Transient Seam by Charlotta Chan

Modular Pathway | 2020-21 | ESALA DESIGN REPORT | ISLAND TERRITORIES VI | GRAND CENTRAL TERMINAL

Transient Seam Charlotta Chan

Forward Transient Seam inhabits forms an adjacency to Grand Central Terminal, providing a place of sanctuary amidst the intense flows of Manhattan. The island metropolis operates at speed, driven by the urgency and efficiency of commerce. Intensified by the current pandemic, New Yorkers are ever more in need for a space of solace in the city, an escape from the crowd. Responding to the social context by offering a series of intimate spaces, of pause and reflection, linked and bridged together by a vertical perambulation that leads to an enclosed garden. The architecture of Transient Seam is, itself an outcome bridging and wandering. Manhattan seems to be as real in fiction as it is in reality. Grand Central, like a chimera, holds numerous identities and so the project was drawn out of a survey that sought to blur readings - both measured and experienced. In doing so, Grand Central was interrogated through a form of cartographic perambulation through which an architecture of connections and bridging has emerged. Nestled within a perforated husk is a curation of spaces that cater to different acts of sanctuary, each offering a different purpose and feeling. They are moments of tranquility deep within the bustling city. The architecture is a journey through these spaces that bridges from the energy of the concourse below to the calm of the garden above.

Contents Spacing-out

Listening

110-127

84-109

Distraction

60-83

Breathing

36-59

Embedding

08-35

Glossary of Terms

06-07

Introduction

04-05

Forward

Retreating

128-135

References

136-137

Legends on each page indicate which part of the architecture we are currently on.

In this place on every page are annotations, reflections, quotes or thoughts that respond to the architecture or working met

Introduction Acting as a guide book, this report follows the journey of the architecture. Beginning with being on the streets of Manhattan, embarking on a vertical perambulation through the architecture, reaching a rooftop garden and finally leaving the building returning to the city of Manhattan. The architecture is about curating spaces that provides a safe environment for escaping the reality of the city life. This report is divided into six acts of sanctuary as they appear along the journey. As the report moves through the journey, various elements of the working of the thesis are revealed. Elements that make up the work ranges from a variety of scales, medium and method of work.

thod. A way of reflecting and jotting notes along the way through the journey.

Glossary of terms

General Terms

Chimera

new-Chimera

Filter

Traditionally defined as an imaginary monster compounded of incongruous parts. Here it is understood as reference to the Grand Central Terminal.

The alternative landscape of Grand Central Terminal which exists in a parallel fictional universe. The outcome of collaborating four plane tables together.

Layer of substance which selectively absorbs information is introduced to remove unwanted material. A process done to alter the outcome from the original.

Storm

Chamber

Island metropolis

A violent disturbance of the atmosphere. The phenomenon that signifies change or displacement.

Private room, often associated with the bedroom. Here it refers to a space designed for the accommodation of just a few people.

A very large and busy city existing in the form of an island. Here it refers to the island of Manhattan.

Device

Field

Sanctuary

A thing made or adapted for a particular purpose. Usually existing in the form of an object, here it may refer to a set of protocols laid down to accomplish a specific outcome.

Large area of open land, typically bounded by hedges or a fence. Or a large territory bounded at the edges by water, also known as an island.

A place of refuge safe from pursuit. A place in the city safe from the pursuit of urgency and efficiency in the daily life.

Plane Table

Parterre

Acts of sanctuary

A surveying instrument used for direct plotting in the field. The key element of the plane table is the ability to survey immediately on site. May also refer to a set of protocols.

The immediate landscape adjacent to the architecture, its neighbouring environment.

Actions or activities that fosters the sense of a safe place within the bustling city life.

Island

Survey

Commonly known as a piece of land surrounded by water. Can also be something that resembles the isolated and surrounding nature of an ‘island’.

The act of looking closely as if to examine, analyze some aspect of a view, a group of people, or a space.

Acts of Sanctuary Connecting

Breathing

Anticipating

To make contact and form relationships with other people. To engage in dialogues and conversations with each other.

A moment to pause to allow for rest after exertion. A coffee break.

Looking forward to upcoming events and activities.

Animating

Observing

Retiring

Giving movement and life to a character. To bring active action back into the life of a dull city dweller.

Watching the activities in the terminal unfold carefully and attentively whilst focusing on nothing else.

Withdrawing to and from a particular place. To go to sleep.

Focusing

Retreating

Listening

Shifting the attention point to one of another nature. The intense concentration of something else provides an escape to the urged city life.

Taking a step backwards to a quiet or secluded place. Embracing the change in atmospheric and spatial quality.

Giving all attention to the sound of falling water and the whole auditory experience. Also to make an effort to hear something.

Withdrawing

Spacing-out

Distracting

Escaping the reality of the city by focusing on the parallel universe that exists in the form of literary.

To lay back and stare at the clouds in the sky float by without a single thought in mind. Also to look out and embracing the observations made.

Diversion of attention from the bustling city to good food in the dining hall. Also the perplex and bewilder nature of the new-Chimera.

Embedding Implanting so that it becomes ingrained within the particular context of Grand Central Terminal and the island of Manhattan.

Act of sanctuary:

Embedding Embed (v.) /ɪmˈbɛd, ɛmˈbɛd/ Fix (an object) firmly and deeply in a surrounding mass. The first act of sanctuary encountered in the journey through the Transient Seam is the act of embedding. An action to allow yourself to be embraced by another environment and surrounding. The idea of stepping backwards into the embrace of something else. Transient Seam is embedded deep within the urban fabric of the island of Manhattan, between the architecture of the Grand Central Terminal and the MetLife Building. This section of the report looks into the surrounding island situation that the architecture is embedded within, from the scale of the island of Manhattan to the zoomed in scale of the architecture that is tucked away within Grand Central Terminal. To understand the want and desire for an escape away from the bustling city of New York.

Aerial view of Manhattan with Grand Central Terminal and MetLife Building in focus (Google Earth)

Having personally grown up in a city environment, there have certainly been moments when it would have been nice if ther

Island Metropolis More often mistakenly identified as a Peninsula, the city of Manhattan is an island of its own, surrounded by the Hudson, East and Harlem Rivers.1 As one of the world’s most fore-running commercial, financial and cultural hubs, the island is always bustling with endless activities to do. The vibrant energy runs through day and night, and the intensity of it makes New Yorkers want to find a place of escape in the midst of it all. Aerial view of Manhattan Island (Google Earth)

1. “Manhattan | History, Map, Population, & Points of Interest.” 2019. In Encyclopedia Britannica. https://www.britannica.com/place/Manhattan-New-York-City.

re was a hidden spot in the city away from the sound and lights of always having to be quick and efficient. Just a spot where it is okay to pause and slow down.

Aerial photograph of Paley Park. 1

One of the reasons as to why Paley Park is so successful as an urban escape is its simplicity. The fact that the “function” of th

People taking a break in Paley Park. 2

Paley Park Iconic waterwall of the park.

