LAYERS

Layersby Uğur Yılmaz

Didactic exerciseFall Semester2010

Interior worlds: “layers”

Main EditorGennaro Postiglione

Course of Interior ArchitectureFaculty of Architettura e SocietàPolitecnico di Milanowww.lablog.org.uk

EditorUğur Yılmaz

only for pedagogic purposenot for commercial use

INDEX

01_Willits House

02_Landmark Center

03_Lake Hotel

04_Tretyakov Gallery

05_Novello Theatre

06_King Street Station

07_37 Wall Street

08_Walter V. Davidson House

09_Belmont Mansion

10_Mundus Chair

11_London Opera House

12_Balikesir Railways

13_Marion County Public Library

14_Poniatowski Bridge

15_Haas Building

16_Schloss Elmau

17_ World War I

18_Stockholm Public Library

19_Kathedrale

20_Harlequins

21_African Chair

22_Cradle

23_Czech Book Cover

24_Bibendum Chair

25_Bauhaus Stage

26_Bauhaus Masters’ Houses

27_Stockholm Public Library

28_Barcelona Pavilion

29_Salon d’Automne

30_Table for ‘Casa Minerbi’

31_Kennedy Warren Building

32_Porcelain Set

33_Villa Isola

34_Estadio Romelio Martinez

35_Von Sternberg House

36_Floating Runways for Seaplanes

37_Bat’a Pavilion

38_Depero House Museum

39_Painted Hall

40_ Grundtvig Memorial Church

41_Annie Pfeiffel Chapel

42_Aarhus Town Hall

43_Hotel San Juan

44_Terraced Houses

45_La Maison Radieuse

46_A Grave Situation

47_Casa del Girasole

48_Leeds Modern School

49_Il Messaggio dalla Camera Oscura

50_Woods Residence

51_Farnstworth House

52_Wspolna-62

53_Glostrup Town Hall

54_Luce Memorial Chapel

55_Bavinger House

56_Mirman Residence

57_ Milwaukee Art Museum

58_Poster for American Airlines

59_Peacock Theatre

60_Case Study House no.22

61_Dulles Airport

62_Luce Memorial Chapel

63_Berlin Philharmonic Hall

64_Academic Bookshop

65_ Casa de las Cejas

66_Edificio Copan

67_Mesa Laboratory

68_Hyatt Regency Atlanta

69_Florey Building

70_Yale Center for British Art

71_Sydney Opera House

72_Arango House

73_Pink Floyd Album Cover

74_ Sarria Building

75_Afrikaas Language Monument

76_Bateson Building

77_World Trade Center

78_Garden Grove Church

79_University of Bath

80_ Hotel des Ventes

81_Broward County Library

82_Asian Games Village

83_Ball-Eastaway House

84_La Grande Arche

85_Le Dauphin de la Memoire

86_ D’Orsay Museum

87_Bank of China Town

88_Campo Volantin Bridge

89_Fuji Broadcast Centre

90_The Reichstag

91_Denver Central Library

92_UQAM’s Campus

93_ St. Antonio’s Church & St. Barto-lomeu Social Center

94_Fondation Cartier

95_Fondation Cartier

96_Long Island Residence

97_Kraanspoor

98_Ljubljana City Museum

99_Randstad

00_The Patch

Interior spaces can be found at a range of scales, from the clothing we wear to the city we inhabit. Between these two scales are an array of layers that can be pulled apart and further investigated, often re-vealing an identity by which we surround ourselves. The interior and its layers can be seen as the stage set by which we act out our lives as we move fluidly between these layers that encompass one another. This investigation into layers begins at the micro scale and moves to the macro scale, resulting in themes that cut across a range of disciplines and time periods. Layers begin at the scale of the body and move through clothing, objects, furni-ture, surfaces, private chambers, poché and the public realm. By looking at the interior through the adjacency of layers, a new organization for reading the interior emerges. Inherently, a closer look at these layers elicit a broader set of issues that emerge such as nostalgia, personal possessions, identity, narrative, anthro-

pomorphism and miniatures. These major themes are found on the interior but are rarely discussed critically in the context of interior design. Emphasis is placed on these layers because they have no limit to their placement in history and reappear over and over again. Each of the layers can be unraveled allowing for concepts and themes to emerge, making visible their ability to transcend disciplines and scales.

Layersby Uğur Yılmaz

Abstract

Interior spaces can be found at a range of scales, from the clothing we wear to the city we inhabit. Between these two scales is an array of layers that can be pulled apart and further investigated, often revealing an identity by which we surround ourselves. The interior and its layers can be seen as the stage set by which we act out our lives as we move fluidly between the layers that encompass one another. This investiga-tion into layers begins at the micro scale and moves to the macro scale, resulting in themes that cut across a range of dis-ciplines and time periods. The first set of layers is tangible and is investigated at the scale of the body, starting first with clothing and moving through objects, furniture and surfaces. Where surfaces become a wall, this demarcates the threshold between “this side and that side.” It is at this point that the layers take a conceptual leap from tangible elements to conceptual realms of private and public as explored in layers entitled: private chambers, public interiors,

and ending at the threshold of interior and exterior. By looking at the interior through adjacent layers, a new organization for reading the interior emerges. Inherently, a closer look at these layers elicits a broader set of issues that emerge as nostalgia, personal possessions, identity and gen-der. These major themes are found on the interior but are rarely discussed critically in the context of interior design. Emphasis is placed on these layers because there is no limit to their placement in history, and they reappear over and over again. Each of these layers can be unraveled allowing for concepts and themes to emerge, making visible their ability to transcend disciplines and scales.

