PORTFOLIO SOPHIE COSGROVE
P FF F
2015
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5 . 2 Thesis Constructing the Ineffable
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2015
Urban and Spatial Experimentation MSA Atelier
CONTENTS Introduction
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Literature Review
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Post-Culture in Dortmund
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Developing a Response
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Investigating the Sacred
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Locating the Sacred
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Programming Post-culture
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Wh a t N e x t
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Is culture now just a hollow word to try to unite disjointed and fragmented populations under a broad overarching category?
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PROJECT SYNOPSIS
Through this project I wish to explore the theoretical and anthropological nature of what culture was, and is in contemporary society. The project follows a time-line along theories of culture and it’s ‘death’. Proceeding onwards to suggest a ‘disrupting’ project which address and brings light on the objective and economic value of what now lies at the altar of our lives. Replacing the Sacred with the profane. In order to compensate for the loss of traditional culture as life’s ‘raison d’etre’ individuals have bestowed value upon commodities. With instant self-gratification the end goal in lieu of the metaphysical. Accordingly the proposed Church of the (Super) Mundane is intended as a satirical commentary on the moribund subjective value of culture.
(Su p e r ) Above or superior to the earth or worldly affairs.
Mundane Relating to, or characteristic of the world. The practical, transitory, and ordinary
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I n t r o d u c t io n A summary of the previous portfolio’s discussions and introduction of new themes. 7
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C hang e t h r o u g h c u lt u r e C ul tu r e t h r o u g h c h a n g e�
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West
East
As discussed in the previous project submission, the selected site Union Viertel - was earmarked as a creative quarter by city and local government. The area is physically and socially fragmented with a large distinction in demographics between the east and west side. With a population of about 10 000 where the majority (41 %)are non-native to Germany and working class. As such the creative quarter was established to try to engage a common denominator and link people through creativity. “Union- Unity in diversity”.
Non-native German
As part of the European Capital of Culture the aim was to develop ‘culture’ in order to achieve wider social and economic goals. 9
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Initial Intervention
RESPONSE We found this top down injection of culture to be a bit forced. Accordingly the aim of our intervention was to unveil the latent creativity in the area and act as a ‘tag’ for the quarter, reclaiming the area for the emergence of the new local creative discourse. However, the question remained - how to engage the union quarter citizen who has no apparent interest in ‘creativity’ in the form presented by the local government. How could a deeper understanding of culture be used to design for a fractured, resigned and multicultural population?
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Th e m es Reveal ed Thro u g h Th e o ry Themes
Objectives
Topics
Texts
Economy
Politics
Social
Spatial
Contingency & uncertainty Austerity urbanism Change over stability
Culture
Rich resource Nothing can happen = anything possible Urban Shrinkage
Vacancy Studies
Desacralistation of culture Change over stability Democracy = conformity
Experimentation
Allegory
Capitalist Realism
Urban Shrinkage Postmodern meltdown culture -economy Imagined better places = static
Curating Architecture and the City
Space for experimentation Hedonism
Urbanism
Urbane K端nste Ruhr: Artsin Urban Space
Network of cultural resources Writing & rewriting the city Protean
Shrinking City
Soft tools - urbanism Liquid times Disrupt familiar
Change
Democracy vs unsolvable differences Culture preserved = no culture Distribution of wealth
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Faded Mosaic
Writing & rewriting the city
How to Like Everything
Traditional Development
No Culture
Multi Culture
Rather than manufacturing and forcing a ‘top down culture’, the following project responds to the existing condition of ‘culture’ or lackthereof in Dortmund. Why is an imposed creative culture necessary? The phenomenon of culture is gradually being diluted as globalisation and hedonism start to pervade. As such, this project stops to ask the seemingly sombre question What can be birthed from
Post Culture
Soft Tools
Creative Culture
‘THE DEATH OF CULTURE’? 13
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C U LT U R E I S . . .
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To undertake this study culture must obviously first be defined. For the bid for the Capital of Culture the Ruhr region defined culture as ‘everday activities’. I feel this is the reason why the ‘creative quarter ’ intervention is superficial, it doesnt look deeper into the anthropological nature of culture. The dictionaries definitions go further, giving the term a more profound meaning, as a ‘way of life’. As such for this project the definition I am using describes a reasoning for ‘ways of life’. Culture is an abstract, collective label for a miscellany of shifting beliefs, behaviours and practices. It is not an additional entity that controls and explains them. 15
Christopher Clausen
FADED MOSAIC Due to the multicultural nature of the population of Dortmund and the rapid pace of globalisation I believe the Union Quarter is experiencing the phenomenon of postculturalism. This lead me to my first text to explore what postculturalism realy means = “Society existing after death of cultures”. The book advocates that individuals used to always assume the beliefs, practices and behaviours dictated by their society - culture - “the inheritance of infinitely varied acquired characteristics”. 16
However, in modern society where identity is more elusive that ever, societies would have to be confined and isolated from outside influences to keep this pure description of cuture. Instead these charactersitics are faded, and a dominating ‘global society’ begins to define these traits. Clausen beieves this loss of cultural identity has lead to search for other kind of identities or artifical assertions of the identity that has been lost.
Bel ief avio s Pra urs c Indi tices vidu al Soc s iety
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Li te r a t u r e Re v ie w
Fig4. https://www. google.co.uk/url?sa= i&rct=j&q=&esrc=s&s ource=images&cd=&v ed=0ahUKEwjfrqzJ35 PLAhVFtxQKHTBbC-
Investigation of three texts to explore the concept of post-culturalism through time. 19
T S Elliot
NOTES TOWARDS THE DEFINITION OF CULTURE As early as 1948 Elliot predicted that societies would proceed through a period of cultural ‘decay’ to arrive at a state in which there is no culture at all.
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He emplored that the danger with cuture is to indentify it ith sum of activities (like the Ruhr region did). Rather, Elliot advocated that culture is synonymous with civilisation and is defined by three necessary conditions social classes, regionalism, religion.
The text promotes culture as the province of an ‘elite’ who filter their challenging and profound art and ideas to the masses. Accordingly to Elliot world/ uniform culture doesn’t constitute as culture at all.
1948
Caste Society
Regionalism
Unity in Religion
CULT URE
Fig5. 21 .https imgres?imgurl=h edu/images/histo jpg&imgrefurl=htt
GUY DEBORD
THE SOCIETY OF THE SPECTACLE By moving into a consumer society life progressed from being to having. Debord argues ‘the spectacle’ uses imagery to move social life into a state of “appearing”; namely the appearance of the image. The spectacle erases the dividing line between self and world.
