Vessel: Rhapsody, Parody, & Requiem Exhibition Catalogue 2021
Yichen Sheng 988154
Studio 08: TRIPLICATE Stirling at Ca’ Corner Della Regina
Semester 2, 2021
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Contents
04 ― 05 06 ― 07
Wayfinding Plan
Prologue
03 ― 04
Q+A
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Material
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Works
40 ― 41
Critic Review
42 ― 57
Index
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Notes
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Knowledge Bank
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Wayfinding Plans
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Prolouge 29/10/2021
James Stirling was sitting on the boundary between Post-modernist and modernists. I believe there was an implied balance in his works, partially intuitive and partially rigorous, which I found difficult to decipher. And that was also the driving force for this project. James Stirling’s Neue Staatsgalerie itself is an allegory exhibiting historical fragments that crystalized in the moment of their collapse. There is an implied narrative in all his moments and details, this is the kind of museum exhibiting itself and inviting bystanders to witness its full story. Which I rarely see in other museum architecture. I would describe Neue Staatsgalerie as One Thousand and One Nights of the museum. One museum is loaded with moments of humour, irony, and parody, which ultimately changes the way people may perceive museum architecture. That’s why Stirling objects are so intrigued, a single entity inhabited with a character, a concept, or an infinitely expandable framework…This makes me start thinking about the architectural elements/ moments/ fragments’ property of “contain”, not physically contain, rather philosophically inhabited with a quality that points towards a certain direction. The most of museums we see today are “Container”, the pristine white cube of emptiness. Perfect background paper for Instagrammable photos. Different from a so-called “container”, Ca’ Corner is more like a Shell bound to its historical reminiscent. Does the brutal intrusion of banal technology truly fit a Shell?
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There was another layer of the undefined relationship between the museum itself, the exhibition, and the city. My interest is, to what extent does the exhibition influences architecture? Thus, the constitutional form of the museum should neither be a Container nor a Shell. But rather as a Vessel. I would describe my approach as a process of transforming Ca’ Corner Shell into a Vessel using Stirling objects, and “contain” a quality that would respond to the art contents it contained. Can there be a mutual conversation between museum architecture, exhibition/artefact, people and even the city? Rhapsody, Parody, and Requiem are the three objects I began to learn Stirling. They are the epitome of my understandings of Stirling’s operation. Which further expand into architectural devices that operate on the Ca’ Corner building. Due to the nature of the permanent exhibition, the collection needs a reason and a gesture/ narrative to be contained. Interestingly, the collections of the Stop Painting exhibition have a lot in common with some of the Stirling ideas and operations. Thus, a remix of art concept and architectural operation is created in the form of a Vessel.
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Interview Conversation Between Karry Sheng and George Willmott
18/10/2021
On Stirling (Archive) 1. What did you find most challenging when working with sterling's material from the CCA Archive? Stirling's material from Archive has his own particular complexity, either with its form or spatial logic. Because we started with a soft focus on a singular object, whereas some of his ideas or concepts are more of global concern. It is extremely interesting to meander in his Archive, each drawing and details bear purpose or references, irony or humour. Designing an object is an interesting way to start learning Stirling, which is also quite challenging because we need to narrow our focus down to a particular moment of flicker of Stirling, and not get lost in the amount of information/ contents loaded in his works. 2. Do you think Stirling is still relevant for contemporary discourse? Yes. I believe Stirling is still very relevant for contemporary discourse. His idea is actually quite contemporary, people usually see Stirling as a Post-modernist, but I think he hates to be read as a Post-modernist. He is something else... Between Post-modernist and Modernist. I have been doing research about new museum and the concern of loss of context, and Stirling was trying to link the museum back to the history and city in a novel way, which I didn't see in any other architects. One of the major crisis of contemporary museum is forgetting. Source inspirations from the tectonic, cultural context, even the debris of the building allows the architect to embed meaning/ narrative into Museum. And this is something that I found most of the contemporary museums lacked. On Museum 3. What do you think are the challenges of thinking the museum beyond the container for art? What is exhibited and what does the exhibition in your museum project? Is it that simple? Most of the museums we see today are the container for art. The "white cube" museum obedient to whatever contents it contains. In my project, I see Ca'Corner as a Shell. Different from the pristine containers, Ca'Corner is both home and museum bound to historical reminiscent. So, I am interested in transforming the Shell into a Vessel using Stirling's reference. The remaining shell of the Museum would fail to captivate the audience without storytelling assets. Especially, the Stop Painting exhibition is permanent in this context, thus, I believe the Vessel itself needs to bear meaning to build dialogue between art contents and the audience. It is like a rhetorical approach balanced between museum and exhibition. I believe redefining the relationship between museum, art, and the city is the most difficult task in designing a "new" museum, Stirling's Neue Staatsgalerie is a Museum of the museum, the building itself is exhibiting the glorious moments of the best museum, the building itself "contained" something not necessarily relates to the contents. In one way it is fully reasonable, but in the other way, I found this might be a miss-opportunity to build an extra link to its contents beyond what Container did.
