Vile Coal
By Mitchell Ransome Supervisor - Scott Woods
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Statement
This thesis will look to investigate an alternative way to manifest trauma into space. It will contend with Lebbeus Woods’ ‘Freespace’ response to Sarajevo in his War and Architecture project where he injects a new spatial typology with in the wounds of the destroyed city. This thesis will employ a Zizekian/Hegelian scope to a non-objective trauma located in the Latrobe Valley, East Victoria; and will use critical historic moments to identify and understand the current trauma that is ensuing with in the Valley as a coming to terms and eventual exodus from the area.
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Figure. 1. Electrical Management Building and damaged Parliament of Bosnia and Herzegovina, Sarajevo.
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War and Architecture. Lebbeus Woods. 1993
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Figure. 2. Electrical Management Building, Sarajevo. 1993. Lebbeus Woods.
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War and Architecture. Lebbeus Woods. 1993
Lebbeus Woods’s War and Architecture responds to the dualities of war, and the vicious nature of the events that unfold amongst the total chaos that is ensuing around. Wood’s who has previously posed politically motivated projects which are damning and confronting as well as radically mind bending in their architectural outcome. He poses imagined scenarios to birth a new wave of thinking that contends with the current dogma, usually the response to his wildly leftist theory is a re-imagining of the possibilities of architecture and what it can become, as something much more than just a spatial response but a political motivator to birth a new lateral position of thought around the ideas of space and architectures place in this new turbulent world. His stylistic qualities are vastly different from anything that has come prior almost disfiguring what we know as traditional architectural components and force forming them into disfigured amalgamations of unknown qualities, the outcomes are both known and foreign to the viewer. The aim to be relatable and also encourage a new wave of thinking about the possibilities of space and architecture.
Figure. 3. War and Architecture Cover. 1993. Lebbeus Woods.
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Figure. 4. Wartime, Sarajcvo. 1994.
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27 June 1993 – notes on violence // pp.3 ‘fragility of civilisation’ Woods has identified the root cause of, let’s say destruction, chaos, unpredictability of humanity. This manifestation of instability. It’s a plague written into the DNA of each person. Explanation of other wars destroying society. Still overarching optimism that the answer is to re-build from the destruction. It further enables his architecture to continue, to have a life. These free spaces. Reference to an inherent violence distilled through time. An inevitability of continuing. ‘organised violence’ meaning there is a purpose behind the destruction. Understand violence in architecture. And violence in humanity. What are explicit forms of violence that can happen. Is an architectural intervention violent? Understanding the need for this violence. As a process of being human, or even cities continuing to exist. This rebuilding over time, a constant element of society. It is shocking but not unexpected, even if the ways violence manifests itself are in fact random as a spectator. ‘willful destruction can reason’ – it all follows a set of explanations delineating the purpose of the violence. A legitimacy to create violence, and in turn violence is not bad, it is itself an entity that walks with us. This body of text sits on the same page as the burning image of Sarajevo, it exemplifies the desire to put out the flames, as one would instinctively. A need to fix, obvious faults. Brings forth an emotive response, something that is inherent in everybody due to the ability to see relations to our own city. It is perverse in evoking this response, this is expected as much as violence is expected. This feedback look is hard wired in. Break/Fix. One and the same. Do you learn from breaking or does it teach you to fix more efficiently?
The Architecture of Knowledge // pp.4 Are actions objective? Well yes people have goals to which they need to perform these actions to achieve. But what motivates the action to be objective. Is it objective when it is a response to something traumatic? Woods defines this as rational determinism as explained by classical science (Plato’s Ideal, Descartes’ duality, Newton’s mechanics, Einstein’s classical causality) Action reaction, thinking, minus personal emotive reasoning. It is just a fix to a problem. Nothing more. Is knowledge directionally forward? As in it applies itself after the fact. Always a objective, overarching goal to achieve. Heterarchy in knowledge, it is dynamic and non-ranked allowing it to be more than its value or less than based off the current human cognition, which is dependent on the situation. The thought or knowledge can then rearrange itself to the situation allowing for specialised application, for the given task to achieve the desired goal, which would also be dynamic. (Deleuze nomads and flows) – Woods believe if this is the way of thinking then objective and subjective knowledge have no meaning, I argue that they are relevant in a specific time and place, it is ever changing and never static.
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Figure. 5. Wilhelm Memorial Church. August, 1945. Photo. Robert Capa. Magnum
Figure. 6. Wilhelm Memorial Church. Current. Photo. Thomas Favre-Bulle
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Architecture is an Embodiment of Knowledge // pp.4 Classical theory, very binary, public/private, etc. this thinking however is dictated by higher authority, ‘architecture is required to embody objective knowledge’ – is architecture just a vessel for power, or does this mean it contains a moment in history. Is there a projected memory of a time and place or event? Art is subjective, and it is expression by those lower in the social stratum, where-as architecture embodies a much deeper conglomerate prerogative – hive mind of thinking. This subjective thought which is art, is ‘tolerated’ like the inconsistencies of humanity, need to loosen the chain a little to give the perceived idea of freedom. When social orders change – converting from communism to socialism/democracy – the dynamic forces of ideology can’t be validated by old ways of thinking, this is due though because of the break down I the order. Is the only freedom of thought we have when chaos is rife? Art and life together – because of the breakdown of society – is this the creation of art? Or is it the beginning of embodied knowledge or though in something, the influence which will create the art? To rebel against the power is death?
Ideologies are Wrong // pp.8 So, a dynamic process of thought is the only freedom of knowledge, ideologies control all regardless of the promise. Ideologies are static, they have hierarchy and are not quantum. No matter how right or left they are a gulag of thought. Regardless of the ideology, they are still destructive and violent in thought, need to crush the other. Still binary and never changed from the past. Enforcement of thinking through fear! Have we advanced to a dynamic thought process as a people? Yes, everyone has a different perspective, but still we live in the system, that might seem chaotic but it is ordered, a regiment defines how things roll out. Absolute freedom doesn’t exist. Woods, believes that Heterarchy possible and coming, these downed states will come forward with new thoughts, new ideologies, an ideal ‘human society’ breaking from the current bounds. Woods believes that re-building the urban, it will then break the old system. So, let’s take Sarajevo, the city that rebuilt. These interventions are moments of new thinking, but is it possible. Is hierarchy always prevailing, as in even to exist food is priority. Can heterachies survive?