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This text is a critique on consumer culture and commodity fetishism. Debord contests that authentic social life and culture have been replaced by mere representation, entertainment has replaced depth. Debord saw culture as, “meaning in an insufficiently meaningful world”. As such the text is written to expose modern passivity and suggest ways to ‘wake people up’ so this meaning does not get lost forever.
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MARIO VARGOS LLOSA
NOTES ON THE DEATH OF CULTURE
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Furthermore, according to Llosa it is not just modern culture which is suffering, but as “a society of cultural amnesiacs” we put less and less emphasis on hisory and more on the ‘now’- immediate gratification- isolating us even further from what once was ‘pure culture’
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Llosa reiterates Elliot’s sentiments on culture, basically limiting its sphere to ‘high culture’. In this text he combines it with Debord’s description of the specatcle, stating that our current loss of culture is steming from the “predominance of image and sound over world”, embracing a hedonistic and crude reality. In essence in Llosa’s opinion mass culture appeals to the very attributes that destroy high culture, negating itself.
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THEORY SUMMARY
Such a broad study looking at texts from 3 different countries and eras can appear to be impertenent to Dortmund. However, the driving force behind the pheonomenon of post-culturalisation is globalisation- emancipation from space and time. As such, I feel it is applicable to apply these 3 studies to an overarching theory about societies (within developed countries.)
In summary the three texts along the timeline highlight the move from a caste system of high vs low culture towards a democratisation of culture, where everyone and noone is cultured. The diagram also illustrates the idea of the collective progessing onto individuals styles through the merging of idealogies and cultures, through to individuals defined by uniform influences. The timeline can be seen to be synonymous with the growth of capitalism and globalisation.
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Fig15. . http://www. celebrity-
COMMODIFYING CULTURE
It is indisputable that the hegemonic means of production of the things that make a way of life is capitalism. Little in the world is free from commodity capitalism. Even culture is being annihilated by its commodification, embodying that of Marx description of commodity fetishism where its influence “transforms the subjective, abstract aspects of society into objective real things with economic value.” As such, ‘culture’ as described by Elliot has been replaced by a hollowed out reproduction to be exchanged as quantities rather than qualities. Culture is now an industry.
Culture has been exonerated from its responsibility to act as ‘‘raison d’etre’, to respond to the concepts of spirit, ideals and transcendence. It has been turned into something more superficial and voluble: a form of entertainment or an esoteric game for self-regarding intellectuals who turn their backs on society (‘the elite’). This life, organised relentlessly by pragmatic considerations, thus develops dedicated to the satisfaction of material needs inspired by the pursuit of profits.
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Fig20. . https://www.google.co.uk/imgres?imgurl=http://2. bp.blogspot.com/-P0fqBhlHhmk/UyioL20dS3I/AAAAAAAAFdI/ NTySa-bt084/s1600/DSC_0012.JPG&imgrefurl=http:// beautifulmess46.blogspot.com/2014/03/italian-brunch-
RISE OF HEDONISM With the absence of culture that points directions and makes enforceable demands, selfgratification threatens to become the criteria of value.
The enemy of individuality used to be custom, tradition and culture. But as described by Debord that force is gone. According to Hegel this is the time, “when the power to unify disappeared from the life of man, and opposites lost their connection and living interaction, and became autonomous” This has led to independent aims of mutual indifference, a form of modern-passivity where people are happy to ‘escape’ and individually self-serve rather than seek collectives and face the deeper questions of life. Culturalism has met ‘lifestyles’, where hedonism prevails.
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Po st-Cu lt u re in Do rt mu n d Exploration into Dortmund to see if and how post-culturalism has occured. 33
WORKING CULTURE As discussed in the previous portfolio Dortmund from its inception acted as a counter-model to European bourgeois cities. The factory replaced the city; it was the sphere of socialisation within the socialist system, providing collective institutions for services, leisure time and culture. Work was the back-drop for life, the culture. However, following this time, despite massive transfers of wealth the decline of old industrial regions in Germany could not be staved off. This led to deindustrialisation by means of a new orientation to services, liberalisation and privatisation, leaving a pluralistic and fragmented city. The ‘working culture’ was lost. 34
Caste Society
This highlights that Dortmund lacked one of the three core factors Elliot describes as necessary for the presence of culture, class structure. This influence can be seen to accelerate the process of post-culturalism due to the lack of cultural infrastructure, exposing Dortmund as an ideal model for the study of this phenomenon.
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PHYSCOGEOGRAPHY Another one of Elliot’s criteria for culture was unity religion. As such, these maps illustrate then and now, pre-industrial and post-industrial. Undertaking the maps was interesting exercise as most of the religious buildings have been replaced in stages - the phscyogeography of the place changed with the diffusal of the churches influence as centre points of society and subsequently the holes left by deindustrialisation.
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There are few remaining of these religious buildings, taking the step towards post-culturalism as predicted by Elliot.
Dortmund City Centre 37
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St Petri Church
Dortmunder U Hansplatz
Night Life
St Petri Church
Hansplatz
St Reinoldi Church Dortmunder U
Opera Alter House Markt
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Alter Markt
Night Life
St Petri Church
Dortmund Central
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Night Life
Dortmund City Centre Massing Model
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8 Opera House Museum Fuer Kunst
2 Train Station Silberstrasse Plaza
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This map illustrates a number of locations which the city of Dortmund’s website advertise as cultural attractions. However, once again these places embody the ‘sum of activities’ description of culture, negating the aforementioned anthropological depth. These locations, bar the religious buildings, are diversions, providing no contribution to deeper reason nor to incentivising any form of collective. Furthermore, the marketed spaces mostly bear homage to the past, with two of the museums hosting exhibitions of past industry and the selection of pre-war churches. What is the new culture?
Night Life
Fig21. St Reinoldi Church Night Life
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Alter Markt St Petri Church
6 Silberstrasse St ReinoldiPlaza Church
Stadtgarden Hansplatz
10 Petri Churcham Ostwall AlterSt Markt Museum
Public Spaces
Night Life
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* B U N D E S L I G A W IN N ER S
* G E R M A N C U P W IN N ER S
“BVB DORTMUND, IT’S A RELIGION.”