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4. What are the challenges that you've encountered when working with the Ca’ Corner building? My design heavily relates to the Ca'Corner, modeling all the ornamentation and the building itself is quite challenging, also understanding all the nooks and subtle details of Ca'Corner is a challenge. Another challenge for me is to think about which one of my objects can fit into which part of the building for good reasons.
On Exhibition 5. Considering the role of technology in exhibition, design, is this a concern for your design? If so, in what capacity? I think technology has been a backdrop, a hint, or a narrative device in my design. One of the most significant features in Stirling's work is his reference to industrial elements, where colourful industry product co-exists with heavy, stereotomic mass. Either can be seen as a reference to High-tech architecture or Russian Constructivism. Interestingly, It also indicates a transition from classical construction to modern technology. A steel column could just be there as a banal steel column, or it can be integrated into a shell of the classical wall to become something else. 6. Does the idea of exhibition or display technology, change your conception of museum architecture? Yes. The exhibition/ display technology heavily influenced my conception of museum architecture. It is a driving force that makes me consider designing a new type of display, and how they could be integrated with the existing context with purposes.
On (the) Future 7. How would you describe an architecture that exists solely inside the museum? How is that architecture different to architecture that exists outside the museum. I would use the term "Vessel" again. There is an inherent significance of the museum's role in the city, an institution of memory. The museum is a medium between exhibition and human, and it is also a medium between city and human. Thus, I believe the way people perceive and experience a museum, and its embedded narrative distinguish that architecture of museum from the architecture that exists outside the museum. 8. Has your project for museum, changed your position or attitude to architecture more generally? If yes, how? In particular, for this project, we are dealing with a traditional typology of home transforming into a museum, and we are doing something completely different in probably unprecedented approach, I am thinking about what are the new potential for other typological architecture. Is there a new way to design other different typologies completely different? And how does it contributes to the discipline?
