Widianto UTOMO Selected works and total concept works
1990- 2001
Book I
Introduction This book is intended as introduction of myself, my early works and recent works in art and design field, as self-leaning and development process. This book hopefully can become good picture of my talents, skill, and style in art and design. And finally it is able to become a design inspirational source for you.
Banyuwangi, Indonesia, 10 October 2001 Widianto Utomo Edited on 18.10.2001/ 25.10.2001/ 27.10.2001/ 02.11.2001/ 04.12.2001
Copyright © 2001, Widianto Utomo Design and concept copyright © 1990- 2001, Widianto Utomo All rights reserved.
I. Early Works
1.Conceptual fashion fantasy design, made from paper. 2. Bamboo furniture design. 3. Ethnic illustration and ornamentation. 4. Batik Design for East Java Tourism 5.Takiron, water- plant fountain. 6. Fish, a furniture design. 7.Furniture and ornament for Tunjungan Hotel, Surabaya, Indonesia.
<< Paper fantasy fashion design.
Bamboo furniture design >>
Ethnic ornament and illustration >>
Tourism Batik Design >>
Title: Ozon, Earth and Life. Water fountain and planter.
Total innovation chair >>
Furniture and decorative element design for Tunjungan Hotel (Crystal Hotel), Surabaya, Indonesia >>>
<< Counter design
<< Stained glass pattern.
<< Lobby floor pattern.
<< Water fountain.
<< Counter and water fountain.
<< Entrance floor pattern.
<< Restaurant counter.
II. Academic Work, Petra Christian University, Surabaya, Indonesia.
1. Kul- Kul, Balinese style souvernir shop. 2. Layar (sail), a furniture design. 3. Tamiya, Tamiya Toys Shop, refurbishment shop at Tunjungan Plaza I, Surabaya, Indonesia (total concept design). 4. Graduation Project, Lobby, Shangrila Hotel, Surabaya, Indonesia (total concept design).
KUL- KUL, souvenir shop.>>
<< Sections.
<< Plan and furniture lay out.
<< Ceiling / lighting plan and floor pattern.
<< Section.
<< Chair design inspired from sail.
Tamiya Toys Shop >>
<< Signage and custom lighting
fixture design.
<< Cashier counter and stool design.
<< Section.
<< Section.
<< Concept and space study.
<< Floor and lay out plan.
<< Floor pattern plan.
<< Ceiling and lighting plan.
<< Elevation (shop front).
<< Sections.
<< Cashier counter and stool details.
<< Custom-made aesthetic and functional << Display elements. table.
<< Display table.
Thesis >>
Lobby, Shangrila Hotel, design study and custom design >>
Lay out study (positive negative aspects) 1>
Lay out study II >
Lay out study III>
Lay our study IV >
Lay our study V >
Zoning >
Movement configuration study >
Organization grids>
Furniture Zoning >
Lay out >
View study >
Circulation >
Air- flow and circulation >
Inter-rooms relationship >
Academic Works, University of New South Wales, Sydney, Australia.
1. Fishe, underwater cafe stool. 2. Akira Isogawa Shop, refurbishment project. 3. Living on the edge, information center (total concept design). 4. What’s next, futuristic mobile-home. 5. Maritime Authority Center.
6. Life drawing. 7. MCA Café, graduation project (total concept design).
Underwater stool (for seaworld café or similar function) with glow in the dark upholstery >>.
Design concept: Intertextuality In Akira Isogawa’s shop design context: recreating space that a result of blending two or more different elements become one >>.
City Center Information Shelter >>
Design Concept General Theme: Living on the Edge, an Interior Space, Title: Ripple of Life, Function: An Combined Space; Information Center, Safe Point and Resting Place Location: Corner Bathurst and George Street (in front on Energy Australia), Sydney, Australia Target users: people from different backgrounds (languages, cultures, education, social, sexes, ages, occupations and needs). The idea was inspired by my own experiences. At this moment, Indonesia is in turmoil, both politically and economically. It is very hard for me to choose between two alternatives, to stay in a foreign country to gain a better future through education or to return to my family. Both of them are important for me making it a really difficult choice. However there is an aperture between those worlds. The aperture gives me an opportunity to create something new and meaningful. It gives me an opportunity to gain freedom and it gives a challenge to survive, explore and experience. (=Living on the edge). The title is taken from an idea of a ripple. Ripples exist because of the power of water and wind. They have new appearances and meaning.
A ripple has beauty and visage challenges. It could go to follow the rest, lay on a new place, or just remain silent. A ripple however is still water in general. It is created by the inner and outer power alliance of water. When a ripple interfaces with the land it changes its essence, becoming something new and meaningful. It becomes a powerful spot on its nature, like a flying fish on the horizon. What I want to achieve in my design is to place my design in a unique condition, lying between two distinct atmospheres. Collaboration between an idea of the ripple and a living on the edge experience will create a bold and unique total design.
Design Architectonics
Functions: -a compact space, which has a function as an information center for city visitors -a place for short resting for city dwellers -to provide safe point for visitors (local and foreign) -a place for security surveillance for surrounding areas -as a prototype space for a new multimedia facilitation center for the upcoming new millennium and the Sydney 2000 Olympics
Aims: -to provide a representative space for Sydney’s visitors especially and New South Wales’s visitors generally -to provide a safe point during night time especially with increasing crime cases in the surrounding areas Design issues: -to facilitate a new design among the historical building and modern buildings, and to create a new way of design which is a collaboration between a modern and the new millennium design ideas. This will have further considerations, on function and both aesthetically and environmentally. Design contacts, collaboration of the design ideas and the construction systems are a result of collaboration from four different sources: -the shelter system of the Rendille people, the nomadic shepherds of Northern Kenya. It has a simple, strong, portable and attractive form. It can be adapted easily within its wild nature surroundings -an aircraft design , is used due to its self-contained and mobile systems. Moreover aircraft might gives new experience to its fresh passengers. It has a simple shape, however within its simplicity it has completeness. -roller coaster, it has a passive core as its main body. However from its passiveness, it will create a dynamic motion to the carts and gives new experience to its passengers.
-a drop of water , it has a simple and tranquil form, However there is a life, a million of microbiology, which has dynamic motion and powerful power from its weakness appearance. Design Legend -plasma cell : there are lots of cells between two layers of glass. Each cell consists of an electrode, color fluorescence phosphors and gas. When high voltage is applied to a cell the gas inside gives an electrical discharge (the plasma effect) which generates ultraviolet rays. These ultraviolet rays strike color fluorescence phosphors (red, green and blue) and enable them to produce light. (present scheme: light - glass- gas electrode- u v plasma – electrode+ - glass) (source : Panasonic Australia, www.mei.co.jp, www. Panasonic.co.uk ) -polycarbonate, polypropylene and polyurethane = thermoplastics = industrial plastics © widianto utomo, bia, 2200631, unsw, 7 april 1998
<< Site study and initial design idea.
<< Plan study.
<< Construction system study.
<< Integrated utilities (building services) study.
<< Light construction and join study.
<< Combine structural, service/ utilities distribution and stair study.
<< Enclosure and power supply system study.
Nomads, smart integrated mobile home >>
Design Concept Design studio 7, session1 project 1 March 1999 Widianto Utomo, 2200631 Design Proposal: Sydney March 2018 Location: New York City, Type of Space: Personalized- long term leased Design Idea: Gypsy-Exclusive- Interactive caravanpark, and triangle 3d puzzle. Client profile: Client No: ny2020exc1 Sex: Male Age: Mid Twenties Status: single Profession: super model, designer, stock exchange investor, Activities/ character: very organized and dynamic professional, high level traveler. Hobby: art, Music, hi-technology, Traveling, Favorite channel on television or other interactive media: News (CNN>Reuter), music (MTV>channel V), movie (World Movies), and business (CNBC, WSJ), traveling and some sports. News sources: CD-ROMs, website Space Requirement character: As a model, designer and stock exchange investor, he has very busy schedule around the clock. In general, he spends his longest days in New York, as the based for him to control his design network around the globe.
