karen wang
FALL 2011
cargocollective.com/karenswang
CALIFORNIA POLYTECHNIC STATE UNIVERSITY. SLO
WINTER 2012
STUDIO ADVISOR
h ig h l i gh t, augmented temporalities to enhance local perceptions of place.
more: Enhancing local perceptions so architecture can be used to extract knowledge from its place Making aware of cultural rhythms to strengthen collective identity Time-specific strategies as circulation and programmatic approach
SPRING 2012 DOUG JACKSON
5TH
YEAR
T H E S I S PROJECT
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A B S T R A C T
CONTENT
00
01
ABSTRACT
RESEARCH
02
STRATEGIES
03
04
05
SITE
PROJECT
DRAWINGS
06 MODELS
5TH YEAR THESIS
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“While the same reasoning that had moved us away from a pictorial reality--from pictorial to phenomenal--applied equally to the realm of objects, it had nothing to do with object/nonobject; it had to do with how we see the object in context.� -Robert Irwin, Take Your Time: A Conversation
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A B S T R A C T
ABSTRACT
According to Irwin, everything is subject to a dynamic set of conditions that constitutes real-time perceptions, causing the value of art to exist in its temporality and relativity, not in the static object. Similarly, architecture is also situated within a set of fluctuating conditions based on its place. Here, the term ‘place’ is used instead of ‘site’ because it entails cultural and historical conditions other than geographic locations. An individual’s sense of place can influence ones physical and psychological well being and ability to connect to other people and culture. While architecture has always been grounded to its site and situation: the physical and cultural conditions of a place, digital technology and concepts of modernism however not only emancipates matter from proximity but also space from place. These disconnections cause architecture to become increasingly homogenous, passive, and irrelevant since knowledge and information can be extracted from virtual distances rather than the immediate presence. Architecture must enhance local perceptions to re-insert the spatial value of learning from the place. This thesis first examines the relationship between architecture and sense of place, identifies issues with the separation of place in contemporary architecture, and then proposes design strategies that enhances local perceptions of a place so architecture can be more relevant to people of a specific culture.
Although there is a specified site for demonstration purposes, the strategies are developed for any place and project scale in natural, urban or artificial conditions. These strategies are 1) time specific events, 2) sensory enhancement, 3) de-familiarization, 4) exploration, and 5) social negotiation. Each strategy requires the users’ conscious participation of relating physically and mentally to the occupied space and its surroundings. In making these connections, inhabitants can notice particularities of a place that are previously concealed by architecture. For residents, cultural identity can be developed through experiencing familiar situations with different perceptions. For non-residents, local culture can be understood through physical experiences that enhances specific lifestyles and social interactions with local people. As a result, architecture enhances experiential meanings of the place that manifests specific cultural identity true to the collective, not authorities.
5TH YEAR THESIS
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A B S T R A C T
RESEARCH
The following concepts are explored prior to design and selection of a site for the thesis project: i.
perception of place
ii.
sense of place, sense of time
iii.
rhythms, rituals, traditions
iv.
place attachment
v.
modes of separation
homogenous space
relic of space
virtual space
5TH YEAR THESIS
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Opposite: physical, cultural, and digital elements of a place,its influence on architecture, and how it affects people’s perception of the built enviornment.
perception of place
Yi-Fu Tuan, a cultural and humanist geograper, said that “place is an organized world of meaning.” Undifferentiated space becomes a place when meaning is can be strengthened by architecture through integrating environmental, urban, historical, cultural, and artificial settings. More so in the past, the role of architectural design is to integrate physical elements such as natural and built contexts. For instance, high-performance design based on climate conditions such as sun orientation, wind speed and direction, precipitation, and temperature changes. In addition, architecture responds to boundary conditions such as site lines, streets, adjacent buildings and public spaces. These responses may determine the location of openings, points of access, figure-ground relationships, and solid-void relationships. As a result, architecture that responds to physical conditions not only elevates appreciation for natural and built environments but more importantly shapes perception of efficiency, comfort, security, and openness of a place. Apart from physical and functional roles, architecture also offer opportunities to create meaning and memories for its inhabitants by integrating history and culture. Usually, this is achieved by ephemeral qualities and spatial characteristics that act more than functional means, typically with local materials and traditional use of tectonics. These cultural and historical perceptions enable inhabitants to trace lineages of becoming and thinking: how one develops consciousness
Lastly, a place can also be perceived in its digital environment, which detaches itself from sense of time and space. The perception is equivalent to information about the place. The sequence of obtaining information can be customized by individuals. The role of place in architecture in the digital context becomes [secondary/irrelevant] simplified or depleted to merely space, a medium that contains information. People can construct identity through network connections rather than with local culture. The need to be at a certain place to gain knowledge diminishes. One’s consciousness of physical presence is constantly in competition with the virtual distant. In the following text, Robert Irwin describes the importance of perception and projecting feelings onto the surrounding: “Values are essentially invested by your feelings. I see something, and by seeing it--attending to it, spending time with it, acting on it--I give it value. And so value is not neutral; once negotiated, it ultimately becomes a piece of you. It can reconstruct how you practice, or how you move in the world. In time, that has the implication of changing the structures around you. But it’s a long-term project. The real change comes from feelings and values has to be seeded, in a sense, and then it begins to act on things--on you, and then how you make decisions and judgments, and therefore on how you construct the world.” -Robert Irwin, Take Your Time: A Conversation
1. Tuan, Yi Fu. Space and Place, The Perspective of Experience. University of Minnesota Press, 1977. 2. Eliasson, Olafur and Robert Irwin. “Take Your Time: A Conversation.” In Take your time: Olafur Eliasson. Edited by Madeleine Grynsztejn. Exhibition catalogue. San Francisco: San Francisco Museum of Modern Art; London: Thames & Hudson, 2007: 51-61.
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A B S T R A C T
5TH YEAR THESIS
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sense of place, sense of time
Bellow: Sense of place changes in relationship to time.
