Transitions

TRANSITIONS

Transitionsby Marija Nesteruka

Didactic exerciseFall Semester2010

Interior worlds: “Transitions”

Main EditorGennaro Postiglione

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

EditorMarija Nesteruka

only for pedagogic purposenot for commercial use

INDEX00_Transitions by Marija Nesteruka`01_Morris Chair

`02_Monkton House

`03_Friedrich Nietzsche`s library

`04_Hill House

`05_Unity Temple

`06_The Austrian Postal Bank

`07_Hearst Memorial Buildling

`08_Gamble House

`09_Glasgow School of Art

`10_Robie House

`11_Georgian Terrace hotel

`12_Bernard Corrigan House

`13_ Upholstered chairs

`14_Oakland City Hall

`15_Ten Chimneys

`16_Paradise Inn

`17_The Red Blue Chair

`18_Stockholm Public Library

`19_Spare Bedroom

`20_Getty House

`21_Chinese bed

`22_King’s Road House

`23_Old Faithful Lodge

`24_Bedroom by Paul Poiret

`25_Wassily Chair

`26_Dessau Bauhaus

`27_Lovell House

`28_Villa Savoye

`29_Paimio Sanatorium

`30_Alvar Aalto Library

`31_Fishing Bridge Museum

`32_Armchair

`33_Viipuri Library

`34_Art museum

`35_Liner Normandy

`36_The Herbert Jacobs House

`37_Villa Mairea

`38_Hagerty House

`39 _Fallingwater House

`40_Six Drawer Marble

`41_Pope-Leighey House

`42_Aarhus City Hall

`43_Solomon Museum

`44_ Hat trick armchair

`45_The Farnsworth House

`46_Kaufmann House

`47_Baker House

`48_Luis Barragan House

`49_Maxwell and Smith house

`50_Rockefeller Guest House

`51_Lake Shore Drive

`52_Stadion by Matthew Nowicki

`53_Eichler house

`54_Seagram Building

`55_Bavinger House

`56_House of the Future

`57_Sydney Opera House

`58_Bass house

`59_Milam Residence

`60_Astoria Hotel & Restaurant

`61_Rang House

`62_TWA Terminal

`63_Manuscript Library

`64_Frey House II

`65_Exeter Library

`66_House of Civil Servants

`67_Finlandia Hall

`68_Pescher House

`69_Spiegel Verlagshaus

`70_Visiona 2

`71_Douglas House

`72_House VI

`73_Two Level Seat

`74_Indian Institute of Management

`75_Atheneum

`76_Signature rocking chairs

`77_Gehry Residence

`78_Lloyd’s of London

`79_Zentralparksasse Headquarters

`80_Teatro del Mondo

`81_Casablanca cabinet.

`82_Schwimmer House

`83_ Le Grande Louvre

`84_Spiral Apartment House

`85_Freemont Cabinet

`86_Hexenhau

`87_Asymmetric chair

`89_Palais Bulles

`90_Art Gallery of Ontario

` 91_Stansted Airport

`92_Kunsthal

`93_St. Bartolomeu Social Center

`94_Glyndebourne Opera House

`95_ Heinz Galinski School

`96_The Long Island Residence

`97_Muziekgebouw

`98_Explora Hotel in Atacama

`99_“Wood House”

Transitionsby Marija Nesteruka

Paper

The transitional spaces are actually re-lational spaces, indoor and outdoor, with a level of privacy typical of semi-private spaces, but for collective use, which are found in more than one occasion in urban relationships.The article starts from some examples to bring attention to the spatial context of “private group”, for example on the system of locations which are to be moments of connection, transition or conflict, between the building and the lot owned.We are talking not just about indoor loc-tions, but a set of spaces and elements, often small and not ver sho-wy, like the sidewalk, the fenced premises of the house, the entrance door, whose duty is to mark detachment, or to strengthen a link between the inside and the outside: they can be defined as “transitions.”

The following three situations – the house, the bank, the museum - clearly testify the presence in these special spaces and role of transition in which the transition is accompatnied to host, with various behaviours in areas with dif-ferent levels of privacy.Together with the entrance of the house, the bank’s foyer and the exhibition lobby are significant examples of space-filter with the role to mark a departure, or to strengthen a link between the inside and the outside.In the home, the reception, which fol-lows an invitation to enter, which most often occurs through a window or a door, preceded in turn by a sidewalk, a porch, a canopy, and at times through a filter made of a garden, or even by a small green area.From here you access the entrance,

where the reception can be articulated in sumptuous scenarios with rich sug-gestions, but most often is very narrow (the entrance hall, especially when there is not a guard concierge, almost always presents too poor finishings and furni-ture).If we think the role of the architect is to model space and thus to dress empty spaces, we are obliged to assume that he works in the first place by modelling and building the floor, roof elements, wall perimeters, internal partitions, and integrating them with equipment and furniture, and secondly through the interplay of materials, finishings, colours, decorations, creating chiar-oscuro effects of light and shadows, aiming to arouse illusions, feelings and certainties, and while ensuring duties, customs, behaviours, observing ritu-als, customs, traditions, and sometimes inventing new ones.In this context, a very interesting work for the interior designer, especially in multi-apartment buildings, is to suggest furniture and equipment for finishing both interior spaces (the communal stairwell, entrance hall), border spaces (the entrance door) and outdoor spaces (sidewalk, fenced premises).We note in the contemporary design culture a renewed interest in those areas where in the housing boom years the attitude of indifference prevailed along with the lack of care by the de-signer, who gave great importance only to the functional aspects of transition, often solved with usual solutions and not deeply studied.The list of elements involved in the furni-ture project includes:a) Internal zones:– the entrance door and its accessories

(buttons and video intercom,plaques, etc);– fixed furnishings of the entrance (mailboxes, any of windows overlooking the guard concierge) together with its fixtures;– ramps, handrails, lighting of the com-munal stairwell, with particular atten-tion to the design of the balustrade and handrail, which are very inviting on the ground floor;– colors of the walls, of the stairwell and of the entrance.b) External areas:– pavements, seating, lighting, gates and fences along the paths, butalso in the yard, garden, along the porch, in the driveway gate and pedestrian entrance to the building.Recently we see greater attention to design, leading to enhance the features and quality of the building taking ad-vantage of their areas of transition; see, among others, the building called “25 GREEN” which is under construction in Turin, Via Chiabrera; the architect of the project is Luciano Pia.The project is distinguished for the use of green in front (with CorTen steel structural elements, tree-shaped that support large terraces with wooden staves) and for the use of innovative technologies in energy saving (use of heat pumps of ground water with theconsequent absence of CO2 emis-sions). Close integration between green and horizontal and vertical paths gives the common areas a highly original char-acteristic to the ground level, which is continued on the terraces at various levels. The block architecture, in particu lar, affects the mood and imagination of the observer when it is stationary and

