A Dissolution of Beasts

A DISSOLUTION OF BEASTS August Rezendes Rulewich Advisor: Stefano Passeri

This book is a collection of work done over the course of both Fall 2016 and Spring 2017 semesters. Group research was done in the fall, culminating in an individual final project design (or thesis) in the spring. All fall research work was the joint result of Aaron Barker, Haley Hahn, and August Rulewich - this includes the entire “Research” portion of this book, as well as some of the “Formal Studies.” All joint work, both research and imagery, has been labeled as such.

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A Dissolution of Beasts Student: August Rezendes Rulewich Final Project Section Leader: Stefano Passeri Assessment Committee Member: Adam Dayem Time: The Fourth Dimension of Architecture May 2017 Bachelors of Architecture Rensselaer School of Architecture RPI

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TABLE OF CONTENTS

Thesis Statement .....................................................................................................................................

Course Description ................................................................................................................................

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Research The Index ....................................................................................................................................... 12 Through Art and Architecture ................................................................................ 16 Architectural Indices ....................................................................................................... 28 Precedent Study ................................................................................................................... 38 Formal Studies Applying the Index ............................................................................................................. 50 Primitive Deformations ................................................................................................ 56 Nesting ............................................................................................................................................ 68 Time and the Edge ............................................................................................................ 72 Design Proposal Additional Precedent ...................................................................................................... 80 Site Analysis ................................................................................................................................ 86 Systems Catalog .................................................................................................................... 104 Object Development .......................................................................................................108 Object Relationships ........................................................................................................ 112 Bibliography .................................................................................................................................................. 128

THESIS STATEMENT

Along the shores of Western Europe lie the remnants of the Atlantic Wall, a string of bunkers and fortifications built by Nazi occupation during WWII. This “wall” stretched from the northern tip of Norway all the way south to the Spanish-French border. Though terrible in its intent, the attention to detail on such a massive scale is quite a feat.

However, as geographies shift, so too do the structures above. In the dash to construct the fortifications, many were built without foundations. With rising tides and receding shorelines, these monoliths have slid, rotated, crumbled, been buried or exposed, and in some cases removed completely. The result is a strange field of beached whales, these structures once commanding strength and power now sitting as curious artifacts of a context no longer existing.

One particularly concentrated fortification lies at Berck, just south of Calais, France. As with many cases, the structures here have been abandoned and ignored, addressed formally only when safety necessitated their removal. But this proposal in no way seeks to argue against this abandonment – in many ways it should be celebrated.

Instead what is of interest is how the push and pull of time and the sea has played out across the forms, and how they may continue to do so.

When one goes to Berck, and walks through the field of bunkers and battlements just north of town, it is quite clear that the passing of time has had a profound affect on their character. What is less clear is how these effects have moved across their surfaces and the surface of the shore. At first glance, the fragments of concrete appear haphazardly strewn about, but quite rapidly an understanding of logic begins to emerge. Given the obscurity of time, however, this pattern is never fully viewed as a complete system - one sees the affects it has rendered on the site and its objects, but not the system itself. It is a bit like seeing scratches on a well-worn floor, leading from one side to the other where furniture now stands. You understand the items have been moved, but the subtleties of why and how are lost, impossible to uncover.

The goal then is to begin to peel back the layers of time, to reveal some of these processes, and to afford additional layers of understanding and appreciation for the site and the systems of time. The way in which these objects have shifted, have rolled and danced across the landscape, is fascinating. It is a true example of the impact of time across a surface. Yet this information is as now lost. Through the introduction of new forms, a series of way-points can serve as guides for the site, an instrument of index, allowing visitors to more readily understand the methods of change at work. New layers of data are revealed, through placement of object and formal language, as new and old speak to each other and additional information is exposed.

As one moves from point to point, through the introduction of light and shell and space, one can see the complex with new eyes, from its past to its present, and ideally, into the future. For as the rising tides draw ever nearer, the dance of these strange beasts will continue, now with new dancers, until eventually, all will disappear into the sea.

COURSE DESCRIPTION

Case Study 1—Ise Jingu, a small temple in rural Japan, has been under construction for over two thousand years and there is no indication that it will ever be finished. The scheme comprises two identical, adjacent sites: a cluster of four timber structures, the temple itself, sits on one site, while the other lies vacant. Since 4BCE, every 20 years, local craftsmen have been building an exact replica of the temple on the empty plot using the existing structures as a blueprint. Once the new temple is complete, the old one is dismantled and its materials recycled in the nearby town of Mie. By engaging time in its design, Ise Jingu collapses architectural permanence and impermanence into a single process.

Case Study 2—In 1961, the British architect Cedric Price designed the Fun Palace, a cultural center able to transform into virtually any spatial configurations over the course of a predetermined lifespan. The project was designed as a steel truss structure with movable partitions for flexible enclosure in order to be highly responsive to the desires of its occupants and to environmental factors—its architecture would adapt according to its use and deterioration. Choreographed to last exactly two decades, the Fun Palace was designed to disappear without leaving a trace. Although it was never built, Price nonetheless resolved this influential scheme with engineering precision. In the process, he addressed groundbreaking issues of audience participation, feedback loops, and network theory in architecture.

The Problem—These examples provide us with a glimpse of the possibilities that open to architects when they acknowledge the importance of time. Unfortunately, this attitude is extremely rare in the field. The uncertainty of change, the dynamism of incompleteness, and the inevitability of impermanence have long been eschewed in

favor of the notion that architecture must first and foremost be static and permanent.

Several economic and cultural factors suggest that this notion is no longer tenable. Volatile trends in global markets foster a fluid urbanism in which increasingly transient constructions are often replaced even before they deteriorate. Additionally, as Rem Koolhaas pointed out, recent advances in science and technology have embedded a sense of duration even in what we thought were the most inert elements of architecture: Bioconcrete floors track our movements and fix their own cracks, intelligent walls learn our atmospheric preferences according to time of day, and interactive windows calibrate daylight intake and augmented reality scenes. Given this state of affairs, it is both urgent and desirable for architecture to explore the untapped realm of time.

The Studio—This section will explore strategies to expand the discourse of architecture beyond three-dimensional Euclidean space toward a four-dimensional space-time continuum. We will concentrate on six main categories of duration: repurposing and demolition, energy production and consumption, accidents and glitches, memory, context, and participation. In the Fall Semester, we will simultaneously develop a discursive approach to the topic and proto-architectural design studies. Through the concept of defamiliarization,3 we will extract and articulate what is strange, surprising, and interesting in the temporal processes that are constantly at play but frequently overlooked in the built environment. For the design studies, we will investigate the relevance of certain mapping methods, biologic and mechanical lifecycles, and film. The Spring Semester will be dedicated to the translation of this body of work into a resolved architectural scheme.

--Stefano Passeri

RESEARCH 1.1.1_ NASA - First Steps on the Moon

1.1.0 (Previous Spread)_ Peter Zumthor - Bruder Klaus Chapel

Every object leaves a trace. No object exists in a vacuum; they are all defined based on those that surround them. Even if we try and keep them separate, nothing can be fully separated from the system it resides in. Truly, no man is an island.