In the midst of Midtown Manhattan is what is known to be the original “vest pocket park”.1 The park was initially designed as a prototype for a new kind of privately-owned public space.2 Paley Park is surrounded on three sides and only opens up on one side to E 53rd Street, a relatively busy street with traffic and pedestrian. True to being a pocket park, the park only occupies approximately an area of 390sqm.3 The park was designed with the intention of mitigating the noise from the city and to create a peaceful environment in the middle of the city.4 At the far end of the park is a 6m tall waterwall which produces white noise, while the low canopy of the seventeen honey locust trees acts as both a sound barrier and a sun shading device.

A section of the Berlin Wall was once displayed in the park. 4

1. “Paley Park | the Cultural Landscape Foundation.” n.d. Tclf.org. Accessed May 3, 2021. https://tclf.org/ landscapes/paley-park. 2. “Paley Park | Parks.” 2015. Www.pps.org. July 22, 2015. https://www.pps.org/places/paley-park. 3. “Paley Park.” 2020. Wikipedia. November 28, 2020. https://en.wikipedia.org/wiki/Paley_Park#cite_noteGreatSpaces-3. 4. “Paley Park | Parks.” 2015. Www.pps.org. July 22, 2015. https://www.pps.org/places/paley-park

he park is essentially only to sit, rest, talk, eat, meet, read...etc. For example, one of the activities encouraged is to sit, but a cafe isn’t designed into the architecture.

Paley Park The park is enclosed by a set of iron gates as well as set back and elevated from the street by a few steps at the entrance. The trees are planted according to a grid within the central seating area. Dense English Ivy covers the two side walls, creating two green walls sandwiching the waterwall in the middle.1 In the granite paved central seating area are sets of movable mesh chairs and marble tables. This was part of the architect and clients’ intention to give park users the flexibility in choosing how to arrange the space.2 The well balanced design between the quiet and secluded atmospheric quality and the easily accessible spatial quality proves a success as the park is heavily used and well loved by the city’s dwellers. Axonometric drawing of Paley Park. 5 1. “Paley Park | the Cultural Landscape Foundation.” n.d. Tclf.org. Accessed May 3, 2021. https://tclf.org/landscapes/paley-park. 2. “Paley Park | Parks.” 2015. Www.pps.org. July 22, 2015. https://www.pps. org/places/paley-park.

Natural elements like water and trees aren’t introduced for the sole purpose of aesthetics. Each element of the design adds

s to both the spatial quality as well as enhances the atmospheric experience.

Section and plan drawing of Paley Park. 6

Parterre Grand Central Terminal in itself is embedded within the island metropolis of Manhattan. As the grid of Manhattan develops over the years into high towers and sky scrapers, the terminal has slowly been engulfed by the urban landscape as it remains in its original height since it was built in 1913. Surrounding the terminal are the buildings Grand Hyatt New York, Graybar Building, MetLife Building, One Grand Central Place, Pershing Square Building, and the recently completed One Vanderbilt which comes in at a towering 427m.1

1. “One Vanderbilt.” 2021. Wikipedia. April 28, 2021. https://en.wikipedia. org/wiki/One_Vanderbilt.

Grand Central Terminal also seems like an island territory of its own when looking at the architecture in context of the city. T

The fact that the building appears to be only ‘flat’ building amongst a vast sea of ‘tall and thin’ structures.

Looking at Grand Central Terminal and Pan Am Building from Park Ave in the 1970s. 7

Interestingly enough, both Grand Central Terminal and the Pan Am Building served the purpose of departure and arrival to

Pan Am Building (1963) Built directly over the railroad tracks on Park Ave, the building was a result of the New York Central Railroad taking advantage of a new legal concept of leasing the “air rights” above Grand Central Terminal.1 The building was the headquarters for Pan American World Airways - a fitting point in history as it symbolized the declining reliance on train transportation with air travel taking over.2 By 1981, the building had been sold to the Metropolitan Life Insurance Company, where we now refer to the building as the MetLife Building.

NY Airways helicopter taking off the heliport at the top of Pan Am Building in early 1970s. 8

1. “Air Rights: PanAm Bldg.” n.d. Www.panam.org. Accessed May 6, 2021. https:// www.panam.org/the-jet-age/370-air-rights-the-pan-am-building-2. 2. Ibid.

o the city. Entering New York City right in the depths of it, to come out of the terminal or Pan Am Building to find yourself already deep in the middle of the city.

Tucked away between two highly efficient buildings asks for Transient Seam to be the intermediate break of space between Building.

Parterre As much as Grand Central Terminal is embedded into the city, Transient Seam is embedded between the terminal and the MetLife Building. The architecture is sandwiched between two buildings that speak to speed and efficiency. The terminal is a space of urgency and accuracy as travelers rush to buy tickets to then dash to different platforms to board trains. Whilst the MetLife Building (now known as 200 Park Avenue), being a commercial building, is chasing efficiency round the clock.

n the two. The journey goes from a busy, noisy terminal, through a moment of peace at Transient Seam, and having recharged to go back into the commercial world within the MetLife

Island (n.): Something resembling a tract of land surrounded by water, especially in its isolated or surrounded position. // S

Sanctuary (n.): a place of refuge and protection.

Island of Sanctuary

North-South Section 0m

10m

The intention of Transient Seam is to provide the city dwellers of New York City the opportunity to take a break from the bustling city life. Wedging the architecture between two buildings of a hectic nature creates a stark contrast amongst the buildings. It almost seems like Transient Seam itself is a lone island of sanctuary embedded deep within the city.

20m

There is something special about the feeling of discovering a hidden gem in the city that just becomes your go-to safe spac

W 42nd Street The journey to Transient Seam begins on W 42nd Street, outside the train terminal. Whilst standing on the streets, city dwellers are unable to see the architecture that is sandwiched between the two buildings. The hidden element of the architecture protects the idea of it being an escape from the urban cityscape. The architecture becomes one of those ‘known secrets’ to city dwellers who just want a space where they can forget about the busy city life.

ce. The idea of Transient Seam is that it will become the spot to go to when city dwellers need a break from their daily life.

Main Concourse, Grand Central Terminal The Main Concourse of the terminal is one of the most iconic landmarks of New York City, if not the most iconic place in the city. In order to not disrupt the space of the concourse, the architecture is embedded and encased within the space between the columns on the balcony of the concourse. The architecture slightly protrudes into the terminal, teasing what else it has to offer.

There isn’t an extraordinary entrance to the architecture that is highly celebrated, instead the entrances are faded into the b

background of the terminal - a welcoming but not a ‘in-your-face’ entrance.

Folded and tucked away Only a very small portion of the architecture extends into the terminal. The set of stairs that lead to the entrance of the architecture is also folded and tucked away into the space of the balcony in the main concourse. Until you walk past the balcony, the stairs remain hidden from sight. The act of finding the way to embark on the stairs itself is an act of embedding (i) in itself. (i) Refer to the Glossary of Terms

The stairs almost acts like an appetizer to the architecture that awaits further into the journey. The unapparent entrance to

o the architecture seems more appealing to those who are finding a quiet and secluded space.

Stairs bridging the terminal Bridging Grand Central and Transient Seam is a set of folding staircase lodged within the columns of the terminal. Contrary to the vibrant open space below, the stairs offers a place of rest and shelter tailored to human scale. Designed moments for pausing introduces a rare opportunity for distancing yourself from the energy below. The winding of the stairs encourages a slower pace of movement amongst the ever-efficient city. Along the stairs are opportunities for a pause where a wooden husk with steel backbones wrapping up and over the seat. At the edge of the stairs is a bench with pivoting wooden tables encouraging the act of survey (i) whilst overlooking the vivid activity in the Main Concourse below.

