Three Essays on Coney by Pavel Bouse

MSc2 Transdisciplinary Encounters

Author Pavel Bouse, Jesper van der Toorn Tutors Tom Avermaete, Hans Teerds, Leeke Reinders Coordinator Tom Avermaete (t.l.p.avermaete@tudelft.nl)

T E S O C

THREE ESS AY S ON CONEY

Permanence in Temporalities by Pavel Bouse and Jesper van den Toorn

THREE ESSAYS ON CONEY Permanence in Temporalities

by Pavel Bouse and Jesper van den Toorn

Tutors Tom Avermaete Hans Teerds Leeke Reinders

2015

Delft University of Technology

â&#x20AC;&#x153;City is an addictive machine from which there is no escape, unless it offers that, too....â&#x20AC;? Naturally, we look for a counterpart to the exhausting life of a civilized city, an occasional escape in order to restore balance.1

Koolhaas, Rem. 1978. Delirious New York; A Retroactive Manifesto for Manhattan (Academy: New York).

Life in perfection inevitably starts to hurt. Seeking an isolation from the city, the infrastructure provides a weekly getaway from the relentless grid of Manhattan. Coney Island; the last station to Exodus.2

Koolhaas, Rem. 1978. Delirious New York; A Retroactive Manifesto for Manhattan (Academy: New York).

Three Essays on Coney

Permanence in Temporalities

The mosaic of neighborhoods inhibited by low social classes are dominated by parking lots, vacant plots, and abandoned buildings. Coney Island is a place of confrontation of many different realities. Realities which any single map can hardly convey. In its semantic openness however, it is an explorative laboratory of countless commonalities. Focusing on informal and temporal developments of the territory rather than on its formal constructions, this project discusses the notion of proto-public space whose definition can hardly be given, however, having very often public, or collective charge, they can be understood as strategically important for the neighborhood and its inhabitants. Without being necessarily part of the official maps of public spaces in Coney Island, these areas are utterly important for the daily working of local communities. Spatially non-definitive character diminishes the practice of these spaces into a form of mere processes or rather transitory events3 which take place under, often very specific, circumstances. Underlining their ephemeral substance; collective spaces that are not yet fully crystallized, and often only temporally used urge the development of new methods and tools of analysis and design in order to understand and address the issue of public realm in a contested area such as of Coney Island. Instead of simple putting things into box, while looking for these public practices and patterns in Coney Island through the lens of infrastructure, it seems more intriguing to look for a certain anchor these temporalities would have in common or share. The elevated railway is, in a way, a finding of “permanence” within events that seem temporary or fragile. Its clear and apparently permanent presence has undoubtedly enormous influence on the everyday public practices in its nearest vicinity. Nevertheless, the permanence of the railway puts on different faces in different conditions. Conditions that reflect in the very specific spatial, social, and cultural configurations. The railway, as a common denominator in that sense, enables to realize more clearly the (non)relations between conditions which originally may have seemed incompatible. The operative elements of Rem Koolhaas’ Fundamentals4 do not step into the analytical process in order to label, but rather describe and understand the meaning of the “permanence” regarding to its spatial relation. As individual elements that bridge the professional and the everyday world, their connotations exaggerate, yet with the utmost elaborative capacity to address and explore the often fickle relation between discourse and actual practice. This project tries to outline relations the railway, as an element of infrastructure, generates, what temporal or fragile activities this structure binds, and if so, what role does it have in their practices. The task should not be to correct the undesired or negative, or to provide them with counter-forms, but rather to try to understand their delicate nature, and eventually, to either support or suppress it with the same character of intervention, that is to say, intervention which is just as the practice tangential and weak.

3 4

Ignasi de Solà-Morales, Differences; Weak Architecture, Writing Architecture Series (MIT Press 1997). Rem Koolhaas, “Fundamentals, 14th International Architecture Exhibition,” (Venice: Marsilio, 2014).

Three Essays on Coney

The Corridor, The Ceiling, The Wall

Exploring the overlooked but universally familiar element, its meaning is not well understood; by looking at it under a microscope, unsuspected (hi)stories and qualities emerge.