As such, whenever any object interacts with another element of that system, it leaves a mark. The dog walking upon the sand leaves footprints. The tree uses nutrients from the soil. The building, even if demolished and leveled completely, leaves an imprint in the minds of those who knew it. And equally, an affect or action applied upon an object leaves a trace. The rewritten book still contains pieces of its previous message. The clothing, cut and re-sewn and re-worn still keeps the memory of its past. The building retrofitted for a new use still speaks of the uses before.

Object upon object, or affect up on object - no matter how transformative the result, elements of previous existences remain.

These are the index - that which catalogs and represents the object.

It is a sign of what was there, indicating an element before without becoming the element itself.

It is clear then that the index is not and cannot be a static definition.

The index necessitates time.

All research done in conjunction with Aaron Barker and Haley Hahn

TRACING THE SIGN

1. THE INDEX

RESEARCH

Icon

Index

Symbol

IN DE X IN G T H E O B J E CT

CHARLES SANDERS PIERCE According to Charles Sanders Pierce, a philosopher on the subject of semiotics, there are three main categorizations of the “sign” that us humans can recognize: the Icon, the Index, and the Symbol.

The Icon is the sign that physically represents the object it is a sign of, in an extremely factual manner. A picture of your face is an icon of you, for example. This is the most straightforward type of sign, and the one we most easily recognize.

The Index is a sign that, while factually representing the object or action, does not explicitly show that object. Often likened to the footprint in the sand, the icon is objective yet interpreted. While a raindrop might be an actual icon of rain, dark clouds would be index of that rain. An animal limping might be an index to show they are injured. This is perhaps the most common representation of an object, to the point we may often not even recognize it.

However, it is important to note that the interpretation of the index still only relies on factual information of that object.

Finally, the symbol is that sign which, while representing the object, bears no factual representation or relation to it. The male and female circle/cross shapes are symbols for those respective genders. Most words would be taken to be symbols of the objects they represent. In each case, the interpretation of this symbol requires a cultural understanding of that object and its relating symbol.

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1.1.2_ The Three Types of Sign

THE INDEX

N OT E S O N T H E I N D E X

ROSALIND KRAUSS In her analysis of the index, Rosalind Krauss addresses the indexical properties of language, particularly at the pronouns you, I, and me. These pronouns are purely based on the user and who they reference changes based on the person saying them. Since the index defines itself by its physical relationship to the object that is referenced, these words in the English language become a type of index. Other words like this, that, and there are also indexical, as they are referencing specific places and change based on the location and the conversation of the person speaking.

Krauss also looks deeply into how photographs and even paintings and drawings address the idea of the index. A photograph is inherently indexical if it is made using traditional techniques or light sensitive film. Through this process, the light that has been reflected off the photographed object leaves an imprint on the film which is then developed into a tangible photograph.

This imprint creates a relationship that can be defined as an indexical one. Paintings and drawings however create a more blurred relationship with the index since they have the potential to be abstract. When a painting or drawing attempts to achieve photo-realism, then it becomes the same indexical relationship as a photograph. Krauss also discusses how no matter what the painting or drawing depicts in the end, there will always be a two-dimensional indexical relationship with the surface of the paper. There will be an index of the paintbrush that put the paint on the page and the pen that directed the ink.

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RESEARCH 1.2.1_ Lebbeus Woods - War and Architecture

If we take the index to be a real and legitimate representation of the sign, we can easily see its properties across many instances of art and architecture. Sometimes its use is intentional, a driving force behind the design. For others the index is a passive force on the creation, a result rather than a cause. In either case, the index can be a powerful element. And for projects that are inherently transformative, the index cannot be avoided. Whenever the art or architecture is actively modified, turned into a process rather than a result, the index shows itself as the trace of this process, a force to recall and possibly inform the methods of transformation and form.

All research done in conjunction with Aaron Barker and Haley Hahn

METHODS OF INDEX

2. THROUGH ART & ARCHITECTURE

RESEARCH

T H E MULT I - D I M E N S I O N A L I M PR I N T

GORDON MATTA-CLARK

What if the index is created from an existing form? Gordon Matta-Clark’s “Building Cuts” actively illustrate this idea. Through the voiding of existing geometry, new space is created. Space is transformed from a solid object, and the idea of the process is introduced. Thus, what remains of the original after his cuts is this index.

Matta-Clark was particularly interested in the idea of the index as a result of his actions, although he would never have referred to it as such. For him, these cuts sought to open up space that would otherwise be inaccessible, to break the bounds of our individual, consumerist society and force us into the social world.

He achieved this through actively cutting and removing portions of our normally expected buildings, our houses and homes.

Particularly interested in the edge of these cuts, revealing their method of construction - it was always about opening up and revealing. To him, the index of the process inherent in buildings that is normally covered up needed to be exposed, and in the process of doing so he would turn the entire structure into an index of its own creation.

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1.2.2_ Volume Subtraction

THROUGH ART AND ARCHITECTURE

1.2.3_Gordon Matta-Clark - Splitting 1.2.4_ Gordon Matta-Clark - Office Baroque

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RESEARCH

P ROB L E M S O F S U R FAC E

RACHEL WHITEREAD In some cases, the index or image is so prevalent that the entire object becomes it. For Rachel Whiteread, this exploration of transforming space into objective index through the use of formwork is imperative to her work. Using the typical physical divisions of architecture, her full-building concrete casts show their relief upon the interior void, reversing their reading and turning void to solid (and vice versa). They contain, in her words, “the residue of years and years of use.” What is left is a totality of index, with only the interior space physicalized.

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THROUGH ART AND ARCHITECTURE

Original Form

Inversion

Interior Void

1.2.5_ Rachel Whiteread - Ghost House 1.2.6_ Methods of Formal Inversion

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RESEARCH

ME LT IN G S O LI D S

URS FISCHER Wax, unlike many materials, is almost by definition indexical.

The process in which is melts and reforms distorts and deforms the original image to become an index of both the original as well as the process of transformation. Urs Fischer explores this modification of image with his wax sculptures. Through the careful laying of intricate wick systems within his life-size and lifelike forms, Fischer actively sculpts the process as his sculptures melt away. Almost immediately the form becomes something other, neither the original nor completely unrecognizable.

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1.2.7_ Urs Fischer - Process of Dissolution

THROUGH ART AND ARCHITECTURE

1.2.8_ Urs Fischer - The Rape of the Sabine Women

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RESEARCH

GE OME T RY O F T RA N S F O R M AT I O N

PETER EISENMAN

Jumping on the shoulders of Kraus and Pierce, Eisenman acknowledges the idea of the “index as a trace of a former presence,” as well as the distinctions between symbol, icon, and index.

Peter Eisenman’s work is an attempt to achieve strangeness within the architectural object, by the use of what he calls “codex,” or a coded index. Codes as they are adopted in architecture, overtime, lose their strangeness. Eisenman’s work breaks from the traditional coded conventions to a transformative coded index.

Eisenman believes that all architecture has the opportunity to be both code and index. It is the combination of the two that then becomes different from the “conventions of both code and index of an event.” The combination of the two then becomes more generative than regular.

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THROUGH ART AND ARCHITECTURE

1.2.9_ Peter Eisenman - City of Culture of Galacia Plan 1.2.10 (Both Spreads)_ Peter Eisenman - Gardiola House Trace Diagrams

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RESEARCH

A N A RC HIT E CT U R E O F C H A N G E

LEBBEUS WOODS

Lebbeus Woods had a different approach to the idea of destruction especially when it came to designing buildings. Instead of trying to resist any sort of natural phenomenon he was one to accept it and let it change the building’s form. In Earthquake! he has designed a structure that collapses in a coordinated fashion when an earthquake hits. It accepts the earthquake as part of its design process and he ultimately accepts nature instead of trying to force it out.

