V.girish M.arch Thesis (1216)

A
Installations
tool
for
architectural
explorations
V.Girish
M.Arch (Theory& Design), TD-1711
APPROVAL
The following Thesis is hereby approved as a credible work on the approved subject, carried out and presented
in a manner sufficiently satisfactory to warrant its acceptance as a pre-requisite to the award of Post Graduate
Degree of Master of Architecture in Theory & Design of this University for which it has been submitted.
It is also to be understood that by this approval, the undersigned do not necessarily endorse and approve any
statement made, opinion expressed or conclusions drawn therein, but approve the study only for the purpose
for which it has been submitted and satisfy themselves to be in compliance of the requirements laid down by
theThesis Committee in May 2013.
Thesis Title
Installations - A tool for architectural explorations.
Student:
V. Girish
(TD -1711)
(Batch 2011 - 2013)
Program Head: Thesis Co-ordinator:
Prof. Kulbhushan Jain Prof. Snehal Shah

Contents
Acknowledgement i
Preface iii
Abstract iv
Chapter 1:
Introduction to installations 01
1.1 Introduction 03
1.2 Definitions 06
1.3 Evolution 09
1.4 Installations have always been there 11
1.5 Modern History of Installations 15
Notes 16
Chapter 2:
Installations- Site specific, three dimenssional, temporary, art work 19
2.1 Site specific 21

2.2 Three Dimenssional 47
2.3 Temporary 57
2.4 Art work 65
Notes 74
Chapter 3:
Probable applications for installations in architecture 89
3.1 Introduction 91
3.2 Probable applications in thr process of architectural design 93
3.3 Probable applications in existing buildings 111
Notes 118
Chapter 4:
Conclusion 123
4.1 Conclusion 125

Notes 134
Bibligraphy 139
Acknowledgement
I am greatly indebted to all the individuals who have guided, supported, and encouraged me through my thesis.
Without the help of these individuals I would not have been able to carry out this research with this level of
enthusiasm and fervor. I am extremely thankful to:
Prof K.B.Jain, for encouraging me to pick up this thesis for research and constantly guiding and pushing me to
explore in-depth the subject, providing me with newer insight and vista thereby sustaining my interest in the
chosen topic. I am very grateful to him for having provided me the freedom to work with full independence
and a free mind. He has really taught me what an open mind can achieve.
Prof Snehal Shah, for constantly pushing us to our limits, teaching us how to work hard with smartness. His
constant feedback served as checkpoints through the study which helped me in staying on track. I am very
thankful to him for the personal interest he showed in the subject and remembering me whenever he came
across any good installation and referring me to see it. This gesture of his was very touching and encouraging.
Prof Kereet Patel and Ar Jwalant Mahadevwala for discussing with me in length the subject with equal
enthusiasm. These discussions proved to very insightful and fruitful. My thanks again to Jwalant Sir for
granting me permission to refer to his projects and use them in my research.
All the jurors who gave valuable suggestions, especially Prof Narendra Dengle, Prof Snehanshu Mukherjee and
Prof Subhrajit Das, Prof Neeta Das, Ar. Kiran Kumar, whose feedback proved to be vital turning points in the
course of the study.
Ar. Gautam Bhatia, Artist Valsan Koorma Kolleri , Ar. Vikrant Sharma, Prof Sharmila Sagra and Mr Shyam
Patel for providing me with vital insights into the subject and broadening the spectrum of the study for me.
My respected teachers in my previous college, Aayojan School of Architecture, Jaipur, i.e., Prof. M.N. Mishra,
Prof. N.S. Rathore, Prof. Archana Singh Rathore, Prof. Preethi Aggarwal, and Artist Nisha Sharma, who
continue to guide and inspire me with same affection.
Ar Rajendra Puri, Jaipur, for being there as a guide and a mentor.
Ar Vivevek Shankar, Bangalore, for being a constant source of inspiration, encouraging me to be open to new
ideas.
My seniors Ramalakshmi, Anupa Alex and Vidhya Shankar for their constant feedback.
All my classmates and friends at M. Arch. (Theory & Design), especially Ankit Yadav, Bhaumik Patel, Chaitra
Sharad, Sanket Mahtre, Aadithi.B.S., Fatehma Master, Franktish Thokchom, Neha Nair, Budhista More, Juhi
Aggrawal, Divya Butala, Vareesh Panchal and Raj Naidu. For all the fun we had over the past two years.
My friends Ashwini Shidore, Debasish Borah and Shomika Sarkar, for all the crazy fun we had in the past two
years, from late night working, to picking on people, to even cooking lessons. Most importantly, I am very
thankful to them for always being there by my side.
(i)
My hostel mates and friends Anup Murdia, Ashish Jain, Bhringraj Hazarika, Narhari Singh, Akshay Upadhyay,
Manish Joshi, and Manish Vajpayee, for keeping the spirits high in the hostel.
Joshi uncle and Saleem Bhai, whose ‘Tasty food’ kept me alive for the past two years.
My old college mates Abhay Puri, Akhil Gupta, Anubhav Bhatnagar, Apoorva Parashar, Divya Choudhary,
Garima Singh, Kartikeya Puri, Kathikeyan Pandiyan, Nakul Sharma, Nipun Sharma Singhi, Rahul Singhi,
Shruti Wagh and Tanvi Goyal.
My small team of my critiques and friends whose constant feedbacks kept my work on track Anup Gupte,
Ashim Manna, Bhupesh Malav, Harsh Pandya, K. A. Annand, Ruchira Bhanawat, T. Siddharth, Vinith .T.K.
and Vipul Verma.
My dear friend Bharat Jadhav for being there as a mentor and a guide throughout.
My sister Shaily for listening to me endlessly, always supporting me and her immense belief in me.
Last but not least my parents, for constantly supporting and encouraging me and providing me with all the
comfort to study. Above all for their blessings, this helped me swim through the roughest tides.
My mother whose phone calls and words of encouragement kept me feeling warm.
I would like to thank my father for reading through my document so patiently and providing valuable feedbacks.
A special gratitude to CEPT University, Ahmedabad, for providing an exemplary conducive environment
for learning and development in the true sense of a nurturing Alma Mater with her great teaching faculty,
infrastructure and facilities, including the library and the administration. The staff members were very friendly
and cooperative. My particular thanks to Shri C.I. Augustine in the Administration.
Preface
Art and architecture have had a symbiotic relationship through the course of history and for the most part
they have been seen as being intertwined. There have been instances where Architecture explores the artistic
realms to such depths that it begins to emerge as a work of art and often leads to architecture taking a sculptural
dimension. Like any work of art, these works are open to interpretation. On the other hand, art too tends to
resemble the built form, which is usually the end result of an architectural endeavor.
An art form which may be seen as an offspring of this symbiotic relationship of art and architecture is Installation
art. This art form seems to explore the potentials of both these domains to find newer paths in the exploration
process. One was introduced to the works of Anish Kapoor through an exhibition of the artist’s works in the
winter of 2010 at Delhi. The exhibition was very engaging and one was instantly mesmerized by what then
seemed to be ‘giant sculptures’. The fascination for the artist’s work continued and only grew with time.
It was very recently that one was introduced to the term “Installation Art” through a series of documentaries.
One of the documentaries was on ‘Marsyas’ the installation by Anishish Kapoor at the Tate Modern Turbine
Hall in the year 2002. The documentary explained how the project was conceived and executed and how it
made use of the given space. This made one realize that most of the exhibits from the exhibition in Delhi were
infact art Installations.
Sighting and further explorations into the works of various artists made one realize that this art form bears a
lot of similarities with the way architecture itself evolves, with its site responsiveness, the meaning it holds, and
many such facets. Being a student of architecture, one was intrigued by these facets. Thus, one wanted to walk
this fine line, which lies at the confluence of art and architecture, to explore the different facets of this art form
and how they may be used as a tool to understand and explore the architectural domain better.
(iii)
Abstract
Aim
To study and understand the concept of installations and find possible applications in the field of Architecture.
Research Questions
1. What is installation art?

2. Are there any commonalities between Installation art and architecture?
Scope
To study site specific art installations and their response to a given space in terms of, their conception and
context.
Limitations
3. The study will be limited to site specific, three dimensional, temporary installation art.
4. The study will not cover the history of the art form in depth, but it’s overview only.
Method of study
Flow diagram (Fig 1)
(iv)
Figure 1
(v)
Chapter 1
Introduction to installations
The following chapter enquires into what is installation art, how can
it be defined? How it evolved through the course of history? and the
modern history of the art form.
Installations A tool for Architectural Exploration Installations A tool for Architectural Exploration
1.1. Introduction to the study
Over the last few decades a new wave in the field of art has been rising. It is
the idea of making art available to all, both physically and metaphysically.
Artists no longer wanted their work to be confined to the four walls of
the galleries. Some artists have carried this idea forward and have created
works of art that can not only be seen, but can also be experienced
through other senses as the viewers themselves become a part of the art
work.v These works can emerge anywhere from streets, to landscape or
even public plazas. This form of art has been identified as Installation art.
The roots of this art form may be linked to early site specific sculptures,
conceptual art and even performance art.
Installations, like any other art form, are open to interpretation and often
the interpretation depends on the intellect of the individual. Through the
study one intends to decipher the many layers and facets of the art form
and find possible applications for the art form in the field of architecture.
Buren’s columns - Palais-Royal, Paris
In 1986 Daniel Buren created Les Deux Plateaux (commonly referred to as ‘Buren’s Columns’) in the courtyard of the Palais-Royal in Paris.
The work, which consists of cylindrical pillars covered in black and white stripes and arranged across a large grid, originally received a lot of
negative criticism. It was, and still is, daring for its time, and the strange juxtaposition of modern and ancient surely was a source of irritation.
His geometric forms have a way of delineating space and allowing us to see the space that we move in. The stipes have been borrowed
from the stripes that decorate numerous awnings ( Exact width) in Paris. The columns are laid out in a perfect grid and so acts as a kind
of spatial orientation for our bodies within the courtyard. Another interesting feature is the difference in height between the columns, which
appears, at least in some places, to correspond to channels of water that flow under the courtyard. In this way, the columns draw our
attention both to the space we inhabit and to spaces unseen.
Pg.02.Chapter 1 Chapter 1 . Pg.03

1.2. Definitions
Different artists and Architects have defined installations differently, based upon their way of working or their
approach to the art. As in case with most forms of art, there cannot be a sacrosanct definition, under which all
works may be clubbed as installations. An attempt has been made to identify a few definitions from various
artists and even dictionaries, which seem to best define the art form.
1. A piece of art that consists of several different objects or pictures arranged to

produce a particular effect.[1]
If one is to examine the above definition, one may seek the help of “Face 2 Face” (Fig 1) a project by artists
1
JR and Marco, in Palestine & Israel in the year 2008, where the artists pasted giant portraits of Israeli and
Palestinian people on the security fences and walls running between the two lands.
The artits say that the images were intented to make the bypassers laugh and in that sense dilute the tension and
convey the message of peace.[2]
2. A work of art that usually consists of multiple components often in mixed me-
dia and that is exhibited in a usually large space in an arrangement specified
by the artist. [3]
One of the examples of such an art work is the project titled “The Bricks” or “Equivalent VIII” (Fig 2)by Carl
Andrea. It was first exhibited at the Tibor de Nagy Gallery in the march of 1966. The work consisted of eight
mounds of 120 bricks as the figure of 120 was considered to be rich in factors and could be used to create
multiple compositions. The original exhibition had sand and lime bricks, but the artist had to use firebricks as
the brickworks had closed. But he ensured that the yellowy brown colour was maintained.
In the Year 1972, Tate purchased the work from the artist. On transfer of possession the artist had sent out
detailed drawings explaining the assembly of the bricks. [4]
2
3. Art that is created, constructed, or installed on the site where it is exhibit-

ed, often incorporating materials or physical features on the site.[5]
The above definition may be understood better by looking at “The Pont Neuf Wrapped” (Fig 3) by artists
Chirsto and Jean Claude , where the artists wrapped the 400 year old bridge in Paris, in the year 1985, with
woven polyamide fabric, which was silky in appearance and golden sandstone in color, for a period of 14 days
by 300 professionals. This transformation of the bridge into a work of art was seen as the continuation of the
metamorphosis which the bridge had been undergoing since its completion in 1606. The Pont Neuf from 1578
to 1890, underwent continual changes and additions such as the construction of shops on the bridge under
Soufflot, the building, demolition, rebuilding and once again demolition of the massive rococo structure which
housed the Samaritaine’s water pump.[6]
01. Face 2 Face

02. Equivalent viii
3 03. The Pont Nuef

4. A form of modern sculpture where the artist uses sound, movement, or space
as well as objects in order to make an often temporary work of art.[7]
“The Event of a Thread” (Fig 4) by artist Ann Hamilton, which was created at the Park Avenue Armory, New
York, in December of 2012 describes the above definition as it made use of a wide range of materials, ranging
from ropes and fabrics to narrations, audio recordings, radio transmissions, wooden furniture. The installation
also had caged pigeons and people (visitors) as a part of the installation.
The installation was created in the drill hall where a white fabric partitioned the hall. The fabric was connected
to a series of swings through a complex system of ropes. The fabric responded to the movement of the swings
creating a mesmerizing pattern. At one end of the hall two readers read out from a scroll which was a concordance.
At the other end a typist would write the account or description of the event. The paper was filled by letters
addressed to qualities, emotions and places far away. At the end of the day the pigeons were set free.[8]
5. An Installation is a three dimensional work of art that is site specific. [9]
“Pink Ghost” (Fig 5) by Peripheriques Architects created in Paris in the year 2002 may be seen as a three
dimensional site specific art. It was done with the idea of creating an opportunity for the by passers to pause and
interact with each other by transforming the Furstemberg square into a Pink Salon with luscious tree canopy
hovering above a lamp post in its centre. The project comprised of over twenty arm chairs and five tables fixed
4 to plastic sheets. Further the fixtures were covered with plaster of Paris and the surfaces were painted pink.
Thin sheets also covered the trees and the Lamp posts on the site to a height of about 2.5m. Finally “Pink” glue
was used to provide a seamless pink surface. The installation lasted for a period of twenty days before it was
uninstalled. The furniture was arranged in such a way that it would encourage conversation. [10]
As seen above like most forms of art, there cannot be a single definition, under which all works may be termed as
installations. Every definition seems to define a certain set of works as installations. So the question that emerges
is, “how does one define installations?” Or is it even possible to define installations? As Rosalind Krauss in her
article “Sculpture in the expanded field” suggests that “it is easier to explain what sculpture isn’t rather than
what it is”. [11] If one is to go by this idea of defining what an installation isn’t, one still falls into a trap, since the
idea of installations is growing and newer medias are being explored the boundaries if one may call them so, are
becoming blur.
Based on the observations made, for the purpose of this study installations have
been defined as- ‘site specific, three dimensional, temporary art works’.
04. The event of a

thread
05. Pink Ghost

1.3. Evolution
It is nature’s rule that everything must go through a process of change and evolution. The fields of Art and
Architecture are no exception to this rule. In order to trace the genesis and need for installations a generic
overview of the events in the fields of art and architecture was traced.
1.3.1. Tracing evolution of art (Fig 6)
Through the course of history, art has always served as a medium for expression. Right from the time when cave
paintings were created to depict the life and surroundings of the people of the time. With the development of
better dextral skills, newer medias such as pottery, sculpture, etc were explored and developed. Two dimensional
art if one may call them so, continued to co - exist and evolve. Art began to emerge in the form of frescos,
motifs, murals etc. These were mainly done to communicate messages of religious importance or sometimes
even to address social issues or even narratives of various events and ideas, as seen in the paintings at Ajanta and
Elora caves. Eventually, artists were commissioned to create art works as per the demands of the client, which
6 sometimes included portraits and even narratives which were for their own glorification. One of the examples
for such a commission could be the ceiling of the Sistine chapel by artist Michelangelo, who painted the ceiling
with images and events from the Bible. Through the course of time this practice of commissioning artists to
create artworks resulted in art which was essentially for only those who could afford it. This not only reduced
the reach of the artists, but it also meant that art was confined to private collections, galleries and museums.
By the turn of the last century, an uprising began in the artist community, where the artists began to repel the
idea of confining art within the four walls and propagated the idea of making art available to all. This made the
artist to venture into the public domain, by this the artists not only invited people to view the art works but also
encouraged them to be a part of the art works.
1.3.2. Tracing evolution of architecture (Fig 7)

7
For a very large part of history the strands of Art and Architecture seem to be intertwined and architecture was
seen as an extension to other fields of art. Mainly artists and sculptors were engaged in the designing of buildings
and buildings were being perceived as habitable works of art. With the course of time, art began to emerge in
architecture in the form of Frescos, Murals & motifs. This eventually reduced art intervention only for the
purpose of ornamentation. The functional aspect of buildings gained precedence over other aspects thereby
drawing the line of distinction between art and architecture. The life of a building was determined only by the
life of the function it holds, this idea eventually led to buildings being just a commodity.
Having traced the paths of architecture and art, it was observed that both the fields have reached a point where
they are in need of better interaction and participation by the audience and the users. This need has set artists
and architects to work on creating works which are people centric and provide multisensory resposes.
06. Flow Diagram for Evolution of