* U E FA C U P W IN N ER S
* E U R O P E A N C U P W IN N ER S
In Dortmund, football can be considered a large part of contemporary culture. It has transcended economic values to hold the sacredness of a religion by devoted fans. Locals dedidicate their time to emphatically ‘worshipping’ their team. 40
1000 B R I T S AT T E N D E V E RY H O M E G A ME D U E TO C H EAP PR IC ES
L A R G E S T F O O T B A L L S TA D I U M I N GER MAN Y
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During the first exploration of site there was a common consensus that something was lacking in Dortmund, it is my conclusion after this investigation that it is a haunting absence of the evidence of culture. I believe the lack of demarcated culture has led to spatial autism. Dortmund is full of acontextual standardised architecture - The visual character of the area is becoming homogonised. The only buildings which retain any defining ‘local’ character are the remaining industrial buildings which used to define the city’s identity. Alack of regionalism - the third criteria outlined by Elliot.
Fig23. https://w imgres?imgurl=http 43 co.uk/photos/full/Ph waddingtonbuilding 00&tbnid=J28mqbU
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Dortmund is not just homogonising within itself but within the developing world due to globalisation. Manuel Castells, a Spanish Sociologist (1997), described the phenomenon as the force which is ‘eroding differences in culture and producing a seamless global system of culture and economic values� (Castells, 1997). This photo study ilustrates the influence of a uniform global style on Dortmund. The highlighted photos are of Dortmund, the rest are a compliation from various cities around the world, yet it would be near impossible to distinguish between the two. The city spatially reflects post-culturalism.
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Fig34. . http://www. archdaily.com/ tag/absorbingmodernity
GLOBALISATION - “The process by which the world becomes a single place” (Robertson, 1987) - has emancipated the world from space and time. As stated earlier through this ‘death of distance’ little has escaped the corrosive influence of commodity capitalism. Roland Robertson’s (an English sociologist) advocated that that these standardised commodities exploit uniqueness and resulted in uniform, predictable identities and lifestyles (Robertson, 1987). This conviction is beginning to ring true in architecture , where buildings are provisional rather than alluring and reactive to context. This is emphasised by Theodore Levitt who asserts, “everywhere everything gets more and more like everything else as the world’s preference structure is relentlessly homogenized” (Levitt, 1983).
This harmonising of identities through the standardization and sanitization of architecture is both a result and a stimulator of postculturalism.
Fig35. . . 47 istockimg.com approve/1304 13049872-bus
DORTMUND
Caste Society
Regionalism
P O S T CULT URE 48
Unity in Religion
In summary it appears that Dortmund is experiencing ‘post-culturalism’ at an accelerated rate due to it’s industrial past and corresponding deindustrialisation. With lack of a clear identity the area is particularly vulnerable to the forces of globalisation which is being dubbed as ‘cultural genocide’, overiding existing and homoginising tastes towards a mass/uniform culture.
Skepticism is in order. Less widely asked is the question of whether certain core-elements in the classic hierarchy of values are even worth reanimating? I do not wish to lament the loss of what T S Elliot termed culture, a force monopolised by a small minority. Rather through this project I wish to highlight the objective and quantifiable nature of what is now deemed culture. Not to comment on positives or negatives, simply to ‘wake’ Dortmund up to the contemporary loss of metaphysical values so that they make make a personal choice to embrace or repudiate the new culture of commodity.
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D ev el o p in g a Re s p o n s e Investigating alternative methods of reponse to the post-cultural phenomenon. 51
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One precedent which embraces and celebrates the concept of postculturalism is the Instant City by Archigram. The instant city was an urban intervention in a rural town. A zeppelin floats into the area and bombards the town with temporary structures and deliberately overstimulates to produce mass culture. Archigram wished to accelerate the process of globalisation through media creating a “global village”.
The scheme was described as - a celebration through an explosion of the cultural at the “end of culture”. Archigram accepted cultures fate and chose to embrace and expedite it. This bold technique encourages the ‘spectacle society which Debord warned as the source of modern passivity.
53 Fig37. htt edu/files/artwo tctechcrunch20 com/2010/01/r
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D ETO U R N E M EN T In contrast to the Instant City Guy Debord’s aim and proposal was “to wake up the spectator who has been drugged by spectacular images,” “through radical action in the form of the construction of situations,” (Ref 5) “situations that bring a revolutionary reordering of life, politics, and art”. To achieve this Debord encouraged the use of détournement, “which involves using spectacular images and language to disrupt the flow of the spectacle.”
A détournement is a technique developed in the 1950s by the Letterist International. In essence it is a method of propaganda which reveals the wearing out and loss of importance of old cultural spheres. It has been defined as “turning expressions of the capitalist system and its media culture against itself” (Ref6).
In general it can be defined as a satirical parody, a appropriation of previous work, in which the newly created work has a meaning that is antagonistic or antithetical to the original. The original media work that is détourned must be somewhat familiar to the target audience, so that it can appreciate the opposition of the new message.
55 Fig38. htt static.independ thumbnails/ima www.independ
CULTURE JAMMING Détournement was prominently used to set up subversive political pranks and inspired the culture jamming movement in the late 1980s which is still employed now by contemporary radicals including the Cacophony Society and Billboard Liberation Front Culture Jamming is the practice of disrupting or subverting media culture with dysfunctional messages which undermine the values of a ‘you are what you buy’ mentality. It attempts to “expose the methods of domination” of a mass society to foster progressive change. Adbusters has established the culture jammers’ credo: “On the rubble of the old Media culture, we will build a new one with a noncommercial heart and soul.” (Ref 7) 56
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SUBVERSIVE
Tactics include re-figuring logos; fashion statements; and product images as a means to challenge ideas . (Ref 8)
Ron English - Popaganda
Personal attempt
Fig43. http://hypebeast. com/2015/11/ron-english-neonaturecorey-helford-gallery - Mona Kardashian Fig44. Fig45. https://davidjrodger. wordpress.com/2011/12/29/ contemporary-art-%C2%A6-adaptationof-rene-magrittes-son-of-man-by-ronenglish-popaganda/
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PARODY RELIGIONS
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Another form of satirical statements about contemporary society are parody religions. For example Googlism - the belief that Google, being omniscient and omnipresent, is the closest Mankind will come to knowing and facing a God (Ref 9). Google can solve all problems through knowledge, and knowledge is power, echoing Debord’s views on knowledge and religion. A further example is the Church of the SubGenius which imitates actions of other religious leaders, using the tactic of culture jamming in an attempt to undermine better-known faiths. Cultural studies scholar Solomon Davidoff states that the Church develops a “satiric commentary” on religion, morality, and conspiracies (Ref 10).