Lebbeus Woods also thought of the building as something that needs to have marks of its history. He did not want something that stood stagnant for its lifetime, never reacting to the community around it. He wanted responsive architecture that had scars from its past and notions of the people that have left it behind.

Lebbeus Woods has entire body of work that is dedicated to post war reconstruction. During war, buildings undergo serious destructive forces, where change was forced upon them. Woods writes that the destruction of an old city does not just change things in a physical sense, but also destroys much of the history absorbed by the buildings through years and years of complex social, political engagements that have left an aesthetic trace on the culture. But to simply rebuild the same as the way it was before is to improperly house the ever changing culture that we live in today and in the future.

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THROUGH ART AND ARCHITECTURE

1.2.11_ Lebbeus Woods - San Francisco Project: Inhabiting the Quake 1.2.12_ Lebbeus Woods - Earthquake: Lateral Oscillating

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High Intentionality

Unfinished Structures Duration - Long Term

Duration - Immediate

Catastrophie

Decay

Low Intentionality (Unintentional)

RESEARCH

Formwork

1.3.1_ Architectural Indices as Quadrants of a Self-Containing Grid, Overlaid on Decay in Troy, NY

Looking at the types of indices in the Architectural world, we focus on four different levels of categorizations. These categories are based on two spectrums on which all architectural indices lie - duration and intentionality. Duration spans from long to short term, whereas intentionality exists at both high and low levels.

Four examples of architectural index are looked at in the following pages, each falling into one of the four categories - Decay, Catastrophe, Unfinished Systems, and Formwork.

Decay has very low intentionality for its outcome and a long duration of time to complete. Catastrophe also has low intentionality but a very short duration. Unfinished Structures have high intentionality because of what they are meant to become but a long duration because they are never finished. Finally, Formwork has very high intentionality because it is a mold for a specific shape of concrete and is short term because it does not stay as a permanent part of the final product.

All research done in conjunction with Aaron Barker and Haley Hahn

FOUR TYPES

3. ARCHITECTURAL INDICES

RESEARCH

D E CAY

LONG DURATION, LOW INTENT There is a unique type of architecture that is left behind by manmade and natural destruction. Left to their own devices, built structures will fall away, yet the response is often to either rebuild or completely abandon the site of destruction. When we rebuild a destroyed structure, we do not acknowledge the events that have occurred. When we abandon a war zone, we hide away from the destruction and never return. When we create historical landmarks from ruins that have occurred over time, we are only recording a snapshot of history and not the passing of time until that point. Ruins allow an opportunity to show the passing of time and events, leaving an index of what was there. This unique architecture would be an ideal formwork of the application of the index in architecture.

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1.3.2_ Decay as an Index

ARCHITECTURAL INDICES

1.3.3_ Decay in Troy, NY 1.3.4_ W. Carter - Collapsed barn at Hörsne Gotland Sweden

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RESEARCH

CATAST RO PH E

SHORT DURATION, LOW INTENT Mortgage Loans and threats of foreclosure are rumored to be responsible for torching residences in Troy, New York. It has become the center for purposeful destruction in order for the owners to receive insurance money and alleviate financial burden. These homes have gone from habitable living spaces to abandoned, half burnt shells. These shells do not look to be re-inhabited in the near future and as such have created an interesting opportunity for an architecture process. The burning has created the house as an index of what once was there and also in turn provides a formwork for future inhabitation. All around the world situations like this arise due to natural phenomena. Earthquakes and floods happen every year and ultimately leave a trace that something catastrophic has occurred in that area.

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1.3.5_ Catastrophe as an Index

ARCHITECTURAL INDICES

1.3.6_ A Burnt-Out Husk in Troy, NY, Resulting from Suspected Arson 1.3.7_ Results of an Earthquake in Italy

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RESEARCH

U N FIN ISH E D S YS T E M S

LONG DURATION, HIGH INTENT During the change to a capitalist-centered government in Albania in the 1970s, the dramatically shifting economy spurred on a massive amount of land development. However, much of this was built on speculation and funds that may not have existed, resulting in large amounts of structures failing before they were even finished. As a result, the landscape is dotted with these “shells,” the remains of buildings that never were. Their skeletons serve as strange husks, representing forms that never actually existed.

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1.3.8_ Unfinished Systems as an Index

ARCHITECTURAL INDICES

1.3.9_ Albanian Skeleton 1.3.10_ “The Wine Rack” Outside London, UK

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RESEARCH

FORMW OR K

SHORT DURATION, HIGH INTENT Formwork has been used as a construction tool for centuries, and is becoming popular in the construction of new concrete forms never seen before. Its high intentionality means that it can be used to create even the smallest details on a facade, and its short duration make building walls quick and easy. After application, it leaves a literal imprint of itself into the concrete. Whether it be wood grain or fabric weaving, a trace will always be left behind.

No matter what you construct with formwork there will always be an index of the formwork that made it possible.

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1.3.11_ Formwork as an Index

ARCHITECTURAL INDICES

1.3.12_ Walter Jack - Crushed Wall 1.3.13_ A Typical Wooden Formwork System

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RESEARCH 1.4.1_ BCHO - Hanil Visitors Center & Guest House, Wall Forms

Formwork and Index are not mutually exclusive entities, where formwork acts in such a way that creates an index as a result. Through the creation of a concrete wall, it is implied that something existed to mold the concrete in its place thus also creating an index. In today’s architecture the index created by formwork is used as a design detail of a specific pattern on a wall. The grain of the wood panels used as formwork leaves an impression in the concrete wall it is creating. The current use of formwork creates an unintentional index but there is opportunity here for a purpose. The formwork could be specifically selected to imply the existence of history in an object or simply the passing of time.

All research done in conjunction with Aaron Barker and Haley Hahn

FORMWORK AS INDEX

4. PRECEDENT STUDY

RESEARCH

FORMW OR K AS I N D E X

TYPOLOGIES

Formwork in architecture is a method that is used to create a mold for concrete. It is typically a temporary tool that is removed and thrown away after construction is complete. The intention behind formwork is purely mold based where it holds the concrete for long enough that it can cure and then it is removed.

The materiality of the formwork is seldom used as a tool of design but merely an afterthought. Recently many designers have used the material to bring a certain effect into the space they are designing, however this is only a micro-step into something that has the potential to have a huge impact on the world as a whole.

The variety of contemporary formwork types allows for extreme flexibility in our designs of buildings and makes making complex forms easier to create.

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Slipform Technique

Flexible Formwork

Permanent Formwork

Pre-Fabricated Forms

Panel Formwork

PRECEDENT STUDY

1.4.2 - 16_ Formwork System Matrix

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RESEARCH

L IGH T IN G T H E F I R E

PETER ZUMTHOR Peter Zumthor’s Bruder Klaus Chapel used large timber logs as the formwork for the interior of the chapel. However there was an issue with using such large elements which was they could not remove them once the concrete had set. As a result, they burned the formwork out from the inside in a celebratory grand opening for the chapel.

