I Sense Your Reality
I esneS ruoY ytilaeR
Š 2011 Arianne Gelardin
I Sense Your Reality
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a Thesis by Arianne Gelardin
Dedication
Eli, this thesis is rooted in my desire to understand your experience as best as I can.
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In a series of urban vignettes, constructed spaces appropriate the cues of blind navigation, orchestrating a sensorium that contextualizes the individual’s position within the larger urban system. An interruption of light, a momentary shift in kinetic rhythm, a re-mastered auditory composition—these sensory prompts introduce nonA sub-grade railroad line cuts image based readings between two distinct urban On one side of the of a once-familiar place, conditions. tracks lies a private university, like a fortified hermitage, introverted suggesting another and shrouded from the exterior neighborhood. On the other person’s experience. side, a busy commercial district is visually inundated with neon Empathy for others text, brightly colored façades, and cluttered window displays. grows out of these Twenty feet below, rail commuters traverse these contrasting worlds quotidian moments. with a kinesthetic blindness. The mechanized, climate-controlled regularity of the train’s motion causes a drowsy, social paralysis of the passenger. Little is observed of the cities and towns that pass by.
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Fordham Station, in the Bronx, is a space through which different cultural groups travel, often at different times of day and at different elevations. When a train opens its doors to the station platform for 30 seconds, a man from Pelham Parkway reads The
New York Times, while 20 feet overhead a young woman descends a city bus with a stroller, and nearly 120 feet above street level a college student shuffles through library stacks in search of a book about Saint Ignatius. To bleed the sensory qualities of one distinct cultural zone into another is to allow one to partially embody another person’s experience. Without didacticism, these sensory interventions suggest the unseen qualities that differentiate people’s lives. Such spaces call to arms the non-visual senses, specifically the somatosensory organs in the reception of light through thermal fluctuations, vibration, and body movement. To comprehend people and culture in such abstraction requires a tactile consideration of human relations, a consideration that transcends the often removed intellectual processing of social dynamics. Space negotiates discrepancies of the human condition.
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Word
Image
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Acknowledgements
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Introduction
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Within Arm’s Reach
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The Mind’s Eye
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The Passage and the Passenger
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The Performance
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Moving Towards Site-Specificity
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Appendix: Thesis in Process, A Conversation
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Bibliography
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Experiments
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Precedents
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Site
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Sense
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List of Illustrations
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Acknowledgements
I would like to express my gratitude to the individuals at Perkins School for the Blind; your guidance has been invaluable. BG and JL, thank you both for your encouragement in finding a voice through narrative and the written word. The survivors: LM, SM, IQ, CT and the crew. C, you were the first to support this endeavor. LHH, JB, JL, J “M� K, PF, and AR. Mom and Dad, straight up the greatest parents imaginable.
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Introduction I have always been attracted to difference. In a statement I wrote while
“Canoeing with Shane
applying to graduate school, I outlined the following goals:
F. one summer on Lake Huron was a remarkable
Design as activism. Offer to society an alternate view of reality – possibly absurd –
human and clinical
that evokes a heightened sensory and conscious awareness of the world.
experience, for the canoe
Able design. Establish an innovative movement in disability design, removing the stigma many designers have with ADA (Americans with Disabilities Act) regulations, and instead, allowing those confines to generate original and extraordinary spaces that are accessible to everyone.
I grew up on the periphery of disability culture, always close but never within. From this proximity, I learned early on to suppress naïve judgment
became an extension of his body, would pitch and plunge with each of his Tourettisms, giving me an unforgettably direct sense of what it must be like to be him.” (Sacks 1995, 104)
of those with physiological differences. Over the years, this attitude expanded into a more general interest in different cultures and geographies. Evident in the statements above, addressing disability was my initial attempt to articulate a certain passion. In carrying over this very personal narrative to a more critical Landscape Architecture Master’s thesis, many fundemental questions arose. What is difference? Is it physical? Is it cultural? Economic? Racial? At the heart of this investigation was a desire to witness contrast, to adapt new methods of perception, and to transcend one’s subjective view of the world. I Sense Your Reality tells different versions of a process: ideas worked through the written word, and ideas worked through visualization and design. The essays that immediately follow reflect the research that was conducted in the realm of sensory perception, social dynamics, and urban space. These essays planted the seeds that were then unleashed onto a determined site. The subsequent pages include drawings, diagrams, and imagery that test the larger theories under specific socio-spatial conditions.
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Within Arm's Reach “True synaesthetes feel not
Infrastructure is generally understood as the grand master plan. Our cities
a deficit but a profound
and towns are supported by large-scale productive systems that thrive off
enrichment; they don’t substitute sight for sound (or smell for hearing),
relentless predictability. It is the mechanical function, the ribcage of society. However, the small, elusive gestures of the everyday are as much the flesh of
but rather experience a
our contemporary society as the grand installments of progress, efficiency,
particular sensory stimulus
and order. Three literary works ignite narrative through musings on a
through and accompanied
writing desk (Adolfo Bioy Casares & Jorge Luis Borges), a series of habitual
by another powerful
objects (Daniel Spoerri), and on intimate living quarters (Georges Perec).
perception, usually a visual image, but often a smell or tactile sensation that is easy
These human-scaled conditions confirm the virtue of an infrastructure within arm’s reach. They beg the question, “How do the tangeable subtleties
to remember but difficult to
of the everyday amount to a profound influence on our psyches?” The
describe.” (Jones 2006, 217)
infinite details of familiar objects and personal spaces uncover a network of associations, memories, and interconnected lives that render our very
“As buildings lose their plasticity, and their connection with the language and wisdom of the body, they become isolated in the cool and
understanding of the world. “An Evening with Ramón Bonavena,” a short story by Jorge Luis Borges and Adolfo Bioy Casares, describes a journalist’s encounter with a fictional author who wrote a six-volume behemoth, “North-Northeast,” describing
distant realm of vision.
the north-northeast corner of his writing table. The journalist observes two
With the loss of tactility,
notable objects set on the author’s desk: a carpenter’s rule and a magnifying
measures and details crafted
glass, no doubt a reflection of the author’s compulsive attempt to describe his
for the human body – and
small world in meticulous exactitude. The author’s immodest explanation is
particularly for the hand – architectural structures become repulsively flat,
as follows, “It has not been my intention to instruct, to uplift, to entertain, to gladden, or to move. My work is beyond that. It aspires to the humblest and
sharp-edged, immaterial
highest of all aims—a place in the universe.” (Bioy Casares & Borges 1976,
and unreal.”
