C U R T A I N
Aneliya
T W I T C H I N G
Kavrakova
UNIT 7 TUTORS: YORGOS LOIZOS & NED SCOTT 2018-2019
D O M E S T I C
D I O R A M A S
The Relationship Between Space, Time and Memory Christopher Nolan’s Memento
within
Project I investigates Memento as the anthithesis of convential ‘domestic dioramas’ where the relationship between space and the individual is expressed and experienced through the lenses of a person conditioned with amnesia. This condition then becomes the condition of an architectural language and representation. With the first project, I am looking to establish a concept of transition, unexpectancy and unsafety that will later be integrated into the design project.
M E M E N T O
Locations
and
Details
VI CA 91343, USA 00:40:35
IV 91501, USA 00:28:40
VII CA 91001, USA ??:??:??
CA 91502, USA II CA 91042, USA 00:02:24
VIII
V CA 91342, USA 00:23:40
III
CA 91206, USA 00:11:13
I. The Murder Location 24721 S Main St, Carson, CA 90745, USA
II. The Discount Inn, Leonard’s room 7254 Foothill Blvd, Tujunga, t
III. Meeting Natalie 500 E Wilson Ave, Glendale, CA 91206, USA
IV. Natalie’s House 919 E Magnolia Blvd, Burbank, CA 91501, USA
V. Meeting Teddie 12192 San Fernando Rd, Sylmar, CA 91342, USA
VI. Beating Dodd 9111 Sepulveda Blvd, North Hills, t
VII. Natalie’s Bar 916 South San Fernando Boulevard, Burbank, CA 91502, USA
I
CA 90745, USA 00:02:22
VIII. Home 2379 Highland Avenue, Altadena, CA 91001, USA
Anterograde amnesia - a loss of the ability to create new memories after an accident, leading to a partial or complete inability to recall the recent past, while long-term memories from before the event remain intact. Usually, some capacity for learning remains, although it may be very elementary. The condition an be partially fixed by procedural memory (repetition). It caqn be caused by drugs, injury, traumatic emotional event or ceirtan illnesses.
Los Angeles 1:100,000
The Forgetting Curve Days - Memory
0
M E M E N T O
90%
Five Stages
of
Forgetting/Remembering
I. Orientation Putting spaces together becomes difficult: there is no in-/outside relationship, no entrance or exit. If you spend too long in one place, you forget where you are, where you entered and why.
3
60%
II. Light There are things you know for certain. If there is light, it is a day. Light is the only source of time-orientation.
7
40%
00:11:00
2%
00:09:00
20%
00:07:00 40% III. Shadows Shadows are the spaces which if you have not seen during the last ‘phase‘ of remembering, you cannot give light to, you cannot shape them. Even if you have seen these spaces a thousand times before that.
20
00:03:00
60%
00:00:00
80%
2t5%
IV. Mapping Maps become useful but only the ones that you have made yourself. You cannot trust other’s maps.
40
15%
2.
90
1.
4.
3.
6.
10% V.Photographs You have to trust your photographs. You can destroy them if what you see does not comply with what you wanted o see. IV II
Bernard Tschumi, The Manhattan Transcripts, 1976-1981
I
7.
5.
M E M E N T O
Eight Stages
of
Losing
a
Home
Weeks since the incident 0
Scene 1: Home
?
2
“You think I don’t remember my own wife?” Protagonist’s fragmented memories of his and his wife’s home.
280
Scene 8: Restarting “Awake. Where am I?“
I. Home 2379 Highland Avenue, Altadena, CA 91001, USA
190
Scene 2: Repetition
Scene 7: Friends
“You sad, sad freak. I can say whatever the fuck I want, and you won’t remember. We’ll still be best friends. Or maybe even lovers.”
16
“I have a system of documenting facts, this is how I make it work.”`
People abusing the protagonist create an even more complicated maze, making his home seem even furter away to him.
Repetition is one of the ways anterogate amnesia can be reduced.
