Theory Lecture 05: Minimalism / Post-Minimalism

Parts of the lecture were taken from Ken's own PHD thesis.

Post-minimalism - 1970's/80's - shifting from objects placed in the gallery to the gallery itself. Immersive video installations [introduction of this technology used within an arts based platform]. Situation! Situational artwork where art vs the art space [Merleau-Ponty]. The engagement of the body within space. We engage in space through our own body.

"No difference between art object and art subject" sculpture traditionally remains the definition of an art object [a self contained entity] yet sculpture now starts to stand for something outside of this [Dan Graham]

Minimalist object were now situated in space. Spaces were to become devoid of object - the language of art and architecture starts to emerge with architecture becoming the art. The gallery becomes a subject of debate around its role as an institution and as an art object in itself [Michael Asher]

Case study 01: Michael Ashers installation [1970] at the Pomona Collage Museum of art where he reconfigured the internal space of the gallery and then removed the door giving access for 24hours. the shift in light and removal of a closed threshold played with the boundaries of inside and outside but with a "political" stance. 

 Case study 02: James Turrells' "sky space" works create similar junctures between inside and outside but from a more experience based stance. Interested in natural observatory the physical viewing of the frame removed from visitors, again marking this unknown threshold starts to frame reality although given the appearance of a light or painting.

Case study 03: Dan Flavin used industry standard strip lights to create an environment that engages simultaneous contrast. His works play on the eyes inability. situated in a gallery space his work "frames" space.

Situation Aesthetics - The work of Michael Asher PT2

Continued extracts from book to support research. . .

"Museum conduct" how one should behave and conduct themselves within the context of viewing works of art. - How I could create a book of gallery conduct based upon the actions I have carried out throughout active research?

Participatory approaches to art [referenced Claire Bishop] "the collective dimension of social experience" That is what my evolved structures would create. The works of Asher requires participants to acquire personal accountability within the artists designed framework.

The reconfiguration of the museums professional role capable of changing and transforming singular systems into internally conflicting domains. This allows for distinct forms of spectatorial agency.

Definition: Participatory art is an approach to making art in which the audience is engaged directly in the creative process, allowing them to become co-authors, editors, and observers of the work. Therefore,this type of art is incomplete without the viewers physical interaction.

 1970's "Participatory Art" [artists]: Vito Acconci, Bruce Nauman, Dan Graham, Hans Haacke

Narrative Spaces Lecture 07: Ritual

The following lecture was split into two parts: The work of Peter Zumthor [Architect] and the work of Wolfgang Laib [Artist].

Ritual: Noun A series of actions of types of behavior prescribed/action/activity/repetition.

Context: Laib and Zumthor have a particular synergy - the art and architecture comes together as a complete work. An exhibition of Laibs limited works took place at the the Kunsthaus bregenz [Designed by Zumthor] where all gallery spaces were reduced to their basic elements. Laibs working methodology has a connection to the mythology of material and connects to Jospeh beuys in his selection of working with particular materials that evoked perception and the senses.

The Architecture: Peter Zumthor [known for his "Thinking Architecture" book]. The facade becomes a lantern, all etched glass [not cut] - and is mirrored on all four sides. The outer skin is a secondary skin - natural light plays a significant role in how the building works. The skin is non-supportive and does not relate or impact on the construction. The glass is angled and provides a sloped tray in which natural light pours down into the internal spaces. All doors and stairs correspond to the simple minimalism and modernist grid replicated on each floor plate.

The internal spaces create an inner space with its secondary glass skin that is etched situated within a prefabricated concrete grid. this allows light to come through but with no view out. The fabric of the internal spaces remains that of the ideology of a gallery space, concrete floors [highly polished] and white walls. The introduction of glazed ceilings mirror the facades and shifts the light around the internal volumes. Each floor plate is supported by only three walls creating a large open plane in which artwork is situated within.

The Art: The exhibition was composed of a body of work with no more than 5-6 pieces. The show was an opportunity to showcase how the gallery has been designed and built with art in mind and want about celebrity architecture which is so apparent today. In the 1980s architects were not being considerate of the buildings inner function and that of the showcasing of artworks. This however was a piece of architecture that is rich in both appearance and function yet does not impact on the space where art is being exhibited. Just like the artwork of Laib the Kunthaus engaged with the process and material and was disengaged with the fashion and trends of surrounding architecture.

