profanations

profanationsa collection of blasphemies- edited by adam hatch -

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42 48 52 56

profaning sacreddrawings & buildings

federica goffi 4

unité d’individualitévanessa haddock 6

xrayvisiondavid king 10

formaldehydechrissy taylor 14

rising architecturejessica hickling 20

un-building a visionchris cormier 24

imaginary worldajantha kumarasingam 28

why profanations?federica goffi 32

ark for an apocalypsekhoi nguyen 34

parallel gardenjeffrey martin 38

the parallel citynersi naghikhani 42

national capital gatewaypeter kelly 48

vertical harmoneyjason mooi 52

pipe dreamadam hatch 56

excerpt fromlife after architecture

roger connah

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profaning sacred drawings & buildingshttp://www.d3space.org/unbuiltvisions/

Entering the blind spot our 2nd competition of the term ‘Unbuilt Visions’ called for architects and students of architecture to make a stand revealing their visions about the future of architecture. Even though the examples of ‘unbuilt visions’ cited by the competition entry are all examples of ‘from scratch’ architecture such as, for example, Mies van der Rohe’s Friedrichstrasse Skyscraper Competition (1921) or Le Corbusier’s Ville Radieuse (1924) produced by singular authors – the students remained within a spirit of profanation by provocatively altering ‘sacred’ buildings, sites and visions of buildings, including the examples cited by the competition entry, providing a re-vision of these well known architectural paradigms. While of course change is a foreseeable and accepted event for the Detroit Bridge – it is not so when the fabric considered is a piece of historic or modern heritage. Can we add or alter one of Le Corbusier’s projects, one of the built visions? What about the Unite d’Habitation in Marseille, or the Farnsworth House by Mies van der Rohe? What if Mies’s own drawing for the Friederichstrasse Skyscraper Competition became the canvas for the next unbuilt visions? Is it appropriate and under what circumstances to conceive an alteration of Moshe Safdie’s Expo 67 or the Royal gardens at Versailles? Can we excavate the grounds of Canada’s Parliament building to project the visitor’s imagination into the future?

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Can we break away from present habits of museification of architecture adopted when dealing with culturally loaded buildings, making visible the potential for an exquisite city corpse as a hybrid by multiple authors and with multiple beginnings? Selected provocative profanations of culturally loaded buildings from modern and historical heritage entail their repurposing, reimagining and reuse. When looking at Magritte’s ‘Eternal Evidence’ (1930), one might become aware that the painting is both within and without the canvases. The picture is both made of painted body parts as much as of the gaps between the frames. Those gaps are our imagination. They reveal openings into a fabric of possibility to complete the image in the canvas through the piercing gaze of the onlooker. The students visionary profanations projects are rooted within notions of sustainability where we come to terms with the fact that not all architecture in the future will be within the realm of utopian mega-structures born from scratch, and that many presently and past used spaces will need to alter well in order to make the best use of past and present resources.

federica goffi phd

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Unité d’Individualité

Vanessa Haddock

Le Corbusier designed Unité d’Habitation as a prototype for mass housing on a macro level, rendering the status of the individual as nothing but a transitory guest. The banality of its form and the mobility of its inhabitants condemns the complex to a perpetual present tense in which it maintains insufficient ties to the past and future. The task of relieving Unité d’Habitation from its sense of purgatory brings attention to the design of the exterior wall. In a physical sense wall divides the interior and the exterior spaces, acting as a barrier and enforcing a silencing of the interior. The presence of the interior should evoke a functional similarity to the exterior of the building. Not only does this create two surfaces held by the literal wall, it also allows those surfaces programmatic possibilities that are capable of a relationship of similarity. With the intervention of Unité d’Individualité, the two opposing surfaces of the wall, interior and exterior, bleed into one another, providing an opportunity for the inhabitants to extend their interior living through the threshold of the façade. This extension of living promotes a sense of communication between neighboring individuals in developing the exterior wall into a coherent living space. Giving the inhabitants the freedom in selecting one of the twenty-four unit extension prototypes, they are provided with a kit of parts that is appropriate to their needs. The choreographical placement of the unit extensions will then come together and participate in the continuously evolving joy of the façade.