Old Cities New Heterachies // pp.8 Break down of the re-build from old to old, like for like. So the thinking or ideology of the people, or the attackers in Sarajevo are gone, no ideology remains. But the city is still the same, not fixed the problem, only continued it. The city is built up of generations of people living there. A layering of different histories, Woods’ idealises the city as something eternal, it remains after the people are gone, it is forever. Even after the people leave and die, after the destruction. The cities became subservient to the modern world. They had to submit to the domination of war, the physical destruction and amputation that came with violence. In this sense war is the ultimate leveller of data, according to Woods this then results into a mono-history, the layering all merges into one, which is rubble. What used to be the city is non-existent, hierarchy is singular? When the city builds from this though does it continue the old history or does it start again, because the old city never truly disappears it is there, only parts are broken, but their histories are forever there, so long as there is a record of the memories.
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Figure. 7. Barbican Centre Current and Post-War.
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The case Against Restoration // pp.10 It is in human nature to fix the broken, to restore it to how it used to be. This is safe, we know how something acted or played out given the past experiences with it. This also comes with the added expectation that it will feel, act and be exactly how it used to be. It is a faux reality that is being built up. Woods describes this as a model for how it used to be, maybe nothing more than a case study of the past, it is a parody of memory. He believes that these past moments should have ended in the war, stayed there and never been resurrected. The only resemblance it has is in its outward appearance, it embodies none of the wholeness that existed before, a shell of buildings that make a city. The complexities of the previous built affirmations are not there, they can never be put in to the false body. The imposter city.
The case Against Erasure // pp.10 Woods’ argument against the rebuilding of a new, better more attractive city. Something fresh with new ideologies to frame the whole, it is an escape from the trauma of the extreme events, a fleeing of violence, of chaos. This I accept, it becomes a false advertisement of an ideal an optimistic eventual that people know will never happen. Life is always full of pit falls and something that seems too good will always fail, it should never act like the desired outcome but more as an approximation, unfortunately it is described to be the one and only, the god mode to fix all. This argument however falls with his description of Modernism, a failed state of mind, with simple executions and more-or-less the same re-branded as something new and stylish. It acted as the perfect marketing ploy post war Europe was looking to buy into, its totality was the vision that gave hope but what we now understand are the false dogmas spewed into the masses. This is also fair enough but I feel that his argument is stuck in the past, yes this was written in 1993 but there have been other conflicts other ideals of violence that crushed cities and maybe it is because there hasn’t been such a global movement since modernism that took the destroyed and rebuilt accordingly but the argument leaves more to be desired in the sense of execution.
Building on the Existential Remnants of War // pp.14 Woods’ ideal direction for the next stage of Sarajevo post-war would be to accept the destruction, yes it happened, and then to understand it allows for a new way of visualising the city, not just of buildings and not just of rubble but a middle state. Something exempt from tradition or ambition. It though comes off as a neither, I believe his intervention ideology is a half-finished ideal of a city building with in the holes from mortar but it is temporary. Like a shelter for refugees. It is a quick fix for the situation. Something that only delivers part, even though this part will sustain the city for a little while it cannot hold on for long, his architecture will falter sooner or later. But also, is it something that can be finished, or should it. Further even though it is a new way of looking at the typology of the city is it something that will give the population some sort of continuation. What more does it give? This is what I see as foreign to the city, it is like an infection that has no symbolic reference to the place, it doesn’t pay homage to memory it builds over as a cast on a broken arm. It may look like healing but one doesn’t really know. Is it another Modernism, which he detests; covered up and smiling. It appears aesthetically to be a continuation of the rubble, something that furthers the exploits of violence, and perpetuates the dark memories of that time, when it should be a bridge between.
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Figure. 8. Wall Studies 1993. Lebbeus Woods
Figure. 9. Injection 1993. Lebbeus Woods
Figure. 10. Scab 1993. Lebbeus Woods 16
Figure. 11. Scar 1993. Lebbeus Woods
Figure. 12. Scar 1993. Lebbeus Woods
Figure. 13. Scar 1993. Lebbeus Woods
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Figure. 14. Beirut, Lebanon. 1991. Photo. Josef Koudelka. Magnum 18
Patterns of Choice and Intervention // pp.19 Woods asserts that there is general confusion after war, how will the city function. He also states that the layers of the previous city, the one pre-war are all simplified into a single layer and that is destruction, this is a stage of hibernation, of change for the city, it is however not something that can be fixed in ‘any single step’. But for war or violence with in a social situation to remove all the layers of the city it is ridiculous, there cannot be a complete cleaning of the slate, if that were the case then Le Corbusier would have had his vision for Paris realised. I feel that Woods disregard the personal history to place that is associated with the built for regardless of the event or the completeness of the building. He has a simple take on the next stage for the city, which is focused on filling in the scars and wound afflicted to the building and from that a new heterarchy can be born. Something that will make it impossible to for war and violence in society to even have an effect. This is naïve.
Injections // pp.21 Woods’ thinking surrounding his architectural interventions or ‘injections’ as he refers to the act of implementation themselves within the built form. He is arrogant, his architecture invades and disrupts the city as much as the violence that had just happened, it is the second wave of war. It is foreign to the population and it is unapologetic in its determination to affect the city, it doesn’t even have a reason for use, it just is, and it handballs this over to the population to discover their own new way of experiencing space. This is interesting but it is also problematic as there is no defined path for how these spaces are formed where and why, they just grow. Like a fungus that leaches off a host penetrating the guise of the city, literally an infection. If it is in fact an infection will the host body, being Sarajevo fight it off or will it wither away and die, Woods believes it to resurrect the city, to allow it to begin again and continue. This is where I see the zombie city to be dislocated from the context, it has no regard for the being of the place, seeking only to further itself. These ‘freespaces’ are enclosures without reason.
