20AR09

D E S H M U K H ATE EB AS H FAQ U E
T.Y. B . A RC H
LOUIS SULLIVAN
LOUIS SULLIVAN, IN FULL LOUIS HENRY SULLIVAN, (BORN SEPTEMBER 3, 1856, BOSTON,
MASSACHUSETTS, US-DIED APRIL 14, 1924, CHICAGO, ILLINOIS). AMERICAN ARCHITECT,
REGARDED AS THE SPIRITUAL FATHER O F MODERN AMERICAN ARCHITECTURE AN D
IDENTIFIED WITH THE AESTHETICS O F EARLY SKYSCRAPER DESIGN HIS MORE THAN 100
WORKS IN COLLABORATION (1879-95) WITH DANKMAR ADLER INCLUDE THE
AUDITORIUM BUILDING, CHICAGO (1887-89), THE GUARANTY BUILDING, BUFFALO, NEW
YORK (1894-95, N O W PRUDENTIAL BUILDING); AN D THE WAINWRIGHT BUILDING, ST.
LOUIS, MISSOURI (1890-91) FRANK LLOYD WRIGHT APPRENTICED FOR SIX YEARS WITH
SULLIVAN AT THE FIRM. IN INDEPENDENT PRACTICE FROM 1895. SULLIVAN DESIGNED
THE SCHLESINGER & MAYER DEPARTMENT STORE (1898-1904: N O W THE SULLIVAN
CENTER) IN CHICAGO HIS AUTOBIOGRAPHY WAS PUBLISHED SHORTLY BEFORE HE
DIEDLOUIS SULLIVAN DESIGN PHILOSOPHY> LOUIS SULLIVAN COINED THE PHRASE
"FORM EVER FOLLOWSFUNCTION THIS CREDO, WHICH PLACED THE DEMANDS O F
PRAC TIC AL USEABO VE A ESTHETIC S. WO ULD LATER BE TA KEN BY
INFLUENTIALDESIGNERS TO IMPLY THAT DECORATIVE ELEMENTS, WHICHARCHITECTS
CALL ORNAMENT WERE SUPERFLUOUS IN MODERNBUILDINGSBUT SULLIVAN HIMSELF
NEITHER THOUGHT NOR DESIGNED ALONGSUCH DOGMATIC LINES DURING THE PEAK
O F HIS CAREER INDEED, WHILE HIS BUILDINGS COULD BE SPARE AN D CRISP IN
THEIRPRINCIPAL MASSES, HE OFTEN PUNCTUATED THEIR PLAIN SURFACESWITH
ERUPTIONS O F LUSH ART NOUVEAU AN D SOMETHING LIKECELTIC REVIVAL
DECORATIONS, USUALLY CAST IN IRON OR FERRACOTTA, A N D RANGING FROM
ORGANIC FORMS LIKE VINES A N D IVY, TOMORE GEOMETRIC DESIGNS, AN D INTERLACE,
INSPIRED BY HIS IRISHDESIGN HERITAGE
> TERRA COTTA IS LIGHTER A N D EASIER TO WORK WITH THAN STONEMASONRY
SULLIVAN USED IT IN HIS A RC HITEC TURE BEC AUSE IT HA DA M ALLEABILITY THAT WAS
APPROPRIATE FOR HIS ORNAMENT.
TADAO ANDO
▪TADAO ANDO (ANDŌ TADAO , BO RN 13 SEPTEM BER 1941) IS A
JAPANESE SELF-TAUGHT ARCHITECT WHOSE APPROACH
TO ARCHITECTURE AND LANDSCAPE WAS CATEGORIZED BY
ARCHITECTURAL HISTORIAN FRANCESCO DAL C O AS "CRITICAL
REG IO NALISM ". HE IS THE WIN NER O F THE 1995 PRITZKER PRIZE.

