated their private collection to the state in 1743

late 1700s

during the period of “Enlightenment”, across Europe many collectors turned their focus from private use to public access

18th century

museums the first socalled public museums were actually often not accessible to everyone, only to the middle and upper classes.

19th century

public? the first socalled public museums were actually often not accessible to everyone, only to the middle and upper classes. bourgeoisie private collectors initiate the building of museums

late 19th | early 20th century

_247

„A museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches,communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment.“ 1

“the museum age” a large amount of museums were built in this period. the still mostly private space of museum was made public, initiated by the Vatican in Rome and the opening of some collections to the public.

http://www.icom-deutschland.de/schwerpunkte-museumsdefinition.php

early 15th century

THE ART MARKET

early kind of art commerce already took place in ancient Greece and Rome.though the needed structure for the emergence ot a market for trading artistic artifacts can be followed back to the Renaissance.

Florence in the city a great number of artists, such as sculpturs and painters, “accumulated”. most artworks were produced on commission.

Commissions artists sold their pieces directly to clients after the participation in a competition.

mid 15th century

Neri di Bicci

late 15th century

the Florentine painter introduced with ready-made religious images a kind of art-retail market. this offered the access of a wider range of customers

the art market took place at pands and public market places, where artists exhibited their work at stalls or shop windows.

APPENDIX

prior to the 16th century, artworks were rarely signed by the artist and many would “team-up” in guilds, valuing their work similar as smiths or woodworkers.as much as craftsmen.

Bruges the city became the commercial centre of Northern Europe. trade fairs started to also facilitate a designated exhibition gallery for extravagant commodities, “pand”, where painters would sell artwork.

early 16th century

Antwerp after Bruges recession Antwerp became the prosperous centre for the art market, mainly due to the city’s loose regulations. At the city’s biannual six week fair luxury goods, thereby also uncommissioned art were traded.

Antwerp - Paris - Amsterdam decline of the city towards the end of the 16th century. nevertheless it played a significant role in the development of the art market, now as an exporting entity to currently favourable markets, such as Paris and Amsterdam.

Fig. 16.

“Our Lady’s Pand”, Antwerp the biggest art market of the time was established in the Church of Our Lady and was given the monopoly on the sale of art by the city. Other the usual pands, it was kept open through out the whole year.

late 16th century

Multinationality in Bruges Other than in Florence, the nature of trading in Northern Europe was very much based on export. Additionally, three groups of artists (oil painters, watercolour painters and miniaturists) competed for market shares in the North.

private collections of wealthy members of the nobility and the church formed the precursors of the museum. art, objects or artifacts were on displayed in wonderrooms or cabinets of curiosity, which formed a kind of physical encyclopedia.

_249

The Art Market 15th - 16th century in Europe History of organized art commerce generally the market is to be divided into two separate parts: a primary and a secondary market. on the one hand the direct sales and on the other collections and resales.

source: URL https://tesi.luiss.it/15688/1/172301.pdf

late 16th century

THE ART MARKET

the second hand traders were the first instance, which were not in direct relation to the production.

Second-hand dealers, Amsterdam

Secondary Art Market second-hand dealers were slowly implementing a secondary market by trading commodities, and also paintings, which were purchased at estate sales.

since the early 16th century the “Orphan Chamber” in Amsterdam traded paintings. they mainly raised money through estate sales/auctions.

the auction house in Amsterdam aimed to raise money to repay creditors.

Regulations Due to hidden “infiltration” of the art market by external traders with artpieces of lower quality and overblown prices, regulations were established for the art market. The aim was the protection of the market value and the avoidance of decreasing investment.

APPENDIX

the Dutch art market became a high-end market with certified merchants and dealers.

early 17th century

Auction houses in Amsterdam

Amsterdam the importance of the city as a commercial centre grew rapidly. And auctions were held increasingly.

mid 17th century

before the 17th century auctions were rare and held sporadic.