On the ground floor a bees wax sculpture becomes the almost supporting like foundation of the show, much in the way that architecture is built form the ground upwards. The process of hand craft was a significant characteristic of the show with the artwork shown in its most natural state. "Pollen from hazelnut" and two rice houses are examples of the relationship between art, architecture and founded by a process. The exhibition had a limited material palette and the work was of a highly considered scale with some work responding to the scale of architecture itself  and others of micro proportion compared to the sinner floor pace available [often due to the limitation in material collected]. This in itself creates a significant impact on and a relationship with the viewer. It is clear that Wolfgang Laib celebrates his practice of collecting material and the process of making as his ritual. His background in medicine and working in hospitals surrounded by death has become juxtaposed and flipped with his work streaming with the welcoming of birth and life.

Critique 01: Reflection

If I am completely honest with myself [And I know others brought this up both before and after the crit] I am slightly confused as to the difference in format between the tutorial, seminar and critique?? 

Each time although this felt slightly more formal and that Ken was involved in seeing our practice for the first time, I didn't see any real change in the format. I thought my critique went OK,  I received a different variety of references from Ken and there were aspects that he felt made sense and most importantly it is a sustainable project I can continue. As for my peers, well it was the usual few who contributed to the critique in either adding on feedback or supporting what I was saying. It is really starting to become noticeable that people are not participating in group discussions and language barrier or not we are on an MA together! [To get onto an MA you must be able to speak English?] I wouldn't even mind an attempt but it is just starting to appear selfish and that peers are not supporting one another outside nor during structured conversations. 

The relationship between Tschumi's transcripts and my conscious selection of this style of presenting wasn't picked up, which I felt disappointed about as I feel I was one of very few who actually considered how their work was presented in a way that fitted the context [taking into account Petes feedback]. I suppose I entered the critique knowing what I had done, what I had read and what I wanted to do next . . .with this in mind what more do I want from my tutors at this stage? 

The idea of a critique was discussed during the afternoon and I completely agree [Being a lecturer myself] that a critiques have become at some institutions yet should not be an opportunity for the tutors to just become egotistic and belittle students. Maybe having three years of critiques at Ravensbourne [on my BA] where work was sometimes just starred at with awkward silences or the noise of tutors brain ticking over was all you could hear, leaving you feeling more lost than when you started. These are very much more informal and relaxed and it was picked up that we are treated as professionals and not 'students'. I would though perhaps appreciate a change in the structures so that there were clear differences in expectations as to support the work load. I would like to propose the following:

Tutorial: a 1:1 timed slot with your personal tutor that is an informal conversation about what your working on and how is it all going. 

Seminar: a group discussion with peers alongside a tutor where each of us has an opportunity to discuss issues [not discussing the entire project] an opportunity to ask peers questions and get a range of feedback.

Critique: a formal presentation of work where each student is required to pin-up and present in a professional way [timed] discussing a body of work in front of both tutors and peers.

Situation Aesthetics - The work of Michael Asher PT1

The work of Michael Asher has become of considerate importance recently, and flagged by many of my tutors throughout the tutorials and critiques. Asher's work begun throughout the 1960's, a time when the museum and gallery was being questioned in relation to its own context and the work that was situated within this space "art". This area of research has fueled much of my project and reference collection to date. The following extracts and text has been noted from Asher's 'Situation Aesthetics' book by Kirsti Peltomaki. 

"Designed work to facilitate human interaction. Site specific installation connect people with meticulously organized museum and gallery situations. The work engaged with the existing environments. Ashers installation tend to disable the day-to-day functions of the host institution and therefore have been barred from permanent material existence."

"Experiential approach to museum or gallery presentation, which addresses the viewers epistemological and emotional faculties. The ideological debates that surround and influence current museum practices. The removal of the gallery wall but more important that the gallery cut is the social and psychological situation. The installation offered viewers opportunities to immense themselves in sensory experiences.