In the bank, the entrance hall aims to reinforce the public through the archi-tectural prestige, credibility, image and wealth of the banking institution; the use of large spaces (intended wasted space) in the foyer and the use of pre-cious materials, expensive furnishings rich in the tradition of high quality, which all contribute to give a reassuring look.This way of understanding the meaning and role of functional areas by compar-ing them to places of common experi-ence, other than offices, makes the design attitude detachment from tradi-tion even stronger, as can be seen in recent examples in which the credibility and prestige of the bank are celebrated through the use of big names in archi-tecture, offering spectacular and un-usual solutions, such as surprising and impressing the audience.For the new DG Bank headquarters in Berlin, Frank O. Gehry built a mixed-use building made out of a long rectangular plot which includes a bank, overlooking Pariser Platz, a casino and a wing of ten floors of apartments, facing Behrens-strasse.The proposal spread dramatically in the large courtyard from which the offices are lit, the scene of an extraordinary representation of space compressed and dilated by reticular membranes transparent and animated by the pres-ence of a sculptural element in steel.The plastic volume called the “horse head”, dominates the scene, patterned with shiny steel plates that contains a small conference room within it; that is the real surprise for those who went through the entrance to the bank and crossed the foyer and the lobby,The interior, lined with wooden strips

when it moves: the fact of changing direction, level, overlooking unexpected visuals adds to the atmosphere filtered by personal experience and intensity of emotions that often arise from a mix of symbols and meanings in a space that is rich.In the transition space of the bank the designer must create attention:– to the behaviour of the audience in the access area that requires a specific kind of attention along the window showcase of the bank;– to the area of ATM and Automated Teller Machines, with an increasing role of filtering and security between the main entrance area, window showcase and access to the foyer;– to the foyer area above the counter area and doors, overlooking the most private area, often arranged on several levels, where lounges and safes are located.The characteristics of these areas also depend on the type of banking office (bank teller, bank branch and bank headquarters).In the scheme on the side – as part of a dissertation in 2009 of Turin-Milan Alta Scuola Politecnica (ASP) – there are examples of studies on the organization of a small-medium sized bank branch, where you can see a clear correlation between the functional spaces and a similarity between urban and work-spaces:– the door, as the entry point and secu-rity;– the square, as a common meeting area;– the market, as the point of transaction and trade;– the SPA, as relaxation and report point.

printed with small holes, is made even more impressive by the glass mem-branes which close the holes.In this comparison/conflict between heavy and opaque materials and soft, bright and transparent materials the designer mixes cultures which are very distant from the traditional stone and wood for the most sophisticated high-tech steel and glass, to amaze the audi-ence and pay tribute to the authority and credibility of the registered bank.The contemporary museum reception area is characterized by the need to integrate moments of access to conven-tional moments of presentation (videos, films, audio-videos, multimedia), mo-ments of work by the school (lessons with moments of laboratory), moments of rest and relaxation, moments of con-sultation texts.In fact, the foyer often overlaps func-tions:– host;– presentation of new exhibits;– projection, audio videos, films and multimedia;– Interaction/workshops (lectures/tutori-als/schools);– relaxation and recreation.The reception area often contains ele-ments of reference to general scale, whose role is to concentrate in one room – just the lobby of the museum – the urban reality and a series of refer-ences functional exposure with aspects of unusual construction captivate the audience.Also in the reception area there are – with the role of a reference point and meeting place for visitors – guides, ex-planations and the available space by arranging almost 58,000 sqm of tourism professionals, thanks to them

tourism professionals, thanks to them that the museum is set up as a driving cultural, tourist and economic life of the community.One of the most interesting examples from this point of view is the MoMA in New York; it underwent substantial renovation and modernization in 2002-2004 thanks to the Japanese architect Yoshio Taniguchi. The intervention has nearly doubled space by arranging almost 58,000 sqm of new space. The David and Peggy Rockefeller Building on the west side houses the main exhi-bition galleries, while the Lewis B. and Dorothy Cullman Education andResearch Building on the east side houses rooms for conferences, con-certs, workshops for art teachers, the museum library and archives.Between the two buildings, the Abby Aldrich Rockefeller Sculpture Garden is also enlarged.The atrium area is developed to allow height to enjoy the sculpture garden, and treated as a tree-walk procedure, rector axis and at the same time axis in-formation of the entire museum system.The reception is developed by two en-trances, both from 53rd and 54th Street, which gives access to tickets, the coa-troom, the information area, a theatre and shops and descends to the sculp-ture garden, arranged on a lower level compared to the lobby which overlooks the restaurant.The modelling environment has turned this fairly conventional structure and common to many museums into a meet-ing place, where the many relationships between inside and outside – the hall and the garden – are alive, including routes in relation to different levels to which the visiting public is directed.

References

Canepa, Simona, and Marco Vaudetti. 2010. Architettura di interni e progetto dell’abitazione. Torino:UTET Scienze Tecniche.Vaudetti, Marco. 2007. Biblioteche-Musei. Torino: UTET Scienze Tecniche.

ATLAS

`01_Morris Chair

In 1901 Gustav Stickley made the transition from his experimental offerings of 1900 to a full-fledged Arts & Crafts line of furniture.

`02_Monkton House

Hall is a part of apartment, which connect all living space together. In Monkton House space transitions emphasize with wavy lines, which fill all vertical space in the hall – walls and arches, and “paint out” also all furniture. This pattern draws movement in the room, space starts “dancing”.

`03_Friedrich Nietzsche`s library

Walls lines changed – they bended to the ceiling plane. Engendered combination, of curve and straight, that brings dynamic movement. Vertical lines transformed to horizontal line – planes pass to each other.

`04_Hill House

Mackintosh used different materials, colors and lighting, when necessary to perform a full experiential transition from one point to another. This allowed him to convey different feelings and experiences depending on the purpose of each space. All in such an elegant and well planned manner, that with the absence of one the other would mar.

