&
escapism legacies the seduction of
the aftermath of
APRIL DAVID
1.0
+ introduction
abstract 08 escapism 10 legacies 12
// PART ONE LEGACIES 2.0
+ urban playground ( construction & inhabitation ) URBAN PLAYGROUND 19 PLATFORMS 21 building the infrastructure 23 the making of a city timeline 24 TEMPLATES 26 SITE PLAN 28 TIMELINE 30 2D / 3D 34 PRELIMINARY MODEL 36 INHABITATION 37 PRELIMINARY PLAN 38 PRELIMINARY SECTION 39 SCALES 40 RELATIONSHIPS 42
3.0
+ phases of paradox
PHASE ONE// LAYERING 46 PHASE TWO// (RE)APPROPRIATING 48 PHASE THREE// INSTIGATING TRANSFORMATION 50 design charrettes 54 MODEL 56
4.0
+ the ”in between”
Aerial Views of Model 61 top tier PLAN 64 Section (of top platform) 66 SECTIONAL MODEL 68 model (within urban playground) 70
ESCAPISM + LEGACIES + EVENT-DRIVEN ARCHITECTURE
// table of contents
// PART TWO ESCAPISM 5.0
+ escapism & events ( RIO DE JANIERO )
escapism 76 mega-events 78 event venues 80 NEW YEARS IN RIO 83
6.0
+ pier maua ( SITE INVESTIGATION )
SURROUNDING CONTEXT 86 PIER maua 90 existing site conditions & context 94 Brazilian precedence studies 97 precedence studies 98 artifact 101 fashion rio 102 105 Desire for Escapism Escapism collection 106
7.0
+ catwalk as infrastructure ( PROposition )
surfaceS for walking 109 precedences 111 proposed interventions 113 SITE MODEL 114 115 PRELIMINARY SKETCH MODEL PRELIMINARY ATMOSPHERIC RENDERING 118 Concept// Layering 120 design process and development 122 Concept// porosity 126 128 VOLUMETRIC STUDY MODEL STUDIES CONCEPT// EXTENSION 131 132 VOLUMETRIC STUDY MODEL STUDIES CATWALK MODEL STUDIES 134 CONCEPT// Versatility 136 the afterlives (Sections) 140 events (Sections) 144 latitudinal SECTIONAL RELATIONSHIPS 148
8.0
9.0
+ sources
thesis panels 188 191 OCCUPY public space | BRAZIL hothut| WINNIPEG 193 immersed in idleness | BRAZIL 195 SOURCES 199
+ escapism & legacies ( DESIGN development )
FEATURES of proposed site plan 154 UNFOLDING THE CATWALK 156 site plan programs 161 floor plans 163 study model 166 fashion show in progress 168 ATMOSPHERIC PERSPECTIVEs & sections 171 study model 181 conclusions 184
hOW CAN ArChiteCture fACiLitAte
esCAPism?
PART ONE //
Escapism is a momentarily mental and/ or physical diversion from the banality of the everyday.
This project seeks to examine the ways in which events, for the collective, can reveal spaces of escape from the accelerated temporalities enforced by societal norms.
+ INTRODUCTION
Our work-obsessed culture, within the context of an urban cityscape, has made the notion of escapism vastly appealing and the allure of being immersed in hyper-realities second nature. This constant insatiable desire of wanting to escape our own realities reflects the psychological reliance upon immersion as a way to understand the world and our place in it.
1.0
esCAPism
Escapism, in this project, is understood as a momentarily mental and/or physical diversion from the banality of the everyday. In this project, the mediator in which escapism occurs is through architecture. Mega-events are the epitome of contemporary escapism. High profile events temporarily transport both spectators and participants into a world production that thrives on the constant pursuit and desire of bearing witness to accomplishing feats never achieved before. This cultural phenomenon serves as a channel from which audiences can retreat from mundane, conventional lifestyles. This desire to immerse oneself into a shared ideology derives from the innate passion for competition and the romantic notions of inspiration and solidarity.