He wants a space, where he can enjoy his free days. For him free days do not mean free from doing anything. He wants a space that can become his design studio, leisure gateway and keep in touch with dynamic outside world. However, it also can accommodate him as a tranquil sanctuary. He likes and enjoys party, but he also wants a diamond class hotel service without spending any cents. That means he requires a functional spacious space when it is occupied and a tidy and organised space when unoccupied, and free of maintenance. He likes a simple, minimalist design and futuristic high-tech design. Also as a person with multiple professions, high technology facilities for working and leisure are very important, and it should contain the latest technology that can make him possible to do few works at the same time without any hassle of the computer system error. The space and its envelope not only can become his personality signature as a model, designer or investor, also can become a frontage for contemporary hi-tech art now and the next decades. It is a space that can become an extension of the owner identity to the vicinity. It might also have a quality as a space with a novel poetic fusion of its advanced hi-technology and natural beauty surrounding.
He wants a space that not only passive space as what it was. He wants an extraordinary design that can contain his imagination to interactive with the space, adjustable according to his mood and dynamic lifestyle and also as an ordinary human being. This is a space with body and soul quality. As the model he requires human friendly space, it means his and the space could animate one another as partners. If he feels a critical relationship to the space outside their bodies, they also have an essential relationship to the inside. This is indeed, reminiscent of his need to sense the security inside his dwelling space in order to act with strength in the glamour community stages. With comply with the world design guideline, the space must be recycle-able, capable to provide its own services without produce further pollution, adaptable with any worldwide computer system. And might be according eco-tech design guidance, a design that has symbiosis responsiveness between tradition and technology, the local and the universal, nature and building. Ref: Sustainable Architecture and high technology, Eco tech, Catherine Slessor, Thames and Hudson, 1997, Body memory and architecture, Kent.C Bloomer and Charles W.Moore with a contribution by Robert J. Yudell, London, Yale University Press 1977.
Why New York? New York, where fashion is an avenue and where design travels over the city threshold is such rapid. Why New York? New York as the one city which has the world dynamic advantages, it is also a nomadic city. It is city where the world permanent is not recognised, and while its resident vision of itself as modern as Los Angeles’s, it has no imperial patron like Parisian. It is a city where what happened in Paris or Tokyo today or Milan yesterday affects what happens on today meeting table, vice versa. It is also a city where designers listening and watching it, since it is too large and diffuse for dominant style, no single New York styles exist. New York is universal, it is bold, it is has historical background, and it has an exciting and fascinating world fusion sense. Beside its international private luxurious world, its internal world: N.Y. street life and design are the two worlds that never completely meet, they complement each other, one never physically distant from the other, there is a membrane of varying permeability between them. The city is also the force of striation that re-imparts smooth space. No where more staunchly than in the inversion New Yorkers experience everyday. one way or another, in the rising counterattacks: sprawling, temporary, shifting shantytowns of nomads and cave dwellers, scrap metal and fabric, patchwork, to which
the striations of moneys, work, or housing are no longer even relevant, and everything intermingles or cross over. It is a city, where the city itself acts as a stimulus for design, even as it makes life tough, expensive, and airy and at times dangerous for who derives their stimulation from it. (Adaptable from New York, nomadic design, Ronald Christ and Dennis Dollens, Rizzoli international publications Inc. Editorial Gustavo Gili. S.A, Barcelona 1993)
<< Initial design idea and study.
<< Space configuration possibilities.
<< Initial plan.
<< Close position.
<< Interior view from entrance.
<< Interior view from entrance to living room area and public bathroom.
<< Interior view << from Interior <<<<Interior living Interior view << room view Main toward view toward ofbathroom ofliving kitchen main work room bedroom. area. interior. space. area.
<< Interior view from kitchen overlooking public bathroom and pool.
Maritime Authority Center >>
<< Office block study.
<< Integrated work space.
<< Combine function divider and storage space.
Planning, zoning of the new office >>
Life drawing (charcoal and ink)>>
bachelor interior architecture GRADUATION RESEARCH PROJECT July- November 1998,
Design Project July- November 1999,
The University of New South Wales, Sydney, Australia
the MCA stage II, Sydney New Vibrant Design Perspective
Hot Spot Café
Interior design client: Janet Laurence, Sydney-artist UNSW official supervisor: Harry Stephens, B.Arch., Dipl.LD UNSW, FRAIA, MDIA
MCA/MCA design brief supervisor: Graham Jahn, Jahn Associates Architects, 105 Reservoir St., Surry Hills, NSW, Australia Student: Widianto Utomo, 2200631
Acknowledgments With this occasion I want to thanks to these following persons who giving their time, attention and help, and making this project possible, -Janet Laurence, Sydney artist, Sydney, for her time and support and creative ideas as my interior design client. -Graham Jahn, Principal, Graham Jahn Architects Associates, Sydney, for his time, attention and help giving a preliminary MCA stage II design brief. -Harry Stephens, Head of Program, Bachelor Interior Architecture UNSW, Sydney, for his time, attention and help as my official supervisor from the beginning of this project, and making this project possible. -The Director and The Director of MCA Development, to allowing me to use this project as my bachelor interior architecture graduation project. And for the Directors of these Museums to provide me further information of their Museums. -The Director of Vitra Design Museum, Germany. -The Director of Marugame Genichiro- Inokura Museum of Contemporary Art, Marugame, Japan.
-Jaana Hirvonen, Communication Manager, Kiasma, Museum of Contemporary Art, Finland. -The Director of Guggenheim Museum Bilbao, Spain
Contents I. The aims of the research project II. The Museum of Contemporary Art (MCA)Sydney stage II design project brief III. Building types research: 1. Guggenheim Museum Bilbao, Spain 2. Marugame Genichiro Inokuma, The Museum of Contemporary Art, Marugame, Japan 3. Vitra Design Museum, Deutschland 4. Kiasma, The Museum of Contemporary Art, Helsinki, Finland IV. The MCA - Hot Spot Café design brief V. Design Concept, including Consideration of the Main Interior Materials and Finishes VI. Dissertation Outline 1.Title 2.Contains and chapters brief
3.Bibliography VII. Bibliography. VIII. Appendix -project schedule. -discussion records with the client, project supervisor, official supervisor, interior materials and finishes commercial suppliers. -Museum of Contemporary Art stage II, development briefing document. -Jahn Associates Architects, MCA stage II design outline brief. -building type studies (the images): Marugame Genichiro Inokuma, The Museum of Contemporary Art, Marugame, Japan; Guggenheim Museum Bilbao, Spain; Vitra Design Museum, Deutschland; Kiasma, The Museum of Contemporary Art Helsinki, Finland. -brochures/ leaflets/images: Museum of Modern Art New York; Vitra Design Museum; Marugame Genichiro Inokuma; Museum of Modern Art, Heide, Melbourne; National Art Gallery Melbourne, and Art Museum in Bregenz, Austria. -further design case studies: Art Gallery of New South Wales, Sydney, Museum of Sydney, and Museum of Contemporary Art, Sydney. -Building Code of Australia. -café design standard (lay out hierarchy, building services). -Human dimension and interior space standard. -café marketing graphic and design case studies. -total design studies.
I.The aims of the research project The aims of the research project are to give better foundation in preparation for student to do their interior design graduation project, as the final step of their course. Furthermore, with this research, students are expected to take some similar building types for their design study cases. These will not only give students better understanding of the project; these also will give preliminary ideas for their design project. Finally this research project could become a gateway of the student to do their graduation design project, and their near future professional life.
