IRN800

Contemporary Exhibition Design

(E)MERGE The Power Plant | Toronto Harbourfront Centre

Sally Choi 500 195 905 IRN800-041 Ryerson University School of Interior Design Professor D. Wang January 27, 2011

Cover Page: Organisms under microscope: University of Newcastle, AU From Flickr Cultural Collections, University of Newcastle

TABLE OF CONTENTS

(E)MERGE: THE EXHIBITION

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(E)MERGE: GOALS AND OBJECTIVES

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SITE: THE POWER PLANT

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SITE: PREVIOUS EXHIBITIONS PROJECT PROFILE: SELECTED WORKS PROJECT PROFILE: STRATEGY, GOALS & AUDIENCES

7-8 9-17 18

CASE STUDY: TEXTILE SHIPPING CONTAINERS

19-20

CASE STUDY: HEAD-IN INSTALLATION

21-24

EXHIBITION PRECEDENT: ERNESTO NETO

25-26

EXHIBITION PRECEDENT: TAPE | ODEON

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EXHIBITION PRECEDENT: AMANDA LEVETE ARCHITECTS

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DESIGN CONSIDERATIONS:

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DESIGN PROGRAMME

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DESIGN PROGRAMME: SCHEMATICS

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WORK CITED

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Olivier Bardin, Exhibition, 2009 in La Force de l'Art 02, Grand Palais, Paris From Flickr Franรงois Bouchet

(E)MERGE: THE EXHIBITION

(E)MERGE will confront audiences with the cultural and ethical implications of BioArt, and observe our changing perceptions of life with regards to the advancements in life sciences and technology. It questions the audiences understanding and connections to all the organisms of the living world. Rather than providing explanations or justifications of this field of art and science, the exhibition extracts artists' reflections and musings during the process or completion of their works. These insights into an artist's thought process will be on shared through videos and sketches as a part of the exhibition. This provocative gesture aims to affect and spark conversation between all ages and countries, cultures and religions, resulting in the audiences' own critique and insights. As most of BioArt will be living exhibits, the exhibition will explore ideas of how audiences view art in progress in an environment that brings to mind the laboratories and studios where the art was produced.

The works presented in (E)MERGE will include Brandon BallengĂŠe's 'Monstres SacrĂŠs' and 'Malamp', which examines the issues of extinction and deformities in amphibians, Philip Ross' 'Pure Culture' and 'Was Below, Now Above' that respectively use mushrooms and oysters to create sculptural objects, Joe Davis' 'Audio Microscope' and the experiments with E.coli with Andrew Zaretsky, Hunter Cole's 'Living Drawings' and 'The Art of Death' which use bioluminescent bacteria that become collaborators in the art, and Stelarc's 'Walking Head', an autonomous walking robot that mimics human behaviours and motions.

The variety of BioArt in this exhibition touches upon the topics of environmental issues, living organisms and the impact of scientific technology on human's understanding of life.

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Volvox colony micro-organism under microscope From Flickr User: cybermystic

(E)MERGE: GOALS AND OBJECTIVES

The exhibition is aimed to help audiences gain a personal experience regarding the interpretation and contemplation of BioArt. The exhibition will raise questions concerning the delicate equilibrium between medical break-throughs and the ethical appropriateness of some scientific research by displaying a variety of BioArt works that . The exhibition, separated into a few sections but within a contained space, will have its interior creatively transformed to reflect the interesting concepts and ideas of the exhibits. Audiences will be able to view the exhibited bio-art closely, as well as in a more private atmosphere that will depend on the designed interior.

A part of the exhibition will also help facilitate a neutral platform on which audiences can contemplate, share and discuss their thoughts after viewing the exhibition.

In this space, audiences can browse through writings or drawings by other audience members through the exhibition period. The point of this platform is to encourage interaction among artists and audiences, to allow audiences to reflect upon their exhibition experience directly after viewing it, to provide audiences with primary materials from artists and other audiences on BioArt, and to hopefully broaden multi-faceted ideas and critiques.