VI. The Murder Location 24721 S Main St, Carson, CA 90745, USA
50
130
Scene 3: Time
“I don’t even know how long she’s been gone. It’s like I’ve woken up in bed and she’s not here.“
Scene 6: Believing
“Certainties. It’s the kind of memory that you take for granted.” The only way of remembering where the protagist needs to go home to is by having a picture with the name of the motel on it.
The protagonist moves from one motel to another, not knowing how long he has been staying there. II. The Discount Inn 7254 Foothill Blvd, Tujunga, CA 91042, USA
III. Natalie’s House 919 E Magnolia Blvd, Burbank, CA 91501, USA
80 105
Scene 4: Space
“Memory can change the shape of a room; it can change the color of a car. And memories can be distorted.“ The protagonist distorts his own memories of his past life, overlapping present reality (the motel room) and his home.
Scene 5: Awake
“So where are you? You’re in some motel room. You just - you just wake up and you’re in - in a motel room. There’s the key.“ The protagonist has no perception of time and space. He does not remember where he was when he fell asleep. Was it home or in a motel?
M E M E N T O
Looking
I. Home
II. Repetition
III. Time
IV. Space
V. Awake
VI. Believing
VII. Friends
VIII. Restaring
Flores and Prats, Sala Beckett, 2016
into the
Past
M E M E N T O
Non-Domestic Interiors
A R C H I T E C T U R A L M E L O D R A M A S
Shoreditch -
a
Site
of
Forgotten Communities
Our brief directs us towards viewing Shoreditch as a site of mystery, scandal and melodrama. Following my investigations from Project I, I approach the site searching for hidden/forgotten communities and the contrast between an exposed, chaotic and fast-paced public and a hidden, secure and isolated private.
S H O R E D I T C H
Domestic Melodramas
and
Privacy
1:2000
F O R G E T T I N G Sites
S H O R E D I T C H
of change and forgotten communities
1960-2002 The Foundry, 2003-2010 The Foundry was a former bank, turned into a bar with galleries for creatives in the 1990s. The Foundry closed down in 2010, as the building’s owner intended to redevelop the whole block to include a 350-room hotel.
Bank
2003-2010
The Foundry
2019
Art’otel
St. Michael and All Angels, completed 1865 by James Brook (1825-1901) The church was closed after Shoreditch no longer needed as many sacret places. It was the home of LASSCO from 1979 until 2007. It is currently used by Westland selling antique fireplaces, chimneypieces and fireplace mantels.
The Sisters of the Poor, 1870 A community of women working together to help others in in need, having given up on their personal lives themselves. This is the only proof of their existance. It is knows that they left London after the closure of the church.
1:500
S E E I N G
S H O R E D I T C H
No Privacy
1:500 Points of looking ainto/ being looked at
F O R G E T T I N G St. Michael
St. Michael’s is located in one of the back streets in Shoreditch and is now surrounded by a local public park. It remains a part of Shoreditch’s forgotten places where the original purpose of the church has been replaced for a commercial business.
After the completion of the church in 1865, James Brooks expanded it into a complex incorporating a school, nursery and a clergy. It was short after demolished and only the main part remains.
1:500
Plan of the complex existing between 1875-1930
The main body of the church that remains on site
and
S H O R E D I T C H
All Angels Church
R E M E M B E R I N G S H O R E D I T C H History
Shoreditch was first mentioned from 1148, where the centre was thought to be located at the junction of Kingsland Road and Old Street, c.390m to the northwest of the site. St Agnes le Clair Bathhouse was opened in 1731. A fire destroyed the bathhouse in 1845. The site was then occupied by commercial shops. During this period, Shoreditch was a site of industrial developments (mostly textile and brick). The lost bathhouse becomes a symbolic element in the concept of this project. The use of water is a sign of the passing of time and thus memory.
2010 - The Foundry
The events organised at the Foundry were a non-conventional way of bringing a community together as the venue itsself was cheap and flexible and allowed for a more experimental approach to art and self-expression. The loss of the venue means that the community needs to seek new exhibition and music spaces and offices and lose the connectivity and approachability of the site.
