Kelly Zona

Architecture of the Exhibition:

The Evolution of Exhibition Space in Relation to the Art Market

Introduction

Thesis: Changing demands of society and the art market have directly shaped exhibition space over the years, leading to its contemporary formal 'crisis': the 'white box' vs. 'building as object,' a rigid dichotomy that poses either the sacrifice of architecture or art at the expense of the other. This essay has found that contemporary trends in the art market have brought about the emergence of several new exhibition strategies, and seeks to evaluate these strategies as a means to move beyond the contemporary 'crisis' of exhibition space.

This essay defines exhibition space as the physical setting of a public display of art work, including museums, galleries, fairs, and emerging typologies. The essay will focus on typology as opposed to detail, for the sake of eliciting the most meaningful relationships between exhibition space and the art market. These typologies will be referred to collectively as “exhibition space” throughout the essay, specifying between them only when necessary (the term gallery is often used interchangeably for galleries and museums). This is to promote a cross-sectional analysis of typologies in order to elicit commonalities, and because the developments of these typologies have great overlap.

This essay is structured by three main sections: The Historical Development of Exhibition Spaces, Contemporary Exhibition Spaces, and The Future of Exhibition Spaces.

Historical Development of Exhibition Spaces

The Emergence of Public Exhibition Spaces and the Institutionalization of the Museum

Exhibition space has developed along with historical changes in society, as well as the demands of the art market. Previous to the development of public art galleries, there were two ways to see art in eighteenth century Europe. One could visit the private gallery of a wealthy collector (with good connections and a bit of luck), or could attend one of the annual exhibitions held by local art societies (Klonk, 21). Public exhibition spaces developed out of the desire to make art collections more accessible. Toward the end of the eighteenth century, these private collections were organized and showcased publicly in palaces (Hughes, 10).

At this point, there were still no purpose-built exhibition spaces. The Sir John Soane Museum in London and the Uffizi gallery in Florence were proto-galleries that developed out of the private collections of wealthy patrons (Hughes, 11). The first purpose-built art gallery in the UK was Dulwich Picture Gallery in London (Hughes, 11). As it was one of the first buildings ever dedicated solely to the exhibition of art, this was an important precedent in the development of the art gallery and museum. Because these exhibitions were intended primarily for educational and self-improvement purposes, they were arranged based on unifying themes (Hughes, 11) . The individual characteristics of artists or schools were glossed over in favor of a particular narrative (Klonk, 24). The result was a an integrated and subjective exhibition strategy. Gallery interiors reflected this, by integrating the architecture with the exhibition. Walls were often a soft neutral color; greyish-green was very popular (Klonk, 28).

[A] Dulwich Picture Gallery, Exterior [B] Interior

The Shift from Subjective to Objective Viewership and its Impact on Exhibitions

Improvements in transportation spurred the growth of many other exhibition spaces. The Great Exhibition of 1951 held at the Crystal Palace in London showcased technological improvements of the time. As the ideological relationship between man and the world began to change, gallery spaces began to reflect this. The focus began to shift away from the subjective viewing experience to the objective. The opening of the National Gallery in London in 1824 challenged the strategy of displaying works in thematic arrangements. Its works were arranged individually with large spaces in between, establishing an objective relationship between the viewer and the work (Klonk, 28). The focus shifted away from intimacy toward a more grandiose display of art.

[A] National Gallery in London, Exterior [B] National Gallery in London, Interior

The Bazaar and its Link between Commerce and Exhibition

Around this time, another major trend in exhibition spaces was developing. Bazaars introduced new types of exhibitions- the diorama and the cosmorama., mobile three dimensional models depicting a scene; in the latter case, a scene of images from around the world. Walter Benjamin notes that the bazaar makes a link between commerce and exhibition, making it as a transitional moment between the department store and the museum (Klonk, 28). Though most department stores began to sell art by 1850, the museum would not make this connection until much later. This link between commerce and exhibition would also begin to change the role of the viewer to that of a consumer.

Compare the images below. The one to the left is of the Manchester Art Treasures Exhibition of 1857. The other is an image of the Bazaar in Isfahan, from the Harvard Guide to Shopping.