The group holds that the quality of “Slack” is of utmost importance, believing that it will allow them the free, comfortable life (without hard work or responsibility) that they claim as an entitlement. The fellowship worship an average man, Dodd’s, and everyday consumerist activities; promoting escapism and passivity. The religion praises the the mundane rather than the supermundane.
59 Fig46. . https://n com/2013/05/subgen
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IS ... THE PURPOSE OF LIFE
The Sub-genius religion is a commentary on the loss of life’s ‘ultimate purpose’ and shift towards escapism and ignorance of anything greater than the self and the now. A theist can only find meaning by leaving this life for a transcendental world beyond the human world. In contrast (generally) non-religious individuals embeds themselves deep within the human/ material world. A study was conducted where individuals were asked -“What is the purpose of life to an atheist?”. The responses (left) (Ref 12) show that those who identified themselves as atheists did not lament the loss of metaphysical forces in their lives. Rather they celebrated the ‘freedom’ that hedonism and self-gratification may govern their lives. However, in modern secular society due to passivity and the distraction of the spectacular I feel that there are fewer and fewer people who even contemplate the question .
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https://www.google.co.uk/ imgres?imgurl=https://enroutepictures2. files.wordpress.com/2013/01/grey-sky1. jpg&imgrefurl=https://enroutepictures2.wordpress.
The “end of culture” does not by any stretch of the imagination mean the end of cultural power – the power to define and determine “ways of life” or “spheres of meaning”. Culture remains paramount, perhaps even more as the meaning itself becomes more and more patented and copyrighted, such that it is turned into property, into an alienable commodity. As such the question is, if culture was the locus of the search for lost unity and purpose what happens after?
The word commodification describes assignment of economic value to something not previously considered in economic term (Ref 13). I believe we need to ‘decommodify’ mass-culture, give it non-economic/ sentimental value, exposing what we have replaced the last vestiges of ‘culture’ with. Debord described the spread of commodity-images by the mass media, as producing “waves of enthusiasm for a given product” resulting in “moments of fervent exaltation similar to the ecstasies of the convulsions and miracles of the old religious fetishism”. Accordingly, through this project my aim is to employ the concept of detournement to disrupt the everyday flow of the average citizen and make them question whether they are happy to worship at this Altar of Commodity.
Détournement is less effective the more it approaches a rational reply. As such I wish to make an unabashed statement through the creation of a ‘church’ (a place of worship) which coerces people into realising that the metaphysical values of life are gradually being eroded by commodity capitalism. The purpose of this large scale statement is “to turn the expressions of capitalist culture against themselves”, in order to reclaim some autonomy from the mass-mediated hall of mirrors of society today.
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TH ESI S STATEM E N T
EXPOSE THE DISSOLUTION OF THE METAPHYSICAL VALUES OF LIFE THROUGH A SATIRICAL INTERPRETATION OF THE PLACE OF WORSHIP.
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Fig48. http://www.montypython. com/uploads/Books_FOLDER_Books15sqX.jpg
Inv es tig a t in g t h e S a c r e d Establishing a precedent base in order to establish design requirements 67
SACRED SPACES +
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The question of what do we consider sacred today is, how is that then expressed in built form? Accordingly this section investigates religious architecture alongside the concept of secular churches to try and establish some criteria for the design of an ineffable space after the death of ‘culture’ and its influence.
One such precedent is the House for Essex by Grayson Perry and FAT. Although the building at first appears as a physical manifestation of kitsch, it’s intention runs deeper than that; to create spaces that mean something to someone and “nudge its visitors into thinking about something else” (Ref 14) . Although they were labelled “pranksters”, the project is very serious, architecturally literate, and imbued with history. It is these elements which I wish to reflect within my design, playing with taboos on decoration in order to create a thought provoking space.
Fig49. https://es.pinterest.com/ pin/402087072958308093/ Fig50. Fig51. http://www.thelondonkitchen.com/wpcontent/uploads/graysonperry.jpg
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“There was no ornamentation inside, except the graded projections of the walls, and the vast windows. The place was not sealed under vaults, but thrown open to the earth around it, to the trees, to the river, the sun and to the skyline of the city in the distance, the skyscrapers, the shape of man’s achievements on earth. At the end of the room, facing the entrance, with the city as background, stood the figure of a naked human body.”
THE FOUNTAINHEAD
AYN RAND
1943
Another precedent for a ‘spiritual’ building which isn’t assigned to a religion the Temple to the human spirit designed by the protagonist in Ayn Rand’s The 70 Fountainhead.
With Roark’s uncompromising commitment to his own personal visions and lack of the limitation of established norms for a secular church, he designs a low, long and horizontal building which follows “the lines of the earth” rather than lift up towards a deity. The building is modelled around the dimensions of man as it is designed as “a place where man is to experience exaltation”, celebrating “one’s own glory” as “the gauge of perfection” (Ref 15) . The modernist design is set as an exact antithesis of traditional religious buildings, rejecting the ornament which conventionally envelop sacred spaces at the time of writing, in favour of a design which communicates its message solely through the ‘idol’ of a naked human body in place of an altar.
71 Fig52. http imgres?imgurl=h com/wp-content png&imgrefurl=h
Fig53. https://www.google.co.uk/ imgres?imgurl=http://static.neatorama. com/images/2013-02/temple-toperspective1.jpg&imgrefurl=http:// www.neatorama.com/2013/02/27/ Why-Atheists-Need-A-Temple/&h=42 2&w=600&tbnid=Iy5p6EUGWTxX_M :&docid=y9-Ovwu7V5wYRM&ei=CWr MVonTJ4W0UYDjvKgN&tbm=isch&v ed=0ahUKEwjJ-4boiY7LAhUFWhQKHYAxD9UQMwgqKA0wDQ
72
“I am simply wanting to draw attention to some of the gaps when we dismiss God too quickly. By all means, we can dismiss Him, but wit great sympathy, nostalgia and thought ...” Alain de Botton, Religion for Atheists
ATHEIST TEMPLES Alain de Botton, A Swiss-born philosopher, has announced plans to build a series of temples for atheists in the UK. Botton insists that atheists have as much right to enjoy inspiring architecture as religious believers and should be able to submerse themselves in a feeling of something greater than the individual. The aim of the buildings is to capture a sense of human transcendence, that there is something more than our visceral existence.