As the subjects of the exhibition is one that suggests connections between humans and their relationship with other living organisms, the building will be transformed to reflect the organic nature of the exhibits and possibly introduce a special exhibit set outside from the building. The special exhibit would also be one that can be easily assembled and transported, thus in tune with modern society's ease of travelling and nomadic lifestyle.

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Photo of The Power Plant and Ice Rink From Picasa Web Albums

By Brian Ficker

SITE: THE POWER PLANT

Exterior and Interior elements The former generation station at Harbourfront was renovated into its current state as the contemporary art gallery while maintaining its original smokestack and red brick facade. The existing large windows on each side of the industrial building were kept, but screens or temporary walls could be erected to cover these openings. The Ice House, now the Enwave Theatre, and the original power plant were transformed into four distinct exhibition spaces: three major galleries and smaller, adjoining in- and out-door sites.

For the exhibition (E)MERGE, exhibiting works that tie in with nature into an outdoor space will be explored in order to create an authentic environment that impacts all the senses. As there is no permanent collection to store at the gallery, the additional spaces in the building is divided into office, load or unloading areas and preparation space.

The interior of the Power Plant houses two large galleries named Royal LePage and J.S. McLean Galleries with nine metre high ceilings and flexible grid lighting systems. The grid lighting system allows for vertical movement to suit small or large installations. The third largest gallery is the Canadian Tire Gallery with three metre high ceilings. All three of them were designed to maximise the space, flexibility and ability to accommodate contemporary art. According to the Power Plant website, the galleries are approximately 650 square metres, while a separate space called the Fleck Clerestory, which acts as a corridor between the galleries, has a glassed roof and leads out to the outdoor spaces as well.

Context and Site Considerations The Power Plant is located on Queens Quay West, very close by the Toronto Harbourfront. Construction plans to be completed by March 2011 includes a new underground parking facility and a cultural village. With the Power Plant being near the Natrel Rink and other public facilities such as an outdoor concert venue, there are many opportunities to interest and create buzz from the public if the parts of the exhibition can be seen from the sidewalks, roads or by the boardwalk along the Harbourfront. In the case of an outdoor exhibition, the exhibition experience will extend beyond the building itself and engage with the public through interactive displays, possibly live webcams or projections of audiences' feedback from inside the exhibition.

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SITE: PREVIOUS EXHIBITIONS

Michael Snow, The Corner of Braque and Picasso Streets, 2009.

Real-time video projection, site-specific wall/ screen structure composed by the artist for each installation, silent Courtesy the artist.

Note: Setup of space for video projection and seating

'Not Quite How I Remember It,' The Power Plant installation, 2008, with work by Sharon Hayes, photograph by Rafael Goldchain

Note: Setup of space for video projection and placement of projectors

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SITE: PREVIOUS EXHIBITIONS

Carey Young, Positive Buzz, 2007.

Vinyl text, wall installation.

Statements prepared by the artist for 'creative thinking' workshop sessions Commissioned by John Hansard Gallery, Southampton.

Courtesy the artist and Paula Cooper Gallery, New York.

Photo: Rafael Goldchain.

Note: Possible "Q&A" wall to encourage people to write their thoughts down

Carey Young, Donorcard, 2005 and ongoing.

Ink on paper, signed with archival ink.

Series of 2000 unique cards signed by the artist and to be signed by the viewer.

Courtesy the artist and Paula Cooper Gallery, New York.

Photo: Rafael Goldchain.

Note: Establishing a more personal relationship with artist and allowing audiences to take away a part of the exhibition with them

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PROJECT PROFILE: SELECTED WORKS

From GreenMuseum.org: By: Brandon BallengĂŠe "malamp" 2002 Deformities in North American Amphibians Objective: Investigation into impact of increased UV radiation from ozone thinning; chemical pollution from insecticides, herbicides, or fertilizers; etc.

