MA Interior and Spatial design exhibition book

I

LA

VV EE NN TT RR II LL OO QQ UU YY

K

S

A

NG

L

KA E

EET

MAISD 2013

H

T

AA RR CC HH II TTEE CC TT UU RR AA LL

A

KAN

“Du bist verrückt mein Kind, du mußt nach Berlin.” (“You are crazy, my child. You must go to Berlin.”)

(Franz von Suppe, composer, 1800)

CONTENT 1.

ARCHITECTURAL VENTRILOQUY

2.

DYNAMICS OF VENTRILOQUISM

3.

VENTRILOQUY AS A METAPHOR TO INTERPRET A LOST SPACE

4.

BERLIN

5.

THE BRIDGE

6.

VENTRILOQUY OF THE LOST BRIDGE

7.

FACADE INTERPRETATION

8.

THE PROPOSITION

9.

ENHANCED VIEWS

10. DISPLACEMENT AS A VENTRILOQUY 11. VENTRILOQUY OF THE BRIDGE 12. THE LINK 13. DIRECTED VIEWS 14. THE SPLAYED WINDOWS 15. THE ACCESS 16. THE INTERIOR 17. THE MATERIAL 18. MAKING THE PROPOSITION IN STEEL 19. THE POLITICAL CONTEXT 20. THE PHYSICAL MODEL

ARCHITECTURAL

VENTRILOQUY

he core of my practice is anchored in using the analogy of “Architectural Ventriloquy” as a strategy in addressing historic buildings, to adapt to contemporary situations. My critical concerns are rooted in the notion that a space has a voice and that this voice can be projected into another space. his voice metaphorically represents the space. he mechanism of animating a space with a voice of a foregone time is integral to my work.

In Latin ventriloquism originally means to speak from the belly, ‘Venter’ meaning ‘belly’ and ‘loqui’ meaning ‘to speak’. Ventriloquism originated from ancient religious practices. It was largely used as a divination practice to conjure lost voices and to enact spirits. Later in the 16th century it was developed as a form of entertainment. It has various meanings and its meaning transforms with the context it is in.

Fig.1. Edgar Bergen a famous ventriloquist enacting the most prevalent form of ventriloquy

8

DYNAMICS

OF

VENTRILOQUISM

Ventriloquism is a dynamic phenomenon which has been and still, can be interpreted in many tangential ways. Connor (2000, Para. 2) explains ventriloquism in its broader sense. “By ‘ventriloquism’, I mean, not merely the practice of making one’s voice to appear to proceed from elsewhere - although I am, indeed, interested in the history of this particular form of entertainment or illusion. I use the word to designate all of the many forms which may be taken by sourceless, or dissociated or displaced voices, along with the various explications of such voices and ascriptions of source to them.”

In literal connotations, “Ventriloquism is the act or art of speaking or uttering sounds in such a manner that the voice or sound appears to come from a source other than the speaker.” Wood (2009,p.104).

hough aforementioned by Connor it is more vast than that. From his analysis he states that it could infer to the concept of the “dissociated voice”. In stating this he separates the source of the voice from the voice itself and deines the voice as an entity that could be displaced.

Displacement

Voice as identity

Dissosciated voice

Displaced voice

9

Projected voice

Animating a space

ARCHITECTURAL VENTRILOQUY AS A METAPHOR TO INTERPRET A LOST SPACE

My practice speciically explores the tangible and intangible aspect of the space in the context of historic archaic fabric by exploring if the voice of a foregone building could be re-imagined and reinfused in a space.

here has been a continuos debate as to what the language of our dialogue should be while intervening in historic fabric. Chipperield (2009, p.56) states that “Nowhere has this debate been so well and so iercely articulated as in post war Germany”. here are many ways to address archaic fabric either by restoration, renovation or conservation. hese approaches largely deal with the notion of making the building a physical whole. My critical concern is about how we can not only make these spaces physically whole but also whole with respect to it’s original state in the context of its original ideal.