1: Body+image

The first layer begins at the body, which is seen as the core of the interior, allowing layers to build upon it. The Finnish architect

Paper

Juhani Pallasmaa writes about the experi-ence of the body and the interior through the senses in his essay An Architecture of the Seven Senses. He describes the bodily experience of details and the ability to understand objects through the tactile touch of materials. Pallasmaa writes: “The hand reaches and extends, receives and welcomes – and not just things”, more specifically, the “door handle is the hand-shake of the building (…) we shake the hands of countless generation.”(1) Pallas-maa’s writings use the body as a gauge to experience the interior through movement and details.

2: Clothing+identity

Moving one layer out from the physical and cognitive perceptions of the body, clothing wraps the body forming an im-mediate interior. The evolution of the cut of cloth reveals how the body has been wrapped, and with it, how clothing repre-sents the body. Kerstin Kraft, in her essay, Cutting Patterns reveals the significant transition from cloth that was draped over the body to patterns tailored to the body. The difference between draping and tailor-ing reveals the representation of the body from two-dimensional to three-dimension-al patterns. Draping the body in cloth requires little cutting, essentially, using a large circle of material and constructing an opening in the center for the head. (2) The develop-ment of tailoring brought with it tools for measurement and an understanding of the body as a curved threedimensional form (fig. 1). These methods of construction translate into current fashion, especially when seen in experimental clothing.The clothing designer Hussein Chalayan draws a connection in his work between clothing fitted for the body, and uphol-stered furniture. Chalayan recognizes shared forms between body and furniture, and the cut of cloth as the transition be-

tween clothing and upholstery.

3: Furniture+objects

The transition from clothing to furniture leads to the third layer of furniture and ob-jects. Furniture is designed to receive the body, as well as objects that respond to the body through ergonomic design. Le Cor-busier recognized that objects have an underlying form that allows for styles and fashions to attach onto. He called these fundamental forms, typical-objects, and believed in their usefulness by being func-tional, mass-produced and generated out of norms and standards. Le Corbusier championed mass-production as a means for eliminating unnecessary decoration and ornament.Aside from whether or not objects take on an aesthetic of minimalism or ornamen-tation, we gain an attachment to objects while others we freely throw away. A sub-theme that emerges from one’s personal collection of furniture and objects is the role of nostalgia and the degree to which we form an attachment to these items. The contrast between handcrafted objects ver-sus mass-produced ones contributes to the degree with which nostalgia emerges.

4: Surfaces and color

The body, clothing, furniture and objects that reside on the interior are enveloped by surfaces in the form of carpets, paint or wallcoverings. Surfaces and color are often secondary to the role of architecture because of their dependence upon struc-ture. Gottfried Semper, and later, Adolf Loos both focused on the relationship of surface to structure, noting that the need for textiles to line an interior is more nec-essary than the structure that supports it. This relationship guided Loos in writing his seminal essay, The Principle of Clad-

ding. More recently, Ellen Lupton has writ-ten about new generations of skins that are generated from attributes of the body made applicable to building surfaces. Where Loos drew a distinction between structure and cladding, Lupton draws upon examples of new skins that hybridize structure and skin, making them no longer separate from one another. One example is an artificial skin that mimics a hybridized relationship of skin and structure devel-oped by Knowear. (3) (fig. 2)

5: Mapping the interior

This fifth layer builds upon interior sur-faces, such as wallpaper and takes a con-ceptual turn that situates surfaces, furni-ture and objects into a map. It is easy to imagine conceptually that a map of the interior can be constructed by peeling off wallpaper and organizing it into a full-scale map of the interior. The architectural histo-rian and theorist, Robin Evans studies the role of representation and interiors in his essay, The Developed Surface, an Enquiry into the Brief Life of an Eighteenth-Century Drawing Technique. Evans focuses on drawings that challenge the conventions of architectural drawing in order to empha-size the interior through its furniture and surfaces. Evans reveals that by reorganiz-ing the interior elevations of a room around the floor plan, the focus is drawn inward. (4) (fig. 3). The process of a mapping an interior through orthographic projection is a timeless inquiry, as seen in a mapped in-terior by the architect Jeanine Centuori. In an experimental project, Centuori maps acollection of objects that includes a table, a chair, shoes, dishes and a few other household objects. Centuori coats the ob-jects in liquid latex and once dried, peels away the skin through careful cuts based on orthographic projection. The result is a map of the interior at the scale of personal possessions. (fig. 4)

6: Private chambers

Clothing, furniture, textiles and walls en-velop us, representing the tangible world nestled in the realms of public and private. Notions of public and private are not tan-gible, but exist as conceptual layers that we perceive through social cues. Lay-ers six and seven refer to examples that investigate notions of private and public. Personal possessions bring a distinction to the classifications of private and public. One notable example is Sigmund Freud’s office where he surrounded himself in a collection of antiquities that populated his office and consulting room. Freud estab-lished an intimacy within these rooms that can be compared to a boudoir because of the intimate relationships he organized through the placement of objects and people. This intimacy allowed for the dis-cussion of sexual references to emerge during psychoanalysis. (5)Reference to sex is inherent in private chambers. Examples include the seven-teenth-century boudoir, or the contempo-rary closet that acts as a container of one’s identity. The former being associated with sexual liaisons, while the latter used as a metaphor to describe a person as being in or out of the closet based upon their sexual preference. (6)