`05_Unity Temple

All windows in the building change the position. Rooms receive natural light through clerestories along the upper walls and a series of square stained glass skylights that puncture through the ceiling. Architect move all windows to the ceiling to prevent any noise from interrupting worship.

`06_The Austrian Postal Savings Bank

Through the main entrance the visitor ascends a flight of stairs to the grand Kassen-halle. The hall is designed like an atrium, with a large glass skylight allowing natural light to enter the heart of the building at all times. The soft light turns around the entire hall from the translucent glass of the ceiling and from the glass components of the floor.

`07_Hearst Memorial Mining Building

Architect kept decoration in the main hall to a constrained minimum, using only glass and polished steel as materials. The decorative effect is created by cupola transition to pilasters. The frosted glass skylight is pierced by steel columns, their slim design making them as unconstructive to the falling light as possible.

`08_Gamble House

The Gamble House has an open plan, that born easily transition from one room to another. It lays emphasis on the horizontal line: details on the ceiling carved and formed with wood, which connect together rooms and show relationship with the outdoors.

`09_Glasgow School of Art

In Glasgow School building appears transition between different kinds of architec-tural lines. The dominant, straight lines, are provided by sharp pilasters from sawn timber, but subtly set off by curves. These curves are conspicuous in the notched balusters join the gallery balustrade to the posts - each one different, like a series of musical notations.

`10_Robie House

The steel beams that support the front roof cantilever over the terrace are revealed in the folded and dropped ceiling of the main rooms inside. The wood-trim boards which bend to follow the ceiling line as they cross the room are spaced to align with the door posts.

`11_Georgian Terrace hotel

In the transition space engendered architectural details: elegant, carved handrails, delicate architraves, mouldings. All these magnificent elements emphasize spatial connection between spaces.

`12_Bernard Corrigan House

The first floor entrance hall features two expanses of stained glass. But it does not divide spaces. Transition between two stories can be found in oak beams, which are lining the ceiling and overflow to the wall, enclosed to massive stairs.

`13_Upholstered chairs

Chairs change lines: short strict legs transforms to the elegant soft seat ant back.

`14_ Oakland City Hall

The massive, broad stairs overflow to the second floor, but light colors and bright illumination transform heavy granite, marble and bronze to the elegant strip, which invite visitors to go up.

`15_Ten Chimneys

Solid textiles from armchairs and pouf pass to the floor and overflow to the dressing table. Woven lie with creases and table assume lightness and femininity in the role of pleated skirt.

`16_Paradise Inn

The wooden lodge construction assumes unusual natural lines. Columns - beams, arise - become, as before, “alive” trees. “Sticks” connect each storey together. Lodge remind forest.

`17_The Red Blue Chair

The Makintosh chair is made from different sizes stickes. One stick connect with another and create pattern together.

`18_Stockholm Public Library

The processional entrance to the library that is found at the end of a staircase is marked by high walls of polished black stucco. Walls on all levels are lined with books and beautifully detailed wooden bookcases. As the eye continues up the in-terior, a contrasting rough stucco wall jets upwards to the top of the cylinder, where the room is filled with light through the high windows.

`19_Spare Bedroom

Employed bolder geometric forms, in place of organic, inspired symbolic decoration. Transition of blue color starts from denim chairs, pass to bedlinen and disperse on the walls and ceiling

`20_Getty House

Transitions from public to private place are characterized through plants abundance in the interior. Flowers colors penetrate to the apartment furniture, but forms and lines pass to architectural elements.

`21_Chinese bed

Carved wooden pattern from bed construction merge with wallpaper drawings, and emphasize romantic mood of the bedroom.

22_King’s Road House

Living room in King`s Road house reminds more terrace, than guest`s room. The ribbon windows, from ceiling to the floor, big entrance from garden – invite passing to go into and to sit near cozy fireplace.

`23_Old Faithful Lodge

The wooden lodge construction assumes unusual natural lines. Columns - beams, arise - become, as before, “alive” trees. “Sticks” connect each storey together. Lodge remind forest.

`24 _The bedroom by Paul Poiret

Exotic wall-decorations and a low bed with silk tasseled cushions born the transi-tions of romantic mood and evoke an atmosphere of the Orient. To complete the fantasy, a snail-shell has strayed into the center of the ceiling.

`25_Wassily Chair

Hat trick armchair - is one line transition to the different damnations.

`26_Dessau Bauhaus

The building is comprised of three wings all connected by bridges. The school and workshop spaces are associated through a large two-story bridge, which creates the roof of the administration located on the underside of the bridge. The housing units and school building are connected through a wing to create easy access to the as-sembly hall and dining rooms.

`27_Lovell House

The lower level of the house, the living room, follows an open plan that leads out to the patio. In the Lovell House emphasized relationships between exterior and inte-rior. The stark white walls stand out among the wooded terrain; the ribbon windows offer expansive views and a significant amount of light to enter the interior spaces. The natural light embellish severe interior.

`28_ Villa Savoye

The living quarters are fitted with ribbon windows that blend seamlessly into the stark, white facade. The ribbon windows begin to play with the perception of interior and exterior, which does not fully become expressed until once inside. The living spaces around a communal, outdoor terraced that is pass to the living area by a slid-ing glass wall.

`29_Paimio Sanatorium

Balcony line merges with two different “worlds”, connect them in one hope space: forest – penetrate through architecture in the role of trees and plants on the terrace, but horizontal sky line comes down on wav roof.

`30_Alvar Aalto Library

Alvar Library remind spaceship, where appear different lines and shapes, connected with each other. This building is full with construction`s transitions: ceiling connect with pilasters, pilasters join walls and floor.

`31_ Fishing Bridge Museum

Transition between nature`s materials and public architecture looks very harmoni-ous. Museum is “born” from stone hill and timber. Such combinations emphasize and remind to museum visitors about their nature.

`32_Armchair

For Alvar Aalto furniture should be a transition from the architecture, a transition from exterior to interior, from public to privet. The design of armchair evolved his idea, furniture`s lines assume smooth forms and turned to wood for its warmer quali-ties.

`33_Viipuri Library

The Municipal Library has opened plan. It is easy to survey all second floor from downstairs. Massive, broad stairs come down and merge with the space on the first floor.

Unusual, complicated building constructions disperse with the natural light, from ceil-ing, and pattern exhibition`s works. White walls emphasize painting`s brightness.