Art
07. Flow Diagram for Evolution of
Architecture

1.4. Installations have always been there.
Though this form of art seems to have emerged in the recent past, but the fact is that installations have existed
throughout history as part of architecture and sometime as a part of the culture and traditions, just that they
have not been termed as “Installations”. In the following unit an attempt would be made to identify such
installations.
1.4.1. Examples from History
The concept of intervention of art in the field of architecture is not very unfamiliar. For ages art works have
been created which have been site specific, and have been created with the intent of either complimenting the
8 existing architecture, or convey a certain messages or sometimes they have been created for utilitarian purposes
or even purely for pleasure.
Fountains and sculptures at important public plazas are some of the examples which crop up the moment one
thinks about works of art in the public spaces. It may be challenged that how such works which are permanent
can be termed as installations. Or, are such works even installations? Such works are generally termed as Installed
works of art rather than installations. Usually to install a work of art means to locate it within an environment,
and to create a piece of installation is to make it with a direct correlation to the environment in which it exists
there must be a direct physical relationship to its location.[12]
1.4.1.1. Pachisi Court – Fatehpur Sikri (Fig 8)
The Pachisi court at Fatehpur Sikri may be seen as a dynamic installation. The game of Pachisi is an old Indian
board game, which is believed to be a predecessor to the modern game of Ludo. Here a marking for the game
was integrated into the flooring pattern and instead of the pawns for the game, Akbar would place his courtesans
as pawns (Fig 9) . Though the markings were permanent, the dynamism of the installation was brought in by
the courtesans. This installation was not created with art as its prime focus, rather it was created for the pleasure
9 of the Emperor thus withdrawing it from an artistic domain and making it more utilitarian.
1.4.1.2. Giant Board – Hunan province, China (Fig 10)
Another example where such an installation could be found is the Giant Board, in the Hunan province of
China. The origins of the game go back to 1050-771 B.C., during the reign of western Zhou dynasty. As part
of a religious celebration, sixty four dancers would arrange themselves in a composition of eight units by eight
units and perform in front of the king on a grid of nine lines. This performance imitated the moves which
were also adapted in the strategies of battle. This game bears a lot of similarity to the game of chess, and it is
known as ‘GoGame’ chess is also believed to have existed at the time.[13] Similar to Fatehpur sikri, the patterns
were marked out on the flooring. The accompanying image is of a game hosted in the year 2005 which was a
recreation of the ancient board game.
Such installations are very discrete and when activated have the potential to drastically animate the given space.
08. Pachisi Court Fatehpur though such works were essentially not conceived as installations but because of the presence of dynamic
Sikfri elements whose presence is ephemeral, bring them closer to being installations and as mentioned previously
09. Courteseans aacting as
pawns (Re-Created Image)
installations also comprise of performing arts.
10 10. Go-Game, China

1.4.2. Cultural Installations
For centuries, different cultures across the world have been know for creating installations of different sorts
as part of their celebrations and such installations have become an integral part of the traditional practices.
Following are a few examples of such installations which have become a part of the cultural and traditional
practices.
1.4.2.1. Dusherra Celebration, Northern India (Fig 11)
For eons the festival of Dusherra has been celebrated throughout India, the festival is based on the mythological
event of the defeat of Ravana (a demon king) at the hands of Lord Rama (A Hindu god)( believed to be the
Seventh incarnation of Vishnu). On the day of Dusherra scenes from The Ramayana are enacted. The event
culminates with the burning of Giant effigies of Ravana, his Son Meghnath & his brother Kumbhakaran. The
effigies are usually over 50 feet in height and are filled with fire crackers. The burning of these effigies is believed
11 to symbolize the celebration of victory of good over bad.
1.4.2.2. Infiorata, Genzano di Roma, Rome (Fig 12)
“Infiorata’ is an annual flower festival celeberated in the town of Genzano di Roma, which is on the outskirts
of the city of Rome. During the festival the entire street of Via Italo Belardi is covered with floral arrangements
which depict the scenes from the bible. The Flowers bring a sense of ephemeral beauty to the streetscape and
transforms it into a work of art.
1.4.2.3. Kolu, Celebration , Tamil Nadu, India (Fig 13)
During the Navaratri celebrations , in Tamil Nadu and few other parts of Southern India the festival of Kolu
is celebrated. It is a toy festival and is mainly celebrated indoors. The celebrations involves the setting up of a
temporary display within the house of different toys, mainly small idols of mythological figures. The festival is
celebrated for a period of nine days and culminates on the tenth day of Vijaydashmi or Dusherra.
12
To sum up, installations like these, with their transient nature tend to add a sense
of dynamism to the place. During the course of their existence they drastically
transform the space, providing it a new sense of identity, At the end of the event
there are no physical remains of the event and the space reverts back to its old self.
Installations make use of the elastic nature of the space where it transforms a given
space and on withdrawal of the installation the space reverts back to its original
state. Such examples just go to show that installations have always been there as a
part of our history, culture and traditions, but have never been termed or addressed
as installation.
11. Dushera (Efigee of Ravana)
12. Floral Arrangement at
Genzano
13. Kolu celebration at a
13 private residence

1.5. Modern History of Installations.
One uses the word modern History of installation for the purpose of addressing installations of present time.
As seen previously, installations have a very long history and for most parts it twined with art, culture and even
architecture. Most art critiques have made attempts to look at installations within the domain of “sculpture” as
seen in the article “Art in the expanded field “ by Rosalind Krauss.[14]
With the growing media and the acceptance of newer materials and techniques of expression, the definition
of Installations is expanding. The genesis of the Modern Idea of installations may be traced to the movement
of conceptual art which was prevailing in the first half of the 20th century, and works of artists like Marcel
Duchamp and his use of the readymade objects. The main emphasis in conceptual art was on making of art
works rather than the end product. Often this idea has been challenged by many artists and art critiques as not
being works of art. the word installation was formally accepted in the English language by the oxford Dictionary
in the year 1969 to describe a certain works of art.
Heather Harvey mentions in her article “ A brief history of Installation art” that the roots of installation art may
be traced to Renaissance period as the Renaissance initiated a passionate artistic obsession to achieve ever more
convincing depictions of visual reality. A large number of works produced through the late 19th century are
believed to be improvements or variations of this visual realism. The artist of the Avant Grade movement began
to question the renaissance approach to art and began to challenge the idea that best art is the most realistic one.
They began to breed on the idea that the Renaissance outlook towards art had grown stale and overly academic,
and had lost its power to surprise, inspire or awe. [15]
These artists not only wanted to find new ways to make art, but also new ways to live and think. they were
idealists, dreamers, and visionaries who believed that better things than the status quo are possible and that new
ways of living and making art can transform and improve society.
Today’s installation art may be understood within this same art historical narrative. Artists started to venture
into installation by mid-twentieth century and there was a growing sense that all traditional art forms, including
those from the avant-garde period, had been played out.
Many artists who worked with installations talked about wanting to make something unfamiliar, unsettling,
and surprising. They also hoped to blur the distinctions between art and life. For this purpose many artists like
Duchamp changed the syntax of everyday objects as in case of his ‘readymade’ ‘Fountain’(fig 14) to create an
element of surprise. In other words, like their avant-garde forbearers, they wanted to shake art up, renew it and
14 make it powerful and unexpected again. [16]
The practice of installation approach gained popularity and was adopted by many artists and architects alike.
Installations allow artists to reckon with same aesthetic and philosophical concerns that art has always engaged
with and at the same time free artists from routine expectations. [17]
Installation also releases artists from the typical constraints of the art market because most installation art is
difficult to sell or collect. So artists worry less about the monetary value of their art and concentrate on the
meaning and experiences they are creating. This allows them to return once again to the roots of art — to
14. The Fountain inspire, transform, rethink, and contemplate on the human condition.
By Marcel Duchamp, at
Society of Independent
Artists exhibit, 1917

List of figures End notes
Introduction page - Buren’s columns 1. Mc Millan online dictionary,

http://img9.ph.126.net/QyvX_s_jdhSL1lu3GVSuRg==/6597960371074835049.jpg http://www.macmillandictionary.com/thesaurus/british/installation
2. JR’ website – Projects,
1. Face 2 Face http://www.jr-art.net/projects/face-2-face
http://www.jr-art.net/projects/face-2-face 3. Merriam – Webster online dictionary,
2. Equivalent VIII, http://www.merriam-webster.com/dictionary/installation.
http://www.tate.org.uk/art/artworks/andre-equivalent-viii-t01534/text-catalogue-entry. 4. Tate Modern, artwork catalogue entry,
3. The Pont Neuf Wrapped http://www.tate.org.uk/art/artworks/andre-equivalent-viii-t01534/text-catalogue-entry.
http://www.christojeanneclaude.net/projects/the-pont-neuf-wrapped 5. Dictionary – Reference online.
4. Event of a thread http://dictionary.reference.com/browse/installation-artist
http://dancingperfectlyfree.files.wordpress.com/2012/12/img_3354.jpg 6. Christo & Jeane Claude website – Realised Projects (The Pont Neuf Wrapped).
5. Pink Ghost http://www.christojeanneclaude.net/projects/the-pont-neuf-wrapped
http://www.peripheriques-architectes.com/sites/default/files/imagecache/images_fixes/images/ 7. Cambridge Online dictionary.
entretien%20chaillot%20-%20135_900x.jpg http://dictionary.cambridge.org/dictionary/british/installation_4
6. Evolution of art – Author. 8. Ann Hamilton website – project statement.
7. Evolution of architecture- Author. http://www.annhamiltonstudio.com/images/projects/armory/Ann_statement_final.pdf
8. Pachisi Court, Fatehbur Sikri 9. Bonnemaison Sarah, Eisenbach Ronit, Installations by Architects, Princeton Architectural Press, New York,
http://farm5.staticflickr.com/4127/5007536781_10fe9fed49_m.jpg 2009, pp. 14.
9. Pachisi Court, recreated image – Author. 10. Ibid, pp. 147.
10. Go Game 11. Krauss Rosalind, The originality of the Avant – Grade and Other Modernist Myths, (Sculpture in the expanded
http://weiqiland.net/sinica/humangames.html field), MIT Press, Massachusetts, 1988, pp. 276.
11. Dushera festival 12. Schaefer Janek, 6 elements of Installation, Royal College of art, London, 1994.( un Published)
http://throughpicture.blogspot.in/2012/10/images-of-imagination.html 13. Go Game, Game with live pieces on a giant board,
12. Infiorata Genzano http://weiqiland.net/sinica/humangames.html
http://www.ducatocesarini.it/eventi_ed_appuntamenti/images/genzano_2008/7g.jpg 14. Krauss Rosalind, The originality of the Avant – Grade and Other Modernist Myths, (Sculpture in the expanded
13. Kolu http://bloomingdesignstudio.com/blog/media/blogs/BDS/Festivals/Navrathri2008/golu.jpg field), MIT Press, Massachusetts, 1988, pp. 276.
14. The Fountain 15. Harvey Heather, A brief history of Installation art.
http://en.wikipedia.org/wiki/File:Duchamp_Fountaine.jpg http://www.artsmagazine.info/articles.php?view=detail&id=201007251946141353
16. Ibid.
17. Ibid.

Chapter 2
Installations - Site Specific,
three dimensional,
temporary, art work

In an attempt to ascertain the correctness of the definition, each term
would be examined with respect to installations. For this purpose
examples would be identified and examined which best suit, the works
and best help understand their meanings.
2.1. Site Specific
If one is to look at the dictionary meaning of the word “Site Specific” it

reads “Created, designed, or selected for a specific site.
The above definition clearly shows that for anything to be termed as site
specific, it must have a sense of belonging to the site. In most cases, this
belonging to the site is physical as installations tend to shape in response
to the physical aspects and attributes of the site.
A constant conflict that one had to encounter through the study is of what
qualifies as site specific art? It is very important to resolve the distinction
between an installed work and an installation before one goes further. To
install an art work means to locate it within an environment and to create
an installation is to correlate it with the environment in which it exists.
There must be a direct physical relationship to its location.[1]
In order to understand this aspect better one may consider the example
of say a sculpture which may be placed at say a road junction or in front
of a building. Such a sculpture cannot be termed as an installation as it
has only been installed there due to its ownership. The failure of such
a work in terms of it being installation lies in its disconnection to the
surrounding environment (Fig 1.)
The above explanation definitely holds true for installations which are
physical or three dimensional. As a lot of artists work with a vast material
pallet including video and photography, this definition dilutes, also the
main emphasis in installation art is laid on the content and meaning of
the art work. Hence it may be possible that a work of art which is a
narrative of a particular site may also qualify as a site specific art, provided
the meaning of the work in all its attributes is in direct relation to the
particular site.
1
1. Charging Bull
Sculpture installed in Bowling

Green Park, New York

2.1.1. Installations created within a building
Most installations tend to be created within the confines of an architectural space and are generally indoors.
The building is the ‘site’ for such works and they are created in response to the inputs rendered by the built
space.
Below are three projects done at the Tate Modern gallery which were part of the “Unilever series”[2], a project
sponsored by the Unilever limited, where various artists were invited to exhibit at the Tate modern turbine
hall (Fig 2). The hall is one hundred and fifty five meters long and thirty five meters high. Exhibits from a
single space have been selected as it would help in understanding how each artist has used the given space and
how his/her work interacts with the given space?
2a
2b
2. Tate Modern
Turbine Hall
2a.Section of the Turbine hall

2b.View from iside the hall
onlooking the bridge

2.1.1.1. Double Blind (Fig 3)
Artist
Juan Muñoz
Location
Tate Modern, London.
Year
2001-2002.
Materials used
Concrete flooring with cut outs.[3]
Artist’s interpretation
The ‘Double blind was the second installation in the Unilever series. Munoz is known for making use of
complex architectural arrangements for creating varied experiences. To add to the drama of the new created
spaces, the artist places life size human figures at strategically chosen spaces, which intrigues the viewer and
generates a sense of curiosity in them. In ‘Double blind’ Munoz divided the turbine hall into two levels. On the
first level which is at the level of the bridge, the audience can only see large patterns in the flooring comprising
of a large number of cutouts, which the viewer can only see from behind a railing. To add to the drama of the
space, Munoz did not pierce the flooring at a certain places; instead created an illusion of cutouts. Further the
elevators seemed to be in perpetual motion and constantly pierced through the flooring, not only adding to the
dynamism of the space but also aimed at raising the curiosity level in the audience.
As one receded into the lower level, the cutouts seemed to create a setting of light patterns and the cutouts
emerged as light wells, adding to the mysticism and the drama of the space. On descending at the lower level
the audience discovered that the shafts above were inhibited by a cast of sculpted figures.
The artist made use of the architectural features, such as the shafts and the balcony in Double Bind. The little
Spanish balconies which he fastened to the main vestibule, this, in Muñoz’s art, operates as a form of threshold,
between spectator and performer, past and future, and subject and object.[4] with the use of these elements he
transformed the blank interiors of the Tate into Spanish exteriors.[5]
3a
The installation & the site
Munoz in this project, played with the volume of the turbine hall by splitting it into two levels. The upper
level, which was set at the level of the existing bridge, comprised of a series of cutouts in the flooring, which
may only be seen from behind a railed balcony. He used the elevators which constantly moved through the
two levels, added to the dynamism of the installation. On the lower level the cutouts acted as light wells.
Munoz used the existing balconies, elevators etc along with the perforated floor which he created to generate
varied experiences. [6]
Observations & Inferences

3. Double Blind
It is interesting to see how Munoz plays with the volume of the turbine hall and actually uses existing
3a. View of upper volume, with architectural elements in his work as part of his composition. In the above project it was seen how the artist
the illusionary pattern had actually created a space within the space, which in turn, not only had the ability to transform the space
3b. Cut outs from the lower level
3c. Human Figure on the lower physically, but also dramatically changes the experiential quality of the space as the volumes had changed.
3b 3c level

2.1.1.2. Marsyas (Fig 4)
Artist
Anish Kapoor
Location
Year
2002-2003.
Materials used:
3 steel rings 30m in diameter and thickness of half a meter, Red PVC sheets and steel cables. [7]
The project was the brain child of artist Anish Kapoor, The artist was commissioned for the project in December
of 2001. The artist said that he was instantly drawn towards the scale of the site and wanted to create a work
of art which would be able to occupy the entire volume. Through the summer of 2002 the artist created many
prototypes and experimented with materials to understand the space and arrived at a form which would be able
to tap the full potential of the site.
Kapoor titled this work as Marsyas . Marsyas is a satyr in Greek mythology, who was flayed alive by the god
Apollo(Fig 5). Kapoor said that he conceived the red PVC as a skin which has been flayed and stretched. The
red colour gaves it a fleshy feel and an appearance of being earthly. [8]
He said “The paradox of Marsyas is that it is an object and it is not an object: it is architectural, yet it recalls the
body; it lies in some place between architecture and something more intimate. I don’t know if that’s a paradox,
but what I’m interested in is making a number of parallels. I’ve always been interested in space, colour, and form.
4a
Marsyas is in the form of a continuous membrane, where space, colour and form are not separate. This work
explores the problem when colour becomes space, when space becomes form, and form becomes colour. When
one is confronted by the reality, it is confounding.”[9]

Kapoor’s approach to the design was based on the idea of responding to the verticality of the space by playing
with its horizontality. The early explorations models consisted of 2 profiles circular at one end and rectangular
4b at the other. The two membrane were connected to each other by a mono chromatic member, which spanned
between the two members. The drawback with the approach was that it failed to acknowledge the existing
platform (bridge) at the centre of the hall. Through a series of prototypes and design alterations, the final form
for the exhibit was achieved. This consisted of 3 rings, with 2 of them placed at the two ends of the hall one of
them was angled in such way that it seemed to have been squeezed into the space. The two ends were connected
to each other with a monochromatic membrane in a funnel like profile; the third ring seems to germinate from
4. Marsyas this profile, placing the ring over the central bridge. The ring seems to hover above the platform at an height
of about 2.3 m. Kapoor said “It is impossible to view the entire sculpture from any one position. Instead we
4a. View from 5th floor balcony
4b. Section showing spanning of experience it as a series of discrete encounters, in which we are left to construct the whole.” [10]
membrane’s span
4c. Central Ring Hovering over the
bridge
4c 5 5. Flaying of Marsyas


The Marsyas is in a way an amalgamation of art and science, as the built structure is highly complex and at the
same time , it is a structure which conveys a very strong emotion. The form by its sheer scale is over powering
and, in a way, dwarfs the audience, transporting them trough a serious of surreal experiences, by constantly
making them aware of the reality. The project acknowledges the scale of the existing structure and also magnifies
it. The colour too plays a major role in the work, as it not only gives a fleshy feel, which makes a direct reference
to the title of the work, but as the artist said “colour materializes and de- materializes an object”[11]. The artist
makes use of colour, scale and form to generate varied experiences.
2.1.1.3. Test Site (Fig 6)
6b Artist
Carsten Holler.
Location
Year
2006-2007.
Materials used
Steel tubes and transparent acrylic casing. [12]
The following installation was a part of a series of slides which the artist had been working in the past. The artist
is known for installing slides in various galleries and public spaces in the past. In an interview with Vincent
Honore for the Tate modern, Holler once stated “A slide is a sculptural work with a pragmatic aspect” and talks
about how slides have been restricted to the utilitarian purpose in architectural work as an escape route etc. He
emphasized that a slide may assume an equal stature as other modes of transport in the buildings such as stairs,
6a 6c lifts and escalators. He adds by saying that other than just transporting people in case of emergencies, or being
an object of pleasure for children at playgrounds, the slides have an innate ability to be a device for experiencing
an emotional state that is a unique condition somewhere between delight and madness. Holler’s fascination for
slides is fueled by French writer Roger Caillois, who describes slides as “a kind of voluptuous panic upon an
otherwise lucid mind”. [13]
The installation had been named ‘Test Site’ as it enabled visitors to test the functions of differently shaped slides,
mainly to see how they are affected by them, to test what it really means to slide. Holler believed that the state
of mind of the user as slider is of simultaneous delight, madness and ‘voluptuous panic’, can’t simply disappear
without trace afterwards, and he feels that the ‘test site’ isn’t just in the Turbine Hall, but is also, to an extent, in
the slider or person watching who’s stimulated by the slides: a site within. [14]
6. Test Site
6a. Slide spanning full height of

the hall
6b. Audience sliding inside the
tube
6c. Transparent acrylic casing on
the tube.