10

Fig.2. Chipperield retains the scorched columns in the Neues Museum to preserve its tumultous past.

11

BERLIN he physical context of my practice is the southern part of the Museumsinsel in Berlin, between the Altes museum and the Neues museum bordered by the river spree on both sides. he arched “Loggia” between Friedrich Schinkel’s Altes Museum and his student August Stüler’s Neues Museum was a signiicant connection that was bombed in the war. here is now a void that exists in its place. he dialogue between the museums no longer exists. he bridge was an attempt to unify the whole Museumsinsel.

My practice attempts to reinterpret this part of the Museumsinsel that was destroyed. his attempt however does not aim to mimic it’s original state, it aims to be a voice of the original. his intervention attempts to be a spatial ventriloquy of the original space reinterpreted and reinstated. It attempts to animate the space using it’s original context.

12

Fig.3. Map of the Museumsinsel in Berlin

13

Fig.4. Panoramic views of the space between the two buildings

Fig.5. Panoramic views of the space between the two buildings

14

0

10

20M

Fig.6. Floor Plan of the Altes Museum

he Altes museum was established to house the royal collections of the Prussian kingdom. It follows the ideals of Neoclassicism with its monumental volume, massive walls and narrow rhythmic fenestrations, It is one of the most signiicant buildings in Romantic Classicism. Its spatial coniguration is introverted and its focus is on the main rotunda at the centre. he Altes museum was designed as a part of the Lustgarten built to align with the axis of the Berliner Schloss. he building imitates the pantheon in Rome.

Fig.7. Floor Plan of the Neues Museum

he Neue museum was established as an extension to the Altes museum to house its growing collections. It was built at the brink of industrialisation thus the construction is mainly iron and steel. It is also inward looking, the main focus is the grand staircase at the centre. he Neues museum is especially known for its elaborate interiors which have been speciically designed for each room based on the collection of artefacts it houses.

15

Fig.8. Image of the bridge before the bombing

Fig.9. Image of the bridge ater the bombing

16

THE

BRIDGE

he arched “Loggia” between Friedrich Schinkel’s Altes Museum and his student August Stüler’s Neues Museum that faced the Spree was a signiicant connection that was bombed by incendiary bombs in the second world war in 1945.

here is now a void that exists in its place. he dialogue between the museums no longer exists. he bridge was an attempt to unify the whole Museumsinsel and was originally envisioned as an extension to the Altes Museum.

he Museumsinsel complex sufered serious damage in the year 1945 from the bombing. David Chipperield has been working on the live project of the museumsinsel in an attempt to regroup the buildings of the museumsinsel and to give it a uniied front and a single point of access. Even though he addresses most of the incomplete sections of the complex he fails to address the bridge that was bombed. Instead of addressing this space from a vantage point above the ground the choice was made to have it subterranean.

In doing so he does not address the space between the museums, hus the river elevation is left incomplete. here is a break in the rhythmic fenestrations of the facade and there is no dialogue that exists any more between the spaces.

17

Ventriloquy of the Lost Bridge he bridge physically connected the Altes Museum and the Neues Museum. he Neues museum was designed as an extension to the Altes Museum. It visually connected with the city through views fragmented by the colonnades. It also visually connected with the river and was a part of the uniied river elevation

he spatial experience of the connecting bridge was made of tangible and intangible experiences. he tangible being its materiality its proportions and scale and the intangible being the experience of the space as a whole - the fragmented views of the colonnade and the visual connection with the exterior and the physical connection between the altes and the neues museum.

“he mechanism by which the voices of a space can be imagined depends, therefore, on an interplay between an individual’s internalised response and sensibilities and the external realities of the space itself. he one aspect reinforces the other.”