Formwork

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Applied to Concrete

1.4.17_ Process of Burning Formwork

Burning of Formwork

Indexed Result

PRECEDENT STUDY

1.4.18_ Peter Zumthor - Bruder Klaus Chapel, Interior Surface Condition

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RESEARCH

MOL D IN G FA B R I C

BCHO

The primary purpose of BCHO’s Hanil Visitor’s Center and Guest House is to educate a community about recycling concrete and teaching about its other uses. This house was formed by first erecting the fabric formed wall and then using the leftover concrete in other areas of the building.

The choice of fabric was inspired by the surrounding forest and the tree trunks within. However the process of pouring concrete into a fabric mold is a somewhat uncontrollable one and the designers could not fully predict the final form.

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1.4.19_ BCHO - Surface Diagram

PRECEDENT STUDY

1.4.20_ BCHO - Hanil Visitors Center, Front Entrance 1.4.21_ BCHO - Hanil Visitors Center, Corner Condition

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RESEARCH

C ON SU MIN G S O LI D S

ENSAMBLE ESTUDIO Unlike the typical understanding of formwork, The Truffle turns these typical methods on their head - or rather, inside out. A number of hay bales were strategically stacked inside a large pit of dirt, around which the concrete was poured. After the dirt was removed, a portion of concrete was cut off, creating a “front” and exposing the hay. This hay was then removed by allowing a single cow to eat it over the course of a year. The result clearly shows the process of the hay and the concrete, with an interior functioning as the primary formwork surface. What is less clear is the way in which the hay was removed, although the novelty of the idea certainly keeps this alive through story.

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1.4.22_ Ensamble Estudio - Process of Form Finding

PRECEDENT STUDY

1.4.23_ Ensamble Estudio - The Truffle House 1.4.24_ Ensamble Estudio - Interior Forms

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FORMAL STUDIES 2.1.1_ Grid Deformation Detail

2.1.0 (Previous Spread)_ Primitive Splitting Detail

Taking these ideas of the formwork and index, and applying them to the architectural process, it quickly becomes clear that the implications are far-reaching and many. If the index is to be used as a method of organization, how then shall we use it?

One such implication is that of social structures and culture - The index is essentially a capturer of history, the memory of what the object was. It is a trace of the process through time, and as such it turns the element from a static image into a sequential film. Could these sequences be cut and reapplied? Could they be used to then structure how we live?

This applies on a closer level, such as an organization of a few people or processes. If we have two processes working simultaneously in close proximity, how do they inform each other? Should one become the dominant process? What if we move out from the individual and consider the city? The index can function on both levels nearly simultaneously, affecting both the individual and the collective system.

FORMAL PROCESSES

1. APPLYING THE INDEX

FORMAL STUDIES

E X PA N SIO N A N D C O N T RACT I O N

GRID DEFORMATIONS

The grid, by default, stands as a clear and solid delineation of space. Regular and expected, any indexical properties it may hold are flat and straightforward. But what if a process was then applied to it? Through the injection of new space and program, and the resulting dissolutions, the grid can be pushed and shoved.

In terms of the vertical, built grid, these deformations allow new space to be added and subtracted as uses change. The space expands and contracts, and this shift is reflected in the grid itself.

This process of injection and deformation can also be applied to the static grid, such as that of the city. Through the deformation of the rigid grid, new spaces are created from the old. Into these new voids a number of objects are then injected. These forms grow and breathe at different rates, affecting the overarching grid as they expand and overlap into neighboring areas. A generational shift, almost evolutionary, appears.

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APPLYING THE INDEX

STAGE 1: 1-12 Months

STAGE 2: 1-5 Years

STAGE 3: 5-10 Years

STAGE 4: 10-20 Years

2.1.2_ Haley Hahn - Dissolving Across Time

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FORMAL STUDIES

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2.1.3_ Grid Deformations, Expansion and Introduction

APPLYING THE INDEX

2.1.4_ Grid Deformations, Subsequent Generations

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FORMAL STUDIES 2.2.1_ Row House Subtraction Detail

Moving from 2D indexical systems to 3D forms, new methods of process arise. Addition and Subtraction, creating spaces of deformation and changing void/solid relationships, still play the role of catalyst. However, the addition of depth in space creates new spaces for indexical relations to emerge.

Through the dissolution of primitives, this new method of indexing process is explored.

SUBTRACTION AND ADDITION

2. PRIMITIVE DEFORMATIONS

FORMAL STUDIES

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2.2.2_ Void and Solid Through Dissolution, Using Spheres

PRIMITIVE DEFORMATIONS

P R I M I T I V E E RO S I O N S

DEFORMING THE CUBE Using the geometric primitive of the cube as a base, a series of subtractive and additive processes are applied.

Dissolving the cube results in a number of spherical voids that can subsequently be filled with additional forms. This new cube, a conglomerate of old and new spaces, has the same process then reapplied, resulting in a recursive system of removal and addition that results in a cube still very much a cube, and yet nothing like the original.

Varying systems can be created through the use of different forms as the subtractive or additive process, in addition to the base cube. While this may be the application of the same system, the use of cones and planes results in markedly different results (see subsequent pages)

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FORMAL STUDIES

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2.2.3_ Void and Solid Though Dissolution, Using Cones

PRIMITIVE DEFORMATIONS

2.2.4_ Void and Solid Through Dissolution, Using Planes

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FORMAL STUDIES

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PRIMITIVE DEFORMATIONS

2.2.5_ Additive Index Process, Using Deformed Cube Layers

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FORMAL STUDIES

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2.2.6_ Row House Subtraction, Elevations

PRIMITIVE DEFORMATIONS

IN T E RS E CT I N G T H E ROW H O U S E

INTERVENTIONS OF SCALE Primitive intersections and subtractions are all well and good, but what about larger systems? What if the same process is applied to the architectural scale?

New details emerge and multiple layers of information are displayed through this indexing process. As interior spaces are cut away, interior bleeds into exterior and the process of subtraction is maintained.

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FORMAL STUDIES

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PRIMITIVE DEFORMATIONS

2.2.7_ Row House Subtraction, Axonometrics

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FORMAL STUDIES 2.3.1_ Process of Nesting

Nesting adds additional levels of space and complexity to the indexing form. Through the introduction of new layers of solid and void, the process is telegraphed even deeper, allowing for formwork and index to work hand in hand. And as one layer is removed through the process of index, new levels are then revealed to take on this new role.

INDEXING LAYERS

3. NESTING

FORMAL STUDIES

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NESTING

2.3.2 - 5_ Aaron Barker - Nesting Studies

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FORMAL STUDIES 2.4.1_ Cliff Forms, Section

While time may play a role by definition of the process, it is not explicit.

The index catalog simply speaks of a simple event. This event may be repeated, beginning to suggest a method of time, but by its simple recursive nature this dimension of time is still relatively shallow.

Yet the idea of the index very readily sinks into notions of time. For time through its very passing leaves a trace of the processes it casts on whatever it touches. Time is visible to the human eye through its index - we cannot see it any other way. Thus, time and index are intricately entwined with one another, and through the exploration of both, even higher levels of form and index can be realized.

SITE-BASED INDICES

4. TIME AND THE EDGE

FORMAL STUDIES

SIT E A N D T H E I N D E X

UNDERSTANDING GROUND With any actualized form comes the site - the ground on which it sits. This ground, even if simply a plane, by the nature of form existing is tied to this form. The object cannot exist without a ground, even if that ground may be the very air in which it floats.

