the art of making - architecture posited a series of questions facing the architecture profession,...

PROCEEDINGS2010

26th National Conference on the Beginning Design Student

College of Arts + ArchitectureThe University of North Carolina at Charlotte

18–21 March 2010

made:Design Education

& the Art of Making

made:Design Education

& the Art of Making

MADE: Design Education & the Art of Mak-ing examined the role of making past, present & future, both in teaching design and in the design of teaching. The conference addressed theories & practices addressing fabrication & craft in all studio disciplines, and to take mea-sure of their value in pedagogies of beginning design.

Paper presentations delivered a set of eight themes derived from the overall focus on Mak-ing. The team of moderators drove the agenda for these themes, and arranged paper presen-tations into specific sessions indicated by the schedule. Abstracts were reviewed in a blind peer-review process.

Conference co-chairs:

Jeffrey Balmer & Chris Beorkrem

Keynote speakers:

Simon UnwinDavid Leatherbarrow

Session Topics

Making Real Moderator: Greg SnyderMaking Virtual

Moderators: Nick Ault, David Hill Making Writing

Moderators: Nora Wendl, Anne Sobiech-Munson Making Drawings

Moderators: Thomas Forget, Kristi Dykema Making Pedagogy

Moderator: Michael Swisher Making Connections

Moderator: Janet Williams, Patrick Lucas Making Masters

Moderators: José Gamez, Peter WongMaking the Survey

Moderators: Emily Makas, Rachel Rossner Open Session

Moderators: Jennifer Shields, Bryan Shields

Paper abstract reviewers

· Silvia Ajemian · Nicholas Ault · Jonathan Bell · Julia Bernert · Gail Peter Borden · Stoel Burrowes · Kristi Dykema · Thomas Forget · Jose Gamez · Laura Garafalo · Mohammad Gharipour · David Hill · Tom Leslie · Patrick Lucas · Emily Makas · Igor Marjanovic · Andrew McLellan · Mikesch Muecke · Gregory Palermo · Jorge Prado · Kiel Moe · Marek Ranis · Rachel Rossner · Bryan Shields · Jen Shields · Greg Snyder · Ann Sobiech- Munson · Michael Swisher · Sean Vance · Nora Wendl · Catherine Wetzel · Janet Williams · Peter Wong · Natalie Yates

Copyright ©2110 School of Architecture, The University of North Carolina at Charlotte

Offered through the Research Office for Nov-ice Design Education, LSU, College of Art and Design, School of Architecture

A CRAFTED ANALYSIS OF PLACEMaking Real

JENNIFER SHIELDS, VISITING LECTURERUNIVERSITY OF NORTH CAROLINA AT CHARLOTTE

Creating Place

Architecture, as a result of cultural and tech-nological shifts, has drifted towards internally focused, compositional exercises rather than expressions of the contemporary human con-dition. It is the responsibility of designers to create culturally and physically responsive architecture that can begin to heal the scars perpetrated by an approach to design that is insensitive and removed from the experience of the user. In 1994, architectural theorist Juhani Pallasmaa posited a series of questions facing the architecture profession, in a critique of this trend. ‘Can architecture define a credible social and cultural goal for itself? Can architecture be rooted in culture in order to create an experi-ence of locality, place, and identity?’1 These questions and responses were articulated in his essay, “Six Themes for the Next Millennium,” published in The Architectural Review.

Using this essay as a basis for an analysis of place, a seminar in Placemaking seeks to both engage in a critique of the normative archi-tectural practice responsible for image-driven buildings proliferating across the global land-scape, as well as to study built work that exem-plifies Pallasmaa’s themes as a means of fully engaging the inhabitant in their time and place. Each week we explore vernacular and contem-porary projects that are rooted in their cul-tural, temporal and physical contexts. The lec-tures are structured on the dualities inherent in Juhani Pallasmaa’s “Six Themes for the Next Millennium”: • Slowness• Plasticity• Sensuousness• Authenticity• Idealization• Silence

In addition to the dissection of each theme, supplemental readings include essays within

1 Pallasmaa,Juhani.‘Sixthemesforthenextmillen-nium.’The Architectural Review,July1994:74-79.

the realms of Phenomenology and Architec-tural Regionalism.