Littleield (2007, p.139)

18

0

0

0

0

5

5

Fig.10. Analysis of the bridge facade

19

10M

10M

10M 10M

Fig.11. he River Elevation

COLONNADE ALTES MUSEUM

ARCHWAY

20

NEUES MUSEUM

FACADE

INTERPRETATION

he Museumsinsel complex was designed with neoclassical ideals. he elevation was designed to unify the entire complex. It does so by following a certain order and harmony much like a musical symphony, the various buildings are harmonised together with interludes of smaller spaces. he bridge acts as an interlude between the Altes and the Neues Museum. his feature of a bridge or a loggia as a transitional interlude that provides unexpected views is common in medieval European buildings as a result of iterations. It is especially seen in Italy as mentioned earlier. he bridge apart from being a transition space also provided views of the river.

21

THE

PROPOSITION

My proposition revisits the idea of the bridge by creating a space that provides heightened and enhanced views of the city of Berlin . he views are a heightened sense of the earlier views from the bridge. Each view reconnects with a signiicant building in the city and by doing so it places the loggia in the context of larger Berlin. It invites the city into the space. he loggia is aligned facing north-east to south west and the views are on either sides of this.

My proposition revisits the idea of the bridge by creating a space that provides heightened and enhanced views of the city of Berlin . he views are a heightened sense of the earlier views from the bridge. Each view reconnects with a signiicant building in the city and by doing so it places the loggia in the context of larger Berlin. It invites the city into the space. he loggia is aligned facing north-east to south west and the views are on either sides of this.

As above the views direct the formation of the space in the proposition. he vertical wall surfaces are splayed to direct the perceiver towards the views. his kind of splaying can be seen in the Chapel of Notre Dame du Haut in Ronchamp in France which is built by the Beaumont hills, Le Corbusier here uses splayed windows to change the perspective of viewing and to give views of the surrounding landscapes.

22

he proposed displacement of the bridge that provides heightened views of the city and the river.

he original position of the bridge between the Altes and the neues museum

Fig.12. Site Plan

23

Fig.13. he Lost language between the two buildings.

24

Fig.14. he displaced proposition between the two buildings.

25

1

10

9 8

7

26

E N H A N C E D

V I E W S

he views proposed from the pavillion create a heightened sense of the earlier lost space. he notion of an unexpected view is created as the viewer walks through the introverted altes or the neues museum and is unexpectedly exposed to the views of the city. he views bring in the essence of the city into the space thus reinstating the bridge’s earlier connection with the city.

he proposed pavilion reestablishes the physical connection between the two buildings and visually connects with the city with fragmented views of the city much like the earlier colonnaded bridge. he pavilion addresses the city with a new perspective by reestablishing a connection with the neue synagogue in view 1. he views from the intervention look out onto signiicant buildings in Berlin. As shown in the diagram above each view has a signiicant direction that aims to reestablish the relationship with the buildings.

Fig.15. Plan with the views into the city.

27

2

2 1

10 3

9

8

4

11

6

5 7

28

6

View 1 aims to connect with the Neue Synagogue. he Neue synagogue was partly built by Friedrich August Stuler from 1859-1866. It was built as the main synagogue for the Jewish community in Berlin but was heavily damaged in the war in 1943. he visual connection with the synagogue symbolises an efort to reconcile with the Jewish community.

View 2 looks towards the Fernsehturm, the television tower in Berlin. It is one of the iconic towers of Berlin. It was constructed between 1965 and 1969 by the administration of the German Democratic Republic. It provides panoramic views of there city.“In 1965, to demonstrate its superiority and increase tourism, East Berlin built the Fernsehturm, a 361.5

3

meter high tower on the Alexanderplatz. he top of the tower featured a revolving restaurant. he tower was also used for telecommunications and military observation.� Dumont(2009). View 2 also looks towards the Zeghaus. he German Democratic Republic opened the Museum of German History in it to display the history of Germany from a communist point of view.

View 3 looks out at the Berliner Dome which is the Church of the Dominican Monastery, he cathedral was later renovated by Schinkel in 1817, it was designed as a protestant cathedral. It forms a part of the River elevation.