Art that seemed attuned to viewer reactions was often called "situational" " Situation aesthetics" 

Victor Burgin [another artist writer in the 1960's]

Some recent art, evolving through attention both to the conditions under which objects are perceived and to the processes by which aesthetic status is attributed to certain of these, has tended to take its essential form in message rather than in materials. In its logical extremity this tendency has resulted in a placing of art entirely within the linguistic infrastructure, which previously served merely to support art. In its less hermetic manifestations art as message, as “software,” consists of sets of conditions, more or less closely defined, according to which particular concepts may be demonstrated. This is to say, aesthetic systems are designed, capable of generating objects, rather than individual objects themselves. Two consequences of this work process are: the specific nature of any object formed is largely contingent upon the details of the situation for which it is designed; through attention to time, objects formed are intentionally located partly in real, exterior space and partly in psychological, interior space. http://www.ubu.com/papers/burgin_situational.html

This work wasn't about manipulating perception.

There are some key ties and relational words form the above text that start to really impose on me what my project is doing. the fact that mine to if situated "for real" within the gallery space would provide the experience of almost sectioning the gallery space and creating a division of planes and frame but realistically couldn't last. I suppose I have considered these as short term architectural interventions that would follow the de-installation of one exhibition [of which the intervention would be based upon] and would be removed ahead of the new exhibit.

Critique 01: Action

09:30 - Pin up work for critique
09:45 - Drink Coffee
10:00 - Start Critique
13:50 - Lunch
14:40 - Start Critique
16:45 - Finish Critique, de-mount work, home

Special collections: Artists books

I was formerly introduced to the specials collections held at Chelsea library today which totals a collection of over 4000 artists books, multiples and exhibition catalogues. This is something that I had been looking forward to as "the book" as a way of presenting my ideas and work is something that lends itself to those working within the conceptual field. Stanley Brouwn in particular who inspired me to use the method of step counting to support the recording of my spaces. Although we only had an hour as a group and was introduced to a small range of material I did manage to notice an archive box with "Brouwn" on it. 

I have requested these and shall get the opportunity having known about his ideas and work for the past four years to finally look at his collection of books that document his processes. There are rules [rather strict rules] when being introduced to the spacial collections at Chelsea: No photography, clean fingers and you cannot use pen when making notes. These artists books are an invaluable resources and are rare to say the least.

Open Lecture Series 06: Katy Marks [Citizens Design Bureau]

Note from Lecture:

CDB Themes within work were participation, people, conservation. During university carried out a project in South Africa working with a community in reclaiming space. used a construction technique called "SOMOHO" which is a combination of rammed earth, papercrete, bags and tyres [all of which was available as waste within the landscape] proposed and designed a series of cafe spaces where the community had opportunities to socialize and connect [rebuilding of the community]  

Worked on the redesigned of the Everyman Theatre [located in Liverpool] that was focused on designing for people. People within the city cared about how their landscape and building look and therefore the project wasn't about an architectural stamp or ego being presented. The building facades connects to those who use the space with the incorporation of an updated version of the original 1970/80's neon typeface and photographs of people who make up the surrounding community.

The use of highly industrious materials made up the palette reflecting the industrial action and heritage of Liverpool. the re-use of existing materials was used as a way to showcase that level of community care and appreciation for the space that once stood. Much of the practice supports building on a 1:1 level looking at details and "zooming in zooming out". Katy mentioned that if you are stuck on a project and looking/drawing/presenting it at the same scale then there is a problem.

Spatial Sequences

When I was further reading into Tschumis' practice, he started to discuss the frame [A term I have often come across when reading about spaces but gallery spaces and paintings]. He discusses that the frame permits the extreme formal manipulation of a sequence within a space, where frames can be superimposed giving one an endless narrative. 

During my seminar with Robin, the suggestion [with enthusiasm] came up about the recording of my movements through my gallery spaces/sites using film. This is a media that I have not used before in my work, but would very much capture the truth of what is taken place [as I have have many peers mention that my model movements appear restricted and robot like]. What would be great to experiment with and explore is what Tschumi outlines as the possible forms of narrative and the impact that they potential have [imagine if these were then shown in a gallery? the audience watching what they have be doing . . .moving through space] 

The following are the formal strategies in how one could present a sequence: 

A Repetitive Sequence

A Disjunctive Sequence

A Distorted Sequence

A Fade in Sequence 

An Insertive Sequence.

Narrative Spaces Lecture 06: Krijn de Koning [Turner Contemporary]

Two projects were discussed this morning that overlap. 1:The Turner Contemporary located in Margate, designed by David Chipperfield and 2. Krijn de Koning who exhibited at the Turner Contemporary and the Folkstone Triennial. 