Intention: To inform audiences of the complex growth process of other living organisms, and to understand the changing environment around us.

Size: 4" x 5" 9

Display Method: Cases

PROJECT PROFILE: SELECTED WORKS

From GreenMuseum.org: Brandon BallengĂŠe "The Ever Changing Tide" 2000-01 Documentation of aquatic organisms available at Flushing seafood markets Objective: Research into population declines and commercial extinction, possibly due to overfishing Intention: Collection, identification and documentation of various kinds of fish species Size: (As pictured) Display Method: TBD

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PROJECT PROFILE: SELECTED WORKS

From HunterCole.org: By: Hunter Cole "Living Drawing" 2006 Living Drawings Created with Bioluminescent Bacteria Objective: Photograph bacteria in a host environment as it gradually dies off while using all available nutrients over a two week period Intention: Allow bioluminescent bacteria become collaborators in the art Size: TBD 11

Display Method: Video Projection

PROJECT PROFILE: SELECTED WORKS

From HunterCole.org: By: Hunter Cole and Electric Eye Neon "The Art of Death: Viruses Are Beautiful!" 2001 Objective: Enlarge, color and illuminate electron micrographs of viruses Intention: Show the beauty of viruses that scientists normally experience Size: 10" x 14" typical Display Method: Wall installation; Back-lit

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PROJECT PROFILE: SELECTED WORKS

From ViewingSpace.com: By: Joe Davis "Audio Microscope" 2000 Objective: Using a microscope that translates light information into sound. Finding the acoustic signatures that correspond to different species of micro-organisms Intention: Find out if every living cell has its own acoustic signature Size: TBD 13

Display Method: Installation

PROJECT PROFILE: SELECTED WORKS

From Fondation-Langlois.org: By: Adam Zaretsky & Joe Davis "The Humperdinck Effect" 2001 Objective: Playing music a sample of E. Coli to whether sounds and/or influence the growth of

next to find out vibrations bacteria

Intention: Investigate the impact music has on bacteria's production of antibacteria Size: TBD Display Method: Installation

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PROJECT PROFILE: SELECTED WORKS

From PhilRoss.org: By: Philip Ross "Pure Culture" 2000 Objective: Grow series of sculptural objects from living mushrooms.

Intention: Investigate how the organism grows in different shapes by changing its relationship to light, gravity and oxygen/co2 levels.

Size: TBD Display Method: TBD

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PROJECT PROFILE: SELECTED WORKS

From PhilRoss.org: By: Philip Ross "Was Below, Now Above" 2002 Objective: Observe over a period of three years as young oysters fuse onto anything made of calcium while in the water. Additional six months of bleaching by sun Intention: Investigate how the young oysters attach and create a sculptural form around a wire structure Size: TBD Display Method: TBD 16

PROJECT PROFILE: SELECTED WORKS

From home.vicnet.net.au (steve middleton): By: STELARC & f18institute "Walking Head Project" 2005 Objective: A 6-legged, autonomous walking robot with TFT monitor 3D face that reacts to people near it Intention: Experimentation with robot machinery; robot will acknowledge visitors in a dark room with changes in facial expression and movement towards people Size: 2m diameter Display Method: TBD

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PROJECT PROFILE: STRATEGY, GOALS & AUDIENCES

BioArt began in the late 20th century and became more eminent in the 21st century through the works and experiments of artists like Eduardo Kac, George Gessert and Joe Davis.

I believe that BioArt is currently not very well known in Toronto and many people do not know what does or does not constitute as BioArt. (E)MERGE will be an exhibition that welcomes people of all ages to the field of BioArt and hopefully, take away with them an enjoyable, informative and thought-provoking experience as they see how some artists explore the world of science in search of art. Understandably, younger audiences may not fully understand the complexity and depth of certain projects. But in this case, the exhibition is not simply to inform audiences, it also hopes to entertain and inspire more ideas and thoughts.