Holler installed a total of five slides within the turbine hall, each slides was designed to generate a different
experience for the user. The artist made use of the scale of the turbine hall to create slides, some of which ran
a length of 58 m, twisting and twirling through the 5th level of the turbine hall. Holler in his description of
the work stated that “I’m using the Turbine Hall as a small model for the whole city, for every city. There are
five slides in the Turbine Hall, but there could be many more in London and elsewhere.” Re-affirming the
correctness of the title as ‘The Test Site’, the artist has not only used the volume of the turbine hall but also
acknowledged the existing physical features, such has the bridge, etc, by navigating the slides around them, to
create diverse and unique experiences[15]

The above project as the name suggests, is experimental. Here Holler taps into the scale of the turbine hall to
create different configurations of slides, which were designed to generate varied experiences, not only for the
user, but also for the onlooker. The installation seems to work on two levels, firstly the meaning of the work
relies entirely on the experiences gained by users and the audience. Secondly, the artist through this work, makes
an attempts to find a place for his fantasy towards slides into the real context. For this, he leaves the acceptance
of his ideas to the results of the ‘Tests’ conducted by the audience.
2.1.2. Installations created with respect to the Landscape.

In the following section installations which have been created with respect to landscape would be discussed. It
is often debated that such works fall in the category of Land art or are a part of a landscape design. There are a
large number of installations which make use of the landscape as an integral element.
Martha Schwartz said “Many people hear the term ‘Landscape and think that it means ‘nature’. Natural
landscapes play an important role in our culture. But what interests me most is the landscape we make and
occupy.”[16]
J.B. Jackson defines Landscape as ”a composition of man-made or man-modified spaces to serve as infrastructure
or background for our collective existence: and if background seems inappropriately modest we should remember
that in our modern use of the word it means that which underscores not only our identity and presence, but
also our history.”[17]
Through the following examples and attempt would be made to understand better how for some installations
the landscape becomes the site and how they respond to them.

2.1.2.1. Prairie Ladder (Fig 7)
Artist
Anderson Anderson with Caeron Schoepp
Location
Plano, Texas, USA.
Year
1994.
Materials used
The installation consists of Steel Ladder and steel box clad with translucent fiber glass.[18]
The Prairie Ladder installation was part of a series of experiments conducted but architects Peter Anderson
and Mark Anderson in collaboration with artist Cameron Schoepp The idea behind the project was to explore
psychological and physical vastness of the Prairie landscape. The architects were commissioned by Connemara
Conservancy organization, who annually invite various artists to create arts works, to draw public’s attention
towards the foundation’s mission of preserving the landscape.[19]
The ladders instantly drew attention as they, seemed to challenge the very laws of gravity and stood distinct in
the otherwise constant landscape. The ladders introduced a sense of verticality in the horizontal landscape of
Prairies. The landscape is constant and devoid of natural topographical nuances, the horizon seems to be the
only point of reference. The team said they “looked at the horizon as the only habitable space as the sky above
and the ground below are not meant for humans to dwell.”[20]
Various installations set up to explore these ideas and attempt to venture into these seemingly uncharitable
territories of the sky above and the ground below, for this the team made use of elements like the ladder.[21]

The project draws its reference from the landscape itself. The constant landscape tends to create an experience of
illusion, where the horizon seems tangible. The team tried to intervene in the landscape by introducing a vertical
element, the ladder, which seem to jut out from the ground plane. In some of the installations they explore
the sky by creating a volumes in the sky. The team hoisted steel boxes with translucent fiber glass, creating an
experience of penetrating the sky. In other installations the ladders descend into the ground below, allowing the
audience to experience the otherwise unknown domain. While in a few cases the ladders stand free in search of
the unknown. The team’s insertions bring newer perspectives of viewing and experience allowing the audience
7 to experience and live the the unknown. [22]

The Prairie presents a constant landscape which is devoid of any topographical nuances. The team intercepts this
terrain to create structures which use the setting as a background in the exploration process. The experiments
seem to tap into the physical and psychological experiences which the vastness of the Prairie landscape offers.
7. Prairie Ladder These and such other experiments may be used to gain a better understanding of the landscape as they absorb
the landscape as a part of the composition and further enriches the experiential quality of the landscape.
Image showing the
translucent box against
the sky.

2.1.2.2. The Gates (Fig 8)
Artist
Christo & Jeanne Claude.
Location
Central Park , New York City, USA.
Year
2005.
Materials used
7,503 steel tubes gates covered with saffron coloured vinyl tubing and Saffron cloth. [23]
The gates project was conceived by the artist more than 40 years before its execution. The artists say that they
had personal memories of spending time with their son in the park & say that they always wished to create a
8a public art in the park.
The installation comprised or over 7,500 gates which were installed along the serpentine pathways of the park,
covering a total length of over 37 km. the height of the gates were kept constant at sixteen feet, but the widths
varied according to the widths of the pathways. From the top of the gates saffron coloured fabric pieces were
draped, creating a golden coloured ceiling which was to cast, ast the artists said ‘warm shadows’. The installation
was created in the month of February, where most trees shed their leaves and most of the park’s open ground
remains covered in snow, thus making the saffron coloured gates very distinct. The spacing of the gates was
regular at an interval of 12 feet from each other, unless obstructed by the branches from the surrounding trees.
The gates when seen from the surrounding buildings was to give an appearance of a golden river.[24]
The artist said that the “The grid pattern of the city blocks surrounding Central Park was reflected in the
rectangular structure of the commanding saffron colored poles while the serpentine design of the walkways and
the organic forms of the bare branches of the trees were mirrored in the continuously changing rounded and
sensual movements of the free-flowing fabric panels in the wind”.[25]

The Gates project is said to be one of the celebrated works of public art created in the Park. The installation
took it’s physical shape, based on the layout of the walking tracks that ran through the park. The widths of
the gates were constantly changed according to the widths of the pathways and as a result gates of 25 different
widths were installed. The timings for the installation were also chosen to be winters where the saffron colour
of the gates could be seen very distinctly. The installation offered multiple experiences, that of golden shadows
8b to those walking through the gates and that of a golden river to those who were seeing the installation from the
surrounding buildings.[26] From the outset, the installation was to be temporary and for that reason the gates
were not drilled into the ground but were erected on a small pedestal which also supported the gates and was
only retained for a period of 16 days. During the period the activities of the park were unhindered and at the
8. The Gates end of the 16th day the installation was withdrawn and the park reverted back to its original state.[27]
8a.Saffron coloured steel
tube gates.
8b.The Installation as
seen from a nearby
building.


Central park occupied a very significant position in the cityscape of New York. It almost acts as the lungs for the
city. The Gates by Christo & Jeanne Claude re affirmed its status, as it highlighted a lot of the park’s features and
was an effort in changing the known perceptions of the park and creating newer experiences without hindering
the general function of the park. As Christo once said that their projects brought attention of the public through
small disturbances.[28] It just goes on to say that how a brief intervention can create new experiences in an
otherwise familiar space.
2.1.2.3. Turf Parterre Garden (Fig 9)
Artist
Martha Schwartz
Location
World Financial Centre Battery Park, New York City, USA.
Year
1988.
Materials used
Artificial Turf on Facade.[29]
The Turf Parterre Garden was a temporary installation conceived as part of “ The New York Urban Landscape”
an exhibition of works by 30 artists, to mark the completion of the World Financial Centre in Lower Manhattan
a project designed by Architect Cesar Pelli. The building’s Point grid façade distinguish them from rest of the
buildings. Schwartz said that the grid was the base for her installation.
Schwartz chose to roll out the Parterre Garden in a Victorian wallpaper like fashion, where it extended from the
lawn in front of the building onto one of it’s façade, in a gesture which seemed to unite the building with the
landscape. [30]
To create an effect of a mirrored image of the building, squares of sod in the pattern of the building’s windows
9a 9b were removed and small patches of artificial turf were fixed to the surface of the building. The artist in a
playful gesture re created a grid of the turf patterns on the building façade. Schwartz skewed the grid creating
a dissonance between the identical grids. Schwarz says that the “disturbance functioned in a manner of ruined
perfection of a picturesque garden, in which a fallen temple and fake ruins intentionally disturb the harmony
of the landscape”.[31]

In the Turf Parterre Garden project, Schwartz has taken the idea of extending the landscape to the building,
9. Turf Parterre Garden quite literally. In her design she first removed square of sod, from the front lawn of the building which mirrored
9a. Artificial Turf Pattern on the
the point grid elevation of the building, and she uses artificial patches of turf to re-create the pattern of the lawn
facade onto the building façade. This almost gave the impression of Victorian wallpaper which had been spread from
9b. Drawing showing the skewed the building to the lawn. Schwartz skewed the grid of the window pattern with her turf ’s arrangement, in a
grid of turf pattern of front
lawn and the facade gesture which almost creates a sense of ruined perfection.[32]


The Turf Parterre Garden, may almost be seen as a literal translation of an idea of integrating two separate
entities into one. For this the artist chooses to almost establish a loop where, the pattern of one is mirrored on to
the other and again the pattern on the second is mirrored on the first. Schwartz with the very simple and straight
gesture of skewing of the grid, manages to break the order of the grid façade, or as she puts it “creates a sense of
ruined perfection”. [33] As in most of her designs, here too Schwartz uses artificial off the shelf materials, like
here she uses artificial turf, to create and replicate the pattern of sod patch on the building façade. The choice of
such a material pallet makes a direct effort towards acknowledging the present trends and reality.
2.1.3. Installations created in urban spaces

Art intervention in public spaces is not a very alien concept and such art works have always existed, be it in the
form of sculptures, fountains etc. For long, artists have chosen public spaces as a platform to interact with the
audience. Placing art works in the opens provides the audience an opportunity to interact with the art work
more freely & for the artists, their work is able to reach a larger audience.
2.1.3.1. Cloud Gate (Fig 10)
10 Artist
Anish Kapoor.
Location
Chicago , USA.
Year
2006.
Materials used
Polished steel Plates and steel armature. [34]
The Cloud Gate or the Chicago Jelly bean as it is commonly known, is a giant blob of steel, created by Indian
born, British artist Anish Kapoor. The project which is seen as a giant sculpture weighs over hundred and ten tons
and is thirty three feet high and sixty six feet long. Kapoor says that “What I wanted to do in Millennium Park
is to make something that would engage the Chicago skyline,”[35]. The polished surface of the gate, reflects the
skyline of Chicago on the top and carries the reflection of the At&T plaza where it sits. This play of reflections
seems to put the sculpture as an integrator of the two. Though the gate is physically enormous, the bean shape,
11
complimented by the reflecting surfaces, manages to create an illusion of a floating object. The twelve foot high
arch which is formed by the concave structure at the centre gives the structure a gate like appearance. The space
in the inner belly of the structure seems to create a personal experience for the viewers as they try to spot their
reflections on the blob.[36]
The installation is artist’s first permanent art work in The United States and was commissioned by the government
of Chicago. The Cloud Gate has been rated as one of the most celebrated structures of the city.
10. Cloud Gate
11. Luminous Field,
Light Installation


The Cloud Gate sits at the AT& T plaza, which is a part of the millennium park. The park is built over on old
rail yard, below it are a few shopping complexes. The Gate has been polished to get rid of the projections of
the screws end rivets. Kapoor had instructed the craftsmen to “remove all traces of the hand” [37].The polished
surface of the gate creates an illusion, wherein the sky, the city and the people meet in the same impossible
space. The blob like shape of the gate and its reflecting surfaces render a sense of lightness to it. The hollow at
the centre which creates an arch like opening earns the gate its name. The reflections on the surfaces which are
casted on the blob from all directions seem to create an almost homogenous surface and practically render the
gate invisible.

The Cloud Gate project is seen as one of the biggest sculptures. Often the gate is not perceived as an installation
as it is a permanent structure, which is in contradiction to the popular understanding of installations, but one
has chosen to study the cloud gate as an installation as it is a work of art which has very strong sense of belonging
to the site. Kapoor had conceived the idea for the blob from outside in, and laid prime importance on the
impact the artwork would create on the site. The permanence of the work is diluted by the constantly changing
reflections of the skies and the people around, making it rather ephemeral in that sense. The installation of the
gate at the millennium park has introduces an element of constant change. In February of 2012, installation
artists LuftWerk, created an audio visual installation, ‘The Luminous Field’ (Fig 11). The project involved
projection of images and patterns with the help of projectors on the floor, which in turn got reflected from the
lustrous surface of the gate to create a disco ball like effect.[38] In this case one installation becomes the site for
another installation.
12
2.1.3.2. Unprojected Habitat or Toilets (Fig 12)
Artist
James Cathcart, Frank Fantauzzi, and Terence Van Elslander.
Location
New York , USA.
Year
1992.
Materials used
Five Portable public toilets.[39]
The ‘Unprojected Habitat’ or the ‘Toilets’ project was an installation, created with a very specific purpose.
The phrase “Art of exposure”, coined by sociologist Richard Sennett, is part of Sennett’s discussion on how
people are afraid to come in contact with strangers in urban contexts and how people in the process of city
building, build physical and metaphysical walls to ward off each other. Sennett says the solution to rectifying
the situation is “An art for exposure”, which would make people balanced adults, capable of coping with and
learning from complexity.[40] The artists directly carried the idea of “art for exposure” and pierced the street wall
12. The Toilets of the Storefront for Art and Architecture, a gallery for contemporary arts, with five portable toilets. The toilets
13. The installation as were made available to the public and were serviced for a period of six weeks.
seen from inside the
13 gallery

The insertion of the toilets in the façade broke the barrier between the inside and outside , as the user of the
toilets occupied a threshold between private and public at the property line and unintentionally inhabited space
within the property line.[41]
The gallery sits in a neighborhood where a number of homeless people lived. The toilets were accessible to all
and they were used not only by those who came to the galleries but also by the passerby . The installation
proved to be a boon for the homeless who had to otherwise reduce themselves to use the bathroom. The toilets
in a way brought in different classes of the society together, emphasizing the basic commonalities and needs of
the people.[42]

The road face of the gallery had been a play ground for many other artists in the past with a constantly changing
façade. The installation of the toilet not only extended the gallery space to the outside, but it also brought the
outside in, thus creating an overlap between the two. From the outside the toilets were strictly functional and
the user did not realize that while inside the toiler he/she was part of the gallery space and from the inside the
toilets were seen as objects on display (Fig 13). The toilets in a way set a dialogue between the inside and outside
by exposing what may be seen, as the inner most realm of a building to its façade and challenging the common
perception about galleries “a very public space” and a toilet which is “a very private space”.[43]

