Wall as the protagonist

The Wall as Protagonist Devices of an architectural narrative

The Wall as Protagonist - Devices of an architectural narrative Tooba Jalal Thesis submitted to the faculty of Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Architecture Kevin W. Jones Chair Heinrich Schnoedt Committee Member Aki Ishida Committee Member 15th May, 2019 Blacksburg, VA Keywords Narrative, Trajectory, Events, Diachronic & Synchronic, Visual arts school

ABSTRACT

Fig:1 - Milano Cathedral roof top

Narratives are there in everyone’s lives. They are made up of stories that interest us, stories that we want to share with others. However, narrative is not only limited to the written or spoken word. It is made up of a complex system of units and devices which can be explored in many different genres and media. One such medium is Architecture.

This thesis is an investigation in decoding the elements that are essential for a narrative. Comparing and analyzing the concept using other medium especially the cinematic medium as a point of reference to understand how it can be applied to architecture. Testing out these discoveries to create a visual arts school in Lugano.

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ACKNOWLEDGMENTS

This book may contain a conclusion to the thesis topic but it by no means presents the final verdict on this ongoing exploration. The ideas in this book have been lingering in my past work endeavors and it seems that they will be present in my mind for the future to come.

It is here that I must mention, my studio Professor, Heinrich Schoendt, who became the first person to point me in this direction. He pushed me to pursue architecture of fragments and stitching it together in a seamless patchwork.

My interactions with Aki, were instrumental in building a strong precedence footing to start and base my architectural thesis on. Her insights into which literature to study led to shaping the thesis into the way it is.

A huge portion of my education at Virginia Tech and thesis is shaped by my final semester spent in Riva San Vitale.

This life changing experience would not be possible if Kevin did not agree to be my Committee chair and take me along with the other twenty students around Europe. His guidance and constant push to do better made me re-evaluate and rethink my thesis multiple times. And ultimately understanding that my thesis is a way in finding a way of thinking for years to come.

I thank my old friends in Blacksburg who were there for me while I was away and my new Riva family who shared their thoughts on my thesis while we traveled. And finally, my family without which none of this would be possible. Especially my parents who have supported me in any and everything I have done.

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CONTENTS

ABSTRACT ACKNOWLEDGEMENT

I II

0 0 S TAT E M E N T

02

01 INTRODUCTION

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-Why are narratives important?

0 2 I N V E S T I G AT I O N S

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-The makings of ‘narrative structure’ -Static moments ~ Synchronic & Diachronic frames Moller Haus, Adolf Loos -Choreographed movements ~ Trajectory walls Villa Savoye, Le Corbusier -Intricate pauses ~ Room as an event Castelvecchio, Carlo Scarpa 03 SITE PERCEPTIONS -Line of motion

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0 4 D E S I G N C O N S I D E R AT I O N S -Constructing a narrative in Lugano

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05 CONCLUSION

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06 BIBLIOGRAPHY

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00

S TAT E M E N T

Fig:2 - San Cataldo Cemetery

A narrative is defined as “a carefully selected set of events, experienced through a time-frame and ordered through a specific sequence.�

These three elements form the quintessential structure of any narrative and can be translated into architecture as rooms, synchronic and diachronic frames and a trajectory wall.

02

01

INTRODUCTION

Why are narratives important?

Since the day humans learned to write, narratives have been a vital part of our everyday lives. It should be noted that a ‘narrative’ is not an exact recalling of a story but rather a commentary of events, perceived in a dramatic or moving manner, which is meant to leave an imprint on its reader. These are tales preserved by man and passed through generations. They are not just accounts of happenings in our daily lives but rather moments that are significant and worth remembering.

and tell tales of events that have transpired and are memorable.

A truly invigorating piece of architecture is not just an arrangement of rooms, but rather the unfolding of events through time and space. Perhaps the earliest examples of this can be found in the stately processions at Persepolis, Mesopotamia (Fig:3) or in the cinematic promenade found at the sacred Greek temple Parthenon in Athens (Fig:4). Architects have always used architecture’s physical reality to explore these notions and this is what gives architecture a unique place within the other mediums of narrative.

Thus, it becomes important as an architect or storyteller to decipher these recurring elements within the narrative structure and translate them into architectural elements so it becomes apparent as to how architecture can be used to create narratives.