building up of the new facade

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cross section: inhabiting the wall

X R A Y V I S I O N

David King

The apocryphal tale is that the skeletal appearance of Mies’ tower was influenced by the X-ray, which was at the time a cutting-edge medical imaging technology. Re-examining this building through the lenses of modern medical imaging, 4D Computed Tomography, this project radically reinterprets the design in modern terms and redefines the possibilities of the skyscraper typology. With the advent of computed tomography we are able to reconstruct an object three dimensionally by stacking multiple axial X-ray slices. Instead of Skin and Bones (X-ray) the building becomes Skin, Muscle, Veins, and Bones (4D CT); all layers of the building become visible at once.Situated on the original site in Berlin at the intersection of the Friedrichstrasse and the river Spree, the triangular footprint of the site is stacked and twisted up to a point. It reuses Mies’ original strategy of a faceted form as a means of breaking up the façade and creating a play in modulation of light; the form evokes a mass of muscles twisted around bone, covered in a translucent and luminous skin.

[BONE]the concrete slab on steel decking

and elevator

[MUSCLE]the tensile steel superstructure supported by a

mast

[VEIN]an exposed plumbing and

mechanical systemsuperstructure and the concrete work in concert to help

strengthen and brace

[SKIN]translucent PTFE skin modulates light and space

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twisting floorplates

F O R M A L D E H Y D E

Chrissy Taylor

As a building with an unsettling history, it is important that the memories of the previous Hermitage on the site are addressed; a volumetric formaldehyde interior recognizes the absence of the building as it previously existed. As the exterior façade of the Hermitage continues to deteriorate, the Formaldehyde castings will remain as a constant reminder. People in the present day can only experience the Hermitage in spaces that were never occupied by the previous inhabitants. There are two linear cuts, previously occupied by interior walls, that separate the formaldehyde blocks into three parts and allow people to experience the internal space while non living inhabitants retain what was originally their space, now preserved as a memory in transparent formaldehyde. Included within the formaldehyde cast of the Hermitage are important relics from the past and details of the previous inhabitants, making them visible and inescapable from memory. In the house chickens, a horse, cats and antiques from Eleanor’s former tea parties occupy the space that was once her parlour. The carriage house contains the remains of the manure cart and horses. Although safely cast in thick glass, the formaldehyde is used to create a sense of uneasiness; it not only preserves physical elements that are reminiscent of the previous inhabitants, but it possesses a level of toxicity and connections with death and embalming. The dangerous nature of the formaldehyde, and its morbid associations, make it uncomfortable to those experiencing it now, as do the building’s own memories.

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carriage house

section showing cut through formaldehyde

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Roger Connah, 2012

“We need new ways to upse

t

the old”

Jessica Hickling

RISING ARCHITECTURE: testing the waters of contemporary heritage

Rising Architecture is an unbuilt vision; an intervention and addition on a world renowned building. The site is the 1951 Farnsworth House by Mies van der Rohe, near Plano IL, on the bank of the Fox River. Modernist ideals distilled the building down to its essentials, and the house merges into the landscape leaving the horizontal structures floating within nature, or water with the change in season; the Farnsworth House suffers periodic flooding, which has resulted in millions of dollars in damages since 1954, leaving the house uninhabitable. The proposed changes offers a provocative and alternate approach to how modern heritage can be dealt with when circumstances warrant a rethinking. Exploring what Mies had conceptualized in his design for the Farnsworth house, experimenting with oppositions and correlations a new addition to the house is proposed. The addition utilizes the roof plane of the Farnsworth house as the ground plane allowing for a new habitable space raised above water. The water, free to rise as it may, engulfs the original house that will be accessible by boat from the road entrance or by the Fox River. As time passes and flood levels rise the house will still be experienced within nature as Mies intended it, becoming one with the surrounding water.

site plan showing flood lines

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the rising flood water

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UN-BUILDING A VISION

FOR IMMEDIATE RELEASE

SUBJECT: Victory in the War on God

The United States Air Force would like to congratulate all Airmen, both uniformed and civilian, on the irrevocable and decisive victory in the War on God.

