Dystopia of The Urban block

Page 1

KADK Finder Sted / Taking Place

Author Pavel Bouse Tutors Martin Søberg, Peter Alexander Bulloug Coordinator Martin Søberg (martin.soberg@kadk.dk)





The Royal Danish Academy of Fine Arts

Dystopia of The Urban block Pavel Bouse


Dystopia of The Urban block


foreword.

The new reality the current generation of architects faces is the reality without big icons. A Dutchman would only affirm saying that “ninety-seven percent has been already built”. The cities are completed, infrastructures are developed, museums and other institutions already standing for years, functions redistributed. “Tabula rasa” is no longer possible. The task is now the expansion from and within, to densify what is already dense, and reduce what is already sparse. But more than anything else, and perhaps more than ever, it is to design the relations of the existing. The urban heritage as we know it is what came out of the conflict between different ambitions and ideas. Remnants from different periods however share the same status as they appear fragmented and disorganized. Innercity and suburban neighborhoods have become parts of the same urban composition. The suburb has become a part of the city. Skillfully crafted buildings stand next to mass-produced buildings, uniqueness contrasts with complete blandness. The dividing line between high and lowbrow culture is becoming blurred more than ever before. The question is how can we as architects understand the urban conditions that are often portrayed as undesirable or architecturally weak. Because even these environs are utterly important parts of the modern city as they convey memories and expectations of the people who live there with all their associated emotions of happiness and sadness, hopes and fears. This project investigates the potentials of the form of an urban block. Building on a conflict between two contending powers, it tries to explore the very fruitful tension between the dense city and landscape, solid and void, fragment and whole, openness and enclosure, incident and norm, reality and vision. Prior to the actual project is a short essay that serves as a brief introduction of three precedents of urban blocks through which the modus operandi is developed.


Dystopia of The Urban block

“Totalitarianism is not only hell, but all the dream of paradise the age-old dream of a world where everybody would live in harmony, united by a single common will and faith, without secrets from one another.” Milan Kundera, The Book of Laughter and Forgetting

Describing the human existence as something that has not occurred but a possibility that is to come, Kundera’s glimpse beyond the agony of dystopia turns the idea about the point of departure and the end upside down as he fuels the thought of better tomorrow. Indeed, very often utopian thinking has proven to turn quickly into dystopias from which there is no return, such as the case of Pruitt Igoe residential towers in St. Luis, Missouri. Torn down in 1972, the act of their demolition is commonly being referred to as the death of modernistic utopian dreams. It seems that utopias always appear to be peaceful in the moment of their birth, their history on the other hand, often proceeds with violence and destruction. Nevertheless, one cannot deny the fruitful potential of utopian thinking as “utopia has achieved great universality by evincing great understanding and sympathy with all men. Like tragedy it deals with the ultimates of good and evil, virtue and vice, justice and continence and the judgment that is to come. The whole is suffused with two of the tenderest of all human feelings: pity and hope.”1 Spanning the distance between utopia and its antithesis, it is the idea behind utopian realism that one does not try to see the utopia necessarily as totalitarianism but rather as a method or approach towards an unfavorable status quo. Building on a conflict of two contending powers this project uses rather dialectical approach through the mechanisms of collage. Because, it is the collage that derives its virtue from its very own irony as it seems to use a technique of bringing together things and simultaneously disbelieving in them. By juxtapositions of distant even mutually exclusive things or ideas that can be often found as nonsensical or humorous when being brought together, the collage aims not only to give a meaning to a new whole but also cast new roles and meanings to its individual parts. As Rowe and Koetter suggest in their book, collage is able 1.

Collin Rowe and Fred Koetter, “From Collage City Manuscript in Circulation from 1973,” in Architecture Theory since 1968, ed. K. Michael Hays (Cambridge, Massachusetts: The MIT Press, 1978).


introduction.

to accommodate a whole range of axes mundi. According to them, it is only in collage the totalitarian thinking of utopia stands a chance to succeed as it is a strategy which can allow these ideas to be dealt with in fragments, without having to accept them in toto.2 Weakening the universals by breaking them down into fragments, we can preserve the illusions of changelessness and finality but on the other hand, we might fuel the reality of change, motion, action and history. Although Rowe and Koetter, as well as many of their contemporaries, tried to reorient the utopian conceptions of a single vision to a more multivalent view of city form, and in many ways indeed succeeded, I am not interested in using theoretical frameworks as a cookbook with recipes whose precise following is supposed to determine the correct outcome. I am rather interested in reading, and projecting ideas and thoughts. At the end of his life, Oswald Mathias Ungers said in one of his interview that when he was young, and had built his first house, he tried to do as much as possible in terms of design. He tried to show that he was able to do almost anything in terms of invention and architecture tricks that one can do as a young architect. And as he was getting older, he said, he tried to do the exact opposite; to do as less as possible, which he eventually has found even more exciting and fulfilling. I am a student of architecture, and I am sure that my perhaps too daring ambition to do both at the same time in this case is something an experienced architectural practitioner or scholar will forgive.