Narratives have existed since the Paleolithic times as evidenced by the primitive cave paintings found in Lascaux, France. Narrative has found its way into literature, theatre, art, history, the news and even architecture. The field of architecture can be considered as a tangible medium to convey a narrative thought. Architecture’s function on the most rudimentary level might be to give shelter and protection but throughout history built space has acted as a conveyor of emotions, a device to preserve

To find answers to the above mentioned statement this thesis dives into an architectural

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Fig:3 - Persepolis Procession

Fig:4 - Parthenon Promenade

investigation of the structure of a narrative by briefly analyzing narrative devices deployed in literature and cinema. This then can be used as a premise to study key architectural works that have a conceptual undertone of 'narrative structure' and provide conclusions as to what could be the devices of an architectural narrative.

to compare and critique can be opened.

The findings from these case studies was studied through the design of a visual arts school in Lugano, Switzerland.

The challenge of this thesis is to decode narrative devices within architecture and evaluate if they work together to create harmonious and well knit story of the spaces.

The case studies in question are the Moller Haus by Adolf Loos in Vienna, Austria, Villa Savoye by Le Corbusier in Poissy, France and CastelVecchio by Carlo Scarpa in Verona, Italy. By choosing three contemporary works from the 20th century that explore cinematic narrative in architecture a platform

Fig: 3 - (http://www.iranicaonline.org/articles/persepolis n.d.)

Fig: 4 - (Corbusier n.d.)

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02

I N V E S T I G AT I O N S

The makings of ‘narrative structure’

that we create an imaginary world of pictures in our mind. According to Roland Barthes “linguistics stops at the sentence…”1 Everything that you need to understand about the structure of a complete work of literature can be understood from a single sentence. As pointed out by Andre’ Martinet "The sentence, is the smallest segment that is perfectly and systematically representative of discourse.”2 But each sentence if in itself is a unit, it must have a hierarchal organization which then constitutes a system and in turn conveys a meaning. As the story unfolds, it is not just moving from one sentence to another but rather moving through horizontal and vertical levels. There is the obvious direction of the narrative leading towards a climax but in between

To understand the system of a narrative it is important to break it down in parts. There will always be a smallest unit which is the most basic measure of understanding the system. However, the system will be made of many units, some hierarchal than others and this will give the system an order of arrangement. This arrangement will in turn form a sequence which allows the individual units to unfold in relation to each other giving the narrative a precise direction.

To better understand these ideas, the use of a medium would be beneficial. For this thesis investigation, two modes of narrative will be briefly analyzed.

It makes sense to start with articulated language or literature, as it is through written or spoken word

Fig:5 - Narrative structure 1(Barthes 1975) 2(Martinet 1961) 05

Fig:6 - Rituals in transfigured time, Maya Deren

Extent of frame

Frame division

of a narrative can be boiled down to a specific events, which are connected through time (present and past) and always have a direction allowing the narrative to move forward (Fig 5).

are vertical connections which reflect back on moments in the narrative.3 Many times there are loose ends in a story which come together at different points of the discourse to form a more cohesive argument. This notion of back and forth, along with a constant vector movement towards an end creates a dynamic rhythm and makes the reader engage on multiple levels.

Some units are used for a pause while others are merely transitional devices.4 But the basic make up

Keeping this system in mind this we can look at another medium of narrative explore other narrative structures.

Cinema is the 20th century equivalent of literature. The

3(Barthes 1975) 4(Barthes 1975) 06

medium conveys stories using images and words. It was also a great influence for the architecture at that time serves to guide the case studies that ground this thesis.

This is where the activity or event takes place and is viewed by the lens. A film is made up of multiple shots which are placed in different scenes. A scene is essentially one location, as the location changes so does the scene (Fig:8).

The scenes can be seen as a hierarchal system as some are more important than others, while some act as transitional devices.

Finally the sequence (Fig:9) is a strict ordering of the narrative in a logical (or illogical) manner to convey an idea (thought, emotion, message etc.).

Cinema is at times called ‘the moving pictures’ as the early versions of the art were nothing but an illusion made by repeating a still image to create movement.

The smallest unit is that of a single frame (Fig:6). The composition of the frame can in essence explain a part of the bigger narrative.

Each frame is a composed visual image. A series of frames come together to form a shot. A shot is a continuous view through the lens without interruption (Fig:7) .

Shots are placed within a scene.