The Toilets project in a very direct and simplistic manner, managed to address issues that lurk in the societies.
In the above case, the installation highlighted and brought attention to the problem of bad sanitary facilities in
the area. Though the project was based in the United states, it address a problem which is very typical of any
society, be it a distinction between the different classes of the society or even the fact that basic necessities of the
citizens are not addressed. The installation plays with the architecture and in a way turns the building inside
out by exposing the innermost parts on to the façade. This exercise not only questions the basic perception or
notions about these spaces, but like in this case, highlights the gravity of an existing problem.
2.1.3.3. Touch (Fig 14)
Artist
Lab[au].
Location
Brussels , Belgium.
Year
2007.
14 Materials used
Light emitting diode (LED) Bars fixed to the window frames.[44]
The ‘touch’ is project by Belgian architects Lab[au] or Laboratory for Architecture and Urbanism. The team
specializes in a type of digital architecture, which they call ‘Meta – Design’. In the process they employed
14. Touch
existing architecture for promoting, thinking and establishing public space, while using new technologies to
Image showing light pattern enhance the relationship between the citizen and the city. .[45]
on the facade and the kiosk
for display control

The touch was an interactive installation which used the façade of the Dexia Tower in central Brussels. The
tower is owned by the Dexia Bank and they wanted the tower to become a landmark for the city. The Architects
Samyn & Partners, teamed with lighting engineer Barbara Heidger and designed a façade where each window
could be lit independently. Each window ad LED bars (red, blue and green). This transformed the façade into
a giant screen, on which video loops could be projected. [46]
Lab[au] used this feature of the building and developed a system that allowed the public to alter the image on
the façade directly. The Touch project transferred the control of the light patterns from the building’s owners
into the hands of the public. .[47]
The architects created a small kiosk in the plaza opposite the building from where people could create patterns
of lines and colours using a touch screen.(Fig 14) The projected designs were recorded through a camera on the
opposite building and the people had the choice to carry a copy of their art work. The project aimed at creating
a sense of belonging for the project in the minds of the people. .[48]

The touch project was an installation which made use of the existing architectural features of the Dexia bank
tower. Lab[au] through their technological intervention managed to infuse a sense of new dynamism into the
building’s animated facede. The project was based on the idea of directly involving the public to create a sense of
belonging and bonding in them. The changing façade not only added to the dynamism of the Dexia tower, but
the reflections and light emissions from the building transformed the surrounding buildings too. [49]

As seen above the project is an attempt to create an identity for the building and at the same time develop a sense
of oneness towards it in the minds of the people. In order to achieve this Lab[au] used people’s participation.
People could relate themselves to the building with the patterns they created. Though short lived, the creations
were able to instill a sense of contribution. The dynamically transforming facade was not only able to draw
people’s attention towards the Dexia tower but also found a new meaning to the lighting system which the
architects had installed to project images. The transfer of control for the façade patterns into the hands of
the public gave rise to facades which were from the public and for the public. In that sense the installation
transformed what seemed to be private into public. Interactive facades not only make a building more dynamic
but, also can drastically increase people’s participation in the built work. It will not be wrong to say that a
building’s façade has more to do with the people who are outside the building, than those inside it, thus making
it vital for the faced to acknowledge this relation.

2.2. Three Dimensional
The word three dimensional has been defined in the oxford dictionary as something “having or appearing to
have length, breadth and height” [50]. The term three dimensional is also suggestive of a volume. It is a known
fact that every object has a certain volume within itself and the object itself is also a part of a larger volume.
Installations, as Claire bishop explains, “Differs from traditional media (sculpture, painting, photography,
video) in that it addresses the viewer directly as a literal presence in the space. installation art’s insistence on
the literal presence of the viewer is arguably the key characteristic of installation art” [51]. Bishop further claims
that “ By making a work large enough for us to enter, installation artists are inescapably concerned with the
viewer’s presence, or as Kabakov puts it: “The main actor in the total installation, the main centre towards which
everything is addressed, for which everything is intended is the viewer.”[52].
Based on the above suggestions an attempt would be made in the following chapter, to understand better
the meaning of the term. The examples chosen below, deal with installations which encompass within them
volumes which are penetrable by the audience.

2.2.1. Tape Vienna/ Odeon (Fig 15)
Artist
Numen/For Use (Architects)
Location
Odeon Theatre , Vienna
Year
2010
15a Materials used

Transparent self adhesive tape (35.6km)[53]
The Tape installation at Vienna is a part of series of experimental installations created by Vienna based architects
Numen /For Use. For the tape installations the architects use transparent self adhesive tape to create web like
structures, which seem to grow on the existing structure, which almost seems parasitical.[54]
The installation at Vienna was created to last only for one day. The team was commissioned to create the
installation for the Brit Insurance Designs of the Year 2011, awards ceremony. [55] The artists were themselves
present to guide the viewers through the installation.
The installation at Vienna was created to last only for one day. The team was commissioned to create the
installation for the Brit Insurance Designs of the Year 2011, awards ceremony. [55] The artists were themselves
present to guide the viewers through the installation.
For creating this site specific installation the straight lines of main trajectories were stretched across a given area
and these tendons were then wrapped diagonally with layers of elastic tape, giving shape to a complex organic
form through a process similar to the emergence of such structures in nature.[56]
15b With the further layering of the tape, the figure became more and more corporeal as it picked up on the slow
increase of the curvature.
The interior of the structure was supple, elastic, and pliable while the form itself was statically perfect, as it
ideally followed the trajectories of forces, being literally defined by them. The structure was spanned between
the columns of the hall which resulted in a floating structure.
The Installation and the volume within

Neuman/ For use claimed that “In the moment when the audience enters the installation, what started off as a
sculpture seamlessly morphs into architecture.”[57] The very statement goes on to indicate how the team envisaged
the installation. The architect’s installation lays primary focus on the experience gained by the audience as
they traverse their path through the translucent, tubular spaces. The tubes seemed to physically transport the
participants to points in spaces which otherwise could not be accessed or reached.
15. Tape Vienna/ Odeon
15a. Installation during the event

15b. Tape spanning between
columns
15c 15c. Volume inside the installation


The tape installation at Vienna and the other tape installations created by Neuman / For Use, are essentially very
user centric, and have been designed to be experienced not only from the outside, but also from within. When
viewed from the outside the tape structure seems to be growing on its surrounding (in this case the columns)
in a parasitical manner. On the inside the structure is translucent and the maze like interiors which are created
a volume within a volume.
Such structures have the ability to create access to spaces, which would otherwise be physically inaccessible.
2.2.2. Oasis No 7 (Fig 16)
Artist
Haus Rucker Co.(Architects)
Location
Fridericianum Museum , Kassel, Germany
Year
1972
Materials used
Pneumatic membrane, two potted palm trees and steel scaffolding[58]
In the Oasis 7 installation, a bubble like structure was grown from one of the windows of the Kunsthalle
Fridericianum museum. The architects used the bubble to create a space that would neither be outside nor
inside. The wholly artificial environment, with two potted palms inside was a mockery of attempts to simulate
nature. [59]
Zamp Kelph, who was one of the members of the Huas Rucker Co said “It’s also kind of sarcastic because we
got the message [from 1970s architecture and urbanism] that people shouldn’t dream of nature and want to
leave the urban environment, and should stay in an urban environment, and accept the urban environment.” [60]
The architects wanted their works to evoke a ‘feeling of foreignness’, the works took on many forms, and
frequently used plastics as both material and an emblem of the group’s futurist vision of a more democratic,
flexible and mobile lifestyle.
Kelp re- recreated the Oasis 7 inside the Victoria Albert museum, London in, January of 2009 for the ‘Cold war
Modern’ exhibition.

Kelp in his description of the view from inside the bubble said “you go into the bubble, and you see on one
hand the two artificial plants, but also the … normal urban situation [outside]” [61]. The architects used a
transparent membrane for the bubble, so that the audience is visually connected and is aware of what is on the
16 outside and is the ‘actual’ surrounding. [62]
16. Oasis No - 7

The architects were known for creating works that set the audience thinking, by challenging their perceptions.
The architects through their ‘futuristic’ installations, wanted to draw the audience’s attention towards the
drastically changing ecological conditions and rising pollution levels. In the Oasis 7 project the architects chose
to place the audience in the artificial environment created by them to infuse their message into the minds of
the audience. The structure may be seen as a physical manifestation of the cocoon which the people had built
for themselves, in their quest for the utopia. The transparence of the bubble was a widow for people to get re-
acquainted with the reality of their surroundings.
2.2.3. Splitting the subject (Fig 17)
Artist
Anita Dube
17a
Location
Kochi, India
Year
2012
Materials used
Wooden ladders , Metal, Paper clad objects, Coconut Fiber in Sacks. [63]
Anita Dube, for her site specific installation ‘Splitting the subject’ which she created for the Kochi biennale,
chose one of the attics in the ‘Pepper House’, which was an old warehouse. Dube says that she chose the space
due to her personal liking towards it, owing to its spatial quality. [64]
The installation was spread on two levels - the lower hall, where Dube installed seven wooden ladders, which
led to the attic above, and the attic itself where she placed, a sphere and a pyramid made up of paper, which
were lit from the inside, and a cube, which was made up of gunny sacks. In the background pre-recorded
sounds of grinding of spices were played in a loop.Dube said that “the work tries to evoke the encounter of a
provincial imagination with the project of modernity: the splitting of the subject into two: the transformation
of rationality into dreams and utopia and consequent tragedies” [65]
17b

As the viewer climbed the wooden ladders, the viewer’s body physically occupied two simultaneous spaces.
The individuals peeping into it could see each other’s face, but were unable to view the entirety of the others or
themselves. In the dark attic, they encountered a sound installation amidst large objects like a sphere, a pyramid
and a few sacks stacked together. One could see faces of other visitors who ascend the ladders through the other
openings. The sounds of the spices being ground engrossed the visitors within the volume of the attic. Again on
descending the ladders the sounds of the grinding spices became feeble and the sounds from the abutting road
seemed to fill the ears. The movement through the installation made one very much aware of the transitions
through the volumes that one experienced. [66]
17. Splitting the Image
17a. Ladders in the lower hall

17b. Illuminated geometric
forms in the attic


In the above installation Dube used the volumes of the attic and the hall below to create these experiences. On
the lower hall she created a sense of curiosity, with the seven ladders leading up to the attic and the faint sounds
of the tape. As one ascended one was encountered by illuminated geometric volumes and sounds of spices
being ground, this in a way knit a visual image for the audience. The faces of other visitors popping through the
cut outs just added curiosity. With the descent the sounds again became feeble and instantly the visual image
vanishes making one aware of the real and immediate surroundings. The installation tapped into the potential
of the existing volumes to create both real and surreal experiences and used the architecture to intertwine the
two.

2.3. Temporary
The word temporary finds it’s dictionary meaning as “lasting only for a limited period of time, not permanent”[67]
The credibility of most installations as art work is questioned only because they are temporary. The answers to
the question may be found in the words of Sigmund Freud.
Freud in his essay ‘ On transience ‘ says “ A flower that blossoms only for a single night does not seem to us on
that account less lovely. Nor can I understand any better why the beauty and perfection of a work of art or of
an intellectual achievement should lose its worth because of its temporal limitation.”[68]
Most artists identify this transient nature of installations as an integral part of their works. Artist Christo and
Jeanne Claude explain why they chose to create temporary installations “The temporary quality of the projects
is an aesthetic decision. Our works are temporary in order to endow the works of art with a feeling of urgency
to be seen, and the love and tenderness brought by the fact that they will not last. Those feelings are usually
reserved for other temporary things such as childhood and our own life. These are valued because we know
that they will not last. We want to offer this feeling of love and tenderness to our works, as an added value
(dimension) and as an additional aesthetic quality.”[69]
In the following chapter an attempt would be made to understand how different artists have tapped on the
temporary nature of installations in their works.

2.3.1. Midsummer Snowballs (Fig 18)
Artist
Andy Goldsworthy
Location
Smithfield Market, London
Year
1999 - 2000
Materials used
Snow, chalk, pebbles, Scottish pine cones, Highland cow hair, Feathers, twigs, sheep’s wool, barbed wire [70]
The snow balls project by artist Andy oldsworthy was created in two phases. In the first phase (1999) the
artist created thirteen snowballs approximately two meters in diameter in the mountains near his house in
Scottish highland. Goldsworthy embedded inside the snowballs a variety of natural objects from chalk and
twigs to highland cow hair, to barb wire. The giant snow balls were stored in refrigeration till the summer. In
the second phase (2000), in the summer month of June Goldsworthy placed the giant snowballs in different
parts of London. The giant snowballs gradually melted to the summer heat, revealing the inner contents of the
snowballs. [71]
Golds worthy commented on his use of snow as material for his installation and said that “A snowball is simple,
direct and familiar to most of us. I use this simplicity as a container for feelings and ideas that function on many
levels. Occasionally I have come across a last patch of snow on top of a mountain in late May or June. There’s
something very powerful about finding snow in summer. It’s as if the whole of winter has drained through that
white hole a concentration of winter.” [72]
Goldsworthy said he chose the natural materials from the highlands of Scotland and placed them in the context
of the city, to convey to the city dwellers what they had missed out on.[73]
18 The Installation and ephemeral

In his Midsummer Snowballs Goldsworthy makes use of the ephemeral nature of melting snow. He chose
summer for installing the snowballs as the process of melting gets complimented by the summer sun. In the
installation, Goldsworthy made use of the melting of snow to gradually reveal to the onlookers the hidden
contents of the snowball. The snow balls melted over a period of two days and only the core contents were left
behind. [74]

The above installation played with the ephemeral quality of melting snow. The artist carefully timed his project
and tapped on the various elements of nature such as the heat of the summer sun to act as a catalyst for the
process. The melting of the snow, which is a slow process, plays with the element of time and yet at the same
time emphasizes on the ephimerality of the object. Once the snowballs complete their course of melting, they
reach their elemental form of water, leaving behind the hidden contents. Goldsworthy in this installation played
18. Midsummer Snowballs with nature to create, what may be seen as a theatrical experience, which used the sense of timing and layering
Image showing the various both in the metaphysical and the literal sense.
stages of the melting snowballs

2.3.2. Wrapped Coast (Fig 19)
Artist
Christo and Jeanne Claude
Location
Little bay, Sydney, Australia
Year
1968 - 1969
Materials used
92,900 square meters of erosion-control fabric,, 56 kilometers of poly propylene rope.[75]
19 For their installation ‘Wrapped Coast’ Christo and Jeanne Claude covered the cliff-lined South Pacific Ocean
shore area. The coast that was wrapped is approximately 2.4 kilometers long, 150 to 800 feet wide, 85 feet high
at the northern cliffs and was at sea level at the southern sandy beach.
Over 92,900 square meters of erosion free fabric was used to cover the coast. The fabric was held in place by an
intricate system of over 56 Kms of polypropylene ropes. The installation lasted for ten weeks after which the
coast was restored to its original condition and the materials were recycled. [76]
The Installation and ephemeral

Most of the projects by Christo & Jeanne Claude are temporary. The artist believe that the temporariness of
their works, create a sense of urgency for the viewers to see them, as the work would not last for long. [77]
The ‘Wrapped coast’ was also a temporary installation. Christo explained that the wrapping up of the coast which
he calls “little disturbances” [78] was an attempt to bring to people’s attention places, which would otherwise be
neglected.

Through the act of wrapping the artists not only manage to draw attention towards the neglected spaces, but in
a way manage to create the illusion of disappearance. The artists hide the objects and create a visual void, which
is occupied by the memory of the object for the brief period of the installation. These installations play with
time, by tapping in on the temporary aspect of it.
18. Wrapped coast
Image showing the

wrapped coast

2.3.3. Erase (Fig 20)
Artist
Srinivasa Prasad
Location
Kochi, India
Year
2012
Materials used
Gunny Bags, Mud, Binding wire, Thorny Bamboo, Steel Cable [79]
20a
In the ‘Erase’ installation, Srinivasa Prasad built a thorny ‘cocoon’ and suspended it over a set of steps. The ascent
to a suspended cocoon was laid by way of steps constructed out of filled gunny sacks. On ascending the steps,
the viewer’s head and shoulders entered the opening of the prickly hollow of the cocoon, which was constructed
from branches and thorny shrubs.
Prasad says that “the space inside the hollow is the room to leave bad or unwanted thoughts, memories, or fears
and the viewer is encouraged to whisper or think of the things they would like to let go of.”[80]
At the end of the viewing period the cocoon was set ablaze at night, which Prasad calls “a ritual that destroys
the structure along with the thoughts, memories and confessions uttered with in”. [81] The only memory of the
installation that remained was the sand from the bags.
The Installation and ephemeral

As the title ‘Erase’ suggest the installation itself was based on the ephimerality. The artist encouraged the
audience to ascend a fleet of steps to partially penetrate into a suspended hollow cocoon like structure, which
he had built. The viewers were supposed to speak out all their worries, or secrets or grief into the cocoon. From
the onset the audience was made aware of the fact that the structure was ephemeral and would be set ablaze at
the end of the viewing period. Thus, the artists played with the subject of ephemeral to create something of a
mythical image.[82]

20b The installations played on the notion of creating something which is ephemeral, and use the ephemerality to
establish a relationship of trust with the object. Prasad through his installation invited the audience to come and
make their confessions into the hollow of the cocoon he created. From the onset he made the audience aware
that the confessions would not be recorded and the cocoon would be destroyed by setting it ablaze, thereby
symbolically leaving no trace of their confessions. One observed how the people who ascended the steps to spill
out their deep secrets freely as they were assured that their secrets would vaporize with the structure. In the brief
moments of interaction, the artist managed to create a bond of trust with the audience through his art work.
20. Erase
20a. Cocoon suspended above

gunny sack steps
20b. Cocoon set ablaze at the
end of the biennale

2.4. Art Work
As discussed in the previous chapter, Art is very subjective, and its interpretation depends on an individual’s
perception and intellect. This limits the possibility of finding a sacrosanct definition for art.
However to proceed beyond this obstruction, one has used the dictionary meaning for the word ‘ Art ‘, which
says ‘Art is the expression or application of human creative skill and imagination, typically in a visual form such
as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power’.[83]
Conceptual artists like Marcel Duchamp critiqued the idea that the art work should be a unique product of an
artist’s labor, representational of their technical skill and/or artistic caprice.[84] The conceptual artists drew their
inspiration from the Renaissance outlook towards art and they wanted to shake art up, renew it and make it
powerful and unexpected again.[85]
Thus the purpose of art has not only been to please the aesthetic senses, but also to create works which raise
questions, rather than simply accepting an established notion. Some artist believe that art makes one alert and
aware of one’s surroundings. [86]
Through examples, an attempt would be made to gain an understanding of how artists have used installations
to approach the cerebral domain.