2.

Collage City (Cambridge, Massachusetts: The MIT Press, 1978).


Dystopia of The Urban block

Collision

The reality of Amager vs. the vision of Fisker

When one deals with history, it is important to realize that it is not a question of being eclectic, to take history as a well or vocabulary which one can dive into and exploit. More importantly, in the past we can find different structures of thinking and doing architecture that might have similarities and differences to our structures today. Thus, the history of architecture becomes more a history of ideas rather than history of the artifact. Utopian thinking is not looking for similarities or differences in history, it tries to re-invent what is. It is a reactionary projection of future without a past. There has been many utopian visions in architecture, unfortunately, not many of them entirely met their expected results. When Rem Koolhaas writes about the dystopian by-product of modernistic thinking; Junkspace, he describes it, among others, as the Bermuda Triangle of different concepts, a space that confuses intention with realization, a space that replaces hierarchy with accumulation, composition with addition.3 The space which seems to be omnipresent is a fallout of evolution in progress. Koolhaas’ description is more than eloquent when one looks at the block in Amager.(illustration; i1) Indeed, on the place of the residential block on Amagerbrogade, the time has accumulated number of ideas; ideas with different values, preferences, and representations. They have found their representations in the phenomena of typology, material, and scale that all together were, and in some cases still are, followed by number of different routines and patterns. Mostly residential buildings with retail or office ground floors from the beginning of the twentieth century, accompanied with garages occupying the very center part of the inner courtyard; an old church and community center claiming the south-west tip of the block; a kin3.

Rem Koolhaas, “Junkspace,� October Vol. 100 (2002).


modus operandi.

illustration; i1

dergarten from the 1960s diffidently enclosing the block’s figure from the south, and many others rather ad hoc built garages and sheds create this incredible collage of built environ. Just as in the case of Soane’s Bank of England, it is a neurotic whole that is compressed into a defining form of a city block. Cumulating collisions of set pieces, the outline is giving a frame to the inner chaos, providing the illusion of control. The outline is the very meeting point of the “controlled randomness” and order. However, in comparison to the Bank of England, where individual figures that had been added to the original structure over the years, acted as parts of the bank’s whole matrix, the fragments of the residential block in Amager create autonomous enclaves, isolated from one another. There are many reasons to keep in mind the difference of the Soane’s bank in comparison to our case in Amager, nevertheless, trying to draw upon the essential qualities I am keen to explore, and which I think are more than eloquent in his design, I will come back to it in the following chapter. Now, let us make a small detour. A few minutes by bike up north, in a district called Nørrebro, we can find ourselves in a completely different situation, where the ambition of the perimeter block has turned the European fantasies of better life in a city into reality. In order to ameliorate the housing crisis in Copenhagen after the First World War, it was decided to start a housing programme in the vicinity of the city centre, in Nørrebro. It was due to the usage of public funding that it was possible to undertake substantial investments, and thus, develop entire areas by means of large unified building developments.4 4. i1.

Bates Stephen; Krucker Bruno; Leuschner Katharina, Hornbækhus, ed. Stephen Bates, Building Register (München: Schiermeier 2013). residential block in Amager


Dystopia of The Urban block

illustration; i2

The radical concept of the apartment block Hornbaekhus (illustration; i2) designed by Kay Fisker between the years 1920 and 1922 far exceeds the ambition of Aldo Rossi’s Quartier Schßtzenstrasse in Berlin (illustration; i3). Unlike Rossi, who tried to simulate the diversity in fragmentation that is so natural and inherent to the constantly evolving organism of the city, Fisker designed the whole block as a single building, foreshadowing the preoccupation with distance and speed of the mid-twentieth century urbanism. Despite the fact that it was the architect’s debut, Fisker has shown a great confidence as the building was executed in a monstrous style. More than half of a kilometer of one facade pattern on the perimeter, twenty nine staircases and five floors with nearly three hundred apartments surrounding a closed singular park-like courtyard, creates nearly a utopian vision of living in a city - a city providing an escape, and its buildings themselves that serve as gates to the Garden of Eden. Where the housing block in Amagerbro has been evolving and accumulating new layers and alterations for more than one hundred years, both Fisker and Rossi tried to surpass the time in a one-off design. Although, the difference between their ideas about the fundamental urban component can be described as nothing less and nothing more than generational, the operational extent of their ideas appears in both cases still somewhat absolute. For the sake of this work, let us imagine now a spectrum between two extremes. Between one, that is the universal design of Fisker; utopian in its vision and monumental in its form, and between the other, that is the rather uncontrolled evolution of the block on Amagerbrogade; dystopian in its ostensible randomness i2.