The selected works will be representative of art and science merging together, and some of these works may also extend to the topic of our nature and the changing environment. The exhibition itself will aim to tie all the selected works, outdoor gallery and interactive dialogue space together by using uniform graphics, signage, and a sculptural element that will also act as a display panel or container. These design elements will be carried throughout the exhibition and create the look of a biomorphic and organic space, which refers back to the contents of BioArt.

From metamute.org: Eduardo Kac GFP Bunny, 2000

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Genetically engineered glow in the dark rabbit

CASE STUDY: TEXTILE SHIPPING CONTAINERS BY OVERTREDERS W From Dezeen: "Textile Shipping Containers by Overtreders W" PORTSCAPES exhibition 2010 Rotterdam, Netherlands An exhibition of containers made of textiles with varying degrees of transparency.

Exhibited work include photography, performance, videos, and sound installations.

Opposite page: Container for conversation or contemplation.

Public space.

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CASE STUDY: TEXTILE SHIPPING CONTAINERS BY OVERTREDERS W

The sensibility in the use of textiles and materials in this project will be the inspiration in the interactive dialogue space in (E)MERGE. The use of the different transparencies in voile, cotton and cheesecloth, help create smaller semi-private spaces ideal of individual or small groups of people. The space feels airy and light, and the division of distinctive spaces are ideal for a variety of activities including display of drawings, sketches, video projection, writing and reading, or internet surfing. The various activities can be organized equally with each getting its own privacy and designated area.

This type of installation of fabric walls is also ideal of exhibitions because of its relatively easy level to setup the containers as well as being inexpensive to create. This can be altered by possibly changing the size, shape or height of the containers, their layout in the space, the color of fabric walls, or even the wayfinding graphics on floors.

As the space evokes simplicity and awareness to surroundings, I think it would suit the needs of the interactive dialogue space where audience members can enjoy the open discussion or contemplation of any thoughts inspired by the exhibition.

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CASE STUDY: HEAD-IN INSTALLATION BY MAGMA ARCHITECTURE

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CASE STUDY: HEAD-IN INSTALLATION BY MAGMA ARCHITECTURE

From The Cool Hunter: "It's All In Your Head" JETZT | NOW series of temporary installations Magma Architecture

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Concept based on the properties of materials, form, color and light. Orange flexible fabric is polyamideelasten mix stretch from walls, ceiling and floor.

CASE STUDY: HEAD-IN INSTALLATION BY MAGMA ARCHITECTURE

From Dezeen: "Head-in by Magma Architecture" JETZT | NOW series of temporary installations Magma Architecture Visitors can view model of projects by firm suspended within the void by standing underneath the structure or through another perspective from the adjacent room.

Opposite page: From Dezeen: "Head-in" JETZT | NOW series of temporary installations Magma Architecture

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View inside the sculpture.

Vertical and Horizontal Section of sculpture.

CASE STUDY: HEAD-IN INSTALLATION BY MAGMA ARCHITECTURE

This spatial sculpture by Magma Architecture create two interesting spaces within the room: the one around the sculpture and the other within in it. The space within the sculpture suspends a series of models and projects, making it seem like one had entered a zero-gravity outer space simply by sticking one's head through the openings underneath the sculpture. The picture on the opposite page really emphasizes the playfulness of the design, as well as the contrasting spaces and the many different perspectives this sculpture provides in this gallery. The connection to openings into other rooms really add to the depth of the void.

In this project, I am also inspired by the form created through the use of a flexible material that comes off as fun and interesting. It seems like a fresh exhibition experience, and it also because you do see others whether you're looking at or inside the sculpture.

By containing a portion of the space within a flexible form, it is possible to divide the space in a more fluid way that reads as continuity and uniformity.