The Scab // pp.24 This phase Woods explains as a stage of healing for the city, it is ugly, the infections and the corpse of the city are existing in a singular form. The initial grow over a protective seal to rebuild the interior skeleton. He describes the welding of freespace and broken building as something that should not be ‘feared’ as though it has an intentional ugliness that would make one want to rip it off and allow the cut to bleed. Is it covering up the violence then, his freespaces are attempts at filling voids lost through violence, something that according to him, divides the city, having a past which then stopped when the war happened and then this is new. Believing that architecture can transform violence and the inverse to happen to architecture.
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Figure. 15. Havana. Freespace 1994. Lebbeus, Woods.
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Solid State, Fluid State // pp.29 Woods here describes the existing tapestry of the urban form post war is the solid, the rigid, the hard cartesian framework. Conversely his injected freespaces are fluid, adaptable, exciting, visionary. This however he explains them to be this flexible architectural space that is accommodating to all and ever activity, I argue though that in an architectural sense would you use a hammer to drive a car? No of course not, hence why you wouldn’t propose a space that is infinite in possibility, it will never deliver and it is always an overstatement. Further here it is also noted that he acknowledges now that the existing urban form is something that he cannot completely remove from existing, alluding to his understanding of a historical layering that cannot be undone or removed from existing even after the city is levelled, even after millennia and catastrophic global changes we are able to discover dinosaurs and read sedimentary deposits so why would he say that the layering of a city gets dissolved when a violent event happens, that just is another element to the space.
Who Inhabits Freespaces? // pp.32 Analysing the imagery that Woods provides as visions of architectural intervention, there is no clear visual representation of the internal spaces that are to be all encompassing and accommodating, there it just exists within the viewers mind, understanding through imagination. He also believes that anyone can be the client to the space, designing for no user seems like another fault in his execution, there is always bias in design, even if something is supposed to be accommodating to all, Woods’ past relationships, history, experiences, even how he was feeling in the moment he drew a line on paper have an influence over the design and how it is executed, nothing is trans-user. He does go on to talk about the affordance to people in crisis that would be the main users even though they are spaces designed for anyone, this however is vague as I feel that anyone in the post war city would be in some sort of crisis, leading back to the anybody spaces.
Who Owns Freespaces? // pp.32 Woods describes the owner of the space as the person’s own individual experience overlaid onto the physical, so the user takes control through their journey. The bless the space with their experience. So, to avoid defining a user group as well as defining how the space is designed, Woods further avoids responsibility by stating the experience is in how someone ‘makes’ the space unique to an activity. This is another time where a hammer is driving a car. Yes, I accept that spaces build up their own sense of identity through user interaction and everyone has a different experience with how they interpret the affordance of the space but this communist way of thinking avoids the problems with his approach as well his aesthetic approach to how the spaces look can from the exterior only define some activities and interpretations by a user. The spaces can appear to be cramped and cluttered. The thought about the space reverting to a natural state though is interesting, the ‘life’ of a space is something that is not explored in architecture much, being separate but also one with the user.
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Figure. 16. Injection Freespace, Sarajevo. 1993. Lebbeus, Woods.
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New Tissue // pp.36 Architecture in this manifesto is defines by Woods as ‘turbulent’ like a wave in the ocean, it crashes and is only momentary; limited. But this thinking comes with the inherent violence that comes with architecture, it is physical and it does impose space upon a user, regardless how transparent it is. When he describes the unpredictability of architecture, does he mean the physical form or the experience, the dynamism of the curious mind. Leading off from this, the ramble of words in this writing express an architecture that is in the mind, something of many dualities, in a paradox of contradictions and fulfillments an expressive dream state that is enabled through architecture. Architecture here should be described though these visions of space, delineations of a 3-dimensionality. This all comes back to the nuances of the human mind, how it can interpret any sort of information especially architecturally, and maybe Woods understands this and it is why he has made the decisions to not identify the user or the program or activity with these spaces, how he has also further removed the identifying elements that separates one free space from another.
Figure. 17. Injection Freespace, Sarajevo. 1993. Lebbeus, Woods.
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Figure. 18. Scab, Freespace. Sarajevo. 1993. Lebbeus, Woods. 24
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Figure. 19. New Tissue, Freespace. Sarajevo. 1993. Lebbeus, Woods.
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Woods has left a legacy that spans further than the depths of any sort of wound that his freespace could fill. It is deep in the mind of the voyeur imagining the impossible and the immeasurable space that could be it is all that can and will if it is drawn. There are no and never any restrictions on paper only the imagination. This is what Woods has left and what will live on longer than his name. His fairy tale architecture is reminiscent of the architectural landscape that it is trying to restore through reconstruction, the forms are haphazardly but also coherently pieced together, resulting in a perplexed understanding of how components should be used. — Imagine looking at something and coming to the conclusion that the material could be one, two or maybe five different things and each choice it hasn’t been used as expected — Woods designs in a sort of architectural mess, a salad bowl of excitement and new tastes, where he uses his own secret dressing. The imagined spaces are what allow it to become something more and allow it to develop architecture from architecture. A re-interpretation of the current.
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Figure. 19. Towers Burning, Sarajevo. 1992. Photo, Sygma / Zelko Pulic.
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Siege of Sarajevo
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Pre-War Yugoslavia 1918-1991
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Balkans Post War 1991-Present
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Formation of the Kingdom of Serbs, Croats and Slovenes. 1918.
Re-named Federal Peoples Republic of Yugoslavia. 1946.
Re-named Kingdom of Yugoslavia. 1929.
Pressure from Nazi and Italian Fascists to start Croat cleansing. 1941.
Removal of Monarch. Socialist Federal Republic of Yugoslavia 1945.
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Break from Soviet control. 1948.
Josip Tito comes to Power. Becomes a Communist Republic. 1945.
Josip Tito Dies. 1980.
Cold War ends. 1991.
Re-named Socialist Federal Republic of Yugoslavia. 1963. Break-up of Yugoslavia. 1992.
14th Congress of Yugoslavian Communists. 1990.