View 4 looks towards the Humboldt box a temporary museum structure provided for the public. It houses detailed current information on all the ongoing projects in Berlin. It serves as a viewing platform from which you can see the Museumsinsel complex.

5 View 10 looks towards the Alte Nationalgalerie which is one of the national museums of Germany housing 19th century paintings and sculp-

4

tures. It was designed by Stuler in 1843-55. It was a part of the Museumsinsel complex envisioned by the great Prussian king Friedrich Wilheim IV. It is modelled like a temple.

Fig.16. Plan with the views into the city.

29

2

2 1

10 3

9

8

4

11

6

5 7

30

6

View 4 looks towards the Berliner Schloss which was the imperial palace built in a Baroque style for the historical capital of Prussia. It sufered heavily from the second world war and was later demolished by the German Democratic Republic even though this was opposed to by West Germany. Today the Federal Republic of Germany is rebuilding the palace to house a cultural centre.

3

View 8 looks towards the Pergamon Museum, one of the museums in the Museumsinsel complex. It houses large reconstructions of ancient ruins. It was built as an extension to the Bode Museum.

View 9 looks towards the Bode museum, It is one of the oldest buildings on the Museumsinsel complex it borders the river on either sides and house a large collection of Byzantine art. It was commissioned by emperor Wilhelm II. View 11 looks out at the James Simon gallery the newest addition to the Museumsinsel complex it is being designed as a Visitor’s centre for the Museumsinsel Complex by the architect David Chipperield.

View 7 looks towards the contemporary art gallery by David Chipperield. he building frames views of the Museumsinsel complex.

5

4

Fig.17. Plan with the views into the city.

31

Fig.18. Plan with the views into the city.

VIEW 1

he Neue Synagogue was built 1859–1866 as the main synagogue of the Berlin Jewish community, on Oranienburger Strabe. It is an important architectural monument of the second half of the 19th century in Berlin

32

Fig.19. Plan with the views into the city.

VIEW 1

he Zeughaus was used as an artillery arsenal for the display of cannons. It is now a military museum.

33

Fig.20. 3D Image of Proposition

VIEW 2

he Fernsehturm is a television tower in the city centre of Berlin the tower was constructed between 1965 and 1969 by the administration of the German Democratic Republic.

34

Fig.21. 3D Image of Proposition

VIEW 9

he Pergamon Museum One of the museums in the Museumsinsel complex. It houses large reconstructions of ruins.

35

Fig.22. 3D Image of Proposition

Contemporary Art gallery by David Chipperield

36

VIEW 7

Fig.23. 3D Image of Proposition

VIEW 4

Humboldt- box Is a temporary museum structure provided for the public. It houses information on all the ongoing projects.

37

Fig.24. 3D Image of Proposition

VIEW 10

Alte Nationalgalerie is a gallery showing a collection of Neoclassical, Romantic, Impressionist and early Modernist artwork, part of the Berlin National Gallery.

38

Fig.25. 3D Image of Proposition

VIEW 11

James Simon Gallery he new extension to the museumsinsel complex designed by David Chipperield.

39

Fig.26

40

DISPLACEMENT AS VENTRILOQUY he proposed connection between the monuments displaced from its original location and reinstated in another space.

he sequence through the intervention begins within the introverted museum spaces in the Altes and the Neues Museum. As the viewer walks through, he experiences a sudden change in the experience of the space from being an introverted space to being an extroverted space that reaches out towards the views. he space in the intervention is punctuated by vertical angled glass sheets that rest on the splayed wall surface and direct you towards the view.