7: Public performance

The transition from private to public in-cludes the presence of people as if on display. The early works of Diller+Scofidio used performance as a means for height-ening the display of the body. Performance pieces include the design of costumes and props that heightened awareness of un-derlying systems in our everyday, whether in the act of watching or being watched. Museums are similar by providing collec-tions to be viewed. One example is the Sir John Soane house that turns people and

the antiquities inward through the place-ment of mirrors. In this case, private and public merge as the original intent of the house was to be private, but because of Soane’s desire to transcend time, the pri-vate interior becomes a public museum.

8: Bridging interior and exterior

The transition from interior to exterior can be found at the site of poché. The division between inside and outside, public and private meet at walls, floors and ceilings depicted as poché. Two artists, Rachel Whiteread and Gordon Matta-Clark reveal the relationship of interior and exterior by cutting into and exposing the thickness of pochéd boundaries. Matta-Clark makes a physical section cut into a house, re-vealing a view into the interior not usually seen. Whiteread uses the perimeter of a house as formwork for casting the interior in concrete and peeling away the exterior to reveal the interior as a mass rather than as a void filled with objects. The desire to see the interior in new perspectives gives pause as to how we occupy these intimate spaces. The everyday familiar spaces that we know are now revealed to us as if we are occupying an orthographic drawing or architectural model. This last layer, the bridge between interior and exterior, holds the potential to reveal what is familiar by turning it inside out.The organization of these layers from mi-cro to macro envisions a new lens for how we look at interiors. The layers allow for unconventional examples to translate into the discourse of interior design. Where previously fashion and art may be located on the periphery of interior design, a look at the interior through layers allows for a shared discourse across many disciplines. The discipline of interior design is evolv-ing by being informed of new technologies and space programming. The use of lay-ers, whether the eight ones covered here, or an expanded version, allows for new

criteria to enter into thediscourse.

References

Betsky, Aaron. 2003. Display Engineers. In Scanning: The Aberrant Architectures of Diller and Scofidio. Eds. K. Michael Hays, and Aaron Betsky, 178-185. New York: Whitney Museum of American Art.Centuori, Jeanine. 1994. Flattened Room. In Architecture Studio, Cranbrook Academy of Art. Ed.Dan Hoffman, 186-193. New York: Rizzoli In-ternational Publications, Inc.Evans, Robin. 1997. Translations from Draw-ing to Building and Other Essays. Cambridge: the MIT Press.Evans, Caroline, Suzy Menkes, Ted Polhe-mus, and Bradley Quinn. 2005. Hussein Cha-layan. Rotterdam: NAi Publishers.Furján, Helene. 1997. The Specular Spec-tacle of the House of the Collector. Assem-blage 34: 56-91.Graham, Dan. 1978. Gordon Matta-Clark. In Flyktpunkter/Vanishing Points. Stockholm: ModernaMuseet.Kraft, Kerstin. 1998. Cutting Patterns. form +zweck 15: 66-69.Le Corbusier. 1987. The Decorative Art of To-day. London: Architectural Press.Lilley, Ed. 1994. The Name of the Boudoir. Journal of the Society of Architectural Histo-rians 53, no.2: 193-198.Loos, Adolf. 1982. Spoken into the Void: Col-lected Essays 1897-1900. Cambridge: the MIT Press.Lupton, Ellen. 2002. Skin New Design Organ-ics. New York: Princeton Architectural Press.Mullins, Charlotte. 2004. Rachel Whiteread. London: Tate.Pallasmaa, Juhani. 1994. An Architecture of the Senses. In a+u Architecture and Urban-ism.Questions of Perception. Eds. Steven Holl, Juhani Pallasmaa, and Alberto Perez-Gomez, 28-37.Japan: a+u Publishing Co., Ltd.Sanders, Joel, and Diana Fuss. 1996. Stud.

ATLAS

‘01/layers/willits house

The Willits House at Illinois, United States was designed by Frank Lloyd Wright on 1901. The interior and the furnitures are also Wright’s design. The furnitures, which can be considered as inner layers, and the layers built upon them resemble. There is a harmony between the layers in micro and macro scale.

‘02/layers/landmark center

The construction for the Landmark Cen-ter at Minnesota in United States was completely over on 1902. It was one of the largest buildings around. The building was nearly destroyed on 1970s. It was the time when the buildings were destroyed to makebuildings with new contemporary designs. At the moment, the Landmark Center is the oldest buildings around. Even though the other layers built on the city were changed, the Landmark Center stays the same. It can be resembled to the human body as a core of the interior. The core of the interior in Minnesota is defi-nitely the Landmark Center, which allows layers to build around it.

‘03/layers/lake hotel

The Lake Hotel is located in Yellowstone National Park, western United States. Even though its construction was finished on 1891, it is redesigned on 1903. The layers on macro scale, such as ionic columns and the splendid entrances, are added to the exist-ing building from time to time. Thanks to the added outer layers of the Lake Hotel, the relationship between the hotel and the Yellowstone National Park is always variable.