Constitution formed. More power given to Tito. 1974. Siege of Sarajevo Finishes. 1996.
Croatia declares Independence. 1991. Siege of Sarajevo begins. 1992. Slovenia declares Independence. 1991.
Battle of Vukovar begins. 1991. 33
Figure. 20. Damaged houses from shelling, Sarajevo. 1992. Photo, H. Delich/AP.
Figure. 21. Civilians running through ‘Sniper Alley’, Sarajevo. 1992. Photo, Tom Stoddart/Getty Images.
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Siege of Sarajevo
5th April, 1992 - 26 February, 1996
The Siege of Sarajevo was very much a cleansing of Bosniak Muslims not a civil war. Serbian militias invading the once multicultural urban hub city, a beacon for modern day East and West relations, then collapsed into a vicious and damaging conflict. The obvious and eventual collapse of Yugoslavia was seen years prior since Tito died and his dictatorial rule over the region had ended, leaving the ethnically divided country to restructure and continue. The filtered in economic support from both the US and Soviet Union allowed for growth to continue and the states to develop with Sarajevo benefiting vastly. The dissidence of the Serbians and their abhorrent hate for the majority Muslim population in Sarajevo brewed; until political and social structures began to collapse at the end of the Cold War where power structures were tested. With Yugoslavia collapsing from within and tensions rising the siege of the city commenced with murder at a peace rally for independence, killing two women. Over the course of the 44 month long siege 11,000 people were killed and 50,000 injured, the vast majority being civilians. All of this happening for the world to see, broadcasted with out any relief. Even though through the incredible trauma alien moments of humanity still acted as beacons, events to break from the troubles. Where Sarajevo’s population could act normal for times. Vedran Smailović a cello player in the Sarajevo Philharmonic Orchestra would play regularly in the rubble of shelled buildings destroyed by the mortars, or the children would play with the UN’s attack dogs in the streets, as described by Yusuf Hadzic who was a child growing up in the war torn city, the distraction would then later allow them to steal dog food from the convoy to feed their families. Even graffiti on a barricade describing the constant tone that the people felt through Pink FLoyd’s release, “The Wall’ (1982). Moments and events that broke from the siege allowed the people to continue and survive.
Figure. 22. CCA 3.0. 1993. Photo, Christian Maréchal.
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Figure. 23. Boy shot by Sniper, in ‘Sniper Alley’, Sarajevo. 1992. Photo, Enric Marti, TP Photo.
“The Paradox of Artaud is that he wished to create that which he was escaping from, to hurl himself into there, where he feared most.” Dorita Hannah Architecture and Violence. pp.111
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Inference of Flux
Through understanding Woods’ investigation of the war in Sarajevo and his consequent Freespace is quite Derridian in nature. This resultant outcome comes as he does not seem to address the issues of place specifically in the designed proposals that he puts forward through his Freespace. This concept of Freespace is something that he has carried further though his investigation of many other politically turbulent contexts of crisis such as Underground Berlin and the Zagreb Free Zone. His response in all of these cases has produced a plethora of different and vastly confrontational architectural responses that invade the architectural topology, the built fabric that exists is his playground. The main topology under siege is where he feels most comfortable and it is vastly obvious to an onlooker that this is where his investigation is explored mostly. He does not however design these spaces to contend with the specific social and contextual implications at a micro scale, so his injected Freespace becomes an invasive element of the city never truly responding to the idealised outcomes that Woods describes through his writing. In War and Architecture as a manifesto towards the legitimisation of the Freespace notions Woods hopes that the alien nature of the architecture that he is in fact breathing into city will contend directly with preconceived political notions that were held by the ruling party, this would then further act as a catalyst for a birthing of new function and new ideology through his Freespaces. Freespaces are for those ‘who make freesapces their own’ (pp.32) this notion of complete openness and lack of direct user has then allowed for Woods to circumvent any sort of specific design choices in relation to the user, this also has then circumvented and sort of design in relation to the event as well as the site. The lack of accountability to the specifics allows for these Freespaces to permeate through the city like an infection that identifies everything as one single binary host. This process of evacuating identifiers flows into the program of the spaces as Woods further avoids addressing this as the user should decide what should be enacted in the space. Flowing back to Derrida’s process of Deconstruction of the event, the Freespace falls into a trap of flux, this is decided by an infinite overlaying of supplement and as an almost unlimited organisiation of program can and will be applied to the spaces — one day it could be a dance studio and a thinking space 30 minutes later — this further is never defined by the specific context of the Freespace which has no bearing on in the end the actual event that has occurred; trivialising the siege as an aftermath. Would the siege even have to occur to allow for these Freespace interventions to even happen. Is the siege trivialised? Following this process of investigation through Woods’ Derridian lens the Freespace morphology then gets translated into a vicious cycle of never ending ‘Differance’ a term coined by Derrida as a space of infinite Supplement of meaning. The Freespace can always become this container of all possibilities as well as one single possibility that could never be static. An always unknowing, moving between the states of Differ and Defer never one nor both but always at the same time. This confusion of what actually is being address through his Freespace interventions is what then becomes as Derrida describes as Aphoria. An infinite flux.
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The question is: Is it better to be alive or dead? Is it nobler to put up with all the nasty things that luck throws your way, or to fight against all those troubles by simply putting an end to them once and for all? Dying, sleeping—that’s all dying is—a sleep that ends all the heartache and shocks that life on earth gives us— that’s an achievement to wish for. To die, to sleep—to sleep, maybe to dream. Ah, but there’s the catch: in death’s sleep who knows what kind of dreams might come, after we’ve put the noise and commotion of life behind us. That’s certainly something to worry about. That’s the consideration that makes us stretch out our sufferings so long. Hamlet. Act 3. Scene 1. Page 3. Shakespeare.
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Figure. 24. The Fall. Unkown Quantity. 2002. Lebbeus Woods and Paul Virilio.
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Figure. 25. The Fall. 2002. Lebbeus Woods. 40
The Fall
Lebbeus Woods, Paul Virilio. 2002.