1674

Oldest art auction house

Auction in Paris and the Netherlands auctions were held in Paris and various Dutch cities. In the end of the 17th century regulations continously increased and auctions rules were handed out on paper prior to the event.

the worldâ&#x20AC;&#x2122;s first known auction house was founded in Stockholm, Sweden.

Francois Gersaint (1694-1750) in Paris, the French became the first modern art dealer. his auctions functioned without private sales on the side. Furthermore, he provided printed catalogues for buyers and organised pre-sale viewing days.

Francois Gersaint (1694-1750) was the first to introduce the idea of an emotional connection between the viewer at the piece of art, as well as the definition of value by the pleasure and gratification parked by the art. art auctions started to be held in coordination between european cities, mainly Paris, London, Amsterdam and Brussels and a international market evolved.

_251

The Art Market 16th - 17th century in Europe History of organized art commerce

source: https://tesi.luiss.it/15688/1/172301.pdf

Paris Salon the annual Académie des BeauxArts’ art exhibition had the monopoly on promotion and assessment of art production in Paris. the art admitted to the exhibition was conservative, which led to the rejection of artists, who were soon known as Impressionists.

19th century

THE ART MARKET

during the 18th century auctions for art works were still commonly held in taverns and coffeehouses.

Paul Durand-Ruel (1831 - 1922) owned the family’s art gallery in Paris and began to exhibit artworks of Impressionists. he also started to integrate pieces of unknown young artist in his gallery.

Paris continued to function as the centre of art from 1750 until the late 19th century.

Paul Durand-Ruel early 20th century

North America until then America stayed mostly unnoticed in regards to the art market.

besides his great intuition for art promotion and social contacts, he start to buy all artworks of single artists to obtain the monopoly on future sales.

Sir Joseph Duveen (1869 - 1939) became the first art dealer that exploited the art market of North America. Through numerous bold business tactics he soon became the most significant and richest art dealer.

Sir Joseph Duveen

APPENDIX

many of his clients’ contributions enable the opening important art museum in America.

early 20th century mid 20th century

wiorld war ||

“multiples” - indentical artpieces entered the art-market through artists like M. Duchamp and later S.Dalí or A.Warhol

London Art Market on the contrary to the Parisian market, the London art market still functioned quite traditionalistic.

New York Art Market due to the world wide changes and dynamics, New York became the new centre for Modern Art.

art was firstly considered a kind of instrument for investment in the 1970s.

_253

The Art Market 19th - 20th century in Europe History of organized art commerce Today the three leading art auction houses are Sotheby’s, Christie’s and Phillips de Pury & Company.

1970s early 21st century

socalled “free ports” became more and more popular in the 20th century to function as storage spaces for art to avoid taxes.

Online Art Market online auctions and online artselling websites undergo an enhancement in popularity and usage.

2002

THE ART MARKET

Art as an investment firstly the British Rail Pension fund utilized art as an investment by purchasing art portfolios worth £40 mil.

Online Art Market

2011

were estimated to record 30% of all e-commerce due to the rapid increase of popularity.

APPENDIX

Fig. 17.

ifnoyes.com

The world’s first digital art auction by a major auction house was held in October 2013. Phillips in collaboration with tumblr organised the auction with 18 preselected digital artists.The range sold artwork covered videos, animated GIFs, inkjet prints of digital images or even entire websites. The first website, “ifnoyes.com” sold for $3500.

2013

Phillips’ Digital Art Auction

Sedition the website was launched in 2011, and represents an online platform, where art can be distributed in digital format;

2014

second try for the two company agreement. eBay established an exclusive section for Sotheby’s auctions.

VR All Art is a platform and new marketplace for artists, galleries, museums and the general public to exhibit and acquire art in the virtual worlds.

2015

Sotheby - eBay agreement

ARTSTAQ Artstaq creates a new marketplace for art trading, based on capital markets principles such as real-time trading, transparent data and rating. The platform evaluates the artist’s investment stability and assesses art’s value, which allows people to buy paintings through the site, leave them in deposits, and then sell them again like stocks.