`34_Art museum

`35_Liner Normandy

The spacious dinner hall lose space borders in the huge, high mirror –wall. Room is filled of light and it assume prospect pattern.

`36_ Herbert Jacobs House

In the Herbert Jacobs House used wooden ceiling`s transition to the different where-abouts. One part of the ceiling, near the huge ribbon windows, visually extend apart-ment through dispersing natural light. Another part visually lengthens the room.

`37_Villa Mairea

Regularity arises as it lengthens and the sticks become more directional and linear when it merges with the interior inside the villa. Smooth material`s transitions pass from patio to the home: elegant, long sticks create exquisite fence`s form, which merge together two dimensions: flour and ceiling.

`38_ Hagerty House

Elegant white shelf emphasizes wall`s line, under the ceiling all over the room. Small western town on the shelf amalgamates with all objects in the bedroom and stress a uniform western green wall.

`39 _Fallingwater House

Fallingwater House is one of the best examples of transitions and merging between architecture and nature. Building`s original form and natural materials build organic relationship with the environment. The role of transitions plays water, falling from house basement, and stone walls, “growing” from the hill.

`40_Six Drawer Marble

This six drawer case piece features a serpentine bowed front with flaring cabriole legs ending in scrolled feet. The front is relief carved in large spiral patterns and bleached to perfection revealing the deep grain.

`41_Pope-Leighey House

The Pope-Leighey House is small intricate wooden building, with beautifully design fretted. Light transition through designed ribbon of clerestory windows is founded on the floor and walls like elegant light pattern.

The imprint of the council chamber on the town hall floor is edged by a beech bench. Stairs transitions add to room elegant, natural form. In hall appears smooth snails outlines.

`42_Aarhus City Hall

The design of the museum as one continuous floor with the levels of ramps over-looking the open atrium also allowed for the interaction of people on different levels, enhancing the design in section.

`43_Solomon R. Guggenheim Museum

`44_ Hat trick armchair

Paolo Lillus is well known for perfection in detail and he also a new generation of armchairs which combining timeless design with a passion for sport. This chair it transitions and connection of hobby and interior.

`45_Farnsworth House

Steel columns merged with the roof and floor - draw elegant frame. In order to accomplish this, the mullions of the windows also provide structural support for the floor slab. The ground floor of the Farnsworth House is thereby elevated, and wide steps slowly transcend almost effortlessly off the ground, as if they were floating up to the entrance.

`46_Kaufmann House

The addition of the swimming pool and garden to the house with gives cohesive bal-ance and harmony to the placement`s complex. The landscape making it appears as if it is hovering above the ground. The floating effect is emphasized through a series of sliding glass doors that open up to cover walkways or patios.

`47_Baker House

Stair`s “broken” line play a role of connection and interior pattern.

`48_Luis Barragan House

Graphic, wooden stairs, bordered from one side with pure white wall, plays role of transitions from ground level to the second floor. Stair`s hovering effect and use of natural materials emphasize spatial space connection. Steps penetrates to the door and merges with it. In the room appears delicate walkway.

`49 _Melvyn Maxwell and Sara Smith house

Lighting entrance change usual position, in Melvin and Smith house the biggest part of sunlight come inside through patterns-holes made in the wooden ceiling. Such design reception helps to bring more light to the room depth.

`50_Rockefeller Guest House

The small two-storey building becomes a transition between two heavy and big houses. The Rockefeller Guest house takes different elements from both houses. It merges with right building through red bricks and connects with the left building with the help of grey curtains in windows.

`51_ Lake Shore Drive

On the entrance level, a horizontal roof is the sole transition between the two high-rise apartments towers and does not have any function other than to “mark the spirituality of this specific place.”

`52_Stadion by Matthew Nowicki

Transition from windows to roof in such unusual design arrange space in grafical mood.

`53_Eichler house

The barrel-shaped trusses in the great room of this Eichler home resemble the un-derside of an airplane’s wing. It fills in room`s space and brings smooth movement.

`54_Seagram Building

The office lobby has flexible floor plans lit with luminous ceiling panels. These floors also get maximum natural lighting with the exterior being glass panes of gray topaz that provide floor-to-ceiling windows for the office spaces. Rich golden color fill in all the space and merge together Venetian wavy blinds for windows and erect, strict ceiling panels.

`55_Bavinger House

The transitions between nature and design are characterized in disorderly materials mixture. The Bavinger House, made of stone, glass and ironstone, features circular rooms, live plants, water, and a bridge connecting the house to the outdoors.

`56_House of the Future

The house space is hybrid and transitional. Less cozy and private, more graphic and extempore. Dynamic furniture`s shapes and impressive ceiling`s lines pass to small natural “island” with grass and tree, in the middle of room.

`57_Sydney Opera House

The minor hall, originally intended for stage productions, was changed to house operas and ballets. Grand external staircases lead into the two main auditoriums marking an entrance that visitors are unlikely to forget.

`58_Bass house

The small single-storey Bass house, remind wooden cabin, build on the bank of lake. Horizontal steel beams that play roof`s role assume vertical transition - the high pine tree pass through house roof.

`59_ Milam Residence

The floor plan is designed around a central and long double-height living room space, which is lowered two steps below an overlooking dining area to one side and a study area to the other, creating a sitting well. The stairs also transforme into functional seating, which makes movable furniture superfluous.

`60_Astoria Hotel & Restaurant

Verner Panton used the textile design for floors, walls and ceilings in order to give the room a uniform image. The transition from geometrical plane to contours is founded in the cone chairs, which “grows” from unusual floor`s drawings.

`61_Rang House

Small detached house built in woodland. The huge window, from floor to ceiling, draws a perfect view on the forest. To connect house and nature, architect decided to continue window glass in other dimensions. Window`s glass pass to the walls plane.

`62_TWA Terminal

All the curves, all the spaces and elements right down to the shape of the signs, display boards, railings and check-in desks were to be of a matching nature. In order to capture the concept of flight, Saarinen used curves to create spaces that flowed into one another.

`63_Beinecke Rare Book and Manuscript Library

The space of Manuscript Library does not divided in separate zones – all the space is common and it is indivisible. Entrance with the glass doors transformed to the huge fifth-floor hall, the hall with the broad stairs pass to storey. And each storey it is an opened “shelf” with books.

`64_Frey House II

It is steel-frame construction, with massive sliding glass doors that allow the entire space to open up to the outdoors. The huge hill`s stone percolates through the glass wall to the apartment, and becomes an integral part of the house.