(i) Refer to the Glossary of Terms

Husk (n). something that encloses another thing especially to protect it.

Moments of rest For the stairs to be embedded within the space above the balcony of the Main Concourse allows for an opportunity to look over the terminal from a discreet perspective Elevated and behind the massive stone-clad columns, allows for a moment of solidarity slightly distanced from the intense activity happening below. The stairs curates a moment for the act of retreat (i) as city dwellers are given an opportunity to take a step back away from the terminal and the city whilst still being in the same space being able to look over and down.

(i) Refer to the Glossary of Terms

In additional to physically bridging the terminal with the architecture, the stairs are also an intermediate space between th

he two in terms of the level of retreat. The stairs are a form of retreat yet the terminal and familiarity of the city is still within sight.

View the stairs in isolation from the terminal further accentuates the feeling of ‘island’ that the architecture has. A piece of a

architecture isolated in its own world of tranquility, distant from the commotion in the concourse below.

Folding A moment of isolation up upon the folding stairs that bridges the terminal and the architecture. A space of intermediacy where happenings of tranquility and rest can take place while the energy of the bustling terminal below exists in parallel. Winding and folding of the stairs means a longer journey is needed before reaching a certain point. It is an invitation for people to realize the need to slow down and take some time to wander, in contrast to the speed walking that happens in the city. The narrow width of the stairs means that the space is not curated for large groups of people for talk and discussion. Small conversations and dialogues of one to two people are encouraged with the design of long benches, but gathering of groups people will mean blocking the entire width of the stairs.

Act of sanctuary:

Breathing Breathe (v.) / ˈbrēth / to pause and rest before continuing; to feel free of restraint. Following the start of the journey from Grand Central Terminal, the next point of encounter in the architecture is a space for the act of breathing. A space curated specifically for the act of taking a break having just left the world of the terminal before continuing the journey through the architecture. This space is an extension of concept from the architecture of the Chamber, a set of stairs and walkways curated precisely with the sole function of facilitating a moment of pause. This section of the report dives into the architecture of the Chamber and the cafe of Transient Seam as spaces intended for the act of breathing. The Chamber is presented in drawings of architectural and material detail.

Vestibule (n.): the entrance room of a building.

Vestibule Acting as the vestibule to the architecture, the cafe/bar is the lobby to the architecture. Bridged from the garden for observing, this is the first space that is no longer embedded within the terminal. It serves the purpose of creating a breather of a space having left the terminal and the city life behind. It is an opportunity to take a seat and pause after having come up from the winding stairs. On the way passing over the bridge is a curtain of water falling along the side of the cubic form of the vestibule. The water flows from the top of the building down to the pools in the level below.

Cafe and Bar This space is designed with the intention to offer a space to pause and take a breath, having just left the world of urgency and efficiency. Cafe by day, the aromatic element of the space plays a key role in the making of the atmospheric quality of a breather space. The smell of coffee is an invitation to the wanderers to grab a cup of coffee and to sit down and take a break. Bar by night, the scale of the space curates the feeling of a warm embrace moments away from the city. With the space only large enough to accommodate small parties, the space encourages intimate interactions as opposed to loud and lively parties. The interior materiality is mostly concrete and wood. Elements that come into contact with the human touch is lined with wood, giving a more warm feeling to the touch rather than the cold and rough concrete.

In-built into the walls are carved out caves that function as shelves for the cafe and bar. Behind the seats are also nooks ca

arved out from the wall as a space to put down the coffee.

Chamber In the midst of the new-Chimera landscape (i), the Chamber (ii) is a move that seeks to bridge and connect fragments. The Chamber is a series of walkways that float lightly on the new topography. In the ever busy train terminal, the Chamber is an opportunity to give permission for people to stop, sit and dwell, or just to stare into space and let their imagination flow. However, the new-Chimera landscape exists in a fictional world parallel to the reality where Grand Central Terminal exists. So where does the journey end up? The Chamber remains developed to a point where an architectural speculation can be further developed and realized in the future. Through beginning to manipulate elements of the new-Chimera, opportunities begin to arise for explorations in spatial material language in the future.

(i) (ii) Refer to Glossary of Terms

Where does the journey end up? There needs to be a destination at the end of the stairs and walkways. How does that man

nifest itself into the architecture in question? How does the fictional new-Chimera merge with the reality of Grand Central Terminal?

Collecting Fragments The process of zooming into the model of the new-Chimera landscape to collect fragments that become the base for the Chamber to develop onto.

A different way of working amidst the pandemic. Collaboration and models occur in the world of online discussions and com

mputer models.

The set of stairs and walkways connect all the fragmented blocks in the model but does not reach a destination or final spa

ace.

Bridging fragments The Chamber is developed by adopting fragments of the landscape as stepping stones that forms the base of the journey - structurally and spatially. Assuming the newChimera landscape is of a solid materiality, the Chamber is a series of lightweight structures that are carefully placed to curate a journey through this new topography.

Fictional vs Reality With the new-Chimera landscape in absence, potential for spatial development is emerging. Through an array of a single element for 1m in both x and y direction, a series of habitable space becomes evident. This development for a habitable space is a deviation from relying solely on the given elements of the new-Chimera. Through isolating the Chamber, the potential for merging the fictional world of the new-Chimera and the reality of Grand Central Terminal becomes apparent. To adapt the idea of creating spaces curated for the purpose of rest and dwell.

The final architecture does not exist entirely to the form of the originally proposed grid structure, but the concept of curating

g intimate spaces for the use of rest and escaping the bustling terminal remains.

Micro-architecture The Chamber is designed as a micro-architecture that sits within the expansive new-Chimera landscape. Only seeking to host parties of one or two at a time, the chamber offers a place of rest and shelter from the noise and movement of the busy Grand Central Terminal.

Plan and axonometric

The chamber is designed that sits within the expan landscape. Only seeking t two at a time, the chambe and shelter from the nois busy Grand Central Term

The Chamber served as the base idea for developing the thesis through to the end. The idea to provide a safe place of tranq

d as a micro-architecture nsive new-Chimera to host parties of one or er offers a place of rest se and movement of the minal.

quility as a means of retreat.

Moment of quiet Designed to only accommodate one to two people at a time, the chamber provides a rare moment of quietness in the train terminal. Rarely in public transportation hubs are there spaces that allow for solitary - or just a moment to think.

Similar to Paley Park, a good space for escape does not necessarily need a multitude of various functions. The only ‘functio

on’ of the Chamber is a place to sit.

The shape and space created by the husk gives off a the quality of being in an embrace. The three sides wrapped around is

s also apparent in Paley Park, where it is greatly successful in creating a seemingly secluded space.

Shelter In addition to providing an environmental shelter against noise and movement, adopting the fragments of the new-Chimera has provided opportunity for the chamber to provide shelter from sunlight as well. The language of the husk is an architectural language that continues to drive the thesis forward.

