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io) id f o c S o d r a ic R Diller, t e b a z li E ( io id f Diller+Sco ler) b o K n a t is r T ( s m Morphing Syste aye) M e n a h p e slin) t u S a ( J a n a f e t S Techdat r, a uslin) Vehov a J ja l e t ie a n a M ( D n , li e s p u rc Lam a M , k y Vehovar & Ja E n a V y , Jerr e z u e G n a ia r d West 8 (A
Extasia Team -
Competition
1998
Extasia Team
on i t c u d e S f o Dramaturgy de nervios ue q a t a n u e d e d r n Mujeres al bo io it t e p m o c 8 9 9 ins, 1 a B s le n o d r e v Y
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D
on i t c u d e S f o ramaturgy n
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petitio m o c 8 9 9 1 , s in n les Ba
il, o s le b a t s n u l a reve m o t t o b e k la f o mic ores o b n t o s c e e t e t t a o h t m s o r n r p bler o wa o p x K E n , a e t Extasia Team k is la r T n d o n n a ls io t V&J posa c . o r n u p io d e it t t e a e S u p it f m s o o c o t r y Dramaturg 1998: After encouraging architects ledge Extasia splits on strategy fo r know is h t h it er. W t . a s Early Novembe e w il n p o p d e il e u d b f o o olve t g use s in e t r a n it e s h s t e g c n e e n r t s thu st 8 s e W d n a S + D , ject n land based pro io it t e p m o c 8 9 9 ins, 1 a B s le n o d r e v Y
Extasia Team
on i t ens. c id u w s d r e e b S m f e o m team n e e w t e b p a Dramaturgy g as e is r s n io s n e T : 8 n November 199 io it t e p m o c 8 9 9 ins, 1 a B s le n o d r e v Y
ich h w e p a c s d n la roof/ d e t il t e h t r e d f the n o u t n x e io t it n o ib c h x e e h t e , and ’ is th s r e o c h a p f r a t u Extasia Team e s f m o r s o e n , io t c scape outsid d u d n n d la a e a e , S id g s f in in d o , il n u y Dramaturg ly proposal thus far that is ‘not a b irculation, the media, the exhibitio l. n the c orma f , e a c a y l p e s is e c h e T r . D+S fax: The o p s e hich is vocat d w a y l t il li t s ia t a m p a s e t s e u tiguo n o c d n our half of th a id lu f , ooth m s a f o t r a p ll n lake are a io it t e p m o c 8 9 9 ins, 1 a B s le n o d r e v Y
Extasia Team
n o i t c u d e S f o y g r u d t a m a Dr he program un
,s e r u lt u c b u s in b’, as u s ‘ g in e b t s lo have e w , e p a c s d n er a la
gt in g r e m b u s t o n g. in d D+S fax: By il u b t n e s b a of an y t li a ic d a r e h t n lost io it t e p m o c 8 9 9 ins, 1 a B s le n o d r e v Y
ave h e W … . e iv s r ve ublimininal, sub
media / e p a c s d n la a make o t t n e m e ter e a r g w a a l a e s in o ig p r o o r p m e , we m th s o r r f e b y a m Extasia Tea e w a m g m in a n v e o io t by t c re m d a u e s e d o w e p o s S r m p f e y l e o t s n y it e Dramaturg of passing ideas back and forth, solidity of the landfill scheme curr s h t n o ls. ... o the t m ia t r o s e w a t t r a t r n m e o t g c Af in n I d il . ry bu e-free a r u im t r c p e it e h h t c r e a b is ould ke. w la ir e a h t d n r project that a e v r o e t g a in float tion. W � r lu o lu s b “ ic t l a a ic m t u p e o n as an r a based/p e p p a ld u o w mist e e h t f o t c e f f e n The io it t e p m o c 8 9 9 ins, 1 a B s le n o d r e v Y
lcome e w r e g n lo o n were e w t a h n t ns o d i io e t t c m c r in t o u f is d in d e l e a r S n e f io w o y fess o and I g r r p ic r u R e t : t t a m a a h e m s t a o e t r h t D s of greed r a e b e w m e h m ic h y b , w e m in d a e n ma oject e r e p b e s h t a h o t n t r io Dear Exstasia t t a t a s c sive d. ... emar s a d e B r r . g a o o le o r c T p r. a a o , r b e m t la a f f d ion o .…A t is c iv je d o l r a p Since Rotter n l a io r it u t d c a o a tr rchite t a d e e h t t a r e r o t f e s r r o d t n a red a e v o collabor c is d s a h m he tea t , s ie h c r a r ie h n and io it t e p m o c 8 9 9 ins, 1 a B s le n o d r e v Y
Extasia Team
Extasia Team
on i t c u d e S il f ib s o s o y p g e r h t u e t t a a Dram e to investig inu t n o c l il w e w , n ... Despite this io it t e p m o c 8 9 9 ins, 1 a B s le n o d r e v Y
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te a w e h t n o n io avil ity of a media p