Woods’ understanding of architecture and the role of the architect is too as he describes in his understanding of the architects role. Is to be at the core of any and every event. To understand and design a response to the fall, this is the way of absolute closure. Immediate and rash decisions to fix the broken to make same again will not release any progress and forward momentum but only a continuation of the current. There is no intellectual resolution. Imagination does not exist only same, the copy and paste; a re-enactment. Experimentation does not have a place to exist. Wood’s ‘The Fall’ looks to explore the space between the cause and effect, the unknown that never is realised as it is dangerous to even think about. This exhibition is there to contend with the ever present insentient reaction that does not resit and also does not fail to fix. It is the space in time that can and never will be. It is the manifestation of the moment prior to collapse and before safety. This moment of freeze where turbulent thoughts exist. This is the Fall. An exploration of the world of disaster, and the process of destruction. A speculative space.
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Figure. 26. Stalker. 1979. Andrei Tarkovsky.
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Stalker
Andrei Tarkovsky. 1979.
Tarkovsky’s Stalker (1979) evokes an essence of madness and surreal searching, something that is always present but also never there. The need that drives the Stalker to forever venture into the zone is one that we can all resonate with, it is human and it is animalistic. His search is only legitimised by the need to take other similar travelers to the realm of the zone, also they are in search of the same even if they call it something different. Dreams are gallant motivators and needs are even better. Escaping trauma to be thrust into trauma is ever present through the tale; breaking them and re-imagining them. What is visual is only ever a concept of design but never the true and real reality. Only thought. That is the parable that is co-currently experienced and witnessed. Eyes lie. Defamiliarisation with the story until the story is an imposition of the viewer. Tarkovsky molds time and breaks the continuity of the screenplay, he creates a paradox through visual stimulus, leading us to believe the transgressions are linear but also teasing that there is many non-linear elements to the film.
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Figure. 27. Stalker. 1979. Andrei Tarkovsky.
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Stalker drags the viewer through an emotional journey of realisation and investigation never through the dense plot is the reality of what is actually happening ever explained. Elements are only inferred by the viewer as moments reveal themselves slowly and sometimes over many repeated screenings. Is the Stalker really working to talk the Writer and the Teacher to find a room able to grant any and every wish. Is the viewer even lead to believe that the room actually exists, it is never apparent that a wish is ever made to come true when they finally reach the finality of their long and arduous journey through the Zone. Small monuments to the characters are left as place markers through the film slowly peeling away the layers behind their mysterious back stories, still though nothing is made obvious. Stalker is not easy and emotions are driven to search; to search for any and everything. A moment of pause could be a signal to a past memory resembling a moment of relief or stress, the viewer through delusional narration begins to relay a second imagined story overlaid on top the current, meaning begins to flow through and over the screenplay. Like the traces of a body that is not there, evidence is pieced. The screen changes to a toxic green colour from black and white, saturation returns when the Zone is entered. What does this mean?
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Figure. 28. Stalker. 1979. Andrei Tarkovsky.
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“the breath and the heartbeat of time is either pulsating in the visible image or it does not exist at all. Other components, such as editing, visual effects, sound, and the actors’ performance, are all secondary – all that is alive is manifested by the rhythm of the image” Yvette Biro, pp.159
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Cruelty has a human heart, And Jealousy a human face; Terror the human form divine, And Secrecy the human dress. The human dress is forged iron, The human form a fiery forge, The human face a furnace sealed, The human heart its hungry gorge. William Blake, A Divine Image. Songs of Innocence. 1789
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Josef Koudelka
Figure. 29. Gypsies, Slovakia 1967. Josef Koudelka. Magnum.
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Figure. 30. Prague invasion. 1968. Josef Koudelka. Magnum
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Figure. 31. Gypsy Funeral. 1972. Josef Koudelka. Magnum
Koudelka’s photography has always been one of dislocation, removal and emotion. His ability to capture extremely jarring situations that in some cases should not even be photographed is what has allowed him to carry such esteem. His most pivotal work ‘Exiles’ (1988) which acts as a container of memories, inadvertent moments that would never ever be recognised as critical at the time; but when viewed after the fact are the most important. This is because they neither tell the start of the tale nor the end, they breathe only the middle of the journey, confusing the viewer and making one think about how the situation had come to be, as well to recognise the importance of the situation captured to one’s self. The personal accolades of others captured are momentos of the time, event and emotion of the particular place that Koudelka has been. More so his photos are a visual diary of his own experiences played through the faces and actions of others around him.
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Figure. 32. Israel Wall dividing Palestine. 2013. Josef Koudelka. Magnum
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Chris Killip
Figure. 33. Caravan. Seacoalers. 2013. Chris Killip.
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Figure. 34. Girl plays, Seacoalers. 2013. Chris Killip
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Figure. 35. Coalers working, Seacoalers. 2013. Chris Killip.
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Chris Killip’s exploration and documentation of the sea coal community of Northern England, has birthed a rarely seen secretive community of those who toil on the outskirts of society’s rules. His photographs, like Koudelka’s hold a presence of mystery and uncanny tales behind them, similar to a renaissance painting; layering of implied meaning begins to overwhelm one as they stare deep into the frames. The faces of these people, the seacoalers, tough and hardy. They resemble and relish a time of hard and excruciating work, diving deep into the crushing waves off the coast in search for the black gold that waits. The only way to sustain their welbeing in the ever changing times of the world, these people through their own lack of invested engagement in society have been left behind to practice archaic methods of supporting their families. The alien landscapes featured in many of his photographs are sets of mystical dreams,violent clouds and sharp ground planes fight and raise tension, the figures in the images then sit on top of an intense battle ground of place.
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Figure. 36. Great Pipes Monument. 1967. Robert Smithson.
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“The wound can be healed only by the spear that smote it” Parsifal Richard Wagner
“The Spirit is itself the wound it tries to heal” Phenomenology of Spirit Georg Wilhelm Friedrick Hegel
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Figure. 37. Dome. 1989. Brodsky and Utkin.