2.4.1. 1000 Melting Men (Fig 21)
Artist
Nele Azevedo
Location
Gendarmenmarkt Square, Berlin ,Germany
Year
2009
Materials used
000 twenty inches tall, ice human figures. [87]
The 1000 Melting men was a collaborative effort between the artist Nele Azevedo and the World Wildlife
Fund. For the installation, Azevedo placed one thousand of her twenty inch high ice human figures at the
21a Gendarmenmarkt Square in Berlin. The installation used the image of melting human figures to gain attention
towards the problem of global warming and its adverse impact on the human life. [88]
The melting men is part of the artist’s project ‘The Minimum Monument’ where she places the small human
figures in front of important monuments, as her critique to the monuments of the contemporary cities. Azevedo
believes that “In a few minutes-action, the official canons of the monument are inverted: in the place of the
hero, the anonym, in the place of the solidity of the stone, the ephemeral ice, in the place of the monumental
scale, the minimum scale of the perishable bodies.”[89]
The installations last only for forty-five minutes. Beyond which the installation continues to live through the
photographs and the memories etched in the minds of the audience.
The Installation and the cerebral

Azevedo claims she does not identify herself as an environmental activist, however, she “As the reading and
interpretation of an art piece is open [and] I’m glad it can also speak of urgent matters that threaten our existence
21b 21c on this planet”.[90] Though the initial idea for the installation was conceived as a critique to the monuments of
contemporary cities, many environmental activists saw the image of the melting human figures as a powerful
tool to convey the message of adverse impact of global warming.
In her experiment with regard to the contemporary monuments, Azevedo uses the melting figures to inverse the
perception of the monument by withdrawing it from its monumental attributes and reduces its monumentality
to the twenty inch high figures. The small sized human figures are seen as an expression of celebration of the
commoners, rather than the heroes and the leaders. [91]

The above project exhibits the ability of art works, to be open to multiple interpretations. In one case the
melting figures act as a critique to the contemporary monuments and in the second the same image, the melting
figures, are used to dramatize and emphasize on the gravity of the prevailing threat of global warming. In a way
21. 1000 Melting men the installation may be seen as answering two drastically opposite phenomenon of our time. The installation
underscores the flexibility of art works to provide for the intellect to react and respond.
21a. The installation
21b. Ice figures on the steps
21c. Blow up of one ice figure

2.4.2. The Nautilus Project (Fig 22)
Artist
rturo Torres, Jorge Christie and Daniela Tobar
Location
Santiago, Chile
Year
2000
Materials used
One bedroom House built entirely of transparent glass.[92]
22a The Nautilus project was created with the intention of highlighting the position of women in the Chilean
society. The architects Arturo Torres and Jorge Christie chose to address the intersection of gender and private
spaces. For this they turned the privacy of the home inside out. The architects built a small one bedroom house
with glass. The house adhered to the local construction norms.
An important aspect of the study was that, the house would be occupied by a woman who would carry out all
her daily activities in the house. With the house being transparent the insides of the house were exposed to the
by passers. [93]
The project was inspired by the surreal texts from the 1945 and through the project the architects wanted to
test the ideas in the present context. The architects wanted to test the idea of ‘Modernism’ and adopted the
definition of modern as described by French poet Charles Baudelaire who said “being modern is to be immersed
in city life”.[94] Hence they chose a cite in the city of Santiago which was strategically situated across from a
church, near banks and downtown from the presidential palace – symbols of religion, capitalism and the state
power. Thus, the work was placed at the heart of urbanity, contrary to the Farnsworth house by Meis van der
Rohe and the Glass House by Philip Johnson, which were built on richly landscaped private estates.[95]
Daniela Tobar, who is an actress was chosen to live in the house. The actress lead her daily routine. The project
gained attention and popularity in the local media, but soon there were numerous protests and even attacks on
the house, which led to the suspension of the project before its stipulated time of two months. .[96]
Later the experiment was repeated, with a male inhabitant , but failed to gain the attention and the response
from the people.

The ‘Nautilus Project’ gets it’s name from a strip club ‘Nautilus’ in Santiago, where nude women swim in large
brightly lit aquariums, while the clients sit in the dark. Architect Torres was involved in the renovation of the
red light district in Santiago and was exposed to the deteriorating and exploitative living conditions of the sex
workers of the area. Through their project the architects placed the “Aquarium” in the daylight and exposed
22b
the ordinary, everyday lives of the women. The architects used the project as the tool to emphasize on the
22. The Nautilus fundamentals of humanity – in contrast to the women at the Nautilus club who were treated as consumable
Project entities. [97]
21a. People waiting outside
the glass house
21b. Tobar doing her chores

Tobar, who was chosen for the project, chose to use the project for gaining publicity and seemed to enjoy the
attention from the media. The perception of the actress in the transparent house was in grave contradiction to
the statement made by Edith Farnsworth, who said that living in the Farnsworth house made her feel “like a
caged animal”.[98]
The project was repeated with a male in habitant, but it failed to draw the attention from the people. In a way,
re-affirming the gender disparity of the Chilean society.[99]

The architects’ project was from the onset aimed to trigger responses and reactions in the audience. The placing
of a woman in a glass house was a provocative medium to convey the message of gender dichotomy of the
society. In the project the architects brought private areas of the house on to the public domain through the use
of transparency. In a way, the transparent house was a critique to the opacity which screens the darker side of
the society.
The architects used the project as an experiment to criticaly think about the common architectural perceptions
of privacy, usage and even gender behavior by testing and challenging them.
The ‘Nautilus Project’ was available for sale by the architects, inviting the project to be tested at other sites. [100]
2.4.2. Another Peace (Fig 23)
23a The Cotton Exchange Project

In January 2012, a research trip to Gujarat was undertaken by seven young people, who were also the Co-
producers of the project, along with seven staff from six museums and galleries across the North West. They
visited textile mills, factories, studios, community art organizations and interacted with artists, textile artisans
and craft makers. They compared cotton/textile legacy of England and India with the contemporary to historical;
cultural to economical and industrial to traditional.
These artists used historical similarities and cultural relationships to create new genre of work that sought
to revive England and India’s shared heritage in cotton. The art work produced was exhibited in India and
Lancashire, England. In Lancashire, the exhibition was carried out in the Queen Street Mills and in Ahmedabad
at the Old Raj Nagar Mills.[101]

2.4.2. Another Peace (Fig 23)
Artist
Alison welsh
Location
Ahmedabad, India
Year
2013
Materials used
Cotton fabric. [102]
‘Another Peace’ was a site-specific installation by artist Alison Welsh, which explored the shared history of cotton
industry in Lancashire and Gujarat. The installation was the outcome of research undertaken within the Cotton
Exchange Project. Welsh said that “the project was built on collaborative research methods developed in her
earlier projects”. [103]
A series of over-long shirt-forms were commissioned from specialist tailors in Gujarat and Lancashire stitched out
of fabrics sourced in India, bearing the commercial stamps and printed labels that document their manufacture
and trade. [104] Welsh said that “the translucent and ghost-like shirt-forms embodied ‘memories’ of garments
23b 23c
worn by the cotton mill workers of Ahmedabad and Burnley”. [105]

The installation was exhibited in Lancashire and Ahmadabad. At both the places the installation was done in
the spinning shed. By doing so the artist was able to bring out the commonalities between the two seemingly
different settings. The ghostly images of the long shirt – forms emphasisedthe absence of human presence in the
contemporary textile mill environment, common to both Lancashire and Gujarat.[106]
The image created by the installation in Lancashire is that of absence of people. But in case of Ahmedabad the
ghost like images seem to narrate the story of abandonment.
Observations & inferences

The above installation was part of an exhibition of installations created by various artists from both the countries.
As mentioned earlier, the intent of the project was to bring out the commonalities between the two textile cities.
Creation of site specific installations was chosen as a mode to accomplish this objective. Questions are likely to
be raised as to how a site specific installation be exhibited in two different places? Professor Stephen Dixion[107],
who was also one of the participants in the project, explained that the installations were site specific, because
they were actually narration of the commonalities of the two sites.[108]
Thus, in the above case, the installations acted as the loom which brought together the warps and the wefts
of textile heritage tale of two cites, viz. Lancashire and Ahmedabad separated by legions but held together by
21. 1000 Melting men
common emotions.
23a. The installation in

Ahmedabad
23b. Spinning shed- Ahmedabad
21c. Spinning shed - Lancashire

1. Charging Bull. 1. Dictionary – Reference online.

http://1.bp.blogspot.com/-EHvyFJttcrE/TVRGtZ7_MHI/AAAAAAAAC-4/-a6KuX6AJY4/s1600/wall-
http://dictionary.reference.com/browse/site-specific
street-bull.gif
2. Tate modern turbine hall. 2. Unilever Series, Tate Modern London.
2a. Author.
http://www.tate.org.uk/whats-on/tate-modern/exhibitionseries/unilever-
2b. http://upload.wikimedia.org/wikipedia/commons/f/f9/Tate.modern.turbine.hall.london.arp.jpg
3. Unilever series, Tate Modern London, Juan Munoz- Double Blind. 3. Unilever series, Tate Modern London, Juan Munoz- Double Blind.
3a. http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-juan-munoz- double-bind
http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-juan-munoz-double-bind
3b. Ibid.
3c. Ibid. 4. Ibid.
4. Unilever series, Tate Modern London, Anish Kapoor - Marsyas.
http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-anish-kapoor-marsyas 5. Juan Munoz at Tate Modern – Waldemar.tv
5. Flaying of Marsyas by apolo. http://www.waldemar.tv/2008/02/juan-munoz-at-tate-modern/
http://ngasanova.livejournal.com/482656.html
6. Unilever series, Tate Modern London, Carsten Holler – Test Site. 6. Unilever series, Tate Modern London, Juan Munoz- Double Blind.
http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-carsten-holler-test-site/carsten-
http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-juan-munoz-double-bind
holler-images
7. Prairie Ladder 7. Unilever series, Tate Modern London, Anish Kapoor - Marsyas.
http://blog.fabric.ch/fabric/images/1065_1256767206_4.jpg
http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-anish-kapoor-marsyas
8. The Gates – Christo & Jeanne Claude.
8a. http://www.christojeanneclaude.net/projects/the-gates 8. Ibid.
8b. Ibid.
9. Kapoor on Marsyas: Myth & Muse – The guardian.
9. Turf Parterre Garden – Martha Schwartz.
9a. Schwartz Martha, Transfiguration of the Commonplace, Spacemaker Press, Washington D.C., 1997. pp. http://arts.guardian.co.uk/tateandegg/story/0,12775,875267,00.html
124.
9b. Ibid. 10. Unilever series, Tate Modern London, Anish Kapoor - Marsyas.
10. Cloud Gate http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-anish-kapoor-marsyas
http://fc07.deviantart.net/fs70/f/2011/057/5/b/chicago_bean_and_life_by_alierturk-d3agi0u.jpg
11. Luminous Field 11. The EYE, a documentary series on contemporary visual artists in Britain by Illuminations.
http://www.mymodernmet.com/profiles/blogs/the-story-behind-luminous-field
Anish Kapoor – Marsyas.
12. The Toilets
http://www.storefrontnews.org/images/event/724.jpg https://www.youtube.com/watch?v=m1Ouyhjx06k
13. The toilets – interior view
Bonnemaison Sarah, Eisenbach Ronit, Installations by Architects, Princeton Architectural Press, New York,
2009, pp. 149.

14. Touch 12. Unilever series, Tate Modern London, Carsten Holler – Interview
http://realtimecities.wikispaces.com/Dexia+Tower
http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-carsten-holler-test-site/carsten-
15. Tape Vienna / Odeon
holler-interview.
http://www.numen.eu/installations/tape/vienna-odeon/
16. Oasis No – 7 13. Ibid.
http://payload.cargocollective.com/1/0/3506/29638/cold_war_modern_01.jpg
14. Ibid.
17. Splitting the images – Anita Dube ( Kochi Biennale)
17a. Author 15. Ibid.
17b Author
18. Midsummer Snowballs 16. Schwartz Martha, Transfiguration of the Commonplace, Spacemaker Press, Washington D.C., 1997. pp. 23.
http://www.decordova.org/about/press/andy-goldsworthy-snow 17. Ibid.
19. Christo & Jeane Claude website – Realised Projects (Wrapped Coast).
http://www.christojeanneclaude.net/projects/wrapped-coast 18. Bonnemaison Sarah, Eisenbach Ronit, Installations by Architects, Princeton Architectural Press, New York,
20. Erase, Koch Biennale 2009.pp 95.
20a. Author.
19. Ibid, pp 96.
20b. http://www.galleryske.com/SrinivasaPrasad/Erase/Images/SrinivasaPrasad_Erase05.jpg
21. 1000 Melting Men 20. Ibid.
21a. http://www.mundanetomagic.com/wp-content/uploads/2012/11/Nele-Azevedo-3.jpg
21. Ibid.
21b. http://www.designboom.com/cms/images/andrea01/nelea.jpg
21c. http://cdn-ak.f.st-hatena.com/images/fotolife/l/lovespread13/20090904/20090904111737.jpg 22. Ibid.
22. Nautilus Project
23. Christo & Jeane Claude website – Realised Projects (The Gates ).
22a. http://i-cdn.apartmenttherapy.com/uimages/ny/0513_vidrio01.jpg
http://www.christojeanneclaude.net/projects/the-gates
22b. http://www.gettyimages.in/detail/news-photo/daniela-tobar-a-theater-student-is-living-in-a-glass-
house-news-photo/51503707 24. Ibid.
23. Another Peace – Ahmedabad
23a. Author. 25. Ibid.
23b. Author. 26. Ibid.
23c. http://alison-welsh.blogspot.in/
27. Ibid.
28. Christo & Jeane Claude website – Videos (Wrapped Coast ).

http://www.christojeanneclaude.net/videos/interview-with-christo-about-wrapped-coast#.UdbsOjs3CgQ.
29. Schwartz Martha, Transfiguration of the Commonplace, Spacemaker Press, Washington D.C., 1997. pp. 23.
30. Schwartz Martha, Transfiguration of the Commonplace, Spacemaker Press, Washington D.C., 1997. pp. 124.

31. Ibid.
32. Ibid.
33. Ibid.
34. Mikanowski Jacob, Cloud Gate – Tilted Arc, The Point Magazine (online issue).
http://www.thepointmag.com/2012/reviews/cloud-gate-tilted-arc
35. Ibid.
36. Ibid.
37. Ibid.
38. Luft Werk’s website ( Luminous Field)

http://www.luftwerk.net/luminous.html
39. Bonnemaison Sarah, Eisenbach Ronit, Installations by Architects, Princeton Architectural Press, New York,
2009, pp. 146.
40. Ibid, pp. 146.
41. Ibid, pp. 146-147.
42. Ibid, pp. 147
43. Ibid.
2009, pp. 165.
45. 1bid.
46. Ibid, pp.165-166.
47. Ibid.
48. Ibid, pp 166.
49. Ibid.