[A] The Art Treasures Exhibition [B] Bazaar, Isfahan

Institutionalization of the White Box

The design for the new Museum of Modern Art building in 1929 established a radical break from the exhibition spaces of the past which continues to dominate today. In the past, the MoMA had received much criticism for its sequential presentation of modern art (Cuno, 38). For the new building, they took a different approach. They broke away from the traditional narrative structure that most museums employed. Influenced by Bauhaus design principles, director Alfred Barr reconceptualized the gallery interior as a pristine white space, with artworks displayed at generous intervals, emphasizing each work as an independent object (Hughes, 16). The architecture receded to the background for the sake of the artwork; It became undefined for the sake of flexibility. All shows were treated in the same manner, no matter what the style.

And so the MoMA is credited with the creation of the “white box.” This strategy of exhibition was meant to provoke viewers to look at art in a different way. Perhaps this is why the white box has continued to dominate exhibition space ever since.

The White Box/Black Box

The MoMA is also credited with changing the role of the spectator to consumer. It defined the new role of the art gallery not as a place of education, but of entertainment (Klonk, 17). Art historian Charlotte Klonk notes that the emergence of new media, such as installation , video, and internet, has lead to the emergence of the 'black box,' a sort of entertainment space to house these new works. At the same time, Klonk argues that the white box has still not really been challenged, noting that white box spaces can easily “transform themselves, through electrical means, into black boxes.” Klonk cites this transformation as "perhaps the most radical transformation of the museum interior in the last hundred years" (Klonk, 211).

Contemporary Exhibition Spaces

The Crisis of Contemporary Exhibition Space- The 'White Box/Black Box' vs the 'Building as Object'

Most scholars agree that there is a crisis of contemporary exhibition space, seen as the dichotomy between the 'white box/black box' and 'building as object.' These two opposing architectures ultimately stem from two opposing theories of the viewer-object relationship. One theory proposes an objective relationship between the viewer and the object; the other, a subjective one. The white box adheres to the former theory, with its neutralized interiors, meant to create an objective vacuum in which to view art. The building as object adheres to the latter theory, aiming to create a subjective relationship between the art, the environment, and the viewer. The crisis is that the design for exhibition spaces is now apparently limited to a choice between two undesirable models- an overly passive or aggressive architecture.

There have been a multitude of elaborations on the white box, but these are essentially variations upon the same principle. The Centre Pompidou, for example, perhaps represents the white box at its most extreme. While regarded as a radical departure from past precedents at the time of its opening, the museum is still essentially a white box. Buildings systems such as structure, ventilation, electricity, and circulation were pushed outside the building envelope, leaving vast, unobstructed interiors with infinite reconfigurability of partitions. The architecture lends little, if anything to the viewing experience.

[A] Centre Pompidou, Exterior [B] Interior

There have also been a multitude of variations on the building as object typology. The Guggenheim in Bilbao, Spain, is a well known example. Its unique design attempts to create a subjective viewing experience, by asserting the relationship between the art and the architecture. However, the building, while particularly exciting on the exterior, may be a bit distracting inside.

[C] Guggenheim, Bilbao, Exterior [D] Interior

For a long time, the question has been how to move beyond this 'crisis.' The next section will focus on some emerging exhibition typologies and the strategies they imply.

Emergent Typologies

In order to move the conversation beyond the current crisis of the 'white box/black box vs building as object,' this essay will consider what the author believes to be emergent typologies. These typologies are primarily distinguished from the 'white box/ black box vs. building as object' based on strategy not form. To clarify, either one of these emergent typologies may still be defined as a white cube because their interiors are austere and white. However, these typologies deserve isolated consideration as they pose unique exhibition strategies, and because they elicit new or under-explored concepts in exhibition space that may be key to its future development. In doing so, they challenge the current dichotomy of the white box/black box vs. building as object.

1. Hypermarket

This essay identifies what will be termed as the 'hypermarket'-The hypermarket is an art fair, distinguished as its own typology because its density and scope of program generates a degree of social and economic benefits that are not possible through other means. The hypermarket is just as much about art as it is social event, economic generator, and political strategy. Commenting on Art Basel Miami, one of Miami's elite states, “ABMB is now as much about "design, fashion, and nightlife" as it is about art.” [4]. The hypermarket is therefore distinguished from the art fair as it hosts an array of other social functions.

There has been a major increase in the growth of hypermarkets in recent years. Some of these include, Art Basel, Art Basel Miami Beach, Frieze Art Fair in London, and the Venice Biennale.

Hypermarkets make use of certain strategies regarding shopping, density, temporality, and virtual media in a way that other exhibition spaces do not. These strategies will be discussed in further detail later on.