The Corridor The Ceiling 3 The Wall 1 2

The Corridor In the historical development the corridor changed in forms and meanings. Earlier, a term denoting person carrying a message; later shifting to particular spaces outside of buildings; today a ubiquitously used element whose meanings far exceed the limits of our material world.5 In architecture, it is an area associated with stream, a hall or passageway providing access between individual rooms inside of building. However, it does not only serve as a necessary link between two points, it is a fundamental interlink which connects and serves all associated components; more like a vascular system or a spine in the complexity of human anatomy. With its spatial proportions and characteristics it evokes a sense of direction and movement. Although, the railway structure in this particular example does not retain the importance that would define its meaning it does give a frame to a specific direction. Cut off from all sides with roads it is surrounded in open, yet lonesome figure. The terrain vague6 character of the space resonates in the “failure” of the contiguous modernistic neighborhood. Forming an isolated and depersonalized urban space, it has been only reinforced by the ubiquitous fencing in the surroundings. Social infrastructure of schools and churches in the vicinity desperately try to bring the local inhabitants together with their regular activities. Nevertheless, where the neighborhood of vast Trump Village seems distant and detached from the individual, the steel structure of the railway incidentally compensate with almost romantic walkway experience while passing underneath. Providing a moment of closeness in otherwise immense scale of the neighborhood, it nearly gives an illusion of a shelter from the anxiety of surrounding emptiness. Although occasionally suffering from deposits of garbage, the space benefits from a bus stop located in the eastern tip. Finding itself in nearly Baroque composition ruled by the main axis 5 6

Rem Koolhaas, “Fundamentals, 14th International Architecture Exhibition,” (Venice: Marsilio, 2014)., p.217 Ignasi de Solà-Morales, “Terrain Vague,” in Anyplace, ed. Ignasi de Solà-Morales (Boston: MIT Press, 1995).

of the elevated railway, the bus stop dominates its surrounding environ. Collecting and distributing people from the neighborhood, it is the only source of life for this desolate space. Once stepping out of the bus, one immediately finds himself in the framed perspective of the steel structure. From then on, it is very difficult to resist the magic of this arcade. The strict rhythm of columns that meet in the reachless vanishing point somewhere on the horizon uncompromisingly pulls the passerby inside. The intriguing illusion of finiteness attracts people to use the space for purposeful strolls throughout the neighborhood. From there, as from a spinal chord, they resort to their final destinations. The lonely character of the structure in the vast area of the neighborhood not only enables to see, but also, with its stage-like quality, to be seen. Reinforcing the idea of a corridor and using the findings from the analysis, it is possible to change the perception of a space with just a single element. Introducing an object, an element which has a very peculiar connotation in the context of Coney Island. Element which, due to its connotations, binds all sorts of activities. Introducing the linear arrangement of trash bins as a reference to the boardwalk strengthens the perspective of the arcade and the sense of direction, nevertheless, being placed off the axis, it weakens the absolute symmetry of the space, preventing its affectation. Regarding collective engagement, traditional painting of the trash bins, as the ones on the boardwalk, is something that the students from the nearby schools can be engaged with. Furthermore, as possible table legs the trash bins can become valuable assets for the regular vending organized by the churches in this neighborhood.

The Corridor

West Brighton Beach Avenue and West 5th Street

Although occasionally suffering from deposits of garbage, the space benefits from a bus stop located in the eastern tip. Finding itself in nearly Baroque composition ruled by the main axis of the elevated railway, the bus stop dominates its surrounding environ. Collecting and distributing people from the neighborhood, it is the only source of life for this desolate space. Once stepping out of the bus, one immediately finds himself in the framed perspective of the steel structure. From then on, it is very difficult to resist the magic of this arcade. The strict rhythm of columns that meet in the reachless vanishing point somewhere on the horizon uncompromisingly pulls the passerby inside. The intriguing illusion of finiteness attracts people to use the space for purposeful strolls throughout the neighborhood. From there, as from a spinal chord, they resort to their final destinations. The lonely character of the structure in the vast area of the neighborhood not only enables to see, but also, with its stage-like quality, to be seen.