32)
(Pallasmaa 2005, 31)
An Anecdoted Topography of Chance (Spoerri 1966 English Edition) is a droll index, an early Fluxus exquisite corpse of items from Daniel Spoerri’s chaotic worktable captured at an insignificant moment in 1961. Each entry is echoed by a series of footnotes, each footnote authored by one of his colleagues: Robert Filliou, Emmett Williams, and Dieter Roth, with illustrations by Roland Topor. Like the game of telephone, each reference is further removed from the present descriptive moment, elaborating on the memories and incidents of the contributors. A rumination on a box
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a Thesis by Arianne Gelardin
of matches, for example, is uncoiled to reveal one person’s memory of
“I suggest that we pay
personified veal chops, which prompts a recollection of the muggy weather
particular attention to
in Düsseldorf, followed by a reference to the longest word in the English language, “Pneumonoultramicroscopicsilicovolcanokoniosis.” It is not so much about the initial thing (a matchbox, a chunk of stale bread, a pen);
touch...The cleanest source of energy, some say, is muscle power, and muscle power, by involving us in
they are mere “junk-objects,” as Diether Roth says. Rather, each is an
direct interaction with our
entryway into the bowels of our memory.
physical surroundings, provides us with one of our
In the 1978 novel, Life: a User’s Manual, author Georges Perec suspends
greatest sources of pleasure.
a moment in time—June 23, 1975, just before 8 pm—at the fictional
A tactile city would…aim
apartment block of 11 rue Simon-Crubellier in the very real city of Paris. In relentless detail, Perec navigates his literary fingers over every object, texture, and quality of light in every room and residence of the building, orchestrating a cross-section of characters and a manifold of narratives.
to increase opportunities for social interaction, such as the participation of the public in communal events or informal encounters.” (Classen 2009/2010, 69-70)
Chapter One: On the Stairs, 1 Yes, it could begin this way, right here, just like that, in a rather slow and ponderous way, in this neutral place that belongs to all and to none, where people pass by almost without seeing each other, where the life of the building regularly and distantly resounds. What happens behind the flats’ heavy doors can most often be perceived only through those fragmented echoes, those splinters, remnants, shadows, those first moves or incidents or accidents that happen in what are called the “common areas”, soft little sounds damped by the red woolen carpet, embryos of communal life which never go further than the landing. The inhabitants of a single building live a few inches from each other, they are separated by a mere partition wall, they share the same spaces repeated along each corridor, they perform the same movements at the same times, turning on a tap, flushing the water closet, switching on a light, laying a table, a few dozen simultaneous existences repeated from storey to storey, from building to building, from street to street. (Perec, 3)
Our world is increasingly immaterial; interactions are encoded in numerical data stacks carried over vast distances and received by other humans or machines. We are becoming untethered from physicality and thus our conception of reality is more and more abstracted. Yet there remains undeniable value in the immediate details that can be touched, seen, and heard. To invest the utmost significance in one’s possessions, however,
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“The sound of church bells
borders on idolatry and shares with it the desire to reveal an authentic,
through the streets makes
unyielding truth. In the tactile medieval city, touch was the reliable sense to
us aware of our citizenship. The echo of the steps on a paved street has an emotional charge because
ground or reading the ridges and depressions of an intricate craftwork. Touch was direct reception, a corporeal interpretation of experience without
the sound bouncing off the
abstraction or intellectual convolution. Touch was truth-hunting. Today,
surrounding walls puts us
it is undeniable that our lives are largely supported by enormous, highly-
in direct interaction with
engineered systems. However, what lies within arm’s reach is where we seek
space; the sound measures space and makes its scale comprehensible. We stroke the edges of the space with our ears.” (Holl 2008, 31)
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find one’s way through life: moving down narrow circuitous streets on uneven
meaning, where, as individuals, we find a “place in the universe.” (Bioy Casares & Borges 1976, 32)
a Thesis by Arianne Gelardin
The Mind's Eye In The Mind’s Eye, author Oliver Sacks shares meticulous journal entries
“The eye is the sense of
that document his struggle with Melanoma and degenerating vision,
separation and distance,
accompanied by a collection of case histories: individuals sharing the varied
whereas touch is the sense
condition of a damaged visual cortex. In each case, these individuals designed new and cunning ways to navigate—and be human—in a world dominated by visual perception. The “mind’s eye” refers to our brain’s internal imaging. It includes not
of nearness, intimacy and affection. During overpowering emotional states we tend to close off the distancing sense of vision; we close our
only information received from our visual sense organ—that is, things we
eyes when caressing
see—but also neurologically engineered hallucinations and dream imagery.