Looking at the structure of a cinematic narrative there are similarities found. In a film there are events or units that occur within a

Fig:7 - A shot

The activity divides the screen into active and passive mood. The activity can be traced to see the lines of action.

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Fig:8 - A scene

The scene allows for the space to be viewed from multiple viewpoints while the event/activity is played out.

Fig:9 - A sequence

The order in which the sequence unfolds has a significance in how the space and activity is experienced and viewed.

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window of time, some reflect back in time while others also look into the future, however the overall narrative has a forward movement which will eventually bring to an ending. It can be compared to the movement of a trajectory which always is moving in a direction under the influence of certain given forces.

creates a movement and rhythm of as to how one moves through the narrative. The basic elements for the purpose of this thesis investigation can be hypothesized as a) the smallest unit (depending on the medium), b) the sequencing of these units (time) and finally the velocity (because there is a direction involved) with which one moves through the sequence.

What can be inferred from the above analyses is that the individual units are integral in explaining parts of the narrative. They are then carefully placed in a sequence which

The next chapter explores these concepts within the framework of architectural using three key pieces who were influenced by cinematic narrative arrangements.

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S TAT I C M O M E N T S

SYNCHRONIC AND DIACHRONIC FRAMES

Moller House - Adolf Loos - Vienna, Austria

Frames frozen in time:

between the two can be explained as ‘Diachrony is concerned with looking at events and their evolution through time’ whereas ‘Synchrony is only concerned with events in the present time.’ The elastic quality of time is easily explored within cinema but to bring it into architecture Loos uses the architectural element of a wall and creates thresholds which facilitate jumping backwards in time.

Adolf Loos was a prominent Austrian architect of the 20th Century.

His manifesto on ‘Ornament and Crime’ was one of the foundations for the modernist movement in architecture. His architecture may have disregarded frivolous décor in favor of simple and clean forms it however did not lack drama. Amongst the many residential projects he built, Moller House holds a special place. It not only starts to experiment with form in terms of volume but focuses on a very strict movement and framing within architecture.

He crafts a careful arrangement of sliding planes(Fig:10) which pulls the user towards them. As one passes through these thick walls one moves through the synchronic frames. However, along the way one views the dining room (Fig:12) through the music room. With no apparent physical connection due to the level difference the wall acts as a frame to the static image of the room. The final destination in the Moller House is the Theatre box(Fig:13). An intimate volume within the house which is tucked in a nook. It is here the magic of the frames starts. As you turn around to view the house you automatically

Moller house explores the concept of moments frozen in time. The house uses two key concepts to experiment with the idea of narrative. Firstly, Loos uses time as an element to experience the story of his architecture. And secondly he uses compression and release to make people move effortlessly. He employs the uses of two kinds of time Diachronic and Synchronic. The difference

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Fig:10 - Sliding planes and frames

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look back at the journey that you took. Not only do you gaze back in time but the frame is extended beyond the house displacing the viewer from within the interior into the expanse of the landscape. It is with each turn the body seems to be arrested.5

interior volumetrically can allow these frames to look back in time and also facilitate movement. This can be used to create an aspect of time in architecture (Fig:11).

The movement upwards the theatre box is ensured by using volumes to create tension and compression within rooms. The user is compelled to move towards the theater box as it has a window which brings in light and the arrangement of volumes creates a flow which gently pulls the user towards the most intimate space of the house. As Beatriz Colomina mentions about Loos’ architecture that “Architecture is not simply a platform that accommodates the viewing subject. It is a viewing mechanism that produces the subject. It precedes and frames the occupant.6 As mentioned in the chapter before time has a special significance in constructing a narrative. A time that moves forward but also a time that stops and looks back.

Looking at the example of the Moller House it can be presumed that a thick wall can create that threshold and frame. As you walk through that house you move through both space and time. Also the complex organization of the

Fig:11 - Time as Frames

5(Colomina, Privacy and Publicity: Modern Architecture as Mass Media 1994) 6(Colomina, Privacy and Publicity: Modern Architecture as Mass Media 1994) 13

Fig:13 - Frames

Fig:12 - Dining room

Fig:14 - Frames

Fig:13 - Theatre Box

Fig:15 - Compression and Release

Fig 12 & 13 (Colomina, Privacy and Publicity: Modern Architecture as Mass Media 1994) 14

CHOREOGRAPHED MOMENTS TRAJECTORY WALL

Villa Savoye - Le Corbusier - Poissy, France

Frames in motion:

Corbusier uses the ramp not only as a basic organizing principle but it also aids in unfolding a sequence of images that creates a continuous fluid space which transforms as the beholder progresses through it.10 Using the ramp as circulatory device with a defined beginning and end point, Le Corbusier gives the line of action a direction. The path is now under the influence of given forces which are the fragments of spaces around it. These forces are the driving factors in promoting movement on this path. Eventually reaching the finish line which ends with the climactic frame (Fig:17).

