01/03/10 1956-1978 Carlo Scarpa Intervening with History

From the lecture on Carlo Scarpa, I can see a link between his work in the framing of the materials and forms within the buildings he has designed. In particular Castel Vechio, 1956-70.Here a statue was very important and was kept in the design. The existing building was torn apart to help frame the statue more efficiently, getting rid of parts that were not needed such as a large stair case. He liked to peel back materials in his projects and work with the existing building by adding new features to it.

Scarpa’s framing of spaces in his designs is very intriguing and can be related back to film and the use of different angel shots. I am currently working on my proposal and how it will work within the site. I have started to look at framing within the building and how light projection can be used to enhance parts of the building and include ideas of being able to only see the projections form certain places, framing the space where the visitor is suppose to look.

The framing can be created with physical parts but I was also looking at using the light projection to define space; the length of projection and what is being projected all contribute.

1| Framing from window overlooking green, Brion Vega Tomb, 1970-78

2| Internal view looking through arch ways, framing the pathway, Castel Vechio, 1956-1970

The spaces he has created in his buildings are beautiful and I would really like to apply this technique into my design proposal. It allows the visitor to view parts of the building or collection, which they might not necessarily have, taken notice of before. At the moment the site I am working on is very symmetrical and consists of many smaller rooms, however by manipulating and using a framing idea the site can start to react with the visitor and allow the visitor to also get involved and find new discoveries.

He strips down parts of existing buildings as well as creating additions to the site. I am looking at how I can incorporate the existing site with my proposal and how I can manipulate the building to create an effective new design. I don’t want to destroy the existing site completely nor do I want to keep it the same as it is now. In the Castel Vechio I am fond of one birds eye view photograph of part of the hall, where the level changes with small steps leading from the centre and travelling in perpendicular directions. It is very angular and clean, but gives a fluidit to the space.

3| Birds eye view looking onto the courtyard with clear angular lines, Castel Vechio.

Image references
1| http://www.yangsquare.com/wp-content/uploads/2009/07/brionscarpa.jpg

2| https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnmVZjXmQK92L1-f9U3XT2CmDvbEfeCnBEhB0eDkWxnGeYKUIonadLfZrf7o_P-lqu6Q15ofXTPAUzTBgxEqUVLxxD58KXlc7z0DQyzWxFT41jhe3OxyPiJBo0a57FbS_MLoScqe5QfDHw/s320/7.JPG
3| https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR74_2dcVJfTDvugFNo2nkzVYLlRLnhgSaJVk1efsEqLWFERXVWug0EBRSDPQjrSm0RG-pnanAdGVGgGalJ1u4FaJ0CSBmnIKdLYWemZ4hL101wlUUagvRR7ULsqppka-A6GlJ19990Es/s400/Castelvecchio+Museum.jpg

22/02/10 Russia Constructivism

Ivan Leonidov’s plans communicate strong geometric forms and simplicity in design. They are beautiful and are really inspiring for my work. The graphic nature to his orthogonal drawings has a delicacy to them and an order. He does not include all the detail of the building in his plans which I think adds a quality to his work making the viewer search for clues as to how the building will be, cross referencing between plan, section and elevation.

1| Ivan Leonidov, Lenin Building, 1927, Axonometric

Malevich’s work also interests me, as he is also very graphical with his pieces. The famous Black Square is simple but gives so many messages. The monochrome aspect and the simplicity reads well. His drawings are too of a geometric form, such as examples from Kazimir Malevich’s Suprematism: 34 drawings. The detail is sparse, yet the drawings allow the imagination to take over and complete the piece.

2| Pages from Kazimir Malevich's Suprematism: 34 drawings, 1920

My project uses light and projection. I would really like to incorporate a similar method of drawing to Leonidov and Malevich’s style with my orthogonal drawings. I think this could be a really effective way of expressing my design. The projected light beam is very important in my work defining a spatial form within the site. A monochrome and graphical representation could work well. The building on my site is a secondary to the lighting pieces and so I can develop my drawings to express the nature of the light projection, its form and spatial qualities leaving the boundary of the building walls to a minimum or even not including them at all (similar to Malevich and Leonidov’s drawings reducing the detail). The geometric forms will be strong in my proposal although not defined by boundary walls, but by light projection, which can be broken at any time by the visitors to the Museum.