[A] Art Basel Miami, Interior [B] Art Basel Miami Central Lounge [C] Art Basel events extending into the city

Hypermarket Links:

Art Basel: http://www.artbasel.com/go/id/ss/lang/eng/

Art Basel Miami: http://www.artbaselmiamibeach.com/

Frieze Art Fair: http://www.friezeartfair.com/

Venice Biennale: http://www.labiennale.org/en/Home.html

2. Pop-Up

Pop-up galleries are another emergent typology capable of challenging institutionalized exhibition spaces. Pop-up art exhibitions are a graowing that have emerged in recent years as a means to connect artists with vacant spaces in order to create exhibitions.

Many pop-up organizations, including: Pop-Up Art Loop in Chicage, Chashama in New York, Openhouse in Manhattan. Chashama and Pop-Up Art Loop link artists with vacant spaces throughout the city to create exhibitions. Openhouse is a storefont gallery space that can be rented out and transformed into any number of inpormptou exhibitions; everything from art show to indoor park.

Like the hypermarket, the pop-up makes use of certain exhibition strategies in a way that other types of exhibition space do not. These strategies are examined in further detail in the next section.

[A] A pop-up gallery by Chashama [B] Image of an Installation at Openhouse pop-up gallery

Pop-Up Organization Links:

Chashama: http://www.chashama.org/

Openhouse: http://www.openhousegallery.org/

Emergent Exhibition Strategies

With the emergence of these new typologies, a few strategies have emerged regarding contemporary exhibition space. This section examines these strategies that have only begun to explore their potential impact on exhibition space and the art market.

1. Shopping

According to art historian Charlotte Klonk, since the opening of the MoMA, gallery experience has been dictated by commerce. Museums and high-end shops evoke the same experience (Klonk, 17). And with the increasing social and economic demands created by the contemporary art market, shopping has never before had such a direct influence on exhibition space as it does today. Renowned contemporary architect Rem Koolhaas speculates on shopping and its influence on every aspect of public space;

“Shopping is arguably the last remaining form of public activity. Through a battery of increasingly predatory forms, shopping has infiltrated, colonized, and even replaced, almost every aspect of urban life. Town centers, suburbs, streets, and now airports, train stations, museums, hospitals, schools, the internet, and the military are shaped by the mechanisms and spaces of shopping.” (Chung, 11).

One does not have to look for very long to recognize shopping's influence on contemporary exhibition space. Walking into almost any upscale gallery, one could easily imagine the works of art replaced by handbags or shoes. Conversely, it is not hard to imagine most high-end commercial spaces as galleries. Compare the two images below. The image to the left is Koolhaas' design for the Prada Flagship Store in SoHo (note this space was previously the SoHo branch of the Guggenheim) [5]. The image to the right is from the MoMA.

[A] Prada Flagship Store [B] MoMA

Hypermarkets, in particular, employ unique shopping strategies. In fact, many of these hypermarkets are run by trade show organizations. Art Basel and Art Basel Miami Beach are owned by Messe Schweiz, a Swiss based trade fair organization [3]. But it is not only the formal language of exhibition spaces that is influenced by shopping. There are some key organizational strategies that contemporary exhibition spaces, particularly the hypermarket, have begun to imitate. For example, compare the plan of Scope Art New York 2011 with that of a typical shopping mall below. Both use the strategies of compartmentalization for individual programs. These programs are arranged around larger open social spaces. 'Anchor programs' are located at the ends of the space to draw visitors from one side to the other.

[C] Typical Shopping Center- Floorplan [D] Scope Art NY- Floorplan

The ubiquitous influence of shopping in the art market has created a constant demand for 'newness,' helping to explain the explosion of temporary exhibition spaces in recent years. Fashion store pop-ups, impromptu shops set up at abandoned sites, have been a rising trend [6]. The constant demand for newness that drives both the retail market and the art market has lead to a similar phenomena in the art world- the art exhibition pop-up. Often, these exhibitions are set up in former commercial storefronts, further reinforcing the direct relationship between high-end retail and gallery space. In shopping terms, they represent the irresistible hunt for the bargain to both artists and consumers.