▪AN D O WAS RAISED IN JAPAN WHERE THE RELIGION AND STYLE O F

LIFE STRONGLY INFLUENCED HIS ARCHITECTURE AND DESIGN.
ANDO'S ARCHITECTURAL STYLE IS SAID TO CREATE A "HAIKU"
EFFECT, EMPHASIZING NOTHINGNESS AND EMPTY SPACE TO
REPRESENT THE BEAUTY O F SIMPLICITY. HE FAVORS DESIGNING
COMPLEX SPATIAL CIRCULATION WHILE MAINTAINING THE
APPEARANCE O F SIMPLICITY. A SELF-TAUGHT ARCHITECT, HE KEEPS
HIS JAPANESE C ULTURE AND LAN G UAG E IN M IN D WHILE HE TRAVELS
AROUND EUROPE FOR RESEARCH. AS AN ARCHITECT, HE BELIEVES
THAT ARCHITECTURE CAN CHANGE SOCIETY, THAT "TO CHANGE THE
DWELLIN G IS TO C HANG E THE C ITY AND TO REFO RM SO C IETY". MY H A N D IS THE EXTENSION O F THE THINKING PROCESS
"REFORM SOCIETY" COULD BE A PROMOTION O F A PLACE OR A -THE CREATIVE PROCESS
CHANGE OF THE IDENTITY O F THAT PLACE. WERNER BLASER HAS
SAID, " G O O D BUILDINGS BY TADAO A N D O CREATE MEMORABLE
IDENTITY AND THEREFORE PUBLICITY, WHICH IN TURN ATTRACTS THE "IN ALL MY WORKS, LIGHT IS A N IMPORTANT CONTROLLING FACTOR.“
PUBLIC AND PROMOTES MARKET PENETRATION".
"I CREATE EN CLO SED SPACES MAINLY BY M EAN S O F THICK
CO N CRETE WALLS.“
▪BESIDES JAPANESE RELIGIOUS ARCHITECTURE, AN D O HAS ALSO
DESIGNED CHRISTIAN CHURCHES, SUCH AS THE CHURCH O F THE
LIGHT (1989) AND THE CHURCH IN TARUMI (1993). ALTHOUGH "WHEN THE EXTERNAL FACTORS O F A CITY'S ENVIRONMENT REQUIRE
JAPANESE AND CHRISTIAN CHURCHES DISPLAY DISTINCT THE WALL TO BE WITHOUT OPENINGS, THE INTERIOR MUST BE
CHARACTERISTICS, AN D O TREATS THEM IN A SIMILAR WAY. HE ESPECIALLY FULL A N D SATISFYING.“
BELIEVES THERE SHOULD BE N O DIFFERENCE IN DESIGNING
RELIGIOUS ARCHITECTURE AND HOUSES. AS HE EXPLAINS, "I CREATE ARCHITECTURAL ORDER O N THE BASIS O F GEOMETRY
SQUARES, CIRCLES, TRIANGLES A N D RECTANGLES. I TRY TO USE
FORCES IN THE AREA WHERE I A M BUILDING, TO RESTORE THE UNITY
BETWEEN HOUSE A N D NATURE (LIGHT A N D WIND)."
C HURC H O F THE LIG HT

THE CHURCH O F THE LIGHT (SO M ETIM ES C ALLED THE "C HURC H WITH
LIGHT") IS THE MAIN CHAPEL O F THE IBARAKI KASUGAOKA CHURCH, A
MEMBER CHURCH OF THE UNITED CHURCH OF CHRIST IN JAPAN. IT WAS
BUILT IN 1989, IN THE CITY O F IBARAKI, OSAKA PREFECTURE. THIS BUILDING
IS ONE O F THE MOST FAMOUS DESIGNS O F JAPANESE ARCHITECT TADAO
ANDO.
IN 1999, THE MAIN BUILDING WAS EXTENDED WITH THE ADDITION O F A
SUNDAY SCHOOL.