6. 3D Image of Proposition

41

42

VENTRILOQUY OF THE BRIDGE he views give a heightened sense of the views from the earlier bridge. he connection between the altes and the Neues Museum represents the earlier bridge. h proposition is a displaced interpretation of the earlier bridge. he intervention however reaches out to reconnect visually with all the buildings and is oblivious to the division of Berlin. hese buildings are signiicant in Berlin’s history. hey collectively illustrate the diferent times of Berlin. Directing the views from the proposition towards each of these monuments allows the new intervention to engage in a conversation with greater Berlin. he directed views give a heightened sense of the original bridge by providing and extended experience. he bridge extends to address each view of each building which then creates a dialogue. his then allows the views to become a part of the space and by doing this the city becomes a part of the intervention. As you ascend the ramp in the intervention you are encountered with many views of the city each has it’s own narrative while it acts as an ‘Architectural Ventriloquy’ of the earlier bridge.

Fig.27. 3D Image of Proposition

43

THE

LINK

My proposition revisits the idea of the bridge by creating a space that provides heightened and enhanced views of the city of Berlin . he views are a heightened sense of the earlier views from the bridge. Each view reconnects with a signiicant building in the city and by doing so it places the loggia in the context of larger Berlin. It invites the city into the space. he loggia is aligned facing north-east to south west and the views are on either sides of this.

As above the views direct the formation of the space in the proposition. he vertical wall surfaces are splayed to direct the perceiver towards the views. his kind of splaying can be seen in the Chapel of Notre Dame du Haut in Ronchamp in France which is built by the Beaumont hills, Le Corbusier here uses splayed windows to change the perspective of viewing and to give views of the surrounding landscapes.

44

Fig.28. 3D Image 45 of Proposition

THE DIRECTED VIEWS My proposition revisits the idea of the bridge by creating a space that provides heightened and enhanced views of the city of Berlin . he views are a heightened sense of the earlier views from the bridge. Each view reconnects with a signiicant building in the city and by doing so it places the loggia in the context of larger Berlin. It invites the city into the space. he loggia is aligned facing north-east to south west and the views are on either sides of this.

he intervention however reaches out to reconnect visually with all the buildings and is oblivious to the division of Berlin. hese buildings are signiicant in Berlin’s history. hey collectively illustrate the diferent times of Berlin. Directing the views from the proposition towards each of these monuments allows the new intervention to engage in a conversation with greater Berlin. he directed views give a heightened sense of the original bridge by providing and extended experience. he bridge extends to address each view of each building which then creates a dialogue. his then allows the views to become a part of the space and by doing this the city becomes a part of the intervention.

As you ascend the ramp in the intervention you are encountered with many views of the city each has it’s own narrative while it acts as an ‘Architectural Ventriloquy’ of the earlier bridge.

46

Fig.29. 3D Image of Proposition

47

THE SPLAYED WINDOWS he views direct the formation of the space in the proposition. he vertical wall surfaces are splayed to direct the perceiver towards the views. his kind of splaying can be seen in the Chapel of Notre Dame du Haut in Ronchamp in France which is built by the Beaumont hills, Le Corbusier here uses splayed windows to change the perspective of viewing and to give views of the surrounding landscapes.

“Using tools of perspective, texture and colour and the judicious choice and positioning of frames, he would increasingly, play games with the perceived depth of window reveals. Daniele Nagegele has written of various corbusian strategies for perspective games, their intention being to provoke thoughtful experiential, engaged perception .”Samuel (2007, p.177)

“he viewer sees the window head on, but the chamfers reveal the window as though experienced from an entirely diferent position. he shift in perspective causes a heightened awareness of geometry in the viewer whilst creating an unnerving sensation of dynamism and tension.” Samuel (2007, p.177)

48

Fig.30. 3D Image of Proposition

49

THE ACCESS he proposition is accessed from the second loor of the Altes and the Neues museum through lifts and a staircase. he transitional experience starts from the introverted museums and results in the spectacular views of the city. he views are directed and controlled to bring to focus the main buildings of Berlin. his physical link between the two museums is reminiscent of the earlier bridge between the altes and the Neues museum. he proposition in section has a certain hierarchy wherein the space increases in height as you proceed towards the view. he notion of an unexpected view is created as the viewer walks through the introverted altes or the neues museum and is unexpectedly exposed to the views of the city. he views bring in the essence of the city into the space thus reinstating the bridge’s earlier connection with the city and thus it is a ventriloquy of the earlier bridge. he proposed pavilion reestablishes the physical connection between the two buildings and visually connects with the city through fragmented views much like the earlier colonnaded bridge. he varied perspectives from the bridge make you conscious of where you are with respect to the city and with respect to the earlier bridge which creates a Ventriloquy of the earlier bridge.