`65_Exeter Library

In Exeter library`s interior dominate stone and slate, but finished certain aspects of the library brings natural wood. The wood contrasted the stone by giving the spaces a sense of warmth and a glow that welcomed readers when the natural light flooded upon this natural material. The cold stone constructions pass to the warm, “friendly” wood.

`66_ House of Civil Servants

Elegant stairs in house of Civil Servant is the only small connection between two floors. It is the only transition and decoration in strict public interior.

`67_Finlandia Hall

Finlandia Hall shows some of the same features: asymmetricity, acoustical wall structures and the contrast between the marble balconies and cobalt blue walls in the concert hall interior. There is a further design fault in the plan of the auditorium. All lines: floor, ceiling, seats, pass together in stage.

`68_Pescher House

The strict modern interior passes through window and merges with calm exterior. And from another side, the stone wall – like a nature symbol, passes to interior.

`69_ Spiegel Verlagshaus

In the Spiegel Verlagshaus all rooms` objects` characteristics pass to the ceiling zone – it`s transformed to the green color and also it assume geometrical, pointed forms and shapes.

`70_Visiona 2

The chemical company Bayer transformed a pleasure boat into a temporary show-room. The resulting room installation consists of vibrant colors and organic forms. All together: lighting, furniture wall, coverings and textiles not only unite each other, but also transform room atmosphere.

`71_Douglas House

“Private” zone of the house is expanded by a roof-level bridge, which is the only transition form the building to the hill. Once inside the entry vestibule there is a con-tinuation to a roof-deck.

`72_House VI

Upside down staircase is the element which portrays the axis of the house and paints the apartment to red and black. It becomes transition to draw bright spots and get attention.

`73_Two Level Seat

Two level chair is the simplest example of transitions in furniture design. One chair transformed to the two level seats only with the help of one “line”.

74_Indian Institute of Management

Spiral, delicate stairs pass through all floors and plays the role of graphic, impres-sive movement in the Indian Institute. It reflect tree dimensional pattern in strict, empty space.

`75_Atheneum

The transition from exterior to interior, from public to private space can be seen at the site of constructions. In Atheneum all pilasters and girders pass through big win-dows to the domestic space and transformed to stairs and handrails.

`76_Signature rocking chairs

The elegant transitions of lines from one dimension to another stress rocking chair`s lightness. Thin construction`s pattern arrange the flight effect.

The architect worked with the idea of building the new house around old one. The roof constructions of old house continue and transformed with new house roof. New building becomes the transition from old one to open-space, the glass roof is a switch of the light, first of all in the new house and after that to the old house.

`75_Atheneum

`78_Lloyd’s of London Building

In the seven storey building, each floors are united together with unusual stairs con-tracture – zigzag form. Spatial transition appears because of stairs opened system`s contracture. From each floor visitors can see all levels of the building.

`79_Zentralparksasse Headquarters

Zentralparksasse Headquarters broke this mould, with its melted-looking articulated facade - like a knight’s gauntlet slipping off - and huge abstracted ‘hand’ inside. It is extraordinary in any light, not just for breaking orthogonal forms but for its overt metaphorical intentions. It is a transition to new stage in architecture.

`80_Teatro del Mondo

The theater, in which the architecture serves as a possible background, a setting, a building that can be calculated and transformed into the measurements and con-crete materials of an often elusive feeling, has been one of my passions.

`81_Casablanca cabinet

The form of Casablanca cabinet is transitional. The cabinet assume “spread” con-struction from trees shapes and form.

`82_Schwimmer House

Natural light floods into the interior spaces of the residence through light wells and large windows which look out over the green surroundings and cityscape. Also smooth natural lines come inside the house and pass to construction lines – ceilings beams take arch form. Use of warm woods and stones also bring nature indoors, fusing the spaces and connect the lines between indoors and out.

`83_Le Grande Louvre

“Unstable” stairs construction emphasizes transitions lightness. The huge glass roof brings sunlight pour to Le Grande Louvre interior.

`84_Spiral Apartment House

On the lower side, terraces opened to the sky; on the other side, a shaded area cooled by the lower floors. The cool, shady area is used for corridors, entrances to apartments fan shaped apartments, ramps, staircases, and an elevator.

`85_Freemont Cabinet

Cabinet features two doors concealing two adjustable shelves. Plywood, laminate over wood, gilt and lacquered wood. Singed with applied manufacturer’s mark to shelf.

`86_Hexenhaus

Glass roof and walls opened the view of forest and tree`s crown forms transform to wooden beams and columns in the Hexenhaus`. It draws nature transitions into the public space.

`87_Asymmetric chair

Graphic and colored back cut into classical, white seat, and this transition from op-posite shapes and form catch attention on the chair.

`88_Center for Design and Art

A central circulation space winds through building with changing levels to give ac-cess to various studies and other rooms. The complex planes of the interior suggest a “deconstructivist” label.

`89_Palais Bulles

The circle form is the simplest construction. It has just one dimension -the radius. This is unsurprisingly transformed into the three dimensional sphere, which is the lightest, strongest, most material-efficient. The spherical forms create sensuous interior spaces transitions, when they intersect with each other.

`90_Art Gallery of Ontario

The transition between outside and inside can be found in buildings entrances, like in Art Gallery of Ontario. Curving light-color wood, and clean and airy architectural lines – pass to the interior. Architect designed the spiraling plywood-faced staircase for the main entry hall.

` 91_Stansted Airport

All service distribution systems are contained within the ‘trunks’ of structural ‘trees’ which rise up from the undercroft through the main concourse floor. These trees support a lightweight roof which is freed simply to keep out rain and let in light. The constantly changing daylight gives the interior space a poetic dimension and also has significant energy and economic advantages

`92_Kunsthal

Architect created a continuous spiraling circuit that connects the spaces through a series of ramps and interchanges that happen both above and below ground. The spiraling circuit is created by the interstitial space that mends the different experienc-es of each space together. Each moment of interchange transitions, from one space to another, draws visual connections between walls.

`93_St. Antonio’s Church & St. Bartolomeu Social Center

The church room is created like transition center, it is composed by interior objects: wooden benches, rostrum; and exterior objects: the existing stone, air, zenithal lights, water and plants. Exterior spaces open to contemplation.