TADAO AN D O OFTEN USES ZEN PHILOSOPHIES WHEN CONCEPTUALIZING

HIS STRUCTURES. O N E THEME HE EXPRESSES IN THIS WORK IS THE DUAL
NATURE O F EXISTENCE. THE SPACE O F THE CHAPEL IS DEFINED BY LIGHT,
THE STRONG CONTRAST BETWEEN LIGHT AND SOLID. IN THE CHAPEL LIGHT
ENTERS FROM BEHIND THE ALTAR FROM A CROSS CUT IN THE CONCRETE
WALL THAT EXTENDS VERTICALLY FROM FLOOR TO CEILING AND
HORIZONTALLY FROM WALL TO WALL, ALIGNING PERFECTLY WITH THE
JO INTS IN THE C O NC RETE. AT THIS IN TERSEC TIO N O F LIG HT AN D SO LID
THE O C C UPAN T IS M EANT TO BEC O M E AWARE O F THE DEEP DIVISIO N
BETWEEN THE SPIRITUAL AND THE SECULAR WITHIN THEMSELVES.
O N E FEATURE O F THE INTERIOR IS ITS PROFOUND EMPTINESS. MANY WHO
ENTER THE CHURCH SAY THEY FIND IT DISTURBING. THE DISTINCT VOID
SPACE AND ABSOLUTE QUIET AMOUNTS TO A SENSE O F SERENITY. FOR
AN D O THE IDEA O F 'EMPTINESS' MEANS SOMETHING DIFFERENT. IT IS
MEANT TO TRANSFER SOMEONE INTO THE REALM O F THE SPIRITUAL. THE
EMPTINESS IS MEANT TO INVADE THE OCCUPANT SO THERE IS R O O M FOR
THE SPIRITUAL TO FILL THEM.
ANALYSIS IS THE PROCESS OF EXPLORATION AND DISCOVERY WITH
THE ONE ELEMENT CARRIED THROUGH TADAO ANDO'S STRUCTURES IS HIS WHICH AN ARCHITECT DEVELOPS A FAMILIARITY WITH THE ASSUMPTIONS,
IDOLIZATION OF THE REINFORCED CONCRETE WALL. THE IMPORTANCE EXPECTATIONS, AND CONDITIONS THAT ARE GIVEN AND THEN
GIVEN TO WALLS IS A DISTINCT DEPARTURE FROM MODERNIST
ARCHITECTURE. THEY ARE USUALLY MADE O F 'IN-SITU' POURED IN PLACE ESTABLISHES THE CONCEPTUAL LENS THROUGH WHICH ALL DESIGN
CONCRETE. CONSIDERABLE CARE IS TAKEN TO SEE THAT THE WALLS ARE DECISIONS
AS PERFECT AS TECHNIQUE WILL ALLOW. THESE WALLS ARE THICK, SOLID,
MASSIVE, AND PERMANENT. THE MAIN REINFORCED CONCRETE SHELL O F ARE SUBSEQ UEN TLY M ADE.
THE C HURC H O F THE LIG HT IS 15 INC HES THIC K.
• Born 12 August 1945 (age 77)
• Fumel, Lot-et-G aronne, France
• Nationality French
• Alma mater École nationale supérieure des Beaux-Arts
• Occupation Architect
• Awards Aga Khan Award for Architecture (Arab World Institute),
• Pritzker Prize,
• Wolf Prize in Arts,
• Praemium Imperiale
• Practice Ateliers Jean N ouvel
• Buildings Arab World Institute, Paris,
• Culture and Congress Centre, Lucerne,
• G uthrie Theater, M inneapolis,
• Torre Agbar, Barcelona, Nouvel’s speciality is that he transforms the landscapes
• M usée du quai Branly, Paris, Fondation C artier, Paris and tries to blend them into the built forms. This is the
reason it can’t be said that Nouvel follows a same
• Projects Philharmonie de Paris (2012), routine while designing all his buildings. His work is
• Louvre Abu Dhabi (2017) always specific to the site, program, its people and the
whole context.
His concept reflects the vanishing Bedouin cultures
of Qatar, to embrace the realities of a rapidly
urbanization society, and maintain a connection to
this fading world in which the country sprang.