our loved ones. Deep
It works to form complete and comprehensible images in our mind,
shadows and darkness are
hemming visual discontinuities and altering spatial perception. When our perception is skewed by damaged vision and neurological disorders, images that we assume to be true appear surreal. Sacks, for instance, perceives
essential, because they dim the sharpness of vision and invite unconscious peripheral vision and tactile
human figures to be “insectlike Selenites” from H.G. Wells’s The First Men
fantasy. Homogeneous
in the Moon (Sacks 2010, 172). He describes moments where the city
light paralyzes the
street becomes a panoptic, two-dimensional surface, akin to the worldview
imagination in the same
in Edwin Abbott’s 1884 book Flatland, in which the personified lines and polygons must imagine a world in three dimension to explain physical phenomena. Sacks empathizes with their struggle to “infer depth, despite
way that homogenization eliminates the experience of place.” (Holl, 34)
the at times overwhelming flatness presented.” (Sacks, 187) Scientists and designers have recognized the potential of amplifying an atypical perception, not just for scientific or humanistic understanding, but also to democratize experience. Technology, for example, has explored alternative modes of sense-processing. Sacks explains that the conventional mobility cane, like a prosthetic organ, acts as a motor extension of the body, compositing angles, textures, densities, and vibrations into a mind’s eye image of one’s immediate surroundings. In the past two decades, neuroscientist Paul Bach-y-Rita worked to develop sensory-substitution devices such as gridded tongue sensors. His work has relocated the function of the cane to a technological realm. The tongue sensor system uses electrotactile stimulation of the tongue to encode the information taken from a still or video camera. After approximately seven hours of training, a user can perceive, in the mind’s eye, the image of basic shapes, objects, and elevation changes in order orient one’s self in space. Such
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“Hermes is identified with
technology has been propelled into contemporary art and design. Beta Tank,
the masculine values of
founded by designers Michele Gauler and Eyal Burnstein, creates interactive
mobility and threshold, of
objects and spaces that flirt with neural activity and sense organs. Akin to the
changing states, openness and contact with the outside world, the light and the sky—qualities associated with the external, public ‘spaces’ of action.” (Holl, 13)
tongue grid, Beta Tank designed Mind Chair Polyprop, which proposes that a child’s education can be augmented with tactile stimulation of the mind’s eye using a grid of sensors embedded in a polypropylene school chair. The Mind’s Eye discusses not only the mechanics of neurological disorder but the subsequent re-socialization and emotional adaptation that one undergoes when sight is partially or completely lost. Sacks writes about John Hull, a professor of religious education and author of Touching the Rock: An Experience of Blindness: With his new intensity of auditory experience (or attention), along with the sharpening of his other senses, Hull came to feel a sense of intimacy with nature, a n intensity of being-in-the-world, beyond anything he had known when he was sighted. Blindness became for him “a dark, paradoxical gift.” This was not just “compensation,” he emphasized, but a whole new order, a new mode of human being. (Sacks, 204)
Indeed, once the initial trauma of losing “normalcy” wears away, the newly blind may discover an advantageous reading of space in which the relationship between object, living thing, movement, sound, scent, and so on, are recalibrated, and thus a “new order” is born. Artists and designers are forever investigating ways to reposition our footing within reality. Creative appropriation of the mind’s eye supports the potential of design to tickle the brain’s plasticity and, like Sack’s illuminating stories, alter our understanding of the world, as we know it.
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The Passage and the Passenger In Marc Augé’s essay, “Non-Places: Introduction to an Anthropology
Hermeneus: “An
of Supermodernity,” (Augé 1995) transient places generate “solitary
interpreter who bridges
individuality” from isolating spatial conditions. The act of traveling
the boundaries with
produces a psychological and physical barrier between that which is moving and that which is stationary. Aircraft cabins, train cars, automobile interiors, as well as their end points − airports, railway stations, and hotels − are but a few of the non-sites that Augé references.
strangers. Hermes gives us our word ‘hermeneutics,’ the study and theory of interpretation. In Greek a “hermaion” is “a lucky find.”
[The railways] only serve the points of departure, the way-stations, and the
(Wikipedia)
terminals, which are mostly at great distances from each other,’ the intervening spaces, which they traverse with distain and provide only with a useless spectacle. (Schivelbusch 1987, 38)
In contrast, place is weighted with frequency and familiarity; it exudes history, narrative, and identity. Akin to Michel de Certeau’s understanding of space, Augé describes place as ‘an intersection of moving bodies,’ activated by the everyday actors who inhabit it, whereas non-place is removed, like a viewer to a film. Travel exemplifies non-place; the traveler’s relationship to place is limited to the temporal gaze upon fragments of life and ephemeral symbols (signage, landmarks, geographical indicators). “The individual feels himself to be a spectator without paying much attention to the spectacle.” (Auge, 86) The catalyzed journey of today’s commute is impersonal: localized place is inadequately defined with surficial signage that reads “Entering the town of—” It was not always so. The railroads of 1960s France and prior, for example, were laid out not on major roadways, but on tracks situated behind houses, hugging the kitchen garden or the bedroom window. When a train would slow upon entering a town, there would be a momentary lengthening of time and space. Under a calculated, restrained velocity, the passenger could gain a sense of the local through a momentary glance into the private lives of strangers. Now, upon entering a train station, an airport, or a bus terminal, one is lucky if he is able to glance down a long avenue or a residential street.
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“As in direct perceptual
During travel, the eyes read indistinct spatial elements, which the brain
experience, architecture is
then briskly shuffles and organizes into a neurological shorthand, placing
initially understood as a
each generality into the card catalogue of town “X.” Here it subsumes the
series of partial experiences,
generalities of all other “X” towns in one’s knowledge bank. The passing
rather than a totality.” (Holl, 42)
landscape is indefinitely lost in non-place. In his 1987 book The Railway Journey: The Industrialization of Perception of Time and Space, author Wolfgang Schivelbusch describes early rail travel as the experience of being projected through space, “shot through the landscape.” (Schivelbusch, 54) With unprecedented velocity, one loses their sense of orientation, as well as nearly all familiar sensory inputs. The train car is climate-controlled, temperature and light controlled. All variations in atmosphere and ambiance are restricted, offering only severe regularity. The rumble of the train’s components is heard grinding metal against metal and a rocking to and fro is felt as the train finds equilibrium on the narrow tracks. An excerpt from an 1862 medical journal, The Lancet, describes the bodily sensations induced by such travel: The immediate effect of being placed in a vehicle subjected to rapid, short vibrations and oscillation…is that a considerable number of muscles are called into action, and maintained in a condition of alternating contractic effort throughout the whole journey…The frequency, rapidity, and peculiar abruptness of the motion of railwaycarriages keep thus a constant strain on the muscles; and to this must be ascribed a part of that sense of bodily fatigue, almost amounting to soreness, which is felt after a long journey.(Schivelbusch, 177)
The combination of atrophied physical energy and the psychological remove from place puts the passenger in a solitary, socially isolated position, where they are forced inward, occupying only the landscape of the mind; where thoughts are self-contained and where one’s consciousness becomes selfreferential with the lack of influence from the extraordinary, external world.