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EXHIBITION PRECEDENT: ERNESTO NETO

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EXHIBITION PRECEDENT: ERNESTO NETO

Spread: Ernesto Neto From Sebastian to Olivia (catalogue) September 29 - November 17, 2007 "Three Stops for an Animal Architecture under Gravity" Sculptures; Polyamid and polypropylene 26

EXHIBITION PRECEDENT: TAPE | ODEON

From gBlog: Numen/ For Use Packing Tape Web Installation "Odeon" Vienna, 2010 117 000 feet of packing tape, inspired by a dancer's movement across the space.

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Strong enough for visitors to climb installation.

EXHIBITION PRECEDENT: AMANDA LEVETE ARCHITECTS

From Dezeen: Amanda Levete Architects "Choreographing You" Hayward Gallery, London, 2010 Concertinaed Tyvek create partitions and direct visitors around Exhibition charts relationship between performance and visual art over the past 50 years 28

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DESIGN CONSIDERATIONS

(E)MERGE presents to the audience a variety of 2D and 3D works and as most of the 3D works may need to be contained, the visual and auditory senses need to be particularly tended to in order to appeal more closely to audiences. Physical and cognitive considerations will reflect in many aspects of space planning and design. The method of displaying the art should not frustrate or confuse the visitor; instead, they should feel comfortable approaching objects. Subconsciously or consciously, visitors should know how to travel around the exhibition, be aware of their location and surroundings at all times throughout, and have a relative understanding of the exhibition and the outside world, which would help put them at ease and be more receptive to the art and information displayed. The contemporary exhibition experience needs to be one that is narrated, multisensory, and rewarding to the audience.

Colors and Materials: As with most exhibitions, the colors used on the walls and floors would ideally be painted in a neutral color. For (E)MERGE, I would play with gradients and transparency over a neutral background so that the art could simply draw audiences. Colors would be used as elements in wayfinding and graphic signage that help with the organization and space designations in the exhibition. Another way colors can be applied is through the use of color filters with lighting. Subtle splashes of color on the different surfaces in the exhibition can help make it more visually appealing.

In regards to the materiality of the exhibition, I feel that the 'tangible' and 'live' feeling of the exhibited objects should help determine the choice of materials and forms such as the use of stretched fabrics or barisol over metal frames. It would also be interesting to somehow channel the feeling of a 'science laboratory' or experimentation space for this exhibition as it would tie in with the design process for many of the objects.

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Opposite Page Clockwise from top left: SMDsquared wall panel FAVO in white; Urban Product Dune wall tiles in concrete; Zaha Hadid for Marburg wallcoverings; Nvelt soft wall + light

Personal pictures of the Power Plant galleries 31

DESIGN CONSIDERATIONS

Lighting and Acoustics: The initial research into the BioArt-related works that would be exhibited at (E)MERGE gave the impression that a dimly lit or dark environment would be ideal in creating the mysterious atmosphere. Also, there will be some projection and installations in which a darker room would be ideal. For art that can be displayed on walls, a darker room can also bring more emphasis or contrast when spotlights are focused on the art. However, a gradual mergence of a light and dark space is also considered, as it interestingly reflects the idea of the positive and negative impacts or reactions BioArt has generated in the past and may continue to do so in the future.

Apart from the sounds recorded in videos that will be projected, there will be no other background music played throughout the exhibition. To deal with the possibility of unwanted noise generated by various projected videos, the use of headphones incorporated into the exhibits that will allow audience members to have a somewhat more exclusive experience with the art or video presented.

Exhibition Features: Two key features in (E)MERGE is the outdoor temporary/ mobile gallery and the interactive dialogue space. The first space is located at the back entrance of the Power Plant, very closely next to the Harbourfront. It is essentially a mobile gallery connected to the exhibition inside the building through a large opening which is originally one of the large windows of building itself. The mobile gallery would require extensive design details that take into consideration the safety, security, various weather conditions, and the overall management of the exhibited work within this space.