Turner Contemporary: Townscape and beach are embedded through the gallery space [located on a site where the existing boat houses sat] known as the "Big shed of art by the sea". A cultural centre where things happen and people should come, It was designed with this intention in mind. The spaces take their quality form the production of art "Bringing art to the front door". The plan and elevation mirror that of a series of objects "Sea buildings" that become a sequence of spaces and a series of volumes.

The existing inside/outside relationship and landscape created brings the beach in and creates an openness with large windows and planes that give you views through and out onto framed views of the corresponding landscape. Windows and doors have been used to punctuate the space and create the perception of a larger space than that planned. Long perspectives are created and aided by the vats amounts of borrowed natural light. This again creates a dialogue between internal and external. 

Krijn de Koning: Installation at the Turner Contemporary deals with an existing place - his work in this way is deemed site specific. The installation exhibited at the Turner Contemporary was also repeated in a false cave "Victorian grotto". The same work located in two very different spaces. The series of architypical structures [thresholds/frames] consist of a subtle pastel like palette but is highly noticeable. His deconstruction of spaces and reinsertion makes the installation a "spatial intervention". This balance and play between art and architecture paying on the "dwelling/house" as a spatial experience takes influence in scale from the site in which it is situated within, yet also contracts and expands shifting the viewpoints. A sandwich of colour and texture mapped against the buildings own interior and facade that somehow finds itself becoming a labyrinth [part architecture and part sculpture] to connect inside and outside. 

The work installed into the victorian grotto was depicted by Kroning as "Interesting consequences" that one could take a piece of work designed on the principles of its on sites intentions and to place it into a non-relational site. 

I thought this mornings presentation had really opened up another layer to my project in considering the interventions I have created that are site specific but what would happen if I started to combine routes and place these into one another? how would that then shift the perspective and participation in the gallery in the ideas that these routes would ultimately lead you to walls and non existing points where the route perhaps penetrates through the walls.

Manhattan Transcripts [1976-1981]

Recent theoretical research has brought me to read and reference the ideas and work of Bernard Tschumi and his manifestos on architecture. In particular I have looked at the visual analogy of his "Manhattan transcripts" project to connect to the conceptual way that I wish to present my work ahead of the critique on Thursday. 

Just provide myself with a little bit of context [All of which was taken from the Manhattan transcripts book in the library]. The Manhattan transcripts differ from most architectural drawings insofar as they are neither real projects nor mere fantasies. Developed in the late 1970's they proposed to transcribe an architectural interpretation of reality. . .To this aim, they employed a particular structure involving photographs that either direct or 'witness' events [also identified as a programme] . . .at the same time plans, sections and diagrams outline spaces and indicate the movements of the different protagonists into the architectural stage set. 

Because my work has strong links to conceptual art and has taken much reference from the 1960's/1970's artists who were questioning ideologies of space, interventions and the audience, I gave myself a set of rules [in the same way the transcripts did] to determine the structure of what I would present at the critique. I wanted each presentation sheet to become almost a set of dis-junctions but at the same time could be read together, meaning that I could juxtapose particular visual elements that could be read both individually or as a collective [obviously the last thing I want to do is confuse my peers and tutors even more]. The structure for each sheet involved having the following evidenced: 

- A piece of text [or multiple texts]

- Photograph/s

- Diagrams

- Technical elements

Personally I think this structure worked really well in not only visually supporting the narrative and conceptual ideas behind my work, but the challenge of presenting in line with the context of your work and that process of selection [that Pete has discussed] that enables my work to communicate my ideas and intentions without my presence.

Gargosian Gallery Models PT2

Gargosian Gallery Models PT1

I have finally competed my Gargosian Gallery models. The set of three which will be presented as a collection have their floor plate cast in concrete, white/light plywood walls and my linear "spatial intervention' in red acrylic. I am really pleased with developing early on a more practical approach and skill-set [become confident in working in those spaces and can now build off of these first models].

Development points:

- The internal form/proposal will change so I need to consider the material of this

- Think about the joints of my walls and if these do indeed need to be painted

- Develop a more refined presentation stand [exhibition approved]

- Use sharp sand only in casting my floor plates. Build a lid/top so that I can get a real flat smoother finish and mix up a stronger batch of cement and sand

Seminar 01: Groups A&B mixed

The seminar seemed very close after the tutorial last week and although I understand a week is a good amount of time, showing a constant increase in body/volume of work is difficult, especially as I have been spending a lot of my time either reading theory or in the workshop working towards completing my Gargosian Gallery models [ahead of the first formal critique next week]. 

