Referances

Wind and movement. Material to immaterial extension

Jensen, Per-Bak, Maison Jerusalem, 2010, http://www.coursphotographie.fr/paris-expositions/per-bak-jensen/ [accessed 19.february 2014]

Wind and movement. Material to immaterial extension

MALLOCK, Joseph, HATTWICK, Ian, 12 August 2013, Dezeen, http://www.dezeen.com/2013/08/12/instrumented-bodies-byjoseph-malloch-and-ian-hattwick/, [accessed 19.february 2014]

Of Pop and Prothesis: [...] prosthetic expansion of the architect’s space-making capacity, its origins steeped in Semper’s notion of clothing as the original architectonic device, and its cultural moment inflected by cold-war anxieties and liberated sexualities. The material nature of these transparent, bodily responsive devices were dually architectures for survival, and clean prophylactic environments for the sex act.

FAULKNER, Peter, 07 September 2013, Strange Sounds, http://strangesounds. org/2013/09/strange-sounds-architecture-discover-massive-concrete-acousticmirrors-or-sound-ears-at-greatstone-uk.html/, [accessed 19.february 2014]

Massive Concrete Acoustic Mirrors or Sound Ears at Greatstone

FAULKNER, Peter, 07 September 2013, Strange Sounds, http://strangesounds. org/2013/09/strange-sounds-architecture-discover-massive-concrete-acousticmirrors-or-sound-ears-at-greatstone-uk.html/, [accessed 19.february 2014]

Massive Concrete Acoustic Mirrors or Sound Ears at Greatstone

COOPHIMMELBLAU, Vienna 1965-72, Of Pop and Prostheses, http://www. bustler.net/index.php/article/bracket_goes_soft_selected_submissions, [accessed 19.february 2014]

Wind and movement. Material to immaterial extension

ERASE, 2009, Inner Space, http://www.erase.net/images/weblog/ tomorrow/1024/13.scuba.jpg, [accessed 19.february 2014]

Prosthetic resort II continues my interest in the zone where the body ends and architecture begins. This work extends the notion of ‘Exoskeleton’,[...].

GOODWIN, Richard, 2001, Prosthetic resort II, National Gallery of Australia, http://nga.gov.au/SculpturePrize01/Default.cfm?Moda=4&View=Artists&ArtistID =13&WrkID=140227, [accessed 19.february 2014]

Detached Limbs

“[...] many experiences little by little destroyed all the faith which I had rested in my senses; for I from time to time observed that those towers which from afar appeared to me to be round, more closely observed seemed square [...]. And not only in those founded on the external senses, but even in those founded on the internal as well; for is there anything more intimate or more internal than pain?

And yet I have learned from some persons whose arms or legs have been cut off, that they sometimes seemed to feel pain in the part which had been amputated, which made me think that I could not be quite certain that it was a certain member which pained me, even although I felt pain in it.�

RENÉ DESCARTES

BENANDSEBASTIAN, 2010, Detached, http://www.benandsebastian.com/?page_ id=2685, [accessed 19.february 2014]

ZAK – Zukunftsakademie “Because the future is an interaction of prediction and change, architecture becomes a three-dimensional symbol of these points of intersection and overlapping. The building is thus a symbol of the networking of the real and virtual aspects of nature and technology.”

COOPHIMMELBLAU, 1999, ZAK - Zukunftsakademiet, http://www.coop-himmelblau.at/architecture/projects/zak-zukunftsakademie/, [accessed 19.february 2014]

The matter of time

SERRA, Richard, 1997, Matter of Time, FMGB Guggenheim Bilbao Museoa, http:// www.guggenheim-bilbao.es/exposiciones/richard-serra/, [accessed 19.february 2014]

Developing a universe of sound.

I did spend a lot of time as a kid in nature. The way i sang which was for my self. It was definitely not influenced by other singers. Just working outside to school - or maybe in blizzards. You would walk and there would be no wind. You would be all quiet and whispering, and you you would bend down to the moss and sing the verse. And you would stand up, run to the hill and sing a chorus. You had to do that quite loudly because the weather was strong. [..]

BJÖRK

BJÖRK, 18. December 2012, Inside Björk - 3:09-3:50, BBC production - Youtube, http://www.youtube.com/watch?v=qbJCqnITC7s , [accessed 20.february 2014]

Sound location and mirros - devices for war.

Douglas Self, 2013, Acoustic location and sound mirrors, http://www.douglas-self. com/MUSEUM/COMMS/ear/ear.htm, [accessed 20. february 2014]

Sound location and mirros - devices for war.

KIRCHER, Athanasius, 1950, Device for hearing - megaphone, Sepientia, http:// sepientia.com/2010/02/athanasius-kircher-vs-leonardo-da-vinci/, [accessed 20. february 2014]

Sound location and mirros - devices for war.

FURUTO, Alison.“‘Seapeaker’ YAP Istanbul Modern Proposal , / Evren Başbuğ, İnanç Eray, Meriç Kara, Engin Ayaz /” 20 Feb 2013. ArchDaily. http://www.archdaily. com/?p=333764. [Accessed 23 Feb 2014]

Acoustic air paillion

JERRAM, Luke, 1950, Acoustic sound pavillion, 2012, Evolo, http://www.evolo.us/architecture/aeolus-acoustic-wind-pavilion-luke-jerram/, [accessed 20. february 2014]

Acoustic performance shell - Soundforms

SOUNDFORMS, March 2012, Acoustic performance shell, AudioPro, 2012, http:// www.audioprointernational.com/news/read/soundforms-mobile-performance-shellgets-grand-unveiling-in-london/04300, [accessed 20.february 2014]