2. Congestion

A trend toward congestion has emerged along with the influence shopping. In his essay, Life in the Metropolis or The Culture of Congestion, Koolhaas observes contemporary society's move toward a 'culture of congestion,' demonstrating how the strategies of super-dense commercial architecture can produce 'accelerated effects' (Hayes, 321). Taking Manhattan as his prototype, Koolhaas theorizes that “the vast urban gird and elevator couple horizontally and vertically to produce previously unimaginable experimental effects out of an economically engineered servomechanism” (Hays, 321). In 1982, Koolhaas and his firm, OMA, used this generative model of the skyscraper and turned in horizontally, from section to plan, to create their canonical entry for the Parc de La Villette competition. In the image below, one can see the translation of the skyscraper into a stratified plan, creating maximum interface between park programs to enable these 'accelerated effects.' This essay proposes that one can see the a similar trend in hyper-markets.

Compare the plan of La Villette to the plan of Art Basel Miami Beach below. While in La Villette, programs are organized into strips, in Art Basel, programs are arranged into cells. But both achieve a high-density, 'congestion' of program within. In the case of La Villette, these intended 'accelerated effects' are cultural; in Art Basel Miami, they are social, cultural, and economic. But the effects of Art Basel Miami are not limited to the building's periphery. By creating a super-concentrated event, the market effects extend well beyond the event itself. Long lasting ties are made between buyers and sellers, and between artists and their audiences.. The local economy also gets a large boost. As Art Basel Miami Beach is one of the most important stimulators for the contemporary art market, one could expect this trend toward congestion will continue to develop.

[A] Parc de La Villette Plan [B] Art Basel Miami Beach Plan

3. Dispersion/Reallocation

As a counter to the hypermarket's model of congestion, the pop-up proposes an equally valid model of dispersion. This model has its own unique consequences in regards to the art market. Some act as satellites for larger museums to bring exhibitions into the city. Others exist through organizations, such as Chashama, to link artists with experimental venues. Because they are smaller and not an official part of the arts district, these venues can act as “test labs for experimentation” that might be too risky with larger institutionalized venues or well established galleries (Reinhardt, 31). Openhouse describes itself as “...not just a space. It's a pop-up concept lab,” emphasizing the experimental nature of these spaces [7]. These dispersed spaces therefore can serve as a platform for emerging artists, who may not otherwise have a chance with centralized institutions.

[A] Map Showing Dispersed Locations of Pop-Up Art Loop's Galleries

To an extent, dispersion is already present in the New York Arts District in Chelsea. It is dispersed in the sense that it is an agglomeration of independent venues as opposed to a large centralized institution such as a museum. This strategy helps explain the district's robustness. These galleries are easily accessible to the public who can come in right off the street, without the admissions fees most museums charge The gallerists do not put on pressure to buy, as about ninety five percent of customers have no intention of purchasing works [2]. In fact, these galleries “make art by the very best of Contemporary artists available in the most easily accessible form” [2]. Is the pop-up perhaps the next step of the evolution of decentralized exhibition space?

The concept of dispersion/reallocation can perhaps influence large institutions as well. In light of the dominance of art fairs, museums have revealed a weakness in their centralized structures. They are not able to adapt as easily to the constant demands for new shows and the fluctuations of the market. The beginnings of this trend toward decentralization can be seen with the increasing number of satellite galleries in recent years. Yet museums still serve important archival and educational purposes. For over a century, designers have placed emphasis on event space and circulation at the expense of archives and study space (Reinhardt, 31). In her book, New Exhibition Design 02, Dusseldorf University of Applied Sciences professor Uwe Reinhardt urges designers to refocus on neglected archival and study spaces. Perhaps one could go a step further and reconceptualize museums as archival, research, and educational centers, leaving major exhibitions to fairs, satellite galleries, and other temporary venues.

4. Virtuality

Demands of the art market have in many ways exceeded the capabilities of physical exhibition space. Most major museums rely on digital archives that are just as important as the physical objects themselves. These archives have the potential to far outlive the originals, and are highly accessible to the general public. Additionally, major exhibition spaces now depend on social media to maintain their market presence. Most have at least a home webpage that displays basic information including a brief description of the institution, hours, location, and upcoming events. Many go beyond this and have social media presence. The Metropolitan Museum of Art in New York, for example, has its own Facebook and Twitter accounts, as well as its own YouTube channel. The virtual realm has found its own niche in the art market.

But the possibilities of virtual media have only begun to be explored and are being pushed to the extreme with new exhibition spaces. Pop-ups are completely dependent on new media in order to function, as in they cannot rely on an established physical location. They rely on social media to promote shows, recruit new artists, and to locate new spaces. Most of these pop-up organization have exhibition applications, images of the space, and sometimes even detailed floorplans,on their websites.