Houses - 1791
1691. The three houses (pink, blue and yellow) are within the site boundary.
St Agnes Bathhouse - 1745
1745. An Actual Survey of the Parish of St. Leonard in Shoreditch, taken in the Year 1745 by Peter Chassereau. St Agnes le Clair Bathhouse marked in blue. 2010
Textile/brick warehouses - 1860 2020 - Art’otel
1860
1890
2020
R E M E M B E R I N G
S H O R D I T C H
Program Proposal
The Foundry
Recreating The Foundry’s program would be an important part of this project. It would aim to preserve the community that existed there up to 2010 and provide the exhibition and office spaces that were occupied. It would allow for artists to show their work either to the general public walking past the building or on a more private scale. It will include the offices where volutneers and charities can work to help the surrounding communities in a similar way that the Sisters of the Poor did in the 19th century. It will combine: 1. Artists Studios - to be up to eight and rotated on a day-night basis between sixteen artists 2. Private Exhibition Spaces to be more intimate and on a smaller scale 3. Public Exhibition Spaces based on street level incorporated with the typical Shoreditch art scene 4. Flexible Office Spaces - overlooking the whole site where they can observe the Shoreditch communities 5. Housing - up to five rooms where the artists can stay in a flexible manner.
The Breach
The Breach is inspired by China Mieville’s book The City and the City (2009). The book describes two citystates and the space in between. These two cities occupy much of the same geographical space, but via the volition of their citizens, they are perceived as two different cities. A denizen of one city must dutifully “unsee” the denizens, buildings, and events taking place in the other city. To create such an in-between, this part of the project will focus on the forgotten history of Shoreditch. Through each floor, a diferent era will be described and will reference back to both the Foundry and the Sanatorium. The two ‘cities’ will affect the space in-between in such a way that the spaces will become amnesiac and delusiounal.
The Motel
The Sanatorium will be where people suffering with amnesia can receive treatment and support. The place will resemble a motel where the patients will feel as guests and be able to leave whenever they decide to. Narrow corridors will isolate the guests from the staff but will provide the staff with a direct visual access so they can ensure the guests are safe. Each floor will examine and treat the guests in a different way, however the rooms they are staying in will remain seemingly the same. Each floor will have a specific reason, as follows: 1. General Examination - where the patients stay for a single day 2. Hypnosis - driven by different ways of hypnotising, which is one of the ways patients can remember 3. Neurofeedback - highly technological and this floor will provide for newer technologies to be tested 4. Painting - painting the same thing again and again is a method used to help people deal with anterograde amnesia. The painting produced will be used in both the Breach and the Foundry. 5. Housing - on the same level as the Foundry and the Breach’s housing, this is where people who do not feel ready to go back into the real world can stay and live a sustained life together.
D E S I G N
D E V E L O P M E N T
Memento Loci - Reminder
of a
Place
The project becomes an art therapy centre for people with amnesia. It incorporated two of the forgotten uses of the site: one of a public event centre and another of a long lost bathhouse. Thus, while the architecture aims at accommodating and helping people with this condition, it acts similarly to a Maggie Centre, where the public is involved. The architecture is developed to simultaneously contrast these two conditions and gradually merge them together.
M E M E N T O
-
S H O R E D I T C H
Massing
The Foundry
The Amnesia Motel
The Breach
Public Area
S I T E A N A L Y S I S Sun Path and Building Height
June 21st, 6am
June 21st, 3pm
June 21st, 9am
June 21st, 6pm
June 21st, 12pm
June 21st, 9pm
60-70 m. 50-60 m. 40-50 m. 30-40 m. 20-30 m. 10-20 m. 5-10 m.