II.The MCA stage II design project brief Australia with its world class art potential, has obliged their artists, to develop their clear positions on question of regionalism, indigenous culture, ethnic diversity and cross-cultural developments, on new museums and exhibition practices, as on the utilization of new technologies, in amalgamation with ever more multiple artistic judgments entailed in confronting a dynamically changing world.
The position of MCA on the Circular Quay site will enable the new extension of the museum to encompass Australian and international issues that are being addressed by artists, film-makers, designers and those concerned with theory and criticism in the visual arts. It will give new experience to the artists through new diverse media to express their works. It also will provide an information center both for the general public and for scholarly research. The new museum must be a lively meeting place for artists, critics and interpreters working across many media. It should be an open and inviting place, especially for those wishing to develop their comprehension of the contemporary world through being challenged constantly by Australia’s lively contemporary cultural life. (Extract from the director of the Museum, Leon Paroissien foreword, MCA Stage II Developing Briefing Document) The MCA stage II will provide additional exhibition and education spaces, support gallery space, support facilities, major function areas for patrons, members and visitors, and additional space for retail rental. The emphasis of this stage will be on exhibiting the moving-image in galleries, multimedia spaces and a cinematheque, distinguished by its technical sophistication standard of presentation and programming philosophy1.
1
MCA stage II Design Development Brief, p.3
The cinematheque will become a central point of the new museum, it will also provide not only a sophisticated and accessible gateway for worldprogramming, but will play a prominent role within the network of existing moving-image organizations across Australia by offering a high profile shop-front. The new café, or as it is called Hot Spot Café, will become another attraction of the museum particularly, and to the vicinity generally (Circular Quay, Sydney Opera House, and The Rocks). The aim to create hot spot for the visual arts culture supports the performing arts culture established across the water at the Sydney Opera House. It also will inject fresh cultural and commercial life into the Rocks vicinity. The concept of a hot spot is a large meeting place, watering hole, open room or veranda, which enables and encourages people to congregate naturally. It is a public space, which might offer a seamless interaction with the arts, while taking in the splendor of the harbor. This might be the place for resting for guided tours, coffee break before or after the opera, and where audience and film- makers met after opening night at a film screening2. The ambience of the place needs to be ambiguous and open to different moods. This hot spot cafe should charge at the foyers and entry areas for visitors and day-trippers.
2
ibid., p.3,35
Architects are encouraged to consider their approach to the telescoping contexts of the regional plateau or flooded valley, the urban hinge of the CBD and lowscale harbor, the heritage issues of a nineteenth century grain, and the absolute importance of the Quay as a public promenade, especially for Sydney’s wider consciousness. Architects are invited to consider a new concept of new building ‘between the earth and the sky’3. Finally, the hot spot café could give an additional address to the entire new museum, beside the cinematheque. (Extract from the MCA stage II design development brief)
3
ibid. p.35
III. Building types research 1.Guggenheim Museum in Bilbao, Spain
Address: 2 Avenida Abandoibarra , 48001 Bilbao, Spain
Architect: Frank O. Gehry and Associates, Inc. His design becomes the winner for the new museum competition with a design that joins up the city and the river levels, includes a water garden to create continuity with the river, and incorporates the Puente de la Salve in the design.
Ownership and administration:
The Guggenheim Museum is financed and owned by the Basque administration and is managed by the Guggenheim Museum Bilbao foundation, an organization that includes representatives of the Basque administration and the Solomon R. Guggenheim foundation.
Project dates: Ground breaking: October 22, 1993 Public opening: October 19, 1997
Building materials and structure: A CAD program developed for the French aerospace industry, Catia, was being used for the structure realization, which allowed the plastic forms of wood to be reproduced and transmitted digitally to the machine used for the structural components and cladding.
The building shape composed by load-bearing skeletons consists of concrete piers and stairs supporting an initial metal structure braced with an open mesh that gives the building its shape4. The cladding is galvanized steel sheets 2mm thick, overlaid with a waterproof skin, which is in turn covered with titanium panels 0.38mm thick. The titanium was mined in Australia, smelted in France, laminated in Pittsburgh-USA, cleaned in the UK and laid by Permasteelisa-Italy. Glass, 2500 different shapes, was made by Umaran, Spanish. The outdoor and indoor floor are paved with limestone flags from the Huescar quarries near Grenada.
Projects dimensions: Site: 32000 m2 Gross building area: 28000 sq.m Building: 24290 sq.m of the 32 700 sq.m (including the derelict industrial site near the estuary of the River Nervion). Galleries: 10560 sq.m, consist of 19 galleries on three levels. Public spaces: 2500 sq.m Library: 200 sq.m Auditorium: 605 sq.m Offices: 1200 sq.m Museum store: 375 sq.m Restaurant: 460 sq.m
4
Abitare, March 1998 no 371, p.138
Café: 150 sq.m 5
The design focal point The central feature of the design is the main atrium with a connecting system of curvilinear bridges, a glass elevator and stair tower.
Frank O Gehry’s preliminary design concept: -His design concept focused on an interaction within the design fabric vicinity, which had no existed before, an interaction between the vacant waterfront below and the urban area on the plateau above the site. -The idea of new museum form was inspired by the shape of natural slope running down to the riverfront. -The cluster buildings lay out along the lines of an amphitheatre, which would give the museum a clear identification to the cultural triangle of the vicinity (the Bellas Artes Museum, Universidad de Deusto, and the opera house)6.
The Museum in the Bilbao City context: The new museum was proposed to enhance the new city’s infrastructures and amenities development, as a part of an architectural and urban redevelopment program designed to differentiate the city’s economy Coosje v.B., Frank O. Gehry, Guggenheim Museum Bilbao, The Solomon R. Guggenheim Foundation, Guggenheim Museum Publication, NY 1997., 6 ibid., 5
after the collapse of local shipbuilding and heavy industry.
The Museum: The Frank O.Gehry’s neo-futurist contraption design of the new museum becomes a reliable indicator of continuity in change, and architectural high-water mark in the sea-change that is transforming the rough-cast realities of declining Western cities into the smoothly polished dreamland of virtual centre for culture and arts. In the encounter between quantity and quality, architecture will be asked to play a leading role in making a new clear definition of the form and function from the old distinctions, which are increasingly old fashioned as well as largely not relevant in the present -day context. The Guggenheim Museum has become inimitable as an architectural performance, which has set 21thcentury architecture as an ambition, although it might not be achieved in the end. The Museum with its architectural eccentricity has made sense only in a society that has decided to raise status to art, education and leisure time. It has become a monument to art that also signs a definitive replacement of art at the centre of the stage7. Gehry’s new museum has brought a new notion of art and architecture definition, the art museum as a work 7
Abitare, op.cit., p.123-125
of art in its own right to its logical pinnacle. It will become a flash point for architects to rethink how museums should be designed. Frank O. Gehry’s astonishing piece though lavishly abstract formalism points to the gulf that separates the poetic appeal of his architecture from the bold management of western art on an industrial scale as a form of world colonialism. The Museum unmitigated quality offers a new challenge to take new form of contemporary architectural languages. It also offers fascinating prospect of using architecture scenographical as an advertising and promotional tool, in this case, a megaphone proclaiming Bilbao’s spectral protoindustrial delights to the world. In the mean time, the museum has raised wide ranging questioning about the political and private patronage of the arts, the extent to which they coincide, the immense sums of money involved, and the relationship between central and peripheral politic and culture8. In conclusion, the design of the Museum is influenced by the scale and the texture of the city of Bilbao, and it recalls the historic building materials of the River Front, thus demonstrating a thoughtful response to the historic, economic and cultural traditions of the area.