the starting points of the design began with the

desert rose, which are tiny formations which
crystallize below the desert’s surface. made
primarily from steel and concrete which will be
locally sourced, the new building will be constructed
from dozens of interlocking disk-like forms varying
in curvature a n d diameter, suggestive of the blade-
like petals of the desert rose. His design is a
manifestation of the Qatari identity, through a
building appearing a s if it is growing out of the
ground.
▪ K A H N C R E A T E D A M O N O L I T H I C A N D M O N U M E N T A L STYLE.
▪F O R K A H N , IT WA S N A TU RA L LIG HT THAT B O U G H T
A RC H ITEC TU RE TO LIFE , THE ARTIFIC IAL LIG HT H A D A N
U N VARY IN G D E A D QUALITY IN C O N T R A S T TO THE
E V E R C H A N G I N G DAYLIGHT.
▪M O ST O F HIS BU ILD IN G S D O N O T HID E THEIR WEIG HT ,
M ATERIA LS O R THE WAY THEY’RE ASSEM BLED.
▪K A H N C O N C E IV E D THE IN D IA N IN STITUTE O F
M A N A G E M E N T A S A M IX TU RE O F A U STERITY A N D M AJESTY,
IN C L U D IN G SPA C ES F O R IN F O RM A L IN TE RA C TIO N A N D
A C H IE VIN G A B A LA N C E BETW EEN M O D E RN IS M A N D
TRADITION, W H I C H C A P T UR E D THE TIMELESS SPIRIT O F
INDIA.
▪THE SPECIAL S O CIAL C O N D I T I O N S A N D SITE DETERMINED
THE O RG A N IZA TIO N A N D LA YO U T O F SPAC ES.
“THE B R IC K SAYS: ‘IWANT T O BE A N A R C H , ” O R “THE S U N N E V E R K N E W
▪ WITH THE L O C A T I O N GIVEN TO THE THREE MAIN PARTS O F H O W W O N D E R F U L IT WA S UNTIL IT FELL O N THE WALL O F A BUILDING.”
THE W H O LE SC H O O L, THE RESID EN C E O F STU D EN TS A N D
TEACHERSHOUSES M A N A G E D TO MAXIMIZE THE AIRFLOW
IN KA H N ’S PHILO SO PHY, F O RM IS C O N C E IV E D A S FO RM LESS A N D
A N D THEREBY IMPROVE VENTILATION. THE INTENSE LIGHT UNMEASUREABLE, A SPIRITUAL P O W E R C O M M O N TO ALL
A N D HEAT WERE ATTENUATED BY C O V E R E D WALKWAYS , M A N K I N D . IT T R A N S C E N D S INDIVISUAL THO U G HTS, FEELINGS
LIG HT BO XES A N D IN TERIO R C O U RTYA RD S. A LL THESE A N D CONVENTIONS.
ELEMENTS ARE INTEGRATED IN THE W H O L E PLASTICALLY.
F O R M C H A R A C T E R I Z E S THE C O N C E P T U A L ESSENCE O F O N E
PROJECT F R O M AN O THER, A N D THUS IT IS THE INITIAL STEP IN THE
CREATIVE PROCESS.

THE U N I O N O F F O R M A N D DESIGN IS REALIZED IN THE FINAL

P R O D U C T , A N D THE BUILDING’S SYMBOLIC M E A N I N G IS O N C E
A G A I N UNMEASUREABLE.
 INDIAN INSTITUTE O F
M A N A G EM EN T , A HM ED A BA D .

THE F O L L O W I N G 3 BUILDINGS ARE C H O S E N

BECAUSE O F THEIR BEAUTIFUL SENSE O F
G EO M ETRY, RO LE O F LIG HT A N D S H A D O W
A N D THEIR D ESIG N .

I P R O C E E D E D WITH INDIAN INSTITUTE O F

M A N A G EM EN T , A H M ED A B A D BEC A U SE IT WA S B A N G L A D E S H NATION AL
K A H N ’ S FIRST PROJECT IN INDIA A N D HIS LAST
PROJECT BEFORE HIS DEATH. IT WAS BUILT IN PARLIAMENT, D A K H A .
C O LA B O RA TIO N WITH B. V. D O SH I W H O IS A N
INDIAN ARCHITECT.