The act of making plays a critical role in the analysis of place: just as a sense of place is only fully created and comprehended through bodily engagement and the activation of mul-tiple senses, physical collage provides the medium to both elicit and embody a multi-sensory experience and understanding. As Ben Nicholson states in Appliance House,

Like all maps, collage can exist as a guide to what

exists on the ground or it can prompt a new set

of thoughts suggested by interconnections of ter-

rain and cities. When considered from this angle,

the collage becomes a transcription that can

accelerate the way one understands the everyday

world and how it comes together...2

This collage-making process is a venue for weekly analysis in which students examine a built work through the lens of each theme, giv-ing them a greater understanding of the quali-ties inherent in place.

As an alternative to the typical precedent analysis that is focused on formal aspects of a building, this approach to analysis allows the beginning design student to evaluate a building from the perspective of the inhabitant, encour-aging a design methodology that considers the visceral experience of a project.

A Phenomenological Lens

Our connectedness to the world, our very exis-tence, is inextricably linked to the buildings and cities we inhabit. This concept is tied to the theories of Phenomenology and Architec-tural Regionalism, both of which stem from the writings of Martin Heidegger in the first half of the 20th century. Juhani Pallasmaa, a Finn-ish architect and theorist, has written exten-sively on the imperative for architecture to be grounded in its physical and cultural context so that its inhabitants will have a richer experi-

2 Nicolson,Ben.‘CollageMaking.’ Appliance House.Cambridge:MITPress,1990.16-29.

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ence and a greater sense of connection to their place in both space and time.

The philosophical perspective of phenom-enology as it pertains to architecture has its foundations in the writings of philosopher Martin Heidegger. In ‘Building Dwelling Think-ing’ published in 1951, Heidegger asks two sig-nificant questions: ‘What is it to dwell?’ and ‘How does building belong to dwelling?’3 Hei-degger prefers the terms building and dwell-ing as opposed to architecture, emphasiz-ing inhabitation over aesthetics. Buildings shouldn’t be seen as objects or mere products of the construction process, but as part of the ongoing human process of building and dwell-ing. Heidegger defines place as space appreci-ated through human experience.4 Heidegger’s model has its foundation in human perception – a call to reintegrate building with dwelling, which had been separated with the division of labor necessitated by modern technology.

A critical concept in Heidegger’s writing is that of the bridge: a thing, not an object – experienced and used rather than observed. Like a building, the bridge alters the relation-ships between individuals and their environ-ment; it changes patterns of everyday life. Dwelling informs building and vice versa. ‘A place comes into existence only by virtue of the bridge.’5 The bridge was built where it was deemed appropriate – this is the moment when dwelling is inscribed in place through building.

Heidegger postulates that the identification of place is not logical or systematic, but rather subjective and personal. Edges and bound-aries are critical concepts to Heidegger: ‘the boundary is that from which something begins its presencing.’6 Space is parceled into places by human activity and experience. Boundaries are created in our minds – they can be physical and defined, such as by a wall or a row of trees, or vague and imprecise, like a horizon – it is a threshold but it cannot be marked or precisely located.

3 Heidegger,Martin.‘BuildingDwellingThinking.’Poetry, Language, Thought. translated by Albert Hof-stadter.NewYork:HarperColophonBooks,1971.

