The Aimless Reader by Lindsay Carlisle

“

aimless reader

......architecture [should be] ready to change parƟally or [when their] main acƟvity will be ‘a conƟnuous driŌing’.

the May 21, 2011

”

Architecture Graduate Thesis:

enƟrely as wanted by its inhabitants, Tjebbe vanTijen

Editor: Lindsay Carlisle

Indeterminate RelaƟonships Between Humans and Space

Urban wandering induces a sense of freedom that leads to new discoveries

Inside

DriŌing throughout the city allows us to be spontaneously free to explore without any determining factors. When we allow our thoughts and acƟons to be inŇuenced by emoƟons, we can release our desires and aspiraƟons upon the city. Within this sense of freedom, we can discover hidden relaƟons within the city.

Browsing or voyeuring? see page 2

Wayfinding with communication technologies encourages ‘switch off ’

see page 8 Blurring the boundaries between inside and outside

see page 3

Breaking habit, routine, & repetition P s y c h o g e o g r a p h y Our everyday experiences can become increasingly dull when we reduce our lives to a rouƟne. Although habitual behavior brings consistency to our everyday acƟviƟes, it disconnects us from the details of our surroundings. While we may be unaware of the transformaƟon, our lives become behavioral scripts or sequences of predictable reacƟons to common situaƟons. These reŇexive responses to the environment are referred to as our conscious automata. People consistently

follow scripts that depend upon memory, resemblance, and familiarity. For instance, we open doors or descend staircases without intenƟonal thoughts concerning our acƟons because we do these things rouƟnely. Our conscious automata saves us from recalling mental instrucƟons for daily tasks. Dr. Manolopoulou from BartleƩ School of Architecture believes that “habit protects us from the plethora of informaƟon that surrounds us and the confusing and indeterminable changes

of our environment by making us inaƩenƟve.” The eīects of us protecƟng ourselves in this way cause us to be, “menaced by a sense of repeƟƟon and boredom. An accident can then act as an anƟdote to this vicious circle to disrupt our rouƟnes with novelty.” Accidents can sƟmulate moments of intensity and disbelief that throw us oī our habitual axes. In these moments, we are less dependent upon our reŇexes as we are forced into a new response.

takes pedestrians off their predictable paths

The pracƟce of psychogeography contains invenƟve strategies for exploring ciƟes. It involves just about anything that takes pedestrians oī of their predictable paths and jolts them in a new awareness of the urban landscape. Psychogeography was deĮned by Guy Debord in 1955 as the “study of precise laws and speciĮc eīects of the geographical environment, consciously organized or not, on the emoƟons and behavior of individuals.” Debord’s intenƟon was to unify the two realms of opposing ambiances (hard and soŌ) that determined the values of the urban landscape. The soŌ ambiances consist of light, sound, and Ɵme while the hard ambiances consist of the actual physical construcƟons within the city.

Storefront explores different ways to promote street activity

conƟnued on page 3

see page 2

“...it is architecture of the moment, indeterminate, vulnerable to accidents, but constructively so; it gains from failures and imperfections, and accepts chance as an essential element of existence” Yeoryia Manolopoulou, “The AcƟve Voice of Architecture: An IntroducƟon to the Idea of Chance

Algorithmic puzzle used to navigate city streets DriŌ Deck, created by Near Future Laboratory, is an algorithmic puzzle game that provides instrucƟons that guide you as you driŌ about the city. Each card contains an object or situaƟon, followed by a simple acƟon. For example, a card might read

of the game is to help enrich our urban experiences by generaƟng random encounters. ParƟcipants are able to appreciate their everyday lives with greater intensity. The moƟvaƟon for DriŌ Deck is from by the SituaƟonist InternaƟonal (SI), a small

“Ugliness. Avoid it noƟceably, gesturing and registering disgust. ConƟnue smartly, making your next possible right. ” The acƟon on each card is meant to be performed when the object is seen, or when you come across the described situaƟon. Another card might read, “Uh oh…An awkward moment. Pause and take a photograph. The intenƟon

internaƟonal group of poliƟcal and arƟsƟc acƟvists. They were acƟve in Europe through the 1960s while they aspired to major social and poliƟcal transformaƟons. Guy Debord, one of the major Įgures in SituaƟonist InternaƟonal,

developed the “Theory of Derive”. In a derive, which translates ‘driŌer’, one or more persons may drop their relaƟons, work, or leisure acƟviƟes, and let their moƟves

for movement be drawn by the aƩracƟons of the terrain and the encounters they many Įnd.