8
Abitare, ibid., p., 132, 140
The new museum becomes an evident that the vitality and human involvement in architecture has won the paternalistic severity of modernism.
2.Marugame Genichiro-Inokuma Museum of Contemporary Art, Marugame-City, KagawaPref 763,Japan (Station Front Art Museum)
Address: 80-1, Hamamachi, Marugame-City, KagawaPref 763, Japan
Architect Taniguchi Yoshio from Taniguchi Yoshio Design Institute
Project dates
Completed on 20 June 1991 Opened in November 1991
Structure Steel-framed ferroconcrete as basement
Project dimension Building area 3603.92 sq.m Total floor space 8000.04 sq.m
Awards
1992 The 26th Sign Design Association Award 1993 The 36th Building Industry Association Award 1994 The 7th Murago Togo Award 1996 The 5th Public Building Award, special prize
The design concept
The Genichiro Inokuma an international minimalist artist and western-style painter, his initial idea was “a museum should be an art”, which should be interpreted into the museum design brief by
Taniguchi Yoshio, architect, who has been chosen to design the MoMA- New York expansion and renovation. Furthermore, the design concept brief was a result of a dialogue between the artist and the architect. The architect tried to create a space, which can accommodate the artist works and his ideas. The final design of the museum will not only become a space for art works, however it will become a space, which it has the ability to communicate with the art works. Finally the museum will become a collaborated art by the artist and the architect, as the artist expectation.
The Museum in the City context The museum was built as a part of the city’s 90th anniversary. The museum will honor the sublime art and achievements of 70 years Inokuma art careers, and will become a living art center for future generation. The museum will also become a center for the public art appreciation and creative activities. With its strategic location from major public transport, the art museum will be a place for art curious group, day-trippers, or for relaxing time.
The Museum The first step in the journey to beauty involves seeing. The opening of the creative spirit is fostered
through experience, and the blossoming of new cultural activities among citizens begins with fellowship and sharing. Adapted from the Museum booklet. The art museum was designed to harmonize with the new vicinity development, especially with the redevelopment of the Marugame station area. It was expected become a new symbol of the city. It will become a vehicle for the society towards better art understanding through experience. The interior spaces and the art works are planned and set up in manner to foster appreciation and understanding of the art works and the artists himself.
3.Vitra Design Museum-Frank O.Gehry
Address: Charles-Eames-Str.1, 79576 Weil am Rhein, Deutschland
Architect Frank O. Gehry
Ownership and Organisation The museum covers most of its expenses from its own activities, beside a basic support from the sponsor, the Vitra companies and the Vitra Design Foundation. Their income is primarily obtained from: designing and organizing their own exhibitions, staging exhibitions commissioned by other sponsors, producing their own series of publications, manufacturing and marketing museum products and collecting visitors admission fees.
Project dates Opened on 3 November 1989 (1986-1989)
Project dimension Total 740 sq.m exhibition space
The design idea The idea of the Vitra Design Museum grew out of a furniture producer’s want to create a space where they could document the roots and history of his craft.
The design concept My intention was to understand and extrapolate from the context. I wanted the new buildings to set up a dialogue with the wonderful existing plant
designs by Grimshaw. The relationship to the highway, the green hills across the road, the smaller scale building of the adjacent town including the car dealership on the adjacent site and after all the sculpture become important issues. My solution is an urban village museum. Frank. O Gehry.
The Museum Vitra Design Museum is one of the world’s leading museums for design. The museum is dedicated to documenting the history and current trends in industrial furniture design. Its goal is to stimulate the consciousness of people towards their aesthetic environment. The preliminary task of the museum continues to be elucidation of the design process in all of its phases, from the birth of the idea through the manufacture and marketing of the completed product.
The design A museum does not exist for only as an exterior envelope, it also needs interior contents. From the beginning, Rolf Fehlbaum, president of Vitra and Alexander von Vegesack, director of the institution, were concerned that the strong expressiveness of the building structure could dominate the exhibition galleries.
They wanted to see a design with has challenge to mediate the architecture and the exhibited objects. It means the exhibition installation should never attempt to imitate or outdo the Frank O. Gehry architecture. Each of the Vitra Design Museum’s exhibition galleries has a unique architectonic language. This individuality makes its difficult to create a single standardized installation design, which can be used interchangeably throughout all the rooms. A specific and original design solution must be created for each gallery and for each exhibition area. The diverse character of the rooms will lend itself to thematic installations. Furthermore, the open structure of the buildings will encourage the viewers to come into the adjoining and nearby galleries, it also will provide flexibility for installation of either one continuous show or several smaller ones within the exhibition space. The structure of the museum is that rarest of all architectural phenomena: a building that stands as a landmark as well as a breakthrough. It stands out in an oeuvre already filled with advantages in the art of architecture, and Frank Gehry direction toward his growing mastery of interior space among the greatest architects of this century. Finally, without doubt the role of art in architecture or the acknowledgment of architecture as an art form has been one of the major preoccupations of the eighties.
4.Kiasma, The Museum of Contemporary Art, Helsinki, Finland Address: Mannerheiminaukio 2, Fin-00100, Helsinki
Architect Steven Holl Architects in association with Junani Pallasmaa Architects of Helsinki.
Project dates
The results of the international architectural competition for the project were declared at Midsummer in 1993. The Museum opened at the end of May 1998.
Awards 1998 February, The Museum was awarded the Concrete Structure of the year prize of 1997.
Building materials and structures
The building cladding is metal. The building has steel skeleton and white concrete core to create its vestibule space. Frosted glass, construction glass, acid-treated reddened brass and grey sheet zinc.
The Museum
The Kiasma or Chiasma (Greek term) means intertwining, the design is concerned with weaving the building into the city and the nature surrounding, the Finish landscape.
The new museum seeks to redefine the art museum as an institution, shifting from the image of elitist treasure house to public place, and the site well supported for the idea of art as a medium for public interaction.9 The interior fabric gives opportunity to the visitors to choose their own path through the galleries by unfolding the perspective.
The Design
The site of the Museum is in a under-developed area of Helsinki, near the prominent site of the capital. It located on the opposite of Parliament House and next to the monument of Marshal Mannerheim, the father of modern Finland. Kiasma is a simple weaving of two shapes. One is along rectangular volume that serves as an extended entrance, the other, containing the galleries, is an enveloping torus of a vault. The main features of the Museum are its 25 galleries. Almost all the rooms have four solid walls and with carefully considered lighting condition. Daylight enters indirectly at the ceiling level to take the beam advantages without damaging the art works within. Steven Holl takes advantages of the natural museum vicinity, with the introduction of a few windows, facing directly toward to the city view. That view 9
Annette L., Iconic Kiasma, The Architectural Review, no 1218, August 1998, p.46
becomes complementary to the Kiasma design and its location. The windows unite the museum to the city vicinity. The architect has named most of the windows according to its relative location to the city. The most important one is the large ‘Lapland’ window on the fifth floor, opening onto Alvar Aalto’s mythical northward vista of Helsinki. Kiasma was particularly praised for its technically challenging design and the strenuous level of its concrete structures. Its design emphasizes on space, light and the plastic properties of concrete, expressed in the sculptural forms of the building, its texture and details. At the same time the design of the details takes into consideration of their relation to the whole. Holl’s decision to forego the intermediate scale to work on the overall volume and the details, letting art dominate the realm in between-has proven popular with the public and the staff. Kiasma become a highly critical Finns because of its bigger idea and a stronger visual poem. The museum stands for its duality meaning, as a mythical narrative as national monument. Through its peaceful juxtaposition of light and dark, void and solid, the Kiasma becomes an essay in perceptiveness10.