PHILLIPS EXETER A C A D E M Y
LIBRARY, EXETER.
THE ‘INDIAN INSTITUTE O F M A N A G E M E N T ’ REMAINS AS O N E O F
LOUIS K A H N ’ S M O S T PROMINEN T A R C H I T E C T U R A L W O R K S ,
M E R G I N G M A N Y O F THE DISTINCTIVE C H A R A C T E R I S T I C S THAT
M A K E HIS DESIGNS S O EXCEPTIO N A L. THE EXTENSIVE C A M P U S
C O M P L E X WAS ENVISION ED IN 1962 TO BE A M O D E R N S C H O O L
F O R INDIA’S BRIGHTEST STUDENTS, THE RESULT O F W H I C H WAS
O N L Y C O M P L E T E D AFTER K A H N ’ S D EATH IN 1974.LIKE M A N Y O F
THE AR CHIT E C T ’ S O T H E R SEMINAL W O R K S , THE MASSIVE B R I C K
F R A M E W O R K O F THE S C H O O L C A R R IE S IN SPIRA TIO N FRO M
A N C I E N T A N D MEDIEVAL A R C H I T E C T U R E , YET ITS E L E G A N T
F O R M S E X U D E A TIMELESS P R E S E N C E . THE C O M P L E X WAS
C O N S T R U C T E D F R O M M O N O L I T H I C MASONRY; M A N Y
T H O U S A N D S O F INDIVIDUAL B R ICKS W E R E LAID BY HAN D , A N D
D R A W O N PRIMARY GEOMETR IES WITH A R C H E S , CIRCLES, SEMI-
C IRC LES, A N D S Q U A RE S SLIC E D O U T O F H U G E WALLS A N D
PASSAGEWAYS. THE C O N S I D E R A B L E D E S I G N PLAN D E M O N S T R A T E S
A STRICT O R D E R IN F U N C T I O N A L HIERARCHY, WITH EXPRESSIVE
F A C A D E S THAT HOST MULTIPLE USES: TO PROVIDE C O N N E C T IO N S
A N D TRANSITIONS TO DIFFERENT WINGS A N D FACULTIES, TO A C T
A S VISTAS A N D M EETIN G PO IN TS F O R STU D EN TS TO C O M E
TO G ETH ER, A N D TO SUPPLY FILTERS F O R SUN LIG HT, LE N D IN G
SH A D E A N D VEN TILA TIO N FRO M THE H U M ID C LIM A TE. THE
S C H O O L E N C O M P A S S E S A C A D E M IC B L O C K S , FACU LTY OFFICES,
33 FULLY FURNISHED D O R M ITO R IE S F O R STU D EN T
A C C O M M O D A T I O N , A LIBRARY, A PLAZA, A N AUDITORIUM, A N D
SPORTING FACILITIES.

N A T U R A L LIGHTING HAS A M A J O R ROLE IN THE STYLE O F

D E S IG N IN G IN T R O D U C E D BY K A H N . TH ERE IS A
F ABU LOU S IMPACT O F G E O M E T R I C A L O P E N I N G S THAT
HELPS IN THE ILLUMINATION O F INTERNAL SPACES A N D
A L S O A D D S AESTHETIC VALUE T O THE EXTERIORS.

THE MATERIAL U S E D IN BUILDING ISN O T H I D D E N A N D

EVERY BUILDING ELEMENT ISPLACED THOUGTFULLY. THE
E X P O S E D MATERIALS A L S O A D D AESTHETIC VALUE T O THE
STRUCTURE.

THE M O N O L ITH IC STYLE KEEPS A B A LA N C E

T H R O U G H O U T THE S TRU C TU RE W H IC H D O E S N O T
HIGHLIGHT A SPECIFIC FEATURE BUT M A K E S THE
W H O L E S T R U CT U R E ATTRACTIVE
▪FUKSAS WAS BO RN IN RO M E IN 1944; HIS FATHER WAS
LITHUANIAN JEWISH WHILE HIS CATHOLIC MOTHER WAS THE
DAUG HTER O F A FRENC H FATHER AND AN AUSTRIAN M O THER.

▪AT THE BEG INNIN G O F THE 1960S, HE WO RKED FO R G IO RG IO DE

CHIRICO IN ROME. AFTER HE LEFT ITALY AND WORKED FOR A
PERIOD FOR ARCHIGRAM IN LONDON, FOR HENNING LARSEN AND
FOR JØRN UTZON IN COPENHAGEN. HE RECEIVED HIS DEGREE IN
ARCHITECTURE FROM THE LA SAPIENZA UNIVERSITY IN 1969 IN
ROME, WHERE HE OPENED HIS FIRST OFFICE IN 1967, THE GRANMA,
COLLABORATING WITH HIS FIRST-WIFE ANNA MARIA SACCONI.

▪THERE IS N O C O M M O N STYLE OR LOGICAL SEQUENCE IN

THE WO RK BY M ASSIM ILIAN O FUKSAS. HIS ARC HITEC TURAL
LANG UAG E IS VARIED ALTHO UG H C O NSISTENTLY BO LD AND
INTREPID: SHAPES ARE NOT REPEATED BUT THERE IS FAITH IN
THE POTENTIAL O F ARCHITECTURE TO AFFECT AND CHANGE.
IN THIS WAY, AESTHETICS ARE COMBINED WITH ETHICS… “IT IS ARCHITECTURE IS INTERESTING BUT BY ITSELF IT MEANS NOTHING
NOT ENOUGH TO BE A SUCCESSFUL ARCHITECT; IT IS GOOD,
BUT IT IS NO T