see DÉRIVE, page 7

Letter from the editor The Aimless Reader is a newspaper designed and wriƩen by Lindsay Carlisle, MArch, a graduate of Louisiana Tech University. It was published by The Ruston Daily Reader. The newspaper is an architectural thesis document on “Indeterminate RelaƟons Between Humans and Space”. The content includes extensive thesis research, indepth anaylsis, and project design & development. The purpose of this newspaper is to introduce quesƟons about how we inhabit, socialize, and move within publics spaces. carlislelk@msn.com

the aimless reader

Storefront explores different ways to promote street activity

The bookstore design playfully engages with the sidewalk through its porous streeƞront. These series of sketches illustrate diīerent ways to encourage pedestrians to engage with the building. The site exists on a street corner in downtown AusƟn, TX. where a bus stop is located. This locaƟon has a high concentraƟon of pedestrian traĸc where vendors could be staƟoned. Therefore, the building’s street presence is integrated within the urban fabric, creaƟng opportuniƟes to design urban furniture. Intead of imposing itself upon the streetscape, the bookstore oīers a design that shares a reciprocal relaƟonship with the sidewalk and

street corner. This allows the building to become the backdrop for pedestrian acƟvity and social engagement. The design creates a collecƟon of urban furniture: newsstand, vending spaces, and seaƟng areas for the bus stop. It provides a freefor-all situaƟon for many public acƟviƟes to

social occur.

see INSERT

Browsing or voyeuring? Bookstores are public places where voyeurisƟc opportuniƟes oŌen present themselves. Architecture plays a signiĮcant role in fostering these situaƟons by strategically organizing unoccupied space. There are diīerent design elements such as the texture, materiality, and lighƟng of a space that makes it more vulnerable to the public eye. The inviƟng atmosphere in a bookstore oŌen oīers a false sense of security through their seemingly private spaces. In reality, the design of a bookstore includes spaces for books and their admirers to be on display. It is easy to get caught up in the act of voyeurism when there are unexpected encounters that lead you away from your focus. Put why someone would want to be a voyeur here. Bookshelves can be used as framing devices to help focus aƩenƟon on someone. As people browse the bookshelves, they become just as visible as the books on display. zlarly, someone looking through the contents of a book is less aware of their surroundings and may be placed in a vulnerable situaƟon where they have unknowingly become the object of a voyeur’s gaze. The books on the shelves help veil the voyeur as he peers through the voids between the books. The Įgures below demonstrate unique ways bookstores can promote voyeurisƟc endeavors.

Figure 1 illustrates a pair of kineƟc bookshelves that move up and down through a counterweight system. The design oīers a dynamic use of architectural space that creates opportuniƟes for social engagement between the users. These bookshelves can adjust according to the user’s needs by accessing books at diīerent verƟcal levels. As the bookshelves are moved up and down, certain views across the space become exposed while others are obstructed. A void within the bookshelves at eye level forces strangers to make eye contact as they browse. All of these design elements help create unpredictable encounters in which people can engage with one another. Figure 1 illustrates a pair of kineƟc bookshelves that move up and down through a counterweight

*For the purposes of this arƟcle and in the context of architecture, a voyeur is someone who enjoys viewing others from a secret posiƟon.

Figure 2 illustrates a set of inhabitable bookshelves that act as private reading pods. These pods are only accessible through discovery because the doorway is hidden behind the books along the shelf. The locaƟon of the doorway is revealed when a small amount of books are removed. When the private reading pod is occupied, the user is exposed to a small glimpse of the adjacent public space. the bookshelves at eye level that encourages voyeurisƟc acƟviƟes. When someone is caught in the act of voyeurism, the voyee is able to move the bookshelves to obstruct the view from the voyeur.