West Brighton Beach Avenue and West 5th Street

Reinforcing the idea of a corridor and using the findings from the analysis, it is possible to change the perception of a space with just a single element. Introducing an object, an element which has a very peculiar connotation in the context of Coney Island. Element which, due to its connotations, binds all sorts of activities. Introducing the linear arrangement of trash bins as a reference to the boardwalk strengthens the perspective of the arcade and the sense of direction, nevertheless, being placed off the axis, it weakens the absolute symmetry of the space, preventing its affectation. Regarding collective engagement, traditional painting of the trash bins, as the ones on the boardwalk, is something that the students from the nearby schools can be engaged with. Furthermore, as possible table legs the trash bins can become valuable assets for the regular vending organized by the churches in this neighborhood.

barrel trash bin snack table 3 street vendor table 1 2

The Ceiling Ceiling as an element enclosing space, giving the impression of, and representing the threshold of inner space, that is, of interior. An element which not only separates two different worlds or domains but a feature which also necessarily conjoins them in one whole. It is an interface between the system above and the environ underneath. It is an element shared by two worlds, however, for each of them, it has a different use and meaning. In this particular case, a modern ceiling provides us with the infamous image of American cities, the image of nearly an alien object invading the city streets, and subsequently becoming their ingrown part. A structure which, as it was walking through the city, embodies the visions of futuristic cities foreshadowed at the beginning of the twentieth century. In all its honesty not only it reveals its bowels, but it offers the opportunity of insight into the world above. In its complexity it responds to all utilitarian demands. The intricate three-dimensionality of the structure carries all elements that enable and serve the life on the streets while providing all the necessary infrastructure for operation of the railway. The words of Koolhaas meet the iron colossus in this particular example so eloquently when polemically describing the “Utility vs. Symbol but also Utility and Symbol, or Utility as a Symbol.” 7 Grocery stores that expand with great confidence deep into the contiguous pavement, street vendors selling newspapers and magazines boldly claiming its opposite side, improvised sitting in front of the local pharmacy, couple of men sitting outside of barber shop waiting for their haircuts, or just a group of people meeting on street corner, they all constitute the impression of an inhabited street on the Brighton Beach Avenue. Omnipresent trucks stopping at the roadsides, jumpers unloading the supplies for local retail stores, they are both only one of the many routines that take place here and which contribute to a strong heartbeat and liveliness of this neighborhood. As one truck leaves, it is imme7

Rem Koolhaas, “Fundamentals, 14th International Architecture Exhibition,” (Venice: Marsilio, 2014)., p.203

diately replaced by another. Every square inch of the pavement seems to be fully claimed. What seems to be chaos at first glance is nearly an airport-like synchronization that builds up the impression of a stable and proven system. It is hardly to imagine the life here without its everyday routine and temporalities that follow. The steel structure of the railroad brings together all these activities as a roof which gives a cover to the machinery of a single household. With its spatial relation toward surrounding buildings, it has the power to change the perception of scale, bringing not only the other sides of the road but also all the different activities closer. As any living organism, in its efforts to create values, having certain needs, it also produces lot of vast. In the particular context of Brighton Beach Avenue it is the countless number of wooden pallets that serve for loading and unloading goods. They are often left on the street after the morning load of the retail businesses and collected in the late afternoon when the goods disappear from the street. Those that are left broken are simply scattered on the street or left leaning towards surrounding street elements. Obviously, it is more convenient for the purveyors, who usually rent these pallets, to leave them behind rather than put money in their repair. Just as all the cardboard boxes for carrying goods they are collected in large containers and thrown away as any other consumer merchandise. Nevertheless, these elements perceived as vast and destined to inevitable recycling can be easily turned into a temporal resource fuelling local patterns and habits, intervening in terms of allowing situations. There have been many precedents of street furniture assembled from wooden pallets or cardboard with the littlest means. The pallets or cardboard boxes can be transformed into sitting for costumers and passerby, tables for street vendors or for the shop owners themselves. The vast energy is used to supplement the local life.