And so, as time leave indices on the form, so too does it leave indices on the ground. The ground shifts and moves and changes its surface through the passage of time.

If we are to recognize these shifts, how then shall our forms rest?

Shall they move and shift with the ground, literally translating these indices onto their own surface, as if an extension of their site? Or shall they sit as rocks, unmovable solids that through their inaction allow the site to track around them?

More importantly, what happens if we are to build on such a site?

The White Cliffs of Dover in the UK, due to their chalky makeup, are rapidly dissolving into the sea. Such a process of removal is not normally considered when placing the additive form - but what if it were?

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TIME AND THE EDGE

2.4.2_ Processes of Splitting and Shearing

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FORMAL STUDIES

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2.4.3_ The South Downs (an Extension of the White Cliffs), UK 2.4.4_ Cliff Forms, Elevation

TIME AND THE EDGE

2.4.5_ Cliff Forms, Axonometric 2.4.6_ Cliff Forms, Section

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DESIGN PROPOSAL 3.1.1_ Paul Virilio - Bunker Archeology

3.1.0 (Previous Spread)_ Full Proposal Render Detail, Looking South

Archeology is, in many ways, quite literally a study of the index as it has been affected by time. The whole idea that traces have been left by previous creatures, or cultures, that tools and art and architecture fragments may be unearthed from the ground; this is a study of the index in its entirety.

Perhaps even more importantly, however, is the idea of gathering new layers of information and data from this study. Through careful examination of the index, additional understanding of the processes at work is revealed, compounding on existing information. This “layering of stuff” creates an intricate and thick understanding of the systems that created the artifacts, the ground in which they reside, and the processes of time that have played across their surfaces since.

Through this, we begin to see new data and find new understanding of the systems that before seemed to simply be objects on a surface, without context, without meaning.

THE ARCHAEOLOGICAL FORM

1. ADDITIONAL PRECEDENT

DESIGN PROPOSAL

BUN K E R A RC H E O LO GY

PAUL VIRILIO

For Virilio, the Bunker served as this element of archeology, this sign of the systems. The form of the bunker, so solid and rough, also seems to simultaneously be smooth and soft. As a child, Virilio recalls playing across the bunkers, unaware of their foreboding origins. As he grew and his knowledge widened, he learned of their significance. This is the point of that new data - layering on the old, the new information creates more complex readings of the system. It allows for additional understanding and perhaps appreciation, even if the forms arose because of such horrific beliefs and desires.

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ADDITIONAL PRECEDENT

3.1.2_ Paul Virilio - Bunker Archeology, Plans 3.1.3_ Paul Virilio - Church Sainte-Bernadette-du-Banlay 3.1.4_ Paul Virilio - Church Sainte-Bernadette-du-Banlay, Section Sketch

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DESIGN PROPOSAL

PORC E L A I N E RO S I O N

TAMSIN VAN ESSEN Through form and process, Van Essen’s “Erosion” creates a very specific and precise dissolution effect. The porcelain “rocks” are cast through multiple layers of alternating black and white. This primitive is then eroded through both large-scale and specific sand blasting techniques, resulting in a soft form that, through the contrasting layers, is also quite forceful. The blasted voids also reveal these layers in stunning light, creating contours that accentuate the removed material.

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ADDITIONAL PRECEDENT

3.1.5_ Tamsin Van Essen - Erosion II

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DESIGN PROPOSAL 3.2.1_ Fallen Bunker at Berck

From Norway to Spain, the remains of the Atlantic Wall sit strewn across the coast, fragments of strange processes and of movements.

When one approaches the beasts, one is immediately hit by the chaotic sitting of these massive forms, and compounded with the knowledge of their frankly horrendous origins, there is an understanding of what these beasts are that arises.

Yet, while one knows what they were, and see what they are now, the sense of the process between is lost. Hints peak out among the ruins, yet the methods for their shifting and sliding are still predominantly hidden from the eye. For while we can see the index that time has played out across them, we cannot see back through time to fully consume that entire wealth of knowledge.

The first step to understanding and revealing these additional layers is through mapping, cataloging the systems at work, and beginning to unearth the layers of index and process that are present. For while the beasts seem as if strange, context-less objects, lost in a sea of sand, instead their context has simply shifted, just as they have.

The length of the Atlantic Wall is massive - however, to understand the processes, it is important to first start small. We begin in Berck, a coastal town south of Calais, where are particularly large set of fortifications were constructed.

MAPPING ACROSS TIME

2. SITE ANALYSIS

DESIGN PROPOSAL

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3.2.2_ Location of Berck Within Greater France

Dieppe

Calais

SITE ANALYSIS

Boulogne-sur-Mer Saint-Omer

Le Touquet

Berck

Le Crotoy

Abbeville

Amiens

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DESIGN PROPOSAL

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3.2.3_ Berck’s Field of Bunkers, Looking South

SITE ANALYSIS

A FIE L D O F B U N K E R S

BERCK’S ATLANTIC WALL It is very clear that these bunkers and fortifications have moved one would not expect their current, apparently haphazard layout, to in fact be their original starting points. Yet, while the movement is understood, it is of course not seen. While relatively fast, it is still too slow to be viewed with the naked eye. As such, they appear as if in flux, simultaneously in movement and stationary.

Because of their stationary, solid sitting, how they have moved is not apparent. Without a map clearly demarcating their original locations, one cannot understand how they have shifted, rolled, tilted, or even fractured, as they have marched across the beach to the waters of the Atlantic. The dance that has played out for the past 80 or so years, while known, is not seen nor understood.

In many ways, the bunkers have almost remained where they once stood - it is the ground that has washed away. Sands are always tricky, and since the bunkers themselves lack proper foundations, they are at the whims of the site. Compounded with rising sea levels, these coastlines are quite actively eroding away. And as the sand slides out beneath them, the bunkers begin their dance to the water’s edge.

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FRACTURING

SLIDING

ROTATION

FLOODING

BURYING

DESIGN PROPOSAL

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3.2.4 - 13_ Examples of Bunker Slippage

FRACTURING

SLIDING

ROTATION

FLOODING

BURYING

SITE ANALYSIS

3.2.14 - 18_ Methods of Slippage

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DESIGN PROPOSAL

94

SITE ANALYSIS

3.2.19_ A Typical Application of Bunker Shifting

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DESIGN PROPOSAL

MODIFICAT I O N

ADDITIONAL SYSTEMS One could certainly argue, with good reason, that there is something about the magic of the unknown, that makes these bunkers so compelling. I would argue, however, that they are just as compelling with new systems revealed. Even as one begins to understand what has happened, one still obviously cannot see it.

It is a blurring of information, allowing for subjective interpretation.

Thus, through the addition of new objects, these additional layers begin to see the light.

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SITE ANALYSIS

3.2.20_ Proposed System, Looking North 3.2.21_ Proposed System, Looking East (from the Atlantic)

97

DESIGN PROPOSAL

98

SITE ANALYSIS

3.2.22_ Final Site Model

99

DESIGN PROPOSAL

100

3.2.23_ Final Site Model, Looking North

SITE ANALYSIS

3.2.24_ Final Site Model, Looking South

101

DESIGN PROPOSAL

102

SITE ANALYSIS

3.2.25 - 28_ Final Site Model, Detail Shots

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DESIGN PROPOSAL 3.3.1_ Site Mapping through Time and Space

As we have discussed, it is only through the revealing and understanding of new information that the processes at work can be exposed. To understand this, we must turn to the characters at work, the dancers who will continue their movements across the sands.