Figure 3 illustrates a long book wall that oīers views into an adjacent space. The wall is made of a series of cubes that hold individual book displays. When one of the books is removed, a viewport into the adjacent space is revealed. This opening acts as a lens that focuses ones aƩenƟon on a speciĮc subject.

Sidewalk camera creates Newspaper distribution bar uses conveyer belt to voyeur gaze inside building Cafe encourage readers and increase sales

the aimless reader

Indeterminate Mapping of the Common “they inhabit space through the points, lines, stains and impressions, through the material and symbioƟc marks leŌ in the landscape. These traces could be understood as a Įrst grasp of what is common, as a Įrst tool to size and consƟtute resources for a constantly moving and changing community.”

“Constant New Babylon”, SituaƟonist InternaƟonal

Cf. Francesco Careri, “Walkscapes: Walking as an AestheƟc PracƟc (Barcelona: Ed. Gustavo Gili, 2002)

“the very act of walking, which rather than a simple movement represents ‘a way of being in the world’” M. de Certeau, The PracƟce of Everday Life (Berkeley: University of California Press, 1984), pg 97

“To walk is to be in search of a proper place. It is a process of being indeĮntely absent and looking for a proper.” M. de Certeau, The PracƟce of Everday Life (Berkeley: University of California Press, 1984), pg 97

Psychogeography helps us reconnect with our surroundings Guy Debord was a part of the SituaƟonist InternaƟonal (SI), which was a small internaƟonal group from Euroupe who aspired to major social and poliƟcal transformaƟons in the 1960’s. The SituaƟonist, Surrealists and other groups who explored socio-urban pracƟces are considered the great “walkers and wanderers” in history. The SituaƟonist were well known for their psychogeography maps that illustrated traced courses and driŌs made throughout various

ciƟes. They studied and created mapping that related the psyche and body to a place or space. They were interested in unique and random experiences as they driŌed on aimless strolls. A contemporary follower of psychogeography pracƟces stated, “to remedy this consumerist inŇuence we need to rediscover needs that directly Ɵe us to reality by reinvesƟng natural desires into places where we consider the arƟĮcial relaƟonship between the social and the personal to

be unsustainable-between the visible and the emoƟonal…” We need to consider what characterisƟcs we value within our ciƟes, and how we feel connected to them. Aimlessly walking through a city can help us reconnect with the social and poliƟcal Ɵes within the urban environment. The image to the right is an example of the psychogeography guide of Paris. Diīerent areas that have been experienced by dérives have been cut up into

“Constant New Babylon”, SituaƟonist InternaƟonal

Guy Debord: The Naked City Psychogeography guide to Paris

disƟncƟve zones of passage. The large arrows indicate the most frequent used crossings between islands of urban aƩracƟons, which are unrelated to Ňows of vehicular traĸc. The two maps on the far right are from a SituaƟonist’s project called “Constant New Babylon,” where diīerent atmospheric uniƟes that were traveled are pieced together to map out the driŌing path.

Path + node relationships Blurring

the

boundaries

between inside and outside

“...mapped the lines

that they traced on their walks and throughout their everyday life acƟviƟes, discovering that there were Įxed points where their movements concentrated, where they stopped and lingered, where all lines they followed intersected.”

The most dramaƟc change of environment we experience architecturally is the transiƟon from outside to inside. Much tension is created between these two spaces because of the extreme change in scale, temperature, and lighƟng. Peter Zumthor describes this transiƟon as “an incredible sense of place, an unbelievable feeling of concentraƟon. We suddenly become aware of being enclosed, of something enveloping us, keeping us together, [and] holding us.” Crossing the threshold from outside to inside brings the sudden feeling of being conĮned. Some thresholds oīer a slow transiƟon while others may seem abrupt and insensiƟve to the surroundings. Buildings that create an inbetween space, a place where the boundaries between outside and inside are blurred, have an eīecƟve way of easing people into this transiƟon.