10
ibid., p.52
It becomes a vehicle for art because of its neutral space and operates on a perceptual and sensory level. Director Tuula Arkio. Roberta Lord, New York City-based writer11.
Leena M., Kiasma, The New Museum of Contemporary Art in Helsinki, Form Function Finland, no 69, 1/1998, p.,6-9 11
IV. The MCA- Hot Spot Café design brief and design concept. the design brief. The hot spot café is a space, which can become a new spot to the museum particularly and the vicinity generally. This new space should be a compliment to go along with the existing place identity and the vicinity world recognition. It should become a space, not only a space within an art vehicle, however it should be able to stand as an art statement inside its envelope. As to its function as a café, it should become a hot spot café, a café with an extraordinary character, where its main function is creating a place for a large meeting venue, watering hole, open space, and have the ability to encourage people to congregate naturally. The café will able to become a spot for 24 hours continuously, it means the ambience of the place needs to be ambiguous and open to different moods. And with its first advantages of the site, the cafe should have good echoes to the regional flooded valley, the urban hinge of the CBD, the low scale harbor, and the heritage issues of the nineteenth century fragment, and the Sydney Opera House. The interior design of the café should have echoes to the new museum central point feature, the cinematheques with its technological sophisticated and to the harbor. It should become a fresh creative
and bold design with considering the concept between earth and sky, and is expected become a living art inside the new museum. The café interior also should be able to create a dialogue between the water and the museum, with seamless transition between. The cafe should be able to create a feeling of watering space. While the design should be able to challenge the visitors to interact with each pieces of contemporary art which are created from the each objects inside of the interior fabric (for instance types of food, style of servery, cutlery, furniture elements, decorative elements, and other interior elements), also the café clientele will have contemporary echoes from the museum event. The final design is expected to have reflection of its nature envelope; sky, water and land in very creative ways of design and has an opportunity to challenge the design as a piece of contemporary art work and representative of sophisticated new advanced technology as an interior design element. At the same time the design should be able to speak out as a hot spot from its minimalist design. The design will be able to attract people to come and congregate because of its total design uniqueness and boldness as a contemporary artwork, beside its inviting and comfortable atmosphere. The café design is expected become a hot spot creation without copying the new museum extension envelope, however it could become a part of whole of
the museum fabric and stand as an independent art statement with its distinct character. Finally the hot spot café should be able to stand as a piece of art while its design and its function can last as long as the museum life times.
V. Design Concept, including the main Interior Materials and Finishes consideration. Design Concept
Theme: Floating Universe The design concept: bring and blend people together and assemble them with the place as a vehicle and as interior elements. Amalgamate their collaboration with the nature, and the contemporary arts themselves without direct interaction. It will facilitate the existence of the sensation and passion of the nature surrounding (water-earth-sky) unification, through its interior atmosphere. A space, which has the ability to transform people inside, becomes a piece of moving art within a living art. A place that has the power to transform an ordinary object becomes a piece of creative and dynamic contemporary art. A place where its uniqueness and boldness design will radiate to the universe continuously around the clock.
Consideration of the Main Interior Materials and Finishes The major feature of the design is the used of translucent and transparent material as its main interior elements. This can be realized from the
materials such as glass (transparent glass, colorcoated glass, and translucent glass, transition glass) or from polyurethane, polypropylene and polycarbonate materials. The lighting will become another strong element of the design. It will not only illuminate the space; furthermore it will also stand as an interior device. Another important feature of the café is a set of plasma cell screen with long and narrow rectangular panels, which it is activated by the human heat and movement. The screen is a double-sided active plasma cell. On one side of the screen, its function to capture a person heat and the movement passes through, and then projected onto the other side of the screen as an abstraction art form. This system will work vice versa.
VI. Dissertation Outline 1.Title Finding the new identities the Museum of Contemporary Art-Sydney (MCA), as a place for art, or as a piece of art.
2.Contents and Chapter Summaries 1.People’s place a place and art from the past. The Museum of Contemporary Art-Sydney (MCA) as a piece of Sydney’s War World II architecture has a strong and distinct ornamentation style character from that era and also it has significant cultural influence from the intense immigration stream to the country at that period. The location and its first original building function have given the dominance design fabric shape and character; an architectural design with maximizes space efficiency and harbor view advantageous. 2.Art and the Museum of Contemporary ArtSydney Place Making Vision, Real Art Versus Virtual Art. An investigation of how the Museum of Contemporary Art-Sydney can locate its art mission and vision as a museum of contemporary art, and as a place with its prior-advantage harbor site at the same time. And how will its commercial site give impact to its mission as a contemporary art showcase, a place where people can learn and honor a piece of contemporary art.
In what ways the MCA-Sydney will anticipate virtual art and virtual museum issue toward the next millennium, and how far its function and will it existence still relevant to answer fulfilling people need of a place where they can get real contemporary art experiences, and interact with the art themselves and with others as sociability living creatures. 3.Museum of Contemporary Art-Sydney, as an art place and a living Sydney contemporary art. This chapter will investigate the new image of the new MCA and conclude this dissertation. It will investigate how relevance the Museum of Contemporary ArtSydney can stand both as a contemporary art and as an envelope for other contemporary art objects. In what way, the new MCA can become an independent contemporary art object itself and regardless from its current function, as a contemporary art museum. Also how it could collaborate and give continuously interactive art echoes with its displayed contemporary art objects. Finally, how the new MCA will embrace Sydney living art and as a piece of contemporary art in Sydney and Australia particularly and to the world in general.