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“Fragments of a vessel which are to be glued together must match one another in the smallest details, although they need not be like one another. In the same way a translation, instead of resembling the meaning of the original, must lovingly and in detail incorporate the original’s mode of signification, thus making both the original and the translation recognizable as fragments of a greater language, just as fragments are part of a vessel.� Illuminations: Essays and Reflections Walter Benjamin
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Mary Miss
Perimeters/Pavilions/Decoys. 1977-78
Figure. 38. Underground Courtyard. Perimeters/Pavilions/Decoys. 1977-78. Mary Miss.
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Figure. 39. Sunken Pool. Perimeters/Pavilions/Decoys. 1977-78. Mary Miss.
Mary Miss’ land art projects are perplexing in their very nature. They venture further than architecture can and penetrate deeper than landscape. Mary Miss, uses this exploration as a way of bending and breaking between the two disciplines creating a dialogue that had not previously been translated, something that existed but was overpowered by one of the other. The power play that both landscape and built form have is always in a incredible tension. There becomes an incredible balance that is created through Miss’ use of local and vernacular processes, through this interplay a user of the space can’t ever feel burdened by either landscape or form, they become ‘aware’. Developing an understanding of both elements of the composition. Walking amongst masses of earth or removed volumes. Uncanny experiences of ordinary things.
Figure. 40. Towers Perimeters/Pavilions/Decoys. 1977-78. Mary Miss. 63
Figure. 41. Sculpture in the Expanded Field Diagram. 1979. Rosalind Krauss.
Figure. 42. Sculpture in the Expanded Field Diagram. 1979. Rosalind Krauss.
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Rosalind Krauss Sculpture in the Expanded Field 1979.
Rosalind Krauss, puts forward her paradoxical understanding of Sculpture, Land Art, Architecture and the human understanding, in her essay ‘The Sculpture in the Expanded Field” (1979). Her understanding of the elements at play when land art is created with in the greater landscape contradicts and fights with every sort of notion that the artist had desired when the space was created. She has manifested her ideology of these spaces as being merely spaces, nothing more nothing less, as their definition is constantly in flux, and ever changing environment of confusion about what actually is created. Her essay was informed dramatically by the works of Mary Miss, an artist and sculptor who has in the years prior created the earth work Perimeters/ Pavilions/Decoys (1977-79). These works have helped manifest what Krauss is arguing as she de-constructs these human geometries injected into the natural landscape beyond. What kind of physical and meta-physical portrayal do they have and what is their actual purpose, how are they and how should they be interpreted by an unknowing user. Are they representations of the past? or are they elements of the future? What effect should time have on them? in great expanse of how long it should exist as well as the immediate temporal nature of it. Further from that is it sculpture? what even is sculpture? The contemporary art movement of the 1960’s and 70’s put forward multitudes of spaces defined as sculpture, in the traditional term these would not be considered sculpture, like any of Mary Miss’ works, as they act as particularly architectural structures with in the landscape. Contrastingly Richard Serra’s 5:30 (1969) act as a traditional idea of sculpture, acting as an object something to be viewed not inhabited or experienced as a spatial device. These notions are constantly overarching each other. Nothing is ever clear and ideals change. Alessandra Ponte tries to understand Krauss’ concept of the expanded field and what weight it holds on the definition of sculpture in today’s contemporary understanding. The examination of theory and deconstruction comes through as a Derridian concept of exploration, a realm that does not fully accept the definitions but defines them as complex, eventually settling on the externalising the classification. This notion of void definition has then allowed other theorists to contend and flirt with the notions of what is sculpture, architecture, landscape, structure, art, earthwork, etc. Further the interpretation of the work would be different based on the individual, the time of day, the culture that has shaped the person, etc. Leading Ponte to explore the structural process Krauss has employed, but also Derridian understanding of the un-objectified conclusion through her diagram of the non-defined. Thresholds of both the visual, physical and meta then become mirages of what they once were.
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Figure. 43. Bingham Copper Mining Pit. 1973. Robert Smithson.
“How could the work be built over such a large area in a way that was compelling in its presence yet did not seem physically imposing?� Mary Miss, 1978
Figure. 44. Spiral Jetty. 1970. Robert Smithson. 67
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Robert Smithson Land Art.
Robert Smithson’s explorations of land, art, sculpture and space have all culminated around the idea of site. His works are very much inherently connected with the site that they inhabit, contextually sensitive and visually jarring. Through his works boundaries are broken, falling very much into Krauss’ understanding or more lack of defining sculpture, the works produced and the concepts behind them are intertwined on a extremely expressive notion. His Copper Mine most known work the Spiral Jetty (1970) is experienced through many different lenses, which is extremely important in detaching one from the world and twisting one’s understanding of what even is the landscape, built, designed and controlled. The approach is worlds different from the elevation which is another world detached when walking the jetty, further the implication of the jetty in the landscape expands on the temporal nature of the project and its ultimate fragility and lack of protection. When submerged by the tide the basalt rocks become another project in themselves. The idea of sculpture in landscape is in a constant tension with this project and many others of Smithson’s which is why they are so exciting to witness and contemplate.
Figure. 45. The Pumping Derrick. 1967. 69
Figure. 46. Sitsgruben. 1971. Walter Pichler.
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Figure. 47. Maze. 1972. Alice Aycock.
Figure. 48. Low Building with Dirt Roof. 1973. Alice Aycock. 71
Figure. 49. Self Portrait. 1946. Antonin Artaud.
Figure. 50. Theatre of Cruelty, Interpretation. 2011. Shadow House Pits.
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Antonin Artaud Theatre of Cruelty.
Artaud and his exploration of the ideas surrounding theatre and the conception of what the viewer is witnessing are confronting. His ideologies slowly descend into a bitter madness of experience and spectacle. Always pursuing a fruitless goal, trying to understand his own place in the greater scheme of life and the theatre, how the two dance around each other and what actually is an act. Artaud holds strongly the concept that life is a cruel conception that must be endured, more so though the exploration of theatre enduring more so than reality. Life then becomes a subservient aspect facilitating an exaggeration of play of life. Overly staged moments of delusion and realisation, a vicious drunk experience. Appealing to the horrors of our dreams, the Theatre of Cruelty acts to play up and exaggerate these aspects of life, making them objects that then become external to the standard. Artaud looks to move the audience emotionally, to bring traditional notions that are familiar on a metaphysical level of understanding. Elements such as humor, happiness, terror, desire, perversions, etc, all become pawns in the stage. Looking to truely move and evoke a powerful emotional response to the audience, one that takes these personal components to one’s self and then exploring them on stage. The audience then becomes a voyeur of tantalising imagination. A personal ritual is then commandeered by the play writes, taking control of the immersion of the audience. Lights, costume, language, stage, actor, etc. all become elements that would be scrutinised as they are familiar. Surprise them, don’t play it safe, the cruelty lies in the intensity of the experience.
