Semester 2 Portfolio TEH XUE KAI 18023215 DS3 // 2019-2020 Copper Recycling Center
The market bridges the global scale of logistics with the domestic scale of daily life. As the space of encounter between goods and bodies, where resources become commodities and value is sold and bought, the space of the market is reflective and/or indicative of the current conditions of change and exchange. It is the interface for the confrontations and contradictions inherent to global capitalist trade. The studio, DS3 aims to unpack architecture’s role as an instrument of political agency through critical reading of the site at a multitude of scales- from the dividual subject of the workers to the global forces operating with extrastate power, confronting the imaginaries and materialities of power built by architectural and territorial projects.
Introduction
The deadly life of logistics by Deborah Cowen The reading discusses about the citizenship of stuff, the commodity supply and links of the global market along with the history of logistics. The movement of materials through spaces has undoubtedly reshaped the global economics while the revolution of logistics has reconstructed the concept of capitalism into a global supply chain in which complex productions and distributions take place. Tracking back to the history of logistics, due to the changing in the era of globalization and privatization, logistics has shifted from a supporting role to a more strategic role in today’s market. As a result, the circulation of goods across places has redefined borders, territories and spatial qualities to enable exchanges to happen. The revolution in logistics has changed the entire system of production that it is a norm nowadays that manufacturing process happen across multiple spaces and circulation of goods are spanned across national borders. Furthermore, logistics remain very political, setting new dimension to social life with urban citizenship and affecting workers from different countries. In short, the world of logistics goes beyond the circulation of goods whereby the flow of materials has become a driving force in redefining territories, markets, labour and global economies.
Instrumentalisation from Semester 1
Commodification of Nature Architecture and agriculture have both become tool for capital accumulation which led to social inequality and environmental destruction. Nature is commodified as the victim of capitalism as natural resources form the basis of economy in this era. Supply chain of nature goods has become capitalist’s tool for private wealth accumulation by undermining the original source of all wealth: soil and workers, exploiting the cheap labor which mainly constituted of refugees and illegal immigrants. Besides, one of the consequences of such is the pollution created during the food production and transportation of the supply chain. Moreover, architecture has been used as a tool to seduce land ownership in the worship of capitalism, advocating the misconception that the buildings and land are no longer to be used, but to be owned. Thus, architects need to rethink the revolution of agriculture in relation to land as it will have ripple effect on the social and urban landscape in the future.
Instrumentalisation from Semester 1
Architecture and the State In many cases, architecture is weaponized in a political sense with the propensity for violence of architecture being instrumentalized by political agendas to segregate the population. Moreover, from spatial configuration point of view, open plan configuration facilitates optimal control over their inhabitants especially those with centric configuration. However, although the ideologies behind were not invented by architecture, we cannot deny that architecture is a tool to implement their violence on bodies.
Instrumentalisation from Semester 1
Watching-Eye The illustration is inspired by Ledoux’s engraving of “Coup d’oeil du théâtre de Besançon” where the eye appears to face outward from the stage toward the curved auditorium and semicircular colonnade of the theatre. This in a way symbolises the perception of the performer (workers) on the stage, looking into the audience (authorities) while being looked at the same time. This exchange of eye contact evokes the unique relationship between the “watching” and “being watched”, questioning the imposition of authority: in fact, who is watching whom? The collage takes an ironic approach whereby in the sclera there is the forest of Chaux as the source of wood and the fumes from wood fires in the production of salt. They are intentionally being drawn outside of the iris to symbolise the negligence about the exploitation of nature in the name of capitalism. Meanwhile, the “veins” in the eye are the Aqueduct constructed to channel the brine to the factory, another case of commodification of nature. Moreover, the frame of the director’s window is used as the outer ring of the iris to represent the perspective of the authority, with the priority lays on the circle of production and the efficient workflow by the workers. In the iris the workers can be “seen” to be working on producing salt around the evaporating stoves. On the wall there are two beacons acting as eyes for further monitoring purposes, as if there are not enough eyes on them. In addition the wall separates the workers from the rest of the production, symbolising the alienation of production. Lastly, the reflection in the descending cone of light structures the image by a paradoxical duality which suggests the symbol of authority from workers’ point of view with monument as a tool for the trapping of power.