I am very engaged in their drawing methods and hope to use the influences to develop my drawing skills and way of presenting my work.

Image References

1| http://www.kmtspace.com/leonidov.htm

2| Tupitsky, M. Malevich and Film, 2002, Yale University Press, New Haven and London p134

01/01/10 | 1929 Mies van der Rohe 2 early masterpieces

Mies van der Rohe changed people’s perception of construction, how to use materials and piece them together in different ways. He pushed the technology and materials to the limit; he stripped everything down that wasn’t needed in the design, they were simple which help emphasise the important detailing in his pieces of architecture. He designed his first house when he was only 20 years old.

Mies van der Rohe’s architectural career started in 1908 when he was an apprentice for Peter Behrens. He worked alongside Walter Gropius and Le Corbusier concerning the current design theories at the time. In Mies’s early work many people thought it was too fictional for the time with elements such as steel geometry and large glass pieces. It is interesting to see that Mies worked mainly in plan on paper. His work features classical influences, and focuses on clean and pure elements.

1. Mies van der Rohe | The Barcelona Pavilion 1929

It was originally a temporary structure to last 9 months. It was a minimalist masterpiece and featured on the front cover of ‘Architecture’ in the 20^th century. The Pavilion was recorded with photos and drawings and 50-60 years later the pavilion was reconstructed; it was seen as a huge influence in architecture and design and became a copy of itself.

Originally Mies was asked to design furniture and walls for the interior of the industrial space of the exhibition, but he changed the brief he was given considerably and argued for a space to build a pavilion instead, which was on the edge of the exhibition site. The design and construction happened in less than one year.

The Pavilion is minimal and he designed using plan and perspective. The design consists of a strong horizontal symmetry, a contrast to the vertical symmetry seen in classical architecture he was influenced by. The use of horizontal planes breaks the space into different areas; Mies was playing with different lengths, proportions, planes and arrangements in the spatial layout. Parts of the design would disappear from certain view points due to the positioning of the walls and also the delicate nature of parts of the design.

From his preliminary sketches it can be seen that his design did not change too drastically. They show open spaces, orthogonal plains, overlapping elements and framing in the design. Mies was obsessed with detailing and experimented with materials; each part was made out of something different. For example, he used many types of glass; clear, bottle green, mouse grey, sand blast and milky white, for stone he used onyx, alpine, travertine and Greek green stone. The columns designed are beautiful and simple in appearance. Mies was very particular with the detail of the pavilion and did not want any unnecessary pieces to be there. There were no doors, and so the entrance door had to be installed and removed each night. There were no light switches and the only source of light was produced by a light well, sunlight in the day and at the night the well was lit with artificial lighting, hidden away from the pavilion; this lit up the whole space.

2. Detailing of column

3. Materials in the pavilion

4. Mies van der Rohe | Tugendhat House 1930

In 1930 Mies designed the Tugendhat House in the Czech Republic. He was working on the Tugendhat House at the same time a family; there were many similar elements to the Barcelona Pavilion apart from the difference in the site. He used a similar structure with the cross form columns with long windowpanes. The site was on a slope; the house was designed in terrace levels mainly using plan and section. There was a hierarchy in the spatial arrangement. The top level housed the bedrooms and underneath the main floor was completely open and minimal. He used plan and section to design.

5. Front exterior of the house

The exterior of the biding is very deceiving when you approach the building. It is long and thin and you would not know the excitement behind. The entrance is a courtyard, framing the view of the landscape. The purity and open space in the house were so different to the houses at the time. Mies was very interested in materiality and detail as seen with the Barcelona Pavilion. The family were encouraged to buy an Onyx wall, which at the time cost the same as a middle class house. Everything in the house relates or has a relationship with each other, for example, the locks of the doors, the chair legs and the columns are all chrome and match.

He used Charcoal to sketch. They look really beautiful and are very easy to read. The simple lines portray so much. This is really inspiring for me and I would like to think about using a similar method o draw. I am looking at light and projection and so the contrast between the charcoal and the paper would work. The charcoal would be a good medium to use as it can help define a light beam and also help create a smoky atmosphere within a drawing.