Sense of place describes human attachment and belonging to physical, cultural, supernatural, or artificial characteristics of a place. To some, it depends on geographic characteristics while to others it is a feeling or perception held by people. Geographer Yi-Fu Tuan believes that a place comes into existence when humans give meaning to a part of the larger, undifferentiated space. According to cultural geographer John Brinckerhoff Jackson, sense of place is an overused expression used mainly by architects but taken over by urban planners, interior designers, and the promoters of condominiums, so its meaning has become more diluted. In Jackson’s essay, “A Sense of Place,” he explains that sense of place is a more ambigious modern translation of the Latin term genius loci. He explains that in classical times, locality derived much of its unique quality from the presence or guardianship of a supernatural spirit. Thus, sense of place is developed when
Increased Attachment to Place Over Time
In architecture, although the means in which people perceive and understand a place has changed dramatically over the last century since digital technology and network connections, architecture has failed to accommodate contemporary cultural demands in terms of designing at a place. In order for people to be connected to a place and gain knowledge from it like in Irwin’s description of perception, architecture must be more engaging of the senses instead of being passively functional to engage the audience with the physical space and place instead of the virtual distant. Also, natural and cultural conditions must be integrated with the ever-changing and spontaneous digital influences more than a formal approach that only transcends power of an authority or thoughts of an author, but to engage a collective group with individual manipulation. This way, prescribed symbolic meanings and messages can be constantly re-interpreted by individuals, creating a fluid meaning of architecture.
Changes in Place Meanings Over Time
1. Tuan, Yi Fu. Space and Place, The Perspective of Experience. University of Minnesota Press, 1977. 2. John Brinckerhoff Jackso, A Sense of Place, A Sense of Time. Yale University, 1994.
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A B S T R A C T
elements of a place vs. sense of time: traditions and rituals
ie ath motion Activit elIdentiication
O API T PAC
I ATI OCIA ATIO COMMIT
OCAIATIO
AOMIT COITIO
CITIIP OPPOTITI
MTI OT
TAITIO ITA Phsical environment istinctive eatres vents Instittions Tes o lace
Perceived characteristics Traits ehavior
ATMOP TT I
OAIATIO
IOMT
For the residents, if architecture frames the changes of a place, then local people can notice new or unfamiliar observations of the familiar and realize adjustments for particular circumstances. It encourages the locals to look at themselves differently, soliciting creativity towards their own lifestyle rather than letting foreign authorities or architects who only knows a fraction of their lifestyle to control their spatial experience. For non-residents, architecture can break preconceptions of a place and enable them to understand a region through seeing the place from local perceptions.
TP O IAITAT
AOCIAT
OT
Moreover, the process of participating in a spatial change within the architecture may require direct social exchange, contrary to referring to a social network that is removed from the immediate place.
5TH YEAR THESIS
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modes of separation
Homogenization
Relic of Space
SPACE
SPACE TIME
SPACE
PLACE
TIME SPACE
PLACE
TIME
PLACE
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Virtual Space
SPACE
Dislocation of space from
Usually represented by the
Absent of physical space.
place; associated with con-
preservation of space.
Separation of time and space.
tainer architecture i.e.
sense of time or progression.
Logic
wallmart, costco.
A static image closely tied to
fluid associations instead of
the object
d e p e n d e n t o n p r o x i m i t y.
high light, augmented temporalities
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No
related to networks and
A B S T R A C T
The issues addressed by this thesis are those emerged from digital/virtual perception of place, dealing with separation of time, place, and space: homogenous space, relic of space, and virtual space. A discussion about architectural issues in contemporary society is necessary before proceeding to strategies attempting to address them. First, the relationship between time, space, and place acts as a premise to examine the relevancy of architecture to its immediate presence, which is when the user is aware of all three factors concurrent with architecture. The second degree of integration is when only two factors are concurrent with architecture: time and space, place and space, time and place. The first issue is when the user is oblivious of the place of the building and is only aware of its time and space, which is usually perceived as the homogenization of space such as big-box stores and modern skyscrapers or retail stores. This issue is further discussed by Anthony Giddens in ‘The Consequences of Modernity’,
“the advent of modernity increasingly tears
space away from place by fostering relations between “absent” others, locationally distant from any given situation of face-to-face interaction. In conditions of modernity, place becomes increasingly phantasmagoric: that is to say, locales are thoroughly penetrated by and shaped in terms of social influences quite distant from them. What structures the locale is not simply that which is present on the scene; the “visible form” of the locale conceals the distanciated relations which determine its nature.”
Although Giddens does not specifically state that space is becoming homogenous because of modernity but he does suggests that
space is becoming increasingly irrelevant because it relates to a far distance instead of its present scene. If the ‘far distance’ is a standard of what is considered to be modern, functional, and efficient, then it becomes common that space will be designed accordingly, which results in homogenous space. In other words, the modern and consumerism definition of function--when content can be seen and activities can be interchangeable in the same space--results in typologies and formulas of space that can be used is globally. Furthermore, people’s perception of space and architecture becomes separate from perception of a place, which is contradictory because architecture is always physically grounded to the place, regardless of the influence by technology. Examples include big-box architecture such as Costco, Wal-Mart, and other modular spaces that can be inserted onto any given site. They are stark, open, and multi-purpose, introverted spaces that does not inform the user about the exterior but makes aware of the content and the means to arrive at content. . Another example is Shanghai’s Super Brand mall with escalators and slopped paths that ‘organically’ circulate people to the next level without much disturbance, containing them in an endless program of shopping. This mall can be located anywhere in the world and the activity can remain unaffected by the outside environment. Modernist spaces also demonstrate homogenous space since building types and hierarchy of spaces to have similar qualities despite its location.
Giddens, Anothy, “Modernity, Time and Space.” The Consequences of Modernity. Stanford University Press, Stanford, California. 1990. p.18-19. Lefebvre, Henri. “Social Space Part XII.” The Production of Space. Translated by Donald Nicholson-Smith. Blackwell Publishers, Inc. Malden, Massachusetts. 1991: p.146-147. Virilio, Paul.. “An Interview with Paul Virilio by Andreas Ruby.” Architecture in the Age of its Virtual Disappearance. P.181.