4 Sharr,Adam.Heidegger For Architects.NewYork:Routledge,2007.

5 Heidegger,‘BuildingDwellingThinking.’


Heidegger’s writing supports a critique of the architecture profession serving only itself – ideas and concepts prepared and con-sumed only by professionals; that architec-ture has placed too much emphasis on aes-thetics and overlooked the people that inhabit these spaces. Professionals involved in building (architects, mortgage lenders, surveyors, engi-neers, etc.) have conspired to separate building and dwelling. For Heidegger the act of build-ing isn’t a means to dwell – ‘to build is in itself already to dwell.’7

One of the first architectural theorists to draw on Heidegger’s writing was Norwegian theorist Christian Norberg-Schulz who avows, ‘the existential purpose of architecture is there-fore to make a site become a place, that is, to uncover the meanings potentially present in the given environment.’8 This transforma-tion can only occur, and meaning can only be found, in human interaction and perception. Also stemming from Heidegger’s writing on a phenomenological approach to building is the theory of Critical Regionalism. This theory was made popular by Kenneth Frampton in the 1970s as a critique of the prevalence of mean-ingless and placeless architecture. This place-lessness could be countered by the influence of context on architecture. These theories speak to the importance of human experience height-ened by a responsiveness to physical and cul-tural conditions, in order to create a sense of place.

Collage as an Analytical Tool

Collage is a potentially powerful method to analyze how human perception and experi-ence give meaning to a place. A collage, as a work of art, consists of the assembly of vari-ous fragments of materials, combined in such a way that the composition has a new mean-ing, not inherent in any of the individual frag-ments. According to Diane Waldman in Collage, Assemblage, and the Found Object, a collage has several levels of meaning: the original meaning of the fragment, the new meaning it achieves by association with other fragments, and finally


8 Norberg-Schulz,Christian.Genius Loci, Towards a Phenomenology of Architecture.NewYork:Rizzoli,1980.18.

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its meaning as a result of its transformation into a collective composition.9

Collage, as an art form unique to the mod-ern era, allows ‘an archaeological density and a non-linear narrative through the juxtaposition of fragmented images deriving from irreconcil-able origins.’10 This focus on process over prod-uct and the necessary bodily engagement with this process is clearly analogous to the archi-tectural design methodology advocated by the Phenomenologists. In this seminar, a specific collage methodology is identified with each of Pallasmaa’s six themes. The collage methodol-ogy, understood through a specific collage art-ist, was selected based on technique and aes-thetic intent, typically suspending any social or political motivations. The artists’ work is used as inspiration, while the students are encour-aged to develop their own techniques for rep-resentation in two-dimensional multi-media.

Slowness

The first theme addressed in Pallasmaa’s essay is Slowness, about which he asserts, ‘Great architecture petrifies time.’11 Each work of architecture should mark its place in history, evidence of the place and time in which it was built. This approach stands in contrast with fashionable, novel, or image-driven architec-ture commonly found in architectural pub-lications today. A work of architecture that embodies Slowness is simultaneously timeless and rooted in its temporal condition. By con-sidering a building’s physical engagement with the ground, we can understand an inscrip-tion of the progression of time, juxtaposing the scale of geologic time with the scale of human life. By marking a specific moment in space and time within the palimpsest of physical and cul-tural conditions, while maintaining or perhaps revealing these conditions, we create a place; much like Heidegger’s bridge.

The Collage methodology that speaks most directly to the concept of Slowness is one that employs both additive and subtractive meth-ods, in which the finished collage is illustra-

9 Waldman,Diane.Collage, Assemblage, and the Found Object.NewYork:HarryN.Abrams,1992.8.

10 Pallasmaa,Juhani.‘HapticityandTime:NotesonFragileArchitecture.’The Architectural Review,May2000:78-84.

11 Pallasmaa,‘Sixthemesforthenextmillennium.’

tive of the process of aggregation. The Cub-ist collagists achieved a deconstruction of form through an additive process. According to Robin Dripps, ‘Figures of all kinds were care-fully taken apart just to the point at which the resulting fragments were the most open to external relationships but not so far that ref-erence to the original whole was lost.’12 This concept of breaking down form to accommo-date new relationships between architecture and site/ground is a common characteristic in works of architecture that embody the theme of Slowness.