‘04/layers/tretyakov gallery

The Tretyakov Gallery is an art Gallery in Moscow, Russia. Even though the build-ing was established in 1856, the façade is designed on 1904. The façade is like a c overing layer of the building which lines the interior and reveals the secrets of in-teriority.

The Novella Theater at London, England is opened on 1905. The interior part is designed taking into consideration of the presence of people. The location of seatings and stairs turns the private interior into a public museum.

‘05/layers/novello theatre

The King Street Station at Seattle has an interior design which draws the focus in-stantly inward. The motifs generate a new layer upon the walls when the circular clerestory windows form a bridge between interior and exterior.

‘06/layers/king street station

The construction of the 37 Wall Street at New York, U.S.A was finished on 1907. On the façade of the building, there are many layers that can be examined. The motifs, bricks and marbles as outer layers are hy-bridized with the structure of the building as inner layers.

‘07/layers/37 wall street

The Walter V. Davidson House is designed by Frank Lloyd Wright on 1908. If we consider the body as an inner layer and walls and windows as outer layers, Wright played with the scale of the layers to create an unusual experience.

‘08/layers/walter v. davidson house

‘09/layers/belmont mansion

The Belmont Mansion was completed on 1909. The stairs on the right leads to the private rooms in the mansion. If the interior is considered as a layer, the private rooms form another layer in a layer because of the public and private classification.

‘10/layers/mundus chair

The Mundus chair is composed of wood-en skeleton without the upholstery. This example can be accomodated with the body without cloths that represents it. The thonet skeleton layer represents it-self boldly in the absence of another layer called “clothing+identity”.

‘11/layers/london opera house

Here is the postcard from 1911 showing the London Opera House façades. The façade has motifs and statues on it. The walls and windows called enveloping lay-ers and the ornaments on the other side of the enveloping layer are inseperable. These two layers become as one.

‘12/layers/balikesir railways

Balikesir is a historical city in Turkey. Its railway and station construction was fin-ished on 1912. Since the earth is the only witness of the history, it is a great source of layers. The trains on the railways can be considered as the moving layers upon countless layers that built before it.

‘13/layers/marion county public library

The Marion County public library in In-dianapolis serves countless people every year since 1913. Since the human body is the core of the interior and the begin-ning of layers, the layers around it are de-termined and designed accordingly. The photograpgh we see here is a clear exam-ple of how the core of the interior shapes the interiority.

‘14/layers/poniatowski bridge

The construction of Poniatowski Bridge in Warsaw, Poland was completed on 1914, just one year before it was destroyed on World War I. This photograph is taken after it has been reconstructed. It can be considered that the city we inhabit is a layer in macro scale. Warsaw is divided into two parts with Vistula River. This bridge is a necessity for the Warsaw layer to be merged.

‘15/layers/haas building

This photograph is taken from the top floor of the Haas Building at Los Angeles, which was opened on 1915. Considering the Los Angeles as the macro scaled layer, the in-terior of Haas Building as the micro scaled layer, the connection between the mac-ro and micro scale layers is very strong thanks to the design that emphasize the windows. They form an abstract bridge between interior and exterior.

‘16/layers/schloss elmau

Schloss Elmau is a hotel in Germany which is set at the foot of the mountains on 1916. The structure on the left in the photograph is made of the same material used over and over again. The material generates a surface and an interior space is formed. Thanks to this form, new layers emerge inside and outside the sphere.

‘17/layers/world war I

This photo is taken at Champagne, France, during the World War I on 1917. Earth is a perfect source for the storage of stories, events and histories. It is possible to reach in-credible knowledge by examining the layers of the earth since the layers are always built upon each other

‘18/layers/stockholm public library

The Stockholm Library which is set beside a steep hill has a huge and compact mass. The architect wanted to design such a form because he did not want his design to be suppressed by its environment. In this situation, the environment is a macro scaled layer and the Stockholm Library and the other buildings around are the mi-cro scaled layers. The macro scaled layers shape and be a part in the determination of the micro scaled ones.

This work is done by etching zinc after the woodcut. Usually, interiority is associated with the division between inside and out-side of a building achieved by surfaces. However, the shining lights of the stars form an outer layer and the atmosphere and the cathedral can be associated with interiority for this work.

‘19/layers/kathedrale

‘20/layers/harlequins

The harlequins at Avant-Garde Theatre were exhibited on 1920. The representa-tion of humans are accomplished with dif-ferent costumes. The harlequins turn into three dimensional from two dimensional by clothes forming an inner layer, generat-ing an interiority and representing each of them.

The African Chair is a handcrafted furniture made on 1921. Unlike the mass-production furnitures, this chair has ornaments and decoration. The manufacturers spent much more time on this object, thus some memories and nostalgia are attached on it. The significance of the layer changes completely when the method of manufacture differs.

‘21/layers/african chair

‘22/layers/cradle

This handmade cradle was made on 1922 and was exhibited at the Bauhaus Exhibi-tion. Since the human can be examined as the core of the interior, it is a source for other layers. This object is designed to re-ceive the body of babies. Cradle can be considered as the outer layer of the human body.

‘23/layers/czech book cover

This is a Czech book cover from 1923. It can be considered as a mirror of what lays be-neath the cover. It can be associated with the windows that are the connections of the interior part of a building and the exterior world. In this example, the cover reflects the interior part of the book.