Loos favored a static quality in his architecture. A moment of pause to reflect, whereas Le Corbusier promotes movement. Le Corbusier was not only the most prominent modernist architect, with many manifestos and agendas, he was also a big supporter of technology and an avid fan of cinema. Apart from developing the five points of architecture, Le Corbusier had an obsession with exploring the observer’s pathway. He believed that the pathway can be used as an organizing element to stitch relationships between independent parts of a program.7

By placing these separate pieces next to each other in a creative order the director or architect builds this visual or cinematic reality which is only understood when these singular fragments are placed in relations to each other within a context. Their sequence, duration and selection is all depended on each other.11

This brings into focus the Villa Savoye, a residence made using the five points on the suburbs of Paris. He creates a simple path within the house but he uses a ramp to start this journey. According to him the ramp is a gentle pull upwards8 and transforms walking into a ritual, dignifying the space.9It is here that we explore the concept of movement within a narrative.

7, 10, 11(Böck 2015) 8(Le Corbusier, Œuvre Complète 1929-1934) 9(Baltanás 2005)

It is not so much which circulatory device is used by rather the direction

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Fig:17- Ramp as trajectory

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it points to. As discussed in the chapter before, narrative is always under the influence of movement.

A line that has a clear path and moves forward like a trajectory.

The ramp is that influence in Villa Savoye and a similar notion can be explored to create a flow within an architectural narrative.

Fig:19 -Ramp (exterior)

Fig:18 - Circulation as movement

Fig:20-Ramp (interior)

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Fig:21-Spaces as scenes

Fig:22-Spaces as shot

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I N T R I C AT E PA U S E S ROOM AS AN EVENT

CastelVecchio - Carlo Scarpa - Verona, Italy

A space for each moment:

the focus is the statue of the horseman. An object places at the heart of the architectural scheme and it is always used as a point

Both Loos and Corbusier were contemporaries of each other and had clear thoughts on what architecture should be. However, Carlo Scarpa had a more intricate approach to design. Scarpa is famously known for creating collage like arrangements within architecture and art. He uses materials and objects to create connections. His work may be best understood as a storyboard(Fig:24).

Where each room comes together to form a detailed assemblage of space and time.

What better project to focus on then CastelVecchio in Verona, Italy. He uses a similar notion of Corbusier’s path to create fragmentary routes which tie rooms together. These rooms are spaces where events take place. Each room hosts a story and forms a meaningful stop along the journey.

It is through these pauses he intentionally disrupts processional time and makes you wonder and appreciate art.12In CastelVecchio,

Fig:23 - Room as event

12 (Marc J Neveu 2010) 19

Fig:24 - Storyboard

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of reference. But to reach the horseman, he weaves a path that takes you through each room and keeps showing you a glimpse of the sculpture.

When you are finally face to face with the statue, you have already experienced all the events within his architecture. He gives individual attention to each room and always tries to create a link back to the horseman. As events are an integral part of constructing a narrative, Scarpa’s technique can be used to give significance to each room in the building (Fig:23).

Fig:25 -Threshold as pauses

Fig:26-Horseman

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Fig:27:Narrative structure and its parts in architecture

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03

SITE PERCEPTIONS Line of motion

To test out the devices which were analyzed through the case studies, an architectural program and site was required. The thesis uses a visual arts school as a program to test these notions and the site is based in Lugano, Switzerland.

location is located on the road that starts all the way from the station and goes up to the Monte Bre. The Site provides clue as to what could the story of the building might be. An interesting situation arises on site as the view to the lake is blocked by the hotel in front. The visual arts school can be a journey to move through different galleries and studios and be rewarded with the view of lake in the end.

Lugano is a city situated next to Lake Lugano and is nestled between Monte Bre and Monte San Salvatore. The site offers some spectacular views and the

Fig:28-Views of Lugano

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Fig:29-site map

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Massing 01: The view to the lake is blocked by the hotel in front of the site. This can be used as an opportunity to create a facade that acts as showcase for the art and gives a frame to the beautiful lake.