The Ceiling

Brighton Beach Avenue

Grocery stores that expand with great confidence deep into the contiguous pavement, street vendors selling newspapers and magazines boldly claiming its opposite side, improvised sitting in front of the local pharmacy, couple of men sitting outside of barber shop waiting for their haircuts, or just a group of people meeting on street corner, they all constitute the impression of an inhabited street on the Brighton Beach Avenue. Omnipresent trucks stopping at the roadsides, jumpers unloading the supplies for local retail stores, they are both only one of the many routines that take place here and which contribute to a strong heartbeat and liveliness of this neighborhood. As one truck leaves, it is immediately replaced by another. Every square inch of the pavement seems to be fully claimed. What seems to be chaos at first glance is nearly an airport-like synchronization that builds up the impression of a stable and proven system. It is hardly to imagine the life here without its everyday routine and temporalities that follow. The steel structure of the railroad brings together all these activities as a roof which gives a cover to the machinery of a single household. With its spatial relation toward surrounding buildings, it has the power to change the perception of scale, bringing not only the other sides of the road but also all the different activities closer.

Brighton Beach Avenue

As any living organism, in its efforts to create values, having certain needs, it also produces lot of vast. In the particular context of Brighton Beach Avenue it is the countless number of wooden pallets that serve for loading and unloading goods. They are often left on the street after the morning load of the retail businesses and collected in the late afternoon when the goods disappear from the street. Those that are left broken are simply scattered on the street or left leaning towards surrounding street elements. Obviously, it is more convenient for the purveyors, who usually rent these pallets, to leave them behind rather than put money in their repair. Just as all the cardboard boxes for carrying goods they are collected in large containers and thrown away as any other consumer merchandise. Nevertheless, these elements perceived as vast and destined to inevitable recycling can be easily turned into a temporal resource fuelling local patterns and habits, intervening in terms of allowing situations. There have been many precedents of street furniture assembled from wooden pallets or cardboard with the littlest means. The pallets or cardboard boxes can be transformed into sitting for costumers and passerby, tables for street vendors or for the shop owners themselves. The vast energy is used to supplement the local life.

basic palette low bench (two palettes) 3 street vendor table (five palettes) 1 2

6 7

low arm chair (two palettes) standard crate for goods 6 low stool (one crate) 4

high stool (one crate) low bench / low table (four crates)

The Wall The rich variety of meanings and connotations of the wall can be reduced in two main purposes. First, as a load bearing element providing support and second, an element which divides space in two separate domains.8 Although these meanings can be separated, in this case it retains both. The increasing demands on technology which result in incorporating additional layers and necessary installations in terms of wiring or plumbing create a complicated environ within a structure which however often appears as a flat and even immaterial on its outside. In this case, the immateriality of the wall meets its absolute form, the physical form of the wall is completely denied while its inner structure expands into a complex microcosm of an inhabited space. It becomes a wall containing space, a hollow wall, a wall which is a space itself. While providing necessary support for the subway track it becomes a threshold between two different neighborhoods. Neighborhoods which have however turned with their backs towards it. The wall was left with no one to claim it, and coincidentally it has become, in a way, a third space. However massive and solid the wall may seem, its character remains rather insubstantial due to the formal separation from the outside world. In its oblivion and decay it gradually became a haven for the undesired. It became a home to those who have been sentenced to the margin and playground to those who have just been curious. Under the law of trespassing, the “Rear Window”9 set-up inevitably turns one into an intruder standing in people’s backs, eagerly looking for something sinister. Although, it is being claimed only on the short time bases, the traces of these short time based events are immensely important for establishing very specific feelings of the sense of this place.

8 9

Rem Koolhaas, “Fundamentals, 14th International Architecture Exhibition,” (Venice: Marsilio, 2014)., p.267 Alfred Hitchcock, “Rear Window,” (USA, 1954).