50. Oxford dictionary meaning

http://oxforddictionaries.com/definition/english/three-dimensional
51. Bishop Claire, But is it installation ?, Tate Etc issue, Spring ,2005 (Article)
http://www.tate.org.uk/context-comment/articles/it-installation-art
52. Ibid.
53. Numen/ For Use ‘ website, Installations, Tape, Vienna Attic.

http://www.numen.eu/installations/tape/vienna-attic/
54. Ibid.
55. Ibid.
56. Ibid.
57. Ibid.
58. The inner world of Haus-Rucker-Co.( Design week- online magazine)

http://www.designweek.co.uk/whats-on/the-inner-world-of-haus-rucker-co/3034754.article
59. Ibid.
60. Ibid.
61. Interview – Zamp Kelp (member Haus-Rucker-Co.)

http://www.youtube.com/watch?v=_JkgSWgqQqM&noredirect=1
62. Ibid.
63. Kochi Biennale (Artist’s text )
64. Ibid.
65. Ibid.
66. Ibid.

http://oxforddictionaries.com/definition/english/temporary

68. Freud Sigmund, On Transience, Freud’s Requiem (online)

http://www.freuds-requiem.com/transience.html
Also quoted in the chapter on ‘Temporary’
Schaefer Janek, 6 elements of Installation, Royal College of art, London, 1994.( un Published)
69. Christo and Jeanne Claude, Thegates Project Guide, pp. 7.

http://christo.vaesite.net/__data/thegates_kit.pdf
70. BBC News UK ( Andy Golsworthy Midsummer Snowballs Coverage).

http://news.bbc.co.uk/2/hi/uk_news/800916.stm
71. Ibid.
72. Andy Goldsworthy quotes (wikiquotes)

http://en.wikiquote.org/wiki/Andy_Goldsworthy
73. Unseasonal encounter by Ann Jone for Image object text.

http://imageobjecttext.com/2012/07/21/unseasonal-encounters/#more-3098
74. BBC News UK ( Andy Golsworthy Midsummer Snowballs Coverage).

http://news.bbc.co.uk/2/hi/uk_news/800916.stm
75. Christo & Jeane Claude website – Realised Projects (Wrapped Coast).
http://www.christojeanneclaude.net/projects/wrapped-coast
76. Ibid.
77. Ibid.
78. Ibid.
79. Kochi Biennale (Artist’s text )
80. Ibid.
81. Ibid.
82. Author.


http://oxforddictionaries.com/definition/english/art
84. Marchel Duchamp on ‘Work of Art’ as quoted in

http://en.wikipedia.org/wiki/Work_of_art
85. Harvey Heather, A Brief History of Installation Art, A Magazine for the arts (online magazine)
http://www.artsmagazine.info/articles.php?view=detail&id=201007251946141353
86. Ibid.
87. Thousand Melting Men ( article )

http://www.dailymail.co.uk/news/article-1210783/Melting-men-Thousand-ice-sculptures-left-thaw-sun-
highlight-climate-change-Arctic.html
88. Ibid.
89. Nele Azevedo’s website ( Minimum Monument)

http://neleazevedo.com.br/?page_id=6
90. Nele Azevedo interview (Green Muze)

http://www.greenmuze.com/art/interviews/641-nele-azevedo-interview.html
91. Ibid.
2009, pp. 75.
93. Ibid.
94. Ibid, pp. 75-76.
95. Ibid.
96. Ibid.
97. Ibid.
98. Ibid.
99. Repley’s belive it or not television show Episode number, 1.11

http://www.imdb.com/title/tt1005833/, https://www.youtube.com/watch?v=P8ntWgiOsOE (Video)

100. MIT Dept of Architecture (Nautilus Project for sale)

http://architecture.mit.edu/house_n/web/resources/articles/hotfotp/For%20Sale%20Life-size%20
Aquarium.htm
101. Website of Harris Museum , Preston, Lancashire http://www.harrismuseum.org.uk/exhibitions/199-

the-cotton-exchange-project
102. Alison Welsh’s projects ( Manchester school of Art, website). http://www.artdes.mmu.ac.uk/profile/

awelsh/projectdetails/447
103. Ibid.
104. Ibid.
105. Ibid.
106. Ibid.
107. Professor Stephen Dixion Profile ( Manchester school of Art, Website). http://www.artdes.mmu.ac.uk/
profile/sdixon
108. Professor Stephen Dixion (personal interview- Coton Exchange Project’s exhibition at Ahmedabad).

Chapter 3
Installations - Probable
applications in architecture
In the following chapter an attempt is made to find probable applications

for installations within the domain of architecture, through the works of
different architects and artists themselves.
3.1. Introduction
As seen in the previous chapters, installations mostly tend to work with

the site, and are generally site specific. Most installations are created
within an architectural space, thus making the architecture, the site for
these installations. The fields of architecture and installations seem to
overlap, as both the disciplines deal with space as a component and are
user centric in their conception,
In the following chapter an attempt is made to find probable applications
for installations within the domain of architecture, through the works of
different architects and artists. The chapter is divided into two parts. While
in the first part, applications for installation in the process of architectural
designing would be explored and in the second part, application for
installations in already existing architecture would be explored.
The choice of examples for the following chapter, have been made on the
basis of the narration and interpretation of the works presented by the
artists and architects themselves.
Language (Rashid Rana)

Installation created for the Kochi
Biennale-2012.

3.2. Probable applications in the process of architectural

designing
The process of designing is an evolutionary, where an idea germinates and evolves into something through a
series of events triggered by various factors. The end result of an architectural endeavor may be seen as responses
or solutions to the various challenges that a designer encounters in his/her path of designing. Below are a few
areas, which may be identified as probable areas in the design process where installation may find their use.
3.2.1. Context
1a The word ‘context’ for any architecture student or even practicing architects, presents one of the biggest
challenges in the designing process. The word Context means ‘The interrelated conditions in which something
exists or occurs’.[1] In this light, understanding and acknowledging the context of a site plays a major role in
creating a site specific work.
Below is the example of the site specific installation, created by architect Alvaro Siza for the Serpentine Gallery.
Serpentine Pavilion 2005 (Fig 1)
Artist
Architect Alvaro Siza
Location
Serpentine Gallery, London
Year
2005
Materials used
Flat timber panels.[2]
1b The installation
Alvaro Siza, created the 2005 Serpentine Pavilion. Siza says that “ A pavilion is usually an isolated building”[3]
But when the architect was invited to design a pavilion for the serpentine gallery, he chose to break away
from this definition and said that he wanted to maintain the relationship with the existing gallery and the
surrounding tree. Siza acknowledges them as the starting point for his creation.
Serpentine pavillion (2005)
1a.View from inside the pavillion

1b.Architect’s sketch showing the
site context existing trees &
gallery

The installation and its context

Siza in his description of the site mentions the two hedges in front of the house, which forms half an ellipse.
Further Siza says that they chose to create a curved surface which would complete the half ellipse. As a response
to the position of the existing trees, the structure maneuver around them, making the structure asymmetrical.
(Fig 2) The roof of the structure which emerged was in a vault like profile and took a bend towards the gallery
in the form of a slope to attain stability. Siza describes these events as “accidents”
and says that “Architecture is often developed through such accidents and difficulties and the end that gives
character to the buildings.”[4]
The structure was made up a grid of flat timber planks and joints. The grid distorted itself to respond to the
profile that was marked for the structure.

In the above example it may be seen how Siza uses the context of the pavilion’s site, and uses the elements of the
site to evolve the form. Also the use of timber as Siza says was in reference to the trees and the greens of the site.
2a The perforated grid like structure, withdraws pavilions scale and the structure, though alien to the site, does not
over shadow the existing gallery.
Siza’s pavilion was not just site specific, it also played with other attributes of installations parallelly such as
encompassing a penetrable volume within itself, which as per the brief was to serve the purpose of a cafeteria
during the day and a party space in the evening. Also the installation was experimental in nature as the form
was generated in response to the physical parameters of the site. The installation was conceived to be temporary,
giving it further leverage to be experimental.
2a
2b
2. Serpentive Pavilion
(Exterior views)
2a. View showing the imediate

surrounding
2b. View of the bent roof from
outside

3.2.2. Material Exploration
Materials play a very vital role in the process of design. Often material tend to govern the course of the design
process, as most of the architects do not have an option but to use materials which are locally available. In such
a situation the knowledge of the material’s behavior and properties can play to the architect’s advantage. Thus
a thorough understanding of materials can not only shape the architecture, but it can also help an architect in
achieving the desired form.
Glashaus (Fig 3)
3a Artis
Architect Bruno Taut
Location
Cologne, Germany
Year
1914
Materials used
Concrete Ribs (For the dome), Steel Frames, Coloured Glass and Concrete plinth.[5]
3b
The installation
The Glashaus is one of the most celebrated structures created by architect Bruno Taut. The Architect designed
the pavilion to participate at the 1914 Werkbund exhibition. Taut designed the pavilion for the Association
for the German Glass Industry.
The project was the third pavilion by Taut. He had previously designed pavilions for Tager verkaufs – kontor
at Berlin and the Association of German steel workers, and the Association of German Bridge and steel
Fabricators at Leipzig in 1910 and 1913 respectively. The latter was titled ‘monument to Iron’. The intent
behind both the pavilions as instructed by the clients was to create a pavilion which would exhibit the
potential of the material to the fullest. As a result, the architect was encouraged to design structures which
were flamboyant and glorified the material. As seen in both the structures the steel members were exposed [6]
Taut used his learning from the two pavilions and used them to create the Glashaus.
3. Bruno Taut’s pavilions
3a. Glashaus
3b. Tager Verkaufs-Kontor Pavilion
3c 3c. Monument to Iron

Installation and material exploration

The Glashaus was the result of his previous exploration processes. The architect used steel frames to create a
cupola like structure atop a concrete plinth. The dome was a frame structure with glass infill. The architects
in this project used coloured glass to create shimmering patterns on the inside. Taut extended the use of
glass to create lanterns and display cases, further emphasizing the possible uses for glass. [7] (Fig 4)
Adolf Behne, who went on to being a great admirer of Taut’s work, through his writing, transfigured glass
from a transparent modern technical material to a crystalline expressive spiritual force that could transform
culture.
Glashaus was more of an object of Taut’s artistic self, as Taut himself had said “The Glashaus has no other
purpose than to be beautiful”. Taut’s statements received criticism, but many saw the utilitarian aspect of his
work and recognized the structure as a marketing pavilion for the glass industry. [8]
Behne as a critic found this as the purpose of the pavilion and described pavilion as an ephemeral building
that made a certain “functionlessness” possible and appropriate. [9]

4a Taut’s Glashaus, was the result of the architect’s ability to explore newer materials to fuel his inner artistic
desires. During the first decade of the 20th century many construction material manufacturing companies
resorted to pavilions as a means to exhibit the potential uses of their products. Taut capitalized on the idea.
The designing of pavilions allowed him to carry out experiments with various building materials of the time.
Since the exploration of the material to the full potential was the main intent and requirement of the client,
it allowed the architects to further exploit the materials further. The experimental nature of these ephemeral
structures established a symbiotic relationship between the architects and the material manufactures, where
for the architect it worked as a creative fuel and for the latter the works served as an advertisement for their
products.
4. Glashaus (Interior views)
4a.View of lower level, with water

cascade at center, mirrored
balls on parapet, bright-
colored tiles on the side walls,
floor and domed ceiling, and
backlit stained glass in the
apse-like space at rear, with
inlaid commissioned artworks.
4b.View of upper-level interior,
with woven Luxfer prisms set
in steel frames, in between
concrete ribs of the dome.
On the floor, display cases
for precious glasswork, round
glass blocks in the concrete
floor. In the center, the floor
opens to the water cascade
room below, and a special
lantern with colored glass
4b above.

3.2.3. Climate Responsiveness
Creating a shelter with comfortable living conditions has been one of the basic needs for us human beings. With
the growing need for conserving depleting energy resources, it is the need of the hour to find solutions which
are self sustaining.
Climate responsive architecture is an important domain that is being explored to design buildings that can
create comfort conditions without depending on secondary sources.
Bloom (Fig 5)
Artist
Architect Doris Kim Sung
Location
Silver Lake, Los Angeles, USA
Year
2012
Materials used
Thermo Bimetal sheets.[10]
The installation
Doris Kim Sung who was a student of biology, has turned into an architect. Kim Sung turns to her knowledge
of biology to address architectural issues. “Bloom’ is one of her creations which exhibit her ability to marry the
fields of biology and architecture. Bloom is a climate responsive installation, which comprises of over 1,400
unique components made up of Thermo bimetal sheets. The bimetal sheets curl when subjected to heat.[11]
5
The architect used this ability of the bimetal to create a faceted sheet, where the ridges and valleys of the
fold are created using interlocking aluminum frames of suitable strength. The structure is a system designed
using parametric programming. Owing to the geometric composition of the system the structure became self
supportive, the shell like structure rose to a height of twenty feet.[12]
Installation & Climate responsiveness

The ‘Bloom’ was presented to function as a sun synchronized shading device (Fig 6). With the rise in temperature
of the day, the bimetal sheets curled which in turn set the system in motion altering the composition of the
structure. The movement pattern of the structure was ensured a constant shaded patch under the shell.[13]

In the Bloom installation, the architect created a skin which was self supporting, and used it to create a self
5. Bloom supporting and self sustaining shading device. The installation maybe seen as a prototype to a system which
6. Sun sychronisation
diagram
when created on a larger scale could result in a self sustained climate responsive architectural structure.
Image showing the
various compostions
of the installation, with
6 respect to sun path.

3.2.4. Space Making
The idea of space making is central to architecture, and a vital part of the architecture design process. One
may say that a building is defined by the spaces it encompasses or creates. The functioning of any building
is dependent on its space. Thus it becomes very crucial for architects to understand the exercise of space
making.
Cybermohalla Hub (Fig 7)
Artist
Nikolaus Hirsch and Michel Müller (Architects)
Location
Devi Art Foundation, Gurgaon
Year
2012
Materials used
Recycled wooden panels. [14]
7a 7b
The installation
The ‘Cybermohalla Hub’ is the brain child of architects -Nikolaus Hirsch and Michel Muller. The
Cybermohallas are hybrid cultural institutions, which may be seen as an amalgamation of a community
centre, a school, an archive and an art gallery. the project gets its name from the Urdu word “Mohalla”
meaning neighborhood and the word ‘cyber’ is for all the data that are made available to the users in a
digital format, in the form of digital books, internet applications etc.[15]
The project which was an initiative of two Delhi based NGOs, Sarai CSDS & Ankur Society. The intent of
the project was to provide the local slum dwellers with basic cultural infrastructure. The first cybermohalla
was set up for an informal settlement LNJP in central Delhi. Subsequently the project was replicated in two
more areas first in Nagla Manchi, but soon the settlement was relocated to Ghevra and the cybermohalla
was recreated there. And lastly another one was set up in Dakshinpuri.[16]
In all three new units were created one for Gevra and Dakhinpur each and the third unit was to could
travel as a mobile production and exhibition unit around the world.(Fig 8 )
8a 8b
7. Cybermohalla
Exterior view (7a,7b)
8. Cybermohalla
Traveling unit (8a,8b)

The Structure and the space

The principle for the three new hubs Cybermohalla is a three-dimensional structure, which can accommodate
up to four stories while working as a shelf, wardrobe, desk and exhibition space. The basic principle consists of
prefabricated modular elements of varying height and depth, which are assembled on site and cater for different
functions by specifically varying heights,
depths and positions: Exhibition space, projection of videos, shelving, archive, sanitary cabins, bunks with
computer workstations. The structuring of the wall in three dimensions saves space and provides privacy to
work. The structure as it is made up of modular components and has the flexibility to grow and adapt as per
the local site conditions. (Fig 9).
The travelling unit was stationed at Gurgaon, Haryana from August of 2012 – April of 2013.[17]
9a Observations & Inferences

The ‘Cybermohalla’ project may be seen as an exercise in space making as, the architects keep the program and
the basic construction model and techniques as a constant, but the over all composition of the unit is very site
specific and responds to the site. The project as seen is conceived from the inside out, where the functions are
integrated within the structural component itself, which also works in favor of effective space management. The
modular geometric composition not only provides the flexibility of varied arrangements, but also has the ability
to expand in multiple directions.
On the exterior the varied arrangements of the components create patterns of different quadrangles, which in
turn provide the uniqueness to the façade of every ‘Cybermohalla’.
9b
9. Cybermohalla
(Interior views)
9a. Facade acts as furniture

9b. Storage integrated in the
facade
9c 9c. Woman using the unit

3.2.5. Form Finding.
For time immemorial architects have been fascinated with forms, and have constantly pushed the limits of their
thoughts to create forms, which are not just functional, but also aesthetically pleasing. Frank Lloyd Wright said
“Form Follows Function”[18], which may be interpreted as every function having a form for itself .
Thus making it essential for an architect to find a form which will be right to the function it encompasses.
Many architects have been exploring the domain of parametric geometries, and have used them as a tool
for form finding in architecture. In the process architects are required to develop and study the behavior of
systems. Often the systems are tested by creating to-scale prototypes in actual materials which help to gauge
better the behavior of such systems.
10a
Bio Pavilion (Fig 10)
Artist
andblack studio (Architects)
Location
New Delhi
Year
2013
Materials used
Weather proof paper tubes and steel cables. [19]
The installation
10b The installation was designed by Ahmadabad based ‘andblack studio’ for ‘Bionic’ a manufacturer of paper
tubes. The architect’s were required to exploit the material and exhibit its further potentials for application
in architecture.
The structure of the pavilion was made up of over one thousand paper tubes, which served as the basic
component for the system. The tubes were stitched together with the help of steel cables to create a fabric of
paper tubes. [20]
The resultant structure was self supporting flexible structure, capable of arranging itself in response to the
site.
The Structure and form finding

For creating the ‘Bio Pavilion’ the architects made use of paper tubes. They used the paper tube as a basic
component and stitched the tubes together to create a structure which behaved like a fabric. The system had
10. Bio Pavilion the capability to organize itself to provide structural stability and support, thus making itself supporting.
10a. Image showing arrangement Since the behavior of the system was like a fabric, it
of the installation possessed the possibility to be configured in various arrangements depending on the site available.[21]
10b. Image showing the tube
fabric after being deployed
10c. Image showing the stitched
10c paper tubes


The processes of form finding and material exploration may be seen as a symbiotic relationship, where the
desire to create a form may urge an architect to explore and expand his material pallet, and the exploration
of the materials provide an architect the ability to create a desired form. The above installation lies in
this threshold, where the exploration of the paper tube’s full potential allowed the architects to develop
a system, which in turn could use the material to create varied forms. Thus such an activity may help an
architect to not only expand his/ her material pallet, but also aid in the process for the explorations of
other facets of the field.

3.3. Probable applications in existing buildings.
Buildings have for long been cherished and have also been known to live through their users and function. As
not all buildings can be regarded as master piece, often the fate of a building is abandonment and neglect. With
the growing scarcity of land and resources it has become important more than ever, to re-use buildings. In the
same vein, to avoid further construction, or sometimes due to sentimental values and other such reasons many
buildings have been put to alternative use, a use different from what it was originally designed for.
In the following chapter an attempt is made to identify possible applications for installations in existing buildings.
3.3.1. Reviving spaces.