The idea of being to able to enjoy a moment of quiet whilst in the same room of the terminal allows for city dwellers a trans

sitional space between a highly noisy environment to a completely secluded and quiet one.

Nook of serenity A perspective view of the chamber in relation to the new-Chimera territory. The chamber serves as a nook of serenity amongst the almost chaotic new-Chimera landscape and Grand Central Terminal. Isolation of the Chamber floating above the terminal below allows dwellers to enjoy the moment of quiet and serenity whilst still sharing the same space as the energized terminal below.

Materiality Materiality of the chamber is based on drawing from the existing Grand Central Terminal as a material quarry. In order to keep the structure lightweight, the main structure will be steel, where as all the other surfaces where touchable will be wood. Taking into account the possible dynamic temperature fluctuations, wood as a surface to touch and sit on will be more skin-friendly.

It was important that the architecture blended in with the terminal to a certain extent. It is not a building with a function tha

at needs to be calling for attention through the design.

Act of sanctuary:

Distraction Distract (v.) / ˈdis·tract, di-ˈstrakt / To draw or direct (something, such as someone’s attention) to a different object or in different directions // insane, mad Arriving at the space for the act of distraction is the dining room in the architecture of the Transient Seam. To some, an act of sanctuary is to have an opportunity to be able to focus on something else for the time being. The dining room acts as a diversion of attention from the bustling city to putting the attention on good food during the span of a meal time. The act of distraction also means of insanity and madness, much like the perplex and bewilder nature of the new-Chimera landscape which exists in a parallel universe of fiction. This section of the report dissects and puts forth the working method behind the new-Chimera landscape. It is the act of merging of the new-Chimera landscape and the reality of Grand Central Terminal that is the backbone which drove the architecture to its current form. The process that led to the creation of the new-Chimera is the filter that this thesis has been looked and scrutinized through. For this section, please allow yourself to be distracted by the bizarre nature of the new-Chimera.

Dining Room Connecting from the cafe/bar is a dining room. The space is designed to offer a place of sanctuary in the form of distraction, as the act of dining takes place, to momentarily escape the world of the terminal adjacent. To some people a space of sanctuary may be of a place where they can take their minds off something and redirect that attention onto something else. To focus on a different experience - a certain type of cuisine, for example - diverts the mind from the tiring city life to attend to the meal for a short amount of time.

The idea is to take into account that different people have different wants and needs when it comes to an act of sanctuary.

Whilst some prefer to be in isolation and quiet, others may be looking for activities that will allow them to escape their fast-paced lives for a while.

Photographic quarry Using Richard Sandler’s photograph of a reflected Grand Central Terminal as a quarry of information of the Chimera - a moment frozen in 1982. The photograph seems to be taken off of the reflection of a ticket booth in the terminal, revealing a series of findings that tells the tale of what the terminal was like in the 1980s. From the Kodak advertisement in the background, the Newsweek clock frozen at 3:50, to the frown on the face of an impatient man seemingly waiting to purchase a ticket, and the fascination with hats. Photographer: Richard Sandler in 1982. 9

This part of the work adopted the working method of looking through the Chimera through a specific set of lens, the above

photograph. Through focusing in on one single image, the Chimera is examined through a very unique perspective that has never been seen before.

Reflection Given the current pandemic situation and not being able to visit the terminal in person, the photograph is put into a hypothesis that it is a moment frozen inside a single ticket booth window. As travelers walk by the ticket booth, the glass reflection of the booth will distort and deflect the photograph in unforeseeable ways.

Still from animation illustrating the reflections of the photograph.

Due to the fact that it was not possible for a survey to take place with a plane table on site at Grand Central Terminal, the p

plane table has taken the form of a set of drawing protocols instead of a physical instrument.

Surveying To simulate what would have been captured on the site of the ticket booth in the terminal, a set of drawing protocols have taken the place of on-site surveying. Sandler’s photograph is translated into a drawing through a drawing process of projection tracing. Instead of people moving, the projector perched on some books are tilted and turned, while the angle of the drawing table is adjusted as well. This resulted in a single drawing with multiple reflections of the same photograph.

(Left) Stills taken from a video recording the drawing and tracing process. (Above) Simulation of the drawing process taking place in the bedroom with a projector and drawing board.

Traced drawing

Survey results The outcome of the survey is a drawing with the photograph traced over multiple times at different angles of the projector and drawing board. In order to proceed with a digitized method of working in this year, the drawing was re-drawn over on the computer to produce a digital version of the survey results.

There could have been a better marriage of working in the analogue world and the digital world instead of just re-drawing

g over the hand traced drawing in a computer software.

Digitalized drawing

Plane Table The final plane table drawing is a collaborative drawing with three other students all working with Grand Central Terminal as the Chimera in focus. Each of us had a completely independent object of survey and process of surveying. These four drawings are now the filter in which we examine the terminal through. Combining the drawings together produces a final drawing which is the combined filter of four different surveys.

Collaborative work with: Hersch Reddy, Yunning Zhang, Chenjie Qian

Although all four starting points are different when conducting the individual surveys, we had a shared point of reference w

which was the ticket booth of Grand Central Terminal. Having an anchor point allows us to put together a drawing regardless of scale and orientation.

A collision of the plane table drawing and the new-Chimera landscape.

Collaborative work with: Hersch Reddy, Yunning Zhang, Chenjie Qian

The working method has been back and forth between individual and collaborative. Individually we conduct our own surve individual work again.

new-Chimera Landscape The new-Chimera Landscape is the alternative landscape territory that exists in a fictional universe in place of Grand Central Terminal. It is the outcome of putting the previous Plane Table Drawing through the process of extrusion. The elements in the drawing are extruded and made into three-dimensional objects sized in relation to the single ticket booth. Given the fact that we are currently heavily reliant on the use of computer models to collaborate between countries. Extruding the drawing into a thee-dimensional computer model allows the four of us to use this model as the new landscape where the Chambers are situated.

ey of Grand Central Terminal using different methods, but came together to produce a Plane Table Drawing and new-Chimera Landscape which we all work off of, but diverge into

Collaborative work with: Hersch Reddy, Yunning Zhang, Chenjie Qian

Like how Sandler’s photograph became the sole quarry of information for the survey, the new-Chimera landscape has beco

ome the mine for the Chamber to manifest in.

new-Chimera Landscape The new-Chimera Landscape is the base as to where the Chamber is to be situated. This landscape is a version of Grand Central Terminal through the filters of four different Plane Table surveys.

Collecting fragments Cutting sections through the new-Chimera landscape model reveals solids and voids that become opportunities for the intervention of the Chamber. The floating pieces of solids and the void spaces carried between forms become the fragments that act as the base foundation for the Chamber.

The main working method is to scrutinize the new-Chimera landscape model at immense detail through zooming into the m

model and cutting section planes through the model.

Chamber in situ The Chamber is situated deep within the new-Chimera landscape which exists as an overlay to the reality of Manhattan. An overlay of the map of Manhattan with the new-Chimera landscape begins to reveal the bizarre collision of the two worlds.

Working with the new-Chimera landscape in isolation with the Chamber makes it easy to forget that the new-Chimera land

dscape exists in relation to Grand Central Terminal and the terminal in relation to Manhattan. Overlaying the two anchors the architecture back to the parterre of Manhattan.