Wallpapers of graffiti drawings, plaster statue of Santa Claus humorously starring from the bush, discarded furniture composed in a living room setting, empty bottles of cheap liquor, and all sorts of rubbish create nearly a bizarre collection of traces that instigate extensive fantasies. The wall-like nature of the place has become a spread canvas for local sprayers. Perhaps, all the differences of Coney Island made it one of the places for people to express their opinions, preferences, and dislikes. Where there is a solid wall it is entirely covered with graffiti. The original chain link fence which is a property of the railroad is being supplemented with all sorts of additions by the locals, additions which, with their opaqueness, try to avoid any possible contact with the environ in-between in order to provide desired privacy for the â&#x20AC;&#x153;American backyardâ&#x20AC;?. It is, as it seems, an irrevocably damaged relationship between two worlds whose events obviously benefit from the lack of visual control. Imagine intervention as a design of relation between two upset sides, not wishing to be watched or controlled during its activities. A mere reduction of the visual control may seem too superficial; providing the necessary privacy for the backyards of the houses on one side and extending the surface for free and spontaneous expression on the other. The question that arises is whether any further reduction of the visual contact, and thus control of the void space, would be a desirable solution. Because even when we draw a clear line defining our own personal space in order to keep others away from us, we, as humans, cannot help ourselves not to keep track of what is happening around us; either out of the feeling of paranoia or the endless human curiosity.

The Wall

between Brighton 10th Street and Brighton 11th Street

It is, as it seems, an irrevocably damaged relationship between two worlds whose events obviously benefit from the lack of visual control. Imagine intervention as a design of relation between two upset sides, not wishing to be watched or controlled during its activities. A mere reduction of the visual control may seem too superficial; providing the necessary privacy for the backyards of the houses on one side and extending the surface for free and spontaneous expression on the other. The question that arises is whether any further reduction of the visual contact, and thus control of the void space, would be a desirable solution. Because even when we draw a clear line defining our own personal space in order to keep others away from us, we, as humans, cannot help ourselves not to keep track of what is happening around us; either out of the feeling of paranoia or the endless human curiosity.

1 2

chain link fence, additional non-transparent layer wall as a fully-fledged barrier

3 4

curtain and flower pot wall as an interface; separating, yet enabling visual control

Postscript

Walking over the city of New York, the iron colossus turned out to be a conspicuous intruder from which there is no escape; not even in the rich mosaic of Coney Island. Having often ambivalent connotations, its form brings every image and space under total dominance. It is a parasite that has taken over the streets, however, a parasite without which we can hardly imagine the life in metropolis. Just as a monument that guarantees consistency of time, the elevated railway secures the consistency of the city. Although pulling all the attention on itself, in its passive pervasiveness, its existence has nevertheless become taken for granted, almost invisible, and certainly indescribable in the realities of surrounding lives. Being only a passive spectator of neighboring events, the structure as an element cannot ignite any action that would define its perception and thence meaning. Having a single form, yet telling different stories, the structure can only acquire its meaning through activities the spatial configuration invites or allows. In other words, it is not the element, but rather the very particular spatial arrangement which defines the connotations of the element as such. The Corridor, The Ceiling, and The Wall try to unravel the multiplicity of meanings that a single form can obtain. Describing the dialectical relationship between the element, its surroundings, and concurrent practices, they explore situations in which this parasitic infrastructure plays a role of an uninvolved, yet still undeniably an â&#x20AC;&#x153;accompliceâ&#x20AC;? in the accommodated activities and events. The proposed interventions are then nothing more than mere approximations of the introduced theoretical model, interventions that offer themselves more as open commentaries rather than universal answers. Addressing both practices and meanings of the structure, they are the glosses written in the margins of the current condition, helping the reader to follow the relationship between the original and its translation into the vocabulary of Koolhaasâ&#x20AC;&#x2122; elements.

Hitchcock, Alfred. “Rear Window.” 112min. USA, 1954. Koolhaas, Rem. Delirious New York; a Retroactive Manifesto for Manhattan. New York: Academy, 1978. ———. “Fundamentals, 14th International Architecture Exhibition.” 193. Venice: Marsilio, 2014. Solà-Morales, Ignasi de. Differences; Weak Architecture. Writing Architecture Series MIT Press 1997 ———. “Terrain Vague.” In Anyplace, edited by Ignasi de Solà-Morales, 118-23. Boston: MIT Press, 1995.

PAVEL BOUSE _ ARCHITECTURE UK +44 7463 024423 CZ +420 608 261 730 bousepavel@gmail.com pavelbouse.com