| 11
the making of a city timeline Included in this drawing are invoices that were issued echoing the financial debt. There are also rules and regulations that were enforced by SPAM. A competition was introduced revealing which thesis platform each student would be working and where each group was located within the model. A political aspect emerged resulting in the executive decision of the complete destruction of the preliminary infrastructure, the reconstruction of the new infrastructure system and resulted in a forced relocation which all prompted the drafting of a infrastructural contract agreement.
part one //
2.0
+ uRBAN PLAYGROUND
| 25
SITE PLAN
Spray paint on bond paper. 72� x 48� The templates where used in a collaborative effort to create a site plan for each of the platforms. This process initiated the act of marking possible territories to be inhabited. This process was accomplished through the layering of spray paint in conjunction with layer cut templates.
part one //
2.0
+ uRBAN PLAYGROUND
| 29
SCALES
Mixed media print on bond paper. 34� x 11� Mega-events are large scale cultural events, which have a dramatic character, mass popular appeal and international significance. A feature of mega events is that they have multiple dimensions including local, national and international. This drawing merges together the difference scales tacked within Urban Playground as it pertains to this project.
part one //
2.0
+ uRBAN PLAYGROUND
| 41
RELATIONSHIPS
Mixed media print on bond paper. 26� x 16� This perspective shows the intent to create relationships between other adjacent projects within Urban Playground.
Urban Playground serves as a precursor to establishing a strategy and addresses the themes of layering, appropriating and instigating transformation in which the relationships of the proposed programs and events changes according to phases. It is important to note that these phases are not to be considered distinct and independent of each other but were often done in conjunction and overlap throughout the duration of the process.
part one //
2.0
+ uRBAN PLAYGROUND
| 43
model (within urban playground) 1:200.
The architectural proposition that developed for and as the result of Paradox.
part one //
3.0
+ phases of paradox
| 57
main entrance and public plaza
IMAGE LEFT // Drawing (on OVERALL PLAN VIEw
left side) Overall plan view (ofTop top platform) Original 1:100. Mixed media print. Platform.1:100. Mixed media print on semi gloss paper.
hi
e cl
IMAGE RIGhT // PLAN VIEw (OF SECTION MODEL)
ve
Original 1:100. Mixed media print.
mixed use commercial + residential
v
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i eh
+
st
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a ri
(stadium one)
ci
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ti
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mixed use commercial + residential
(stadium two)
water towers and aquatic recreation centre
URBAN PLAyGROUND TOP TIER PLAN These drawings show the imagined inhabitation post-event with glimpses of inhabitation during Paradox.
mixed use commercial + residential
(stadium)
+
pe
ci
public plaza with landscape
outdoor auditorium
n
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an
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ope
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+
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ic
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PART ONE //
e
n
ia
tr
s de
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ope
elevators & stairs
4.0
y sk commercial and retail commercial and retail
elevators & stairs
y
sk
+ ThE “IN BETwEEN�
o n t
ope
commercial and retail
drive-in theater (event parkade)
co
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al
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courtyard (stage)
| 65
courtyard
model (within urban playground) 1:200.
Atmospheric photo studies during Paradox.
part one //
4.0
+ the “in between”
| 71
part TWO
Mixed media collage.
Graphic illustrating the preparation of, during and after 2012’s New Years celebration on Copacobana Beach.
//
NEW YEARS IN RIO
5.0 + ESCAPISM & EVENTS | 83
6.0
RIO DE JANIERO, BRAZIL The site is in the northern region of Rio of what is now an abandoned pier. This pier was built for the world cup in 1950 to accommodate for an influx of people that would come and spectate for the event however during this time World War 2 had just ended and people did not have the means to be able to come.
PART TwO //
6.0
+ PIER MAUA | 85
part TWO // 6.0
pier maua
Site Images from and of pier.
+ PIER MAUA | 93
PRELIMINARY ATMOSPHERIC RENDERING Spatial qualities derived from studies as seen on previous page. This perspective illustrates the desired fluidity between interior and exterior spaces.
part TWO //
7.0
+ CATWALK AS INFRASTRUCTURE
| 119
the afterlives (Sections) These sections makes reference to the imagined inhabitation through time (long term). Original 1:100. temporary stage
observation catwalk exhibition space
catwalk
part TWO //
PHASE ONE //
MEGA-EVENT RECEPTION & BANQUET HALL
Residential Units
corridor
CULTURAL/EVENT CENTRE WITH RESIDENCE Much of the design revolves around this phase. In this case, the event center hosts Fashion Rio. Programmatically, the complex includes commercial, production and residential functions.