Hypermarkets also rely on social media to stay connected to their audience and to keep their market share. The sheer density of shows and events requires an organized database of all information. The use of virtual media has already begun to push exhibition space to its extreme, and promises more for the future.

5. Temporality

Temporary exhibitions are nothing new, however, their dominance in the market is, and these types of exhibitions are extremely important in context of the contemporary art market. The concept of the modern art fair began with the inception of the Documenta art exhibition in Kassel, Germany in 1955. By creating a temporary venue that brought together new works from all over the world, this festival dealt with the issue of how to keep up with new artistic developments that plagued many museums. (Klonk, 120). According to art historian Charlotte Klonk, Documenta spurred the beginning of the age of the curator, in which the continual demand for new shows have pushed static exhibition spaces to their limit. This new curatorial age places slightly less emphasis on physical place, and more on event. This helps explain the vast proliferation of art fairs over recent years, including Art Basel Miami Beach, the Armory Show in NYC, Friese Art in London, ARCO in Madrid, and FIAC in Paris [2].

Temporary venues offer some important social and economic benefits. In hypermarkets, for example, the intense time structure promotes the highest amount of socialization, networking, and sales in the least amount of time- one collector referred to it as“speed dating” (Thornton, 223). Temporary venues create huge economic boosts that smaller galleries cannot generate on their own. For example, Lisson gallery does an average of seven international fairs a year, which generates about 50% of their profits (Thornton, 90).

Pop-up galleries also benefit from their temporary nature. They offer an alternative to the current dichotomy of exhibition spaces, as their technique is strategic, not formal. Pop-up have created a new market niche based on their temporal nature, making use of temporarily unused space.

This trend toward temporary exhibition spaces has parallels in recent developments in the field of architecture, and may be able to help push beyond the current dichotomy of 'white box/black box vs. building as object.' As mentioned previously, these temporary venues stress event over form. The same basic tenant is promoted by the theories of Landscape Urbanism. Landscape Urbanism is a contemporary architectural and urban design theory that uses landscape as a generative design model. The theory understands landscape in the functional sense of process, and calls for the staging of public space for the production of “urban effects” (Waldheim, 37). It is believed that these effects, such as public events, are more fundamental to the vitality of the city than physical forms, such as buildings and public spaces, and that these physical forms should be designed to enable or promote theses urban effects.

The Future of Exhibition Spaces

The question still remains: how can exhibition space develop beyond the 'white box/black box vs. building as object' dichotomy?

It is possible that this dichotomy will continue to dominate the conceptualization of exhibition space? Architecture may continue to push these two opposing models to their extremes: the white box may continue to develop to the point where it is little more than infrastructure, and the building as object may go to such extremes as to become a caricature of itself. Or, it may be possible that some typologies, such as museums, remain unchallenged, while other emergent typologies continue to develop.

But it is the hope of the author that these emergent exhibition strategies can influence the development of all types of exhibition space. These concepts may help move the conversation forward as they shift the emphasis from form to strategy, placing emphasis on process and effect.

Moving the Conversation Forward

Taking the identified emergent strategies into account- shopping, congestion, dispersion/reallocation, virtuality, and temporality, offered here is an 'alternative approach' for the conception of future exhibition spaces. It is hoped that by re-conceptualizing the design problem as a strategic (as opposed to formal) approach, we can move exhibition space beyond its current state of crisis. Further exploration of these strategies may eventually lead to new formal or architectural techniques. Already, some have begun to emerge. The dominance of shopping has begun to blur the bounds between exhibition space and commercial spaces. Formal and organizational strategies have already presented themselves in exhibition space through compartmentalization and anchoring The strategies of congestion and dispersion/reallocation have implied strategies that should be explored at the architectural and urban levels. Virtuality is especially relevant because in some ways, demands of the art market have exceeded the capacities of physical exhibition space, though it will be more productive to continue to explore the ways in which virtual media can develop in conjunction with physical exhibition space. Temporality is an especially important strategy, as we are now in the age of the curator, with market demands constantly pushing for new shows. It is also highly relevant in light of parallel developments in the broader field of architecture, which places emphasis on strategy over form.

Each of these strategies has significant, under-explored implications for the art market, and may be key to creating exhibition space in the future.