3.Bibliography
--, A Short Course in Architecture Psychology, Architectural Psychology Research Unit, Department of Architecture, University of Sydney, Sydney, 1974 --, collected essay by Herbert Read, The Philosophy of Modern Art, Faber and Faber, London, 1964 --, Colour design For Modern Interiors, Architectural Press, London. 1935 --, compiled by Herschel B.Chipp, Theories of Modern Art as Source: a Source Book by Artists and Critics, University of California Press, Berkeley, 1968 --, Construction Materials for Interior Design: Principles of Structure and Properties of Materials, Whitney Library of Design, 1989 --, Decoration, Brightly Lit Space, Arco Editorial SA, England, 1997 --, Design Down Under 2, Design Down Under, North Sydney, 1991 --, edited and introduction by Faber Birren, A Grammar of Colour: a Basic Treatise on the Color System of Albert H. Munsell, Van Nostrand Reinhold Co. New York, 1969 --, edited by Barclay F. Gordon, Interior Spaces Designed by Architects, McGraw Hill, New York, 1974 --, edited by Ellen Lupton and J. Abbott Miller, The Bauhaus and Design Theory, Princeton Architectural Press, Inc., 1991 --, edited by Gordon Grice, The Art of Architectural Illustration, McGraw Hill, New York, 1997
--, Edited by Martin M. Pegler, SVM, Cafes and Coffee Shops, Retail Reporting Corporation, New York, 1995 --, edited by Paroissien L., and Dysart D., Museum of Contemporary Art, Fine Art Press, Sydney, 1991 --, essays by Peter Cook and George Rand, Morphosis, Rizzoli, New York, 1989] --, Excellent Shop Designs; Cafes, Restaurants, Bars, Shotenkenchiku-Sha, Tokyo, Japan, 1986 --, Graphis Shopping Bag 1: an International Collection of Shopping Bag Design, Graphis Press Corp., Zurich, 1995 --, Hotels, Restaurants, Bars, WS Hattrell and Partners, Botsford, London, 1962 --, Interior Space of Europe, The Images Publishing Group Pty. Ltd., Melbourne, Australia, 1997 --, introduction by Sam Hunter, The Museum of Modern Art, New York, The History and The Collection, HN Abrams in Association with the MoMA, New York, 1984 --, introduction Tom Heneghan, The Colour of Light, Tadao Ando Architecture, Phaidon, London, 1996 --, Light, Colour and Vision in Architecture, UNSW, Graduate School of the Built Environment, NSW, Kensington, 1979 --, Lighting for Visual Display Units, Chartered Institution of Building Services, London, 1981 --, Mies Van Der Rohe Award for European Architecture, Butterworth Architecture, London, 1990 --, Motels, Hotels, Restaurants and Bars, 2nd edition, McGraw Hill, New York, 1960
--, New Design in Exhibition, 75 Examples of the New Form of Exhibition, Praeger, NY, 1954 --, Powerworks from the MCA Collection Organised by the Govett-Brewster Art Gallery, The Dunedin Public Art Gallery, --, prepared by Charlotte Benton for the Course Team, From Easel to Machine; prepared by Stephen Bayley, De Stijl: the Reconstruction of Life through Art and Tehnology, Artists of the Bauhaus --, prepared by Members of Staff of Thom EMI lighting Ltd., Lamps and Lighting a Manual of Lamps and Lighting, Edward Arnold, London, 1983 --, publication editors: Bernice Murphy, Julie Ewington, Localities of Desire, Contemporary Art in an International World, MCA, Sydney, 1994 --, text by David Burton, Cafes of the World, Phantom House Books, Wellington, NZ.,1997 --, The World of Interiors: a Decoration Book, (text by) Min Hogg and Art Direction by Wendy Harrop, Conran Octopus, London, 1988 --, translated with an introduction by G.M.A.Grube, Aristotle, Oh Poetry and Style, The Liberal Arts Press, New York, 1958 --, with a contribution by Vittorio Magnago Lampugnani, Renzo Piano 1987-1994, Birkhauser Verlag, Basel, Boston, 1994 --,compilation: Paula Latos- Valler and Elizabeth Westwater, The Fifth Biennale of Sydney, Private Symbol: Social Metaphor, Sydney, 1984 --,edited by Andreas Papadakis, Foster Associates Recent Works, Academy editions, London, 1992
--,edited by Brian Boigon, Culture Lab 1, Princeton Architectural Press, New York, 1993 --,edited by Charles Jencks with a critical discourse by Robert Maxwell and Jeffrey Kipnis, Franks O. Gehry, Individual Imagination and Cultural Conversation, Academy Editions, London, 1995 --,edited by Cynthia C.D., Element Authors in Search of a Building: the Aronoff Center for Design and Art at the University of Cincinmati, Monacelli Press, 1996 --,edited by Japan Typography Association, Applied Typography 2, Graphic-Sha Publication, Japan 1992 --,edited by Joseph de Chiara and John Hancock Callender, Timesaver Standards for Building Types, McGraw Hill Publishing Company, New York, 1990 --,edited by Leon Paroissien and Dinah Dysart, Opening Transformations: Museum of Contemporary Art, Fine Art Press, Sydney, 1991 --,edited by Lionel March, The Architecture of Form, Cambridge University, Cambridge, 1976 --,edited by Marion Boulton Stroud, An Industrious Art, Innovation in Pattern and Print at the Fabric Workshop, W.W Norton and Company, New York, 1991 --,edited by Randall Thomas, Environmental Design, an Introduction for Architects and Engineers, E and FN Spon, Melbourne, 1996 --,edited by Stephen R. Ellis, section editor Mary R.Kaiser, Pictorial Communication in Visual and Real Environments, Taylor and Francis, London, 1993 --,edited by Verena Andermatt Conley on behalf of the Miami Theory Collective, Rethinking
Technologies, University of Minnesota Press, Minneapolis , 1993 --,edited with critical notes and translation by S.H. Butcher, Poetics of Aristotle, Macmillan, London, 1907 --,editor Michael Foster, Architecture: Style, Structure and Design, J.G. Press, North Dighton, Massacussetts,1982 --,Environmental Design Best Selection 5, Graphic– Sha Publishing, Tokyo, 1993 --,Introduction by Veronique Vienne, Graphic Design, America Two Portfolios from the Best and Brightest Design Firm Across the United States, Rockport Publishers Inc., and Allworth Press, 1997 --,Itsuko Hasegawa Selected and Current Works, Images Publishing, Mulgrave, Victoria, 1996 --,Modern Finishing Methods, Canadian Paint and Finishing, Montreal , 1966 --,text prepared by John Boud and A.D.S Atkinson , Interior Lighting Design, Lighting Industry Federation with Electricity Council (Marketing Department) and the Electrical Contractors Association, London,1983 --. Text by Charles W. Moore, Water and Architecture, HN Abrams, New York, 1994 -Ableson B. W. and Pateman A. J., Metal Working, McGraw Hill, New York, 1988 -Amsoneit W., Contemporary European Architect, Benedict Taschen, Koln, 1991 -Andrieu P., translated by Arthur L. Hayward, Fine Bounche: a History of the Restaurant in France, Cassell, London, 1956
-Arnheim R., Dynamics of Architectural Form, based on the 1975 Mary Duke Biddle lectures at the Cooper Union, University of California, Berkeley, 1975 -Arnheim R., Visual Thinking, California University Press, Berkeley, 1971 -Arthur P., and Passini R., Wayfinding, People, Signs and Architecture, McGraw Hill Book Company, New York, 1992 -Awbi H.B., Ventilation of Buildings, Spon, London, 1991 -Bacheland Y., translated by Maxin Jolas, The Poetics of Space, Beacon Press, Boston, 1969 -Baker G.H., Design Strategis in Architecture, an Approach to the Analysis of Form, Van Nostrand Reinhold, New York, 1996 -Baker G.H., Le Corbusier: an Analysis of Form, Van Nostrand Reinhold, New York, 1996 -Benjamin A., Present Hope: Philosophy, Architecture, Judaism, Routledge, London, 1997 -Bertoni F., The Architecture of Philippe Stark, Academy Editions, Great Britain, 1994 -Birren F, Light, Colour and Environment: a Discussion of the Biological and Psycological Effects of Color with Historical Data and Detailed Recommendation for the Use of Color in the Environment, Van Nostrand reinhold, New York, 1982 -Boissier O., and Filler M., Vitra Design Museum, Thames and Hudson, London, 1990 -Bouma P.J., Physical Aspects of Colour; an Introduction to the Scientific Study of Colour Stimuli and Colour Sensations, N.V. Philips, Eindhowen, Netherlands, 1949