His obsession with detail is amazing. He is so particular about every part to the design, this is great to see and learn about as it inspires me to think even more about the detailing and the reason behind each element of the design. The light well he used in the Barcelona Pavilion to light up the whole place is a good thought, during the night when it is dark, lighting up the light well with artificial lighting a very detailed thought allowing the space inside the pavilion to be free of any artificial lighting, which would then completely change the atmosphere and purity of the design. This is very interesting and has made me think differently to the lighting in my project. I don’t want to use any artificial ceiling or wall lights in my design so thinking of alternatives to the solution is important.

Image Reference

1. http://figure-ground.com/data/mies_pavilion/0013.jpg

2. http://www.srperrin.co.uk/Bacelona_Pavilion/Barcelona_Pavilion_Images/Barcelona_Pavilion_07.jpg

3. http://www.srperrin.co.uk/Bacelona_Pavilion/Barcelona_Pavilion_Images/Barcelona_Pavilion_09.jpg

4. http://lh6.ggpht.com/organonarchitecture/R58I4B2GHcI/AAAAAAAABaI/xQjV7IP19VI/tugendhat-CRTugen1930deSandalo_thumb

5. http://www.arquitectura.com/arquitectura/monografias/notas/casa_tugendhat/image024.jpg

25/01/10 | Modernist Theories and Dogma The Rise of Le Corbusier

A new way of thinking about Space.

Technology and construction was changing the method of designing and making. For example constructing a large concrete and steel edifice above an ornamental, decorative façade.

Le Corbusier designed his own education; he was self-taught. He started to draw from an early age and traveled around Europe increasing his inspiration. He worked in Peter Behrens practise with Walter Grupious and Mies van der Rohe. He was surrounded by technological influences in design, which in return influenced him.

In Le Corbusier early work he designed a Swiss house in Switzerland: it is a very traditional house influenced by what he was reading and seeing at the time. He taught and wrote a lot about architecture and design and the new methods and possibilities for architecture.

He designed the Domino System (Domestic innovation) which was a simple framework out of concrete. It consists of a simple block foundation and pillars to hold up each floor, allowing the design to not be restricted by height. There was no need for structural walls, which gave more freedom to the way buildings could be designed, and allowing for more inventive materials to be experimented with, such as large glass walls.

1. Le Corbusier | The Domino System

France | Purism

A movement in France from 1918-1925 rejecting the decorative friend of cubism and encouraging the simple formats of the machine age.

Le Corbusier used to paint in the morning and design in the afternoon, his work relates to the De Stijl movement with use of orthogonal lines, colour and off balance symmetry. He worked on many different scales and wrote about art and architecture in L’Espirit Nouveau. He redesigned the perfect city, ordering the roads and buildings.

His early works were unknown. He was finding new ways of organising space, using materials and the construction, which is now seen all the time.

2. Le Corbusier | Pavilion de l'espirit Nouveau 1925

The space is very organised; each space is allocated and holds a different spatial quality. He used double height rooms, which was fresh at the time; he wanted to suggest new ways of living. He presented ideas, which were completely stripped down and had little decoration. He mixed the plane and shipping industry with the domestic, housing industry.

To design the perfect house he designed 4 different types of house.

1 Design the house from inside out.

2 A rigid, pure form

3 Design with a visible framework and a transparent network.

4 He mixed the three types together to generate a new space, seen in the Villa Savoye.

Other houses he designed:

Maison La Roche 1923

A cellular organised manner. This was very cinematic.

Ozenfant Studio 1926

He used the domino effect, with large glass windows. The roof is an industrial double peak. There was lots of natural wall and ceiling light. He designed he house from the point of view of the camera lens.

Maison Cook 1926

He first used the 5 points of architecture

1 the pilotis

2 the toit jardin

3 the plain libre

4 the fenere de longeur

5 the façade libre

He used double/triple heights in the rooms to give a sense of free space.

Villa Stein de Monzre

His scale of work was increasing and becoming more graphic. He used geometric patterns to define the geometric pattern; the golden section.

Villa Savoye 1928

Consisted of clean, pure forms.

It was a statement of Le Corbusier as a designer.

Image Reference

1. http://www.tecnologos.it/Articoli/articoli/numero_010/03concrete/14concrete.gif

2. http://www.retropolis.net/exposition/corbusier3.jpg

23/11/09 | Industrialisation to the Industrialisation of War

This was the period of technology and steel construction.