That said I was placed into a group with Robin [who isn't my personal tutor] so this was just another good opportunity to re-explain my project, show everything and where I was with it all and to get another set of feedback. I think spending a lot of time in the studio has really paid off as I seem to capture these extra 5-10 minute sessions with Pete where I can ask further questions or we can strike up a conversation that then gets Pete talking about my direction and working progress.  

The seminar I feel went really well, with Robin flagging up some additional references and points to develop. Both tutors seems to really embrace the typology studies and Robin referred to these as "the space having a dialogue with the space" which I though was a real interesting point [leading back to my initial question of a an exhibition in a space about the space]. My peers flagged that the movements felt controlled and not completely natural which is correct, I discussed that having this methodology of documenting the space through my step count and turns does require some form of conscious decisions to be undertaken as it is a method of recording data and has to be as accurate as possible. Overall I feel I am in the place of pondering reflective thoughts where maybe on a daily or weekly basis I wont produce masses but will start to become more directive with my theory and practice meeting, which should really support the completion of my study plan.

Feedback points:

- The curational role/rules: set of rules that outline how spaces are composed ahead of exhibitions

- The derive [drifting in space] Consider notions of the unintentional journey

- Revisit galleries and become more natural in movement [and the documentation of this] we discussed the idea of using cameras at particular height to record my sequential movements within the space

- Think about the dialogue between Artist & Space, Curator & space, Space & Space

- look at the Situationists

- Think about other ambiguity rules that can be applied when visiting these space.

I am starting to question if the inclusion of the White Cube Gallery's will be too much [a total of 5 sites]. The Gargosian collection seems to work well with its three sites, same architect, and can provide me with a basis to propose multiple outcomes within and across all of the sites. I now need to focus on collecting and bringing everything together ahead of Thursday Critique.

Laser cutting appointment

This morning I had my laser cutting appointment with Isabelle working in both acrylic and plywood to cut out my perimeter walls and linear form [taken form my step counts]. I Chose plywood in the end as it was the whitest/lightest material in reference to "white gallery walls" [I also didn't want to start painting my models but allow the materials to play their part].

My main focus for these models has been not only to have a series of conceptual models that explore my narrative but to work with a range of relevant materials and to build my skill set up [also start to engage with the workshops and technician who always have to become your best friend]. Really easy to set up using adobe illustrator and ensuring everything isn't overlapping. I now have my components ready to start assembling in the wood workshop.

My concrete floor plate casts are still setting and drying out and although I now know they are not going to give me the exact finish I wanted originally, they still hold the material qualities that I desired [The technicians seem to love the finish however??] 

Open Lecture Series 05: Yinka Ilori

Yinka Ilori is a London based furniture designer/artist who works with reclaimed chairs and creates narratives, telling stories through his own heritage and linked to "Nigerian paralables"[A parable is a succinct, didactic story, in prose or verse, which illustrates one or more instructive lessons or principles.]stemmed from his own upbringing and things his grandmother and mother would quote.

Retaining his culture living in North London and creating work that captures these hidden meanings. All of his furniture is 1/1 sourced on the streets and is then broken down and upcycled. Colour and pattern is introduced again with reference to his heritage/background. Work later went on to showcase a collection "family" of chairs that have a shared/collective narrative but also each chair has an individual story based on "real people" Yinka knew/knows. Questions over function vs non-function [linked to the earlier lecture I had] Yinka started off making functional chairs but has since directed them into a state of sculptural object "the non-functional".

I asked Yinka if he has become increasingly more aware when starting a project if the chair will retain function? he mentioned more than ever he questions the purpose and the need for he narratives to function or that they merely present a function that once took place. His work is very distinct and I think the idea of almost having a chair depict not only every person you know but to narrate moments in your life. how an object in this instance the chair becomes the narrator. Yinka mentioned in his presentation that the chair for him is a product we all share and is often a product that is used "when sitting on to tell stories". His chairs certainly carry characteristic. 

I wonder what my chair would look like?

Theory Lecture 04: Functional Resonances

Functionalism

"Form follows Function" The complexity of this type of work and the drive in this movement is to not take the aesthetics as a basis for architecture. However Functionalism very much becomes an aesthetic in itself. 