▪ENOUGH … ETHICS DISCOVER THE SENSE O F LIFE.” UNDER THIS

IDEO LO G Y, FUKSAS APPLIES A DIALEC TIC M ETHO DO LO G Y O F
DESIG N THAT C O N FRO NTS AND INC LUDES DIFFEREN C E: IT IS NO T
ABO UT A O R B, IT IS ABO UT THE PO SSIBILITIES, TENSIO N AND
PRO DUC TIVITY O F THEIR ENC O UNTER. TO HIM , DIVERSITY IS PO WER.
ZENITH MUSIC HALL,FRANCE

THE CONCEPT O F THE DESIGN IS BASED O N A MODULAR AND A WELL

BALANCED ORGANIZATION O F THE DIFFERENT ELEMENTS: G O O D VIEWS
FOR ALL SPECTATORS, BEST ACOUSTICS AND AN OPTIMIZED COST
MANAGEMENT ALREADY ADDRESSED DURING THE CONCEPT PHASE O F
THE DESIGN. THE BUILDING IS TO BE UNDERSTOOD AS A SINGLE, UNIFYING
AND AUTO NO M O US SC ULPTURE. BY LAYERING AN D RO TATING THE
ELLIPSOID METAL FACADE STRUCTURE, THE DESIGN RECEIVES A VERY
DYNAMIC CHARACTER.

THIS IS UNDERLIN ED WITH THE TRANSLUC ENT TEXTILE M EM BRAN E, WHIC H

C O VERS THE STEEL-FRAM E AND C REATES M AG NIFIC ENT LIG HT EFFEC TS.
THESE ORANGE MEMBRANES ALSO COVER THE VOLUME O F THE MUSIC
HALL ITSELF. THIS IS THE HEART O F THE BUILDING: A TOTALLY ENCLOSED
AND PROTECTED SPACE, WHICH CREATES A SPECIAL THEATRE
ATMOSPHERE. PROJECTIONS O N THE OUTER SKIN CREATE PLAYFUL
EFFECTS AND CONVERT THE FAÇADE INTO A HUGE BILLBOARD. THE INNER
EXPERIENCE IS TRANSMITTED TO THE OUTSIDE THOUGHT OUT THE
TRANSPARENT SKIN : THE WHO LE BUILDING BEC O M ES A 'LIG HT
SCULPTURE’.

A STRANGE ORANGE-COLOURED OBJECT CAME TO LIGHT IN THE

HORIZONTAL LANDSCAPE, MORE LIKE A SCULPTURE (OR A SIGNAL) THAN A
SPACE FOR MUSIC AND CULTURE. STARTING FROM THE CENTRE, THE
HEART O F THE SPACE FOR EVENTS, YOU G O BEYOND THE FLIGHT O F STEPS
AND THE CONCRETE AND YOU ARRIVE WHERE THERE IS AN INTERSTITIAL
SPAC E, PREPARING YO U FO R THE O UTSIDE ENVIRO NM ENT. ANALYSIS IS THE PROCESS OF EXPLORATION AND DISCOVERY WITH
WHICH AN ARCHITECT DEVELOPS A FAMILIARITY WITH THE ASSUMPTIONS,
THE ORANGE-COLOURED FABRIC, COMPOSED OF GLASS FIBRE WITH EXPECTATIONS, AND CONDITIONS THAT ARE GIVEN AND THEN
SILICONE SPREAD ACROSS TWO SIDES, IS A TRANSITION AND A FILTER
ESTABLISHES THE CONCEPTUAL LENS THROUGH WHICH ALL DESIGN
BETWEEN THE LARGE 20 M-HIGH FOYER, WITH ITS STEEL STRUCTURE, AND
THE OUTSIDE. THIS SCULPTURE, WITH DISTINCTIVE NON-PARALLEL RING- DECISIONS
SHAPED FOLDS, IS OPAQUE AT DAYTIME AND ALMOST TRANSPARENT AT
NIGHT-TIME. IT TURNS INTO A MAGICAL LAMP AND MAKES THE PLACE ARE SUBSEQ UEN TLY M ADE.
STAND OUT FROM ALL THOSE NON-PLACES. SO THE PARTY CAN BEGIN.