5TH YEAR THESIS
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Once the most functional and efficient layout is designed, developers take advantage of it and mass proliferate it globally to maximize production and minimize cost with few climate adjustments to the main design. The birth of catalogue architecture in suburban areas is an example of this phenomenon. Buyers choose layouts and building aesthetics based on personal preference and start construction. This results in buildings that ignore the context of the site where architecture role of producing new perspectives and meanings of living is lost and perpetually be confined to a static and unresponsive object. Thus, architecture must connect space to a sense of place to re-assert meaning in one’s physical presence through experiences that prevail visual stimulation of content and systematic experience of space. The second issue, the separation of time from place and space, is when architecture is preserved at a time distant from the present: the relic of space. The preservation of historical architecture to educate the public about the past is justifiable since tracing the past and learning about traditional culture can enable people to trace their lineage of existence and further appreciate the place they live in. However, when architecture is built to project desire for nostalgic space in a formal approach by using formal representations of traditional building methods, then the purpose is diminished. It becomes a visual statement, not actual experience of the architecture that affects the users. Another effect on architecture is a complete removal of signs and symbols: on architecture which is described by Henri Lefebvre in his essay ‘Social Space’ Part XII:
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“Modernity expressly reduces so-called
‘iconological’ forms of expression (signs and symbols) to surface effects. Volumes or masses are deprived of any physical consistency. The architect considers himself responsible for laying down the social function (or use) of buildings, offices, or dwellings, yet interior walls which no longer have any spatial or bearing role, and interiors in general, are simultaneously losing all character or content. Even exterior walls no longer have any material substance: they have become mere membranes barely managing to concretize the division between inside and outside. This does not prevent ‘users’ from projecting the relationship between internal or private and a threatening outside world into an invented absolute realm.”
The issue at hand is the way culture is incorporated with architecture. It shouldn’t be entrapped in a distant time that has little relevance to contemporary life nor should it be completely stripped away from meaning like in Modernist buildings. Symbolic quality in social space should be produced as a result of the individuals expression through spatial change that relates to the program. It should also allow constant alteration that synchronizes with the metabolizing city. The third issue, the separation of space from time and place is mainly caused by digital technology where physical space is overshadowed by virtual space. Peter Eisenman describes in Visions Unfolding that the electronic paradigm “defines reality in terms of media and simulation, it values appearance over existence, what can be seen over what is (p.557).” Architecture becomes a medium or container for digital transactions or screens for information to appear:
A B S T R A C T
Time square; time as social segregation
“Asian cities with facades entirely made of screens. In a certain sense, the screen becomes the last wall. No wall out of stone, but of screens showing images. The actual boundary is the screen.”-Paul Virilio, Architecture in the Age of its Virtual Disappearance
This phenomena described by Virilio shows that architecture is even more separated from its context since information displayed in the screens can often pertain to any global message. This also applies to other building components such as stairs being replaced by escalators and windows being replaced by facade screens. Virilio described this as “the
increasing replacement of hitherto material elements of technical substitutes.” The necessity of architecture becomes non-existent since ‘design’ becomes the same as placeless vocations such as ‘engineer,’ or ‘computer science.’ The role of ‘place’ in architecture should be restored to design a way to integrate virtual realities and technologies to how people of a specific culture perceive information and how it relates to the program.
Giddens, Anothy, “Modernity, Time and Space.” The Consequences of Modernity. Stanford University Press, Stanford, California. 1990. p.18-19. Lefebvre, Henri. “Social Space Part XII.” The Production of Space. Translated by Donald Nicholson-Smith. Blackwell Publishers, Inc. Malden, Massachusetts. 1991: p.146-147. Virilio, Paul.. “An Interview with Paul Virilio by Andreas Ruby.” Architecture in the Age of its Virtual Disappearance. P.181.
5TH YEAR THESIS
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A B S T R A C T
STRATEGY
The following strategies proposed in this thesis attempts to address one or more of the issues described above by enhancing local perceptions. A common goal of these strategies is to reduce separation between space and place through conscious engagement of the participants. These strategies are suggestive and do not interfere with people’s daily lives but rather broaden possibilities of interaction and knowledge. Time-specific events can create instantaneous relevant associations with space and place; sensory enhancements can create spatial characteristics that relates human senses other than vision to the space and place; defamiliarization can break pre-conceptions of common forms and hierarchy of a place; exploration can motivate users to search for new ways of perceiving familiar events; social negotiation of space encourages immediate dialogues pertaining to the program and surroundings. Architecture in turn becomes a change in consciousness caused by augmented realities that makes aware of future possibilities.
5TH YEAR THESIS
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time specific events
This strategy is a programmatic approach relating program to place, program to program, and program to a specific time. The goal is to address the issue with virtual distances and homogenous space by strengthening the relationship between space and place. The experience is thus depended upon a specific time that relates the event to the place. It creates a dialogue between inside and outside, the user and place, and program and space. Program can relate to the place by framing temporal natural and cultural phenomenon occurring at a given site that influences on interior activities. Time-specific events also capture moments pertaining to the use of a space. This can encourage the user to think about one’s relationship with the locale and challenge the significance of this relationship. Traditional Japanese architecture has a history of incorporating built revelation of place, time, and being, as described by Kevin Nute in Place, Time and Being in Japanese Architecture: “The character of the traditional Japanese style room, for example, rather like that of a stage, can vary considerably according to the different activities that take place within it during the course of a day. Traditionally such rooms were give the suffix ‘ma’ primarily it seems because they were perceived as essentially unfilled ‘intervals’ between tangible enclosing elements. Since the term ma is also used in reference to periods of time, however, the traditional Japanese room may have originally been perceived much as the temporary Shinto precinct, as essentially a fixed interval of space overlaid with varying intervals of occupation.”