Through cataloging and exploring each of these forms, the bunkers and the additional objects both come into new light.

To help clarify the systems at work, new objects will be introduced to the site. These additional systems work in parallel with the existing, revealing new sets of data as they seek to guide and influence those who visit. Located at key points throughout the site, they begin to function as way points, pulling the visitor through and around the bunkers, affording new views, and creating new conversations between systems. Through this, the index is redrawn with a renewed clarity and precision, even as the bunkers continue to move almost haphazardly across the shore.

THE SHIFTING OBJECT

3. SYSTEMS CATALOG

DESIGN PROPOSAL

MA P P IN G S PAC E A N D T I M E

SITE PLAN

Time and place are of equal importance in a project such as this. The goal then is to express this both in form and in drawing. How does one begin to show, in two dimensions, the third and fourth dimensions that are at play? The map at right begins to show these data sets, overlaying space and time to explore relationships and the inter-meshing of systems.

Along both edges sit the two catalogs - on the left, the existing bunkers, and on the right, the additional objects. Each type is of importance here. And as each individual player is clarified, hopefully the relationships between bunker and bunker, bunker and site, site and time, bunker and object, object and site, all begin to show themselves.

Conversations and relationships are the only way forward now.

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SYSTEMS CATALOG

See Supplementary Materials for Full Map Foldout

3.3.2_ Site Mapping Through Space and Time, Detail

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DESIGN PROPOSAL 3.4.1_ Iterative Objects

But why add a new system? Clearly the idea is to help expose these new layers of data. Through the use of form, ground to object relationship, bunker language, aperture, surface, and future transformations - all of these systems help to calcify and clarify the processes already at work across the site. This allows the user to literally enter into and experience these processes. They can touch them, they can walk around them, they can see how they affect light and surface.

If the intent is to create much of this data through form, then the form must represent the data. An iterative process, stemming from the primitives of rocks and bunkers alike, helped to bring about this new object. Through operations of merging, splitting, shelling, eroding, and eventually smoothing back over, the new objects were created.

MATRIX OF PROCESS

4. OBJECT DEVELOPMENT

Initial Primitives

Methods of Merging and Splitting

DESIGN PROPOSAL

110

Solid and Shell

OBJECT DEVELOPMENT

111

Erosion

Final System

3.4.2_ Iterative Process Matrix

DESIGN PROPOSAL 3.5.1_ Object Elevation Detail

All of the various formal languages at work across the new objects may do well to explore and reveal the existing data on site - but what about future processes? Just as the site has transformed up until this point, with climatic shifts and sand washing away, so too it will continue on into the future, until all signs of the previous structures have been removed completely. Thus, so too shall the new objects respond to these processes - not as bunkers, but as their own system, derived from the bunker. For just as they use the language of the bunker in form and space, so too shall they in time, to continue their function as near instrument of exposition.

TIME AND FORM

5. OBJECT RELATIONSHIPS

DESIGN PROPOSAL

114

OBJECT RELATIONSHIPS

3.5.2_Full Proposal, Looking South Towards Berck

115

DESIGN PROPOSAL

116

OBJECT RELATIONSHIPS

SH E L LS A N D S O LI D S

OBJECT-BUNKER RELATIONSHIP Clearly, as the intent behind the new system is to add new depth and beauty of information to the old, then ultimately it is all about the relationship between the two. More specifically, the new objects seek to use the language of the existing bunkers, yet to transform this language, shedding new light in the process. The bunkers are orthogonal, with hard creases and some soft edges; the new also crease and soften, yet are not orthogonal. The old have regular entrances, and layers of interior. The new have layers of interior, with less string entrance and opening. The old has little to no aperture, the new uses the horizontal strip as a means to open light and to visually catalog movement of the site via sight lines. Where the section of the old bunker is hard and thick, the new is playful, moving between thick and thin as light is filtered in or blocked out.

3.5.3 - 4_ Object and Bunker in Plan

117

DESIGN PROPOSAL

IN SIT U

OBJECT AND GROUND Ground plays an important role in the relationship between bunker and object. Where one almost floats on the surface, yet appears solid, the other sits deeply within, yet plays with its solidity.

And for both, surface plays an important part in showing the index, a literal surface mapping of time. Through erosion and aperture, this language is discusses and celebrated.

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3.5.5_ Object and Bunker in Section

OBJECT RELATIONSHIPS

119

DESIGN PROPOSAL

120

OBJECT RELATIONSHIPS

3.5.6 - 9_ Representative Object Elevations

121

DESIGN PROPOSAL

T RA N SFOR M AT I O N S T H RO U G H T I M E

SHIFTING AND SPLITTING

Ultimately, of course, the bunkers will continue their movements, a dance of beasts slowly dissolving into the sea. Thus, so too do the objects move in tandem, speaking the same language but with different words.

As the sand erodes, the objects may shift, rotate horizontally or vertically, as they track the movements of each other and the bunkers. Eventually, as sands erode further, they begin to break apart, revealing new interiors and exposing additional information. And as the waters slowly rise to take them all away, just as the bunkers fracture and dissolve, so too do these objects - a dissolution into the waters of time.

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OBJECT RELATIONSHIPS

3.5.10 New Methods of Shifting

123

DESIGN PROPOSAL

124

OBJECT RELATIONSHIPS

3.5.11_ Transformations Through Time

125

DESIGN PROPOSAL

126

3.5.12_ Interior Conditions

OBJECT RELATIONSHIPS

127

BIBLIOGRAPHY

Book Sources Eisenman, Peter. Written into the void: selected writings, 1990-2004. New Haven: Yale U Press, 2007. Print.

Lebbeus Woods Earthquake !: a post-biblical view. Berne: RIEA, 2001. Print.

Matta-Clark, Gordon, Corinne Diserens, Thomas E. Crow, Judith Russi.

Kirshner, and Christian Kravagna. Gordon Matta-Clark. London: Phaidon Press, 2006. Print.

Matta-Clark, Gordon, and Gloria Moure. Gordon Matta-Clark: works and collected writings. Barcelona: Polıgrafa, 2006. Print.

Myers, Tracy, Lebbeus Woods, and Karsten Harries. Lebbeus Woods: experimental architecture. Pittsburgh, PA: Carnegie Museum of Art, the Heinz Architectural Center, 2004. Print.

Virilio, Paul. Paul Virilio: Bunker Archeology. New York (NY): Princeton Architectural, 2009. Print.

Woods, Lebbeus. The storm and the fall. New York: Princeton Architectural Press, 2004. Print.

Woods, Lebbeus. War and architecture = Rat i arhitektura. New York, NY: Princeton Architectural Press, 1993. Print.

Woods, Lebbeus. Radical reconstruction. New York: Princeton Architectural Press, 1997. Print.

Web Sources Atkin, Albert. “Peirce’s Theory of Signs.” Stanford Encyclopedia of Philosophy.