Reflection on Royal Saltworks
Unseen view of Royal Saltworks
Director’s Office Building
Beacon
Forest of Chaux
Worker’s Building
Theatre of Production
“Stage”
Taxonomy Drawings of Royal Saltworks
Unseen view of Royal Saltworks
Model 1 (Extrusion) Casting was used as the modeling method to reflect the earthiness of the production while the wood shred tells the cost of the production at the expense of the forest.
Model 2 (Excavation) The material of the model creates a fortress with the aid of the configuration and levels. Center of the fortress is for production of salts, in the expense of the nature as a lot of wood is burned in the production of salt from saline. Model 1 + 2 (Fortification) The difference in level of the salt and wood across the two models depicts the exchange of goods that takes place in the factory along the production. Salt is extracted from underground in the form of saline while wood is being cut down from the Forest of Chaux to fuel the evaporation process. With the two models now combined, the scenographic factory is at the centre of the buildings, serving as a panopticon overlooking both sides.
Projective view of Royal Saltworks
Mapping of copper market in London
London Metal Exchange copper warehouses network There are a comprehensive network of warehouses monitored remotely by LME across the globe as the metals don’t physically reach the LME as an exchange node. The circles in orange are the sizes of copper stockpiles monitored by LME in metric tonnes. Worth-mentioning the warehouses are all in close proximity to the sea/port as the main mode of logistics is by shipping. Moreover, the main sources of copper for LME are from mines in Chile and Peru.
Problem statement//Formal copper market
Anti-government protests that have shaken the world’s largest copper producing nation Chile have spread to the mining sector as unions call for stoppages. Workers at BHP Ltd.’s Escondida mine, the world’s largest copper operation, will hold a “warning stoppage” in solidarity with protests taking place across the country. The stoppage risks disrupting copper supply from the world’s largest producer, with ports already being impacted by protests. This shows that political tension that happens at the sources of the market, in this case the mines, can bring detrimental effect to the global supply. On the same note, US-China trade war causes volatility to the copper market as well. Thus, it is of utmost importance to think of a strategy to protect the market and minimize the impact and uncertainties caused by external factors, especially when UK currently relies heavily on the supply from within EU for copper. As Brexit gradually falling into place, further uncertainties in UK copper market will surely come into the picture, sooner or later.
Problem statement//Formal copper market
Highly proned area
Safe area N/A
London copper theft prone areas The mapping shows areas in London that have copper theft cases reported within 1 year. This reflects that the public are well aware of the value and the application of copper and there are organisations behind planning copper theft related crime, inducing the informal market of copper.
Problem statement//Informal copper market
Source: BBC News UK.
Around 3,650 metres of copper cable was removed by criminals, and police believe that the power, signalling and communications wire was stolen to order before being sold abroad as part of an international crime ring.
Problem statement//Informal copper market
Source: Fraunhofer ISI.
Source: European Copper Institute.
Recycling copper uses up to 85% less energy compared to primary production from mining, at the same time increases the immunity of the UK’s copper market by creating a more selfsustainable supply within the country so that the market won’t suffer from the volatility and uncertainties caused by external factors as the current main copper supply from mine are from Sweden, Finland, Poland, Spain, Portugal, Chile and Peru. All these supplies are highly vulnerable to local and global political tensions such as Brexit and trade war.
Project Aim//Recycling copper scrap
Neighbouring scrap yard and dealers are to be connected with the facilities nearby to create a new territory, as shown above is the city of London being studied as an example with the London Metal Exchange as the center. With all the dots connected, it can be perceived as a virtual factory in the city with clustered components within the new territory.
Thus, the aim is to create an internal, sustainable supply of copper within the UK, by increasing and encouraging the recycling of copper. The project will serve as a starting point of a movement to create an archipelago of recycling centers in the future by connecting local scrap dealers and scrap yards in order to formalize the secondary copper market. The project will in a way, act as a cleansing agent in the copper market, by encrypting material passport in the process of recycling the copper scrap. The target is to encrypt all copper scrap by 2045, in the effort to prevent copper theft and the subsequent social disorder.