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Similar to traditional concepts, contemporary Japanese architects frames and augments natural phenomena in architecture so the user is more aware of the subtle changes and in turn appreciate their own existence. In relation to the Chapel on the Water, Tadao Ando explains that “the depth of the pond was carefully set so that the surface of the water would be subtly affected by the wind, and even a slight breeze would cause ripples,” and “the framed landscape changes in appearance from moment to moment.” Nute describes Ando as seeming to “regard his buildings as a kind of passive canvas for the play of changing natural phenomena, and through them, the introduction of time and thence life itself into built space.” Toyo Ito on the other hand takes a more active integration of natural and human change where he considers it to be futile to “battle against the gradual loss of genius loci in the Japanese city, architects would be better off using their energies to embrace its only really permanent feature, perpetual change.” In the case of the Tower of Winds in Yokohama, Kanagawa, changes in nearby ambient noise levels, as well as wind speed and direction are revealed through analogous changes in computer-controlled arrays of neon lighting. During daylight hours the tower, which masks an air duct, functions as a traditional sculptural object at the centre of a public space, but as dusk falls it is gradually transformed into an animated shaft of light, which both feeds and is fed by the energy of the environment around it.
A B S T R A C T
Built relevation of time in traditional Japanese Architecture
Traditional Japanese ma-shitsu space: a largely empty ‘stage’ which derives much of itsidentity from its temporary occupants
Translucent paper shoji maintain privacy while permitting the entry of diffused daylight. Withdrawing the shoji transforms both the spatial and lighting qualities of the room.
The tokonoma alcove: a three dimensional interactive calendar used tomark the seasona and significant events.
The butsudan: a sacred domestic space connecting past and present members of the household.
Built relevation of time in contemporary Japanese Architecture
A distant landscape ‘captured alive’ in a moving surface of water. Tadao Ando: Chapel on the Water, HOkkaido, 1988
The interaction of sunlight, water and wind used to reveal the uniquess of here and now. Tadao Ando: Naoshima Contemporary Art Museum, Naoshima, 1992.
Once the most functional and efficient layout is designed, developers take advantage of it and mass proliferate it globally to maximize production and minimize cost with few climate adjustments to the main design. The birth of catalogue architecture in suburban areas is an example of this phenomenon. Buyers choose layouts and building aesthetics based on personal preference and start construction.
The towers changes according to wind speedand direction through computer-controlled arrays of neon lighting. Toyo Ito: Tower of Winds, Yokohama, Kanagawa, 1986.
This results in buildings that ignore the context of the site where architecture role of producing new perspectives and meanings of living is lost and perpetually be confined to a static and unresponsive object. Thus, architecture must connect space to a sense of place to re-assert meaning in one’s physical presence through experiences that prevail visual stimulation of content and systematic experience of space.
5TH YEAR THESIS
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sensory enhancement
“Architecture will continue to stand up,
er recognize itself. In this sense, architecture may provide some of the necessary conditions for experiments in future living, experiments in which those excluded, marginalized, and rendered outside or placeless with also find themselves.” -Elizabeth Grosz, “Architecture of Excess”
to deal with gravity, to have ‘four walls.’ But these four walls no longer need to be expressive of the mechanical paradigm. Rather they could deal with the possibility of these other discourses, the other affective senses of sound, touch, and of that light lying within the darkness.” Peter Eisenman, Visions Unfolding
This strategy strives to make spatial characteristics relevant to the program, time, and place. It uses relationships between light and shadow, materials and tectonics, solid and void, and opaque and transparent to relate the five senses of the human experience with the architecture and surroundings. Compared to the first strategy, this one is more autonomous and introverted since the same space may affect people differently and produce diverse interpretations and meanings. It also diverges people from visual experiences caused by media and consumerist spaces so people can realize the excess of space, the surplus value, the non-functional aspect of architecture that requires bodily response and commitment rather than passive visual engagements: “An architecture of excess must aim not to satisfy present needs but to produce future desires, not simply to cater to pragmatic consumption but to achieve that future consummation that transforms all present intentions and purposes. Architecture is not simply the colonization or territorialization of space, though it has commonly functioned in this way, as Bataille intuited; it is also, at its best, the anticipation and welcoming of a future in which the present can no long-
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Sensory enhancement can suggest ‘future desires’ by spatial characteristics relating to place without interfering with people’s activities. This addresses the issue with homogenous space since each space is designed according to a specific program and relationship to place and senses other than the visual are elevated to engage the user physically. Sensory enhancement also confronts the issue with architecture as relics of space since it generates symbolic social space indirectly and abstractly through building systems instead of representations of the past. Olafur Eliasson is known for his exploration of the human perception. His works, often using light, shadow, color, fog, wind, waves, and other phenomena of nature as materials, make apparent to the viewer the mechanisms employed in their presentation. Contrary to what might be expected, this enables people to enjoy more purely the act of seeing, as they discover and experience their surroundings. For example, in Your atmospheric colour atlas, 2009, a large gallery is filled with artificially produced fog, imbued with color emanating from fluorescent tubes of red, green and blue. By moving about in the locations where the colors blend, viewers endlessly create their own color spectrum. Eliasson states, “It’s as important as ever to focus on the self-evaluative quality of experience. This may sound naive, but I think you can apply intro-
A B S T R A C T
Experiential art / space
Olafur Elassion One-way colour tunnel, 2007 Site-specific sculpture
James Turrell. Skyspace
Robert Irwin. Slant / Light / Volume
Ta c t i l e / ‘ p h e n o m e n l o g i c a l ’ a r c h i t e c u t r e
Peter Zumthor Brother Klaus Field Chapel, 2007. Wachendorf, Eifel, Germany
Steven Holl Architects, Chapel of St. Ignatius, 1999. Seattle, Washington.
spective and self-evaluative tools to any situation--and this ultimately gives you the opportunity to reposition yourself in society.” An architectural example is Steven Holl’s Chapel of St. Ignatius in Seattle. The ‘Seven Bottles of Light’ are sculptural light cannons coated with complementary colors to reflect different qualities of light. The form is also designed to maximize acoustic effects of the interior. However, there is an incongruity between the interior and exterior experiences of the building.
Tom Kundig, Chicken Point Cabin, Northern Idaho, 2000.
Steven Holl Architects, KIasma Museum of Contemporary Art, 1998. Helsinki, Finland.
While the qualities of light achieved inside are breathtaking and inspiring, the outward appearance of the church seems to be only the byproduct of the light scoops and the idea of the seven bottles. Thus, sensory enhancement must apply to both the interior spatial characteristics and the exterior form in order to relate experiences to the place, instead of it being an introverted realization. It will give an opportunity to reposition self at the place based on physical awareness and connections.