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on i t c u d e S f o ramaturgy n
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petitio m o c 8 9 9 1 , s in n les Ba
ing ls u p f o e is o n e e whit h t d n a t u o e d it e h r e w l w a lo ic t e p h o t m , a n h e a t T a y bre il only t r Extasia n e v u e d h e s it n a w r o e d i t y le l c a u d ir inh e slow e r a a S e s h f t e f c o o n es. e y y r s it g e n s f r e n e s r u e l e t d a h a t e ic h t e t s m g : u a a g o g r c in D hten all en and a r ig l e e a t h u a y is w r v o e , s y k n e la e n r s d u e a jo tomiz lates a u f o im t t s n e n c io s t a e along the 140m h iv t r dep and , y y r a o r s p n s e r S e . t a in a w f m o und o s e iv s a fog nozzles re v r e p d te an a c li e d e h t , e r u n temperat io it t e p m o c 8 9 9 ins, 1 a B s le n o d r e v Y
et y , s ie g lo o n h c e onic t r t c le e d come n e a b e r ld u t u c o e w it l, h c a r r a e phem ether e g o y t ll a e v Extasia Team m a r e o n w , o t n ia io t med ive is c t ic c u n o je d r b t e o c r S le u e f O d . o n g a ts. o y f c e e g z g f r li f in e ia u p r t ir e lo e t a e h a v t n m m y e l e a n d e r o D ould ith th ving w a w e le d r , e u t t le a c r e ib g it is e h v t c r in in a y t is ntirel Thus, e r. e e h b t o ld u e o h t w r the media even t o a f each ies th g f o lo s o n ie h t r c e e t p o d r e p t istica h p o s e ir exchange the u q e r h would t o B . e c a p s in n palpable io it t e p m o c 8 9 9 ins, 1 a B s le n o d r e v Y
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and m s e s o p x e g in r explo t e c r a e j e o w r ) R P U r L B u ( Bl osal p o r p ia d e m e .… h n T o : n n e o t m e o c n in e r h P p t s LD a mas ia d e m t s ir f e h t a, n for the panoram io it t e p m o c 8 9 9 ins, 1 a B s le n o d r e v Y
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centre e h t in e b o t claim r e g n lo o n n a c rver e n s a b m o e d c e r in t S n . e io t c e id pt the e targ e h c t c d a n a Diller+Scof ld u n o o p w a a e . oram the w e n a h t im p t o d b r e a is e is v n � li e s r s d e e n r t h a Blur ProjecFor this project the theme of “progr is an issue of critical reflection. T challenge geographical continuity : s to ctato n e io p t s n e e v h t n f o o c l LD at Princeton n ia io t posit t spa is e h w t t , ld ld r u o o w w , le s b ologie n h c e t le of a controlla e t g in ut, us b w ie v d n u o r a n and wrap io it t e p m o c 8 9 9 ins, 1 a B s le n o d r e v Y
Extasia Team
on i t c u d e S f o Dramaturgy n THE BIG WIN io it t e p m o c 8 9 9 ins, 1 a B s le n o d r e v Y
Pepsi Co
,a
d n a , d in h e b s t c ity of the obje
0 7 9 1 o il p ib x is v E e t h t a y l b n a o r la Pavili duce conside
Fujiko Nakaya
e r o t t h g li h g u o ter en t a c s ld u o h s it re. e h p s o 1- visibility: m t a f o s ist. ic s r m e a p n t y o d n le r, a ib in e k is p s v disap to the ld l u o o o c h s otherwise in d n it a ; s t f n o io s feel ondit c ld u ic r o e h s h p it s : o y m it t il a the o t t 2- tangib c je b u s e b hould s it : y it il b a r e ln 3- vu Osaka, 1970
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.‌ e s o p o r p u o y r an m a e le n b o is r , p s e a h t h c r u o air, s tion f n lu e o p s o d Extasia Team n in a e h t f a f o m li n ve a icroc a m h t d ’ e n ll o o d r t I n y o a c s t a t Blur Projec X to Eric Bunge: 19990515: I mus t, I would say a cloud off ground, I may be of some help. FA ver, ientis e c s w o a h f , o e lf p a a h c Fujiko Nakaya s e d b e lan g on iv in t k c a a e r p e t s , in t c n e a p f s o rms e t in it g As for the pro in h c a o e appr r a u o y f I . y it il uction r t impossib s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