Project Aim//Recycling copper scrap
A. Problem statement -Political tension at the sources of market causes volatility and uncertainties -Brexit induces uncertainties to future copper supply from European countries -Unregulated scrap yards fuel copper theft in the UK -Stolen copper (black currency) got cashed out at scrap yards (bank) -Informal copper market disrupts social order (eg: copper theft dismantles logistic line) B. Aim -Act as a cleansing agent in the current copper market in the UK -Formalize secondary copper market in London -Educate the public to recognize the recycling of copper -Connect and engage the scrap dealers to create new territory -Create an archipelago of recycling centers along River Thames in the future C. Who, Programme & Schedule -User: Local community, tourists & workers -Programme: Copper recycling research center + tourist educational center + outdoor elevated cycling/jogging track for observational and recreational purposes -Schedule: Recycling center (office hours) Cycling/jogging track (24/7) D. Site -Located at Swanscombe marshes in Gravesend, surrounded by a number of jetties and the port of Tilbury -Long history as a port of entry for shipping -River Thames as the platform where logistics happen and frontiers gather -Converging topography creates a node perfect for gathering frontiers -Extensive network of facilities and scrap yards for future intervention -Sitting in between existing manufacturing development and logistic development & -buffer zone of industrial development along the river before residential development -Serve as an intervention to reveal and relieve tensions E. Gesture -Circulation for visitors and workers are segregated but visually connected (exchange of spectatorship) -Circular plans to create a focal point at the center as a stage (control of vision) -Minimal opening outwards to emphasize and control the vision within (entrapment) -Unloading bays are designed at the center as opposed to the conventional recycling center to highlight and celebrate the process (positioning of bodies) (inverted) -Visual connectivity across different levels through opening voids (stage for bodies) -Warehouses and logistics processes are designed on the water and contained within the “boundary� by the jogging track as a barrier (containment) -Elevated jogging/cycling track surrounding the pier with the ports across the river as backdrop (hierarchy of spectatorship) -Center platform above unloading bays for supervision and inspection purposes -River bank as site for efficient transportation of scrap by barge from neighbouring scrap yards (cross-territorial transportation) -Building sitting on a marshes site to remind the visitors about the co-existence of nature and development when they come into the site (threshold) -The building extends into the water in the form of a mooring pier for the barges, acting as a logistic node for frontiers to gather -Exposed steel structure with DFD (design for disassembly) strategies for sustainability F. Ultimate Endeavours -Achieve circular economy by providing self-sustainable supply in UK copper market -Eliminate copper theft in London and UK by 2045 through encryption of material passport -Recognize copper as a key material to achieve circular economy due to its recyclability -Bring frontiers across tensions to form new territories -Reminder about the importance of conserving the nature amidst development and commodification -Reduce further commodification of nature in the form of mining -Reveal the oppressive power through which architecture subjectivizes bodies and production Project articulation
Project articulation
The proposed site is located at Swanscombe marshes in Gravesend, surrounded by a number of jetties and the port of Tilbury. It lies on the south shore of the River Thames, approximately 24 miles downstream of London Bridge.
Site selection
Š Crown copyright and database rights 2020 Ordnance Survey (100025252). FOR EDUCATIONAL USE ONLY.
0
0.2
0.4
Scale 1:25000
0.6
0.8
1
1.2
1.4
1.6
1.8
2 km
Projection: British National Grid
Gravesend had long been a port of entry for shipping, all of which had used the river for loading and unloading of cargos. Besides, there are extensive facilities for manufacturing, logistics and storage. Thus the site serves as an intervention to reveal and relieve the tensions.
Site selection
The site is sitting in between manufacturing development and logistic development, thus can serve as an intervention to reveal and relieve the tensions by having the frontiers crossing the territories respectively to gather at the site as a node.
Site analysis
Buffer zone of industrial development along the river before residential development, with River Thames as the medium for loading and unloading; the platform where logistics happen and frontiers gather.
Site analysis
Royal Saltworks as precedent study is being studied to establish axis and configuration in relation to the surrounding context.
Initial idea
Initial sketch to connect neighbouring facilities with the site as a node to create a new territory and gateway. Exploration on configuration of programmes on site with the application of intended gestures.
Initial idea sketch
Initial idea of having a physical link in the form of a bridge across the river, with reference to the New Babylon, to create a gateway for the ship before entering the Greater London. However, the issues of the scale of the project and the impact on the environment were taken into consideration in the later stages of designing.
Initial idea sketch
The project is designed to be at the tip of the land, extending into the water as part of the intended gesture of creating layers of threshold coming into the site. Focal point and extremities of the project were being configured and designed, aligned with the gestures.