Kay Fisker, Hornabaekhus, 1922


modus operandi.

illustration; i3

and monumental in its memory. Almost every apartment block and its appearance in Copenhagen can be situated somewhere in between these two extremes; some might be closer to the living in the singular utopian paradise of Fisker, on the other hand, some might be sentenced to live in the (disassociated) fragmented disorder. I am not interested in balance, which I think has become a ridiculed word due to the architect’s excessive use. What I am interested in is an incessant oscillation between these two extremes, a neurotic tension between the pleasures remembered and desired, between collisions temporal as well as spatial, between event and structure, contingency and necessity, savage and civilized, pity and hope, past and future.

i3.

Aldo Rossi, Quartier SchĂźtzenstrasse, 1981-1988


Dystopia of The Urban block

The Bank of England from reality to vision

If we were to decide what would be the imaginary midpoint between the introduced utopian vision of Fisker and the dystopian reality of the block in Amager, I cannot think of more profound example than the Bank of England of Sir John Soane, who, building on the work of his predecessors George Sampson and Sir Robert Taylor, was dealing with rather unfavorable reality having a great vision. The building was a clash of different generations, opinions, and values that have been brought to a neurotic whole. The first Bank of England was built by George Sampson from 1732 to 1734, on the site of a town house of a former Bank of England Governor. Sampson’s building consisted of a series of buildings and courts arranged on the narrow and irregular site. The odd angles of these buildings would later prove problematic and limiting as they determined the axes of additions made by Taylor and Soane. John Soane was appointed the surveyor to the Bank of England in 1788, and for 45 years he was responsible for the Bank’s maintenance and repairs, alterations and additions. The building grew in a gradual process determined by its business and security concerns. It was in 1793, that the bank had purchased the property to the north-east of the building due to security reasons and so, the bank could finally occupy its own block.5 Thanks to the Soane’s persistent work in the following years, the bank has become a true spectacle of various architectural figures delicately positioned next to, in-between or even on top of each other. It was due to the orientation of the adjacent streets which, although bringing an order to individual phases of the buidling as they were designed by Soane and his predecessors, were responsible for the numerous collisions within the whole. Creating extraordinary sequences and juxtapositions of spaces, Soane has proven 5.

J. Francis, “History of the Bank of England: Its Times and Traditions,” 2 (1847).


collision.

illustration; i4

his mastery in relating individual figures to their matrix, objects to texture, solids to voids, augmentations and contractions, congelations and dissolutions. (illustration; i4) Although, the Soane’s Bank of England might not have much in common with an apartment block in Copenhagen, I dare to say that we can still relate it to our given cases as the bank, fitting in the category of a city block just like every apartment block with its private courtyard, is still a figure operating on the same principle, that is to say, providing interface with the surrounding city and the life contained within. On the other hand, when trying to draw upon the lesson that can be taken from the Soane’s bank, one shall not also forget the substantial differences. Fragment within Whole / Whole within fragment The process of fragmentation is often considered as a result of isolation and disintegration. Thus, it is no coincidence that it is commonly recognized as symptom of chaos. In many areas, however, the fragments prove to be the key to better understanding. For instance, surrealism, cubism, or collage often use fragmentation in order to shape an overall sense and offer a deeper meaning of the whole. Literally designing the whole through fragments, one of the most important characteristics in Soane’s design worth of mentioning is his work with individual elements in favor of the whole. Knitting the new to the old with great ingenuity, he was working with the fragments in order to reinforce and provide for the whole institution of the bank. Nevertheless, what we can observe, is that the individual additions of i4.