The first of the series is proposed to be a 46 metretall black tower nestled among the office buildings in the City of London, designed by architects Tom Greenall and Jordan Hodgson. The tower represents the age of the earth, with each centimetre equating to 1 million years and with, at the tower ’s base, a tiny band of gold a mere millimetre thick standing for mankind’s time on earth (Ref 16) . Analogous with the fountainhead the design reflects modernist prinicples, removing ornament and relying on scale and light to convey the ineffable. Similar to the themes established within my project,”the Temple is dedicated to the idea of perspective, which is something we’re prone to lose in the midst of our busy modern lives.” 73
74 Fig54.
https://www.google.co.uk/ imgres?imgurl=http://faithbellairemain. files.wordpress.com/2011/09/img_1542. jpg&imgrefurl=http://faithbellaire.org/worship/
THE RELIGION OF ATHEISM The undertaking of atheist churches is not a new concept. One already established in the UK boasts a congregation of more than 300. Located in the shell of a deconsecrated church in North London the collective meet on Sunday mornings, when, instead of hymns, the non-faithful get to their feet to sing along to Stevie Wonder and Queen songs. There are readings from Alice in Wonderland and power-point presentatiosn from particle physicists (Ref 17). The traditions of relgious practices are mimicked and replicated in forms of contemporary ‘massculture’ society. The church exists ti bring a “sense of connectedness because everyone is so singular right now, and to feel like you are part of something.”
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Fig55. . https://www.google.co.uk/imgres?imgurl=http://i0.wp.com/www.hotdogcoolcats.com/wp-content/ uploads/2015/06/Gateway-to-Heaven.jpg&imgrefurl=http://www.hotdogcoolcats.com/tag/mystery-of-the-reality/&h=932&w=6 71&tbnid=k1oKdH1TTWaoGM:&docid=n94KpDVeT33uWM&ei=efe8VunKKYemO8qotfgG&tbm=isch&ved=0ahUKEwip67G5zv
THE THRESHOLD Religious buildings were established in order to satisfy human’s deepest and innermost yearnings for communion with the divine. In essence, these spaces can be perceived as a ‘fissure’, marking an entryway from the mundane world into that world of the ‘other ’, i.e., an axis mundi a ‘doorway to new worlds’. The awe of these sacred spaces was intended to engender an overpowering realisation of one’s own insignificance and of the profane and inconsequential nature of the human world. However, once the desire to cross this threshold is gone, the realm of the natural man, the profane world, becomes that which must be revered. Yet when religious experience is described as; “the differentiation of sacred from profane space,” (Ref 18) the difficulty lies in designing a sacred, supermundane place to host a celebration of the mundane everyday. This requires a new typology for an atheistic temple.
77
There are few challenges within architecture as distinctive as designing religious or spiritual spaces. Religious and sacred spaces are amongst the most impressive and permanent monolithic buildings created by humanity .The architects of the Gothic cathedrals were engineers who used structural systems to create otherworldly, farfrom-rational effects. The physical structure of any Gothic cathedral is measurable, describable, yet it evokes feelings beyond the measurable, beyond the rational. However, toady, not only because of our culture’s secular and aesthetic leanings, but also because technology has made unusual, complex space and unusual shapes so commonplace, the strive to instill the awe of the sacred is all the harder. Technology has debased the currency of ineffable space. 78
537
1194
Fig56. http://www.plumdeluxe.com/religious-structures Fig57. https://www.quora.com/What-are-the-greatestreligious-buildings-of-all-time Fig58. https://upload.wikimedia.org/wikipedia/ commons/8/8e/Chartres_1.jpg Fig59. http://uk.complex.com/style/2015/06/the-25-mostawe-inspiring-us-buildings-erected-in-the-last-25-years/waltdisney-concert-hall Fig60. http://www.arch2o.com/wp-content/uploads/2014/07/ Arch2o-Zaha-Hadid-Architects-Wins-Designs-of-the-YearPrize-002.jpg
1632
THE AWE OF THE SACRED
1916
1967
2003
2012
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T
CHURCH Modernism took the first step to redefining the ‘sacred’ typology adapting to and propogating a new era. A church no longer requires a pointed roof with a steeple. Religious architecture morphed into the modern age, losing its ‘cultural memory’.
1520/1828 Limestone
Regensburg Cathedral
M
1908 Concrete
Unity Temple, Frank Lloyd Wright
80
“Nowadays one can see churches whose construction was inspired by a new style and which fully satisfy the requirements of worship, of a fresh appreciation of artistic beauty, and of an enlightened economic sense” Cardinal Celso Costantini
T
1960 Brick
Emanuel German Evangelical Church
Churches Through Time - Comparison of Traditional vs Modernist Church Design
T
T
1750
1872
Sandstone
Limestone St Augustine, William Oakley
Berliner Dom, Julius Raschdorff
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1930
1930
Concrete
Brick
Kirche am Hohenzollernplatz, Fritz Hรถgers
Kirche St. Fronleichnam, Rudolf Schwarz
M
M
1966
1972
Concrete
Santa Bernardita, Paul Virilio
Concrete
Neviges Mariendom, Gottfried Bรถhm
Fig65. 81 . https org/architecture/pr park_unity_temple org/architecture/flw
GK&C
82
Examples of modernist religious architecture are that of the works of Gillespie Kidd & Coia, a Scottish architectural practice which designed and built around 40 churches.in their time. The fundamental principle behind the modernist approach to materiality is the appreciation of materials for their innate physical characteristics. This is highlighted in the practice’s utilisation of structurally expressive features such as exposed brickwork, concrete and metalwork, as a result of contemporary engineering. For church design, this approach a drastic juxtaposition to traditional church design which incorporates elaborate ornamentation and theuse of fine materials. They advocated that new churches should “be resplendent also for the simple beauty of their lines, abhorring all deceitful ornament.” (Ref 19)
From a precedent study of the practice’s key works conducted by MSA students, structure, materiality, light and procession can be identified as the fundamental considerations for the designing of the sacred.