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Material Stirling archive materials from CCA (museum project)
Staatsgalerie, Stuttgart, Germany: perspective for entrance canopy
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View of the galleries, Staatsgalerie, Stuttgart, Germany
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Clore Gallery, London, England
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Material Stirling archive materials from CCA (museum project)
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Works Final Drawings
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7. Exhibition Suite 2 8. Magazzino opere 9. Toilet 10. Courtyard 11. Exhibition Suite 3
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1. Grand Canal Entrance 2. Book Shop 3. Entrance Hall 4. Reception 5. Calle Entrance 6. Exhibition Suite 1
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PHASE 3 - EXHIBITION Stirling × Ca’ Corner Della Regina × Stop Painting 1. External Balcony 2. Exhibition Suite 4 3. Exhibition Suite 5 4. Exhibition Suite 6 5. Exhibition Suite 7
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6. Exhibition Suite 8 7. Toilet 8. Magazzino opere 9. Exhibition Suite 9 10. Exhibition Hall 1
11. Exhibition Hall 2 12. Exhibition Suite 10 13. Exhibition Suite 11 14. Cantilevered Exhibition
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6. Toilet 7. Magazzino opere 8. Exhibition Suite 17 9. Exhibition Hall 3 10. Exhibition Suite 18
11. Exhibition Suite 19 12. Exhibition Suite 20 13. Exhibition Hall 4 14. Altane
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SECTION A-A 1: 200 @A3
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PHASE 3 - EXHIBITION Stirling × Ca’ Corner Della Regina × Stop Painting
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SECTION B-B 1: 200 @A3
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PHASE 3 - EXHIBITION Stirling × Ca’ Corner Della Regina × Stop Painting
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SECTION C-C 1: 200 @A3
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External View of Altane 36
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Second Floor Interior Exhibition 38
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Critic Review Conversation Between Karry Sheng and George Willmott
18/ 10/ 2021
Karry’s design for the museum is dealing Stirling’s element in an ambiguous manner, while considering Ca’Corner as an unmovable shell anchored to the past, she manages to integrate the postmodern elements of Stirling with the museum in a harmonious way. The collision of the history and postmodernism meets in a very ideal manner. Both the ornamentation emphasised by the museum as well as Stirling’s idea are double up and the conversation is becoming more powerful than it was. In her second object, Karry handled the circulation nicely by making use of the Stirling’s playfulness idea behind. Integrating the bold colour in her design, she was trying to redirect the circulation in her planned manner. Without deconstructing the Ca’Corner’s original circulation, she manages to make use of Stirling’s bold colour idea wisely to create pocket spaces. In Karry’s project, she is trying to challenge the fixed and planned space in a critical manner. She manages to redesign the structural loading distribution of the museum, shifting it from the load bearing wall to the pilaster column. This act helps the museum to infuse more possibilities and flexibilities of space arrangement in the museum while displaying the artwork. It is interesting to see how layers of art is embedded in Karry’s design. Leaving the Ca’Corner historical design as the base layer to kick start, by overlaying Stirling’s idea and elements on top of Ca’Corner does increase the content of the museum. Instead of inward building and enriching the content in the museum,
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Karry’s approach tends to be more outward growing, the museum itself was perceived as an artifact and the city becomes the museum. The context is growing and the architecture and art is no longer be bounded in the particular space anymore but it is able to grow and reach the city outside the museum.
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Index Phase 1: Object
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Object 01: Rhapsody Each of three objects encapsulates one of the qualities in Stirling’s works. The first one is Rhapsody, it represents the playfulness in Stirling’s works. The entrance canopy with Constructivism references is intermingled with a portion of the ceiling in Ca’corner. The Ca’Corner building itself is an unmovable shell anchored to the past, so the entrance canopy is used as a device to reconcile people with their modern, industrial environment. The axial plane of the Ca’corner ceiling is shifted using entrance canopy as a reference and turn it into wall. The cutting on mass follows the silhouette of the canopy, and the elements on the entrance canopy are dispersed and delivered to this negative space becomes a secondary ornament.
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Object 02: Parody The second object is called Parody. It means to evoke the ambiguity and parody play in Stirling’s work. In this object, both enfilade in new state gallery and Ca’corner are taken into consideration. What is it means to have a parody of enfilade in modern context? Instead of having rows of doorway physically aligned. The order of the enfilade is embedded in the inherent body of the object. Which means introducing depth to the planar surface of a classical wall. It becomes a mere imitation of the traditional order, the formality may retain in frontal. But novelty emerges when the concept of enfilade becomes a camouflage skin. I used this second language, this green frame present in Stirling’s interior to deprive the pre-existed ornament from its surface, to reveal the abstracted, whitewashed skin in modern gallery. The transparent frame allows a visual continuity to the physical enfilade, however, the circulation is redirected to a newly emerged entrance by the green frames.