Initial idea sketch
AXIS
DETERRENCE
THRESHOLD
ENTRAPMENT
Gestures exploration
OBLITERATE
CONTAINMENT
DISSOCIATION
AUTONOMOUS
Gestures exploration
Gestures sketch
CONTAINMENT
ENTRAPMENT
INVERTED
Gestures exploration through verb models
Royal Saltworks
Surveillance Devices The central courtyard can be perceived as a stage where the daily routine and leisure activities are carried out, being watched by the directors and other workers in the buildings. With the eyes on the “stage�, one can argue that the safety and security are enhanced; but on the other hand the privacy of the workers is invaded with eyes on them 24/7.
Precedent study//Spectatorship
Spatial Configuration Ledoux designed the semicircular complex to reflect a hierarchical organization of work. The entrance building sits at the midpoint of the semicircle and contains on one side guardrooms and on the other a prison and a forge. Other buildings on the semicircle include on the left, as one faces the entrance, quarters for carpenters and laborers, and on the right, marshals and coopers. At the center of the circle is the house of the Director, which has a belvedere on top. On either side of the Director’s house are the saltworks themselves. These two buildings are 80 meters long, 28 meters wide, and 20 meters high. They contain the drying ovens, the heating pots, the “Sales des Bosses”, and the salt stores. At each intersection of the diameter and the semicircle sit buildings that housed the works’ clerks. Behind the Director’s house there is an elegant, small stables for the Director’s horses. The support of salt works by a state monopoly probably explains why this building is so grand. The gabelle was very unpopular and was one of the complaints that led to the French Revolution.
Precedent study//Configuration
Odeon Theatre, Paris
Theatre Royal, Covent Garden
Panopticon prison
A comparative study of theatres and panopticon prison was done to study the duality and hierarchy of spectatorship in relation to the positioning of bodies and the spatial configuration.
Precedent study//Spectatorship
Royal Saltworks
Greek Theatre
Roman Theatre
Teatro Olimpico
Vitruvius Greek Theatre
Canadian Stratford Shakespeare Festival Theatre
Theatre Comparative Studies The project is read through the lens of surveillance of the workers thus the typology of the theatre is taken as a comparative study, where there is a central focus and an audience to explore the exchange of spectatorship by using Vitruvius Greek Theatre as the model.
Precedent study//Configuration
Panopticon prison
The panopticon is a type of institutional building and a system of control designed by the English philosopher and social theorist Jeremy Bentham in the 18th century. Emblematic of architecture’s role in surveillance and discipline through spectatorship. ... the major effect of the Panopticon: to induce in the inmate a state of conscious and permanent visibility that assures the automatic functioning of power. Michel Foucault, Discipline & Punish: The Birth of the Prison
The axial visibility of the panopticon is taken as a model to further develop in the design and challenge the idea by reversing the spectatorship. In resonance with the configuration of a theatre, the operation of the inverted panopticon highlights the control of vision and the positioning of bodies within the building-manifested as transparency through accountability.
Gestures//Reversing the Panopticon
Source: La Biennale di Venezia.
Sun & Sea (Marina), Lithuanian Pavilion at the Venice Biennale The performance/exhibition in Lithuania is taken as a precedent study to the project as its unique approach to the positioning of bodies in relation to the audience is constructive in provoking the further study of spectatorship in designing the project.
Atmospherical study//Stage for bodies
The center of the building was initially designed as the processing area, with the exhibition hall just above it. This is to enhance the visual connectivity throughout the building with the recycling process as the main focus. While on the both sides of the building, the mooring piers extend outwards to accommodate incoming barges for loading and unloading.
Design development
As the design develops further, the center of the building is turned into the unloading bay, in accordance to the intended gesture of inverting the spectatorship and creating a “central stage� to funnel the attention of the visitors to the unloading process of the copper scrap as the integral part of the programme.
Design development
The mooring pier is extended into the river along the main axis, with the warehouses surrounded by an elevated cycling/jogging track which is designed to attract the public into the site in order to recognize the logistics and recycling process of copper scrap beside promoting healthy lifestyle.
Design development
F
I
N
A
L
D
ARCHITECTURAL MOMENT
E
S
I
G
N
DRAWING // ILLUSTRATION
Location Plan
Site Plan
With the unloading bays for truck at the center of the building, surrounding it are the processing components for the recycling center (smelting, converting, sorting, waste management plant), control room, storage and staff cafeteria. Meanwhile, the recycling center also has educational components to educate the public to recognize the recycling process of copper scrap. At the southern part of the building there is the exhibition hall with indoor courtyard and existing chimney to reminisce the past production of copper. On the opposite end into the river, barges are allowed to pass through the mooring pier to unload the scrap collected from across the river.