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defamiliarization “Folded space articulates a new relationship between vertical and horizontal, figure and ground, inside and out--all structures articulated by traditional vision.”
Similar to Peter Eisenman’s ideas about folding architecture, defamiliarization uses the hierarchy, structure, scale of space to introduce unanticipated or unfamiliar experiences that breaks pre-conceptions of a space. It challenges the typical experience of space and imagine how they can live differently at the same place. This requires the users to compare and contrast familiar and unfamiliar spaces, which encourages a participation in evaluating their perceptions of a place. The effect is that people will experience the same program in an unexpected scale or quality of space. “Folding is not another subject expressionism, a promiscuity, but rather unfolds in space alongside of its functioning and its meaning in space--it has what might be called an excessive conditions or affect. Folding is a type of affective space which concerns those aspects that are not associated with the effective, that are more than reason, meaning and function.” Zaha Hadid Architects tries to achieve this through parametric space where building components morph into one another, resulting organic and fluid space that contradicts normative spatial experience.
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Hadid describes the Guangzhou Opera House “at the heart of Guangzhou’s cultural sites development, a lasting stateof-art monument to the new millennium overlooking the Pearl River. Its contoured profile, unique twin boulder design and approach promenade enhances urban function, opens access to the riverside and dock areas and creates a new dialogue with the emerging town.” The design evolved from the concepts of a natural landscape and the fascinating interplay between architecture and nature; engaging with the principles of erosion, geology and topography. The Guangzhou Opera House design has been particularly influenced by river valleys – and the way in which they are transformed by erosion. . Fold lines in this landscape define territories and zones within the Opera House, cutting dramatic interior and exterior canyons for circulation, lobbies and cafes, and allowing natural light to penetrate deep into the building. Smooth transitions between disparate elements and different levels continue this landscape analogy. Although gorgeous to look at and it does transform how one perceive its surroundings, it could be justified anywhere else featureless site adjacent to a river. The project is a monument to China’s economic development and to Hadid’s career and yet another formal and representational approach that fail to relate to the local culture. Instead, defamiliarization should reveal and enhance the familiar while introducing unfamiliar situations.
A B S T R A C T
Art challenging perception and representation
Giovanni Battista Piranesi, Prision etchings
M.C. Escher, Relativity, 1958.
Pablo Picasso, Mandolin 1910
The
Picasso: Landscape with Bridge 1909
Formal approach
Zaha Hadid Architects, MAXXI Museum 2009.
Zaha Hadid Architects, Guangzho Opera House, China, 2011.
5TH YEAR THESIS
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exploration
“We did not make a normal one-room space but incorporated patios and topography to organize the program such that each is separated and connected at the same time. The large one-room space undulates up and down creating an open space under the building so that people can walk to the center of the building. This enabled us to make one main entrance at the center of the building.”- SANAA
Compared to the previous strategy, this is a circulation-based strategy striving to produce personal selection on sequence of experiencing a place instead of a strategy based on form and structure. The individual becomes more aware of his/her own needs in space instead of mechanically complying to order and hierarchy. Space is customized through individual experience. In Paul Virilio’s “oblique function,” he tries to steer away from Euclidean forms (i.e. the orthogonal) by creating inclined planes with no vertical separation and a sense of ‘disequilibrium’ so people are constantly restructuring themselves in space, like living in a space of dance. The problem with Virilio’s proposal is that users would be too disoriented to experience the activities within the building. A less extreme built example would be SANAA’s Rolex Learning Center where interior programs are separated by slopes, valleys, and plateaus within the building, instead of physical barriers such as walls. The topography lends an extraordinary fluidity to the building’s flexible open plan – a flow that is emphasized by fourteen voids in the structure, of varying dimensions. These are glazed and create a series of softly rounded external ‘patios’, as the architects describe them. The patios are social spaces and provide a visual link between the inside and the outside. The ‘edgeless’ topography also enables users to have no visual barriers and to travel without defined paths.
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Peter Zumthor also demonstrates the concept of exploration in Thermal Vals where baths are arranged in a non-hierarchal layout. The architect coins the term ‘meander’ for his circulation strategy: “The meander, as we call it, is a designed negative space between the blocks, a space that connects everything as it flows throughout the entire building, creating a peacefully pulsating rhythm. Moving around this space means making discoveries. You are walking as if in the woods. Everyone there is looking for a path of their own.” The issue with the Rolex Learning Center is that although the building enables a path of discovery and blends the relationship between inside and outside, there is no critical position on how the place can influence the inside. This is mainly because the site is located centrally on a flat plain of EPFL (École Polytechnique Fédérale de Lausanne) campus,
.
A B S T R A C T
Circulation
Paul Virilio, Oblique Function in architecture
SANNAA Rolex Learning Center, 2010. Lausanne, Switzerland
Peter Zumthor, Therme Vals, 1996. Graubunden Canton, Switzerland
Blending interior and exterior
Tezuka Architects, Fuji Elementary School, Japan, 2007.
Sou Fijimoto Architects, Final Wooden House, 2008. Kumamoto, Japan.
with few surrounding buildings and connections to the city. Similarly with Peter Zumthor’s Thermal Vals, despite its informal layout with carefully modeled circulation paths that leads bathers to certain predetermined points and lets them explore other areas for themselves, the building is very much internally focused and limited to a specific use.
Junya ishigami, KAIT Workshop, Kanagawa, Japan
Instead, exploratory circulation should be motivated by a desire to discover more about the surroundings, instead of it being a selection of program.
5TH YEAR THESIS
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social negotiation
However, even though this enables multiple ways of perceiving the same place by engagement of a group, it is not controlled by the public.
“According to constructive approaches, the individuals do not only use (or populate) space but also co-construct it and in effect have opportunities to subvert divert it from its pre-conceived bias.” Maria Daskalaki, et. al.,
Social negotiation may be initiated by designing flexible space of user participation. The Wyly Theatre by OMA is an example of flexible space in which the main theatre space can unfold and change into a open auditorium.