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Object 03: Requiem The last object is about monumentality and nostalgia that often practiced in Stirling’s work. The way he did it, is through displacement and abstraction. The displacement between solid and void, surface, and mass, interior and exterior. And to alienate and abstract a material from their intended function, to indicate what they used to be and why they no longer be so. Which is evident in my reference of Clore gallery, where grid on the facade is used to collect different material from the context. A typical room that demonstrate the classical order is selected. The structure is supported by the load bearing wall, and the pilaster is only used to give an appearance of supporting column with only ornamental function. And in a modern sense, it could go inverse way. Which means to give a displacement between the function, the pilaster is reverted to a structural element, whereas the load bearing wall is just mere decoration indicating what the used to be. And the original classical fragments are alienated and becomes a reconstituted object. And the grid is internalised, more like an implication to give a sense of shifting from classic to contemporary and explaining why we no longer need a load bearing wall in the interior.
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Index Phase 2: Museum
The three objects are direct operations on Ca' Corner building using Stirling details. They might be seen as interruptions that coming into the Ca' Corner and redisplay building itself as an artifact. The first one is rhapsody, where Ca' Corner as an artifact is abstracted. It is inserted into the first floor as a critique of Ca' Corner entrance, which I considered lack of sense of coming in and publicity. Three different entrance experience corresponding to the three portal on the facade. The second object is parody, where Ca' Corner is fragmented. it is a critique of museum circulation. It use frames as a device to redirect circulation and create pockets of space within the existing framework. The third object is requiem, it is the displacement between the Ca' Corner object. The original load bearing wall is displaced with the decorative pilaster, so the pilaster becomes structural column. Which is a critique of wall permanency in Ca' Corner. Only the object is permanent structure whilst the footprints of the previous wall is retained as a ground track for the sliding grid. The space can be reconfigure based on the exhibition contents. By this means, the artwork becomes an extension of the museum, the museum object also becomes an extension of the exhibition. These three objects operate on the existing context to make them an inherent exhibition of the new museum. Apart from the three objects, the museum itself has layers, the original historical layer may erodes and reveal the radical change behind, and the outcome contained within a form display box. So that the museum is perceived as an artifact and city becomes the museum.
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Ground Floor Plan
First Floor Plan
Second Floor Plan
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Second Floor View
Perspective Section
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Ground Floor
Mezzanine
First Floor
Second Floor
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Notes Process documentation
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Week 1 Sketches and Initial iterations of object 1
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Week 2 Iterations of object 1 work in progress
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Week 2 Object 1 with details modeled
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Drawing style exploration + concept diagram
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Week 3 Object 2 Iterations
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Week 4 Object 2 updates
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Object 3 Initial iteration
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Object 3 Updates
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Week 6 Museum Initial modeling
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Museum concept development
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Week 7 Phase 3 Object 3 development
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Development of facade and ground floor
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Object 3 section & Ground floor entrance iteration
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Facade Iteration
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Week 9 Phase 3 Object 3 development
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Phase 3 Object 2 development