1
2
3
3
4
6
5
8
7
9 17
14
10
11
15
16
17
12
13
23
18 19
22 21
20
24
25 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
26 29
27
31
28
30
Ground Floor Plan
Barge Mooring pier Unloading/Loading Warehouse Smelting Converting Converting plant Sorting Unloading/Loading Storage Restroom (workers) Control room Truck parking Cafeteria (workers) Sulphuric acid plant Fan Cycling track Entrance Guard house Locker room Cafe Restroom (visitors) Reception Foyer Drop-off Indoor courtyard Existing chimney Exhibition hall Semi-fabrication Fire refining Electrolytic refining
3
4
6
8
5
7
9 17
14
10
11
15
16
12
13
18
23 19
22 20
21
24 25
26 29
27
31
28
30
Ground Floor Plan
17
On the first floor, there is the observation corridor around the building whereby visitors can observe the recycling process of copper. There is also classroom for educational lecture about the process. As the main role of the recycling center is to act as a cleansing agent in the market by encrypting material passport, the research lab is an important programme and the researchers actually have the privilege and privacy of having their own entrance stairs. On the both sides of the building, there are ramps up connecting to the cycling/jogging track surrounding the pier for recreational and observation purposes. While above the exhibition hall, there is an observation deck where visitors can access either from the exhibition hall or the observation corridor on the first floor to have a clearer view of the processing area.
1
1
1
3 2
2
4
6 5
From the floor plans, it is obvious that circular plans are efficient in creating a focal point at the center as a “stage� to funnel the attention. Unloading bays are designed at the center as opposed to the conventional recycling center to highlight and celebrate the process. Visual connectivity across different levels are achieved through opening voids.
3
7
8
11
9 10
12
1 2 3 4 5 6 7 8 9 10 11 12
First Floor Plan
Cycling/jogging track Connecting ramp Observation corridor Observation deck Inspection platform Research lab Classroom Restroom (visitors) Admin office Control room Meeting room Outdoor observation deck
1
1
3 2
2
4
6
5
3
7
8
11 9 10
12
First Floor Plan
1
The section shows the exhibition hall and the observation deck above as mentioned before, both having visual accessibility to the processing area. The existing chimney at the center is surrounded by an indoor courtyard, creating a contrast between nature and man-made; at the same time giving another layer of meaning, hinting the recycling of copper is essential to conserve the nature and giving a rebirth to the market on the foundation of the past production.. Worth-mentioning, the faรงade has minimal openings outwards to emphasize and control the vision within.
2
3
4
6
5
7
8
Section 1
1 2 3 4 5 6 7 8
Truck Semi-fabrication Exhibition hall Indoor courtyard Existing chimney Observation deck Electrolytic refining Drop off
2
1
The section shows the integral part of the building, the unloading bays with the inspection platform hovering above. On the both sides there are the classroom, offices, control room, staff cafeteria, restroom and sulphuric acid plant as the sulphuric acid is the main by-product of the recycling process of copper, so it must be treated and discharged appropriately and safely to prevent environmental pollution.
3
4
3
3
9
5 7
8
10
1
6
1 2 3 4 5 6 7 8 9 10
Ramp up cycling track Classroom Observation corridor Control room Inspection platform Unloading bay Cafeteria (workers) Sulphuric acid plant Restroom (visitors) Fans
Section 2
4
2
3
1
This section and the following section show the relationship between the cycling track and the logistics component where one can perceive as a “stage” with the “audience”. This allows the public to observe and celebrate the logistics process as part of the programme. Moreover, the warehouses and logistics process are designed to be sitting above the river and to be contained within the “boundary” by the jogging track acting as the barrier.
3
6 3
5
1 2 3 4 5 6
Section 3
Pathway to pier Cycling/jogging track Warehouse Dock crane Mooring pier Containers
4
2
1
3
The elevated jogging/ cycling track is designed to be surrounding the pier to create a hierarchy of spectatorship. This gesture at the same time also highlights the positioning of bodies and the control of vision in the process.
5
6
1 2 3 4 5 6
Section 4
Pathway to pier Cycling/jogging track Barge Dock crane Crane Mooring pier
Sectional Perspective 1
Sectional Perspective 2
Exploded Axonometric
Source: European Copper Institute.