St. Anne’s
1933
Catholic Chaplaincy
1955
St. Martin’s
1961
St. Margaret’s
1970
St. Colomba’s Lutheran
1979
Characteristics Study of the Works of Gillespie Kidd & Coia
Procession
Fig74. 83 . Man Whiting, Christina
TEMPLES
84
Temples on the other hand do not appear to have succumbed to the pressures of modernism. Instead they can be seen to follow a common “temple ideology”, a common ritual language and practice that revolved around great temples, understood across language and cultural boundaries (Lundquist, 1984) . Thy follow specific characteristics derived from religious beliefs which dictate certain aspects of design, Lundquist is his essay ‘Temple Symbolism’ outlines 27 of these common criteria for the temple typology. I have highlighted those which I feel would be of most consequence for architects.
01.
House of the
02. Cosmic Mountain
03
Successive
04
The Underworld
Ascension
05 Cosmic Orientation
06 Cosmogram
07 Sacrifice
08 Votive Offerings
09
House of the Deity
10 Sacred Marriage
11
Divination
12
13
Set Apart Space
14
15
Sacred Center:
16 Unifying Institution
17
Communal Meals
18 Tree of Life
Revealed Plan
19 Revelation
Initiation
20 Waters of Life
85
Light
*THEMES In summary through these brief typological studies I have established four main themes which I wish to investigate in my design of the sacred, picking inspiration from traditional, modernist and atheist religious spaces alike. 86
Horizontality / human scales
(Non)Ornament
Impressive unfathomable structures
Fig75. . http://previews.123rf. com/images/blacknote/blacknote1208/ blacknote120800172/14980764-Beautifulwoman-hand-with-thumb-and-forefinger-together-
87
88
Loc a t in g t h e S a c r e d Analysing chosen site to inform potential design outcomes 89
As stared earlier, Dortmund was founded principally on industry, the resulting culture was based on the surrounding plethora of factories which provided the backdrop for life. This lack of bourgeoise and investmet in cultural infrastructure contributedto Dortmund’s accelerated post-culturalisation. Following deindustrialisation the local ’working’ culture was also lost. As this study is looking at postcuturalism it seems only fitting that it should be sited at a key location of Dortmund’s culture and a suggestion towards the massmanufacture of commodities -
90
THE FACTORY
Fig76. 91 . http original/1/17172/
CHOSEN SITE There are many factories in Dortmund, however, few of them are pieces of heritage from the indutrial era, instead the majority are new build warehouses and are in use. As such the chosen site is that of the vacant ThyssenKrupp Steel Factory, who’s vast scale dominates the area as a reminder of what once was.
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07 94
SITE HISTORY
Built in 1957 the green shed acted as a continuous medium section rolling mill for production of steel sections between 100mm and 300mm. The medium sections mill closed in 1981 and is currently used for storage - the majority of machinery is likely to have been stripped from the interior.
01. 02. 03. 04. 05. 06. 07. 08. 09.
Heavy section mill Blooming mill Former Thomas steel mill Open hearth shop Roll lathe plant Forge Medium sections mill Boiler house Repair shop
95
ERASING CULTURE? World Culture Museum l Världskulturmuseerna
The next question is - whether to keep the existing structure or to ‘erase’ this piece of heritage and put a new, imposing manifestation of ‘post-culture’ in its place, finalising the loss of Dortmund’s pre-existing culture. A precedent for this is the Världskulturmuseerna which removed exiting context to make way for a dominating piece of modernist architecture. The project erasedwhat what was existing to make way for the ‘cultureless’ or uniform culture. As a museum for world culture this seems appropriate as it should itself be 96 ‘wordly’.
Fig77. http://www.varldskulturmuseerna.se/en/ Fig78. Fig79. http://www.kansallismuseo.fi/en/museumof-cultures
The Museum of Cultures l Kansallismuseo
+
Fig80.
http://www.varldskulturmuseerna.se/en/
Fig81. On the other hand the The Museum of Cultures, Basel is Fig82. http://www.kansallismuseo.fi/en/museumlocated on a Swiss site of national heritage, dating back to the of-cultures middle of the nineteenth century. In 2001 an extension was made to existing context, this ‘sculpture’ allows the building to be both un- and obtrusive simultaneously. Maintaining the Similar to the Basel museum, I feel the existing cultural heritage of the building whilst denoting it as ‘beyond structure is of too much heritage value to erase, as the local’ as it also houses exhibitions of world culture. final remaining piece of the factory network. Furthermore I believe manipulating the pre-existing cultural artefact into a new form expresses a stronger statement of how culture has been warped. Rather than demolishing it and have people forget its existence with a new modernist space, I wish to bring new light on the familiar and ‘detourne’ the factory, where it is reminiscent of its former self. Undertaking the challenge of expressing 97 the sacred through a wholly profane space.
10 mw
N 98 500M
40 minute walk
CONNECTIVITY
City Centre
Size matters. Temples, especially in major urban areas, were often of enormous dimensions. This in itself tended to create a sense of awe in the beholder and convey the impression that this was no ordinary building. In the ancient Near East, ‘temple builders… exploited a temple’s sheer physical bulk to create holiness’ (Holum 2004:187). As such the scale of the building lends itself to the sacred.
The site is readily accessible by public transport along the main road Rheinestrasse, for ease for the congregation. The east most portion of the existing faces faces onto an existing church and the above diagram shows its connectivity to other ‘cultural’ spaces in Dortmund as described and listed on page 38 - 39. The new ‘post -cultural’ space would be the final link of the ‘cultural’ chain stemming from the city centre. Lying on theborder of where culture - as the local government see it with public squares and theatres - meets the other. 99
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01
The Factory can be viewed almost continuously along the length of the Rhienestrasse, sheltered only by vegetation and the large Hoesch Headquarter building. The alternative side is completely closed off from access and public views. The overgrown nature which is begininng to reclaim the buiding could be taken as a design opportunity for the spaces surrounding the sacred
(INWARD)
VIEWS
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As a ‘religious’ building, norms dictate that it need not be wholly sensitive to context, but rather distinguish itself as a sacred space, like the facing church. Regardless the surrounding streets can be seen to embody the ‘homogenous’ style as described earlier.
(OUTWARD)
VIEWS
103
104
The building is slightly overshadowed by neighbouring buildings and vegetation from the south side. However, tradition in religious space design suggests that light come from above, as such this is not an issue of concern. The building is also predominately sheltered from the prevailing winds bar the far left side.