‘24/layers/bibendum chair

The Bibendum chair is designed by Eileen Gray on 1924. The upholstered chair cre-ates a specific layer over the skeleton and represents the chair in a brand new way. Thanks to the upholstery layer, the chair forms an interior with its three dimensional curves.

‘25/layers/bauhaus stage

On this photograph, the forms of a person and a chair can be seen clearly. Also, the chair can be assimilated to a person without cloths. With the draping and tailoring methods of clothes, the human body turns from two dimensions to three dimensions. The same situation is current for the furniture.

‘26/layers/bauhaus masters’ houses

This photograph taken from the Bauhaus exhibition shows the Bauhaus Masters’ Houses in axonometric projection. The surfaces and colors that generate different layers can be seen. Also, the windows and doors which are the bridges between inte-rior and exterior layers, can be assessed.

‘27/layers/stockholm public library

On this photograph taken inside the Stockholm Public Library, the various layers that encompass one another can be examined. The people walking around and working, the furniture and working spaces that are designed according to the people, the book-shelves and the walls that create a surface are all layers from micro scale to macro scale respectively.

‘28/layers/barcelona pavilion

This photograph was taken at the German Pavilion at the Barcelona International Exhibi-tion designed by Ludwig Mies van der Rohe on 1928-1929. The connection with interior and exterior part of the building are achieved with glasses which perfoms a duty of bridge between two parts. The feeling of interiority is accomplished with the use of layers such as statues and surfaces like walls, water as a floor and half ceiling.

‘29/layers/salon d’automne

The interior equipments for living in Salon d’Automne are designed by Le Corbusier, Pierre Jeanneret, Charlotte Perriand on 1929. The furnitures and objects are en-veloped by the surfaces such as ceiling, floor and carpets. Even though the car-pet needs a surface to put onto, it is more significant than the floor since the carpet forms and lines an interior that are com-posed of many layers.

‘30/layers/table for “casa minerbi”

This table was designed for Casa Minerbi on 1930. The drawings of view and sec-tion are on the right. The form of the ta-ble is used as an advantage to create a decoration. Also, the structure of the table is intergrated to the design. No unneces-sary decoration or ornamentation is used.These kind of layers such as furniture and objects are used for receiving the human body.

‘31/layers/kennedy warren building

This photograph was taken from the open space in front of the Kennedy Warren buildings which were built on 1931. The historical layer of Kennedy Warren build-ings generate a new mood in Washington. The headlights of the car lines an interior and develops the already built theme and the lights of the trees reinforces it.

‘32/layers/porcelain set

The porcelain set were designed and ex-hibited at the courtesy museum of deco-rative arts in prague on 1932. The three-dimensional curves are emphasized by adding one more red layer on the porcelain set which can be considered as third set of layers. The underlying form is revealed by this method.

Different kinds of layers appear in each floor of the Villa Isola. Each of them have specific interior worlds. The difference of floors are reflected to the outer part of the building. Each layer of floor is emphasized by movements on the façade and different used materials.

‘33/layers/villa isola

‘34/layers/estadio romelio martinez

This is the outer part of Estadio Romelio Martinez. The ground is covered with tex-tiles. The feeling of being in the territory of Estadio Romello Martinez is created by the ground cover. The atmosphere chang-es and the interiority is lined by applying an unusual layer to surface.

There is no way to analyze the Von Stern-berg House without taking the plants into consideration. The plants here can be ex-amined in the first but also in the third set of layers. They are the core of the interiors and they determine other layers built upon themselves. On the other hand, they are decorational objects.

‘35/layers/von sternberg house

‘36/layers/floating runways for seaplanes

The photograph on the newspaper shows a project developed for the airplane sup-port. If there was the surface layer like ceil-ing or walls around the floating runways, the interiority would be mostly formed. The core of the interior would become the sea-planes here. The layers around the sea-planes are made taking into consideration of these cores.

‘37/layers/bat’a pavilion

This sketch is done by Le Corbusier for the Bat’a Pavilion on 1937. The scale of the body is the primary fact for the other layers that are built upon it. The high building is decorated with the images and textiles on surfaces, furniture such as bookshelves. These layers come together and generate an interior.

‘38/layers/depero house museum

The Depero House Museum was made on 1938. This room shows the generations of layers that are created for the core of the interior and first set of layers, human body. The scale of body shapes the layers such as furniture, objects, surfaces and even the trans-parent/nontransparent parts which form bridges between interior and exterior.

‘39/layers/painted hall

This is the painted hall at the Royal Naval College Greenwich. This hall is redesigned and turned into a dining room on 1939. The walls and ceiling are very ornamental to draw the focus inward. By reorganizing the layers of the interior, like the placement of furniture, the function of the interior is changed from a hall to a dining room.

The interior part of the Grundtwig Memori-al Church is decorated with the same ma-terial that is used for the columns, arches and corners. The structural and decorative elements are hybridized. With only one material, single and uncut brick, many lay-ers are created. It, also, stresses the verti-cal and heightens the display of the body.

‘40/layers/grundtwig memorial church

This is a photograph taken from inside the Annie Pfeiffell Chapel designed by Frank Lloyd Wright. For the inner walls, a special kind of material is used which includes small cubes and shines colorfully on sunny days. The layers on the surfaces produce a differ-ent interior.