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The Performance As a playful tactic, the Situationist dérive was meant to undercut the
“Architecture must consider
automation of daily life dictated by capitalism. It was an attempt, not to
seriously the potential of
alter the urban landscape, itself, but to alter the meaning of that space by
narrative as the structure of
changing the manner in which it was occupied. Such an activity can be considered a performance in which space is articulated by the dancers that engage with it; with the ground, air, sound waves, temperature, and so on. In this exchange between body movement and city, there is a simultaneous spatialized action and activated space.
human life, a poetic vision realized in space-time. The architect, in a sense, now must also write the ‘script’ for his dramas, regardless of whether this becomes an explicit or implicity
The dérive is a distinct space-maker in that movement through the city
transformation of the
does not necessarily alter space, physically, rather, the unusual, somewhat
‘official’ building program.
awkward act of intentional disorientation changes the meaning of urban space. More precisely, the dérive participant syncopates the path of transit; the walker deviates from the intended rhythm of the urban infrastructure. These wanderers intend to rewrite the function of space, and in so doing,
This is, indeed, a crucial part of his design activity, and also the vehicle for an ethical intention to inform the work.” (Holl, 23)
create a “pedestrian speech act” in every day; at each instant, it is modified by men’s actions.” (McDonough 1994, 66) The body, contained within the skin’s boundary is a space within which we carry around (and secure) our utmost internal thoughts and behavior, our vulnerability and our unique physiologies. Congregating bodies enact a social ritual that both unites us and encourages us to acknowledge our differences. In his influential text, “The Work of Art in the Age of Mechanical Reproduction,” Walter Benjamin argues that in order for truly libratory works of art to emerge from cultural production, libratory spaces must also be created. In the grandest sense, freedom cannot be merely thought out, but it must also be felt through one’s physical surroundings. Sensory disengagementmost often occurs with detached daily habit, in which we perceive our surroundings half-heartedly, distracted by the automation of our daily motions. Real change occurs with tactile appropriation, when we are physically jarred out of our daily habits, and so shocked out of our complacent perception of the world. There is a poignant juxtaposition between a playful, inquisitive, and absurd activity conducted under concerns of seriousness and gravity.
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“The [Greek] dramas were
A dérive begins by purposely losing orientation and getting lost in order
most likely played not
to experience the wonderment of everyday urbanity. Surprisingly, the
upon the stage, but in the
first definition of the word, play, in Webster’s New Twentieth Century
orchestra...The chorus, that group of dancing and singing men often in charge of lamenting destiny, was always at the centre of the action...We have evidence from Roman texts…that such events, combining poetry, music and dance in its architectural frame, were believed to have a cathartic effect. In fact, both catharsis and mimesis seem to have been employed quite early in relation to art. Mimesis, also in relation to the choreia, signified
follows: 1. To move lightly, rapidly, or erratically; to frisk; flutter; as, sunlight plays on the waves, a smile played on his lips…Action, motion, or activity, especially when free, rapid, or light; as, the play of muscles. Other pertinent entries include the following: 2. freedom or scope for motion or action. 8. to act out in a specified way. 12. to move freely within limits, as parts of a machine.
For the Situationists, to play was in direct opposition with working, which
not imitation but rather
they saw as a capitalist construct. To play was to “free creative activity from
the expression of feelings
socio-cultural restrictions (Careri 2002, 106). Perhaps there is, after all, an
and the manifestation
equilibrium between a fantastic and a utilitarian approach to the design of
of experiences through
space, between everyday phenomenology and the socially-concerned.
movement, musical harmonies and the rhythms of speech, an acknowledgement, through the body’s presence, of its intermediate location between Being and becoming, and a disclosure of its legitimate place of (public) appearance.” (Holl, 14)
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Dictionary, published in 1966 (not long after the Situationists), reads as
a Thesis by Arianne Gelardin
Moving Towards Site-Specificity By recalibrating our senses, we can expand our conception of the world. Rapid changes in topography, a thickened ground plain, a vertical wall (a building or a tree canopy), even the high-speed movement of public (and private) transportation are examples of the types of spatial qualities that both block visual perception and also pronounce human differences. People coexist in such spaces every day, but rarely pass each other visibly and, furthermore, may never enter into each other’s consciousness. The previous pages explore these ideas through research and written language, whereas the following images investigate the ideas through a site-specific design proposal. Light, sound, and vibration are used to project a body into a space beyond visible barriers. This projected body registers the presence of unseen others.
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Appendix: Thesis in Process, a Conversation The following conversation between me and my father occured on January 9th, 2011. It was a time during thesis development when I began to determine site parameters, and refine design intentions. The discussion was pivotal in the progression of my thesis and my choice to focus on a particular urban space. ARI – My ideas about thesis, so far, are “embodying otherness to feel empathy” and “recalibrating your senses in order to jar you out of daily habits, to alter your perception of the world.” These are my site parameters: public space; a place of everyday actions or occurrences; the potential for narrative; a series of partial experiences or vignettes, like a film, where each scene gives you a little information—a mood--but when you compose them all together, you have a narrative. There is value in these very small moments—all the little things that happen within a day or a week. RG – They could be spread out in time? ARI – Yes. Instead of designing one singular space, it would be as if you exploded those features throughout an entire city over a period of time. RG – Beautifully put. ARI – (Laughs). So the another site parameter: places where differences meet or just miss. I’m not concerned with people interacting, or even being aware of other peoples’ presence. They don’t even need to be in the same place at the same time. If I’m creating a new way of observing a light condition based on the way a blind person experiences light, for example, there is something in that condition that is more than the phenomenological experience; there is a trace of humanness in it that lets you know that you are somehow accessing someone else’s point of view. This leads me to my next site parameter: It doesn’t have to be a dense city. It may be just as powerful if it’s a 1:1 person scale. Those two people don’t have to be at the same place at the time for that thing (snaps fingers) to happen. I think it would be interesting, by having a series of sites, if those parameters changed. In one instance, dense-city-people, and in another, you are at the top of a mountain, you’ve spent all day hiking alone, and as you arrive at a certain place, you perceive something in a different way and realize, “Oh my god, someone else has been here, and this is how they experienced this place, and I am experiencing their experience.” RG – When you say “human element,” it implies a story. ARI – I started making a list of possible places—they are all really banal which is both cool and not cool. I’m quickly learning that I’m never going to start with an awesome place because awesome places don’t need anything to happen to them. RG – (laughs) I was just thinking, “What could be more banal than a bathroom?”