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Week 10 Phase 3 Object 3 development
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Phase 3 Object 1 display strategy development
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Week 11 Building envelope development
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Building Interior development
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Week 12 Apparatus drawing exploration
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Knowledge Bank Bibliographic information and research material
Reading Fischli, Peter. Stop Painting - An Exhibition By Peter Fischli. Milan: Fondazione Prada, 2021. Vidler, Anthony. James Frazer Stirling: Notes from The Archive. New Haven and London: Yale University Press, 2012. Tafuri, Manfredo “L’architecture Dans Le Boudoir: The Language of Criticism And The Criticism Of Language,” in The Sphere and the Labyrinth, avant-gardes and architecture from Piranesi to the 1970s, Cambridge: MIT Press. Rubin, William. “Talking with William Rubin: ‘The Museum Concept is not Infinitely Expandable’.” Artforum 13, no.2 (1974). O’Doherty, Brian. Inside the WhiteCub: The Ideology of the Gallery Space. Santa Monica: The Lapis Pres, 1986. Stirling, James. “The Monumental Tradition.” Perspecta, Vol. 16 (1980), Cambridge: MIT Press. Frampton, Kenneth. “On James Stirling: A Premature Critique” AA Files, Autumn 1993, No.26 (1993), Architectural Association School of Architecture. Farr, Michael W. “James Stirling and Architectural Colour” (Ed.D., University of Manchester, 2013) Garbayo, Javier de Esteban. “James Stirling. Regionalism and Modernity” CUADERNOS DE PROYECTOS ARQUITECTÓNICOS, Vol. 0, no. 5, 144 – 147 (2015), Spain: Universidad Politécnica de Madrid. Dogan, Fehmi and Nancy J. Nersessian. “Generic abstraction in design creativity: the case of Staatsgalerie by James Stirling” Design Studies 31 (2010), 207-236, Elsevier Ltd. Stirling, James and Michael Wilford “Neue Staatsgalerie Stuttgart.” ANY: Architecture New York , No. 2, (1993), Anyone Corporation. Crinson, Mark. “‘Certain Old and Lovely Things, Whose Signified Is Abstract, Out of Date’: James Stirling and Nostalgia.” Change Over Time 3, no. 1 (2013): 116–35. Cannon-Brookes , Peter. “The Post-Modern Art Gallery Comes of Age: James Stirling and the Neue Staatsgalerie, Stuttgart .” The International Journal of Museum Management and Curatorship (1984), J, 159-181. Szacka, Léa-Catherine. “‘Roma Interrotta’: Postmodern Rome as the Source of Fragmented Narratives.” Chapter. In Rome, Postmodern Narratives of a Cityscape, edited by Dom Holdaway and Filippo Trentin, 155–70. Pickering & Chatto, n.d. Maarten, Delbeke. “Roma Interrotta. The Urbs that is not a Capital.” Rivista europea di studi italiani, volume 26, issue 2, pp. 37 - 49 (2011).
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Online Research Venezia da Vivere. "Discover the hidden Venice with Carlo Scarpa." n.d.. https://www.veneziadavivere.com/en/carlo-scarpa-venice/ Archeyes. "Brion Cemetery & Sanctuary / Carlo Scarpa." Published March 22, 2021. https:// archeyes.com/brion-cemetery-sanctuary-carlo-scarpa/ Archiobjects. "Castelvecchio Museum – A masterpiece by Carlo Scarpa." n.d.. https://www.archiobjects.org/museo-castelvecchio-verona-italy-carlo-scarpa/ Artforum. "Reena Spaulings: Museum Ludwig." n.d..https://www.artforum.com/print/reviews/201708/reena-spaulings-71252 Texte Zur Kunst. "JACK GROSS ON ED LEHAN AT REENA SPAULINGS FINE ART, NEW YORK." Published July 2015. https://www.textezurkunst.de/articles/gross-lehan-reena-spaulings/ Larios, Pablo. "“Stop Painting” at Ca’ Corner Della Regina, Fondazione Prada, Venice." Mousse Magazine, Published October 2021, https://www.moussemagazine.it/magazine/stop-painting-fondazione-prada-pablo-larios-2021/ CCA. "Cities of Artificial Excavation: The Work of Peter Eisenman, 1978-1988." n.d..https://www. cca.qc.ca/en/events/2642/cities-of-artificial-excavation-the-work-of-peter-eisenman-1978-1988 Apollo. "At the Fondazione Prada, painting refuses to play dead." Published July 2021. https:// www.apollo-magazine.com/peter-fischli-painting-fondazione-prada/ Filipovic, Elena. "A Museum That is Not." E-flux journal, Published March 2009. https://www.e-flux.com/journal/04/68554/a-museum-that-is-not/ DW. "Germany takes top prizes at Venice art show" n.d..https://www.dw.com/en/germany-takestop-prizes-at-venice-art-show/a-38826200 Ateliers Jean Nouvel. "Tokyo Opera House." Published April 2011. http://www.jeannouvel.com/ en/projects/opera-2/ Monica Cesarato. "Looking afar in Venice." n.d.. https://www.monicacesarato.com/blog/looking-afar-in-venice/ Arch2o. "Wunderkammer | MVRDV" n.d.. https://www.arch2o.com/wunderkarmmer-mvrdv/ Bernard Tschumi Architects. "Le Fresnoy Art Center" n.d.. http://www.tschumi.com/projects/14/
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