A sectional cut through the new-Chimera landscape reveals the weird and chaotic nature of the alternative landscape of Gr

rand Central Terminal.

Chamber in situ A section through the new-Chimera landscape reveals the Chamber in situ to its site and neighbouring landscape.

Act of sanctuary:

Listening Listen (v.) / lis·ten, ˈli-sᵊn/ To pay attention to sound, to hear something with thoughtful attention : give consideration Continuing up the journey of the architecture brings you to the exterior garden with falling water. The space is curated as an opportunity to be in touch with nature as the sounds of falling water act as white noise to distract from the city. Being sandwiched between solid volumes, the garden offers a covered exterior space where the senses are heighten with the contact of nature. Perhaps sat down here is the perfect opportunity to listen about the eccentric history behind the terminal. This section of the report unveils the peculiar programmatic layers that have taken place in Grand Central Terminal in the past. To understand the meaning behind Grand Central Terminal as a Chimera, one that has endless secrets and myths behind the stone facades.

Falling Water An exterior garden is inserted between blocks of solid in the architecture. The switch from being indoors offers a change in spatial and atmospheric quality. Being outdoors offers the opportunity to open up the auditory senses as noise is brought into the space. Visual, auditory and kinetic senses are heightened as a sheet of falling water acts as the facade. A balustrade at the end of the slab is designed as an object to catch the water as it cascades down from the outdoor garden on the roof. The sound of water falling acts as a sheet of white noise surrounding the outdoor area. It also creates a visual barrier between the space and the terminal which is located in very close proximity. The space is curated to be one where it is encouraged to simply sit around and enjoy the elements of nature whilst being in the middle of the city.

The idea is that the sound of falling water is the main source for auditory experience without fully drowning out sounds from

m the city and to still be able to listen to the sounds of New York City in the distant.

Grand Central Art Galleries

CBS Studios/Tennis Court

Sectional view of Grand Central Terminal, 1939. Letter G identifies the location of the Grand Central Art Galleries. 10

Chimera In addition to being a point of arrival and departure, Grand Central Terminal has also always been a place of destination in itself. As one of the most coveted public square of the city, it has gone through multiple iterations of itself to arrive at the terminal we see today. Whilst the term Chimera often refers to the creation of a creature made up of various parts (i), Grand Central Terminal is aptly identified as a Chimera, the station is made up of a variety of spaces and functions jammed together under the same shell. The terminal is a quarry of information and hidden secrets in itself waiting to be scrutinized and investigated. A section of the station drawn in different periods of time reveals the complex nature of the terminal housing a range of activities across multiple levels, with some spaces clearly well hidden from the Main Concourse. (i) Refer to the Glossary of Terms

Understanding the architecture of the terminal was a really difficult task because of all the hidden spaces that aren’t docum

Illustration of the section of Grand Central Terminal today 11

mented on general building plans. Changes in levels both above and underground were also complex when trying to read the building.

Opening exhibition catalogue of The Grand Central Art Galleries in 1923. 12

Grand Central Art Galleries (1922 - 1958) During 1922-1958, the terminal was home to the Grand Central Art Galleries, and for a short period of time the Grand Central School of Art on the seventh floor as well.1 It was planned that the galleries will take up the floor space of around 1300sqm, enabling large scale artwork and murals to be put on displayed.2

1. “Grand by Design.” n.d. Www.gcthistory.com. Accessed May 5, 2021. https://www.gcthistory.com/. 2. Young, Michelle. 2019. “The Lost Grand Central School of Art, as Featured in the Masterpiece.” Untapped New York. November 4, 2019. https://untappedcities.com/2019/11/04/the-lost-grand-centralschool-of-art-as-featured-in-the-masterpiece/.

Looking backwards, it actually makes sense for a train station to house an art gallery. In a way it provides activity for travele own, a town square almost.

The Grand Central Art Galleries and School of Art in 1923. 13

The Grand Central Art Galleries and School of Art in 1923. 14

ers to do whilst they are waiting for their train. It also strengthens the identity of the terminal being something more than just the average train terminal. It is a place of destination on its

Studio 41 control room with light grid hangers being installed. 15

Although it seems logical to have the production studios at a space near the transmitting facilities at the Chrysler building, below. The absurdity of the situation is exactly why the terminal is a chimera of its own.

CBS Studios (1937 - 1964) In 1937, CBS made the decision to lease the space on the third floor of the terminal above the Waiting Room below. The space was 40 feet (12m) high, 230 feet (70m) long and 60 feet (18m) wide. Two live production studios (Studios 41 and 42), two studio control rooms (Studios 43 and 44), a dressing room and some engineering space where fitted into the area.1 One of the reason for choosing the terminal was that it was in close proximity to the experimental W2XAB television transmitter at the top of the Chrysler Building which is just a block away.2 By installing a direct coaxial cable that runs out of the terminal, under the streets and up along the Chrysler’s lift shaft, they were able to reach the transmitter and antennae.3 Studio 42 end with another set of small offices that will be torn out to construct the control room. 16

1. Generation.com, Eyes Of A. 2014. “Inside CBS Studios 41 and 42...Grand Central Terminal, Then and Now.” Eyes of a Generation...Television’s Living History. October 24, 2014. https://eyesofageneration.com/inside-cbs-studios-41-and-42-grandcentral-terminal-then-and-now-in-novembe/. 2. Wirth, Richard. 2019. “CBS and New York’s Grand Central Terminal by Richard Wirth - ProVideo Coalition.” Provideocoalition by Filmtools. August 10, 2019. https:// www.provideocoalition.com/cbs-and-new-yorks-grand-central-terminal/. 3. Ibid.

it seems almost surreal that programs are being filmed, produced and broadcast just a few stories above where thousands of travelers transit in and out of the city just few meters

Inside CBS Studios 41. 17

To think that production studios need specifically built facilities, CBS were able to inhabit a space above the terminal and tr

ransform it into their broadcasting stations.

Inside CBS Studios 42. 18

Grand Central Theater in the 1930s. 19

Looking at how many airports have cinemas, to have a theater/cinema in the terminal in the 1930s seemed like great forwa

Grand Central Theater flyers. 20

Grand Central Theater (1937 - 1964) Since May 3rd, 1937, a small scale Art Moderne-Style newsreel theater operated near Track 17 for three decades.1 The theater mainly showed short films suitable for commuters, like news reels, documentaries and cartoons. It housed approximately 242 seats and had a standing-room section at the back of the room.2 Today, in place of the theater is a wine shop where the ceiling mural of the former theater lobby has been restored.3

Inside the Grand Central Theater. 21

ard thinking as an activity for commuters to spend their time while waiting.

1. Krefft, Bryan. n.d. “Grand Central Theatre in New York, NY - Cinema Treasures.” Edited by Philip Goldberg. Cinematreasures.org. Accessed May 5, 2021. http:// cinematreasures.org/theaters/3766. 2. Paul, Rebecca. 2019. “Did You Know There Was a Movie Theatre in Grand Central for 30 Years?” 6sqft. December 9, 2019. https://www.6sqft.com/did-you-know-therewas-a-movie-theatre-in-grand-central-for-30-years/. 3. Ibid.