‘41/layers/annie pfeiffer chapel

‘42/layers/aarhus town hall

This is the photograph taken from the interior part of the Aarhus Town Hall in Denmark. Here are the three different materials that decorate the surface. The seating, beech bench, is not only the ornament but also the furniture. These three layers together form a pattern and develop the interior.

‘43/layers/hotel san juan

The Hotel San Juan was constructed on 1943 at the Miami Beach Art Deco Historic District. The windows that link interior with exterior are emphasized by making these parts console and framing it with blue lines. These facts make the set of layers more recognizable.

‘44/layers/terraced houses

The terraced houses that are constructed on 1944 by Cyrillus Johansson are very famous in Sweden. The reason is that they are exhibited in a home exhibition. Nowadays, people come to see these terraced houses. The building layer has become a public museum.

‘45/layers/la maison radieuse

The Maison Radieuse was designed by Le Corbusier on 1945. Each balcony has differ-ent colors and some of them have different forms. The difference of layers on the façade of the building makes the exterior world question what lies beneath. Also, these layers make the whole building much more lively.

‘46/layers/a grave situation

This artwork done by a surrealist artist Ro-berto Matta on 1946. The person opens his/her arms and all the other layers sur-round him. The objects around him are all linked to each other and they form an in-terior by generating surfaces. The smooth background conceals the exterior world. The interior of the person and the person himself seems to be floating in an un-known world.

‘47/layers/casa del girasole

This photograph shows the front façade of the Casa del Girasole. By analyzing the outer layers of the house, it can be esti-mated that the interior part of the house is hidden from the exterior world. The plants cover the facade and the openings to the exterior are shut down.

‘48/layers/leeds modern school

This photograph was taken during a class in the Leeds Modern School. The students are making models of houses. They are working only on the surfaces but are they aware that by only designing the exterior part, they are also forming and lining the interior?

‘49/layers/il messaggio dalla camera oscura

This is a photography book by Carlo Mol-lino. By only looking at the title and the cover of the book, the reader is able to get clear thoughts about the book. The per-son on the cover looks sad and desperate. She is the core of the interior and the be-ginning of the layer sets. She shapes the layers around her like the “camera oscura” which means dark room.

‘50/layers/woods residence

The Woods Residence succeeds to form its privacy in a huge public area. This pho-tograph taken by Julius Shulman shows the intimacy between the private chamber and the couple live in the residence. The surface of the residence is perfectly de-signed to suit the personal requests. The residence can become completely private or public thanks to the openable surface layer.

‘51/layers/farnsworth house

The Farnsworth House is one of the most significant works of Mies van der Rohe. In this situation; the surrounding layer, the forest, has the leading role of determining the micro-scaled layers. The layers of the house, even the furnitures, are in their sim-plest form to accomodate the nature.

‘52/layers/wspolna-62

The columns at the interior part of Wspol-na-62 take the attention to vertical. The circular holes on the ceiling is the reason for the vertical design. The sunlight from the ceiling develops the interior. It is such a reward for the core of the interiors, the people.

The door and its handle as an outer layer lead to a wide world of layers. As Pallasmaa indicates: “Door handle is the handshake of the building”, throught the tactile touch of layers the doors of perception are revealed. The doors of perception advances people to distinguish the used layers that reappear over and over again in different parts of our lives.

‘53/layers/glostry town hall

The Luce Memorial Chapel at Taiwan is a different example of framing the human ges-tures and questioning the margins. The human is the core of the interior and the major charachter that shapes the actions in the interiors. The meaning of this chapel and the frames that determine the chapel’s space are arranged taking into consideration of this significant fact.

‘54/layers/luce memorial chapel

‘55/layers/bavinger house

The Bavinger House has a cylinderical form with layers of different functions linked to the center. The photograph on the right shows the sleeping layer looking from the living layer. Distinguishing the public and private notions are accomplished by the curtains as a surface layer and the level difference.

‘56/layers/mirman residence

This photograph is a view of Mirman Residence taken by Julius Shulman. Even though the place is outdoors, the feeling of interiority has been shaped thanks to the layers. When the layers are examined particularly, the formed space can clearly be analyzed. Parquets are used as floor covers and the upholstery furniture are used which are gener-ally used for the interior.

‘57/layers/milwaukee art museum

This is a photograph taken from the interior part of one of the Milwaukee Art Museum buildings that was built on 1957. The windows lead the interior part to the entire world. The reflection on the floor is tangible example of the functional window layer which is a bridge from interior to exterior

‘58/layers/poster for american airlines

This poster was exhibited on the walls of National Design Museum at New York. The colorful layers on the poster makes it difficult to distinguish the background and the surfaces. Also, the poster becomes a new layer by forming an interior inside de-sign museum.

‘59/layers/peacock theatre

The Peacock Theatre is located in London and opened on 1959. If we consider the two major layers for this building as the city and the interior of the theatre, the separating layer becomes the walls and windows. The windows occupy the huge part of the separating layers which has a function of providing a bind between interior and exterior.

This photograph which has so many awards, was taken by Juilus Shulman on 1960. The connection of the layers between interior and exterior are so strong. This relationship is achieved by the complete transparent of a lind of surcafe layers, windows. Also, the console causes the feeling of being a whole with exterior.