With an unwavering belief in the power of human capability and utilizing the most advanced technology available, the past 65 years have been spent engaged in all out warfare against the dictatorship of gravity. With this recent triumph all men are free to exist on land or above, under the direct, autonomous and supra-national authority of the United States Government.

Acknowledging this victory it has also come to our attention that the Chapel at the U.S.A.F. Academy is no longer needed as a tribute to the now antiquated notion of God and will instead be utilized as yet another tool in the educational indoctrination of cadets. Utilizing a revised trinity, the new “church” will focus on the true representation of past, present and future: Sir Isaac Newton, the Electron and the Large Hadron Collider at the European Organization for Nuclear Research (located in the American colony of Switzerland), more commonly known as C.E.R.N.

Already hugely successful at grooming the future leaders of military and industry, the chapel will process cadets as raw material, to be molded and shaped with the technical efficiency of the most cutting edge factory line processes. Upon entering the facility, the material is subjected to a barrage of visual, auditory and social conditioning mechanisms that ensure complete and total compliance with current mandates.

Chris Cormier

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sequence of un-building and reorientation of the now defunct U.S.A.F. Academy Chapel.

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new Chapel and angle of reorientation towards C.E.R.N.

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imaginary world addition to children’s hospital

Ajantha Kumarasingam

Imagine being a child in a hospital bed for days, experiencing isolation and fear, and when opening the doors of your hospital room usually means seeing long white hallways with worried, concerned or crying people. Is there a point in leaving your sad room to a larger place of sorrow? Is there a place to escape within the hospital environment that allows you to forget your problems and feel hope, wonder and imagination? Yes indeed! Sick Kids’ unbuilt vision will embed positive feelings into children and their families. The existing hospital’s environment incorporates a visionary addition, the imaginary world; a garden and a glass bubble filled with plants and birds. The garden will directly connect you to the hospital and surrounding spaces; as this view is from a window with joyful scenes, it will revitalize the patient and encourage them to explore the space. The natural scenery with countless meandering pathways, benches and chairs offers opportunities to embrace the peaceful setting. The hospital garden will inspire patients to experience nature and forget worries, creating positive outlooks on life itself. The spaces between will allow children to get away from the hospital environment, letting children be children by playing and interacting with one another. This space will also be an area for families to socialize and give a feeling of calmness and peace of mind. The glass bubble will provide a place for children to educate themselves about plants and birds, it will increase a child’s imagination and allow them to play and learn.

section: hospital and sphere

front elevation

glass bubble bird area circulation garden29

plan of new park level

30plans of sphere

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“The Museification

Giorgio Agamben, 2007 [2005]

of the world is todayan accomplished fact”

Our Profanations Fall 2012 MArch studio dealt with two fast paced design competitions; both were approached with an emphasis on intervening on somebody else’s work as an exquisite corpse by multiple authors challenging both a contemporary notion of design from scratch and notions of conservation as a practice of preservation as is or restoration as was, contemplating through the daydream canvas of architectural drawings fictional scenarios of other possible futures for a known site or building where a known beginning has other possible endings.

federica goffi phd

why profanations?