-Bovill C., Architectural Design, Integration of structural and Environmental Systems, School of Architecture and Environment Design California Polytechnic State University, San Luis Obispo, Van Nostrand Reinhold, New York, 1991 -Boyer M.C., Cybercities: Visual Perception in the Age of Electronic Communication, Princeton Architecture, New York, 1995 -Bradshaw S., Café Society: Bohemian from Swift to Bob Dylan, Weidenfeld and Nicolson, London, 1978 -Bruggen, v.C., Frank O. Gehry, Guggenheim Museum Bilbao, The Salomon R. Guggenheim Foundation, Guggenheim Museum Publication, New York 1997 -Buchanan P., Renzo Piano Building Workshop: Complete Works, Phaidon Press, London 1993 -Buchanan Peter, Renzo Piano Building Workshop, Phaidon Press, London, 1993 -Building Research Establishment, Services and Environment Engineering, Lancaster, England, 1973 -Burberry P., Environment and Services, Michell Publishing, London, 1988 -Burden E., Design Simulation Use of Photographic and Electronic Media in Design and Presentation, Whitney Library of Design, 1988 -Calza G. C., Tanaka Ikko Graphic Master, Phaidon Press Ltd., London, 1997 -Cerver F.A., Commercial Space Offices Space: Space, Furniture and Lamps, Rotovision -Cerver F.A., Commercial Space: Bars, Hotels and Restaurants, Rotovision, Mies, Switzerland
-Ching D.K. with Cassandra Adams, Building Construction Illustrated, Van Nostrand Reinhold, New York, 1991 -Collier J.W., Wood Finishing, Pergamon Press, Oxford, 1967 -Coomaraswamy A.K., edited and with an introduction by Michael W. Meister, Essay in Architectural Theory, Indira Gandhi National Centre for the Arts, Oxford University Press, India, 1995 -Curtis W.J.R., Le Corbusier: Ideas and Forms, Phaidon, Oxford, 1986 -Dal Co F., Tadao Ando, Complete Works, Phaidon, London, 1995 -Dartford J., The Shape of Space, Dining Spaces, Van Nostrand Reinhold, New York, 1990 -David B., and Stasiowski F., Project Management for the Design Professional: a Handbook for Architects, Engineers and Interior Designers, Whitney Library of Design, New York, 1991 -Davies D., The Telling Image: the Changing Balance Between Pictures and Words in a Technological Age, Claredon Press, Oxford University Press, Oxford, 1990 -Dean Y., Finishes, Mitchell, London, 1989 -Dini M., translation Richard Sadleir, Renzo Piano Projects and Buildings 1964-1983, Electa/Rizzoli, New York, 1984 -Dixon C., Food Preparation Spaces, Van Nostrand Reinhold, New York, 1990 -Doczi G., The Power of Limits, Proportional Harmonies in Nature, Art and Architecture, Shambala Publ.Inc.,Boston, 1994
-Dong W., Colour Rendering: a Guide for Interior Designers and Architects: a Concept, Exploration Process, McGraw Hill, New York, 1997 -Dresser C., Studies in Design, Studio Editions, London, 1988 -Elkins J., The Object Stares Back: on the Nature of Seeing, Simon and Schuster, New York, 1996 -Faber B., Color, Form and Space, Reinhold Publ. Corp. New York.,1961 -Faber B., New Horizons in Color, Reinhold Publ. Corp. New York, 1960 -Faulkner W., Architecture and Color, Wiley Inter-science, New York, 1972 -Foote K.E., Color in Public Spaces: Toward a Communication ,Based Theory of the Urban Built Environment, University of Chicago, Chicago, 1983 -Gage M., Guide to Exposed Concrete Finishes, Architectural P, London, 1970 -Gatz K., and Achterberg G., Color and Architecture, Architectural Book, New York, 1967 -Gatz K., and Wallenfang W.O., Color in Architecture, a Guide to Exterior Design, Reinhold Publ.Corp. New York, 1961 -Goodyear A. C., The Museum of Modern Art, the First ten Years, MoMA, New York, 1943 -Gregotti V.,translated by Peter Wong and Francesca Zaccheo, Inside Architecture, The MIT Press, USA, 1996 -Grillo P.J., Form, Function and Design, Dover Publication, New York, 1975 -Hale N.C., Abraction in Art and Nature: a Program of Study for Artists, Teachers, and Students, Watson Guphill, New York, 1972
-Hall M., Design and Plastic, Hodder and Stoughton, London, 1988 -Hasegawa I., Itsuko Hasegawa, Academy Editions, London, 1993 -Hasegawa I., Itsuko Hasegawa, Recent Buildings and Projects, Institut Francais d’Architecture Birkhauser Verlag, Paris, 1997 -Hasegawa I., Itsuko Hasegawa, Selected and Current Works, Images Publishing, Mulgrave, Victorio, 1993 -Heidegger M., translations and introduction by Albert Hofstadter, Poetry, Language, Thought, Harper and Row, New York, 1975 -Holly M. A., Past Looking : Historical Imagination and the Rhetoric of the Image, Cornell University Press, Ithaca, 1996 -Hopkinson R.G., and Collins J.B., Ergonomics of Lighting, Mcdonald and Co.,London, 1970 -Hylton J., Adelaide Angries: South Australian Painting of the 1940s, Art Gallery Board of South Australia, 1989 -James S., California Aerospace Museum, Phaidon, London, 1994 -Jenks C., Visual Culture, Routledge, London, 1995 -Kaplan M., Theme Restaurants, PBC International, Glen Cove, USA, 1997 -Karlen M., Space Planning Basics, Van Nostrand Reinhold, New York, 1993 -Kemp M.,Science of Art, Optical Themes in Western Art from Brunelleschi to Seurat, Yale University Press, New Haven, 1990 -Kilmer R., and Kilmer W.O., Designing Interiors, Harcourt Brace Jovanovich College Publishers, USA, 1992
-Kleeman W. B. Jr., The Challenge of Interior Design, CBI Publ. Company, USA, 1981 -Kleeman W.B.Jr.,et.al, Interior Design of the Electronic Office the Comfort and Productivity Pay-off , Van Nostrand Reinhold, New York, 1991 -Koch A., Restaurants, Cafes and Bars, Verlagsanstalt Alexander Koch, Stuttgart, West Germany, 1959 -Kollar L.P., On the Whole and the Part, UNSW, Kensington, NSW, 1985 -Kremers J.E., Architectural Interior Systems Workbook : Analytical Procedures and Examples, Van Nostrand Reinhold, New York, 1992 -Kremers J.E., Architectural Interior Systems, Workbook Analytical Procedures and Examples, Van Nostrand Reinhold, New York, 1992 -Lampugnani V.M., Renzo Piano 1987-1994, Birkhauser Verlag, Basel, Boston, 1994 -Lang J., Creating Architectural Theory: the Role of the Behavioural Science in Environmental Design, Van Nostrand Reinhold, New York, 1987 -Laurer D.A., Design Basics, Holt, Rinehart and Winston, New York, 1990 -Lawrence A, Architectural Acoustic, Applied Science Publishing, London, 1970 -Lawrence A., Acoustics and the Built Environment, Elsevier Applied Science, New York, 1989 -Lawson F., Designing Commercial Food Service Facilities, The Whitney Library of Design, USA, 1974 -Lawson F., Designing Commercial Food Services Facilities, Whitney Library of Design, New York, 1974
-Lawson F., Restaurants, Clubs and Bars, Architectural Press, London, 1987 -Lechner N., Heating, Cooling and Lighting: Design Methods for Architects, Wiley, New York,1991 Lighting Division, Museum and Art Galleries, The Institution, London, 1980 -Lighting Industry Federation, editor D.W.Durrant, Interior Lighting Design, Lighting Industry Federation, London, 1970 -Lijn L., and Culbert B., Beyond Light, Arts Council of Great Britain, London, 1976 -Linton H., Color Consulting: a Survey of International Color Design, Van Nostrand Reinhold, New York, 1991 -Lyners R., Good Old Museum: an Intimate Portrait of The Museum of Modern Art, Atheneum, New York, 1973 -Mahnke F.H., Color, Environment and Human Response: an Interdisciplinary Understanding of Color and Its Use as a Beneficial Element in the Design of the Architectural Environment, Van Nostrand Reinhold, New york, 1996 -Malnar J.M and Vodvarka F., The Interior Dimension, a Theorical Approach to Enclosed Space, Van Nostrand Reinhold, New York, 1992 -Marcus J., Designer’s Self Image: an International Showcase of the Leading Graphic Artist, Library of Applied Design, New York, 1991 -Marsh P., Concrete as a Visual Material, Cement and Concrete Association, London, 1974 -Mason M. and Hamilton T., Air Conditioning Duct Design Manual, Mechanical Engineering