This space overlooks Park Ave above the main entrance of the terminal. Looking at the building from W 42nd Street, you wo

Photograph of what used to be the CBS Studios 41 and 42 stripped and ready to become the Vanderbilt Tennis Club 22

ould never be able to guess that there was a hidden space above which housed such a range of programs over the years.

Indoor Ski Slopes at Grand Central in 1967. 23

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Up until this point, there is pretty much no other activity or program that cannot happen in the terminal.

Vanderbilt Tennis Club. 24

Tennis at the terminal (1966 - today) Playing tennis at the terminal existed since 1966 when a Hungarian immigrant took over the CBS Studio space to put in a 65-foot astroturf ski slope and two tennis courts which established the Vanderbilt Athletic Club.1 After the club no longer existed in 1984, Donald Trump took over the lease to put in a new exclusive tennis and fitness club for the rich and famous.2 By 2009 the space was handed back over to the terminal and in 2011 the Vanderbilt Tennis Club moved in as a tennis facility for the public.3

Vanderbilt Tennis Club. 25 1. “About Us – Vanderbilt Tennis.” n.d. Vanderbilt Tennis Club. Accessed May 5, 2021. https://vanderbilttennisclub.com/about/. 2. “Vanderbilt Tennis Club.” n.d. Atlas Obscura. Accessed May 5, 2021. https://www. atlasobscura.com/places/vanderbilt-tennis-club. 3. Xu, Susan. 2017. “A Look at the Hidden Tennis Courts of Grand Central Terminal, Once Leased by Trump.” Untapped New York. February 9, 2017. https:// untappedcities.com/2017/02/09/a-look-at-the-hidden-tennis-courts-of-grandcentral-terminal-once-leased-by-trump/.

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New York Construction News, February 18, 1908. 26

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Grand Central Racquetball Club Model. 27

There seem to be so many extraordinary plans and ideas revolving around the terminal that nothing seems like an idea tha

Racquetball Courts (1980s) According to news reports of the 1980s, there have been plans to rework a 10,000sqft loft up on the East Wing of the terminal into a five-court Racquetball complex. The remodeling involves change for both interior work as well as structural work. The plan was to raise a cross beam to 20 feet in order for the necessary clear height when playing racquetball. This meant that the existing structure will be exposed and celebrated, there will also be a unprecedented view of what used to be the Pan Am Building.1 Grand Central Racquetball Club Plan & Axonometric Drawing. 28

at is too bizarre. Everything seems like a feasible plan when it came down to Grand Central Terminal.

1. Philip Tusa Projects. n.d. “Grand Central Racquetball Club – Philip Tusa Projects.” Philip Tusa Projects. Accessed May 5, 2021. http://philiptusa.com/grand-centralclub/.

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Unbuilt Dreams In the mid-20th century when reliance on train travel diminished, there were sounds questioning the necessity of Grand Central Terminal, especially when the Pan Am Building landed in its current plot in 1963.1 Given that the terminal has always been built with the intention of holding up a 22 storey neo-Renaissance building,2 in 1975, architect Marcel Breuer came forward with the proposal of building a skyscraper taller than the then Pan Am Building. With precedent of the demolishing of Penn Station, the U.S. Supreme Court ruled out the proposal in spirit of the Landmarks Law.3

175 Park Avenue I, Transverse Section. 29

1. Serratore, Angela. 2019. “The Preservation Battle of Grand Central.” Smithsonian Magazine. June 28, 2019. https://www.smithsonianmag.com/history/preservationbattle-grand-central-180969446/. 2. The New York Preservation Archive Project. n.d. “Grand Central Terminal.” The New York Preservation Archive Project. Accessed May 5, 2021. https://www.nypap. org/preservation-history/grand-central-terminal/. 3.Serratore, Angela. 2019. “The Preservation Battle of Grand Central.” Smithsonian Magazine. June 28, 2019. https://www.smithsonianmag.com/history/preservationbattle-grand-central-180969446/.

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There are numerous unrealized plans and proposals put forth over the years involving Grand Central Terminal, which gives boundaries of what the future of the metropolis holds” (Lubell 2017).

Perspective Rendering, View at Ground Level. 30

Perspective Rendering, View from Southwest Corner, Elevated Point. 31

s us a sneak peek into “what New York City might have been”. Looking at the most wild and outrageous proposals only “encourages us to think beyond the present tense and push the

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atrium assembly space : [connecting] gym : [animating]

workspaces : [focusing]

library : [withdrawing]

cafe / bar : [breathing] seats overlooking the main concourse : [observing]

water feature garden : [retreating]

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Perhaps sub-consciously influenced by the infinite possibilities of activities that could happen in Grand Central Terminal, th

[spacing out] : rooftop garden

[anticipating] : cafe & reception

[retiring] : sleep rooms [listening] : exterior garden with falling water

[distracting] : dining room

[embedding] : stairs from the Main Concourse balcony

Acts of Sanctuary (i) The architecture presents itself as a journey through bridging and wandering. A series of spaces are curated along the journey to foster various acts of sanctuary. As there is no single definition as to what is the best means of escaping the urban life, different people will turn to different activities as their form of sanctuary. The journey takes you through the building vertically, starting from the Main Concourse, from extracting the energy from the concourse below to reach a calm environment in the rooftop garden. Each space carries a different energy catering to different [acts of sanctuary]. (i) Refer to Glossary of Terms

Escalators from the Main Concourse

here should also be a range of spaces with different functions and atmospheric qualities that cater to a range of different people.

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Wander (v.): to walk or move around in an aimless or leisurely way. To be able to walk around with no rules dictating the wa

Acts of Sanctuary The section reveals the range of spaces that are designed and curated in order to foster a different spatial and atmospheric quality that serves a different act of sanctuary. In addition to the vertical perambulation through the architecture, the spaces are also linked and bridged horizontally to encourage the act of wandering and walking.

ay is a form of sanctuary which allows you to forget about the things on your mind and let your mind wander as you physically walk around as well.

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Act of sanctuary:

Spacing-out Space-out (v.) /ˈspās - ˈau̇t/ To become inattentive, distracted, or mentally remote. At the destination of the vertical perambulation is the arrival at the rooftop garden. A space to designed for the act of spacing-out. There is an unexplainable peace and tranquility that comes with being able to stare out into space and letting the thoughts float away. Working with architectural detailing, the roof garden is curated precisely to facilitate lying back and staring at the sky. Drawing full circle, the starting point of this thesis also began with the act of spacing out and observations through registration of the current storm we are in. This section of the report reveals the details of the architecture hidden on the roof garden which facilitates the act of spacing out as well as how the realities of working in isolation has manifested into the beginnings of this thesis. The Storm Register displays the various working methods that have taken place in front of a desk in the bedroom.

Spacing out Arriving at the highest point in the architecture is an outdoor garden curated to facilitate a moment of spacing out. Being at the top of the architecture means an uninterrupted view of the sky and clouds. The space is designed with benches that recline at an angle to encourage people to lie back to allow for a moment where you zone out whilst looking at the sky. Behind the benches is a waterwall that brings in elements of nature as well as introduce a sensory and auditory experience to the space. The sound of the water generates a white noise which drowns out sounds of the city, allowing for a tranquil corner in Manhattan.