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Ark for an Apocalypse

Khoi Nguyen

The project is predicated on the idea of a post apocalyptic world in the future spurred on by the degenerative effects of climate change on the status quo. Average temperatures have risen by 1.4°F over the past century and projections have the earth’s temperature rising another 2°F to 11.5°F over the next century. Small changes in the average temperature of the planet have translated to changes in the weather and climate. Many places have seen flooding, droughts, and severe heat waves. The ice caps are melting and sea levels have risen. An experimental project is pioneered at the Diavik diamond mine in northern Canada to test the architectural endeavour against severe climatic conditions. Initially the project was established to provide housing for the thousands of workers associated with the mine. Structural towers provide a framework of mechanical cores and utilities. Individual housing modules made from retrofitted shipping containers are later plugged into the tower framework. Pockets of open public space is provided within the framework adjacent to housing units. Streets are created along with the infrastructure of a city. Merchants and markets are developed to service the residents of the towers. The towers mature progressively with the insertion of new modules. Eventually a cataclysmic flood triggers the transformation of the tower to a floating ark city. The exterior structural skin is repurposed to bridge adjacent ark cities and to provide a floating deck for the residents. Ark cities are clustered together to create a mega city that is self sufficient until the earth recovers. towers in the mines awaiting the flood

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post-flood community of towers

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PARALLEL GARDEN of versailles

Jeffrey Martin The Parallel Garden of Versailles is comprised of fourteen pavilions that run in opposition to the original intent of the gardens; it is created for the people. The new interventions bring a unique dimension that allows one to see new perspectives in the French garden. The pavilions are divided into three typologies: first, and most importantly, is the greenhouse, the second is an open air pavilion situated on the Bassin de Neptune that is comprised of glass platforms staggered over the pool, and finally the third is a platform for viewing and maintaining the bosquets. The principal pavilion over the Bassin du Dragon, the setting of one of the beautifully ornate fountains of Versailles, has a large water feature in the centre that jets water forty feet into the air; this is the catalyst for the greenhouse pavilion. The pavilion allows the jet of water to shoot through the structure, letting the water disperse in the wind and collect in an elegant glass basin located in the centre of the greenhouse. The water is then channeled under the floor to the abounding plant life radiating from this origin. In addition, the greenhouse pavilion also offers many unique views of the surrounding garden and fountain below.

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greenhouse pavilion

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interior of greenhouse pavilion

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Nersi Naghikhani

The parallel city proposes the idea of a new urban experience in different parts of the city. The concept is to take critical open urban space in the city (squares, piazzas, parks and etc.) and transform them into a more interactive public spaces by creating an elevated landscape. Continuing on different levels, these new elevated urban spaces create new viewpoints of the city while also making new public spaces for various activities such as different kinds of shops, cafes and performing spaces. The parallel city integrates the daily activities of architectural spaces with the urban environment offering a new experience of the city. Furthermore, this new facade works as a connection between the urban environment and the Tate. It gives a more modern, 21st century, futuristic look to the Tate while preserving the old brick facade underneath, and creating catwalks around the exterior of the building providing the opportunity for the users to see the old PowerStation as a work of art.

The Parallel City

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45the parallel city at Tate Modern

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Roger Connah, 2012

“Provocation is not only gradual but inevitable”

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NATIONAL CAPITAL GATEWAY VISITOR INFORMATION CENTRE AT [BENEATH] PARLIAMENT HILL

Peter Kelly

Burrowing into the earth, puncturing the escarpment, and connecting the significant cultural and iconic buildings with the focal point of the city; parliament. Normally it would be problematic to introduce a modern intervention on the site; the conserve-at-all-cost mentality present in Canada freezes architecture in the past. The Capital Hill precinct has the most meticulously groomed and landscaped grounds in the country, trapped in a mental time-capsule from past centuries. National Capital Gateway is a theoretical response to a request for proposals released by Public works and Government Services Canada for a visitor centre at Parliament Hill. By submerging the new program beneath the lawn, this allows the facility to occupy the most ideal and central location directly adjacent to the Centre Block. The north escarpment that once was a strategic defence is now less sacred. Traversing the hill, there are remains of an old logging/pedestrian trail abandoned in the 1940’s once known as “lovers lane”. Removing the rear parking and reinventing the pedestrian trail reinforces the pedestrian friendly nature of the site. Stretching out over the Ottawa River atop of the projecting viewing portals, the new pathway anchors the building beneath the ground. The viewing portals selectively frame one experience and orientation relative to; the Canadian War Museum to the West, the Canadian Museum of Civilization to the North and the National Gallery of Canada to the East. With its close proximity to the most iconic architecture in the city, this “viewing pavilion” and information hub would be a key destination for visitors to the city and locals alike.