John Soane, The Bank of England; ground floor


Dystopia of The Urban block

illustration; i5

the building often have their own logic, symmetries, and expressions. While the second phase of the bank, 1791 to 1801, related to the rebuilding of offices in the east wing and the large extension to the north-east is arranged alongside the axis facing the Lothbury, the third phase, 1799 to 1810, including the north-west wing and the reconstruction of the directors’ parlours derives its arrangement from one of the existing buildings. Delicately positioned offices and vestibules, as seemingly self sufficient clusters, were always supported with corridors and passages, establishing necessary links with the other parts of the building. Creating nearly a city within an urban block, containing even apartments for clerks or barracks for the army, Soane’s Bank of England was a highly complex building contained within a continuous wall that was meant to ensure the safe operation of the life inside. The Fisker’s radical concept is in many ways universal. Nothing can be added, nor subtracted from what Fisker understands as an urban unit. However, what seems to be eliminated in the universal concept of Kay Fisker’s Hornbaekhus, has turned out to become a terminus a quo in the Amager block where the individual fragments, disregarding the relations to one another, have failed in favor of the bigger picture. The courtyard pretends to unite, however, it actually splinters as the site boundaries were mostly treated as barriers rather than interfaces providing communication. The individual plots thus became rather disintegrated autonomous clusters, creating the sense of disorder within the figure of the block. In the Bank of England, on the other hand, what seems to be randomness and disorder in the plan is actually a well thought of continuity. Let us imagine a sequence of the individual spaces as they go from the i5.

The Bank of England; spatial sequence from the Threadneedle St to the St. Bartholomew’s Lane


collision.

illustration; i6

Threadneedle Street to the St. Bartholomew’s Lane in section. (illustration; i5) The individual elements of the bank, either added or altered, create a series of spaces almost as a necklace with pearls of different colors and sizes. Sharing the thread that connects them all, it is by the very fragmentation of the whole that the sequence offers such breathtaking contrasts and juxtapositions. Where wide spaces of courts and halls are lead to rather narrow or nearly claustrophobic passages and hallways, enclosed and spatially modest spaces of lobbies and offices are followed by extensive and more than generously decorated courtyards. Soane convincingly demonstrates that even an ostensible disorder of fragments can become a very logical hierarchy that works to the advantage of the whole. Solid within Void / Void within Solid When I wish to speak about solids and voids, I wish to speak of them as of figurative elements, that is to say means or instruments which, in their common friction aim to enrich the city’s tissue. In the case of the Hornbaekhus the relation between solid and void cannot be more straightforward. The building serves as a clear definition between outside and inside, between the public and private, leaving a singular open space for all of its inhabitants in the middle. It is the clear defined outline of the building that reinforces the idea of one monolithic mass that is supposed to provide for a space within. The block in Amager tells a little bit more complicated story. It is a story about solids that have found their place in a void of an apartment block, whose constant modifications and alterations made any sense i6.

The Bank of England; spatial sequence from the Threadneedle St. to Lothbury


Dystopia of The Urban block

of an orderly inner structure almost impossible. With the rather unorganized construction, the fragments of solids failed to accommodate appropriate voids, and thus the voids deteriorated into a series of rather disorderly left over spaces that found their use mostly as parking areas. The relation between solids and voids appears to be much more interesting in the Soane’s Bank. For obvious reasons, there is no such thing as left over space. Building on the text from the previous chapter, we can think of void as of a fragment as it is undoubtedly an architectural figure. The voids within the bank’s structure became deliberate figurative elements providing light and air, and on the other hand, surrounding solids, enclosing these courtyards in forms of halls, lobbies, and other rooms, nourish these voids with life. It is due to their delicate interdependency that any void must be always given a solid frame, even if it is a frame within a frame. Following one of the main axes of the building, leading from the Threadneedle Street to Lothbury, a sequence of solids and voids is led to be drifted with an amazing tempo, details, and contrasts. Enclosed spaces of decorated entrance on the Threadneedle St. were being followed by open areas of a paved courtyard with Palladian simplicity, leading us inside to the following offices that were again dramatically opening themselves towards the Bullion Court. From there, through a rather narrow connecting neck of lobbies we could find ourselves outside again, on the grandiose Lothbury court, resembling an imperial Roman forum. (illustration; i6) Openness within Closure / Closure within openness When dealing with an apartment housing block, it is also necessary to mention the relation between the public, private, and whatever comes in between these categories. However, for the sake of this work, I believe that it is not a question of being public or private as the relationship in between the two is nowadays being blurred more and more. Perhaps, it is also because the boundaries are often no longer determined by architectural means. Therefore, I suggest openness and closure as substitutes because, unlike private or public, determined by a built matter, they are practically unmistakable. Moreover, they are always related


collision.