Services Design Aids, Department of Housing and Construction in Association with the Australian Institute of Refrigeration, Air Conditioning and Heating, Australian Government Publishing Services, Canberra, 1980 -Matthews G., Museum and Art Galleries, a Design and Development Guide, Butterworth Architecture, Oxford, 1991 -McAdam P. S., Architectural Concrete, Civil Engineering Dept. Queensland Institute of Technology, Brisbane, 1982 -McKim R.H., Experience in Visual Thinking, Brooks/Cole Publ.Co., Monterey , California, 1972 -Mediavilla C.,translated by Alan Marshall, Calligraphy from Calligraphy to Abstract Painting, Scirpus Publications, Belgium, 1996 -Mel B., 50 Light: Innovations in Design and Materials, Rotovision , Switzerland, 1997 -Mercer C., Living in Cities, Psychology and the Urban Environment, Penguin, Harmondsworth, 1975 -Meyer L.B., The Concept of Style, University of Pennsylvania Press, Philadelphia, 1979 -Michael L.,Curnow B., and Hansford P., The MCA Collection: the Loti and Victor Smorgan Gift of Contemporary Australian Art, MCA, Sydney, 1997 -Miller M. c., Color for Interior Architecture, John Wiley and Sons, Inc., New York, 1997 -Mitchell C.T., Redefining Designing from Form to Experience, Van Nostrand Reinhold, New York, 1993 -Mount C.M., The New Restaurant Dining Design 2, PBC International, Inc. USA, 1995
-Mount C.M., The New Restaurant: Dining Design 2, Architecture and Design Library, Glen Cove, New York, 1987 -Murphy B., Localities of Desire: Contemporary Art in an International World, MCA, 1994 -Murphy B., Museum of Contemporary Art, Vision and Context, MCA, Sydney, 1993 -Myerson J., International Interior 6, Laurence King, London, 1997 -Olivery J. B., P.E., How to Design Heating Cooling Comfort System, Business News Publishing Company, Troy, Michigan, 1987 -Olson E.S., Textile Wet Processes, Noyes Publication, Park Ridge, N.J., 1983 -Orton A., Way We Built Now: Form, Scale and Technique, Van Nostrand Reinhold, Wokingham, Berkshire, 1988 -Panero J., and Zelnik M., Human Dimension and Interior Space, A Source Book of Design Reference Standards, Whitney Library of Design,1979 -Pearce P., Structure in Nature is a Strategy for Design, MIT Press, Cambridge, 1978 -Peters J. M. ,translated by Murray Coombes, Pictorial Communication, D. Philip, Cape Town, 1977 -Pilatowicz G., Eco Interiors, a Guide to Enviromentally Conscious Interior Design, John Wiley and Sons, Inc., Canada, 1995 -Pile J.F, Interior Design, Harry N. Abrams Inc., Publishers, New York, 1988 -Porcelli L., and Green D., International Lighting Design, Rockport Publishers, Massachusetts, 1991 -Pritchard D. C., Lighting, Longmans, Harlow, 1995
-Puffett R.J. and Hossack C.J., Plumbing Services volume 4, Mechanical Services, Air Conditioning, McGraw-Hill Book Company, Sydney, 1986 -Raskin R., Elements of Picture Composition: a Digest of Major Contributions to the Study of Design in the Visual Arts, Aarhus University Press, Aarhus Denmark, 1986 -Richardson D., Art and Design in Australia: a Handbook, Longman Cheshire, Melbourne, 1995 -Riley T., Light Construction, The Museum of Modern Art, New York, 1995 -Riley T., The International Style: Exhibition 15 and the MoMA, Rizzoli/CBA, New York, 1992 -Robertson H., and Verbury F.R., Travels in Modern Architecture 1925-1930, Architecture Association, London, 1989 -Rowland A., Bauhaus Source Book, Phaidon , Oxford, 1990 -Rowland K., The Development of Shape, F. W. Cheshire, Melbourne, 1964 -Sausmarez M. D., Basic Design: the Dynamics of Visual Form, Herbert, London, 1983 -Scuri P, Design of Enclosed Spaces, Chapman and Hall,USA, 1995 -Shapiro I., New Media Showcase 4, the Digital Source Book, American Showcase, New York, 1994 -Sommer R., Personal Space, Prentice Hall, Englewood Cliff, N.J.,1969 -Sorcar P.C., Architectural Lighting for Commercial Interiors, Wiley, New York, 1987 -Stafford B. M., Good Looking: Essays on the Virtue of Images, The MIT Press, Cambridge, 1996 -Swirnoff L., Dimensional Color, Birkhauser, Boston, 1989
-The Chartered Institution of Building Services, Lighting -Tomlinson J.A., Building Services One, A Collection of Notes and Sketches from Lecturer in Building Services, Faculty of Architecture and School of Building University of New South Wales and Faculty of Architecture the University of Sydney, 1989 -Traister J.E, Practical Lighting Application for Building Construction, Van Nostrand Reinhold, New York, 1982 -Traister J.E., Design and Application of Security, McGraw Hill, New York, 1981 -Tufle E .R., Visual Explanation: Images and Quantities, Evidence and Narative, Graphic Press, Cheshire, Conn., 1997 -Tufle E. R., Envisioning Information, Graphic Press, Cheshire, Conn., 1991 -Turner J., Lighting, Batsford, London, 1994 -Tzonis A., and Lefaivre L., Movement Structure and the Works of Santiago Calatrava, Birkhauser Publishing, Basel Boston, 1995 -Vidler A., The Architectural Uncanny Essays, in the Modern Unhomely, MIT Press, Cambridge, 1992 -Williams R., Culture and Society, Chatto and Windus, London, 1958 -Woldemar J. H., Form Follows Function- or does it? Modernist Design Theory and the History of Art, Gary Schwartz, Maarssen, The Netherland, 1982
VII.Bibliography.
-Abitare, no 371, March 1998 -Architecture, June 1998 -Boissier O., and Filler M., Vitra Design Museum, Thames and Hudson, London, 1990 -Bruggen, v.C., Frank O. Gehry, Guggenheim Museum Bilbao, The Salomon R. Guggenheim Foundation, Guggenheim Museum Publication, New York 1997 -El Croquis no 88/89, Worlds One, Toward the Ends of the 20th Century, Madrid, Spain -Maunula L., Kiasma, The New Museum of Contemporary Art in Helsinky ,Form Function Finland, no 69,1/1998 -Marugame Genichiro-Inokuma Museum of Contemporary Art official leaflet and booklet. -Vitra Design Museum official leaflet and brochures. -Wallpaper, magazine July/ August 1998 -Lecuyer A., Iconic Kiasma, The Architectural Review, no 1218, August 1998
VIII.Appendix.
-project schedule. -discussion records with the client project supervisor, official supervisor, interior materials and finishes commercial suppliers. -Museum of Contemporary Art stage II, development briefing document. -Jahn Associates Architects, MCA stage II design outline brief. -building type studies (the images): Marugame Genichiro Inokuma, The Museum of Contemporary Art , Marugame, Japan; Guggenheim Museum Bilbao, Spain; Vitra Design Museum, Deutschland; Kiasma, The Museum of Contemporary Art Helsinki, Finland. -brochures/ leaflets/images: Museum of Modern Art, New York; Vitra Design Museum, Dutchland; Marugame Genichiro Inokuma, Marugame, Japan; Museum of Modern Art, Heide, Melbourne; National Art Gallery of Victoria, Melbourne; Art Museum in Bregenz, Austria -further design case studies: Art Gallery of New South Wales, Sydney; Museum of Sydney; Museum of Contemporary Art, Sydney. -Building Code of Australia. -café design standard (lay out hierarchy, building services). -Human dimension and interior space standard. -café marketing graphic and design case studies. -total design studies.