50

Fig.31. Section

51

THE

INTERIOR

he proposition in section has a certain hierarchy wherein the space increases in height as you proceed towards the view. he notion of an unexpected view is created as the viewer walks through the introverted altes or the neues museum and is unexpectedly exposed to the views of the city. he views bring in the essence of the city into the space thus reinstating the bridge’s earlier connection with the city and thus it is a ventriloquy of the earlier bridge. he proposed pavilion reestablishes the physical connection between the two buildings and visually connects with the city through fragmented views much like the earlier colonnaded bridge. he varied perspectives from the bridge make you conscious of where you are with respect to the city and with respect to the earlier bridge which creates a Ventriloquy of the earlier bridge.

52

Fig.32. 3D Image of Proposition

53

THE

MATERIAL

he material I have used for the proposition is Corten Steel. It was used primarily for ship building. he material reacts with the surrounding environment to reach a stable and balanced state. As a result of weathering it developes a patina on it’s surface which is very narrative of its weathering. he Sud kuppelsaal of the Neues museum after the bombing was a mess of bricks and rusted iron. he construction of the neues museum was highly inluenced by industrialisation which was the reason for the use of iron. I have speciically chosen this material as it is reminiscent of the rusted iron in the Neues Museum. It is a ventriloquy of the iron that was used in the bridge.

54

Fig.33: he Sud Kuppelsaal

Fig.34 Caixa Forum in Madrid.

55

Fig.35. 3D Image of Proposition

56

MAKING THE PROPOSITION IN STEEL

57

Fig.1. Proposition in steel.

58

Fig.2. Proposition in steel

59

Fig.3. Proposition in steel.

60

Fig. 4. Proposition in steel.

61

Fig.5. Proposition in steel.

62

Fig.6. Proposition in steel.

63

Fig.7. Proposition in steel.

64

Fig.8. Proposition in steel.

65

Fig.9. Proposition in steel.

66

Fig.10. Proposition in steel.

67

THE POLITICAL CONTEXT he Museumsinsel was also afected by Germany’s political division, into East and West Germany. In Berlin the Museumsinsel became a part of East Germany under the German Democratic Republic.

“Another consequence of the wall was the loss of the vibrant urban life in Berlin’s historical centre (Mitte), which was now in East Berlin. he area found itself in a sort of hibernation, where maintenance of the city was poor, when it had not been abandoned altogether. he magniicent buildings on the Museum Island, including the important Pergamon Museum, particularly sufered from neglect and the wear of time and weather. Despite this decline in the city’s maintenance and upkeep, over the years the GDR felt the need to attract foreign tourists. Checkpoint Charlie was selected as the crossing point for these visitors.” Dumont(2009).

68

THE

PHYSICAL

69

MODEL

Fig.11. Physical Model

70

Fig.12. Physical Model

71

Fig.13. Physical Model

72

Fig.14. Physical Model

73

Architectural Drawings

74

75

76

77

78

79

80

81

ARCHITECTURAL DEVELOPEMENT DRAWINGS

82

83

he section illustrates the proposed connection between the the Altes Museum and the Neues Museum. he sequence of the journey is designed to take the viewer through narrow introverted spaces before encountering the views of the city.