Aggregation and accumulation of seemingly independent and varied architectural artifacts

create an atmosphere of continuity and simul-taneously a sense of timelessness and the pro-gression of time. Slowness, as the capacity to illustrate a temporal condition through an aggregation of elements interwoven with phys-ical context, can be achieved through creating a palimpsest of human history, a juxtaposition of the temporal and physical conditions of geo-logic and human scales.

Plasticity

Pallasmaa advocates Plasticity, or a three-dimensional, sculptural consideration of space. This theme is a critique of the current plani-metric or sectional extrusions resulting from designing with the computer. Working within the infinite digital space, a scaleless medium,

12 Dripps,Robin.‘Groundwork.’Burns,CarolJ.andAndreaKahn,eds.Site Matters.NewYork:Routledge,2005.59-91.

figure 1: Studentcollage,TaylorMilner

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reduces the potential for dynamic spatial vol-umes considered through the human body. The resultants reside in the domain of vision, spe-cifically focused vision, disengaged from the other senses. As Pallasmaa attests in The Think-ing Hand, all senses are an extension of the sense of touch; when we look at something, we gauge its tactile qualities.13 This process allows us to ‘touch’ objects both near and far. Sculpting light and space, comprehended by engaging our peripheral vision, is critical to a three-dimensional, embodied experience.

In order to evaluate the plastic qualities of a work of architecture, we refer to the Russian Constructivist movement, specifically the col-lages of El Lissitzky. In his approach, the can-vas is seen as an infinite three-dimensional space, with the potential to investigate possi-bilities for plastic, sculpted spaces and volumes. His collage entitled ‘The Constructor (Self-Por-trait)’ from 1925 illustrates critical dualities that the Constructivists, and Pallasmaa, have questioned. He addresses the integration of a mechanical aesthetic with handcraft, and the dualities of the eye/hand, vision/touch, surface/space, and composition/construction in this and other photomontages.

There is a clear translation in Lissitzky’s work from collage as two-dimensional composi-tion to three-dimensional space. He developed an extensive series of paintings, collages, and assemblages under the nomenclature ‘Proun’ or ‘project for the affirmation of the new,’ meaning the new society emerging after the Bolshevik Revolution of 1917. He saw Prouns as a mediator between painting and architec-ture, as maps or designs rather than purely pic-torial. ‘The forms with which the Proun makes its assault on space are constructed not from aesthetics, but from material.’14 The explora-tion of three-dimensional space using the lay-ering of two-dimensional media and photos is an apt method by which to analyze the theme of Plasticity.

Pallasmaa contends, ‘As buildings lose their plasticity and their connection with the lan-guage of the body, they become isolated in the

13 Pallasmaa,Juhani.The Thinking Hand: Existen-tial and Embodied Wisdom in Architecture.Chichester:JohnWiley&SonsLtd.,2009.p.102.

14 Lissitzky,El.LectureatInkhukinMoscowonOctober23,1924.

distant and cool realm of vision.’15 An under-standing of Plasticity, or the sculpting of space and light, creates opportunities to bodily engage the user with the place, offering a more complete understanding of one’s physical, tem-poral, and cultural context.

Sensuousness

While both Plasticity and Sensuousness are based in the engagement between our bodies and surface/space in the experience of a work of architecture, plasticity primarily addresses the distinction between three-dimensional and two-dimensional architecture. Plasticity neces-sitates a sculptural, embodied spatial immer-sion manipulated using space and light, under-stood through our peripheral vision, while Sensuousness addresses multi-sensory versus purely visual architecture articulated through the haptic qualities of materials. Sensuousness goes beyond solely looking at the tactility of physical materials. Engaging multiple senses also includes ephemeral qualities perceived through the skin, such as light, airflow, tem-perature, and humidity. Blurring the threshold between interior and exterior is one means of allowing a greater haptic experience of space. These indistinct boundaries, or fragile form,16 are often visible in architectural interventions into existing structures – there is a great poten-tial in revealing the palimpsest of culture and time through materials to facilitate an embod-ied experience.