11a 11b 11c
It is a known fact that a building is a reflection of the time it was built. With the constantly changing trends of
culture, society etc, all spheres of life get affected and the effects of these changes are reflected on the architecture.
Most buildings fall prey to the changing trends of culture, society, etc. and when the buildings are unable to
cope with these changes they tend to witness the fate of neglect and abandonment. Not always are humans
responsible for these abandonments, sometimes even nature plays an important role in this process.
Kochi-Muzaris Biennale (2012)
The ‘Kochi Muziris Biennale’which took place from December of 2012 till march of 2013 in Kochi was one
such example. The prime focus and intent of the biennale was to showcase the scenario of contemporary art in
India.(Fig 11)
The city of Kochi was chosen for hosting the Biennale. Kochi was once one of the most important trading
ports in the country and was the main hub for spice trade. The port attracted many travelers and traders over
the centuries, which resulted in Kochi being a cosmopolitan city. The theme for the biennale was the revival of
12a 12b 12c the Lost city of ‘Muziris’. The city is believed to have been buried under layers of mud and mythology after a
massive flood in the 14th century.[22]
11. Kochi Biennale The biennale was spread over 11 venues in the Fort Kochi Area. The venues were old and abandoned structures,
(art works) ranging from ware houses to jetties. (Fig 12). The Artists from within the country and abroad were invited to
create installations at the venues. The artists were given the freedom to select spaces of their choice to create
11a. Untitled (Boat)
11b. Stopover their works.[23]
11c. Life is a river The event did not only breathe life into these delapilated structures, but also managed to draw people’s attention
12. Kochi Biennale
to these neglected buildings (Fig 13). Valsan Kolleri, who was one of the participating artists at the Biennale
(venues) explained “when you place an object within a space, you don’t just view the object, you also see the space around
it”[24]The freedom to choose the space by the artists, resulted in an uncharted exploration of the spaces.
12a. Pepper House Every artist adopted a different approach to address the theme of the biennale. Some referred to the site in the
(warehouse)
12b. Mattancherry physical sense and used the existing structure, while others created installations which were narrative of the
Warehouse. chain of events that had taken place in Kochi over the years. The artists chose a wide range of Medias to create
12c. Moidu’s Heritage
Plaza (Warehouse) their art works, ranging from audio visual projections to three dimensional walkthroughs and even compilation
of various objects and images. .
13. Pepper House
13 After renovation

The event’s long term effects are yet to be experienced, but the diverse use of spaces did manage to draw the
world’s attention not only for the city of Kochi, but also for the buildings providing them with a second lease
of life.
3.3.2. Keeping Change as a constant.
It will not be wrong to say that the fast moving world of today has made the people mechanical. Our urge to
keep pace with the ever changing world has made our lives monotonous. As discussed in the previous chapter,
Art has the ability, inter alia, to set the mind thinking, including its ability to free us from the monotony.
Art intervention in buildings is not a new phenomenon. Architects for eons have used art in the field of
architecture to further enrich their works. It is a known fact that prolonged exposure to anything tends to make
one immune to it. Same is true of art. Prolonged exposure to a single piece of work tends to rob the art work
14a 14b
of its ability to intrigue the audience. Many museums and galleries fall prey to such events, as it is not always
possible for the curators to constantly change all works on display.
The Bhau Daji Lad Museum, Mumbai
The Bhau Daji Lad Museum or Victoria and Albert Museum, as it was known, is one of the oldest museums
in the city of Mumbai (Fig 14). The museum houses in its collection a large number of archaeological finds,
maps and historical photographs of Mumbai, clay models, silver and copper ware and costumes.[25] Like most
museums, this museum too houses a set of permanent display of art works and a few gallery spaces for temporary
exhibitions.
The museum, since its last renovation, has invited many contemporary artists to exhibit their works. The
artists exhibiting the works do not just confine themselves to the temporary galleries, but also venture into
the spaces housing the permanent displays for creating installations in them. For example, while artists like
Sudarshan Shetty and Ranjani Shettar chose to work inside the museum’s central hall, which houses a set of
permanent exhibits (Fig 15), others like Reena Kallat, chose to work with the façade of the museum to create
their installations. (Fig 16).
15a 15b Thus, the constantly changing exhibits not only add to the dynamism of the spaces, but also present new
experiences for the museum’s visitors. Installations not only intrigue the viewers, but also encourage them
to participate, which are the key elements of Installation. In this way, installations establish a conversation
between the audience, the art work and the space.
14. Dr Bhau Daji Lad
Museum (views)
14a. Museum’s main facade

14b. Central gallery
15. Installations inside

the musuem
15a. This too shall pass

(Sudarshan shetty)
15b. High tide for a blue
moon (Ranjani Shettar)
16. Cobweb/Crossings
16 (Reena Kallat)

3.3.3. Unraveling Architecture.
In order to see what is inside the box, one has to open it. Gordon Matta Clark carried forward this idea in the
literal sense. He had his formal education in Architecture. Matta Clark used derelict buildings as his canvas and
in literal sense opened the buildings in an attempt to reveal its insides.[26]
An attempt would be made to understand this phenomenon of unraveling architecture through Matta Clark’s
two of most well known projects, ‘The Splitting’ and ‘Conical intersect’.
The Splitting (1974)
For his project ‘The splitting’,(Fig 17) the artist split a house into two halves which in turn opened the inner
17a
volumes of the house to the larger volume of which the house itself was a part. Matta Clark opened the building
revealing the insides of the house to the outside. This allowed for a crossectional view of the building’s structure,
exposing those parts and portions of house, which otherwise would never be seen. With such explorations,
Architects can gain a better understanding of the building’s functions.
Conical intersect (1975)
In his project ‘Conical Intersect’ (Fig 18), which he created for the Biennale de Paris., Clark cut a conical
volume through two derelict 17th century buildings in the midst of Paris, this act opened new apertures in
the building, which in turn created new vantage points. The structures were demolished to make way for the
Georges Pompidou Centre.
Clark said that “By undoing a building … [I] open the state of enclosure which had been preconditioned
17b not only by physical necessity but by the industry that proliferates suburban and urban boxes as a pretext for
ensuring a passive isolated consumer”.[27]
Though this approach is very radical, they certainly question the perceptions of architecture. Similar experiments
could provide a window into the inner volumes of the buildings and present them in a format, which would
otherwise be difficult to perceive. This would provide a better understanding of the spatial construct and
behavior.
14. Splitting
17a. Slit as seen from outside

17b. Slit as seen from the
inside
15. Conical intersect
The aperture as seen

18 from the inside

3.3.4. Testing the Known perceptions.
Architecture has been evolving over the years and will continue to do so over the years to come. Charles Darwin
in his theory of evolution explained how, during the course of evolution only the fittest traits survived and the
weaker traits got eliminated. Similarly, in architecture also, the weaker traits get eliminated from time to time.
Architects have constantly been challenging the known perceptions that lurk in the society. Installations can
play an important role in this process of testing of perceptions. For this, one would again like to refer to two
previously discussed projects ‘The Toilets’ and the ‘Nautilus Project’.
Both the projects critiqued the prevailing conditions of the society and how our uni-directional vision kept
us blinded to the atrocities of the society.
The Toilets (1992)
In ‘The Toilets’(Fig 19) installation, the architects highlighted the problems of a neighborhood, where the basic
19 needs of sanitation for the locals was unaddressed, By putting the portable toilets at the front facade of the
gallery, the architects not only were able to convey the gravity of the situation, where basic needs were not met,
but the commonalities between the various sections of the society, which had otherwise sunk into the crevasse
of the economic division of the society. Architecturally, the project challenged the notion of what is public and
what is private and the impact of reversing the positions of private and public spaces.
Nautilus Project (2000)
For eons the subject of gender and space usage has been a subject of debate. ‘The Nautilus Project’ (Fig 20) too
delves into the subject, though the main intent of the project was to be a critique to the position of women
in Chilean society. The project managed to bring forth the differences in gender and usage of space. For the
project, the Architects created glass house and allowed a woman, to inhabit it and carry out her daily chores
in the glass house. The transparency of the house exposed the inner activities to the outside. The house was
strategically placed in an urban context, in a well populated neighborhood, to better understand the functioning
of the society. This was in contrast to the ‘Farnsworth house’ by Architect Mies Van der Rohe and Architect
Phillip Johnson’s “Galls House’, which were constructed in isolation from urbanity.
The project received a lot of criticism and protests from various sections of the society, but at the same time it
drew hundreds of onlookers, who were curious to see the female inhabitant of the glass house performing her
daily chores in it. Thus, providing a window into functioning of society.
20
Both projects examined the prevailing trends and behaviors of the society and
showed how installations can serve as a tool for testing the perception of our society
and architecture and kick start a thought process and urge us to ‘Test the Known
perceptions’.
19. The Toilets

20. The Nautilus Project

Introduction page - Languages ( Rashid rana) - Author Notes:
1. Merriam – Webster online dictionary,

1. Serpentine Pavillion – 2005
1a. http://media.novinky.cz/008/110081-original-ahbgx.jpg http://www.merriam-webster.com/dictionary/context
1b. http://img355.imageshack.us/img355/6202/05serpentinegallerypavilion200.jpg
2. Alvaro Siza’s official website, completed projects – Serpentine pavilion 2005.
2. Serpentine Pavilion exterior view.
http://alvarosizavieira.com/2005-serpentine-gallery http://alvarosizavieira.com/2005-serpentine-gallery
3. Bruno Taut Pavilions
3a. Gutschow K. Kai, From the Object to installation in Bruno Taut’s Exhibit Pavilions, Journal of 3. Ibid.
architectural education, May 2006. pp. 64. 4. Ibid.
3b. Ibid.
3c.Ibid. 5. Gutschow K. Kai, From the Object to installation in Bruno Taut’s Exhibit Pavilions, Journal of architectural
4. Glashaus interior views education, May 2006.
4a. Gutschow K. Kai, From the Object to installation in Bruno Taut’s Exhibit Pavilions, Journal of
6. Ibid.
architectural education, May 2006. pp. 67.
4b. Ibid. 7. Ibid.
5. DO|SU Studio Architecture, Projects – Bloom.
8. Ibid.
http://api.ning.com/files/vmXzdhArVW3lapE1JZh1un5NYtWGiv4J10HEk4ny2FSd6Dwfwl1t4nhn9EL
Y2ThPepLTQLrSIYKB9ANr8xKdR1-fcYj8d614/BLOOM_01.jpg 9. Ibid.
6. Sun Synchronization Diagrams
http://ad009cdnb.archdaily.net/wp-content/uploads/2012/03/1331306129-bloom-img-19-dosu-
1000x688.jpg http://www.dosu-arch.com/
7. Cybermohalla, Gurgaon.
7a. Domus Magazine, Like a piece of Architecture, April 2013. pp.50 11. Ibid.
7b. Ibid.pp.50 12. Ibid.
8. Cybermohalla Traveling unit.
8a. http://blog.archpaper.com/wordpress/wp-content/uploads/2011/02/Cybermohalla_1-18.jpg 13. Ibid.
8b. Domus Magazine, Like a piece of Architecture, April 2013.pp.52
14. Domus Magazine, Like a piece of Architecture, April 2013.
9. Cybermohalla interior views
9a. http://www.tb-cms.org/data/exhibition/64/2084.jpg 15. Nikolaus Hirch interview on Cybermohalla.
9b. http://upload.wikimedia.org/wikipedia/commons/7/72/Cybermohalla_Hub_3.jpg http://www.youtube.com/watch?feature=player_embedded&v=tiyfc4MZ96g
9c. http://www.susa-abk-stuttgart.de/pages/img/medium/627.jpg
16. Article on Cybermohalla (TBA-21)
http://www.tba21.org/projects/64/page_2?category=projects

10. Bio Pavilion 17. Article on Cybermohalla (Archplus-Online Magazine).

10a. http://andblackstudio.com/design/bio-pavilion
10b. Ibid. http://www.archplus.net/home/archiv/artikel/46,2805,1,0.html
10c. Ibid.
18. Form follows function, Frank Lloyd Wright quote,
11. Kochi Biennaler – Art Works.
11a. Author. 19. Bionic – paper tube manufacturer’s site
11b. Author.
http://www.bioinc.co/#!bio-pavilion/cwe0
11c. Author.
12. Kochi Biennale – Venues. 20. And Black Studio’s website (Design – bio Pavillion)
12a. http://kochimuzirisbiennale.org/pepper-house/ http://andblackstudio.com/design/bio-pavilion
12b. http://kochimuzirisbiennale.org/mattanchery-warehouses/
21. Ibid.
12c. http://kochimuzirisbiennale.org/moidus-heritage-plaza/
13. Kochi Biennale, Pepper House – Author. 22. Bose Krishnamachari & Komu Riaz, Against all odds- Kochi Muziris Biennale ,DC Books,Kottayam –
14. Dr Bhau Daji Lad Museum Views Kerala,India,2012.
14a. http://www.bdlmuseum.org/
14b. http://www.indiantravels.com/admin/uploads/Places/634902539084466404_ban-bdlm-mumbai.jpg 23. Ibid, pp.
15. Installations within the museum 24. Artist Valsan Koorma Kolleri (personal interview- Kochi Biennale).
15a. http://www.artindiamag.com/quarter03_03_10/images/reviews01_03_03_10.jpg
15b. http://blogdotsaffronartdotcom.files.wordpress.com/2013/01/high-tide-for-a-blue-moon.jpg?w=640 25. Dr Bhau Daji Lad Museum, Mumbai’s official website.
16. Cobweb/Crossings http://www.bdlmuseum.org/
http://in.blouinartinfo.com/news/story/885613/reena-kallat-on-her-mammoth-1-ton-rubber-stamp-
26. Gordon Matta Clark- Bio data (Guggenheim website)
cobweb-at-the http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/874
17. Splitting
17a. http://1.bp.blogspot.com/-zGiDmO2lrNo/TeU9TQmzipI/AAAAAAAAAc4/Sb7w7FQOAbU/s640/gordon- 27. Gordon Matta-Clark (PDF) by Dan Graham, 1985
matta-clark%252Bsplit%252Bhouse.jpg http://files.audc.org/mit/Class%2010/Graham_GordonMatta-Clark_378-380.pdf
17b. http://www.artnet.com/magazine/features/smyth/Images/smyth6-4-3.jpg
http://static.curiator.com/art/x_40aceddb678f199218f52529bf850ee6.jpg
19. The Toilets
http://www.storefrontnews.org/images/event/724.jpg
20. Nautilus Project
http://i-cdn.apartmenttherapy.com/uimages/ny/0513_vidrio01.jpg

Chapter 4
Conclusion
Table 1: Sumarry Chapter 2 4.1. Conclusion

S.No Attribute Installation Details Response to attribute
1. Site Specific Marsyas Artist Installation & the site

Anish Kapoor
• Counters the verticality of the
This thesis has been an exploratory quest to seek answers to the questions of “what is installation art”, “are
Location space with a horizontal element. there any commonalities between installations and the field of architecture” and “can there be any possible
London, England • The fluidic monochrome applications of this art medium in the field of architecture”.
suspends between the ends of
Year the hall and drops at the centre
Through the course of the study one attempted to seek answers to these questions. The first chapter looked into
2002 – 2003 hovering over the bridge. what the art form was, its definitions, its origin and history.
Over the turn of the last century, a new art form seemed to emerge from the movements of conceptual art,
Material Used
3 Steel rings of 30m diameter ,
etc., which were termed as Installation Art. On going through the history of this art form, it emerged that
Red PVC sheet, Steel Cables. installation art was actually not a recent phenomenon, but had always existed as part of our culture and tradition,
like the burning of effigies of Ravana on Dushera or the flower festival in Rome. It was interesting to learn how
installations had existed as a part of architecture, like in the case of ‘Pachisi court’ at Fatehpur Sikri during
2. Three Oasis No 7 Artist Installation & the volume Akbar’s reign.
Dimesnsional Haus Rucker Co.(Architects) within A constant challenge which one faced during the study was to find a definition for Installation art that could
Location • Inside the bubble were 2 potted be termed as a sacrosanct definition. During the course of the study one realized there cannot be a single
Kassel,Germany palms, and a platform. definition encompassing all works of installations, as every artist seemed to have his or her own definition and
• The bubble opened visually interpretation of the art form. In an attempt to transcend this hurdle and for the purposes of this study, one
Year on the exterior, making the
1972 viewer aware of his immediate would like to treat installation as a thought process germinating from the terra firma of architecture, with the
surrounding. traits of being site specific, three dimensional, temporary and art work.
Materials used To gain a better understanding of the definition, it was fragmented and each term was examined individually.
Pneumatic membrane, two
potted palm trees and steel To study each term, examples were chosen that best described the term (Table 1).
scaffolding One observed a pattern in which installations behaved; the above traits seemed to exist in all the installations
that were studied. Similar to the functioning of our body’s sensory system, where different senses get stimulated
and respond to different situations differently, thereby enabling the body to adapt itself to that situation, in
3. Temporary Midsummer Snowballs Artist Installation & ephimeral installations too one or more of the traits come into play to respond to the situation, while other traits take
Andy Goldsworthy
• The gradual melting of snow
a back seat or remain dormant. For example, in the installation ‘Midsummer Snowballs,’ studied under the
Location added to the dramatization of heading of ‘Temporary’, the installation was site specific as it was specifically created for the streets of London. It
London, England the event and created a sense of was three dimensional due to its sheer size (two meters in diameter) and it was an art work, because it provoked
mystery.
Year
the audience and set them thinking about the differences in the life style of the city and the highlands. But the
1999 - 2000 key factor of the installation was the ephemeral nature of snow. The artist played with this ephemeral nature
to create a dramatic effect: the installation kept transforming, from being a giant ball of snow to gradually
Materials used
Snow, pebbles, twigs
reducing to just a few scattered twigs.
One may also look at the example of ‘Oasis No. 7’. In this installation, the architects created a bubble like
structure and projected it from the balcony of a museum. The installation was site specific as it was tailored for
4. Art Work 1000 Melting Men Artist Installation & cerebral that particular balcony, the transparent plastic bubble made it look fragile against the opaque masonry structure
Nele Azevedo of the museum, emphasising on the ephemeral nature of the work. The project was a critique of the society
• The project began as a critic to of the time which refused to acknowledge the urbanity around it in quest for the utopian wilderness. But the
Location the contemporary monuments.
Berlin ,Germany • The concept of melting mainstay of the installation was its three dimensional nature. It made the audience penetrate into the volume of
humans was adopted by WWF the bubble, in an act of acceptance of the reality, where the two potted palms, suggestive of an oasis, were seen
Year to create awareness about against the back drop of the urbanity that existed.
2009 global warming.
• The installation shows the
Materials used interpretative nature of an art
1000 twenty inches tall, ice work and how a work could
human figures have multiple meaning.