An example of successful blurred boundaries is shown in the Storefront for Art & Architecture project by architect Steven Holl and arƟst Vito Acconci. The project replaced an exisƟng storefront façade with a series of twelve panels that pivot horizontally and verƟcally, opening the enƟre length of the gallery space directly onto the street. The panels can be placed in diīerent conĮguraƟons, allowing various façade possibiliƟes. These panels create an interacƟve façade with an ever-changing exterior. The Livraria da Vila Bookstore in Portugal is another

interesƟng work of burred boundaries. The entrance to the bookstore exists between Įve display cases that pivot verƟcally to open up the space onto the sidewalk. The design of these display cases allows the building’s appearance to transform whenever it is opened or closed. An interesƟng façade that blurs boundaries invites pedestrians to enter and makes their transiƟon from outside to inside more comfortable and adventurous.

Zumthor, Peter. Atmospheres. Basel, Switzerland: Birkhäuser, 2006.

Livraria da Vila Bookstore

Deluze and GuaƩari, A Thousand Plateaus (London: ConƟnuum, 1987).

Psychography map “DriŌing Courses”, SituaƟonist InternaƟonal

Storefront for Art & Architecture, Vito Acconci & Stven Holl

the aimless reader

Mapping of the

wandering

Einsteinâ&#x20AC;&#x2122;s Dreams offers innovative concepts of time

Gordon Matta-Clark

Body house by Monolab

Projects reveals small glimpes inside/outside building

Performance piece makes public space private

the aimless reader

path around Austin’s city streets

Spatial relationships:

“

…induce a sense of freedom of movement, a milieu for strolling, a mood that had less to do with directing people than seducing them.

”

Peter Zumthor, Atmospheres

“

…there is also the gentler art of seduction, of getting people to let go, to saunter, and that lies within the powers of an architect.

”

Peter Zumthor, Atmospheres

Places of staying & places of going Throughout the process of space planning, the relationship between path and program was closely examined. This relationship determined how the space was going to be laid out and organized; exploring diﬀerent ways they could form around each other. The movements create between program and path creates a dialogue between solid and void spaces. These three diagrams illustrate design solutions where the program (solid) became places of staying, while the path (void) was places of going. see SCHEME_02, page 6

program placed scattered in space for path to form around

program formed along path

program branches off of path

the aimless reader

newsstand

the aimless reader

Urban intervention:

Pedestrian sidewalk takes detour inside building

scheme_02

This series of sketches explores diīerent ways to encourage pedestrians to driŌ inside the building. The design is made to transform the building’s locaƟon into a passageway that reduces the concentraƟon of the pedestrian traĸc of AusƟn’s sidewalks. These sketches are derived from the idea that the building would become a short cut or passage-way that absorbs pedestrian traĸc on the sidewalk corner. It is an urban intervenƟon that takes advantage of the corner site by drawing pedestrians inside from two diīerent direcƟons.

level __00

The paths begin to create an inner-route that transiƟons into a conƟnuous loop, decepƟvely leading people inside. This bookstore is not designed to facilitate the needs of someone who knows what they’re looking for, but rather for the passerby that accidentally stumbles upon it. ArƟst and architect Vito Acconci talks about the idea of the passerby, where he wants to aƩract people who were not intenƟonally coming to view art. The concept of merging the interior and exterior circulaƟons is where this can occur. see SCHEME_01, page 8

“

...architecture which speaks about space not being contained by walls but made of paths, routes, and relationships.

Newspaper

Collection of street signs:

”

Cf. Francesco Careri, Walkscapes: Walking as An AestheƟc PracƟce (Barcelona: Ed. Gustavo Gili, 2002.)

level __01

see WAYFINDING, page 8

the aimless reader

movement analysis This analysis explored diīerent paƩerns of movement and the inŇuences they have on our spaƟal environments. All of the movements selected illustrate a spirit of discovery, which captures the traces of searching, browsing, and exploring. These traces or paƩerns reveal hidden moƟvaƟon, curiosity, and desire. The purpose of this analysis was to determine how these paƩerns can begin to inform the spaƟal layout of an interior space. Within this, we can create a seducƟve spaƟal experience that allows indeterminacy to become an essenƟal design tool. The exercise included parƟcipaƟon from selected classmates, in which were asked to sketch on top of 6 selected images. They each analyzed these images without knowing the objecƟve of the exercise. The exercise resulted in a diverse collecƟon of diagrams that revealed overlapping relaƟonships and reoccurring paƩerns within the images.