`94_ Glyndebourne Opera House

Smooth textile roof plays a role of transitions between two buildings of Glynde-bourne Opera. The use of textile helps bring more light to the opened hall, but at the same time gives shelter from the rain.

Transitions from all building complex show the form of the open pages of a book The building was thought as an unfolding sunflower. Its many curving walls and roofs conceal a fragmented world of classrooms, squares and corridors.

`95_ Heinz Galinski School

`96_The Long Island Residence

The remainder of the house has a floor-to-ceiling height of only ten feet, which al-lows for the house to expand outwards horizontally. These glass openings provide a visual connection between the interior and exterior. “It gives you a sense of walking outside when you stay inside. The many glass doors and windows, some of which extend from the floor to the ceiling, were placed on every side of the building, allow-ing for a plethora of sunlight transition.

`97_ Muziekgebouw

The structure of the building consists in a concrete volume, surrounded by a glass facade; These objects, the glass volume, the hanged box and the covering roof, explain already from the exterior the hierarchy and the relation between space and functions. The main access is by a pedestrian bridge which leads to the upper foyer, and through the facade transparency it is evident how the foyer develops further down towards the terrace on the last part of the pier.

`98_ Explora Hotel in Atacama

The broken lines and hesitant forms of buildings make for a vibrant sequence of light and shade. Light pass to interiors forms, an apparently, gives life to things. As the walls of buildings take their toll of dust, and the blue, gold, and orange stained doors, and windows vibrate with light against dull colored surroundings, the place starts to feel as if it was inhabited.

`99_“Wood House” Island Complex Residential

The houses are light pavilions which promote the concept of ‘roof’ as the predomi-nant element of shelter. The window frames – walls, are totally underground, to reduce visual built form in the bay, basement. Exterior glass walls are taut joinery frames, offering minimal interruption between inside and out.

After the hard work week, we come back home - just to relax, to have a rest. We want to merge with other “fantastic“, ideal world. Transitions from thoughts to reality – isn`t a fairytale. You like Jazz music and you want not only hear it but also see it – wallpapers with Jazz band, furniture in black and golden colors.

`00_Jazz Transition

REFERENCES

`01_Morris Chair / Designed by Gustav Stickley / Project Year: 1901 / Website: www.maltwood.uvic.ca;

`02_ Monkton House / Designed by Edward Lutyens / Location: Broughton Gifford, Wiltshire / Project Year: 1902 / Photograph: Gill Cardy, / Website:http://viewfinder.english-heritage.org.uk;

`03_ Friedrich Nietzsche`s library / Ar-chitect: Henry Van de Velde / Location: Weimar / Project Year: 1902 / Book: ”History of design”, Sergej Mihailov, 2002;

`04_ Hill House / Architect: Charles Ren-nie Mackintosh / Location: Helensburgh, Scotland / Project Year: 1902-1904 / Photograph: Bedford Lemere / Website: www.hillhouseboston.org;

`05_Unity Temple / Architect: Frank Lloyd Wright / Location: Oak Park, Il-linois, USA / Project Year: 1905-1908 /Photographs: Jim Frazier, Sean Mar-shall / Website: www.archdaily.com;

`06_Austrian Postal Bank / Architect: Otto Wagner / Location: Vienna / Project Year: 1904 -1906 /Photograph: Mar-gherita Spiluttini /Website: www.marvel-building.com;

`07_Hearst Memorial Mining Building /Architect: Howard,John Galen / Loca-tion: Berkeley, California / Project Year: 1907;

`08_Gamble House / Architects: Greene & Greene / Location: Pasadena, Califor-nia / Project Year: 1908 / Photograph: Alexander Vertikoff / Website: www.archdaily.com;

09_The Glasgow School of Art / De-signed by Charles Rennie Mackintosh / Location: Glasgow, Scotland / Project Year: 1909 / Photograph: Andrew Lee /Website: www.greatbuildings.com;

`10_Frederick C. Robie House / Ar-chitect: Frank Lloyd Wright / Location: Chicago, Illinois, USA / Project Year: 1908-1910 / Photograph: Thomas A. Heinz / Website: http://www.archdaily.com;

`11_Georgian Terrace hotel / Architect: William Lee Stoddart / Location: Atlanta / Project Year: 1911 / Book: ”History of design”, Sergej Mihailov, 2002;

`12_Bernard Corrigan House / Architect: Curtis Louis / Location: Missouri / Proj-ect Year: 1912 / Website: en.wikipedia.org;

`13_Upholstered chairs / Designed by Maurice Dufrere / Project Year: 1913 /

`14_Oakland City Hall // Architect(s): Palmer & Hornbostel / Location: Oak-land, California / Project Year: 1910–1914 / Website: www.carey-sf.com;

`15_Ten Chimneys / Architect: Charles Dornbusch / Location: Genesee, Wis-consin / Project Year: 1915 / Website: www.tenchimneys.org;

`16_ Paradise Inn / Architect(s): Heath, Grove & Bell / Location: Mount Rainier National Park / Project Year: 1916 / Photograph: Deby Dixon / Website: www.paradiseinnrarotonga.com;

`17_The Red Blue Chair / Designed by Gerrit Rietveld / Project Year: 1917/ `18_Stockholm Public Library / Architect: Gunnar Asplund / Location: Sweden / Project Year: 1918-1928 / Photograph: Sam Teigen / Website: www.archdaily.com;

`19_Spare Bedroom/Architect:Rennie Mackintosh/Project Year: 1919/Book: ”History of design”, Sergej Mihailov,2002

`20_Getty House / Designed by Yoch & Council / Location: Los Angeles, Califor-nia / Project Year: 1920;

`21_Chinese bed/ Location : Gloucester-shire / Project Year: 1921;

`22_King’s Road House / Architect: Rudolf Schindler / Location: California / Project Year: 1922 / Website: www.makcenter.org;

`23_Old Faithful Lodge / Architect: Gil-bert Stanley / Location: Montana, United States / Project Year: 1923 / Website: www.nationalparktravel.com;

`24_Bedroom by Paul Poiret / Architect: Paul Poiret / Location: Paris / Project Year: 1924 / Book: ”History of design”, Sergej Mihailov, 2002;

`25_Wassily Chair / Designed by Walter Gropius / Project Year: 1925 /

`26_Dessau Bauhaus / Architect: Walter Gropius / Location: Dessau, Germany/ Project Year: 1925-1926 / Photograph: Thomas Lewandovski / Website: www.archdaily.com;