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Figure. 51. A Comfort in the Metropolis. 1988. Brodsky and Utkin. Brodsky and Utkin Etchings.
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Figure. 52. Untitled (Amphitheater). 1988. Brodsky and Utkin. Brodsky and Utkin Etchings.
Figure. 53. Untitled (Amphitheater). 1988. Brodsky and Utkin. Brodsky and Utkin Etchings. 75
Figure. 54. A Contemporary Architectural Art Museum. 1988. Brodsky and Utkin. Brodsky and Utkin Etchings.
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Brodsky and Utkin
Alexander Brodsky and Ilya Utkin, have produced some of the most fanatical architectural etchings of the 20th century. The magic however lies in their ability to create a lyrical and theatrical narrative to the scenes that they set forth to create. With a lack of career opportunities in Soviet Russia, as graduate architects the two combined to produce a paper architecture more powerful than physical manifestations. As an extension of Piranesi almost these etchings hold something deeper in their ability to convey the scenes they are inscribed with out ever referencing directly to a specific existing building. Moreover these etchings provide a platform for a conversation around the deeper social and political issues at play that architecture is currently facilitating or even the future possibilities of what architecture can play a role in creating. The architecture created by Brodksy and Utkin allow for individual interpretation of space and for playful grim narrative to unfold, further the nature of the medium allows for a timeless ephemeral experience, a guesswork and filling in on the blanks to create an engaging and ever present artwork.
Figure. 55. Columbarium Habitabile. 1989. Brodsky and Utkin. Brodsky and Utkin Etchings. 77
Figure. 56. Villa Adriana Tivoli. 1776. Giovanni Batista Piranesi. Piranesi the Imaginary Views Miranda Harvey
Figure. 57. Prison. 1768. Giovanni Batista Piranesi. Piranesi the Imaginary Views Miranda Harvey 78
Figure. 58. Monuments of Rome. 1778. Giovanni Batista Piranesi. Piranesi the Imaginary Views Miranda Harvey
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Figure. 59. The Monument to the Great Fire of London. 1753 Sutton Nicholls
Figure. 60. 30 St Mary St, competition entry. 2005 Foster and Partners
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Annette Fierro
Violence in human history is not a new concept, more so how the city then deals with the trauma post violence is the issue. This is explored through Fierro’s mapping and analysis of London, as it is the epicenter of western metropolis destruction. London’s history through the ages has allowed to it experience and ultimately withstand many vicious sieges and attacks, blurring the lines of what actually is a scar on the city’s urban fabric. The city as Fierro recoded dealt with violence in a much different way than most other Western cities, this is probably due to the frequency of explicit violence it has experienced, memorials are used to commemorate the event, but are not there to forever immortalise it due to the normalisation of these events. Bullet holes and shelled pavement are filled in and life continues. Of the monuments that are created to act as markers of the events through history, they fade as well. Christopher Wren’s ‘The Monument’ (1671-1677) built to commemorate the utter destruction of the Great Fire of London (1666). Is a single doric column standing at a height of 62m, would have been imposing when built, an example of the incineration of the city. As time has passed other horrors have plagued the city, the monument has falled back into the singular typology of the city; not anymore is it imposing as buildings around dwarf it in height and volume. Fierro compares the new iconic monument of London, 30 St Mary St, or Foster and Partner’s Gherkin building. An image of the new direction London looks to thrust itself towards, playing into the ideology of not dwelling on these events, the Gherkin acts as a beacon for the future. Dwarfing any and all other buildings that surround it, this is the new monument, this is the new ‘The Monument’. Foster’s building will only act as a marker though as the trajectory continues it soon will also become a faded element of the city, leading to nothing more than a forgotten element.
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Figure. 61. B-018. 1998. Bernard Khoury Architects
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Elie Haddad
Building on the corpse of a massive event of trauma, is such a strong gesture. The lives affected and the emotional baggage that always in a confusing flux, makes designing the space utterly difficult leading to mausoleums of death. Nothing more than a commemoration of the vicious event, a constant reminder of the pain. When Bernard Khoury architects were tasked to design on the site of a massacre how to deal with a sensitive topic became perverse. The site once a slum for refugees in the 1970’s, Palestinian, Kurdish and South Lebanese who had fled war; the site bordered the edge of the city and to the racial right wing became an eye sore on the skyline. 20,000 men, women and children had began to call the site home until tensions between the refugees and the far right swelled, a militia then invaded the camp and began the massacre. Instead of recognising death as a this contant mournful experience, Khoury uses it to the advantage of the design; death is an always ever present concept of manifestation when experiencing the bunker. It is submerged and bathed in a slick gooey black paint with red velvet drapes and lights, a single main light source; the skylight that hangs over the volume creating only a vision up into the heavens. A euphoric and erotic experience is created, very fitting for the new brief of the site; a night club. The twisting of the massacre to a club acts as a place marker of new experiences to happen on top of the old, a space to escape from the tensions of the world and dance on death. A theatrical escape. The tomb that Khoury has created does not render itself in the common idea of building nor in the common idea of memorial; it finds itself in a surreal middle ground dancing on the periphery, like the original camp once was to the city. A playful tease.
Figure. 62. B-018. 1998. Bernard Khoury Architects 83
Figure. 63. Rope movie scene. 1948. Alfred Hitchcock.
Figure. 64. Rope movie poster. 1948. Alfred Hitchcock.