The interactive dialogue space is a platform open to all audience members in the exhibition to share and view the thoughts of all who have taken part or have seen (E) MERGE. This space uses the conventional method of logging ideas through pen and paper, as well as more technologically advanced ways like twitter, blogging or live webcams. The aim for this feature is to encourage an open discussion to broaden the understanding of BioArt in society. Moreover, this exhibition is meant to inform and entertain audiences in hopes that they take away with them an insightful experience.

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Clockwise from left to right: Galerie Max Hetzler- Ernesto Neto Exhibition; Bauer- signage for Upper Austrian Federal State Library

DESIGN CONSIDERATIONS

Exhibition Features (cont'): Tying the whole space together would be organic forms that imitate the lines and shapes of real organisms under the microscope. To achieve such forms, the method of stretching fabric or barisol over metal skeleton, or the use of wall panels that have an organic look similar to that of micro-organisms close-up, would be employed.

Universal Accessibility The Power Plant is wheelchair accessible and there is an elevator servicing the two floors of the building. Accessibility for all is important and in this exhibition, and it will be designed to code. According to the Interior Graphic Standards (2004), the exhibition experience can be enhanced for people with special needs by: ramps or elevators, largeprint labelling and well-lit signage, and captioned film, video and audio. Displays and exhibit objects should be placed in a way that is visible from standing or sitting positions, and some hard seating placed in a few spots around the exhibition for audiences to rest on temporarily.

As there may be a sculptural piece such as the one in the JETZT | NOW series of temporary installations by Magma Architecture, the height and distance of installations from the floor and walls have to allow for wheelchairs passing by or for people in wheelchairs to be able to pass under in some areas to properly view the inside of the hanging exhibit.

For manoeuvring clearances, a minimum clearance for the knees is 27" and a minimum of 54" above finished floor would allow someone in a wheelchair to pass under any hanging objects comfortably. For objects hanging off walls, such as flat screen televisions or 3-dimensional art, it should only protrude a maximum of 12" from the wall and be higher than 27" from the floor. Circulation space around and through the exhibition should allow the audience to look at exhibited from a comfortable distance, have ample space for individual movement like bending down and room for people to have impromptu conversations without disturbing other people.

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DESIGN CONSIDERATIONS

Wayfinding and Graphic strategies Directional signage can be displayed on walls or floors without being an obstacle in a path of circulation. They may also be subtle markers by use of color, lighting, lines or forms to suggest ta change in the areas of the exhibition and the directions . For (E) MERGE, as a portion of the exhibition would be in a darker atmosphere, wayfinding and signage may be illuminated or the use of colour lighting could make areas easier to identify. Signage should be simple, clean and informative. Uniformity and compatibility to the content of the exhibition is also essential through typefaces, sizes, standard titles and presentation. Consideration for audience members that may have visual disabilities can be taken into account by providing signs with better legibility or ones with Braille.

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Clockwise from left to right: Galerie Max Hetzler- Ernesto Neto Exhibition; Bauer- signage for Upper Austrian Federal State Library

DESIGN PROGRAMME

Spatial Organization & Requirements (E)MERGE can be divided into four essential spaces: Core, Body, and Mobile and Dialogue. Core and Body are the Power Plant's existing gallery spaces on the ground level.

These galleries will house a selection of works in both 2D and 3D, possibly within or around a sculptural element that runs throughout the exhibition. Circulation will thus be affected by this sculptural element as people movie around, under (or over, like for the Packing Tape Installation by Numen/ For Use) or explore the interior of it. Generally, the videos would be placed near each other, possibly in the Mobile space so that every now and then, a few selected videos will be projected consecutively on the outside of the Mobile structure for public viewing.