‘60/layers/case study house no.22

‘61/layers/dulles airport

This is the Dulles Airport at Virginia constructed on 1961. The placement of layers are significant here, but the more significant factor is the function of layers. In airports, most people have one hour free time only. Hence, the layers built upon the people in the air-ports respond their quick needs.

‘62/layers/luce memorial chapel

The Luce Memorial Chapel’s construc-tion took place on 1962. The outer skin of the building wraps the reinforced con-crete construction. The outer skin repre-sents the building, just how the clothing represents the body. The building gains a typical identity thanks to the layer that sur-round.

‘63/layers/berlin philharmonic hall

This photograph shows the interior part of the Berlin Philharmonic Hall before the con-cert. If the instruments are considered as particular layers, the interior notion can be used for the music itself. The sound that the instruments make built upon each other accord-ingly and the result fills the space.

The public and private notions are formed by using different materials for surface layers. The shopping area has a parquet surface and the reading area has carpet. The link of the bookshop through the ex-terior is fone with the emphasized ceiling windows.

‘64/layers/academic bookshop

‘65/layers/casa de las cejas

This photograph was taken when the fa-çade of the Casa de las Cejas was trans-forming. In this case, the layers that link the exterior to the interior are not put. A view from exterior is revealed through the interior part of the building.

‘66/layers/edificio copan

The most outer layer of the building, the façade siding, intensifies the three dimen-sional curves of the Edificio Copan. The person standing in front of the building, reveals the scale of the building and its curves.

By putting different kinds of layers to the interior, the function of the interior can vary. The products of the Mesa Laboratory are exhibited in the interior part of the building. This way, the productions are being watched all the time. Thus, private interior is modified and turned into a public museum.

‘67/layers/mesa laboratory

‘68/layers/hyatt regency atlanta

At the first sight, the interior of Hyatt Re-gency at Atlanta seems like the exterior parts. By analyzing the layers particularly, the reason can be found. The layers which are unusual to be used in an interior are used in this example, such as trees light-nings of each floor and the and the huge decorative element that looks like a tree.

The layers of the Florey Building are em-phasized on the façade. The openings as windows, the transitions between different interiors as stairs, the structural elements as columns and the surface as bricks can be distinguished at the first sight.

‘69/layers/florey building

‘70/layers/yale center for british art

The new layers into the interior are put to provide the function of it. The dividing pan-els and the artworks are located in certain parts. The white band layers on the floor notionally separates the rooms and cre-ates a path to the participants of exhibi-tion.

‘71/layers/sydney opera hall

The spherical sections and the curving shapes of the roof of Sydney Concert House hugs the harbour in front of it. The surface layers going from micro to macro scale gen-erate their own interior. The second curving shape involves the first curving shape and becomes its interior and the same as the third and the second.

‘72/layers/arango house

The exterior part of the Arango House can be given as an example to specific usage of layers. The exterior has become a pri-vate space by surrounding it with water and putting a bridge, as if it was a castle. The upper surface and the furniture create the feeling of being indoors.

‘73/layers/pink floyd album cover

This is the “Dark Side of the Moon” album cover of Pink Floyd which is released on 1973. The album cover basicly shows re-fraction of the spectrum of light through the prism. Actually, the spectrum of light is the stage lightning used on concerts and the various refracted colorful lights repre-sents the album lyrics. By examining and analyzing the layers that built upon each other, a new way of prospect comes out.

‘74/layers/sarria buildings

The outer surface of the Sarria buildings are made with only one material. The outer sur-face is shaped and became three dimensional thanks to the method of constructing. The open parts of the building are emphasized by this design. The connections of the interior and exterior world are intensified.

‘75/layers/afrikaas language monument

The concave and convex shapes of the Afrikaas Language Monument represents the different cultures on Afrikaans. Since the human body can be considered as a layer itself, there are many other layers that are built upon it throughout the histrory such as cultures and languages.

The layers of the Bateson Building draw the attention inwards. This is achieved with the placement of the stage, the trees and the stairs that surround it, the balco-nies around the atrium, and the yellow tube that is for passive cooling system.

‘76/layers/bateson building

‘77/layers/world trade center

This is the model of New York City with World Trade Center and the lead architect of it, Minoru Yamasaki. The photograph shows the two layers, the human and the city. Between these layers, all the eight layer sets exist. On the other hand; when the buildings are examined as different layers, by distinguishing the layers, the history of the city can be read.

The triangular structure and the glasses that are hold by this structure merge as one layer. Thus, a new hybridized layer is formed. Also, this hybridized layer pro-vides a semitransparent surface for the Garden Grove Church.

‘78/layers/garden grove church

These are the Second Art Buildings at the University of Bath in England. By analyzing the concrete surface layers on the photo-graph, it can be figured out that these sur-faces are old and faced so many natural events. The layers does not only form an interior but also indicate the history as well.

‘79/layers/university of bath

‘80/layers/hotel des ventes

The concrete outer walls of Hotel des Ven-tes emphasizes the vertical with the lines that come out of the square holes. The square holes partially uncover the interior layers and makes the exterior layers more and more curious.

‘81/layers/broward county library

The Broward County Library calls the people to enter with its spreaded lights. It draws the attention inwards to keep the interior more dynamic. The façade move-ments support and intensify the aim of the library.

‘82/layers/asian games village

Because of the constant placement of buildings in a city, the people feel closer and closer to the city they inhabit. An intimacy occurs between the city and the people. This fact makes the people feel like the city is their interior. The photograph on the right shows the example of this kind of relationship between the city and the people inhabit in the city.