… . e k la e h t ed s s s o o p r x c e a d d n e a t a e lo m f ds ca ffold a in c s w r g e n t o e r t Extasia Team m S 5 . y 1 k ed a s k g e o h in t lo t w t I s o t . in t e a u g g o r a a w d b billo lage avel f d r u n g t o a c e m r g a e e u t j c h a s o a w a r l: e w P a h g t e r all to the fo Blu e blue s surr f h a d o t n t w t a l s n e y a t in d g â a u e h g b c lo a c u g e ic o y f r N m lake as ve dyna d the n n w d a o n it t a d t s e s e le p t ir p ib F g o . t is o y f s v l s e y d u r h T e win as ve h ntinuo t w o , c s in s g a a r in m g o t n g a o d f h e c t e r s h a it sta up. T n d e e h k ic W p . s d il a in The weather w r t w g e ng fo nd th a lo t g u o in c e u m d a o c r p n , u the s n e h T . the structure d u lo c m hroo s u m r a le c u n i like a min uction r t sky. … s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
t
od tha o t s r e d n u s y a e alw w , d u lo c s lu u d cum e m r o d. f m e y t a l a e t T c ip e f ia ic r t s e n a p a a n Ext a d h ing t t epicte s d e y r ll e t ia in it e in r o d a m h we t is far e il c r, h e e v j W e . o g w r o in h P g , a s r r n u u Bl nditio y enco o r c e r v e e h t r a e e w w t l s a e t u he r act e d n u g o f l ia The results of t ic if e art h T . y it il ib s s o p uction r t image as an im s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
. t c je o r p e h t m ay fro w a lk a w o t d e n n e e h t a w e r g h in t t 8 it t u s q e o m, W d int a e d h r s e u t t p o t s R Extasia Team o in lm p a o was orksh S w + ic D h , p s o d r r t a s w a t r a e t c Blur ProjecDt +S fax responding V&J: After thed diminished roles in the project. Af ded a u s r e p m a e t e te : ly, th p e e t c a c n a u t S r o + f D – d J n Early May 1999 by V& W8 a h d t e o yet c b , u d d m o n a r a e p t , s e m e m iv t h le t a b r d o o e r b ing p colla d a n e e n s u o We dissuad . h e d c h u t u f lo o o c Y e ? e caus te th ttern e a ia b p r p it a o u r e q p e o p s t a u y o o d t y a d o e m. D and r u r n you trie o io F t a e r h t e p n s o e r d e o en t partn iv r r u d o s y a s w a a it t u a q d h o t Tec ned e t a e r h t w o n s ha . . . le ib s s o them to stay. TK p im e n to b e v o r p s a h n io t uction r t collabora s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
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ot ha n ld u o c e w , t h hindsig n I . e m o is r r o very w
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a r t n o c l a u id iv d t has in c e it h c r a h c a e tity: n e l a g le io t k. id n f r e o o d c w n S e e p it e s d r e t e t a Diller+ in in oord nger c lo o t o n 8 W ’s it d : n s a m K r T t with ansfo r t c t c e a m t j a n o e o t r c d s P n in a r a t d u Bl main electe S s + is D , . S o R p H x E r, o o t t c tra lation e r in y it t n e s April 2000: con s usine b s in a m e r ia s uction r t with HRS. Exta s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
Diller+Scofidio
Blur Project
uction r t v1 s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
Diller+Scofidio
Blur Project
uction r t v2 s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
Diller+Scofidio
Blur Project
uction r t v2 s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
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Blur Project
uction r t v2 s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
Diller+Scofidio
Blur Project
uction r t v2 s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
Diller+Scofidio
Blur Project
uction r t v2 s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
alities u q e u iq n u e h t e of g a t n a v d a e k a g t t in ’ s n u s t e c o d je o r r e p t a io ia h id r d ama a me r r o e n a id p s Diller+Scof n e o h c t f o t o s e spac ged u x a r o u b o k c c n la e b H e M h t t t Blur Projec r - Direction Artistique] feels tha any building. Frankly, he’s right. …r. lle nso ist in o x p e s s ld n u o io t c a t c ic v3: [Martin He n je u o omm ia pr c d e le e m t e a h t e v ls a e h e f y l robab p l il w e of the fog. He w s a y l icular t r a p , s ie g lo o n uction r t tele-tech s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