`27_Lovell House / Architect: Richard Neutra / Location: Los Angeles, Califor-nia, United States / Project Year: 1927-1929 / Photographs: Wikiarquitectura / Website: www.archdaily.com;

`28_ Villa Savoye / Architect: Le Corbus-ier / Location: Poissy, France / Project Year: 1928-30 / Photographs: Falvio Bragaia, Timothy Brown / Website: http: www.archdaily.com

`29_Paimio Sanatorium / Location: Paimio, Finlandia / Project Year: 1929 - 1933 / Website: http://architime.ru/

`30_Alvar Aalto Library /Architect: David Roy / Project Year: 1930;

`31_Fishing Bridge Museum /Location: United States / Project Year: 1931 / Book: ”History of design”, Sergej Mi-hailov, 2002;

`32_Armchair / Designed by Alvar AaltoProject Year: 1932 / Website: www.danishteakclassics.com;

`33_Viipuri Library / Architect: Alvar Aalto / Location: Vyborg, Russia / Proj-ect Year: 1933 - 1935 / Website: www.alvaraalto.fi;

34_Art museum / Location: Washing-ton, United Stats / Project Year: 1934 / Website: www.flickr.com;

`35_Liner Normandy / Architect: Petr Patu / Project Year: 1932 - 1935 / Web-site: www.senart-artdeco.livejournal.com

`36_The Herbert Jacobs House / Designed by Frank Lloyd / Location: Madison, Wisconsin / Project Year: 1936 -1937 / Photograph: Larry Cuneo / Web-site: www.architecture.about.com;

`37_Villa Mairea / Architect: Alvar AaltoLocation: Noormarkku, Finland / Project Year: 1937-1939 / Photograph: Alvar Aalto / Website: www.archdaily.com

`38_Hagerty House / Designed by Marcel Breuer / Location: Cohasset MA, USA / Project Year: 1938 / Photograph: Dean Kaufman / Website: www.dwell.com;

`39 _Fallingwater House / Architect: Frank Lloyd Wright / Location: Pennsyl-vania / Project Year:1936-1939/Photo-graphs: Keystone State and Lee Sand-stead / Website: www.archdaily.com;

`40_Six Drawer Marble / Designed by Grosfeld House / Project Year: 1940;

`41_Pope-Leighey House / Architect:

Frank Lloyd Wright / Project Year: 1941Photograph: Ron Blunt;

`42_Aarhus City Hall / Architects: Arne Jacobsen and Erik Møller /Location: Aarhus, Denmark / Project Year: 1937-1942 / Website: www.e-architect.co.uk;

`43_Solomon R. Guggenheim Museum Architect: Frank Lloyd Wright / Location: New York / Project Year: 1943-1959 /Photograph: Scott Norsworthy / Web-site: www.archdaily.com;

`44_Hat trick armchair / Designed by Paolo Lillus / Project Year: 1944 / Book:

`45_The Farnsworth House / Architect: Ludwig Mies van der Rohe / Location: River Road, Plano, Illinois, USA / Project Year: 1945-1951 / Photographs: Greg Robbins, Bogdan Seredyak / Website: www.archdaily.com;

`46_Kaufmann House / Architect: Richard Neutra / Location: California, United States / Project Year: 1946-1947 / Photograph: Thom Watson / Website: www.archdaily.com;

`47_Baker House / Architect: Alvar AaltoLocation: Cambridge, Massachusett/ Project Year: 1947-1948 / Photograph: Emily Geoff / Website: www.archdaily.com;

`48_Luis Barragan House / Architect: Luis Barragan / Location: Tacubaya, Mexico / Project Year: 1948 / Photo-graphs: Steve Silverman, Rene Burri / Website: www.archdaily.com;

`49_Melvyn Maxwell and Sara Smith house / Architect: Frank Lloyd Wright /

Location: Michigan, United Stats /Project Year: 1946-1949 / Website: http://michi-ganmodern.org;

`50_Rockefeller Guest House / Archi-tects: Philip Johnson, Landis Gores and Frederick C.Genz / Location: New YorkProject Year: 1950 / Photographs: Robert Damora / Website: www.robert-damora.com;

`51_Lake Shore Drive / Architect: Lud-wig Mies van der Rohe / Location: Chi-cago, Illinois, USA / Project Year: 1951Photographs: Hagen Stier, William Zbaren / Website: www.archdaily.com;

`52_Stadion by Matthew Nowicki / Archi-tects: Matthew Nowicki, William Henley Dietrick / Location: State of North Caro-lina / Project Year: 1952;

`53_Eichler house / Architect: Carol Blitzer / Location: Palo Alto / Project Year: 1953 / Website: www.archdaily.com;

`54_Seagram Building / Architects: Mies van der Rohe and Philip Johnson / Location: New York, United States / Project Year: 1954-1958 / Photograph: Dillon Scheenard / Website: www.arch-daily.com;

`55_Bavinger House / Architects: Bruce Goff / Location: Oklahoma, United States / Project Year: 1955 /Photograph: Liz Brook / Book: ”History of design”, Sergej Mihailov, 2002;

56_House of the Future / Designed by Alison and Peter Smithson / Location: London / Project Year: 1956 / Photo-graph: John R. Pantlin / Website: http://designmuseum.org;

`57_Sydney Opera House / Architect: Jørn Utzon / Location: Sydney, AustraliaProject Year: 1957-1973 / Photographs: Jozef Vissel, Tomas Klein / Website: www.archdaily.com;

`58_Bass house / Architect: Julius Schulman / Location: Altadena,CanadaProject Year: 1958 / Website: www.arch-daily.com;

`59_Milam Residence / Architect: Paul Rudolph / Location: Jacksonville, FloridaProject Year: 1959-1961 / Photograph: Ouno Design / Website: www.archdaily.com;

`60_Astoria Hotel & Restaurant / De-signed by Verner Panton / Location: Trondheim, Norway / Project Year: 1960Website: www.verner-panton.com

`61_Rang House / Architect: Richard Neutra / Location: Germany / Project Year: 1961 / Photographs: Iwan Baan / Website: http://iwan.com;

`62_TWA Terminal / Architect: Eero Saarinen / Location: New York, USAProject Year: 1956-1962 / Photograph: Hagen Stier / Website: www.archdaily.com;