“The ‘Parkour Organisation’: The Inhabitation of Corporate Spaces”
This strategy involves physical alteration of space by a group of people which may result in unpredicted observations of the surroundings. In addition, dialogues caused by the shift from normalized conditions of experiencing space can enable varied cultural understandings. According to Cedric Price, “the dialogue involves people with the future and with the intention, even if only for themselves, that the future might be a bit better than the present.” Price’s Fun Palace uses an unenclosed steel structure, fully serviced by travelling gantry cranes the building comprised a ‘kit of parts’: pre-fabricated walls, platforms, floors, stairs, and ceiling modules that could be moved and assembled by the cranes. Virtually every part of the structure was variable. Although this project enables people to freely adjust the program according to their desires, the motivation for people to continuously change configurations diminishes with time. Once people find a familiar way of using the space, they become accustomed to it and will leave it static.
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A B S T R A C T
S
I
T
E
The project is located on Zhongxiao E. Road in Taipei, Taiwan, sharing the same site as Songshan Tobocco Factory. a old Japanese colonial building that is converted into a center for creative industries. The site is unique in that it is mainly an underdeveloped land in the midst of a dense metropolitan area. It is also a node where three districts of Taipei converge: Songshan (famous for service and transportation industries), Daan (known for its cultural and educational facilities), and Xinyi (marked by governmental buildings and expo centers). Given the density and diversity of each district, various types of people coincide and circulate based on time of day, forming temporal relationships of its place. Rhythms and patterns of occupancy emerge to formulate the area’s identity.
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Taipei, Taiwan
The location for the thesis project must have a level of complexity and density to exemplify issues mentioned previously (homogenous space, relic of space, and virtual space) in order to demonstrate strategies for enhancing local perceptions of a place. It should be a place where people are overwhelmed by content and information and become unaware of their surroundings; a place with a strong sense of separation between space, time, and place, causing architecture to have minimal relevance to its context. Large cities were the first of consideration which included New York, Shanghai, San Francisco, and Taipei. These cities are burdened with the mentioned issues but all have a strong desire to include its urban characteristics and cultural identities in its built environment. In Taipei there is a sharp contrast between people’s passion about their cultural identity and their apathy towards the built environment except for major landmarks and historical monuments. Since Taiwan has been colonized by various cultures such as the Portuguese, Dutch, Chinese, and Japanese, it has always struggled to find an independent identity either politically or culturally. Architecture has acted as a vehicle to manifest colonial cultures in Taiwan, for example, Taiwan’s presidential office building was designed in 1910 by a Japanese architect in a Renaissance Baroque style with an east-facing front as a Japanese tradition. . From 1945 to present, after the Japanese colonial period, the government’s focus has been to excel economically so Taiwan can be recogn-
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ized internationally as a developed and independent country. . In the 1950s, Taiwan received foreign aid from the United States and encouraged light industry in markets with strong consumer demand, including textile and food processing. In the 1960s and 70s, Taiwan’s economic bureaucrats signaled the shift toward export-oriented manufacturing. By the 1980s, high-tech and semi-conductor industry became the dominant contributor to its GDP. With the focus on economy, architecture was secondary to industrialization and building typologies either followed western models or it was still built in traditional vernacular forms. Since the 1990s to present, Taiwanese people have developed a strong sense of nationalism because of The Taipei government advocates creativity and cultural events in education and in cultural facilities. However, architecture in Taipei is still designed for vast consumerism where spaces are judged by how well goods and products are accessible to the public. their rapid economic growth and there has been a shift to develop the country culturally with more service-based industries such as tourism. . Moreover, architecture is becoming a way to pronounce cultural identity but recent projects are more representational than integrated with people’s values and lifestyles. The role of place in Taipei’s architecture is either becoming increasingly irrelevant or being symbolically represented without any alteration to people’s spatial experiences.
A B S T R A C T
SITE
Content Overload Taipei streets are bombarded by neon signs,advertisements, billboards, causing architecture to be visually subordinate to information.
Di-Hua Street Di-Hua Street is th
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Taiwanese food culture vs. national identity Experts from The Rise of Culinary Tourism and Its Transformation of Food Cultures: The National Cuisine of Taiwan by Hui-Tun Chuang
Taiwanese-ness currently refers to a national identity in opposition to Chinese identity. Ironically, Taiwanese-ness was never taken into account as a political and cultural characteristic of the nation-state until the late 1990s. Since 1945, when Kuo-Ming Dong (Chinese Nationalist Party) took over control of Taiwan from the Japanese colonial authorities, Taiwan’s colonial experiences were disregarded as merely a history of enslavement that needed to be supplanted by Chinese culture at large. For the Taiwanese, this post-colonial condition served as an endorsement of ‘colonization’ by the Chinese Nationalist Party. The transformation of the Taiwanese people’s political and cultural identity was taken as a priority policy by both the central and local governments, in accordance with the ideology of Chinese Nationalist domination from 1945 to 2000. The relationship between the Taiwanese and Chinese national identities is very ambiguous. Due to the fact that the island’s early settlers came mostly from China during the seventeenth century, China was viewed as ‘the Motherland’. Taiwanese people considered themselves ethnically ‘Chinese’, known as the ethnic Han, especially during Japanese colonization. The affiliation with Chinese culture and ethnicity was even reinforced by the Japanese authorities in order to distinguish the colonizers from the colonized during the early colonial period (Ching 2001: 7). Paradoxically, though this Chinese ethnic affiliation was employed to support opposition and resistance to the Japanese throughout the colonial period, a spirit of Taiwaneseness also emerged as a result of this resistance, and was a source of great debate (Ching 2001). This emerging Taiwanese identity had nearly reached a point of maturity when it was terminated and purposely annihilated by Chinese Nationalist domination (Fleischauer 2007).