A cuboid form with a strong facade facing the hotel and terracing allowing north light is developed to facilitate the studios and form a facade that creates a dialogue with the hotel.

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Massing 02: The cuboid form can be carved out to create circulation that is prominent and creates intrigue from the outside.

As circulation is an important part of the narrative development its presence on the elevation creates a sense of mystery.

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Massing 03: As the cuboid hosts a variety of studios and galleries, it becomes important to arrange them based on north light and south facade.

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D E S I G N C O N S I D E R AT I O N S Constructing a narrative in Lugano

Based on the case studies, three devices for a narrative have been devised. This chapter will look into how these devices can be developed and then be used together to form a harmonious design which can tell the story of the lake, art and artist.

the wall as the organizing element to not only create frames looking in time but also as an anchor to wrap the circulation` and create a trajectory to the final frame.

As the program has two distinct separations of studios and galleries. The idea of the room as an event will be explored using a different material palate for the gallery and studios.

Based on the case study of Moller house the wall was used as an element to create frames and experience time. This thesis will use

Fig:30: study maquettes

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Fig:31: Three seperate rooms.

Fig:32- The box for studio is suspended

Fig:33 - Frames within spaces

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The wall: (Trajectory and frames) Adolf Loos used the wall to create frames and Le Corbusier used the circulation to create a trajectory. To understand the potential of these two elements, few studies were done.

1st Study:

3rd study:

The first element that was studied was the wall and the potential of its thickness. When the wall has a width it starts to act like a threshold.

Similar to the walls in Moller House and CastelVecchio, the thick wall has a presence. This thickness can be used to create frames and thresholds (Fig: 33).

As the circulation can now be wrapped around the wall to create a hybrid element. It can be further developed by integrating the circulation within the inhabitable wall and developing the profile of the wall with the circulation. As shown in (Fig:36) the wall can be physically thick and be used to walk within.

Furthermore the possibility of layering these planes was experimented. Similar to Moller House layering creates a visual complexity but also allows spaces in between to be inhabited(Fig 34).

The circulatory element can be then part of the facade and explore the concept of framing device. In this case the wall, circulation and the final frame are all integrated into one architectural form. This piece of the building can be considered a working narrative. As there is movement, and a frame which reflects on time, all happening within a space which can constitute as an event.

2nd study: The element circulation which gives direction to the narrative was wrapped around the wall.

Both the wall and circulation have a sense of direction. Combining the two elements allows for two ideas to co-exist. Both the frames and path of movement can occur simultaneously.

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Fig:33 - Wall element used as threshold and frame

Fig:34 - Sliding planes used to wrap circulation and create visual layering

Fig:35 - Wall used as an organizing element as well as for wrapping circulation

Fig:36 - Wall split to create an inhabitable space and circulation made a part of the wall

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Maquette: Study to understand a thick wall holding various volumes.

The wall holds both volumes and frames.

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Study of volumes within a thick wall.

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Wall elements integrated with another planer element

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Material experimentation.

Combining different volumes and using various materials to create complexity

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Using the wall as an organizing element to bring together circulation and frames.

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Using the thickness of the wall to integrate the circulation as a part of the wall profile.

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In center the trajectory wall surrounded by circulatory elements

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Experimenting with the profile of the wall to create the final frame for the narrative

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Exploring the possibility of inhabiting the thickness of the wall. Piercing volumes through the wall.

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Profile of the final frame in plan. The circulatory element (ramp) can not only be integrated within the thickness of the wall but also starts to open at an angle to best maximize the view of the lake. The view of the lake is best visible a 35 degree angle to the site.

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The final frame studied through the facade

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The circulatory element visible on the elevation.

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Study exploring circulation with wall

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Pushing the volume on the side to expose the circulation.

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The Rooms: (Studio pods and gallery) Carlo Scarpa created rooms within his architecture which would best enhance the objects within the space. He would simple architecture backdrops like a blank wall to place the objects. As the program requires to distinct types of functions, a space to create art and a space to admire art. The use of two different materials is used.

1st Study: (Studio Pods)

2nd Study:

Studios are a place of learning and work. They need to have a distinct flavor which makes them work friendly and also provide a visual separation from the gallery space to the user and visitor both.