`63_Beinecke Rare Book and Manu-script Library / Architect: Gordon Bunshaft of Skidmore / Location: New Haven, Connecticut / Project Year: Completed in 1963 /Photograph: Ezra Stolle;

`64_Frey House II / Architect - Julius Shulman / Location: Palm Springs, CAProject Year: 1963-1964 / Photographs: Ed Brodzinsky, Kiel Bryant / Website: www.archdaily.com;

`65_Exeter Library / Architect: Louis Kahn / Location: Exeter, New Hamp-shire / Project Year: 1965-1972 / Photo-graphs: Ed Brodzinsky, Kiel Bryant / Website: www.archdaily.com;

`66_House of Civil Servants / Archi-tects: Jaenecke & Samuelsson / Lo-cation: Stockholm, Sweden / Project Year: 1966-1970 / Book: ”History of design”,Sergej Mihailov, 2002

`67_Finlandia Hall / Architects: Alvar Aalto / Location: Finland / Project Year: 1967-1971 / Webside: http://copenha-gen2009.files.wordpress.com;

`68_Pescher House / Architect: Richard Neutra / Location: Wuppertal, GermanyProject Year: 1968 / Photograph: Iwan Baan / Website: http://iwan.com/

`69_Spiegel Verlagshaus / Designed by Verner Panton / Location: Hamburg / Project Year: 1969 / Website: www.verner-panton.com;

`70_Visiona 2 / Architect: Verner PantonProject Year: 1970 / Website: www.verner-panton.com;

`71_Douglas House / Architect: Richard Meier / Location: Harbor Springs, Michi-gan / Project Year: 1971-1973 / Photo-graphs: AIA / Website: www.archdaily.com

`72_House VI/ Architect: Peter Eisen-man / Location: Cornwall, Connecticut / Project Year: 1972-1975 / Website: www.archdaily.com;

`73_Two Level Seat / Designed by Vern-er Panton / Project year: 1973 / Website: www.verner-panton.com;

`74_Indian Institute of Management /Architect: Louis Kahn / Location: Ahmedabad, India / Project Year: 1962-1974 / Photographs: Naquib Kossain, Dave Morris / Website: www.archdaily.com;

`75_Atheneum/ Architect: Richard Meier & Partners Architects / Location: New Harmony, Indiana / Project Year: 1975-1979 / Photograph: Courtesy of Richard Meier / Website: www.archdaily.com;

`76_Signature rocking chairs /Book: ”History of design”, Sergej Mihailov, 2002;

`77_Gehry Residence / Architect: Frank Gehry / Location: California/ Project Year: 1977-1978 / Photographs: Liao Yusheng, Ken McCown / Website: www.archdaily.com;

`78_Lloyd’s of London / Architect: Rich-ard Rogers / Location: London/ Project Year: 1978-1986/ Photographs: Greg Kristo, Andrew Krol/ Website: www.arch-daily.com;

`79_Zentralparksasse Headquarters/Architects: Günther Domenig / Location: Vienna / Project Year: 1979;

`80_Teatro del Mondo / Architects: Aldo Rossi / Location: Venice, Italia / Project Year:1979-1980 /Website: www.design-boom.com;

`81_Casablanca cabinet/ Project Year: 1981/ Website: www.designmuseum.org

`82_Schwimmer House / Architect: John Lautner / Location: Beverly Hills, CA / Project Year: 1982 / Photographs: Patri-cia Parinejad;

`83_Le Grande Louvre / Architect: I.M. Pei / Location: Paris, France / Project Year: 1983-1989 / Photographs: Flavio Bragaia, Greg Kristo, Reji K. A / Web-site: www.archdaily.com;

`84_Spiral Apartment House / Archi-tects: Zvi Hecker / Location: Ramat Gan, Israel / Project Year: 1984-1990 / Website: www.arcspace.com;

`85_Freemont Cabinet / Designed by Memphis Freemont / Project Year: 1985;

`86_Hexenhau / Project Year: 1986-2002 / Photographs: Pavel Stêcha /Website: http://designmuseum.org;

`87_Asymmetric chair / ”History of de-sign”, Sergej Mihailov, 2002;

`88_Center for Design and Art / De-signed by Peter Eisenman / Project Year: 1988-1996;

`89_Palais Bulles / Architect: Antti LovagLocation: Cannes, France / Project Year: 1989 / Photographs: Sepienia / Website: www.archdaily.com;

`90_Art Gallery of Ontario / Architect: Frank Gehry / Location: Ontario, Can-ada / Project Year: 1990 / Photograph: Roger Cullman / Website: http://thomas-mayerarchive.de;

` 91_Stansted Airport / Architect: Von Gerkan, Marg and Partner / Location: Stansted Airport, London / Project Year: 1991/Website: http://archiseek.com;

`92_Kunsthal / Architect: OMA / Loca-tion: Rotterdam, Netherlands / Project Year: 1992 / Photographs: Flickr User: Kleiobird/ Website: www.archdaily.com;

`93_St.Antonio’s Church & St. Bartolom-eu Social Center / Architects: João Luís / Location:Portugal / Project Year: 1993-2008 /Photographs: Fernando Guerra / Website: www.archdaily.com

94_Glyndebourne Opera House / Ar-chitect: Michael Hopkins / Project Year: United Kingdom / Website: http://www.miesarch.com;

`95_Heinz Galinski School / Designed by Zvi Hecker / Location: BerlinProject Year: 1995 / Photographs: Mi-chael Krueger;

`96_The Long Island Residence /Architects: Tod Williams, Billie Tsien / Location: Wainscott / Project Year: 1996-1998 / Photograph: Tod Williams / Website: www.archdaily.com;

`97_Muziekgebouw/ Architect: 3XNLocation: Amsterdam, Netherlands / Project year: 1997/ Photographs: An-drea Giannotti;

`98_Explora Hotel in Atacama / Archi-tect: German del Sol / Location:ChileProject year: 1998 – 2000 / Photo-graphs: Guy Wenborne, Guy St. Clair;

`99_“Wood House” Island Complex Residential / Architects: Pete Bossley /Project Year: 1999 / Website: http://newshousedesign.com;

`00_Jazz transition

Transitions. Life is full of them, and they impact our living space as much as our lifestyle. Transitions Interior Design helps make change comfortable, and enjoyable, whether we’re blending two households, starting a family, moving into a new home, or establishing our first “grown up” place after landing your first job.Transitions reflect our personal style.