(dependent) to one another. Through openness and closure architecture can again come into play and provide perhaps more comprehensible definitions of what is public and private. Furthermore, with its vocabulary it can also ignite a more fruitful interaction between the two. Nevertheless, where the Fisker’s conception of the courtyard can be seen as an impenetrable singular private open space, that is being shared by all of the building’s inhabitants, the apartment block in Amager is in contrast to it dystopian in its disintegration, “ruined” by the politics of parceling. Everything what can be found in between the buildings has become a consequence rather than intention. And although, the discontinuous outline of the block allows more than a generous insight into the private life of the courtyard, the block only offers appendixes in forms of parking lots within its individual fragments. The whole invites, yet with its inner structure does not provide; it only teases the passerby. Just as Soane had to work with existing walls in the Bank of England, designing mostly interactions between the individual parts, we can imagine the enclosing figure of the block in Amager as the very same sharp definition of inner arrangement, giving not only a limit but also a protection to whatever happens inside. With every enclosing, there seem to be a need for an openning and the other way around. In the Soane’s bank it was the strict limitations that made any absolute orderly arrangement impossible, however, it was the very same limitation that allowed for something much more interesting to be created. In the Soane’s case, the enclosed figure of the London’s city block, being practically a fortress, still allowed links between adjacent streets such as one of the main axes of the building between the Threadneedle Street and the Lothbury. By the ultimate permeability, the building, believe it or not, was offering the unexpected. The continuous progress of the travel through the structure was illuminated by a series of sudden spatial contrasts and thence an impact was made to the eye, bringing the plan into life. In that sense, as one entered the building of the bank, he immediately knew he was not on the same public ground anymore. Because it was also due to the very contrasts, the changes of dimensions of rooms, distances between walls, sudden grips, and anticipated loosenings, that people were dragged into or out of individual spaces which in their characteristics suggested certain behavioral patterns.


Dystopia of The Urban block

Conclusion

from consequence to impetus Maybe, the place in Amager is a bit junky. One thing we can conclude from Koolhaas is that spaces, despite being unintentional side products of evolution in time, are often utterly important, if not essential to their surrounding structures. They are never self-contained. The anarchistic tendencies within their own states of dystopia seem to be the last tangible way in which one can experience freedom. Inherently, it is a space of collisions between objects as well as individuals. But if there is one lesson that we can take from Soane, it would be his incredible ability to accommodate a disciplined movement in an ostensible spatial anarchy. Introducing the sense of meaning and unity in a reality of fragments, he is drawing upon the qualities that emerge with the collision of two conflicting objects. Nevertheless, the virtue of his work does not derive from the capacity to accommodate multiplicity, as from the new narratives, dialogues, and juxtapositions that evolve from the double life of the fragments, suspended between their originary essences and the new roles assigned to them by the poetic ensemble; that is the true essence of collage. Going back to Kundera, it is clear that the seeds of utopia are deeply embedded in its antithesis. But because everything that comes into life is destined to fall, but not everything that is gone can be resurrected, this project is not an apology; on the opposite, it tries to harvest the seeds of future perfection through dialectics, guaranteeing both law and freedom. The introduced notions cannot be simply isolated from their opposites just as they cannot be though of as purely ministers of the utopian dreams and vice versa. It is clear that there is nothing either good or bad in architecture. People tend to run from one extreme to another. They like to enjoy mediocre tequilas in an expensive Mexican bar in downtown just as they want to hoe their gardens in a countryside. Using the metaphore of dystopia, I am not trying to find an antidote - an ordo ab chao. More than anything else, I offer this project as a point of view, a mere opinion on what is an urban block and what it could be, that is:


conclusion.

fragmented and unified; dense and sparse; open and enclosed; incidental and normative; disordered and organized; conservative and radical; realistic and romantic; ...and sometimes perhaps a bit junky.


Dystopia of The Urban block

Bibliography

1.

Francis, J. “History of the Bank of England: Its Times and Traditions.” 2 (1847).

2.

Russell, F. (1983). John Soane. London, Academy Editions.

3.

Katharina Leuschner, Bates Stephen; Krucker Bruno. Hornbækhus. Building Register. Edited by Stephen Bates München: Schiermeier 2013.

4.

Steffen Fisker, J. F., Kim Dirckinck-Holmfeld (1995). Kay Fisker. Copenhagen, Arkitektens Forlag.

5.

Collin Rowe and Fred Koetter. Collage City. Cambridge, Massachusetts: The MIT Press, 1978.