The exhibition as a whole will be organized in an unstructured flow. The interior spaces will require spotlighting on the artwork on walls, and part of the exhibition will designed as a darker space in order for the objects that require back-lighting to be seen clearly. From one side of the exhibition, an opening that leads to the outdoor space, or is simply a vantage point to observe the projects in the Mobile space. From the outside, the Mobile space will look like it is spilling out of the Power Plant onto the sidewalk and possibly hover oddly over the public space.

Inside on the second level, the Dialogue space will organized in a clean and simple manner. Comfortable seating and a writing surface will be required and other forms of communication will be available: webcams, desktops and recorders. This space will be designed to allow an individual to communicate to the public his or her idea on the exhibition and whatever interests it raised in many possible methods. These personal critiques and recordings would need to be properly stored and kept safe, and be connected in a network to be made available worldwide. The intention is to encourage creativity and the thought process.

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DESIGN PROGRAMME

As the Mobile and Dialogue space are the more particular parts of the exhibition, they each have specific needs for the space to work and develop. The Mobile space will be designed as a transportable building with little to no impact on its site and can merge into the exhibition from inside to outside the Power Plant. The skin of the Mobile space needs to be able to act as a screen for video projections. For the Dialogue space, there must be a balance and organization among the various communication methods provided for audiences. While there are individual 'booth'-like spaces, small group settings or more open spaces can be provided for spontaneous discussions among audience members.

From nigelcoates.com:

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Powerhouse::UK DTI, 1998 temporary exhibition structure

DESIGN PROGRAMME: SCHEMATICS

Clockwise from top left:

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Testing volume in building's interior space; Second floor planning of 'Dialogue' space; Elevation sketches of long wall in 'Dialogue' space; Preliminary sketch

DESIGN PROGRAMME: SCHEMATICS

Parti Experimenting with stretching and disconnecting parti diagram

Elevation sketches of galleries on GF

Floorplan sketch indicating possible locations of exhibted work 40

WORK CITED

Caulfield, Sean, and Timothy A.. Imagining science: art, science, and social change. Edmonton: University of Alberta Press, 2008. Print.

Etherington, Rose. "Dezeen » Blog Archive » Head-in by Magma Architecture." Dezeen architecture and design magazine. N.p., 11 Feb. 2009. Web. 23 Jan. 2011. <http://www. dezeen.com/2009/02/11/head-in-by-magma-architecture/>.

"Galerie Max Hetzler: Home." Galerie Max Hetzler: Home. N.p., n.d. Web. 23 Jan. 2011. <http://www.maxhetzler.com/1.0.html>.

"History 20 Years...." THE POWER PLANT | CONTEMPORARY ART GALLERY HARBOURFRONT CENTRE. N.p., n.d. Web. 21 Jan. 2011. <http://www.thepowerplant.org/info/history.html>.

Kallergi, Amalia. "Bioart on Display- challenges and opportunities of exhibiting bioart." Leiden University - (2008): n. pag. http://www.kallergia.com/. Web. 22 Jan. 2011.

McGowan, Maryrose, and Kelsey Kruse. Interior graphic standards . Student ed. Hoboken, N.J.: J. Wiley, 2004. Print.

"Peter Smith Associates Inc.." Peter Smith Associates Inc.. N.p., n.d. Web. 21 Jan. 2011. <http://www.petersmitharchitect.com/plant.html>.

"Powerhouse::uk Projects" "Nigel Coates." Nigel Coates. N.p., n.d. Web. 24 Jan. 2011. <http://www.nigelcoates.com/project/powerhouse> Velarde, Giles. Designing exhibitions . [U.S. ed. New York: Whitney Library of Design, 1989.

Print Warmann, Catherine. "Dezeen » Blog Archive » Textile Shipping Containers by Overtreders W." Dezeen architecture and design magazine. N.p., 30 May 2010. Web. 27 Jan. 2011. <http:// www.dezeen.com/2010/05/30/textile-shipping-containers-by-overtreders-w/>.

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SALLY CHOI :: 2011