interior: views to the outside

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Vertical Harmoney

Exisitng Base

Evolve

Transform

Engage

Jason Mooi

At least 30 posters can be placed on this building, generating $720,000 per year. Currently advertisements are put on the facade of the building, which contributes to removing the debt on this property. With this method, Vertical Harmoney keeps the existing buildings current use while creating a self-generating revenue for reducing fees incurred by tenants. The proposal is to modify the structure into a Multi-use Mixed Social Housing Development that incorporates Social Housing, Regular Housing, Office Space and Retail at Ground Level. Szkieletor, nicknamed Skeletor, is the unofficial name of the 92 meter high-rise building in Krakow, Poland. The construction of the building started in 1975 and stopped permanently in 1981 due to the economic constraints and political unrest. The unfinished building’s appearance earned its name: Szkieletor. Since 1981, the sole purpose of this structure has been to hold and display large advertisements on its facade. Many have tried to buy out this property and rework the tower but the financial debt on the tower is so great that people have constantly backed out of the deals to purchase this land. With the poster method, paying off the debt becomes much easier as a portion of the advertisement rent money can contribute to the property debt.

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level 11 level 12 level 13 typ. level 14 - 19

ground floor level

typ. level 2-7 level 8-9 level 10

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unrolling an ad

Adam Hatch

Do behold: the warm floor is made for love making; it is the pipe dream that makes this possible. Enticingly and schizophrenically dreamt through drawing and photography, Habitat ‘67 is given a new beating heart in the form of a restaurant that is held in place by the gaze of the light cast by pipes. Alas, this lucid hypnerotomachia sees the strife of the lover as he searches through the dream of pipes, through Habitat until he can reach the last page and unite with his love. Now wake up!

pipe dream a lucid hypnerotomachia

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love re-inhabits Habitat ‘67

the gaze of light and love

the warm floor at work

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Roger Connah, 2012a work-in-progress...”

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“...uncertainty,

“The text invader is right and wrong at the same time. Architecture can only become the modern - or the one after the one before - fulfillment of the uninterrupted and unfinished task. That is why the collaborator can only consider this discipline as a one-way world, loaned rhetoric to the empty and emptying revolution, isolated individual narcissism and intense ambiguity.”

Roger Connah, 2012

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exquisitecorpsethe

exquisite corpsea compilation of surgically affixed limbs

- edited by adam hatch -

the

All original materials in Profanations/Exquisite Corpse are copyright of their respective authors.The editor of this visual academic essay bears no legal responsibility for materials appearing in this book.

© 2012

belly of the beasthaddock, hatch, martin 6

cuyahoga petting zoo + grillkelly, king, nguyen 12

why competitions?goffi 18

through-linekumarasingam, mooi, naghikhani 20

the elephant and the butterflycormier, hickling, taylor 26

6 12

20 26

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ceci n’est pas un ponthttp://clevelandcompetition.com/current-competition/

Entering the space of the surreal, our 1st competition dealt with the adaptive reuse of the Detroit Superior Bridge in Cleveland re-appropriating the bridge as a ‘found object’ and turning it into an -other than a bridge space- passageway building. Our question was: can architecture ‘take-place’ in a bridge? This studio re-imagined a present ‘quasi-relic’ in the city of Cleveland, a piece of city infrastructure which no longer serves its original purpose and is now being adaptively reused, transforming it into a dynamic public space inclusive of cafes, restaurants, landscaped pathways, a farmer’s market, or even a ‘belly like’ theatrical space or a circus performance invading the vertical space of the bridge’s arched structure; engaging the community in day/night shifts, seasonal cycles, hosting unique as well as periodic events, contributing to rethinking the life and economy of the bridge. The design proposals are critical in developing each a new identity for the bridge which would add to its known history through a notion of intertextuality where multiple stories are contextually present.