The gallery is explored as an element within the concrete wall as mentioned in the study before. The smooth gray background forms th perfect canvas to view art.

As the gallery is made out of concrete. Wood was chosn to make these studio pods. But the pods were conceived as these sealed boxes floating within the heavy concrete box. These floating pods are visible from the outside but their contents are sealed and create a further intrigue to the visitor.

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Fig:37 - Elements that make a sculpture studio

Fig:38 - Elements that make a painting studio

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Fig:39 - Elements that make a screen-print studio

Fig:40 - Elements that make a photography studio

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Fig:41 - Elements that make a gallery

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Fig:42 - Wooden studio pods ( one floor)

Fig:43 - Wooden studio pods (stacked)

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Fig:44 - Sketch of the section

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Mapping the space using a storyboard diagram. Creating a conceptual circulatory plan of the program. The path of circulation is placed next to fragments of the program. Visual and physical connections are made through frames or windows into different spaces.

This diagram is used as a base to construct a storyboard for the visual arts school.

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Fig:45 - Conceptual storyboard of the program

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Viale Ca s

Site plan

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tagnola

reception

coat check

UP

adminstration

First Floor

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kitchen

cafe

UP

book shop

Basement

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High ceiling sculpture studio

UP

drawing studio

UP gallery

2nd Floor

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meeting room

testing lab

UP

white wall studio

UP gallery

3rd Floor

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screen print

Dark room

camera lab

UP

Lake room

4th Floor

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Studiolo

common room

Bottega

Bottega

DN

Studiolo

5th Floor

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Synchroic & diachronic frames: The spaces are volumes suspended in the building, directed by the planes

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Room as an event: Each Art studio demands a different enclosure and light

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Material Palette

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South Elevation

ne buidling as a showcase

South Elevation Building as a showcase

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Concrete floor Water Proofing Insulation Steel Beam

Steel rod fastner

Steel rod External finish wood

Steel rod base 10" Concrete slab

Roof Section with wooden pods

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Section

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05

CONCLUSION

Architecture as a tangible device for narrative

Fig:46 - Fondazione Querini Stampalia

Architecture in essence is a device to tell an everlasting and beautiful story.

Like all forms of narrative it follows a certain set of rules and devices. In my findings the importance of events, time and movement played a pivotal role in designing the visual arts school. The wall can be explored further to better understand its full potential as a device to explore time as well as sequence. The wall itself acts as the trajectory between different events which in turn gives it a greater value then just acting as an enclosure.

Thus, I conclude by saying that rooms, frames and a trajectory wall are the three most essential elements required to construct a basic narrative in architecture.

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BIBLIOGRAPHY

Baltanás, José. 2005. Walking through Le Corbusier: A tour of his masterworks. London: Thames and Hudson.

Barthes, Roland. 1975. "An introduction to the structural analysis of narrative." New Literary History, On Narrative and Narratives.

Böck, Ingrid. 2015. Six Canonical Projects by Rem Koolhaas: Essays on the history of ideas. Vol. 5. Berlin: Jovis.

Cairns, Graham. 2013. "The visual narratives of Resnais in the architecture of Carlo Scarpa." In The Architecture of the Screen, by Graham Cairns.

Chicago: The University of Chicago Press.

Colomina, Beatriz. 1994. Privacy and Publicity: Modern Architecture as Mass Media. Cambridge, Massachusetts: The MIT Press.

Colomina, Beatriz. 1992. "The split wall: Domestic Voyeurism." In Sexuality and space. New York: Princetin Architectural Press.

Corbusier, Le. 1925. Urbanisme. Paris: Arthaud.

Le Corbusier, Pierre Jeanneret. 1929-1934. Œuvre Complète. Vol. 2.

Zurich: Les Editions d'Architecture.

—. 1929-1934. Œuvre Complète. Vol. 1. Zurich: Les Editions d'Architecture.

Marc J Neveu. 2010. "Slow Time: Reading the Work of Scarpa."

Martinet, Andre. 1961. Language and Society. Copenhagen.

Samuel, Flora. 2010. Le Corbusier and the Architectural Promenade.

Basel: Birkhauser.

Summerson, John. 1963. Heavenly Mansions and Other Essays on Architecture. New York: Norton.

Venturi, Robert. 1966. Complexity and Contradiction in Architecture. New York: The Museum of Modern Art Press.

All images and drawings are work of the author unless otherwise stated.

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