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s n m lu o c h c a e r als fo n o g ia d r u o f t s y. Ju it r g io e id s f n o e c t S e + m r a le Dil gs the s in c is a g r b in c e a h r t b d e n h a T mns mns. lu o lu c o c e t r h c t u o e e f j e t s o s t r ju o P n ost” e have Blur lm W a ! “ S l K il R w O u W o Y T I . ture c retti: u d r e t s P & is a h r t e h s s it a w P v3: ers) e in g n e s a ( y p p y ha uction r t I like it, I’m ver s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
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uction r t v3 s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
t o t p m a r e h t p es u u in t n o c , e r o h Diller+Scofidio s ins at g e b t a h t e c n ie e xper t r e c o l h a e s r j o o o t p r m m P e e t t r s a y u s s Bl tion ped a la lo u e c v ir e c d e e h b t l h il g w u ct thro k c a b d n a r, a the media proje b l ange e h t o t p u , x o b uction r t and the glass s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
h the g u o r h t , g in d il u he Blur b
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h ig h s e g e il . iv le r c p a t t spec e tha r f u o lt n u c io t l n a e ic v g n o lo c o ic very echn r t e e r h h u t p o n s n o io I t m s r. t e a lu u s B q t it f o c Blur Proje , undoubtely a spectacle, puts int nd vision is the central dilemma o n. The strongest feature of Blur is nd contextless. g ss, a ion a initio f is le e v e d c s a e f w r g lo u e s il y l , iv d s r The Blur Buildin s e p , le id mass ourse is dec , c r s f s o lu , le B � e , c h le a c c p a in s t r c , s e e s p p alele ixels c p s , in s s n le The word “s io t h t c p a f e d is t , res sa reless u u t s a a e e f m e t b a l h il t , w n tacle c e p definitio s is h T . s u c of fo k c la d n a y it s o uction r t lumin s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
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d n a n io t n e t t a d cuse o o f s e c la only p e m r m r o lu c B n . . . io . s x io n a e id f m h a cli prre a d n d a e u p Diller+Sco u in t d n il o u c b f a o are h e s it s ie n w it e e s iv r t a u c t a y c ’ b u s r d t r s e e t stain , view c matic u d s a e r e , j t d s o s la a a r u s g m P a e h r g r n o y f u ll u l e a is B ent typic oss th m r le e c c v a a o t d c m e e s s p r a s e d e p n h is t a d , t tion, focus n l e a t r t t a n e d c e t o a n u As a mass even n is e t there ith at s w A n . n io t w a o ic n k if s n n u e of the r a e f d temporal int n rk. a o n w io t ia a t d n e ie m r d o e is s d h isper d e h t f o n io t c experienced wit a d distr n a n io t c a r t t a uction r t subject to the s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
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the in le b a lp a p g in k a on m d e s a b is r, e v e , how y it m li b u s f o n uction r t This notio s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
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an,
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e.... t a e m li c o r ic m ybrid o h t a n e e t c s u li d d o n r a p io , o d id t bine h, rea c m t o a c w r e Diller+Scof e h t W a . e n w io t l orma actua f d in n r a e g h t o f a e e w d a o t t m Blur Projec eather. Whitin the fog mass, man contemporary culture is addicted w truth, n I ? e u s is l Blur is a smart a b y glo l u r t y l n o e h t r Is not weathe s... uction r t weather report s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
future e h t , s n io it s o p ’s ex ld r o w f o le ip ore c m in r s p e t g a in d y l g r io in e h d id t f n o o u that n nd an y a l r , Diller+Sc a e le m c e h s t e t a a s r mpt t a e s t t e n r a o u t e m u h e f t d e d s h n n t a f io e o it r s e Blur Projecet of the future? Given the prevalencthe expositions. The history of exponown? The indeterminacy of the futtiou ns, wheather k r ic by e d b d e r e n c p a u c d d t n o a e r r h p t w t n c d a io n what is the futu ence if h a t s lu r f d a a f e in l t , a y ic is r l s d u e y t e lt l r a u a p c n im e a a lt b t nd u can arke a en as t , e m a t s h k ic c e W d o b e t r n S ‌ p a . . , c e e e r r lf e u u e s t lt s it ry cu nd to the fu a a r t o u d p o n b a m h a e t r s n e n o p io c p t r u c u e oje in th h of o a c g u o m t s e t iz p r m e t e quickly than pr t a t r a a cy ch re all a a in g m in r n e n t e la d p in r e t is disas d n a , s to master th ll o p l a ic polit , g n li b m a g , g in forecast uction r t the future. s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