[search] to look at or examine (a person, object, etc.) carefully in order to Įnd something concealed

[quest] in

order

[driŌ]

search Įnd

or or

pursuit made obtain something:

a driving movement or impulse; impetus; pressure.

force;

[deviate] to turn aside, or swerve, as from a route, course of acƟon, or acceptable norm. [browse] to look through or glance at casually or randomly [explore] to look into closely; invesƟgate; examine [wander] to go aimlessly, indirectly, or casually; meander without a deĮnite purpose or objecƟve [veer]

change

course

direcƟon

[scan] to peer out at or observe repeatedly or sweepingly [gaze] to look steadily and intently, as with great

curiosity,

[follow]

interest, go

pleasure, in

or pursuit

wonder. of

[lead] to guide in direcƟon, course, acƟon, opinion

Theory of Dérive

Toranto Psychogeography Society, DriŌing Map

Labyrinths & Mazes Labyrinths and mazes are two typologies of movement that are contained within abstract designs. Each elaborate design is formed around a predetermined path. These two typologies present diīerent psychological experiences for the parƟcipant. A maze is a network of interconnecƟng routes. It may contain mulƟple branches and dead ends, specially designed to confuse the occupant. Mazes are more of a challenge in that they oīer a choice of paths, mulƟcursal, forcing the parƟcipant to navigate through to the end. (See Įgure 1) A labyrinth is a monocursal path which may twist and turn, but oīers no alternaƟve detours. Its route will remain constant and ulƟmately reach a desƟnaƟon. Labyrinths do not oīer amusement by navigaƟon, but by their creaƟve

designs. Mazes and Labyrinths present opportuniƟes for one to loiter throughout space, avoiding the monotony of a simple corridor. (see Įgure 2) The experience of walking through these spaces involves solving a spaƟal puzzle. The users must acƟvely observe the space as they navigate throughout. Their routes are guided by the mental map that is constantly being created along the journey. Diīerent characterisƟcs within the space can be disƟnguished as reference points that help mark a change in course. These characterisƟcs inŇuence the way we move throughout the space depending upon the Ɵme of day and how the light hits the Ňoor, drawing you near the illuminated space. The path of a maze or labyrinth is slowly revealed in small increments, creaƟng

The pracƟce of dérive, which translates ‘driŌ ’ or ‘driŌer’, is a technique of rapid passage through varied ambiences. It is a way to explore the psychological eīects of the city. In Guy Debord’s essay “Theory of the Dérive” he states, “Dérives involve playful-construcƟve behavior and awareness of psychogeographical eīects, and are thus quite diīerent from the classic noƟons of journey or stroll.” Dérive is considered to be one of the most successful ways to escape from mass commodity and consumerist moods. Dérives would let impulse, desire, and curiosity drive their driŌing paths. Guy Debord states in his essay “Theory of Derive”, “In a dérive one or more persons during a

certain period drop their relaƟons, their work and leisure acƟviƟes, and all their other usual moƟves for movement and acƟon, and let themselves be drawn by the aƩracƟons of the terrain and the encounters they Įnd there...” For example, gated communiƟes, barricades, boundaries, territories, easements or segregaƟng walls set up a playground for derives to navigate through or around. The path a dérive oŌen takes involves both Įxed points of aƩracƟon and unpredictable impulses. Along their ‘driŌ ’, they may be passionately pursuing towards something speciĮc and then gradually veer oī onto alternaƟve routes without realizaƟon.

a fragmented understanding of the space. This promotes curiosity within the experience while the user does not know ‘what’s around the corner’. Each of these curious encounters has a diīerent psychological eīect on the user’s behavior. By examining the spaƟal relationships w i t h i n these two typologies, we are able to see how the space was inhabited and inŇuences that encouraged m o v e m e n t . The Sonsbeek Pavilion by architect Van Eyck is described as ‘labyrinth clarity’. The pavilion is designed to display sculptures, where architecture becomes the backdrop for art. While walking through the space, your aƩenƟon switches back

and forth between art and architecture. It is described as an ‘in-between space’, between architecture and the art. Is space celebrates the relaƟonship between parallels and circles, and between constricƟon and expansion. Sam Mc Elhinney, a student from BartleƩ School of Architecture, did a study called ‘The Switching L a b y r i n t h ’, where he a n a l yze d how labyrinths and mazes could transform from one to another. He built a full scale maze to study the way the space parƟcipants reacted to the space. He observed how parƟcipants walk through, use, and familiarize themselves with the internal spaces of buildings.