84

0

5

10M

85

Level 3

Level 2 Level 2

Level 1

Level 1

0

5

10M

86

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Level 4

References Chipperield, D., 2009.he Neues Museum, Architectural concept. In: Staatliche Museen zu Berlin, ed. 2010.he Neues Museum Berlin, Conserving, restoring, rebuilding within the world heritage”. Leipzig: E. A. Seemann Verlag of Seemann Henschel GmbH & Co.,Ch.2., p.56.

Connor, S., 2000. Dumbstruck: A Cultural History of Ventriloquism, (21-06-13) <http://www.stevenconnor.com/dumbstruck/>. Para. 2.

Davis, C.B, 2002. he Drama Review. MIT Press. Vol. No. 46 Issue 2, p.176.

Dumont, G.F., 2009, he Berlin Wall: Life, Death and the Spatial Heritage of Berlin, Activehistory.ca - History matters, (21-06-13),< http://activehistory.ca/papers/history-paper-2/>, Para. 1.

Dumont, G.F., 2009, he Berlin Wall: Life, Death and the Spatial Heritage of Berlin, Activehistory.ca - History matters, (21-06-13),< http://activehistory.ca/papers/history-paper-2/>, Para. 2.

Goldblatt, D., 2006. Art and Ventriloquism: Critical voices in art, theory and culture. Abingdon: Routledge, p.38.

Jean Nouvel-National Building Museum, 2012, online video, accessed 12 June 2013, < http://www.youtube.com/watch?v=VSuzHKqhM_8>.

Jean Nouvel-Guthrie heatre, 2012, online video, accessed 15 May 2013, < http://www.youtube.com/watch?v=3cb8tmGqfEk >.

Littleield, D., Lewis, S., 2007. Architectural Voices: Listening to old buildings. Great Britain: Wiley-Academy, p.139.

Nouvel, J., 2006. he Architect’s Latest Conquest.(21-06-13)<http://www.french-riviera-property.com/en/news-detail/1604-the-architects-latest-conquest.cfm>.

Samuel, F.,2007. Le corbusier in Detail. Oxford: Architectural Press, p.177.

Scott, F., 2008. On Altering Architecture. London: Routledge. Ch.12.,p.215.

Schulz, C.N., 1979.he Phenomenon of place. In: Nesbitt, K.,ed. heorizing a New Agenda for Architecture: An Anthology of Architectural heory 1965 – 1995. New York: Princeton Architectural Press. p.422.

Schulze, F., 1985. Mies Van Der Rohe: A Critical Biography. Chicago: University of Chicago Press. p.43-44.

Wood, J., 2009. Ventriloqial Metaphor.In: Aura, S., ed. Articulate Objects: Voice, Sculpture and Performance. Germany: Peter Lang AG, p.104.

87

Images Figure 1: Edgar Bergen (2013) [Images] At: http://www.nndb.com/people/004/000023932/ (Accessed on 18.02.2013).

Figure 2: Tilak, S.K., (2013). Neues Museum, [Photograph; Interior of the Neues museum] In possession of: Tilak, S.K., London.

Figure 3: Site plan of Museumsinsel (2013) [Drawing; Museumsinsel] In Possession of : Tilak, S.K., London.

Figure 4: Panorama of Museumsinsel (2013) [Photograph; Museumsinsel] In Possession of : Tilak, S.K., London.

Figure 5: Panorama of Museumsinsel (2013) [Photograph; Museumsinsel] In Possession of : Tilak, S.K., London.

Figure 6: Tilak, S.K., (2013).Altes Museum, [Drawing; Floor plan] In possession of: Tilak, S.K., London.

Figure 7: Tilak, S.K., (2013) Neues Museum, [Drawing; Floor plan] In possession of: Tilak, S.K., London.

Figure 8: Tilak, S.K., (2013). Bridge, [Photograph] (Berlin: Staatliche Museen zu Berlin).

Figure 9: View from the river (2013) [photograph] At: http://www.german-architecture.info/BER.htm (Accessed on 24.11.2012).

Figure 10: Analysis of Bridge Facade (2013) [Drawing; Bridge] In Possession of : Tilak, S.K., London.