1. Peter Behrens | AEG Turbine Hall 1910

He designed the image of the Turbine Hall, such as the logo, architecture and graphics. He is considered to be the first industrial designer. He worked with up and coming students such as Mies van der Rohe and Walter Grupius and Le Corbusier. The building portrays a sense of a monumental industrial structure but as seen in the sections there is a light and delicate quality to parts of the interior such as light steel elements of construction.

2. Gropius and Meyer | Fagus Werk 1913

This was the ‘first modernist’ building. The design expressed new qualities and structural possibilities of using new materials. It was the first building to use canter levers and to have a flat roof. One of the flanks of he building is all glass, and one of the first for this complete glass façade. This shows that construction methods were continuously changing and becoming more and more developed, a glass wall on such a large building is very substantial, and it allowed the interior to be flooded with light.

When the First World War happened things started to change. There was a celebration of the aircraft and the machine, which was later seen as an influence in design. The industrialisation of the War period changed the landscape completely, lives were changed and so did design and architecture. After the war the effect was noticeable in the big cities, people were injured and places were destroyed. The design changed due to the difficulty of construction, which had to stop, whereas in comparison, the artists were not affected as much.

3. Malevich | Black Square | painting 1919.

Malevich was part of the constructivism and Suprimatism period, which was an artistic and architectural movement from 1919. It favored art as a practice directed towards social purposes. It was a milestone in the history of art and design. Black Square is a simple geometric form of abstraction. The square sybolises a ‘full void’ to Malevich and shows hat the painting can perform itself. He does not use any representation but focuses clearly on the clean geometric forms. Malevich believed every object has a static faced as well as an inner dynamic and here with Black Square he is very clever with his painting. It can be read in two was, is it a black square on a white background or a black hole surrounded by a white frame.

1. http://pds.exblog.jp/pds/1/200701/05/88/f0126688_12503749.jpg

2. http://einestages.spiegel.de/hund-images/2008/05/16/47/1e3b3583d118090624a9a430f13f329a_image_document_large_featured_borderless.jpg

3. http://static.royalacademy.org.uk/images/width525/malevich-1491.jpg

16/11/09 | 1905-1910 Ornament and Crime

Vienna Secession

The Vienna Secession was formed by a group of artists about their rethinking in collaborative work in art and design. It included architects, painters and sculptors. The goal of the Secession was to provide exhibitions for young artists , to bring artists work to Vienna and to publish its own magazine to show members work.

The meetings were held in the Secession building built by Joseph Maria Olbrich, a statement building for the movement. It was a monumental presentation through the use of architecture, sculptural elements and decorative ideas.

1. Joseph Maria Olbrich | Secession building 1897

Gustav Klimt was a painter and one of the most prominent individuals of the Vienna Secession. He completed paintings for the secession, which were seen as pornographic and inappropriate. He also made portraits of wealthy women.

Egon Schiele, an artist was also in the group. In his self-portrait he brakes down the figurative representation. There is an abstractness to his work which overlaps with the architecture at the time.

Chicago Oak Park - Frank Lloyd Wright

Frank Lloyd Wright built a lot of houses in Oak Park, Chicago including his own.

Frank Lloyd Wright | Unity Temple 1960

The Unity Temple, 1960, was built there and people were convinced to think of a new church form rather than the traditional before. The church design was more considered internally than the exterior. Inside the interior it is very geometric with a triple height congregation space. It is still in use today. The exterior of the church is quite harsh, but still holds a sense of beauty to it even though it is mainly concrete. There is a threshold between the interior and the exterior of smaller spaces. As your walk through from the outside you are twisted from an open space to a smaller intimate space and contrasted to an open space inside the main body of the church.

I am interested in how Frank Lyod Wright plays with the scale of the space, from the exterior to the interior of the church. He is playing with peoples perceptions, which are surprised when led into a large open volume with a triple height interior. It is very monumental. Looking at the sense of scale it is interesting to see if this strong contrast in scale could be related to what I am currently working on with the Cienam Museum in Kennington. There are many small rooms within the site and one large open Hall upstairs which is a complete surprise to the building. I have been looking at opening up the spaces but creating smaller, more intimate thresholds from one room to another space could be effective and really work with the light projections, as well as looking at the programme of the cinema experience. You move through from one room to the next, sometimes from a small foyer to a large cinema auditorium and sometimes the opposite. Playing with the height of the room as well as the square footage reacts with the people and creates a completely different feeling.