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ARI – Dude, its on my list! (laughs) Actually, I think that’s the strongest one I have going for me right now. (laughs) RG – Oh, that’s so funny! ARI – So the last parameter is: maybe this is a space that is very visually dominant, or not! RG – (laughs) Oooh, you know what that reminds me of? I don’t know if you’ve ever been through a funhouse—its dark, then something is illuminated, then it goes dark again, then you have compressed air blowing on your legs, then you have all sorts of strange seaweed-like things pulling at you. ARI – I keep on thinking about the Exploratorium, the Tactile Dome where you crawl through a series textural rooms devoid of light. What is the Tactile Dome at an everyday scale or scenario? Nighttime. Disorientation or reorientation. I’m just thinking out loud. But what does that mean in terms of program? An event that only takes place at night? I don’t know the answer. So in terms of vignettes, I already mentioned a range of scale and circumstance. And in terms of where differences meet or miss—A classmate asked me what I meant by “difference” and I replied, “Oh, you know, everything: culture, physiology, race…” and he said, “No, you have to narrow it down or you’re project is going to be too huge.” So for now its just physical difference, and specifically visual. So where do differences meet or miss? Public transportation. Arenas and sporting events. Crowds, in general. You are very aware when someone is taller than you, when someone is in your way, or when someone is walking to slow, or talking really loud behind you and you sense that they are very close. RG – When you talk about transformative experiences, I think about all sorts of gizmos like periscopes. It’s a set up with mirrors and it can either raise your eye level or lower your eye level. You get the experience of a much taller person. ARI – I imagine you are in a sea of bodies and you stumble across this periscope and rise above. Or maybe you are on a balcony and you look into it and you are suddenly at everyone’s feet. RG – Then I am thinking about different focal length lenses; the fish eye lens or a wide angle lens, someone standing right in front of you. They may be within arm’s reach, but they would appear to be much further away. ARI – Depth distortion is what you are saying. Maybe it happens not visually but with sound or something else. Or vibration. Remember when we lived across the Bay from the Richmond Bridge, and you could hear it tremble even though it was so far away? That was because of the water, right? Maybe it’s about amplifying something that’s far away that makes you feel like you’re in it. Maybe you are alone but there is something amplifying the sensation of being in the middle of a crowd.
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RG – Not only does water alter the transmission of sounds, but so do solids. If you are living in an apartment and someone above you drops a hammer on a wood floor, depending on the construction of the house, the impact of that noise can sound very loud. Hard materials that are connected to one another. If the sound gets into the material, it travels. This is the same principle of a walky-talky using a tin can and string, pulled tight. ARI – It’s the same with an electric circuit: There has to be a constant connection, with no break. Another site parameter: waiting in line or being forcefully scheduled. When you are waiting in line at the post office or at the DMV you have to follow strict, agonizing rules. Everyone, no matter how different you are, has to abide; it kind of makes you hate everything around you. Maybe that’s off topic, I don’t know. Circumstances in which your pace is slowed. Times slows down. I was thinking about when you ride the subway and the lights flicker. It just completely changes the experience. RG – How so? ARI – Flickering, modulation, on, off, on, off. When the lights go out you suddenly become aware of all the sounds and the movement of the train. The amount of people. Even the temperature. You become aware of the crowd. You can’t see them, but you become aware that it is warm, or that the whole left side of your body is touching someone else. RG – The subway is a very fascinating example. In a huge city you develop a way of coping with being squished in an intimate — in a non-intimate way, actually—up against all these people. And you’re right. The lurching and the lights going out— it discombobulates the experience. Everyone is pretending that they are not compromised by it. But when the subway train lurches, the people that you are trying to pretend are not there. Let’s say you are in the middle of the crowd and you have nothing to hold on to and suddenly you are dependent on them for support, keeping you from falling over. Your need of them changes from defending against the vulnerability of all intimate contact to suddenly needing them to keep you from falling over. ARI – You become one big organism, rocking in one direction or another. RG – I wonder if this is a connecting experience on some level. ARI – People have to stand in different ways and negotiate their footing property. RG – You know how New Yorkers have no hesitation in talking to strangers? You could be walking down the street observing something — a New Yorker wouldn’t hesitate to turn and comment to a stranger, you know, not engage in a conversation, just impulsively comment and
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then turn around and continue on. I wonder if this ability to turn it on and off is not something that is cultivated in the subway. One component of a “sense of oneness” is a highly developed sense of self-protection and individuation. You turn it on and off. You have two very different perspectives of yourself versus the multi-celled colony. Maybe New Yorkers feel more attached than if you were, well, if you were a farmer out somewhere; you may feel closer to nature but not so close to people. ARI – Its really about stripping away as much as possible to find the core of a sensation or perceived experience. When all your senses aren’t functioning correctly, what minimal information are you receiving in order to understand a situation? That’s what I was getting at with the dance video. There are two kids at Perkins School who are partially deaf-blind. They have this box, this weird cube, the “man-cave.” I want to re-design one of the walls of the cave, the one that receives south-facing light. They can perceive high contrast and a certain range of colors—warm reds, yellows, and such. But what the box doesn’t have right now is the opportunity for them to alter the environment. It’s a bunch of junk thrown in the room, which they can feel or hear. But I want to design a simple system where there are hanging strands in front of the window and the kids can move the strands to allow the bright southern light to come through. They are constructing their environment by modulating light. I see it as an on-off effect. Light dark, light dark. I think that is what the subway is doing. It goes from one extreme to the next. It removes everything in between. RG – Like your high contrast images. ARI – Yes. RG – I paused on your comment about stripping away to the core of a particular sensation. What I understood you to mean is that our experiences are made up of a composite, a story which is based on what is happening to all our available senses. What you are looking to do is separate them out, maybe a channel at a time, so that you don’t have the composite, you have one channel over the others. ARI – No, I made a decision recently that I can’t shut it off; it has to remain a composite, but that the components have to change in hierarchy. Instead of visual, and all the other senses as secondary, by muting the visual, it allows all the other voices in the chorus to come through and tell the story in a different way. It’s the same story, we all live the same story; there are so many ways to tell it. Make the hotshot (vision) step down and let everyone else tell it (the other senses). RG – I envision a machine with a bunch of knobs on it which you dial your senses up and down, one knob is visual and as you turn it, maybe it changes the contrast, or maybe it turns things black and white. ARI –I like thinking of it as a film, where you can tweak what is seen. Or a sound board where you change the levels. How does that happen in a tactile way? A topography where you are changing the levels, you are making it steeper, or changing the texture.