Stanford University, 2006. Web. 16 Dec. 2016. https://plato.stanford.edu/ entries/peirce-semiotics/ Www.atlantikwall-frankreich.com. Der Atlantikwall in Frankreich, n.d. Web. 10 May 2017. http://www.atlantikwall-frankreich.de/ Bunkersite.com. “Stp Berck-Nord.” Stp Nord, Berck, Baie De Somme | Bunkersite.com. N.p., n.d. Web. 10 May 2017. http://bunkersite.com/locations/ france/somme/bercknord.php Burns, Charlotte. “Rachel Whiteread: ‘It’s my mission to make things more complicated’” The Guardian. Guardian News and Media, 2016. Web. 16 Dec. 2016. https://www.theguardian.com/artanddesign/2016/jun/21/rachelwhiteread-cabin-governors-island

“Deconstructing Reality | Gordon Matta-Clark.” Dpr-barcelona. N.p., 2012.

Web. 16 Dec. 2016. https://dprbcn.wordpress.com/2012/01/26/gordon-mattaclark/ Drew, Richard. “StP Berck Nord, Berck Bellevue H.K.B., K.V.A D2.” StP Berck Nord,. Atlantikwall.co.uk, n.d. Web. 10 May 2017. http://www.atlantikwall. co.uk/atlantikwall/kva_d2_stp_berck_nord.php “EARTHQUAKE (again)!” LEBBEUS WOODS. N.p., 2010. Web. 16 Dec. 2016. https://lebbeuswoods.wordpress.com/2010/01/13/earthquake-again/ “Formwork.” Wikipedia. Wikimedia Foundation, n.d. Web. 16 Dec. 2016. https://en.wikipedia.org/wiki/Formwork “Hanil Visitors Center & Guest House / BCHO Architects.” ArchDaily. N.p., 2010. Web. 16 Dec. 2016. http://www.archdaily.com/72484/hanil-visitorscenter-guest-house-bcho-architects “Icon, Index and Symbol: Types of Signs.” Icon, Index and Symbol: Types of Signs. N.p., n.d. Web. 16 Dec. 2016. http://www.cs.indiana.edu/~port/teach/103/ sign.symbol.short.html “Www.jstor.org.” N.p., n.d. Web. 16 Dec. 2016. https://www.jstor.org/ stable/778437?seq=1#fndtn-page_scan_tab_contents “Melting Wax Sculptures by Urs Fischer.” Melting Wax Sculptures by Urs Fischer. N.p., n.d. Web. 16 Dec. 2016. http://4rtgallery.blogspot.com/2013/02/ melting-wax-sculptures-by-urs-fischer.html “The Modern Ruins of Ipswich’s Waterfront - Failed Architecture.” Failed Architecture The Modern Ruins of Ipswichs Waterfront Comments. N.p., n.d.

Web. 16 Dec. 2016. https://www.failedarchitecture.com/the-modern-ruinsof-ipswichs-waterfront/ “Photo Essay: Albania’s Concrete Skeletons - Failed Architecture.” Failed Architecture Photo Essay Albanias Concrete Skeletons Comments. N.p., n.d. Web. 16 Dec. 2016. https://www.failedarchitecture.com/photo-essayalbanias-concrete-skeletons/ “PROBABLE FORM.” LEBBEUS WOODS. N.p., 2009. Web. 16 Dec. 2016. https:// lebbeuswoods.wordpress.com/2009/12/05/probable-form/ “The Truffle / Ensamble Estudio.” ArchDaily. N.p., 2010. Web. 16 Dec. 2016. http://www.archdaily.com/57367/the-truffle-ensamble-estudio “URS FISCHER.” URS FISCHER. N.p., n.d. Web. 16 Dec. 2016. http://www.ursfischer.com/images

BIBLIOGRAPHY

Image Citations 1.1.0_ 2014. Bruder Claude Chapel. Eckhard Bieger. By Peter Zumthor. <https://hinsehen.net/2014/11/15/bruder-klaus-kapelle-bei-mechernich-inder-eifel/>.

1.1.1_ 1969. Apollo 11 Bootprint. NASA on the Commons. <https://www. flickr.com/photos/nasacommons/7610985594/in/photolist-fpXWrY-fpXXHscAyhRy-8PHqAx>.

1.2.1_ War and Architecture. By Lebbeus Woods. <http://www.archdaily. com/771735/graham-foundation-announces-49-grant-winners-for2015/55cb03c5e58ece5c7d00031d-graham-foundation-announces-49grant-winners-for-2015-image>.

1.2.2_ Diagram By Aaron Barker.

1.2.3_ 1974. Splitting. The Art Institute of Chicago. By Gordon Matta-Clark. <http://www.artic.edu/aic/collections/artwork/187171>.

1.2.4_ 1975. Conical Intersect. Robert Smithson - Gordon Matta-Clark.

By Gordon Matta-Clark. <http://garagemca.org/en/event/robert-smithsongordon-matta-clark-natural-and-urban-landscape-as-material-forsculpture>.

1.2.5_ Do You Remember the Inside-Out House? Our Bow. By Rachel Whiteread. <http://www.ourbow.com/do-you-remember-the-inside-outhouse/>.

1.2.6_ Diagram By Haley Hahn.

1.2.7_ Urs Fischer. Digital ReLab. By Urs Fischer. <https://www.digitalrelab. com/ursfischer.php>.

1.2.8_ 2011. Untitled. 2011 Venice Biennale. By Urs Fischer. <http:// wtfarthistory.com/post/28411000937/meltdown>.

1.2.9_ 2005. City of Culture Galacia Plan. By Peter Eisenman. <https:// www.raptisrarebooks.com/product/codex-the-city-of-culture-of-galiciapeter-eisenman-first-edition-signed-2005/>.

1.2.10_ Peter Eisenman Guardiola House Process Plans. Concept Diagram. By Peter Eisenman. Web. <http://conceptdiagram.tumblr.com/ post/120980752804/peter-eisenman-guardiola-house-process-plans>.

1.2.11_ 1995. San Francisco Project: Inhabiting the Quake. Arch Daily. By Lebbeus Woods. <http://www.archdaily.com/444068/exhibition-lebbeuswoods-architect>.

1.2.12_ Lateral Oscillating. Bldgblog. By Lebbeus Woods. <http://www. bldgblog.com/2007/10/without-walls-an-interview-with-lebbeus-woods/>.

1.3.1_ Original Photograph. By Aaron Barker.

1.3.3_ Original Photograph. By Aaron Barker.

1.3.4_ 2014. Collapsed Barn at Horsne Gotland Sweden. W Carter.

Wikipedia. <https://commons.wikimedia.org/wiki/File:Hopfallen_lada_

vid_H%C3%B6rsne_Gotland_Sverige.jpg>.

1.3.6_ Original Photograph. By Aaron Barker.

1.3.7_ 2016. In Ruins. Canadian Content. <http://forums.canadiancontent. net/news/145798-least-38-dead-150-missing.html> 1.3.9_ 2016. Albanian Skeleton. Failed Architecture. <https://www. failedarchitecture.com/photo-essay-albanias-concrete-skeletons/> 1.3.10_ 2015. Ipswich Regatta Quay. Failed Architecture. <https://www. failedarchitecture.com/the-modern-ruins-of-ipswichs-waterfront/>.

1.3.12_ Crushed Wall Formwork. Walter Jack. <http://walterjack.co.uk/ crushedwall/>.

1.3.13_ Removable Formwork. House Under Construction. <http:// houseunderconstruction.com/walls/formwork-concrete-structuresinstallation-tips.html>.