‘83/layers/ball-eastaway house

This model simply shows significant lay-ers that are around the land of the project Ball-Eastaway House. When the layers are examined particularly, the model indicates that it is surrounded by long trees and on the right side of the house the level differ-ence gets more.

‘84/layers/la grande arche

The form of the La Grande Arche partially limits certain parts and lines an interior in an open space. The covering layer that is connected to La Grande Arche maps the interior and conceptually modifies the at-mosphere of the place.

‘85/layers/le dauphin de la memoire

This artwork was done by surrealist artist Roberto Matta. There are many layers upon each other on the artwork. When examined particularly, the human bodies, animal legs strange faces attached to the sticks can be seen. These layers are all relevant to each other. They create their own world and interiority

‘86/layers/d’orsay museum

The D’orsay Museum was redesigned and converted from a station on 1986. The photograph on the right shows some lay-ers of the interior such as surfaces and people. The surface also links two sepa-rate parts of the interiors.

‘87/layers/bank of china town

In this photograph, the Bank of China Town is on the left side with triangular lightnings. Even though the other skyscrapers look quite the same, the lightning layer makes the Bank of China Town unique and im-mediately takes the attention.

‘88/layers/campo volantin bridge

The cables of the Campo Volantin Bridge at Bilbao specify the conceptual interior. The lights line the interior and guide the people. These surface layers generate an inner part for the bridge and makes the journey more enjoyable.

‘89/layers/fuji broadcast centre

This photograph is taken from the inner part of the spherical Fuji Broadcast Center build-ing. The structural layer and the skin are combined to form the three dimensional shape. Thus, a brand new skin is formed.

‘90/layers/the reichstag

This is the interior part of the Reichstag Dome. The layers used not only draw the atten-tion inwards, but also intensifies the exterior part. Thanks to the spherical huge construc-tion covered with mirrors and the ramp that surrounds the Reichstag, the interior part becomes an exhibition place. The complete transparent surface layer reveals what is inside the building.

The person in the photo from Denver Central Library in United States, experiences the layers that are built upon themselves. The core of the interior is the body and all the other structures comes after. The body experiences the specific aspects.

‘91/layers/denver central library

‘92/layers/uqam’s campus

The UQAM’s Campus in Canada turns the garden in the internal layout into an exhibitive element that grabs the attention. The glass corridors reveal a view to both interior and exterior parts which helps linking the both sides.

‘93/layers/st. antonio’s church

The St. Antonio’s Church and St. Bartolomeu Social Center in Portugal, clarifies the sig-nificance of the used furniture. The furniture are manufactured by taking into consider-ation of usefulness by being functional. The unnecessary ornaments are eliminated.

‘94/layers/fondation cartier exterior

The Fondation Cartier by Jean Nouvel resolves the relationship between interior and ex-terior parts in a unusual way. The glass façade extends to both sides. At the same time, the integration of interior and exterior is accomplished perfectly.

‘95/layers/fondation cartier interior

The Fondation Cartier in Paris has a glamorous interior design. The interior is redesigned in order to take the attention inwards. This is done by using glass as a wall and decorating the interior part of the building.

‘96/layers/long island

The Long Island Residence has a formed interiority and a certain entirity with all the layers except the first set, the human body. The bridge between interior and exterior can not be underestimated. It re-veals its interior with the windows around the building.

‘97/layers/kraanspoor

Kraanspoor, which is translated as crane-way, is an office building in Netherlands. The interior is disclosed to the outer world by the use of glass as a surrounding layer. This divisional layer bonds interior to ex-terior.

‘98/layers/ljubljana city museum

The Ljubljana City Museum located in Slovenia, aims to intensify the display of the bodies. The placement of glasses and the furniture takes the attention directly in-wards. Using a glass layer put an empha-sis on the existence of people.

The Randstadrail Station at the Hague, Netherlands has a structure which sur-rounds the construction. The surface is formed by the structure itself. The interior is limited with one structural layer.

‘99/layers/randstadrail station

The photograph on the top which is the original one, is taken from the circulation corridor of Valspar Corporation Adminis-trative Headquarters. The photograph on the bottom is the patched edition. Even though only the floor cover, bookshelves and the furniture are added, the interior has differed a lot. The transitional space has become a space to spend time and kind of a public exhibition thanks to the bookshelves. This patch shows how a few layers variate the whole space and there-fore their signifcance.

‘00/layers/the patch

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Interior spaces can be found at a range of scales, from the clothing we wear to the city we inhabit. Between these two scales are an array of layers that can be pulled apart and further investigated, often revealing an identity by which we surround ourselves. The interior and its layers can be seen as the stage set by which we act out our lives as we move fluidly between these layers that encompass one another.

This book analyzes the layers that emerge in the entire world. The analization and examination are made with photographs of the works for each year starting from 1900 until 2000. Also, there is a work that belongs to editor which clarifies and partially summarizes the topic. Every photograph has its own short description why it is related to layers. The layers that appear and disappear in daily lifes from micro to macro scale, such as humans, clothing, objects, furniture, surfaces, private chambers, poché and public realms are ex-tended. Separating and distinguishing these range of layers, cleanses the doors of percep-tion and leads to many new ways of realization.