SITE N ANALYSIS
105
106
In total the building covers 44,100 sqm of ground, this expansive space is excesive for the programme’s needs. As such I have chosen to intervene into the easterly portion. The space’s large enclosed volume lends itself well to the desired dramatic lighting and acoustics. Furthermore, is has three potential entrance points along street accesses, one of which has an existing car park. The Western portion is too large in volume and has a petrol station on site making it unsuitable for a ‘sacred’ space. The unused existing spaces will have to treated carefully- perhaps for a processional garden similar to the temple typology
SPECIFIC SITE N1:2000 @A2
107
The Existing
The Secret Secular
DEBATING TACTICS
108
The Conventional Copy
Following the decision to maintain the existing, the next is which tactic to follow. The large portal frame structure allows the opportunity to place a large building inside and it remain secret. A space to be discovered, a private meeting space for the ‘post-cultural’ members - the supermundaners. On the other hand the space could be post-modern, an outright
The Inverted Sacred
interpretation of traditional churches, manipulating the existing material to suggest typical characteristics which would be familiar to visitors. Borderline kitsch and similar to the work of Greyson Perry. However, I believe these suggest Godly spaces, as typically these buildings are focused on rising verticality. As such inverting this direction of focus towards the human seems more appropriate design route.
Fig83. http://vi 109 Starry_sky_1.png/re Fig84. Fig85. http://ca
From this I will take a combination of strategies to explore further. The long and intimately scaled tunnel which opens out into a expansive space. The ‘warped’ structure. Taking the exiting frame and reconstructing it into new directions. The inverted spire, sinking into the ground, reversing the altar
STRUCTURAL TACTICS
110
hidden by existing
under vast structure
roofless shell
furthest end from entrance
long human scale tunnel
opens out at end
expose vast space
end oj journey = feature
reminiscent of church
height at ‘altar ’
plummets underground
warping structure
structure
follows form
also maintain factory style
towards humanity
inverting light and darkness
inverted spire
exisiting structure kept
down towards human
low intimate altar
111
EXISTING STRUCTURE
03
05
02
04
01
As the inside is inaccessible these details are speculative and based on a combination of smilar precedents. 112
Accordingly the existing structure needs to be extensively analysed right through to each junction to allow of the calculation of how manipulations and reconfigurations can be achieved.
01 02 03 04 05 06 07 08 09
Hinge Pin - Base Plate Structural Truss Roof Light Structure Concrete Floor Stiffening Steel Beams I-Beam Columns Cross-Bracing Hinge Plate Junction Corrugated Metal Facade
08
Hinge Pin A
01
07
Base Plate M.S HOLDING DOWN BOLTS
Moulded Piece 08
09
Ridge
06
Hindge Plate Sectional Model 1 : 100
Stiffener Plates 02
113
“Light
is
able
to
successfully
e x p r e s s t h e o t h e r, t h e b e y o n d a n d to make an impact to believers and
atheists
alike.
“(Heathcore,
M o ff a t t , 2 0 0 7 ) A c c o r d i n g l y
lighting
is often used to dramatise the altar and express the presence of God, as in this precedent by Gillespe
Ki d d
&
Coia.
Natural
light is directed from above the s a n c t u a r y o n t o t h e a l t a r. T h e r e a r e no other sources of natural light which creates a dramatic contrast b e t w e e n l i g h t a n d s h a d o w s . Th e high position of the glazing hides it from site, contributing to the religious symbolism.
114
I wish to ‘invert’ this concept, top lighting above the altar is to draw attention to God. In the Church of
the
Supermundane
focus
is
on individuals and thier personal gratifications. As such the altar will sink down towards man and into th eearth - the profane - the mundane.
Fig 1.
The earthly altar will be
dimly lit , obscuring the ‘idol of the week’. This means the treatment of lig hting forthe rest of the space is
cu rcial
to
not
obstruct
this
message. Especially as the space is intended to be entirely naturally lit during clear days.
S t Co lu mb a ’s G ille s p ie , K id d & C o i a
HEAVENLY LIGHT
115
MASS OF THE SACRED 116
A
A A
STLOB NWOD GNIDLOH S.M
A
5m
A
Traditionally the costliest and finest materials were used in the construction of sacred spaces. - Copious use of gold, silver, precious stones, the finest woods, and quarried stones all helped to convey a sense of the ‘other ’. However, I plan on distorting this traditional view through my attempt of manipulating the exiting fabric of the building, embracing the challenge of conveying a sacred space without its typical attributes. There is often a desire for a pronounced Fig88. http://www.bibliocad.com/library/projects/ separation of the exterior (secular) churches-chapels--temples/1 realm and the interior (sacred) spaceFig89. Fig90. https://www.google.co.uk/ achieved through the use of deep and imgres?imgurl=http://static.digitalinsightresearch.in/ weighty walls. But as this project gives uploads/imagelibrary/Main/ value to the mundane commodities of Fig91. Fig92. https://www.google.co.uk/ life this separation becomes blurred imgres?imgurl=https://kingdomassociates. and a thin line of cladding is all that files.wordpress.com/2015/05/church-04. separates the sacred from the profane. A
10 m
A
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118
P rogram m in g P o s t - c u lt u r e Establishing a programme to inform zoning of spaces.
119
IDOL OF THE WEEK Although atheist churches are becoming more popular the intention of this project is not to make a new sub-relgion, but rather expose the current commodified state and value of ‘culture’. As such the space will act as a physical satirical commentary whilst serving the dual function of a ‘museum of post-culture’ as its actual attraction, sparking inquisitive interest. The sacred space will host a shrine to current culture - commodities - the mundane. As opposed to the Supermundane (above or superior to the earth or worldly affairs).
120
A shrine is a place regarded as holy because of its associations with a divinity or a sacred person or relic, marked by a building or other construction. Accordingly it is befitting of the project. The shrine will feature an ‘idol of the week’, highlighting the fickleness of modern culture where a permanent divine symbol at the altar would be inappropriate. All the various forms of modern idolatry have one thing at their core: self. We no longer bow down to idols and images. Instead we worship at the altar of the god of self. This brand of modern idolatry takes various forms. This building is in essence a museum of artefacts making it ironically have economical value. For example the space will incorporate a gift shop, where visitors can purchase models of the ‘sacred’ items which are exhibited in the space. .