Hannes Meyer: The exterior of the buildings should show and communicate the interior spaces. Functional components are expressive and the use of glass, steel and "light" having a view and connection to "good health". Buildings should showcase their intention and function. 

Manifesto: Art is composition / life is function. The extreme view was that architecture should be based primarily on its functional outset. Minimalism starts to come into play but the focus still remains function. 

Jurgen Habermas:  on modernism and post-modernism. 

Functionalism suggests false concepts - It does apply aesthetic rules. 

Le Corbusier: "Towards a New Architecture" Epoch [Period] architecture becomes mass produced - morally good for you. Industrial technologies are introduced - these are used as a point of reference both in visual and functional layers. 

Adolf Loos: The removal of ornamentation. Keep architecture stripped and simple allowing the interior to showcase its wealth. 

Theodor W. Adorno: Purpose free vs purposeful Necessary vs unnecessary [Superfluous] Architecture needs usefulness. Architecture has to be concerned with own set of rules [Raumplan] Each space should be functional to itself. 

Umberto Eco: Function and Sign - Denotation vs connotations [referring to other meanings other and above its primary attributes]the connotation related to and about architecture. Even the most functional object arrives with its own set of connotation. 

Ralph Ball: Furniture that becomes non-functional making furniture "unusable" 

 Martino Gamper: Reconfiguration of its original function [The memory of function - Duchamp - the ready made - Conceptual art]

Fischil and Weiss: The way things go [1987 short film] functional products, items, objects put together to create a non-functional outcome.

Simon Starling - Shedboatshed [multiple functions and mobile architecture]

Referring to our own practice about what is its primary function? are we working towards a functional piece of architecture? if so then it needs to work. Apply a set of implied rules that creates issues in the real world and then how do you go on to solve this - The imminent logic

Presentation stand idea

For some reason [despite the challenge of producing 5 gallery plan models] I have my brain fixated on the design and production of a display table/plinth. This could be because I feel I don't want my models to loose something by being situated or plonked onto any table and also because I have seen examples of previous student work that has had significant effort and detail placed into its display [that adds something to the work]. Ken also highlighted in last weeks lecture when looking at Pichlers models that the display cases and plinth/tables become an extension of the work . . . . 

I feel [not only to extend my skill set further] that the most appropriate material for my plinth is metal [steel], some form of table top with legs that creates an extension of the building construction below, the buildings foundations so to speak. I have also considered that not only does the scale need to respond and relate to the work but as the work very much encompasses myself as a tool to measure against that the display plinth should be the size of me or at the very least have details that are in relation to my own bodily measurements. This is for January [this will take some further time planning].

Narrative Spaces Lecture 05: MASS [The Architecture of Sigurd Lewerentz]

Looking at Mass, Weight, Place, Connection, inmaterial, Tectonic, Tactile

[Scandinavian/Swedish Architecture] work documented by architectural photographer Helene Binet [Who only shoots in analogue]

Sigurd Lewerentz's work was associated with Swedish "Romanticism" and "Classicism". It was striped down and minimal by aesthetic but proportionally in line with the above era's. The Woodland Cemetery located in Stockholm Sweeden. The site is a mixture of dense forest, open landscape and a series of buildings [designed by both Sigurd Lewerentz and Erik Gunnar Asplund .

St Marks Church:  The space between "porch" and church are separate buildings that sits adjacent at an 88 degree angle. His work identifies and visually portrays "making through thinking" where architectural problems have been considered and approached in a very sensitive way. An aesthetic that Lewerentz played on was the "the dirty brick" where the facade would be constructed using oversized and non regular mortar joints alongside not being cleaned [meaning the facade is left with the traces of the building process. Not only does the building start to situate itself within the landscape with a mixture of white grey mortar alongside silver birch trees but from a construction point of view, the mortar plays as bigger role in load bearing as the bricks themselves. Other examples of his meticulous details are where outer elements are played with, being pulled out and away from the building revealing alternative spaces. 

 

St Peters Church: The church becomes part of the wider landscape [with smaller surrounding buildings] The church doesn't stand out to prove anything other than what it is and what it has to function as. Traditionally referred to as "old man architecture" the architectural ideas behind Lewerentz's work was not to create lavish "look this is a building designed by me". Another example of these extruded details were the guttering systems found on the buildings where the gutter becomes a projected element taking the water and distributing back out into the landscape. Windows are also projected outwards giving you a very different space internally where the windows become deep boxed reveal.