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f o n io t a d a r g e an d s l a a u r, is la v u t c n a t e c r e e t p h s c than r e h t a r l a r Blur Proje S: Rather than work against the invision entirely. t c e p as s y g lo o n h c e t f + o e D h e o t k of outsid in h it t g o t in Ben Rubin t k r a e t t t y e b b le ctac ps it’s e a p h s r e k P in h t ‌ e r ? e o t b tacle c e attempt p s d n li b r o l nvisua o n a ld u o w t a Wh . e c n e s e r p le ib n cer uction r t invisible but dis s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
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to , im d o t , t c in t indis e k a m o t is r lu To b ... s s lo h it w d e t a equ uction r t culture, blur is s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
ides v o r p B B e h t . y l org a u is v a is lf e e s it iv s o r p e x m E io e im h id t n f . a o . c . ’s S t le l sca see. I a t Diller+ o n t e le m t t n li o r ir e v f n f e o e BB on an c r n lu ie r b e f p o x t l e c ia t n e n a j e s t e po ‌,a iv s n r o e ic m Blur Pro l a im s. u u e is c h v o t f h e o it t iv t w in c t u o u d d p e o s t e as s is a can b s y a c n m e g d o n f e e p h e t Our proposal h d e l visua . Whil s r e u s o n t e a s h t e h o t s f s o u f foc o t u o t u p a rebalancing is ld r he wo t h ic h w in t n e uction r t environm s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
is e r e h p s o m t a is g th in r e t n e f o e c to n r ie e r d e r p o x e in e e h r t e , io h g id p f in buid atmos a is g h in t r Diller+Sco f e o t n s e ic t e k is r n ated e li u t n n c U e a t . r t a a le h c e c a h t n t c e io h p it it s t the defin cle w c f f a o t o e c j n k e c o p io t r s la n l P e e a h v u t r n is o it u v c l lo a B o the lace o exp t t p e t e r n iv t a o a t w n e r e s e o W lt . p a d o r n e a . We p spend d u s io r is e p e g im n t Blur introduces lo d n a a over lost d is e n in a io t t s a t u n s ie e r b o o ion t t n e t t a one in which d e n e t h of heig e c n ie r e p x e n ter. n u o c n e create a ic t s u o ive ac s r e m im n a f o uction r t attencion s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
Diller+Scofidio
Blur Project
uction r t feedback s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
Diller+Scofidio
Blur Project
uction r t Ben Rubin to LD s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
Diller+Scofidio
Blur Project
uction r t LD to Ben Rubin s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
ual is v e h t o t e s n o resp a is r lu B al . u e e is s v ll e a w y s l r s a io le e id n e f ent, es, th m y n e o r ir u v Diller+Sco o n e e r e o f iv e s b r imme timuli s e h e t this r o g in m it in z h e li h w t ia : c t m t o o c c s r e f f e f t in j e u d o on, b este r itizing ic e s t e n in iv e t s Blur Pr e c e u ’r d d e a e W s . s . . a a . h y ubtel sense lation o t u d n n a im u t in s r is m e o s v d s o a l e a h m t u n as io the vis the fog , is e v id n s o t e u c o n e e h d t epen From d . r it u o d n s u e o g r n a e ll e a is no ct ch je o r p e h T . d e s a er t n e im r e p x e l references are a ologic n h c e t a h g u o r uction r t atmosphere th s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
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Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in
Yverdon les Ba
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Project
uction r t v4 s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Project
uction r t v4 s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Project
uction r t v4 s n o c 2 0 0 2 1999 , s in a B s le n o Yverd
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
... and Expo
Diller+Scofidio
Blur Projecst, 1999 -2002 construction in a B s le n o d r e v Y
2015?