the labyrinth stairs

Debord, Guy. “Theory of Derive”

Mc Ehinney, Sam. “Labyrinths, Mazes, and Spaces In-between”

“Constant New Babylon”, SituaƟonist InternaƟonal

movement typologies from “Labyrinths, Mazes, and Spaces In-between”, SamMcEhinney

“Constant New Babylon”, SituaƟonist InternaƟonal

the aimless reader Wayfinding with communication technologies encourages ‘switch off’

s c h e m e__0 1

We understand our spaƟal environment based upon our percepƟon of its physical form and appearance. Through this understanding, we are able to orient ourselves within physical space and navigate from place to place, which is the pracƟce of “wayĮnding”. Katharine Willis deĮnes the pracƟce by staƟng, “A wayĮnding situaƟon is an enacted pracƟce, framed by a rich mix of social factors, where an individual seeks to make sense of local informaƟon guided by a background of experience in order to move and act in a spaƟal seƫng.”

We generally rely on signs and symbols to direct us from place to place. However, signs and symbols are not restricted to vehicular traĸc. Pedestrians also use these navigaƟonal tools within their basic visual understanding of the city. We use our knowledge of “landmarks, familiar places, open viewports, and closed spaces” 1. to navigate and deĮne our places. A visual understanding helps us conĮgure our mental maps, guiding us around urban spaces. The emergence of communicaƟonal technology has aīected our knowledge and

percepƟon of urban spaces. Katharine Willis’ synopsis from Bauhaus University examined the case of wireless networking and its eīect on our spaƟal knowledge, referring to the research as “WayĮnding SituaƟons.” Willis did a series of empirical studies that invesƟgated how individuals perceive urban environments between the applicaƟon of paper maps, mobile maps, and wireless technologies. The Įrst study between maps and mobile maps showed that individuals who used mobile maps had poor spaƟal knowledge of their environment. The mobile map users were unable to provide accurate orientaƟon or route distance esƟmates. The mobile map users developed only a limited knowledge of their spaƟal environment while the paper map users understood the framework of their spaƟal seƫng. Mobile guides focus the navigator merely on the speciĮed route from point A to point B. However, paper maps force the navigator to concentrate, plan, and understand the context of their area in order to discover the most eĸcient route. Using

paper maps requires more energy because “commiƫng informaƟon to memory, or learning, is itself an eīorƞul task requires conscious aƩenƟon.” 1 A mobile map is quite the opposite of commiƫng something to memory in that it “encourages someone to ‘switch oī ’, and to become a passive

receiver of informaƟon.” 1 The purpose of the second study was to show the use of mobile and wireless technology in urban environments. The study invesƟgated WiFi usage and its eīect on our spaƟal behavior. The execuƟon of this invesƟgaƟon included three phrases. During Phase 1, the

percepƟon of the presence of a wireless node in an urban public space was explored. In Phase 2, the ability to locate the wireless network in public space was tested. Finally, Phase 3 examined the eīects of the locaƟon of public wireless nodes had on human behavior. The results show that people are aƩracted to wireless networks based on spaƟal behavior rather than visual percepƟons. The density paƩerns of the wireless networks had connecƟons with the spaƟal structure of the environment. Such connecƟons are not visible because wireless nodes only exist within the framework of the mind. In conclusion, Willis’ study reveals that communicaƟon technologies distract us from our physical environments to the point that we are unaware of our surroundings. We respond to our environments diīerently when our experiences are mediated by technology. As a result, our percepƟons of urban environments have been distorted and our mental maps reduced to a fragment of their capacity. Willis, Katharine. “WayĮnding SituaƟons”. Bauhaus University of Weimar, Ph. D Thesis.