Frank Lloyd Wright | Robie House 1908

This house consisted of cantilevered roofs and spaces. He brought a new aesthetic to American domestic architecture by using horizontal planes. The interior related to the horizontal lines outside which is an important aspect to the house. The horizontal mortar for the bricks is darker than the vertical mortar, which is a similar colour to the bricks. This emphasised the horizontal forms of the building. This detailing is very inspiring and really influences the aesthetics of the design. It is clear that horizontals are important. It seems simple but it looks beautiful.

Vienna – Adolf Loos

Loos was working on small projects at the end of the secession movement, such as shop fronts and single rooms.

Adolf Loos | Villa Karma | Geneva 1906

This set a marker for his design language. He used an existing building to wrap a new form around it. The composition of the piece is cubic and he challenges the decorative ideas. Was it was the right way to move forward? At the time, the house was seen as too simple and even ‘ugly’. It was very fresh in design and the residents were not keen. The exterior is a white box but the interior contrasts with an abrupt language. The entrance is round and 2 stories high, very unusual. Simplicity in the design allowed the material to speak for itself, the ornamentation and decoration is reduced; this was a key feature. Every room in the house was distinguished by its materiality and lighting.

Adolf Loos | Interior of Villa Karma, circular balcony above the entrance

Adolf Loos | Kartner American Bar 1907

This bar was very bespoke in design. There was a structure and ordering of space and amazingly it still looks the same today as when it was built. The materials used are elegant and the detailing gives a rich look to the design. Mirrors cover the two opposing walls in front of and behind the bar giving an infinity feel of space above.

To me, the design looks so rich and quite grand. The space is fairly small and so the mirrors help to show a larger room. The mirrors an opposing walls and t the top are really effective and make the columns look for ever lasting. Using mirrors can be tricky in design but they can also look very effective, which could be brought onto my site in some way to bounce light from on place to the other.

Image References

1. http://www.secession.at/building/images/olbrich.gif

2. http://unitytemple-utrf.org/images/graphic_building.jpg

3. http://forum.arts-crafts.com/groupee_files/attachments/9/3/7/9371038772/9371038772_robieHousepic1.jpg?ts=4B7364FB&key=0A7E72495E04308A585E625E1961309A&referrer=http%3A%2F%2Fforum.arts-crafts.com%2Feve%2Fforums%2Fa%2Fga%2Ful%2F1471038772%2Finlineimg%2FY%2FrobieHousepic1.jpg

4. https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLlHefeN2ObqMfP49B58OXr8BGefCJRjEVVc09eyVBrT0YtmA3qXDTj5IL3ivPi9nVS0Vrt_YTo4hdtP157LzKEXlVnPbn7WJjYbbmu9Iq96D5QbOOYpTV6toO2pkWdPy4UT-YpwWx0aXg/s400/side+facade.jpg

5. http://www.anneke.net/Loos/i/circrail.JPG

6. http://spsu.edu/architecture/classes/3113-Rizzuto/Precept1/AmericanBar/bar2.JPG

09/11/09 | 1900-1910 Art Nouveau

‘The terrifying and edible beauty of Art Nouveau architecture.’

Salvador Dali

Art Nouveau flourished in Europe and the USA until 1914 and was particularly prominent in Paris, Glasgow, Barcelona, Vienna and Berlin. It consisted of asymmetrical compositions, foliage, roots and stems with sensuous flowing lines. It evolved from the late Gothic patterns and consisted of a mixture of craftsmanship and industrial production; this created questions about Art Nouveau. What is this new machine aesthetic? How can it change and transform architecture and design?

In Paris, Hector Guimard designed the metro station street entrances. He was part of the new industrial trend with art and design, which he wanted to portray on a large scale. The entrances were based on Viollet-le-Duc’s structures, very ornamental and decorative.

Gaudi is very well known for his work in Barcelona; he was very expressive in his design, especially with Casa Batllo, 1877-1905. The house is very prominent in comparison to the other buildings around. It is described as the ‘House of Bones’ and is obvious why. Gaudi’s level of detailing is astonishing, such as for the connections in materials. The sculptural pieces are influenced by skeletons and organic forms where he wanted rid of all orthogonal lines, as they created the wrong impression. The roof design is based on a representation of a cross stabbed in a dragons back, the detailing on the roof is amazing, and the material of broken ceramic tiles is beautiful and very colourful. Gaudi has used a narrative to design the building and it has definitely made an impression on people.