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RG – It suggests a video technology with the ability to replay the exact same sequence, but with different filters available to you. ARI – That’s what my video experiment was: the filtering of a video image. How can you put a filter on three-dimensional space? What if the flickering in the subway wasn’t light, but was a turning on and off of sound. What if space became spontaneously mute, or what if, on the subway, the rumbling of the ground below stops and abruptly feels smooth? What if my design were simply the streamlining of the train tracks at a chosen place along the line? RG – The experience of being in a subway train, there are tremendously loud rumbles and screeches that you can feel in your seat. The physical toss to one side that happens when the rail is screeching and the various giggles match the sounds. What would it be like, as you say, to be suddenly floating with none of the vibrations, sort of on a roller coaster, and you are weightless? ARI – This is really good, but what is the human element in that? Where is evidence of someone else’ s experience? RG – Oh, but it doesn’t connect that way. ARI – But it could, I just need to find out what it is. Maybe it’s not a subway, maybe that sudden floating is you embodying the other. When your norm is to be rumbling and grinding along the pavement, someone else’s norm is to be floating. What is that key moment in your everyday, when you have the opportunity to experience that? RG – Have you ever watched someone jump out of an airplane or bungee jump? Especially the latter, you see them take off from the top of a dam and when they reach the bottom of the swing, you can feel, you can imagine in your own body what happens as the bungee stretches, and they bounce back up. The way we embody the others’ experience without having it. It’s not empathy, or maybe it is. We’re identifying the kinesthetic feeling that the other person has. ARI – It is. I called it earlier a somatic empathy. It’s not an intellectual empathy, it is a physical empathy. RG – Which is rowing in the boat with a Tourettic person, à la Oliver Sacks. ARI – Exactly. What little do you need to be able to perceive “humanness?” Maybe it has to do with scale. RG – You talk about creating an environment to communicate a point of view. The perceptual point of view of another person. You have been doing it, I guess, by starting with that other point of view. The blind person’s point of view. What you are describing is scanning which we do visually without even thinking about it. A mind-map of how things are related ins pace. But what you’re saying is that if you can’t see, you have to do it with your hands.
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ARI – Or based on anticipation and consistency. Like when you reach for your bathroom doorknob in the dark. You know — in relation to your own body and speed when you can reach for it. RG – So a blind person without any prior experience of a new environment has more research to do in order to navigate through it. There’s no muscle memory of the relationship of things because it is a new place. ARI – Yes. This brings it back to the idea of night: on/off, crowds, organism, rumbles/ smoothness, weightlessness. These are more specific parameters, but in terms of test sites, it’s just so huge. So maybe crowds at night. Or maybe its being alone at night. Or maybe its both. Or maybe it’s the same place at night and then during the day. Maybe its reversed, maybe its crowded in the dark and quiet during the day.
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Bibliography Baron-Cohen, Simon, and John Harrison. ”Synaesthesia: An Account of Coloured Hearing.” Leonardo, vol. 27, no. 4 (1994), 343-346 Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” Accessed May 4, 2011. http://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm Bioy-Casares, Adolfo, Jorge Luis Borges, and Norman Thomas di Giovanni (trans.). “An Evening with Ramón Bonavena.” Chronicles of Bustos Domcq, 1st ed. (New York: E.P. Dutton, 1976) Butler, Cornelia H.. “Walkaround Time: Drawing and Dance in the Twentieth Century.” On Line:
Drawing through the Twentieth Century (New York: The Museum of Modern Art, 2010) Careri, Francesco. Walkscapes: Walking as an aesthetic practice. (Barcelona: Gustavo Gili, 2002) Classen, Constance. “Green Pleasures: Sustainable Cities and the Senses.” Harvard Design Magazine, vol. 31 (Fall/Winter 2009/2010), 66-73. Debord, Guy. “Report on the Construction of Situations.” Bureau of Public Secrets. Accessed May 4, 2011. http://www.bopsecrets.org/SI/report.htm Dumb Type, OR. Accessed 5/15/11. http://www.youtube.com/watch?v=48jTgdDzFYQ. Holl, Steven, Juhani Pallasmaa, Alberto Perez-Gomez. Questions of Perception: Phenomenology of
Architecture. (Japan: A+U Publishers and William Stout Publishers, 2008 edition) Jones, Caroline A., ed. Sensorium: Embodied experience, technology, and contemporary art. (Cambridge, MA/London: The MIT Press. Copublished with the MIT List Visual Arts Center, 2006) Lefebvre, Henri. The Production of Space. Trans by Donald Nicholson-Smith. (UK: Blackwell Publishing, 1991) McDonough, Thomas F., “Situationist Space,” October, vol. 67 (Winter 1994),59-77. Retrieved 5/15/11: http://www.jstor.org/pss/778967 Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. (UK: John Wiley & Sons, 2005) Perec, Georges. Life: A User’s Manual. (Boston: David R. Godine Publisher, Inc., 1987) Quiviger, François. The Sensory World of Italian Renaissance Art. (Chicago: University of Chicago Press, 2010)
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Sacks, Oliver. ”A Surgeon’s Life” and “An Anthropologist on Mars.” An Anthropologist on Mars. (New York: Alfred A. Knopf, 1995) Sacks, Oliver. The Mind’s Eye. (New York: Alfred A. Knopf, 2010) Saxe, John Godfrey. “The Blind Men and the Elephant.” Accessed May 4, 2011. www.constitution. org/col/blind_men.htm Schivelbusch, Wolfgang. The Railway Journey: The Industrialization of Perception of Time and
Space. (Berkeley: University of California Press, 1987) Spoerri, Daniel. An Anecdoted Topography of Chance. (London: Atlas Press,1995)
Webster’s New Twentieth Century Dictionary. USA: The World Publishing Company, 1966.
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Experiments
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One of the first experiments involved the construction of sense-altering body props
At a potluck art opening, the guests were asked to wear blacked-out goggles, paper ear cones, and t-shirts with the sleeves sewn shut. For 15 minutes their behavior was observed, and later their experience was discussed. How did the alteration of body movement influence their sense of space and social interactions?