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Food’s capacity to act as a symbol has been recognized and highly admired in the Taiwanese post-colonial context, in which people encounter the problem of a floating identity as a result of the previous colonial experiences, the contradiction between Chinese and Taiwanese identities and increasing globalization. Compared to other cultural activities, e.g. the fashion industry, architecture and art, food is playing a relatively prominent role in the representation of Taiwanese national identity. Food production and consumption are strongly associated with both the agricultural economy and the tourism industry, and might not be employed to assert Taiwanese identity without such economic advantages. Like other developing counties, Taiwan faced an economic crisis during the 1980s and 1990s that caused most of its industry to move to South Asia and China. As a consequence, the government started to get involved in economic transformation after a serious political reformation. The transformation of agriculture and the promotion of tourism on a national scale have been pursued as alternatives for resolving the ailing economy and environmental deterioration within the country. The fact that Taiwanese authorities have applied such a win-win strategy for economic development obviously indicates that the social quest for Taiwanese foods is involved in the complex process of politicaleconomic transformation and social re-integration.
A B S T R A C T
Shi-Lin Night Market
The Increasing Visibility of Taiwanese Food Taiwan is unique in the fact that the popular local cuisine could not be commonly found on hotel restaurants’ menus until the current decade. Chinese, Japanese and Western styles of food predominated at such high-end restaurants, while typical Taiwanese foods seemed ostracized to street vendors in marketplaces and low-end restaurants. The classification of foods into high and low cultures is a well-documented phenomenon. The social position of Taiwanese foods is internalized within the limits of economic possibility and impossibilities in the structure of the social space (Bourdieu 1984). In an analogical manner, social space is like a hierarchical showcase in which cultures are displayed in a ranked order. In fact, a glass ceiling was established to keep Taiwanese food in a lower position and even to make it invisible during highlevel national events. By simply breaking the glass ceiling that has been set up by the practice of power relationships, the increasing visibility of Taiwanese food might be made possible.
Culinary Tourism in Taiwan In Taiwan, tourists’ demands for authentic local foods have resulted in a reinterpretation of what native Taiwanese cuisine is or should be. Dishes once considered the everyday nourishment of average working class people have suddenly been given a new elevated status. This reinterpretation process is made possible by the presence of a ‘visitor’ who views everyday objects with novelty. In Veverka’s words, ‘[i] nterpretation is a communication process designed to reveal meanings and relationships of our cultural and natural heritage to the visitors through first-hand experiences with objects. Applying this notion to the Taiwanese case, it is clear that this reinterpretation of the uniqueness of Taiwanese cuisine has created a cultural attraction for tourists. However, one might ask why it is necessary to reinterpret the meanings and values of Taiwanese cuisines, and who is capable of engaging in such an interpretation. The question can be simply answered by observing Taiwan’s social transformation; whereas the ‘old’ Taiwan had an ambiguous relationship with Chinese culture and history, the new Taiwan defines itself as ethnically and culturally distinct from China.
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site intentions
Song Yang Tobocco Factory
Songshan Junior High
Zhongxio Commercial District
Gwang Fu Elementary School
Sun Yat Sen Memorial Hall
integrate local Through activating the land between two major cultural buildings, local events become sources of participation and knowledge.
integrate local Through activating the land between two major cultural buildings, local events become sources of participation and knowledge.
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A B S T R A C T
Song Yang Tobocco Factory Zhongxio Commercial District
Zinyi Commercial District Taipei 101
integrate local
enhance rhythms
solicit interaction
Through activating the land between two major cultural buildings, local events become sources of participation and
By emphasizing temporal programs, individual sched-
The constantly shifting of sequences in the building directs people to notice various parts of its surroundings.
ules merge to become cultural rhythms and identity.
knowledge.
COMMERCIAL DISTRICT
COMMERCIAL DISTRICT
COMMERCIAL DISTRICT
COMMERCIAL DISTRICT
PUBLIC SPACE
PUBLIC SPACE
PUBLIC SPACE
COMMERCIAL DISTRICT
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A B S T R A C T
PROJECT
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Entry Descending from the street to the underground level is the entrance to a supermarket. The user notices that the space in the central spine varies depending on time of day. Facing the street are open spaces for lounging and reading.
01 Lounge for Kitchen Labs
03 Kinetic Circulation Module
Open space with visual connection to the entry staircourt. A space that provides researchers and scientists o immerse self with outside movement.
Space that bridges public/private and service/served programs at different times of the day. In this case, it bridges the cafe space with its kitchenette area in the morning.
03
02
12.00
01
12.00
9.00
02 04 Media Room for culinary research Entrance and Checkout area of the supermarket
04
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Suspended over the main entrance, overlooking Zhongxiao E. Road and Sun Yat Sen Memorial Hall, for people to better understand cultural movements of the area. .
Located adjacent to the metro station entrance, the public can have convinient access to local food and fresh produce.
A B S T R A C T
Circulation The circulation strategy attempts to re-direct the user to view and place emphasis on different parts of the site. At different times of the day, the a path is emphasized according to cultural use of the program.
B1
MRT MRT MRTMRT
MRT MRT MRTMRT
MRT MRT MRTMRT
MRT MRT MRTMRT
01
STREET
STREET
R
LEVEL01
STREET
STREET
02
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Market The central spine opens the underground market to the sky and funnels light into the space. The plan of the market adpots the typology of a combination of a market, restaurant, and food vendors, where the process of preparation is transparent to the customers. This mixed typology transforms the supermarket into a place of exchanging knowledge about local traditions, instead of a pure consumerism container. Also, the center spine provides views of activities of other programs, enforcing visual participation.
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A B S T R A C T
CONSUMER RESEARCH
CULINARY CLASS
SUPPLY EDUCATION
CONSUME
LEARN PREPARE
RESEARCH
SELL
LEARN BUY DISPOSE
LOAD
Research consumer patterns from the disposed products
Teaching the public the process of selecting groceries to making own food.