federica goffi phd

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belly of the beast

Vanessa Haddock, Adam Hatch, Jeffrey Martin

The beast sprawls across the Cuyahoga river; its belly sags over the water. The mile-long store fuses the beast to the city, and though one can pass through on the paved pathways, you might find yourself swallowed into the theatre. As you are digested down the stairs you pass rib after rib, never reaching the bottom but always hearing the sounds that race along the undulating edges of the stomach. The grotesque spectacle heightens as you look out through the skin of the belly before entering the theatre suspended within it. The theatre scars the skin, protruding from it, but you must leave before you are fully absorbed into the belly of the beast!

cross section throughtheatre in belly

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entrance to concourse

entrance to theatre

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Peter Kelly, David King, Khoi Nguyen

CUYAHOGA PETTING ZOO + GRILL

Our intervention on the Detroit Superior Bridge over the Cuyahoga River will act as a catalyst for the urban renewal at Cleveland’s industrial centre. The project incorporates farmer’s markets, agriculture, and dining into a self-sufficient ecosystem. The bridge will continue to be a link for vehicular traffic but will now also facilitate the same connection for both pedestrians and cyclists. An architectural screen consisting of hinged photovoltaic panels provides the bridge with a new façade on the south side. The cells are free to rotate independently about an axis which collectively captures the motion of the wind, transforming the bridge into a fluid performance. The façade harnesses the solar power from the sun during the day converting it into lighting at night as well as powering heat and UV lamps for crops. These crops are harvested both for the farmer’s market and restaurant at opposite ends of the bridge. Edible waste from the markets and restaurants are used to feed the hogs which then fertilize the crops. The livestock is then butchered for sale at the market and prepared at the restaurant. This waste reducing cycle provides the public with a more critical view on the food industry.

market hall

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16 breakdown of facade

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entrance

restaurant

why competitions (in the MArch studio)?

Competitions are a way of engaging and disseminating graduate students’ work within a broader contemporary cultural discourse; providing a direct contribution to it, meanwhile presencing the students’ unique voice outside the school’s boundaries. Finely tuning and turning ‘academic studios’ into real life project ideas, the challenge of a competition and its framing provide a balanced mediation between the often unbounded ‘imaginary world’ of a typical studio experience and the ‘real world’ of architectural practice.

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When the mediation between imagination and the real happens within schools of architecture - through both competitions and sponsored studios - it is possible to connect with a real audience/client, affording an opportunity to deal with meaningful design interventions grounded in the context of present day economy and issues. This is extremely relevant given that oftentimes –yet not always- real practice reduces architectural imagination to a rigorous application of financially, code restrained and pragmatically driven design exercises.

federica goffi phd

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Ajantha Kumarasingam, Jason Mooi, Nersi Naghikhani

THROUGH-LINE

Imagine a bridge that spans through time, joining the past, present and future in one single location. Imagine a bridge that transforms straight lines into curves, flat surfaces into elevated spaces and ramps. The Through Line, situated in Cleveland, will capture you instantly whether through its form, colour, interaction or just mere curiosity. Entering the bridge envelopes you with its large glass volume that plays with time through colours. The volumes interact with the sun by reading time changing colour based on different angles of the sun throughout the day. Upon entering, “past” is presented through existing exposed structures, names engraved in columns and statues reminiscent of the war veterans that the bridge is named after. Intertwined around the past is the “present” where skateboarders, cyclists, pedestrians and commuters can enjoy liveliness and activity. The viewing decks on either side bring a poetic intimacy within the open environment, allowing for contemplation and gazing into the “future.” Although seemingly different, the past, present and future can be found parallel to each other, creating a mosaic between the Through Line and the existing structure, merging multiple time dimensions into a synchronic existence.