Figure 11: Stuler, A., (1841). View of the entire building complex. [Photograph of sketch](Berlin: Staatliche Museen zu Berlin).

Figure 12: Site plan of Museumsinsel (2013) [Drawing; Museumsinsel] In Possession of : Tilak, S.K., London.

Figure 13: Stuler, A., (1841). Entire loor plan of site. [Photograph of sketch](Berlin: Staatliche Museen zu Berlin).

Figure 14: Tilak, S.K., (2013).Museumsinsel, [Drawing; Site plan] In possession of: Tilak, S.K., London.

Figure 15:Map of Museumsinsel (2013) [Map] At:https://maps.google.co.in/ (Accessed on 18.02.2013).

Figure 16:Map of Museumsinsel (2013) [Map] At:https://maps.google.co.in/ (Accessed on 18.02.2013).

Figure 17:Map of Museumsinsel (2013) [Map] At:https://maps.google.co.in/ (Accessed on 18.02.2013) Figure 18: Tilak, S.K., (2013).3D Proposition, [Image; Interior View] In possession of: Tilak, S.K., London.

Figure 19: Tilak, S.K., (2013).3D Proposition, [Image; Interior View] In possession of: Tilak, S.K., London.

Figure 20: Tilak, S.K., (2013).3D Proposition, [Image; Interior View] In possession of: Tilak, S.K., London.

88

Figure 21: Tilak, S.K., (2013).3D Proposition, [Image; Interior View] In possession of: Tilak, S.K., London.

Figure 22: Tilak, S.K., (2013).3D Proposition, [Image; Interior View] In possession of: Tilak, S.K., London.

Figure 23: Tilak, S.K., (2013).3D Proposition, [Image; Interior View] In possession of: Tilak, S.K., London.

Figure 24: Tilak, S.K., (2013).3D Proposition, [Image; Interior View] In possession of: Tilak, S.K., London.

Figure 25: Tilak, S.K., (2013).3D Proposition, [Image; Interior View] In possession of: Tilak, S.K., London.

Figure 26: Site plan of Museumsinsel (2013) [Drawing; Museumsinsel] In Possession of : Tilak, S.K., London.

Figure 27: Second loor level plan (2013) [Drawing; Museumsinsel] In Possession of : Tilak, S.K., London.

Figure 28: Second loor level plan (2013) [Drawing; Museumsinsel] In Possession of : Tilak, S.K., London.

Figure 29: Proposition (2013) [Drawing; Museumsinsel] In Possession of : Tilak, S.K., London.

Figure 30: Splayed Windows (2013) [Drawing; Museumsinsel] In Possession of : Tilak, S.K., London.

Figure 31: Section (2013) [Drawing; Museumsinsel] In Possession of : Tilak, S.K., London.

Figure 32: Tilak, S.K., (2013).3D Proposition, [Image; Interior View] In possession of: Tilak, S.K., London.

Figure 33: Tilak, S.K., (2013). South Dome, [Photograph] At: http://en.wikipedia.org/wiki/File:Neues_Museum_Suedkuppelsaal_1984_neu.jpg.

(Accessed on 10.03.2013)

Figure 34: Tilak, S.K., (2013).Corten Steel, [Photograph] At:http://www.ferrovial.com/en/Business-Lines/Construction/ConstructionHighlighted-Projects/Caixa-Forum-Project?_afrLoop=20412814013688259&_afrWindowMode=0&_afrWindowId=null#%40%3F_ afrWindowId%3Dnull%26_afrLoop%3D20412814013688259%26wcnav.model%3D%25252Foracle%25252Fwebcenter%25252Fportalap p%25252Fnavigations%25252Fnavegacion_en%26_afrWindowMode%3D0%26_adf.ctrl-state%3D1c1kslpicc_4. (Accessed on 10.03.2013)

Images of Proposition All images and drawings in this section and after are owned by Sangeetha Kanekal Tilak

89