16 Pallasmaa,‘HapticityandTime:NotesonFragileArchitecture.’

figure 2: Studentcollage,ShannonWeekley

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The collage methodology suited to an anal-ysis of Sensuousness is that of the Surreal-ist Max Ernst. His collages embody this theme in two ways: his interest in the human body and in materiality. In the majority of his col-lages, he represents the human form, either as an investigation of scale, sensory experi-ence, and/or bodily perception of or relation-ship to the environment. Materially, Ernst uti-lized a number of techniques to create textures that would allow a haptic engagement, includ-ing etchings,frottage, and grattage (techniques by which textures are transferred from objects to canvas or paper). Ernst’s collages reveal the

manual processes and techniques by which they were created. “Collage invigorates the experience of tactility and time.”17 Collage-making that seeks to investigate the role of the human body, as a multi-sensory entity, in the

17 Pallasmaa,‘HapticityandTime:NotesonFragileArchitecture.’

experience of architecture can best express the theme of Sensuousness.

Understanding the body’s relationship to building through a physical and perceptual interaction is evidenced in a resultant frag-ile form – inspiring works of architecture are built around the bodily, multi-sensory percep-tion of place, rather than abstract formal con-cepts. Architecture must be capable of creating a multi-sensory experience, not a purely visu-ally one, in order to be relevant.

Authenticity

Authenticity, to Pallasmaa speaks to an archi-tecture that allows an individual to find a source of identity that is so difficult in the con-text of the universalization of culture. This can only be attained through a considered inter-action between a building and its temporal and cultural conditions. A work must provide multiple readings, allowing each user to iden-tify with their context autonomously.18 Our personal perception of a place is entangled in our memories and lived experiences of other places. According to Gaston Bachelard, mem-ories are associated with space rather than time. ‘We are unable to relive duration that has been destroyed.’19 These memories are associ-ated with sensory, bodily experiences of place – subconscious aggregated experiences affect our perceptions and reflections on new encounters with works of architecture. In order for a build-ing to reveal a deeper and broader meaning to us, we must identify with it on both personal and cultural levels.

The Abstract Expressionism movement in the US intended to merge elements of real-ity with imagination by combining the famil-iar with the unknown, the personal with the universal.20 Romare Bearden was considered the nation’s foremost collagist at the time of his death in the late 1980s. He began to work in collage during the 1960s civil rights move-ment, in order to draw attention to this vital cultural struggle. Unlike the abstract figura-tion of other artists in this movement, Bearden


19 Bachelard,Gaston.The Poetics of Space.Boston:BeaconPress,1969.9.

20 Waldman,Diane.Collage, Assemblage, and the Found Object.229.

figure 3: Studentcollage,TimothyGeier

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turned towards representational work, but held true to the nature of the subjective. ‘He used collage to piece together past and pres-ent, old and new, and fused his knowledge of African tradition with Western culture to give his subjects new meaning.’21 Bearden’s integra-tion of personal and cultural phenomena with the intent of promoting a greater social under-standing aligns with Pallasmaa’s articulation of the theme of Authenticity.

Pallasmaa describes Authenticity in works of architecture as constructs that support ‘a con-fidence in time and human nature; it provides the ground for individual identity.’22 A building must simultaneously identify with its cultural and physical context while remaining tangible to the individual, provoking a greater sense of connectivity to his/her position in space and time.

Idealization

The intent of Idealization in architecture is to represent the best qualities and goals of a cul-ture. In The Architecture of Happiness, Alain de Botton describes the purpose of idealized architecture as ‘not to remind us of what life was typically like, but rather to keep before our eyes how it might optimally be, so as to move us fractionally closer to fulfillment and virtue.’23 On a personal level, De Botton speaks about beautiful architecture as that which fills a void, supplying us with qualities that we are lack-ing in our lives. In this sense, works of architec-ture embodying the quality of Idealization are a response to cultural context, first and fore-most, rather than physical or environmental conditions.