entrance

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24exterior views

25viewing platform

Chris Cormier, Jessica Hickling, Chrissy Taylor

the ELEPHANT and the BUTTERFLY

Car horns, exhaust, slamming doors, the low frequency waves of a car stereo wash over your body. The urban chaos immersing you is so familiar that it takes some time before you realize that today something is different. Something unknown is emerging on the horizon, tangible only in the periphery; you occupy the moment between when a presence is felt behind you and when they announce themselves. All senses at attention, your ears straining against the traffic and the wind and that is when realization hits: it is not wind but a breeze is rustling the trees. As the traffic beside you falls away, relegated to the underworld, the cityscape beneath your feet transforms and gives way to nature. You revel in the spectacle laid before you: a space of chance and magic within the city. Each person becomes part of the larger performance; Banker, daredevil, teacher and ballerina alike. This forest, new but strangely familiar, stands among landmarks you have known for years but are now seeing again for the first time. The very city that surrounds you seems to sit in waiting, reinvigorated and open to the same possibility.

27the greenery in autumn performance space at night

28viewing platform

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Thanks to our guest critics:

Halldóra ArnardóttirRoger ConnahMariana EspondaLucie FonteinShelagh McCartneyHonorata Pien’kowskaInderbir Riarthe French urban design collectiveJohan Voorduow

with gratitude and thanks to our critic and mentor Federica Goffi

Profanations/the Exquisite CorpseFall 2012 graduate studio

lead by Federica Goffi, PhDSeptember - December 2012

Azrieli School ofArchitecture and Urbanism

Carleton UniversityBuilding 22

1125 Colonel By DriveOttawa, ON K1S 5B6

CANADA

original materials © 2012

citations of unaltered images

ville radieuse p. 7 - “Le Corbusier. The Radiant City; Elements of a Doctrine of Urbanism to Be Used as the Basis of our Machine-Age Civilization. New York: Orion, 1967. Print.”

friedrichstrasse competition p. 10, 12 - MoMA A&D Mies van der Rohe Archive

x-ray image p. 10 - Lane Medical Library Archives

4d ct image p. 10 - Stanford Radiology 3D Imaging Laboratory

images of diavik diamond mines p. 34, 35 -http://www.google.ca/imgres?um=1&hl=en&sa=N&tbo=d&biw=1920&bih=971&tbm=isch&tbnid=STnXRbRMIxUIJM:&imgrefurl=http://nunalogistics.com/services/dikes.html&docid=n2mOWA8uw1bcSM&imgurl=http://nunalogistics.com/files/imagecache/album-full/albums/3_Diavik_Diamond_Mine_A154_Dike_Completed_A418_Start.JPG&w=1203&h=800&ei=2FPLUPyoGKLwyQH5kYHgBw&zoom=1&iact=rc&dur=238&sig=104451694463888731015&page=1&tbnh=143&tbnw=224&start=0&ndsp=47&ved=1t:429,r:4,s:0,i:153&tx=144&ty=108 -http://www.google.ca/imgres?start=335&um=1&hl=en&sa=N&tbo=d&biw=1920&bih=971&tbm=isch&tbnid=VWkGzEMoMocjCM:&imgrefurl=http://www.bloomberg.com/news/2012-11-13/harry-winston-buys-diamond-mine-from-bhp-for-500-million.html&docid=jPaGDVQLgebeFM&imgurl=http://www.bloomberg.com/image/iOKNWcFwMbrc.jpg&w=640&h=427&ei=ZFTLUMfTHoT8yAGPqoGoCg&zoom=1&iact=rc&dur=341&sig=104451694463888731015&page=7&tbnh=128&tbnw=203&ndsp=57&ved=1t:429,r:74,s:300-,i:226&tx=126&ty=94

map of versailles p. 38 - “Gardens and Palace of Versailles in 1756, by the abbot Delagrive”http://en.wikipedia.org/wiki/Gardens_of_Versailles

images of London p. 42, 43http://streetartscene.wordpress.com/http://streetartscene.wordpress.com/2010/12/15/how-os-gemeos-legitimized-street-art-in-brazil/http://ms.wikipedia.org/wiki/Fail:Parliament_Square_5527-9.JPGhttp://southbanklondon.tumblr.com/post/23736726921/we-were-lucky-enough-to-have-a-sneak-preview-ofhttp://www.joiningphotography.com/trafalgar-square-london/