6.

Collin Rowe and Fred Koetter. “From Collage City Manuscript in Circulation from 1973.” In Architecture Theory since 1968, edited by K. Michael Hays, 105-28. Cambridge, Massachusetts: The MIT Press, 1978.

7.

Koolhaas, Rem. “Junkspace.” October Vol. 100 (2002): 175-90.

List of Illustrations i1. Amager residential block source: Copenhagen municipality archives i2. Kay Fisker, Hornbaekhus, 1922 source: Steffen Fisker, J. F., Kim Dirckinck-Holmfeld (1995). Kay Fisker. Copenhagen, Arkitektens Forlag. i3. Aldo Rossi, Quartier Schützenstrasse, 1981-1988 source: Braghieri, G. (1993)“Aldo Rossi” i4. John Soane, The Bank of England; ground floor source: Francis, J. “History of the Bank of England: Its Times and Traditions.” i5. The Bank of England; spatial sequence from the Threadneedle St to the St. Bartholomew’s Lane source: Eva Alberini, Aidan Conway. TU Delft; Fundamentals i6. The Bank of England; spatial sequence from the Threadneedle St. to Lothbury source: Eva Alberini, Aidan Conway. TU Delft; Fundamentals


Project the inference


Dystopia of The Urban block

On the place of the residential block on Amagerbrogade, the time has accumulated number of ideas; ideas with different values, preferences, and representations. They have found their representations in the phenomena of typology, material, and scale that all together were, and in some cases still are, followed by number of different routines and patterns. Mostly residential buildings with retail or office ground floors from the beginning of the twentieth century, accompanied with garages occupying the very center part of the inner courtyard; an old church and community center claiming the south-west tip of the block; a kindergarten from the 1960s diffidently enclosing the block’s figure from the south, and many others rather ad hoc built garages and sheds create this incredible collage of built environ.


current situation.

Amagerbrogade.


Dystopia of The Urban block


current situation.


Dystopia of The Urban block

A generic scheme of an urban block with a closed singular courtyard; a private space for all of its inhabitants, a symbol of freedom and equality of the collective. Nearly a utopian vision of living in a city - a city providing an escape, and its buildings themselves that serve as gates to the Garden of Eden.

Utopia.


dychotomy.

The uncontrolled evolution throughout time, dystopian in its ostensible randomness and disintegration, promotes the sovereignty of the individual resulting in spatial anarchy. However, everything what can be found in between the buildings becomes a mere consequence rather than intention.

Dystopia.


Dystopia of The Urban block


timeframe.

overview of iterations.


Dystopia of The Urban block

illustration 1.


timeframe.

illustration 2.


Dystopia of The Urban block

illustration 3.


timeframe.

illustration 4.


Dystopia of The Urban block


design.

cross section.


Dystopia of The Urban block

axonometry.


design.

inner ensemble.


Dystopia of The Urban block


design.

arcade.


Dystopia of The Urban block


design.

pavillion.


Dystopia of The Urban block


design.

passage.


Dystopia of The Urban block


design.

piazza.


Dystopia of The Urban block


design.

playground.


Dystopia of The Urban block


design.

loggia.


Dystopia of The Urban block


design.

tool shed.


Dystopia of The Urban block


design.

courtyard entrance.


Dystopia of The Urban block

typology.


design.


Dystopia of The Urban block

ground floor plan.


design.

first floor plan.


Dystopia of The Urban block


design.

surfaces.


Dystopia of The Urban block


design.

palette.


Dystopia of The Urban block


fragments.

cross section.


Dystopia of The Urban block


fragments.

pavillion.


Dystopia of The Urban block

wall.


fragments.

arcade.


Dystopia of The Urban block


fragments.

loggia.


Dystopia of The Urban block


“axis mundi.”

passage through the block.


Dystopia of The Urban block

exterior facade.


“axis mundi.”

interior facade.


Dystopia of The Urban block

exterior.


“axis mundi.”

interior.


Dystopia of The Urban block

plaster work detail.


“axis mundi.”

railing detail.


Dystopia of The Urban block

door handle detail.


“axis mundi.”

window detail.


Dystopia of The Urban block

north west (outter) facade section.


“axis mundi.”

north west (inner) facade section.


Dystopia of The Urban block


“axis mundi.”

cross section.


PAVEL BOUSE _ ARCHITECTURE NL +31 6 45439098 CZ +420 608 261 730 bousepavel@gmail.com behance.net/bousepavel



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