21st December, 6am
December 21st, 3pm
December 21st, 9am
December 21, 6pm
December 21st, 12pm
December 21, 9pm
A R C H I T E C T U R E & W E L L - B E I N G Alvar Aalto, Jan Duiker & OMA
Alvar Aalto, Tubercouosis Sanatorium Paimio, Finland, 1933 color-coded, orthogonal, repeptitive
Jan Duiker, Zonnestraal Sanatorium Hilversum, The Netherlands, 1931 orthogonal, quiet, repeptitive
OMA Maggie’s Centre Glasgow, UK, 2011 orthogonal, isolated, quiet
M E M E N T O L O C I Shoreditch Art Therapy Centre First Iteration
Street Level
First Floor
Second Floor
Third Floor
Fourth Floor
1:500
for
People
with
Amnesia
4. Amnesia Studio 2: 6. Amnesia 7. Stairs 8. Office to be
Key: 1. Entering the studio 2. Amnesia Studio 1: Noise 3. Storage Repeptitive classical painting 5. Amnesia Studio 3: Isolation Studio 4: Exposed and unstable leading to the private housing used for currating the studios 9. Four identical motel rooms 10. Private balcony 11. Shared balcony
1:100
M E M E N T O
S H O R E D I T C H
Approaching: The Motel
M E M E N T O
S H O R E D I T C H
Approaching: The Foundry
M E M E N T O S H O R E D I T C H Incorporating the Lost Bathhouse through the Story of Regia
An architecture of “quiet contemplation and divine things.� Edward Hollis
A
The Regia was a two-part structure in Ancient Rome lying at the edge of the Roman Forum that originally served as the residence of the main headquarters of kings of Rome. In his book The Memory Palace: A Book of Lost Interiors, Edward Hollis ransoforms this part of Roman history into the fictional story of the last Roman king. The king built a simple structure, in the centre of which a never-ending fire was kept, surrounded by cabinets of curiosities. This story influences these contemplation spaces, placed halfway underground in isolation and peace. The symbol of the ever-lasting fire is expressed through the collection of rainwater - a memento of the St. Agnes Bathhouse.
Plan at ground level
A
1:200
Section AA 1:200
F A B R I C C A S T Giovanni Michelucci
C O N C R E T E and Mark West
First attempt at 3D modelling curved columns
Sketches
Giovanni Michelucci
Autostrada Church, 1983 Florence, Italy
Mark West
CAST (Centre for Architectural and Structural Technology)
M E M E N T O L O C I Shoreditch Art Therapy Centre Second Iteration
for
People
with
Amnesia
Merging point - these points dictate the merging of material (different casts of concrete) and the bipolar program
First Floor
1. Tickets/Reception 2. Toilets 3. Shared storage 4. Training spaces 5. Doctor’s office 6. Entrance: public exhibitions 7. Entrance: private clinic 8. Entrance: public exhibitions 9. Cloakroom 10. Obervational platforms 11. Waiting area/ quiet space 12. Private art therapy spaces
Second Floor
1. Office N1 2. Office N2 3. Toilets 4. Training pt.2 5. Washing machines 6. Tunnel leading to the private contemplation spaces 7. Patients’ rooms: N1, N2, N3 8. Office N3 9. Public art studios 10. Restaraunt/diner 11. Doctor’s office 12. Private eating spaces
Third Floor
1. Exhibition space N1: allowing wind and sound to enter the space 2. Storage 3. Tunnel leading to the private contemplation spaces 4. Patients’ rooms: N4, 5. Exhibition space N2: exhibition spaces where be exhibited 6. Exhibition space N3: 7. Doctor’s office 8. Communal open space
N5 cabinets of curriosities - small public and private mementos will an exposed andunstable space
1:200
F I R S T
F L O O R
Reception spaces for both the art centre and the clinic as well as the art therapy studios. The merging points are the fewest on this floor as the healing process for the patients has barely yet began. The design is led by a set of four grids which, together with the different thicknesses and textures of the concrete, establish the bipolar side of the project.
1. Entrance: public exhibitions 2. Tickets/reception 3. Observation platforms 4. Cloakroom 5. Moving pane;s: to open or shut depending on the light conditions required 6. Toilets 7. Storage 8. BREACH 9. Spaces for training the public to help people conditioned with amnesia 10. Doctor’s office 11. Reception 12. Entrance: public exhibitions 13. Entrance: private clinic 14. Contemplation spaces 15. Art therapy studios 16. Waiting area/groupd sessions Generating the grids: I. Facing the busy exposed public II. From the site’s orientation towards two busy streets III. For the clicic: orthogonal (using only 90° or 45°) IV. the morning sun: 8-9am position of the sun to dictate the orientation of the contemplation spaces
1:100