Key Processes, Services & Partners
Netw
Neighbouring scrap yards are connected and engaged to form territory for the copper secondary market. This intervention c an archipelago of recycling centers, ultimately reducing co
work
m a network with the project as the nucleus and create a new can be further incorporated in other parts of the UK to create ommodification of nature and achieving circular economy.
Connec
Along the River Thames there are an extensive network of log node along with other jetties and ports to enhance the efficie river functioning
ctivity
gistics facilities, thus the project aims to serve as an important ency in terms of transportation of the copper scrap with the g as the conveyor.
Visitors Admin Workers
Circulation Circulation for visitors and workers are segregated but visually connected.
Audience Stage
Various stages for bodies Visual connectivity across different levels through opening voids and circular plans to create a focal point at the center as a stage to create a hierarchy in spectatorship. The different levels, bridges and platforms allow the possibility of infinite and endless views of the production and recycling processes, inducing the feeling of an immanent state of conscious and permanent visibility.
Across the
Logistic node//Pier//Barges//River Thames//Medium//Con
The barges carrying copper scrap from across to the site as t
e territory
nnectivity//Cross-territorial//Frontiers//Neighbouring ports
s the river as a notion of crossing the territory the new node.
Entranc
Co-existence with nature//Monumental//Reminder//Exist
Coming into the site, the visitors and even t serves as a reminder to the incomers that we m and commodification; that nature can co-exi the civil
ce to site
ting chimney//Marshes//Conservation//Ports as backdrop
the trucks must pass through the green, this must conserve the nature amidst development ist with the development that we require for lization.
Exhibiti
Reminiscence of the past//Spectatorship//Existing chimney//
ion hall
/Observation deck//Monumental//Visitors//Indoor courtyard
The existing chimney can be seen from afar as a monument to reminisce and celebrate the past production of copper. The indoor courtyard gives another layer of meaning together with the chimney, hinting the recycling of copper is essential to conserve the nature and giving a rebirth to the market on the foundation of the past production. From the exhibition hall, the visitors can access to the observation deck above to have a clearer view of the processing area. While in the hall, beside the exhibition, the visitors can observe the ongoing refining and fabrication process on live through the window surrounding the hall, as part of the exhibition. In the exchange of spectatorship, a hierarchy is established through the positioning of bodies and control of vision.
Exhibition hall
Exchange of spectatorship//Visitors//Looking into processing area//Observation//Fabrication//Refining
Observation deck above exhibition hall
Existing chimney//Reminiscence of the past//Hierarchy of spectatorship//Looking down//Monumental//Visitors//Processing area
Unloading platform
Spectatorship//Workers//Overlooking//Hierarchy//Supervision//Inspection ring//Curvature//Bridge//Sorting//Truck//Management
At the unloading platform, a similar hierarchy is established, but between the authority and the worker. The illustration highlights the curvature of the building wall, giving a teaser about the emphasis of the design on circular configuration. Due to its location at the center of the building, the workers are being watched the whole time because that is practically the focal point of the building and the attention from around the building is continuously being funneled into the central, open platform. This induces a state of conscious and permanent visibility that assures the automatic functioning of power.
From the observation corridor the visitors can observe the logistics process of the barge bringing in the copper scrap. This is to induce consciousness and recognition of the public to the process and copper as a key material to achieve circular economy due to its infinite recyclability. Once again the visitors overlooking the workers highlights the hierarchy in spectatorship. The mooring pier serves as a “stage” whereby the surrounding elevated cycling/jogging track brings in the circulation of the “audience” to recognize and celebrate the process.
Mooring pier
Barge//Workers//Hierarchy of spectatorship//Looking down//Logistics//Unloading & loading//Elevated cycling track//Cranes//Marionette//Dock as stage
Observatio
Mooring pier//Spectatorship//Looking out//Logistics//Cranes//Barge//Contai
on corridor
iners//Visitors//Overlooking//Cycling track//Dock as stage//Ports as backdrop
Truck en
Driver’s point of view//Layers//Logistics//Un
The illustration shows the truck d recycling building, reason being in drivers and unloading are often perc the programme, however in this case the programme, so the driver is per
ntrance
nloading//Focal point//Inverted//Protagonist
drivers’ point of view entering the conventional circumstances, truck ceived as minor or secondary role to e the unloading is an integral part of rforming as one of the protagonists.
The end