Residential Units
Residential Units
observation catwalk
Residential Units
+ CATWALK AS INFRASTRUCTURE
PHASE TWO //
7.0
The proposed architecture is expected to be used throughout different points of its construction. In this instance, it can be used as a banquet hall for up coming events such as the Olympics or the World Cup.
workshop/production units
exhibition space
commercial/retail tenants
catwalk
| 141
events (Sections)
Inhabitation through time (annually). The available forms of contemporary mass media have continually influenced our senses of immersion. It is often through sources of entertainment (events, performances and activities) in which we momentarily disconnect ourselves from the real.
catwalk
catwalk
catwalk
catwalk
These sections describe how the catwalk/corridor could be used in the everyday setting. Here the catwalk serves as a platform for informal events.
event // fashion rio This section shows how the catwalk/corridor could be inhabited during Fashion Rio.
part TWO //
event // the everyday
7.0 + CATWALK AS INFRASTRUCTURE
catwalk
catwalk
| 145
FEATURES OF PROPOSED SITE PLAN
1
Catwalk connections to the existing urban city fabric. Specifically integrating with the adjacent cruiseship terminal and near by parks.
2 Catwalk extending through proposed architecture. 3 Catwalk extending through exterior auditorium and stage. 4 Catwalk extending to look out and observation deck at the end of
the pier.
1
2
3
4
Developed proposition.
Highlighting the catwalk infrastructure that extends from the cityscape, through the proposed architecture and the pier.
4
+ ESCAPISM & LEGACIES
3
8.0
Catwalk as Infrastructure. Predominate path of circulation and its main extensions through the pier.
PART TwO //
PROPOSED SITE PLAN
2
1 | 155
PROPOSED PLAN (AT GRADE) PART TwO //
Developed proposition showing imagined inhabitation in and around the proposed architecture.
8.0 + ESCAPISM & LEGACIES
SECTION Latitudinal section across the site showing imagined inhabitation in and around the architecture .
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FLOOR PLAN AT GRADE
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SECOND FLOOR PLAN
38
38 49
38
+ ESCAPISM & LEGACIES
50
36 35 37
8.0
5
30
26 Fashion Museum/Library 27 Theatre Balcony 28 Theatre Ticket Booth & Lobby 29 Auditorium Seating 30 Observation Catwalk 31 Open to Below 32 Offices 33 Conference Spaces 34 Workshops 35 Service Elevator 36 Public Elevator 37 Private Elevator 38 Living Unit 39 Secondary Circulation Corridor 40 Interior Swimming Pool 41 Exterior Swimming Pool 42 Exterior Stage 43 Security Station 44 Staff Kitchen 45 Staff Room 46 Photo Studio 47 Gallery 48 Suspended Exterior Catwalk 49 Suspended Exterior Catwalk 50 Restaurant Extensions
PART TwO //
1 Catwalk 2 Restaurant Storage 3 Restaurant Kitchen 4 Restaurant 5 Open Area 6 Bar 7 Cafe 8 Exhibition Space 9 Open Auditorium & Theatre 10 Event Accessories Storage 11 Stage 12 Short Term Storage 13 Long Term Storage 14 Loading Dock 15 Loading Garage 16 Workshop 17 Washoom/Change Room 18 Laundry Mat Services 19 Emergency Staircase 20 Mechanical Room 21 Open Tenant Spce 22 Photographers Pit 23 Backstage/Dressing Room 24 Audio & Lighting Control Room 25 Technical Control Room
38 38
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ThIRD/FORTh FLOOR PLAN
| 165
STUDy MODEL 1:100.
These images articulate the facade in which many of its components can be customized and adjusted to the programmatic needs of the interior and exterior spaces. Hinged, operable and lifting doors create a dynamic envelope that manipulates the experience from inside and outside the building.
PART TwO //
8.0
+ ESCAPISM & LEGACIES | 167
fashion show in progress 1:100. Plan view.
This model describes how a Fashion Show could showcase the potential of the design.
A temporary catwalk is built that leads the fashion models into the proposed building.