1.4.1_ 2016. Hanil Visitors Center & Guest House / BCHO Architects.

ArchDaily. <http://www.archdaily.com/72484/hanil-visitors-center-guesthouse-bcho-architects> 1.4.2_ 2011. Formwork/Architecture Republic. Arch Daily. <http://www. archdaily.com/171112/formwork-architecture-republic> 1.4.3_ 2016. Full Exposure. Architizer. <http://architizer.com/blog/japanconcrete-home-interiors/>.

1.4.4_ 2014. JA House. Arch Daily. <http://www.archdaily.com/558279/jahouse-filipi-pina-maria-ines-costa>.

1.4.5_ 2011. Cité de l’Océan et du Surf Museum. Inhabitat. <http:// inhabitat.com/steven-holls-cite-de-l%E2%80%99ocean-et-du-surfmuseum-is-now-complete-in-biarritz/>.

1.4.6_ 2016. Concrete Ceiling. Dezeen. <https://www.dezeen. com/2016/05/01/s-ps-collage-house-reclaimed-window-door-facademumbai-india/>.

1.4.7_ 2016. Fabric Formwork. Concrete Decor. <http://www.concretedecor. net/decorativeconcretearticles/vol-10-no-1-january-2010/fabric-formwork/>.

1.4.8_ 2010. The Canada Hotel/Hayball. Arch Daily. <http://www.archdaily. com/65105/the-canada-hotel-hayball>.

1.4.9_ 2016. Concrete Canvas. Nuna Innovations Inc. <http://store. nunainnovations.com/concrete-cloth-5-2-mm-thick-9-1-m-man-portableroll/>.

1.4.10_ 2015. Insulated Concrete Formwork. Build It. <http://www.self-build. co.uk/build-systems-insulated-concrete-formwork-icf>.

1.4.11_ Concrete and Textiles. Arro Design. <http://www.arrodesign.org/ fabric-formed-concrete/textiles-and-concrete>.

1.4.12_ 2014. Callipod Pavilion. Arch Daily. <http://www.archdaily. com/582672/aa-dlab-2014-the-natural-and-digital-worlds-combine-withroot-like-callipod-pavilion>.

1.4.13_ 2013. Woven Formwork. Concretely. <http://concretely.blogspot. com/2013_08_01_archive.html>.

BIBLIOGRAPHY

1.4.14_ 2016. Pumpcrete. Pumpcrete. <http://pumpcrete.com/projectgallery/>.

1.4.15_ 2009. 0-14 Tower by Reiser Umemoto. Arch Daily. <http://www. archdaily.com/22200/in-progress-0-14-tower-by-reiser-umemoto>.

1.4.16_ 2014. Silos 13 / vib architecture. Arch Daily. <http://www.archdaily. com/532946/silos-13-vib-architecture>.

1.4.17_ Diagram By Haley Hahn.

1.4.18_ 2007. Brother Klaus Field Chapel. Deezen. <https://www.dezeen. com/2009/04/18/key-projects-by-peter-zumthor/>.

1.4.19_ Play of Shadow and Light. BCHO. <http://www.bchoarchitects.com/ ws/?projects=hanil-cement-visitors-center-and-house>.

1.4.20_ Hanil Visitors Center. Yong Gwan Kim. Arch Daily. By BCHO. <http://www.archdaily.com/72484/hanil-visitors-center-guest-house-bchoarchitects>.

1.4.21_ Hanil Visitors Center. Yong Gwan Kim. Arch Daily. By BCHO. <http://www.archdaily.com/72484/hanil-visitors-center-guest-house-bchoarchitects>.

1.4.22_ Truffle House. Ensamble Estudio. Arch Daily. <http://www.archdaily. com/57367/the-truffle-ensamble-estudio>.

1.4.23_ Truffle House. Rowland Halbe. Arch Daily. By Ensamble Estudio. <http://www.archdaily.com/57367/the-truffle-ensamble-estudio>.

1.4.24_ Truffle House. Ensamble Estudio. Arch Daily. <http://www.archdaily. com/57367/the-truffle-ensamble-estudio>.

2.1.2_

Diagram By Haley Hahn

2.3.2_ 2.3.3_ 2.3.4_ 2.3.5_

Diagram By Aaron Barker Diagram By Aaron Barker Diagram By Aaron Barker Diagram By Aaron Barker

2.4.3_

Google Maps Imagery

3.1.1_ 1994. Observation Post on a Channel Island. Paul Virilio. <https:// historyofourworld.wordpress.com/2010/02/15/bunker-archeology-paulvirilio/>.

3.1.2_ 1994. Observation Post (With Container). Architizer. By Paul Virilio. <https://architizer.com/blog/bunker-architecture/>.

3.1.3_ 2015. The Church Sainte-Bernadette-du-Banlay. Socks Studio. <http://socks-studio.com/2015/12/04/the-church-sainte-bernadette-dubanlay-in-nevers-by-claude-parent-and-paul-virilio/>.

3.1.4_ 2015. The Church Sainte-Bernadette-du-Banlay. Socks Studio. <http://socks-studio.com/2015/12/04/the-church-sainte-bernadette-dubanlay-in-nevers-by-claude-parent-and-paul-virilio/>.

3.1.5_ 2016. Erosion II. Tamsin van Essen. <http://www.tamsinvanessen.

com/erosion/>.

3.2.1_ 2014. Bunker Berck 2. D-503. <http://d-503.com/illuviation/bunkerberck-2/>.

3.2.3_ Bunkers Berck Sur Mer. Panoramio. <http://www.panoramio.com/ photo/11427585>.

3.2.4_ Der Atlantikwall in Frankreich. <http://www.atlantikwall-frankreich. de/>.

3.2.5_ BunkerSite. <http://bunkersite.com/locations/france/somme/ bercknord.php>.

3.2.6_ Atlantikwall CO UK. <http://www.atlantikwall.co.uk/atlantikwall/ kva_d2_stp_berck_nord.php>.

3.2.7_ BunkerSite. <http://bunkersite.com/locations/france/somme/ bercknord.php>.

3.2.8_ Atlantikwall CO UK. <http://www.atlantikwall.co.uk/atlantikwall/ kva_d2_stp_berck_nord.php>.

3.2.9_ Atlantikwall CO UK. <http://www.atlantikwall.co.uk/atlantikwall/ kva_d2_stp_berck_nord.php>.

3.2.10_ Der Atlantikwall in Frankreich. <http://www.atlantikwall-frankreich. de/>.

3.2.11_ BunkerSite. <http://bunkersite.com/locations/france/somme/ bercknord.php>.

3.2.12_ Der Atlantikwall in Frankreich. <http://www.atlantikwall-frankreich. de/>.

3.2.13_ Atlantikwall CO UK. <http://www.atlantikwall.co.uk/atlantikwall/ kva_d2_stp_berck_nord.php>.

3.2.19_ Bunker B2. Panoramio. <http://www.panoramio.com/ photo/19813421>.

Michelmann

600a KWK Storage

600a KWK

Vf1a Personnel

Vf2a Personnel

Vf7a Ammo

Vf52a Personnel

105b MG Casement

127 Personnel

621 Personnel

630 Machine Gun

611 Fieldgun

Fl307 Open Emplacement

05

07

03

06

01

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02