The Hungarian artist László Moholy-Nagy, influenced by the Dada and Constructiv-ist movements during his time at the Bau-haus, used photomontage in conjunction with tonal collage and line drawing to cap-ture the dynamic nature of the modern world. He intended to ‘reconcile art and humanity with the machines of the technological age.’24



23 DeBotton,Alain.The Architecture of Happiness.NewYork:PantheonBooks,2006.105-168.

24 Fiedler,Jeannine.Laszlo Moholy-Nagy 55.Lon-don:PhaidonPressLimited,2001.p.3.

Moholy-Nagy advocated the engagement of the senses, often overlooked in the rapid mod-ernization of society, creating a barrier to social reform. In Vision and Motion, he affirms, ‘The remedy lies in the enhancement of our spiri-tual education by a sensory education, a nur-turing of the senses, by the readiness to artic-ulate senses through the media of artistic expression.’25 Moholy-Nagy’s photomontages, or ‘photoplastics,’ showing clear formal associ-ations with El Lissitzky’s Prouns, endeavored to elucidate an underlying social or personal truth. His vision for an integration of the authentic, sensory human experience with the modern, mechanized world is made manifest in his pho-toplastics, paralleling the values in the theme of Idealization.

Pallasmaa suggests that ‘…Architecture makes concrete an ideal view of life.’26 It should not seek to typify superficial or fash-ionable desires, but rather deeper, fundamen-tal values and goals of our culture. A physi-cal embodiment of these principles gives us a glimpse of what we personally, and as a society, should strive for.

Silence

Silence, to Pallasmaa, is a quality inherent in all great works of architecture. Silence exists in a building when it facilitates stillness, contem-plation, and self-reflection. It is the emotional response evoked by a rustic barn or cottage, a building that was constructed as an inher-ent response to function and context. These places allow us to reflect on our own iden-tity, our place within our physical and cultural milieu. Zumthor describes it as a ‘perceptual vacuum,’ in which ‘a memory may surface, a memory that seems to issue from the depths of time.’27 At these moments, we are able to view ourselves in the continuum of time that lies beyond the scale of an individual life. Buildings achieve this by allowing us to read the inscrip-tions of the human hand involved in construc-tion, and human inhabitation over the life of the building, written on its surfaces.28

25 Fiedler,Jeannine,Laszlo Moholy-Nagy 55.p.14.


27 Zumthor,Peter.‘AWayofLookingAtThings.’Thinking Architecture.Basel:Birkhäuser,2006.7-27.

28 Leatherbarrow,David.Architecture Oriented Oth-erwise.NewYork:PrincetonArchitecturalPress,2009.

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The collage methodology that reveals the theme of Silence is that of the American art-ist Joseph Cornell. Famous for his boxed con-structions or assemblages of objects, he also produced a number of compelling two-dimen-sional collages. Drawing from Cubist themes, Cornell explored fragmentation and new rela-tionships and understandings that might be revealed as a result. ‘Cornell often spoke fondly of buildings in the process of demolition, find-ing beauty in the fading colors, in the warmth of human association, and in the fragments of decay and destruction.’29 His collages have a sense of mystery and poetic calm, moving the viewer to create his/her own narrative, encour-aging individual reflections to inform per-ception. The silence concretized by Cornell’s collages is a microcosm of an architectural experience of Silence.

‘Ultimately, architecture is the art of petrified silence.’30 A silent architecture contains the latent potential for personal reflection, a still-ness that accommodates a dialogue between our physical reality and metaphysical rumina-tions. Silence results from a humble, authen-tic approach to design, inspired by site, culture, and sensory experience.

A Comprehensive Analysis

‘A city is never seen as a totality, but as an aggre-

gate of experiences, animated by use, by over-

lapping perspectives, changing light, sounds, and

smells. Similarly, a single work of architecture is

rarely experienced in its totality (except in graphic

or model form) but as a series of partial views

and synthesized experiences. Questions of mean-

ing and understanding lie between the generat-

ing ideas, forms and the nature and quality of

perception.’31

In Questions of Perception, Steven Holl illumi-nates the true nature of the perception of cit-ies and buildings. We perceive them as an amalgam of sensory phenomena understood 84.