Educate public about the process of loading food and selling food
TRADITIONAL MARKET
RESTAURANT
DISPOSE
BUY
SELL
CONSUME
PREPARE
LOAD LEARN
RESEARCH
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program intentions
temporal program BAR R OO TD R TE OU EA TH T KE AR
M HT NIG
bays: private and public. On the private
23 24
1
side are offices, kitchen labs, audito-
2
20
19 17 18 16
15
11 12
13
14
E
R
O
ST
IE N VE
S
M
OO
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different sequences of experiences are
research - restaurant - processing - market
specific time 1am vendor 2am vendor 3am vendor 4am process 5am process - market 6am process - market 7am restaurant - process - market 8am restaurant - market 9am restaurant - market 10am restaurant - market 11am restaurant 12pm restaurant 1pm restaurant 2pm research 3pm research - vendor 4pm research - market 5pm restaurant - research- market 6pm restaurant - market 7pm restaurant -market 8pm restaurant - market 9pm market - process 10pm market - process 11pm vendor 12pm vendor
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movement of the circulation module,
emphasized depending time of the day. research - restaurant - process Bellow is possible schedule of emphasis research - restaurant - market according to the specific culture of its research - process - market surrounding users. restaurant - process - market
10
T
IENT
FE SR CA AS CL
N
VEN
9
N
CON
8
O
restaurant, and amphitheater. Based on
students
7
C
working class
6
S
R research - restaurant O N E V research - process research - market restaurant - process restaurant - market process - market D
side is the cafe, retail store, atrium,
MARKET
5
LL
LECTURE HA
seniors
4
MARKET
rium, and food vendors. On the public
3
21
22
The program is organized into two
.
ritual time festivals weekends events seasonal time individual time group time
A B S T R A C T
program layout
ms roo e ss ac a l c sp e c rvi s se lab en h tio c pa kit or o d m t ou roo dia ll e a m eh tur lec
n,
e tch
ki
e ibl
x
fle
e
ac
sp
afe
t, c
n ura
ta res e, ium ac atr sp ea e r c a rvi se ding loa
et
ark
m er
p
su
or ater tdo he ou phit e am ac sp e c rvi se
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program emphasis & sequential experience
5 am
The market space is opened for traditional markets. Circulation module connects loading zone to market.
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9 am
12 pm
Cafe opens when service space is connected. Classrooms are open for morning culinary classes.
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Amphitheater and atrium spaces are connected to outdoor patio space for lunch break.
A B S T R A C T
4pm
Vendor spaces open to outside for afterschool hours and activities for the adjacent elementary school.
6pm
Restaurant space becomes accessible from the market.
10pm
Restaurant space transforms into space for night market.
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Auditorium Located inward of the site, a more secluded area facing Songshan Tobocco Factory, the auditorium serves as a space less affected by the passage of time, a refuge from the street side. The cladding obscures the outside view while providing a filtered ambience for the audiences inside. The lookout spaces contrast the opaque views for awareness of real time.
viewing box Contrasting with the opacity of the main cladding system, these lookout spaces provide clear views of the outside. A conscious awareness of movement and time around the building.
sloped reveal The slight descend from the street level to the inner area of the site reveals the underground market. The reveal increases degree of natural lighting and openness of market. The sunkenned transition also adds a sense of refuge from content overload of the city.
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bay 01
bay 02
Connects served and service spaces to activate program.
Connects public programs to 2nd floor private programs through vertical circulation.
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A B S T R A C T
Kinetic circulation module Aluminum track system
The module acts as a visual indicator of changing sequencees. Through four scenarios of connections, the lighting qualities fluctuate accordingly.
Heavy-duty extruded aluminum I-beam tracks, strong four wheel adjustable hangers with machine turned ball bearing wheels and heavy-duty door guides. 11-16
Channel glass panels Translucent glass panels provides light while veiling and blurring the view
Perforated aluminum screen Round staggered 0.312� x 0.468� holes 40% open area
bay 03
bay 04
Connects private programs to 2nd floor or underground programs.
Connects alternate public and private program spaces
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A B S T R A C T
Vendor space The lower floor serves as a multiuse space for night markets, food vendors, and farmers market depending on seasonal demands. It also serves as the loading zone for commercial use and kitchen labs.
Outside space A break between the kitchen labs and the auditorium occurs to make conscious of the immediate presence
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cladding system The cladding system is composed of channel glass strips, overlayed in an accordian aesthetics to form a gradient effect of light as the user walk across the building.
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A B S T R A C T
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Amphitheater The amphitheater acts as a gathering space and transition from outdoor to indoor programs. It is accessible from the street and Songshan Tobocco Factory. Since it faces the east side, natural phenomena like sunrises are highlighted by the emphasis on scale of the space. In the morning, sunlight washes in as the market opens and vendors set up. The atrium space is also illuminated in the morning before culinary classes begin in adjacent spaces.
considerations of form To enhance the activated spaces and sequences, each program holds a defined box geometry rather than a monotonous form.
atrium The most spacious part of the building that is suspended above the amphitheater. It looks out to remnants of Songshan Tobocco Factory and Xinyi commercial district.
site reveals Four feet offsets of the site reveals the underground market and filters nautral lighting to the space. People from ground level can also catch glimpses of activities in the market through the reveal.
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A B S T R A C T
DRAWINGS
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14 2
15
6
13
12
1 9
8
6
10
5
7 11
4
2
3 1
1 Entrance 2 Checkout 3 Fresh produce 4 Dried goods 5 Serving station 6 Restrooms 7 Serving station 8 Cafe 9 Elevator 10 Outdoor market 11 Office 12 Deli 13 Dried goods 14 Serving station 15 Frozen food
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A B S T R A C T
13
12
7 6
7 6
9
10
7 6 5
7 6 4 3
8
11 2
1
1
1 Entrance/Staircourt 2 Cafe 3 Cafe service space 4 Elevator 5 Circulation module 6 Restrooms 7 Office 8 Retail store 9 Vendor space 10 Amphitheater 11 Storage 12 Restaurant 13 Kitchen
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1
8 section cc
10
11 9 6
7
6
7
11
2 2 12 4
5
3 section bb
2
6
7
2
6
7
11
1
10
section ee
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section aa
section dd
1 Lounge 2 Kitchen Lab 3 Outdoor patio 4 Elevator 5 Circulation module 6 Restrooms 7 Office 8 Auditorium 9 Storage 10 Media Center 11 Classroom 12 Atrium
A B S T R A C T
9.00 12.00 12.00 12.00
12.00
9.00
section aa
12.00
12.00
9.00
section bb
section cc
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section dd
section ee
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section ee
section ee
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A B S T R A C T
m o d e l
3-part section model
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east elevation
west elevation
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entry staircourt
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amphitheater
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auditorium
roof detail
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cladding
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A B S T R A C T
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circulation module
roof detail
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