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Under the guidance of the Directer of the Assistive Device Center at Perkins School for the Blind in Watertown, MA, a tactile wall was constructed for two students in the deafblind program. With partial visual and hearing abilities, the young children responded well to high contrast light, warm colors, and high-pitched, rapid tones. The wall was attached to the “Cave,� a small room where they could retreat from the larger, conventional classroom to explore texture, sound, and shadow.
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Jake reads Ava’s story I have a secret room in my bedroom. The ceiling is low. There’s one window at the floor. The bean bag is there, too. It just floats around and moves from place to place. I sit in it different ways. I could either make a hole in the middle of it and sit like this (gestures), you’re back is slanted and it feels comfortable, and your feet are stretched in front. Or I’ll do the same thing and put my knees up to my chest like this (gestures).
A conversation was recorded between Ava, 9 years old and 4'7' and Jake, 28 years old and 6'5'. The scripts were swapped and read outloud while they each sat in the other's favorite chair.
Ava reads Jake’s story [My Brother] is tall. He had all his counters custom built three inches taller than the standard. All the cabinets in his house are higher. The shower-head is higher, too. Everything is just a little bigger. When I go visit, well, I fit. We do a lot of cooking for Christmas and Thanksgiving, working at the raised counters. You never notice these things, usually; they’re so standard.
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Video stills Youtube footage from various city scenes was collected to animate a conversation that considered parameters of a thesis site. The crowded Shibuya Crossing in Tokyo, New York’s elevated subway passing over the Manhattan Bridge–these locations raised questions about how sensory perception in the urban environment is often characterized by qualities of physical density and intimacy, infrastructural rhythm, high contrast light conditions, and the traces of human presence. (see Appendix for transcript)
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“Incomprehensible body, penetrable and opaque body, open and closed body, utopian body. Absolutely visible body, in one sense. I know very well what it is to be looked over by someone else from head to toe. I know what it is to be spied from behind, watched over the shoulder, caught off guard when I least expect it. I know what it is to be naked. And yet this same body, which is so visible, is also withdrawn, captured by a kind of invisibility from which I can never really detach it. This skull, the back of my skull, I can feel it, right there, with my fingers. But see it? Never. This back, which I can feel leaning against the pressure of the mattress, against the couch when I am lying down, and which I might catch but only by the ruse of the mirror. And what is this shoulder, whose movements and positions I know with precision, but that I will never be able to see without dreadfully contorting myself? The body—phantom that only appears in the mirage of the mirror, and then only in fragmentary fashion—do I really need genies and fairies, and death and the soul, in order to be, at the same time, both visible and invisible? Besides, this body is light; it is transparent; it is imponderable. Nothing is less thing than my body; it runs, it acts, it lives, it desires. It lets itself be traversed, with no resistance, by all my intentions. Sure. But until the day when I hurt, when a pit is hollowed out in my belly, when my chest and throat choke up, block up, fill up with coughs. Until the day that a toothache crazes in the back of my mouth. And then, I cease to be light, imponderable, et cetera. I become thing…fantastic and ruminated architecture.”
Michel Foucault, “Utopian Body”
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Precedents
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Nicholas P. McFadden RISD M. Arch 2010 An old Amtrak line runs, unseen, beneath a series of tennis courts in Riverside Park on the Upper West Side. The tunnel through which the trains pass is canvassed with historic graffiti and is home to a number of squatters. Thru
Space attempts to depolarize the disparate groups that occupy the space by breaking the ground that divides their worlds.
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Right now, she is having sex with your best friend
Miguel à ngel Elizalde Pedrouso RISD D+M 2010 As you walk in a pitch-black room, the heavy 90-degree air weighs on your chest. A 1200-hertz tone pierces your ears. The artist’s personal narrative, tumultuous and pained, is transfered into a universal, physical discomfort through sensory mediation.
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Rattenberg, Austria
Infrastructural Heliostats
Bartenbach LichtLabo 2005 30 heliostats (large mirrors) Rattenberg, Austria, popula-
that would direct sunlight from
tion 440, sits at the foothills
behind the mountain to various
of Rat Mountain, in the Tyrol
lawn-sized patches of dappled
region of the Alps. Originally
sunlight for the pleasure and
located here to shield the town
benefit of its residents. The
from marauder attacks in the
project demonstrates the pro-
14th century, the town spends
found power that light has on
November to February in
our psyche, and also the grand
complete shade. In 2005, the
scale at which we can harvest
town hired the German lighting
natural light, not just for energy,
designers Bartenbach LichtLabor
but for cultural benefit.
to determine the placement and construction of over
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Lights in the City
Alfredo Jaar Montreal, 1999 Hundreds of thousands of
time a human being asks for help
red light bulbs were installed
(a light flashes as if a photograph
in the Cupola of the Marché
is being taken). This ‘photograph’
Bonsecours monument in the
respects the privacy and dignity
old Montreal.
of the ‘homeless’ person (there is no ‘material image’) while at
“Doorbells” were placed at
the same time sends a sign (a
the entrance of three homeless
red light) to society about his or
shelters near the Cupola, which,
her condition, a condition that
when pressed, light up the tower
is clearly unacceptable within
in a vibrant red glow.
the context of one of the richest cities in North America.”
“A ‘photograph’ is taken every (alfredojaar.net)
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Ryoji Ikeda 2004 “Ryoji Ikeda’s work–solo performances, recordings, sound installations, and collaborations-assaults the body, stimulating many of the sense at once, and transcends, or rather rejects, linguistic or image-based interpretation.” (Jones, 2006)
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Spectra II
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OR
Dumb Type 1997
where you are deprived of ability to see,
[OR] - binary system
where you can’t recognize anything,
[OR] - Alternative A or B
where you don’t know where you stand anymore,
[OR] - 0 (zero) radius -
where you may not know whether you are alive OR dead.
invisible circle - point / dot
But what distinguishes one from the other ?
[OR]- operation room
Where is the border ?