30 Pallasmaa,Juhani.The Eyes of the Skin: Architec-ture and the Senses.Chichester:JohnWiley&SonsLtd.,2005.

31 Holl,Steven,JuhaniPallasmaa,andAlbertoPerez-Gomez.Questions of Perception: Phenomenology of Architecture.SanFrancisco:WilliamStoutPublishers,2006.

through personal experience and memory; not completely and objectively through a formal evaluation. More succinctly, places are lived rather than observed.

The final project for the seminar, a com-prehensive analysis, asks the student to con-sider the multi-sensory experience of a work of architecture from the vantage point of all six themes. The student begins by identifying a project that he/she would like to evaluate from a phenomenological perspective, a work that has had a profound impact on the student in understanding a sense of place. As a place can

only be fully comprehended through a bodily, physical interaction, allowing the engagement of all senses, first-hand experience with the work is required. This intimacy between the student and the work provides experiential, sensory information about the place. How spe-cifically does this work of architecture embody a sense of place? How are Pallasmaa’s themes made manifest through the work? Within a cat-alogue of six collages, each serves as an analy-sis of place viewed through one of six lenses.

A deeper understanding of architectural precedent and acquisition of new skills in rep-resentational techniques has the potential to influence a student’s work in both academic and professional design settings. The process

figure 4: Studentwork,DevkiGharpure

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of carefully constructing collages as a physi-cal expression of a bodily, haptic architectural experience creates a more profound aware-ness of the characteristics that contribute to a meaningful experience of place. A sense of place offers potentialities to understand our-selves as individuals, in this place and at this time, within a greater spatial and temporal framework.

Works Cited

Bachelard, Gaston. The Poetics of Space. Bos-ton: Beacon Press, 1969.

De Botton, Alain. The Architecture of Happiness. New York: Pantheon Books, 2006. 105-168.

Dripps, Robin. ‘Groundwork.’ Burns, Carol J. and Andrea Kahn, eds. Site Matters. New York: Routledge, 2005. 59-91.

Fiedler, Jeannine. Laszlo Moholy-Nagy 55. Lon-don: Phaidon Press Limited, 2001.

Heidegger, Martin. ‘Building Dwelling Think-ing.’ Poetry, Language, Thought. translated by Albert Hofstadter. New York: Harper Colophon Books, 1971.

Holl, Steven, Juhani Pallasmaa, and Alberto Perez-Gomez. Questions of Perception: Phe-nomenology of Architecture. San Francisco: William Stout Publishers, 2006.

Leatherbarrow, David. Architecture Oriented Otherwise. New York: Princeton Architec-tural Press, 2009.

Lissitzky, El. Lecture at Inkhuk in Moscow on October 23, 1924.

Nicolson, Ben. ‘Collage Making.’ Appliance House. Cambridge: MIT Press, 1990. 16-29.

Norberg-Schulz, Christian. Genius Loci, Towards a Phenomenology of Architecture. New York: Rizzoli, 1980.

Pallasmaa, Juhani. ‘Hapticity and Time: Notes on Fragile Architecture.’ The Architectural Review, May 2000: 78-84.

Pallasmaa, Juhani. ‘Six themes for the next mil-lennium.’ The Architectural Review, July 1994: 74-79.

Pallasmaa, Juhani. The Eyes of the Skin: Archi-tecture and the Senses. Chichester: John Wiley & Sons Ltd., 2005.

Pallasmaa, Juhani. The Thinking Hand: Existen-tial and Embodied Wisdom in Architecture. Chichester: John Wiley & Sons Ltd., 2009.

Sharr, Adam. Heidegger For Architects. New York: Routledge, 2007.

Waldman, Diane. Collage, Assemblage, and the Found Object. New York: Harry N. Abrams, 1992.

Zumthor, Peter. ‘A Way of Looking At Things.’ Thinking Architecture. Basel: Birkhäuser, 2006. 7-27.

the art of making - architecture posited a series of questions facing the architecture profession,...

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