“Idolatry not only refers to false pagan worship. Man commits idolatry whenever he honours and reveres a creature in place of God, whether this be gods, or demons (for example satanism), power, pleasure, race, ancestors, the state, money etc.� Fig95. https://www.google.co.uk/ imgres?imgurl=https://upload.wikimedia.org/ wikipedia/commons/7/7a/Kuthodaw_main_shrine. JPG&imgrefurl=https://en.wikipedia.org/wiki/ Kuthodaw_Pagoda&h=1200&w=1600&tbnid=ZV_
Catechism of the Catholic Church 121
A precedent for a fabricated sacred space and shrine which ‘worships’ that other than the ‘unwordly’ is the German Pavilion at Venice Biennale by Christoph Schlingensief. During his life Schliegensief produced work that boldly addressed contemporary culture and politics, particularly within Germany. Schlingensief’s death in the summer of 2010 occurred as he was planning the German Pavilion for the 54th Venice Biennale, shifted the intended course of the 2011 program. Instead of presenting elements of Schlingensief’s project, the exhibition presented multimedia documents — from videos to x-rays — relating to his battle with terminal cancer, a shrine to Schliegensief.
Large projections reminiscent of stained glass, pews and considered lighting all contributed to the ‘sacred’ feel of the space.
SHLINGENSIEF SHRINE
122
Fig100. http://www.schlingensie php?id=biennale
123
MUSEUM DER DINGE
124
Museum der Dinge (Museum of Things) is a museum of 20th and 21st century commodity culture, characterised by the industrial mass production of goods. Since the 1970s, the museum has been collecting objects that are important in terms of design history as a document of our modern-day society based on consumer culture. Hidden on the fourth floor of a former factory building in Kreuzberg, the building presents its collections of 20th century design and everyday culture in the form of a walk-through warehouse.
Similarly in my project I intend to create a walk-through ‘showcase’ of commodity culture throughout the warehouse. However, my project has the additional challenge of giving a metaphysical value to the exhibited items, making it a shrine rather than a museum. This will hopefully be achieved through considered design.
Fig104. http://www.museumderdinge. de/ Fig105. Fig106. https://de.wikipedia.org/wiki/ Werkbundarchiv_%E2%80%93_Museum_
Fig101. http://www.museumderdinge. de/ Fig102. Fig103. https://de.wikipedia.org/wiki/ Werkbundarchiv_%E2%80%93_Museum_ 125 der_Dinge
PROGRAM PLAN 2
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Gift Shop ‘Vestry’ / Office Nave Altar Shrine / Exhibition 127
128
B ri ef Lo o k in t o Ne x t S t e p s 129
CHURCH OF THE SUPERMUNDANE
130
I apologise for the extremely word intensive and highly theory based nature of this submission. The illustrated essay was put in place to establish strong grounding to progress onto rationalised building .
Procession, light and structure will be the central focus of the design. Investigating how the supermundane can be achieved without reference to a higher being, a sacred secular space.
Consequently now that the programme, design tactics and existing qualities have been established the next step is to dive into design.
Hidden intensely natural light
contrasting
Longitudinal space vs expansive space - emphasise the sacramental finale of the exhibition An unexplainable structure to baffle the visitor, suggestive that a force greater than the individual must exist to achieve such a spectacle.
Lig
ht
c Pro
Str
ess
uct
ion
ure
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FIGURES FIG Fig2. http://www.louvre.fr/sites/default/files/imagecache/940x768/medias/medias_images/images/louvre-portraitde-lisa-gherardini-epouse-de-francesco-del-giocondo-dite-monna-lisa-la-gioconda-ou-la-jocon.jpg 2 Fig4. https://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=0ahUKEwjfrq zJ35PLAhVFtxQKHTBbC-sQjBwIBA&url=http%3A%2F%2Fassets.allenandunwin.com.s3.amazonaws. com%2Fimages%2Foriginal%2F9780571300549. 19 Fig5. .https://www.google.co.uk/imgres?imgurl=https://physics.illinois.edu/images/history/Rutherford-sm. jpg&imgrefurl=https://physics.illinois.edu/history/timelines/1900s.asp&h=276&w=400&tbnid=ufo7d192Kwn38M:&doci d=KNUDk57SJpCSBM&ei=2K-7VuL6KsHjUezejcgB&tbm=isch 21 Fig7. https://www.google.co.uk/imgres?imgurl=http://previews.123rf.com/images/stevanovicigor/ stevanovicigor1401/stevanovicigor140100096/24986334-Hands-raised-in-the-air-over-gray-background-Surrenderor-voting-concept--Stock-Photo.jpg&imgrefurl=http://www.123rf.com/stock-photo/hand_raised.html&h=710&w=1300& tbnid=EHzI4SlkH4TvfM:&docid=41LWj3UjgVbAqM&ei=da-7VoJUyfhSyvG30A4&tbm=isch 21 Fig9. https://www.google.co.uk/imgres?imgurl=http://www.newhamstory.com/files/images/ tate%2527s%252520worker.preview.jpg&imgrefurl=http://www.newhamstory.com/ 21 https://www.google.co.uk/imgres?imgurl=http://www.ties.com/blog/wp-content/uploads/2015/09/1900-1919-menswardrobe.jpg&imgrefurl=http://www.ties.com/blog/100-years-of-mens-fashion&h=851&w=700&tbnid=x_2sqZMSI_ Fig11. https://www.google.co.uk/imgres?imgurl=https://shanejessp.files.wordpress.com/2014/07/figure1big. jpg&imgrefurl=https://shanejessp.wordpress.com/2014/07/22/growth-of-museums-and-gallaries-in-hull-and-eastriding-c-1900s/&h=600&w=474&tbnid=_nkeGky3BQGo1M:&docid=a6io3OeqKzoO5M&ei=pK27VoKnOYSuUjHjsAF&tbm=isch com%2Fimages%2Foriginal%2F9780571300549. Fig12. .https://www.google.co.uk/imgres?imgurl=http://s.hswstatic.com/gif/watch-tv.jpg&imgrefurl=http:// entertainment.howstuffworks.com/question433.htm&h=267&w=400&tbnid=S-OZh0_C1-9LSM:&docid=Zm0cBMh_T_ 25 Fig14. https://www.google.co.uk/imgres?imgurl=http://currys.cdn.dixons.com/css/themes/buying_guide/ 132 tv_buying_guide/img/curved-screen-tv.jpg&imgrefurl=http://www.currys.co.uk/gbuk/tv-buyers-guide-
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