Bibliography:

Books

Chung, Chuihua J, Jeffrey Inaba, Rem Koolhaas, Sze T. Leong, and Tae-wook Cha. Harvard Design School Guide to Shopping. Köln: Taschen, 2001.

Cuno, James B. Museums Matter: In Praise f the Excyclopedic Museum. Chicago : University of Chicago Press, 2011.

Hays, K. Michael. Architecture theory since 1968. Cambridge, Mass : The MIT Press, 1998.

Hughes, Philip. Exhibition Design. London: Laurence King Publiishing, Ltd., 2010.

Klonk, Charlotte. Spaces of experience : art gallery interiors from 1800 to 2000. New Haven : Yale University Press, 2009.

Reinhardt, Uwe J. Neue Ausstellungsgestaltung. Ludwigsburg : AV Edition, c2008-c2010.

Thornton, Sarah. Seven days in the art world. London : Granta, 2009.

Waldheim, Charles. The Landscape Urbanism Reader. New York: Princeton Architectural Press. 2004.

Articles

[1] “Metropolis M » Magazine » 2008-No3 » The Art Fair Age.” Web. 21 Jan. 2012.

[2] Halle, David, & Tiso, Elisabeth. (2007). Contemporary Art: A 'Global' and Local Perspective via New York's Chelsea District. UC Los Angeles: California Center for Population Research.

[3] Messe Schweitz: http://www.artinfo.com/news/story/37196/the-power-of-fairs/

[4] Art Basel Entertainment: http://nymag.com/daily/entertainment/2011/12/art-basel-diddy-will-smith.html

[5] Prada Store: http://www.galinsky.com/buildings/prada/

[6] NY Times Art Basel Miami: http://www.nytimes.com/2010/05/13/fashion/13Close.html

[7] Openhouse Pop-Ups: http://www.openhousegallery.org/work-with-us

Links

Documenta: http://d13.documenta.de/

Venice Biennale: http://www.labiennale.org/en/Home.html

Art Basel Miami: http://www.artbaselmiamibeach.com/

Armory Show: http://www.thearmoryshow.com/

Frieze Art Fair: http://www.friezeartfair.com/

Scope Art: www.scope-art.com

Images

The Emergence of Public Exhibition Spaces and the Institutionalization of the Museum:

[A ] Dulwich Picture Gallery Exterior: http://www.esto.com

[B] Dulwich Picture Gallery Interior: http://dulwichonview.org.uk/2009/01/13/animals-in-art-at-dulwich-picture-gallery/

The Shift from Subjective to Objective Viewership and its Impact on Exhibitions

[A] National Gallery Exterior: http://yalebooks.wordpress.com/2011/05/06/books-from-the-worlds-most-prestigious-museums-and-art-galleries-part-one-the-national-gallery-london/

[B] National Gallery Interior: http://www.nationalgallery.org.uk/paintings/giuseppe-gabrielli-the-national-gallery-1886-interior-of-room-32

The Bazaar and its Link between Commerce and Exhibition

[A] Art Treasures Exhibition: http://porterandjenkinson.tumblr.com/

[B Isfahan Bazaar: Chung, Chuihua J, Jeffrey Inaba, Rem Koolhaas, Sze T. Leong, and Tae-wook Cha. Harvard Design School Guide to Shopping. Köln: Taschen, 2001.

[C] Roman Market: Chung, Chuihua J, Jeffrey Inaba, Rem Koolhaas, Sze T. Leong, and Tae-wook Cha. Harvard Design School Guide to Shopping. Köln: Taschen, 2001.

The Crisis of Contemporary Exhibition Space- The 'White Box/Black Box' vs the 'Building as Object'

[A] Centre Pompidou Exterior: http://www.stageoftheart.net/en/art/Centre-pompidou-Beaubourg-Paris-200

[B] Centre Pompidou Interior: http://www.flickr.com/photos/thomaswright/5299921758/

[C] Bilbao exterior: http://www.e-architect.co.uk/bilbao/guggenheim_museum_bilbao.htm

[D] Bilbao interior” http://coolwallpapersblog.blogspot.com/2011/05/guggenheim-bilbao-interior-wallpapers.html

Emergent Typologies

hypermarket

[A] http://www.aboutmiami.co/2011/11/01/art-basel-miami-beach/

[B] http://www.facebook.com/photo.php?fbid=10150375171074643&set=pu.52860439642&type=1&theater

[C] http://davidgryn.wordpress.com/

pop-up

[D] http://www.chashama.org/locations/current