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In Chinese there is a specific term (發呆), which precisely describes the act of staring blanking into space and letting the tho

oughts in your mind drift away as you zone out to forget about your worries.

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Framing the sky The space is curated as an intimate space in the bustling city which offers a moment for tranquility and serenity. Benches are designed to recline at an angle which coincides with the height of the garden wall to frame a view of the sky and clouds. The overhang of the perforated husk along with the height of the edge wall block off other elements in view allowing for a view that is only sky and cloud. Framing the sky removes any distraction and trace of the city when you are lying there zoning out. Water from the waterwall behind the benches continues vertically back down the architecture. It falls through onto the balustrade of the exterior garden and ultimately into the pools at the very bottom. The water is then pumped back up through mechanical pumps hidden within the perforated husk. This space is an invitation to be in touch with the exterior environment and to be able to just sit, stare and perhaps let the imagination run.

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There is something calming and tranquil about being able to stare at the sky and watch the clouds move with nothing else

e in sight. It allows your mind to drift away and forget about whatever was a worry.

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The water will run as a looped cycle as it flows down the waterwall through to the exterior garden, down the wall of the 1/F

F Cafe and into the pools where it will then be taken back up to the top again.

Falling water With the piping and mechanical systems running up the void of the perforated husk. Water is drawn up from the pool of water on the lowest level. The water fills up the waterfall blade at the top of the waterwall and runs down behind and under the raised concrete deck to overflow onto the edge of the slab where the water then runs down and along the architecture to eventually reach the bottom pool again.

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Detail model of the rooftop garden

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Detail computer modelling as a working process reveals the architectural detailings that will enhance and facilitate the spa

ace as a moment of spacing out.

Detail model of the rooftop garden

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View outside my dining room

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The reality of the pandemic has greatly affected the method of working as well as the perspective of observations. The way

Register Beginning the process of this thesis amidst the current situation of a pandemic has led to making observations while confined to the current living space. Sitting and staring outside the living room window whilst the rare pedestrians walk by highlights the storm of the current situation. Confined and unable to make communication to the external world. Wondering about the unknown stories that each individual who enters the window frame carries and how it will always remain a stranger.

(Above) The set-up for registering the storm outside the window. (Right) Stills from the registered film

y of working has been largely confined to the house and working around the restrictions of having limited access to space.

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We are less afraid to be drowned than thou art. GONZALO

.I ENECS esion suoutsepmet a :aes ta pihs a nO .draeh gninthgil dna rednuht fo A plague upon this howling! they are louder than the weather or our office.

Yet again! what do you here? Shall we give o’er and drown? Have you a mind to sink?

niawstaoB a dna retsaM a retnE retsaM !niawstaoB niawstaoB ?reehc tahw :retsam ,ereH retsaM ,yleray ,t'ot llaf :sreniram eht ot kaeps ,dooG .ritseb ,ritseb :dnuorga sevlesruo nur ew ro tixE sreniraM retnE niawstaoB !straeh ym ,ylreehc ,ylreehc !straeh ym ,hgieH eht ot dneT .liaspot eht ni ekaT !eray ,eray ,dniw yht tsrub uoht llit ,wolB .eltsihw s'retsam !hguone moor fi

The washing of ten tides! GONZALO He’ll be hang’d yet,

Though every drop of water swear against it And gape at widest to glut him.

A confused noise within: ‘Mercy on us!’-- ‘We split, we split!’--’Farewell, my wife and children!’-- ‘Farewell, brother!’-’We split, we split, we split!’

Let’s all sink with the king. SEBASTIAN Let’s take leave of him.

Exeunt ANTONIO and SEBASTIAN

”

srehto dna ,OLAZNOG ,DNANIDREF ,OINOTNA ,NAITSABES ,OSNOLA retnE

I’ll warrant him for drowning; though the ship were no stronger than a nutshell and as leaky as an unstanched wench. Boatswain Lay her a-hold, a-hold! set her two courses off to sea again; lay her off.

Mariners All lost! to prayers, to prayers! all lost! Boatswain What, must our mouths be cold? GONZALO The king and prince at prayers! let’s assist them, For our case is as theirs. SEBASTIAN I’m out of patience. ANTONIO We are merely cheated of our lives by drunkards:

This wide-chapp’d rascal--would thou mightst lie drowning

OLAZNOG eh sknihtem :wollef siht morf trofmoc taerg evah I si noixelpmoc sih ;mih nopu kram gninword on htah sih ot ,etaF doog ,tsaf dnatS .swollag tcefrep ,elbac ruo ynitsed sih fo epor eht ekam :gnignah ton eb eh fI .egatnavda elttil htod nwo ruo rof .elbaresim si esac ruo ,degnah eb ot nrob tnuexE

ANTONIO

ACT I

Re-enter SEBASTIAN, ANTONIO, and GONZALO

SEBASTIAN A pox o’ your throat, you bawling, blasphemous, incharitable dog! Boatswain Work you then. ANTONIO Hang, cur! hang, you whoreson, insolent noisemaker!

OSNOLA ?retsam eht s'erehW .erac evah ,niawstaob dooG .nem eht yalP niawstaoB .woleb peek ,won yarp I OINOTNA ?niawstaob ,retsam eht si erehW The Tempest - William Shakespeare niawstaoB SCENE I. On a ship at sea: a tempestuous ruoy peek noise :ruobal ruo ram uoY ?mih raeh ton uoy oD of thunder and lightning heard. .mrots eht tsissa od uoy :snibac OLAZNOG .tneitap eb ,doog ,yaN niawstaoB sreraor eseht serac tahW !ecneH .si aes eht nehW .ton su elbuort !ecnelis :nibac oT ?gnik fo eman eht rof OLAZNOG .draoba tsah uoht mohw rebmemer tey ,dooG niawstaoB a era uoY .flesym naht evol erom I taht enoN ot stnemele eseht dnammoc nac uoy fi ;rollesnuoc lliw ew ,tneserp eht fo ecaep eht krow dna ,ecnelis uoy fi :ytirohtua ruoy esu ;erom epor a dnah ton ekam dna ,gnol os devil evah uoy sknaht evig ,tonnac fo ecnahcsim eht rof nibac ruoy ni ydaer flesruoy tuO !straeh doog ,ylreehC .pah os ti fi ,ruoh eht tixE.yas I ,yaw ruo fo

A cry within

Enter Mariners wet

We are currently situated in the midst of a storm that exists in the form of a pandemic. A series of events that have disturbed 122

Boatswain Down with the topmast! yare! lower, lower! Bring her to try with main-course.

“

Storm (i) A more literal interpretation of a storm. Both meteorologically and literally. The Tempest by Shakespeare is the epitome of a figurative storm in literature. Act I Scene I of the play is set in the center of a raging storm, painting the scene and mood for the story to come. It is a storm in relation to the changes of weather and water, but also a storm as a literary device where this change is the root of all happenings to come in the play. (i) Refer to Glossary of Terms

d the known peace and caused rippling effects

The realities of working in the home space during the pandemic

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Colliding worlds The storm of The Tempest and the storm of the pandemic meet through the process of tracing and cutting. Moments from the video recording pass-byers outside the window are cross referenced with the characters of Act I Scene I. Silhouettes of the people that pass by the window are cut out and order in sequence of appearance.