Table 2: Probable application in architecture
1. In the process of designing
S.No Installation Details Area of application Attributes The study of these and other examples incorporated in the previous chapters further affirm the behavioral pattern
of installation, with each of its elements/traits assuming prominence over the other in different installations.
1. Serpentine Pavilion Architect Context • Site Specific
During the last few decades, many architects and artists have engaged in the practice of installations and each
Alvaro Siza • Three dimensional of them seems to be tapping on its different traits to achieve different results. Based on the understanding of
• Siza evolved the vault like • Temporary the behavior of installations and one’s education as a student of architecture, an attempt has been made to study
Location structure in reference to the
London, England mounds on the site.
different examples of installations created by various architects and identify the traits that were exploited and
• The pavilion maneuvered find probable applications for such works in the field of architecture (Table 2)
Year around the existing trees. Architect Narendra Dengle in his article ‘The Beyond-ness of Benaras,’[1] narrates his experiences from his visit
2005 • Timber was used to
compliment the site’s landscape.
to the city of Benares in the year 1978. In an informal chat, he talked about how he wanted to capture the
Material Used • Siza acknowledges the trees essence of the city and relive it over and over again whenever or wherever he wanted to, rather than just carrying
Flat timber panels and the mounds as the starting home a few lifeless images or trinkets as souvenirs from the place. Through his narration he put forward the
point for the design. question of ‘how does one capture this essence or experience and reproduce it at will?’
Since installations are based on the idea of multisensory experiences in a space, one believes that they have the
ability to be portals for re-creating and re-living an experience long after the actual event at a later point of time.
The components of art and materiality, which installations bear in them along with the cerebral component,
2. Glashaus Architect Material exploration • Art work allow the artist to recreate experiences. Most installations are ephemeral and, therefore, by the end of their
Bruno Taut • Three dimensional
• Taut had the freedom to play • Temporary tenure, what is left is a memory. These transitions establish an inter-connecting loop or a ripple effect, where an
Location with the material and exploit it. • Site specific experience becomes an idea, the idea becomes a reality and the reality again becomes an experience.
Cologne, Germany • Taut used his learning from The question which still lingers is, what applications can installations have in architecture? The answer to this
past pavilions.
Year • In the Glashaus he used question lies in the understanding of installation as a process and not as the end result. Just like architecture,
1914 Coloured glass to create installations too have space, experience and users as their main governing factors and are largely responsible
Kaleidoscopic patterns. for their structuring. But, at the same time, with their factors of art and temporariness, Installations provide
Materials used • Extended the use of glass
Concrete Ribs (For the dome), to create display units and architects the freedom from the restrictions of a conventional practice, thereby allowing them to be more
Steel Frames, Coloured Glass handrails. expressive, open and experimental.
and Concrete plinth As illustrated in the examples in the preceding chapters, installations can serve as testing ground for ideas.
Installations, like the ‘Bio pavilion’ or ‘Bloom’ are not complete architecture, but are fragments of a complex
whole. These may also be seen as prototypes for future models. It is not always possible for architects to build a
3. Bloom Architect Climate Responsiveness • Three dimensional
Doris Kim Sung • Temporary complete structure merely to get an understanding of the experiences that would be generated. Further, models
• The faceted geometry resulted • Site specific or computer simulations cannot create a multi sensory, real time experiences.
Location in a self supporting structure. Apart from this, Installations can help revive experiences or keep alive existing structures as seen in the previous
Los Angeles, USA • With the rise in temperature
the bimetal sheets curl, the chapters. Events, like the Kochi Biennale or even the installations done at the Bhau Daji Lad Museum, which
Year movement of the sheets is show how with the help of installations, such dilapidated/abandoned buildings got a second lease of life. As
2012 controlled by the geometry seen previously, buildings live through people and such works can again draw people towards them.
itself.
Materials used • The geometry is configured Projects like ‘The splitting’ or ‘Conical intersect’ which have been discussed in the previous chapters play with
Thermo Bimetal sheets to be sun synchronous and derelict buildings and can help in better understand how existing buildings function and infuse new perspectives
structure configures itself to into the understanding of buildings.
create a constant shade.
As illustrated in the previous chapters installations, like ‘Nautilus Project’ or ‘The Toilets’, make use of the
cerebral component and, as they rely mainly on the responses of the audience, in a sense establish a direct
dialogue with the audience. Such experiments can help in testing and challenging the known perception of
architecture.

1. In the process of designing
S.No Installation Details Area of application Attributes The flexible nature and diverse media of installation art, allows for a very large material pallet. It will not be
wrong to say that if put in the right light almost anything can become an installation, as seen in the case of
4. Cybermohalla Hub Architect Space Making • Site Specific
Marcel Duchamp’s ‘Fountain’. The use of everyday material in this art form provides a sense of familiarity to the
Alvaro Siza • Three dimensional works and help the audience bind well with the art works, instilling a sense of oneness with them.
• The structure is 4 tiered. • Temporary It is in this perspective that Installations could complement the endeavors of an Architect in his experimentation
Location • the functions are integrated
Gurgaon, India within the structure itself.
with space, matter and concept and gathering his audience response , thereby bringing architects closer to
• Modular system of people (Society) for better interaction and one on one interaction. Thus, installations can serve as a testing
Year construction. ground for specific factors, with actual materials and on actual scale. Like pieces of a puzzle, the learnings from
2012 • Program and construction
techniques were kept constant.
these experiments, if one may call them so, can be put into application in actual architecture subsequently.
Material Used • Module allows flexibility to Already a number of new generation architects are working towards tapping the full potential of installations,
Recycled wooden panels configure according to the site. on account of its similarities to architecture. A number of institutes within the country and abroad have
incorporated installation in their process of teaching, as it encourages the students to play with the materials,
structures and even interact with the masses.
An installation is a continuous process, and what are seen as end products, are in fact frozen moments of a single
process. As seen, architecture is evolving and will continue to evolve over the years to come, and as a student of
architecture one would like all architects to recognise this fact of evolution and continue to contribute to this
evolution by generously employing the phenomenon called ‘installation’ for its flexibility.
5. Bio Pavillion Architect Form Finding • Art work
Andblack studio • Three dimensional
• The processes of form finding • Temporary
Location and material exploration • Site specific
This study is not the end, but beginning of the point from where one would like to
New Delhi, India may be seen as a symbiotic carry forward the learnings from this study of installation and applying them in the
relationship, where the desire
Year to create a form may urge an field of architecture. One is eagerly looking forward to use “Installations as tool for
2013 architect to explore and expand architectural explorations”.
his material pallet, and the
Materials used exploration of the materials
Weather proof paper tubes and provide an architect the ability
steel cables to create a desired form.

2. In existing buildings
S.No Installation Details Area of application Attributes
1. Kochi - Muzaris, Biennale Location Reviving spaces • Site specific

Kochi, India • Art work
• TheThe main intent of the • Temporary
Year biennale was to showcase the • Three dimensional
2012 scenario of contemporary art
in India.
• The theme was to revive the lost
city of ‘Muziris’
• For the biennale 11 venues
which comprised of old
abandoned ware houses were
chosen, Jetties etc.
• The artists had the freedom to
select the spaces use them to
create art works .
• The event of the biennale
not only revived the dormant
spaces, but also drew people’s
attention towards the neglected
structure.
2. Dr Bhau Daji Lad Museum Location Keeping change as • Site specific

Mumbai, India constant • Art work
• Temporary
• The museum is one of the • Three dimensional
oldest museums in Mumbai.
• Since it’s renovation in 2008,
the museum has invited artists
to create installations as a part
of the temporary exhibition.
• Since installations are based
on user participation and
interaction they not only
intrigue the viewers, but also
encourage them to participate.
this establishes a conversation
between the audience, the art
work and the space.
3. The Splitting Architect /Artist Unraveling Architecture • Site specific

Gordon Matta Clark • Art work
• He used derelict buildings as • Three dimensional
Location his canvas. • Temporary
New Jersy, USA • Mata Clark split the building
from the centre.
Year • By cutting of the block, the
1974 inner volume of the house got
fused with the exterior volume
of which the house itself was a
part of.

2. In existing buildings
S.No Installation Details Area of application Attributes
4. Conical intersect Architect /Artist Unraveling Architecture • Site specific

• He Punctured two adjoining • Three dimensional
Location 17th century buildings , • Temporary
Paris, France creating a conical void which
were set for demolition.
Year • The giant punctures exposed
1975 the inner volumes to the
outside.
• Created new apertures in the
facade.
• The buildings were replaced by
the Georges Pompidou Centre
5. The Nautilus Project Architect /Artist Testing known perceptions • Art work
Arturo Torres, Jorge Christie and • Site specific
Daniela Tobar • The project was aimed as • Three dimensional
critique to the position of • Temporary
Location women in the Chilean society.
Santiago, Chile • The house examined
intersection of gender and
Year privacy.
2000 • The project had a woman
performing her daily chores, in
a glass house, placed in a dense
urban context.
• The project was an experiment
to critically think about
the common architectural
perceptions of privacy, usage
and even gender behavior by
testing and challenging them
6. The Toilets Architect /Artist Testing known perceptions • Site specific

• TheThe installation was based • Three dimensional
Location on ‘Sociologist Richard Sennet’s • Temporary
New Jersy, USA phrase ‘Art for exposure’.
• The toilets exposed and brought
Year to the front façade in the form
1974 of 5 portable toilets.
• The installation brought the
attention to the lack of sanitary
facilities in the neighborhood.
• The toilets broke social barriers.

Table 1- Chapter 2 summary 1. Article By Architect Narendra Dengle

Dengle Narendra, The Beyond- Ness of Benaras, Journal of Landscape Architecture, Volume 7, Issue 1, 2009.
1. Unilever series, Tate Modern London, Anish Kapoor - Marsyas.
http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-anish-kapoor-marsyas
2. Oasis No – 7
http://payload.cargocollective.com/1/0/3506/29638/cold_war_modern_01.jpg
3. Midsummer Snowballs
http://www.decordova.org/about/press/andy-goldsworthy-snow
4. 1000 Melting Men
http://www.designboom.com/cms/images/andrea01/nelea.jpg
Table 2- Probable applications in architecture
In the process of designing
1. Serpentine Pavillion – 2005.

http://media.novinky.cz/008/110081-original-ahbgx.jpg
2. Glashaus
Gutschow K. Kai, From the Object to installation in Bruno Taut’s Exhibit Pavilions, Journal of
architectural education, May 2006. pp. 64.
http://api.ning.com/files/vmXzdhArVW3lapE1JZh1un5NYtWGiv4J10HEk4ny2FSd6Dwfwl
1t4nhn9ELY2ThPepLTQLrSIYKB9ANr8xKdR1-fcYj8d614/BLOOM_01.jpg
4. Cybermohalla, Gurgaon.
Domus Magazine, Like a piece of Architecture, April 2013. pp.50
5. Bio Pavilion
http://andblackstudio.com/design/bio-pavilion

Table 2- Probable applications in architecture

In the process of designing
1. Kochi Biennaler – Art Works.

Author
2. Dr Bhau Daji Lad Museum Installations within the museum
http://www.artindiamag.com/quarter03_03_10/images/reviews01_03_03_10.jpg
3. Splitting
http://1.bp.blogspot.com/-zGiDmO2lrNo/TeU9TQmzipI/AAAAAAAAAc4/
Sb7w7FQOAbU/s640/gordon-matta-clark%252Bsplit%252Bhouse.jpg
http://static.curiator.com/art/x_40aceddb678f199218f52529bf850ee6.jpg
5. The Toilets
http://www.storefrontnews.org/images/event/724.jpg
6. Nautilus Project
http://i-cdn.apartmenttherapy.com/uimages/ny/0513_vidrio01.jpg

Bibliography
Books
1. Bonnemaison Sarah, Eisenbach Ronit, Installations by Architects, Princeton Architectural Press, New
York, 2009.
2. Krauss Rosalind, The originality of the Avant – Grade and Other Modernist Myths, MIT Press,
Massachusetts,1988.
3. Berger John, Ways of Seeing, Penguin books, London,1995.
4. Schwartz Martha, Transfiguration of the Commonplace, Spacemaker Press, Washington D.C., 1997.
5. Arthur.C.Danto, The Transfiguration of a Commonplace: A Philiosophy of art, Harvard University Press,
The United States of America, 1981.
6. Bose Krishnamachari & Komu Riaz, Against all odds- Kochi Muziris Biennale ,DC Books,Kottayam –
Kerala,India,2012.
7. Edwards Betty, The new Drawing on the right side of the brain, HarperCollins Publishers, London,
2008.
Un- published Undergraduate thesis

1. Akkiraju, Srujana, Space as an experiment : learning from installations, CEPT University Ahmedabad,
2011.
2. Shah, Shama, Temporary installations : their magic of existence and disappearance. , CEPT University
Ahmedabad, 2000.
3. Schaefer Janek, 6 elements of Installation, Royal college of art, London, 1994.
Magazines & Journals

1. Journal of Architectural education, Volume 59, Issue 4, May 2006.
2. Domus (India Edition), Volume 7 , Issue 6, April 2013.
Videos
1. BBC television series Ways of seeing with John Berger.
2. The EYE, a documentary series on contemporary visual artists in Britain by Illuminations.

V.girish M.arch Thesis (1216)

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A

Installations - A tool for architectural explorations.

Program Head: Thesis Co-ordinator:

Prof. Kulbhushan Jain Prof. Snehal Shah

2.1 Site specific 21

4.1 Conclusion 125

Ar Rajendra Puri, Jaipur, for being there as a guide and a mentor.

1. What is installation art?

Flow diagram (Fig 1)

1.1. Introduction to the study

Buren’s columns - Palais-Royal, Paris

Pg.02.Chapter 1 Chapter 1 . Pg.03

1. A piece of art that consists of several different objects or pictures arranged to

3. Art that is created, constructed, or installed on the site where it is exhibit-

01. Face 2 Face

Pg.04.Chapter 1 Chapter 1 . Pg.05

5. An Installation is a three dimensional work of art that is site specific. [9]

04. The event of a

Pg.06.Chapter 1 Chapter 1 . Pg.07

1.3.1. Tracing evolution of art (Fig 6)

1.3.2. Tracing evolution of architecture (Fig 7)

06. Flow Diagram for Evolution of

Pg.08.Chapter 1 Chapter 1 . Pg.09

1.4. Installations have always been there.

1.4.1. Examples from History

1.4.1.1. Pachisi Court – Fatehpur Sikri (Fig 8)

1.4.1.2. Giant Board – Hunan province, China (Fig 10)

Pg.10.Chapter 1 Chapter 1 . Pg.11

1.4.2. Cultural Installations

1.4.2.1. Dusherra Celebration, Northern India (Fig 11)

1.4.2.2. Infiorata, Genzano di Roma, Rome (Fig 12)

1.4.2.3. Kolu, Celebration , Tamil Nadu, India (Fig 13)

Pg.12.Chapter 1 Chapter 1 . Pg.13

1.5. Modern History of Installations.

Pg.14.Chapter 1 Chapter 1 . Pg.15

Introduction page - Buren’s columns 1. Mc Millan online dictionary,

Pg.16.Chapter 1 Chapter 1 . Pg.17

temporary, art work

2.1. Site Specific

If one is to look at the dictionary meaning of the word “Site Specific” it

Sculpture installed in Bowling

Pg.20.Chapter 2 Chapter 2 . Pg.21

2.1.1. Installations created within a building

2a.Section of the Turbine hall

Pg.22.Chapter 2 Chapter 2 . Pg.23

2.1.1.1. Double Blind (Fig 3)

Observations & Inferences

Pg.24.Chapter 2 Chapter 2 . Pg.25

2.1.1.2. Marsyas (Fig 4)

The installation & the site

Pg.26.Chapter 2 Chapter 2 . Pg.27

Observations & Inferences

2.1.1.3. Test Site (Fig 6)

6a. Slide spanning full height of

Pg.28.Chapter 2 Chapter 2 . Pg.29

The installation & the site

Observations & Inferences

2.1.2. Installations created with respect to the Landscape.

Pg.30.Chapter 2 Chapter 2 . Pg.31

2.1.2.1. Prairie Ladder (Fig 7)

The installation & the site

Observations & Inferences

Pg.32.Chapter 2 Chapter 2 . Pg.33