THE TEMPORARY CATWALK LEADS TO STAGE AND INTERIOR CATWALK INTO A TRADITIONAL FASHION FORMAT.
Fashion models arrive to the site by boat.
spectators are seated on the outside of the building as well as the inside using the cityscape as a backdrop.
PATH OF FASHION MODELS. Featuring OSKLEN, a local Brazillian clothing company. Ipanema SIS Collection.
perspective (image right)
SPECTATORS ARE SEATED ALONG BOTH SIDES OF THE INTERIOR CATWALK. SWIMMING POOL IS PARTIALLY REVEALED AS PART OF THE STAGING OF THE SHOW.
part Two //
8.0
+ ESCAPISM & LEGACIES
perspective
| 169
PART TwO //
ATMOSPhERIC PERSPECTIVE
Catwalk during a fashion show. Featuring OSKLEN, a local Brazilian clothing company. Ipanema SIS Collection.
+ ESCAPISM & LEGACIES
“
(Michel de Certeau)
8.0
“
Escaping the imaginary totalizations produced by the eye, the everyday has a certain strangeness that does not surface, or whose surface is only its upperlimit, outlining itself against the visible.8
In ‘Walking in the City’, Michel de Certeau describes walking as a secondary form of locomotion as a kind of drifting. He acknowledges that the city only exists through the individuals that inhabit it. This is what distinguishes spaces and places. He argues that defined spaces only exist as long as the individual defining the space remains there. Therefore the leisured observer, the flâneur, plays an important role in how the space is realized. “The city is subject to the views and stories that the mass population project upon it. The city is there to be manipulated, molded and used, and yet it emerges the same at the end, for no image projected upon it can ever remain since the pedestrians are not static and nor is the space in which they move.” Space, therefore is not even considered real; it is a figment of imagination.
| 171
8 Certeau, Michel de. The practice of everyday life . Berkeley: University of California Press, 1984.
longitudinal section Original 1:100.
This section narrates the possible inhabitation of the catwalk as it unfolds through the entire complex.
Catwalk
LONGITUDINAL SECTION Close up. Original 1:100.
PART TwO // 8.0 + ESCAPISM & LEGACIES
CATwALk
“The pedestrian in the city moves freely between these two realms, whether these spaces are public or semi public. The pedestrian understands their inherent difference as openness and enclosure. In memory and experience the two realms become entwined.�9 The constant back and forth between the two realms, as will be explored through the project, relates back to the concept of escapism in which one moves between the realms of cognitive reality and that of an escapist, alternate state.
| 173
9 Bednar, Michael J.. Interior pedestrian places . 1. publ. ed. New York, NY: Whitney Library of Design, 1989.
part Two //
8.0
+ ESCAPISM & LEGACIES
| 181
study model
1:100.
escapism & LEGACIES This project examined the ways in which events, for the collective, can reveal spaces of escape from the accelerated temporalities enforced by societal norms. Today’s society has evolved in favor of building for the now, and for the moment. The sense of urgency produced by events fabricates an illusion that rationalizes event-driven construction. This illusion is characterized with the word “legacy� which is often exploited to justify the extravagance of events. Legacies are often seen as monuments for things that happened in the past. Legacies, in this context, are redefined to be a facilitator of that which surpasses the boundaries of a single moment and transcends into continual use for the future. The project resulted in a responsive architecture that articulates the notions of escapism and event driven legacies through a hybrid model. This proposed methodology to re-imaging post-event occupancy and viability developed a flexible and indeterminate program, demonstrating the capacity of the spaces, inhabitation and the architecture to change over time.
part Two // 8.0 + ESCAPISM & LEGACIES
to be continued....
This dissertation set the framework in the personal pursuit and the desire to investigate the relationship between escapism, architecture and the public realm. The strategies, knowledge and techniques learnt throughout this process will continue to develop as these are tested in future speculative research and applied to comprehensive, realitybased projects. This project, at this point, does not conclude, but rather instigates the discussion and urban question:
| 185
How can architecture facilitate escapism?
The Seduction of Escapism & The Aftermath of Legacies April David / Faculty of Graduate Studies / Department of Architecture / Professor Eduardo Aquino / 2011-2012