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Experimenting with the use of translucent tracing paper and printing with a home inkjet printer to create light filters that wi

ill cast shadows of the characters.

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Stills from the video merging the fictional world with the real.

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Contrary to initial expectations, a device is not necessarily a tangible piece of instrument or equipment but rather a drawing

g process.

Device The device registers the coming together of a fictional storm and a real storm. Characters of The Tempest are played by people as they pass by the window. The storms are merged in a video through the filter of the Blue Door and Red Door.

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Act of sanctuary:

Retreating Retreat (v.) /ˈ re·treat, ri-ˈtrēt/ An act or process of withdrawing; a place of privacy or safety Coming to the end of the journey is coming back to the lowest layer in Transient Seam. Designed to the act of retreating, the space is intended for withdrawing and looking inwards. The pools catching falling water from the architecture silences out other noises as you are able to embrace the opportunity of receding into your own thoughts. This section of the report is intended to do the same. As a way to wrap up this journey, through both the architecture and thesis, it is an opportunity to look back at the project and elaborate on thoughts and feelings.

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Reflecting The lowest level of the architecture is curated for the act of retreating (i). A place where it is acceptable to become a hermit and turn the attention inwards to oneself. Sound of falling water drowns out all other thoughts and ideas allowing you to be in solace. Working in distance and isolation amidst the pandemic has shaped the project in ways that a normal inperson life would have. The architecture has taken on a completely different identity that has been strongly influenced by the current circumstance. Perhaps it is under such situation where we are all desperate to find our own space of solace and escape that has led to the intensity of this project. To have a safe space of a sanctuary where it seems normal, whether sanctuary means time alone or meeting other people or trying new cuisine. However the reality of working isolation at home has also hindered the practice of working with various mediums and ways of representation. It also robbed the architecture’s opportunity to be scrutinized and discussed with fellow peers in heated arguments. A part of the project will always remain as “what if”.

(i) Refer to Glossary of Terms

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Grand Central Terminal pre-pandemic 32

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Grand

Central Terminal empty on an early afternoon of a Thursday on April 2, 2020. 33

‘An Empty Grand Central Terminal’ - Cover of The New Yorker, March 20, 2020. 34

A Strange Chimera What used to be a terminal that hosts about 750,000 visitors per day, has descended to a halt with services suspended and dining facilities closed. Only the rare station employee or cleaner crosses the floor. Imagining the architecture on site with its inhabitants and activity has never been more different. To acknowledge the fact that there are two realities to how the architecture will be populated: pre-pandemic and post-pandemic. There is also no way of knowing how experiencing architecture will be different after the pandemic.

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Leaving Grand Central Terminal, E 43rd Street, New York City

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Image References

1 Aerial Photo of Paley Park. n.d. Accessed May 2, 2021. http://classconnection.s3.amazonaws.com/371/flashcards/812371/jpg/paley_park_21321226295129.jpg. 2 Weber, Jesse. n.d. Paley Park, New York City. Outdoor Project. Accessed May 2, 2021. https://www.outdoorproject.com/sites/default/files/styles/odp_photos/public/1482958909/nyc_-_06.25.07_9. jpg?itok=bLI4qKm2.. 3 Weber, Jesse. n.d. Paley Park, New York City. Outdoor Project. Accessed May 2, 2021. https://www.outdoorproject.com/sites/default/files/styles/odp_photos/public/1482958909/nyc_-_06.25.07_9. jpg?itok=bLI4qKm2.. 4 Weber, Jesse. n.d. Paley Park, New York City. Outdoor Project. Accessed May 2, 2021. https://www.outdoorproject.com/sites/default/files/styles/odp_photos/public/1482958909/nyc_-_06.25.07_9. jpg?itok=bLI4qKm2.. 5 Axonometric Drawing of Paley Park. n.d. Accessed May 2, 2021. https://i.pinimg.com/originals/58/f4/73/58f473beeb1f020bb0538baf81489a4b.jpg. 6 Plan and Section of Paley Park. 2019. Engineer-Architects Association. http://www.engineer-architect.jp/serial/cate/note/952/. 7 Pan Am Historical Foundation. n.d. NY Airways Helicopter Taking off in the 1970s. The Pan Am Historical Foundation. Accessed May 6, 2021. https://www.panam.org/the-jet-age/370-air-rights-thepan-am-building-2. 8 Pan Am Historical Foundation. n.d. NY Airways Helicopter Taking off in the 1970s. The Pan Am Historical Foundation. Accessed May 6, 2021. https://www.panam.org/the-jet-age/370-air-rights-thepan-am-building-2. 9 Sandler, Richard. n.d. Grand Central Kodak Billboard, 1982. Richard Sandler. Accessed May 4, 2021. http://www.richardsandler.com/photo. 10 New York Central Railroad. n.d. Grand Central Terminal - Sectional View 1939. Wikimedia Commons. Accessed May 2, 2021. https://commons.wikimedia.org/wiki/File:Grand_Central_Terminal_-_ Sectional_View_1939.jpg. 11 “DK Eyewitness Travel | Award-Winning Travel Guides.” 2021. DK Eyewitness Travel. 2021. https://www-live.traveldk.com/destinations/north-america/usa/new-york-city/sights/grand-centralterminal/illustration/. 12 1923 Grand Central Art Galleries Opening Exhibition Catalog. n.d. Wikimedia Commons. Accessed May 2, 2021. https://en.wikipedia.org/wiki/Grand_Central_Art_Galleries#/media/File:Floor_ plan_of_Grand_Central_Art_Galleries_circa_1923,_New_York,_New_York.jpg. 13 New York Art Resources Consortium and contributed by the Frick Art Reference Library. n.d. The Grand Central Art Galleries and School of Art in 1923. Accessed May 2, 2021. https://untappedcities. com/2019/11/04/the-lost-grand-central-school-of-art-as-featured-in-the-masterpiece/. 14 New York Art Resources Consortium and contributed by the Frick Art Reference Library. n.d. The Grand Central Art Galleries and School of Art in 1923. Accessed May 2, 2021. https://untappedcities. com/2019/11/04/the-lost-grand-central-school-of-art-as-featured-in-the-masterpiece/. 15 Eyes Of A Generation...Television’s Living History. 2016. Studio 41 Control Room with Light Grid Hangers Going In. Eyes of a Generation. https://eyesofageneration.com/starting-from-scratchearliest-cbs-grand-central-studios-imagesin-the-fall-of/. 16 ———. 2016b. Studio 42 End with Another Set of Small Offices That Will Be Torn out to Construct the Control Room for 42. Eyes of a Generation. https://eyesofageneration.com/starting-fromscratch-earliest-cbs-grand-central-studios-imagesin-the-fall-of/. 17 ———. 2014. Inside CBS Studios 41. Eyes of a Generation. https://eyesofageneration.com/inside-cbs-studios-41-and-42-grand-central-terminal-then-and-now-in-novembe/. 18 ———. 2014b. Inside CBS Studios 42. Eyes of a Generation. https://eyesofageneration.com/inside-cbs-studios-41-and-42-grand-central-terminal-then-and-now-in-novembe/. 19 Grand Central Theater. n.d. 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