Art Bank Chain is a new digital crypto-currency based on smart contracts. ArtCoins are used in the trade of artworks in virtual galleries, on web sites as well as in brick and mortar galleries.

_255

The Art Market 20th - 21st century Today the art market is a coordinated, unified market. It is an economic model which is not based on the relation of supply and demand, rather a hybrid depending on the perceived cultural value and a predicted value for the future.

source: https://tesi.luiss.it/15688/1/172301.pdf image: http://www.ifnoyes.com

Fig.1. page 219

Beurse Antwerp

Fig.2. page 219

Headquarters East India Company

Fig.3.-4. page 219

Beurse Hamburg/Beurse London

Fig.5. page 219

Beurse Amsterdam

Fig.6. page 220

"Ter Buerse" building

Fig.7. page 220

First Commodity Exchange Building

Fig.8. page 221

Beurse Amsterdam de Keyser

Fig.9. page 224

VOC building

URL https://beeldbank.amsterdam.nl/beeldbank/weergave/record/layout?f_ sk_gebouw=Oost-Indisch+Huis&id=010056915931 (accessed: 19.09.2018)

Public Domain, URL https://nl.wikipedia.org/wiki/Beurs_van_Zocher#/media/ Bestand:H.P._Berlage_Beurs_van_Berlage_plan_1.jpg (accessed: 19.09.2018)

Public Domain, URL https://de.m.wikipedia.org/wiki/Datei:Brugge_-_Saaihalle_en_beurs.jpg (accessed: 19.09.2018)

URL https://forum.tour-magazin.de/showthread.php?321574-Belgische-Legenden/page2 (accessed: 20.09.2018)

Public Domain, URL: https://en.wikipedia.org/wiki/Euronext_Amsterdam#/ media/File:Engraving_depicting_the_Amsterdam_Stock_Exchange,_built_by_ Hendrik_de_Keyser_c._1612.jpg (accessed 17.12.2018)

Public Domain, URL https://nl.wikipedia.org/wiki/Oost-Indisch_Huis_ (Amsterdam)#/media/Bestand:Oih1.jpg (accessed: 01.12.2019)

IMAGE CREDITS

IMAGE CREDITS APPENDIX

Image sources Appendix

IMAGE CREDITS

Image sources Appendix

Fig.10. page 225

First Issued Bond, VOC

Fig.11. page 225

VOC Building

Fig.12. page 226

Temple of Delphi

Fig.13. page 226

Ashmolean Museum

Fig.14. page 227

Ole Worm Wonderroom

Fig.15. page 227

Gallery Uffici https://de.wikipedia.org/wiki/Uffizien#/media/Datei:Galleria_degli_Uffizi.jpg

Fig.16. page 229

Our Lady's Pand, Antwerp

Fig.17. page 234

ifnoyes.com

Public Domain, URL https://en.wikipedia.org/wiki/Bond_(finance)#/ media/File:Vereinigte_Ostindische_Compagnie_bond_-_Middelburg_-_ Amsterdam_-_1622.jpg (accessed 26.11.2019)

Public Domain, URL https://nl.wikipedia.org/wiki/Oost-Indisch_Huis_(Amsterdam)#/media/Bestand:Gravure_van_het_Oost_Indisch_Huis_(17e_eeuw).jpg (accessed: 19.09.2018)

Public Domain, URL https://hr.wikipedia.org/wiki/Datoteka:Temenos_of_Delphi.gif (accessed: 15.11.2018)

URL https://www.coolplaces.co.uk/places/uk/england/oxfordshire/oxford/1242-the-ashmolean-museum (accessed: 19.09.2018)

Public Domain, URL https://commons.wikimedia.org/wiki/File:Ole_Worms_ frontispiece_Wellcome_V0018952.jpg?uselang=de (accessed: 15.11.2018)

©Stadsarchief, Antwerp. published by Hieronymus Cock, Antwerp, 1557. URL https://warwick.ac.uk/fac/arts/history/students/modules/hi3j3/timetable/ seminar13/ewing_-_marketing_art_in_antwerp.pdf (accessed: 29.10.2018)

_257