It is about the state of “white
What is death ?
out” like in a blizzard
What is it ? (www.epidemic.net)
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Site
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The system of transportation is an agreement between strangers, a modern day social contract with very real consequences. (loudpapermag.com)
Forty percent of MTA tracks run on surface or elevated tracks, including steel or cast iron elevated structures, concrete viaducts, embankments, open cuts and surface routes and are completely grade-separated from road and pedestrian crossings. The Metro North Commuter Rail has 150 million passengers annually, 250 stations, and 20 standard gauge rail lines at just over four feet wide. “Hunting” is the swaying motion of a railway vehicle, limiting the speed of a standard gauge rail to 140 mph. “Wayobjects” or “Wayside objects” are trackside objects or structures beside the rail tracks, such as railway signals, overhead lines, platforms, and boom barriers.
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65
I Sense Your Reality The Metro North Railroad carries 276,000 passengers per day, 40% of which travel along the New Haven Line, alone. Those commuting from Connecticut and Westchester suburbs move through Fordham Station daily destined for Grand Central Station.
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Fordham Road, Bronx, NY
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2
8 9
Sense
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Lightbox Study I: Bus Stop “Cut”
An early design experiment at Fordham Station uses high contrast light and shadow to project the presence of others from one elevation to another. A simple “cut” in the sidewalk is made, located direclty above the station tunnel. The cut focuses daylight into the dark space below. When commuters stop in the station for 30 seconds or so, mottled light moves with the rhythm of the pedestrians above, indicating the vibrancy of the unseen surrounding neighborhood. Another intervention uniformly illuminates the train platform
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Lightbox Studies from below ground. As commuters wait for their train, their movement is cast onto a translucent rain awning, diffusing their shadows into abstract movements perceivable from the dorms and library windows above.
a Thesis by Arianne Gelardin
Lightbox Study II: Platform
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Lightbox Study III: Façades
The stately Walsh Library at
As students meander through
Fordham University is situated
the book stacks, their shuffling
across the train line from
footsteps interrupt the
Cookie’s Department Store,
continuous plane of light,
the largest supplier of children’s
creating a flickering line
school uniforms in the city.
along the third floor level of
Both buildings have prominent
Cookie’s façade. The students
façades, but while the library
at Fordham indirectly occupy
is clad with floor to ceiling
the space beyond their reach,
windows, the department store is
their movement activating the
windowless, instead dressed in a
neighborhood after dark.
red, white, and blue-tiled armor. The design vignette proposes a sheet of horizontal light cast from within the library, at ground level, towards the façade opposite.
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Platform Looking South
In this unresolved design trial, the station house is lifted by horizontal steel beams on either side of the rail line. A sheer slope hugs either side of the platform and the descending stairs, creating a wind tunnel that moves air and sound from the commercial district , through the train tunnel, towards the university. Materials such as reflective stones and pale grasses were considered to line the slope, amplifying the light and wind conditions.
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16’
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Illustrations p. 8-9 Gelardin, Arianne. Section of Fordham Station facing north. Ink photo transfer. (2011) p.10-11 Gelardin, Arianne. Fordham Station:: view from platform facing west. Photograph. (February 2011) p.42 Gelardin, Arianne. Body Props (details). Photograph. (September 2010) p. 43 Gelardin, Arianne. September. Body Props (installation view at Vinton Street, Providence, RI). Photograph. (September 2010) p.44 Gelardin, Arianne. Tactile Wall (detail). Installation. (February 2011) p. 45 Gelardin, Arianne. Tactile Wall (installation view at Perkins School for the Blind, Watertown, MA). Installation. (February 2011) p. 46-47 Gelardin, Arianne. Jake and Ava. Video Still. (December 2010) p.50-51 Gelardin, Arianne. Question of Site. Video Stills. (January 2011) p. 52 Klein, Yves. 1960. The Leap Into the Void. Photograph. http://blog.art21.org/2010/06/20/ kleins-big-leap/image_472/. (accessed 5/15/11) p.56 McFadden, Nicholas P.. Thru Space. Unpublished thesis (M.Arch), Rhode Island School of Design. (2010) p.57 Pedrouso, Miguel Ángel Elizalde. I would rather not feel this way: a thesis, unpublished thesis (M.A.), Rhode Island School of Design. (2010) p. 58 Bartenbach LichtLabor. Diagram of Heliostats in the town of Rattenberg, Austria. (2005) Bryan-Wilson, Julia. “Mirror, Mirror.” Cabinet Magazine, Issue 24: Shadows. Winter 2006/2007. New York. (accessed 5/15/11) http://www.cabinetmagazine.org/issues/24/bryan-wilson.php p. 59 Jaar, Alfredo. (1999) Lights in the City. http://www.alfredojaar.net/main.html (accessed 5/15/11) p. 60 Ikeda, Ryoji. (2004) Spectra II. Sensorium: Embodied experience, technology, and
contemporary art. Jones, Caroline A., ed. (Cambridge, MA: The MIT Press, 2006)
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p. 61 Dumb Type. (1997) OR. Video still. http://www.youtube.com/watch?v=48jTgdDzFYQ (accessed 5/15/11) p.65 Gelardin, Arianne. Metro North Railroad. Diagram (2011) p. 66-67 Gelardin, Arianne. Demographics of the Metro North New Haven Line. Diagram. (2011) p. 68-69 Gelardin, Arianne. Fordham Road, Bronx. Diagram. (2011) p. 70-71 Gelardin, Arianne. Section Perspective of Fordham Road facing North. Photocollage. (2011) p. 72-73 Gelardin, Arianne. Daylight Studies. Photographs. (2011) p. 74-75 Gelardin, Arianne. Circulation Studies. Diagrams. (2011) p. 76-77 Gelardin, Arianne. Plan of Fordham Station. Diagram. (2011) p. 80-83 Gelardin, Arianne. Lightbox Studies. Shoebox dioramas. (2011) p. 86-87 Gelardin, Arianne. Bus Stop. Photocollage. (2011) p. 88-89 Gelardin, Arianne. Perspective: Grate from Platform. Photocollage (2011) p. 90-91 Gelardin, Arianne. Perspective: Facing North from Train Tunnel. Photocollage. (2011) p. 92-93 Gelardin, Arianne. Section: Facing North. Diagram. (2011) p. 94-95 Gelardin, Arianne. Section: Facing East. Photocollage. (2011)
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