This building has grown on me every time I look at it. It looks very overpowering, but I really like how Gaudi has chosen a subject and really took it to extreme levels in his work. Skeletons influenced his work and so he designed every single piece on the façed to portray this inspiration, the balconies look like skulls. I think I can take this way of working into my studies, to be more extreme with my designs and not be afraid to go for it. He has clearly loved the Casa Batllo project, which is simply shown by his extreme levels of detailing and thought. This can definitely help me in my design, it may be a risk but it certainly looks worth it.

In Glasgow, Charles Rennie Mackintosh was influenced with Japanese prints and simple design. He used a new curved geometry in his work and changed interior design. Decorative aspects used to be part of the interior decoration, but it became 3D design, it was starting to have a physical presence. The abstract curves provide an energy and growth to the designs. Everything became part of the design, text, frames, railings to name, all became important to the designer. Nature was a big influence, and was represented in an abstract way, especially seen by Mackintosh.

Charles Rennie Mackintoshes way of working was quite different to others. He got to really know his clients before designing, observing them for a few weeks, sketching and taking notes. This helped him engage with the clients are really create something to their personal needs, he believed function was very important and that the beauty would follow, which it always did with his work.

Hill House, 1902-3 shows a huge contrast between the external (castle like and quite dense) and interior forms (pure and gentle). Mackintosh chose a white plaster finish with red tiled roof; a feel of masculinity compared to the interior, which seemed more feminine and delicate. He used a monochrome palette very effectively; this is carried throughout the whole house, which is also echoed in his furniture designs, such as the high back chairs. Everything in the design had been thought of meticulously and it definitely showed. Mies van der Rohe called Mackintosh a ‘purifier’ in his work, which is clearly seen here in his Hill House.

Other pieces Mackintosh design were the Willow Tea Rooms, 1903 also in Glasgow.The design was simple; the main source of the Tea Rooms was the chairs and how they defined the room. The furniture was used as architectural pieces. In his apartment the chairs were also a very prominent part in the design, his dining room was influenced by Japanese design.

I am really inspired by Mackintoshes simplicity in design. The geometry is beautiful.By using monochrome in the Hill Hosue and even in The Willow Tea Rooms, it really allows the simple design to take place, especially as the furniture is part of the architecture. The clean lines are easy to read and very attractive.

1. C. R Mackintosh | Willow Tea Rooms,

In Brussels there was money and so many people were applying the Art Nouveau experience to their private homes; this became a framework for a new mid class, not present before.

Victor Horta | Tassell House 1894

Victor Horta designed the Tassell House in 1894. He used steel and stone together to explore the new industrial materials, a quintessential piece of art nouveau. The house creates a real sense of fluidity in the geometry of the design. There is a constant feel of movement, which is expressed through every part of the design, the railings, the stairs, the floor and even the design on the wall. It is strong and feels like it will engulf you as you walk up the stairs. This sense of power depicted by a piece of architecture is amazing, thinking about how to engage someone with the design presence in the room. Creating more powerful pieces to really take over the visitor’s senses or feeling would be very effective.

His house and studio was a take on the traditional Brussels house with art nouveau elements in the design. He used it to sell his work, like a show house. He designed with steel, which he cut away to expand the light and there is a contrast relationship with the recess and protruding elements. The entrance is a huge statement for how the experience will be, but even before entering the house there is already so much detail, in the exterior, beautifully flowing balconies and door handles are a taste of what is to come. This is definitely inspiring for me, in my project at the moment I am looking at how I can transform the exterior site as well as the interior site to make it more appealing and attractive for the visitors, by looking at small details it can really make a difference. The building on my site is quite a statement in itself and se thinking of new ways to regenerate the exterior for the 21^st century is quite challenging.

2. Decorative detail for the lock on Hortas House

Image reference

1. http://i172.photobucket.com/albums/w25/TullyHs/RennieTeaRoomsreduced.jpg

2. http://www.bluffton.edu/~sullivanm/belgium/brussels/hortahouse/0019.jpg