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Alfred Hitchcock Rope. 1948
Death is the main proponent of Hitchcock’s, Rope (1948). The movie set is seamlessly integrated into this overarching theme, death is always a constant then. The body is just hidden behind a cupboard, within arms reach of any of the actors and characters that come into the scenes. The tension is surrounding whether the body will be found, who will find it?, how will they find it?, and what will the response be? The cinematography and strict framing by Hitchcock further play into this tension, a single continuous shot is planned to be the main proponent of how the film should be watched, this single element fastens the pace of the film. Like an exciting event, the viewer is captured by the immediacy of the scenes unfolding concurrently, nothing is happening directly in the background and everything that does unfold continues to build the tension around death. The audience is left wondering always ‘is this actually the perfect murder?’. As the game of death plays out, and the event builds the two murderers play with this idea of death with their unsuspecting guests. The discussion focuses on the poetic art of murder and what would encompass it, this is all being held with the father of the deceased in the room. Something almost unimaginable. Hitchcock flirts with the idea of death in the film, the idea of death is taken seriously and it is always discussed or referenced to in sophisticated ways. As is the education exercise to commit the perfect murder, but the actual dead body of David is then always trivialised, he is killed for a game, nothing noble and nothing worth anything. The actual death is a pawn in the greater workings of the film, never actually any sort of main point of discussion. This perversion of David’s actual death flips ideologically the very idea of the value of life, what even is the point? when the viewer sees at the very beginning how his body is tossed into the cupboard. Life is sport.
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Figure. 65. The Celestial Spheres of Heaven. 1867. Gustave DorĂŠ.
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Methodology
The lens that I am contesting with Woods’ process of interpretation of trauma into architecture will be through a Zizekian and further a Hegelian perspective. My previous argument has been that Woods’ approach to addressing the trauma of the Siege of Sarajevo has been Derridian and in turn has never addressed the specifics of the event, this being the sensitive issues surrounding each particular site of intervention; his design response has outputted an overarching design implication that responds to the destroyed architecture but not the people or the event that happened. For this to be avoided the overall outcome of the project War and Architecture, in my viewing of it becomes null as it doesn’t address what it is set out to do. Looking through a different lens and addressing the event directly as Zizek professes is the only way to begin to understand the overall extents of the situation. This then leads into Zizek’s Hegelian inclination, where one should look to the past to gather a deeper understanding of the situation and all the events that have lead to the current outcome. Looking at purely the Sarajevo siege and now the site for my interventions, the Latrobe Valley; they seem vastly different in their situational qualities. One being a war zone the other an social plague. The constant theme though is trauma, as trauma is not decided by the ferociousness of the bite but more the depth of the cut, being the lasting effects on the people. Zizek would define the Sarajevo situation as an subjective violence, this being something that has many obvious and direct implications and events, the tensions between the ethnic groups was eventually going to result in the event. The Latrobe Valley trauma is much different, it is imbued in many different and convoluted events and political decisions that have resulted in the current outcome. Not all of these are linear and direct making reading the story quite confusing, this Zizek would call systemic violence. The many different nodes that plug into the history of the Latrobe Valley make it one of the most interesting but also confusing events to decipher and then re-translate into a spatial outcome, that is both sensitive to site, context, historical relations and overall event. This all should come together as a self-referential explanation of the Latrobe Valley.
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Latrobe Valley
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State Electrical Commission Established. Horse and cart and manual labour. 1921.
Henry Godridge while prospecting for gold, uncovered Brown coal. 1873.
James Stirling a Government geologist has a vision to mine coal in the Valley 1901.
Yallourn A Power Station produces electricity for Melbourne. 1924.
Andors Anderson, first settler in the Valley. 1884.
Great Morwell Coal Mining Company liquidated. 1899.
Yallourn model town, hostel. 1925.
Brown Coal Mine Shanty town begins (Yallourn North). 1916. Great Morwell Coal Mining Company Established. 1886.
First main road. Yallourn. 1921. 90
Hazelwood Power station opens. 1600Mw. 1964. Great Flood submerges open cut with 200ft. 1934.
Loy Yang A built. 1984.
Yallourn North officially established. 1950.
Building of Yallourn W Power station begins. 1968.
Privitisation of SECV begins. Loy Yang B finished and sold. 1993.
Amenities invested in Yallourn. 1950’s.
Yallourn A Power Station maintains output of 75Mw. 1928.
Hazelwood closure. 1984.
Yallourn town officially swallowed by Open Cut. 1973.
Hazelwood Open Cut fire. 2014.
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Yallourn W Yallourn Power Station Open Cut
Moe
The Unknown Leap and the Long Fall 92
Theatre of Sound
Morwell Open Cut
Hazelwood Power Station
Morwell
Villa Imperium
Traralgon
Loy Yang Open Cut 93
Loy Yang Open Cut
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Yallourn Open Cut 95
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The Latrobe Valley
The Hazelwood mine prior to its closure in April 2017 had been a major employer of the Latrobe Valley and greater Gippsland area in East Victoria for the last 60 years. The locality was born out of coal and came to bend to its will, the mines have such a commanding effect over the landscape, people and economy that it is hard to imagine the Latrobe Valley in its natural state. The Valley first began to populate with settlers in the 1840’s with gold diggers who had made small fortunes able to buy land to farm, slowly developing much of the current existing towns in the area; but it wasn’t until the 1874 when coal was first discovered in the region by Henry Godridge (Latrobe City, 2017) as he was prospecting for gold. This fired the industrialisation of coal as an alternative fuel source for Victoria and initiated the Morwell Coal Mining Company to invest in the area, establishing the Latrobe Valley that we now know today. Quick industrialisation followed with a railway line connecting it to Melbourne, fastening the growing population. This growing demand for power to supply the greater Victoria and to even new South Wales has fed the demand for coal more than ever over the last century, the Latrobe Valley grew to become the power house for the state and so coal also became a staple for the growth of the area. April 1st marked the official closure of the Hazelwood coal mine and power station a monument from an era past, officially opened on March 12th, 1971, the plant was a signifier of stability for the area employing generations of families; but also providing for 25% of Victoria’s energy and 5% of Australia’s (Engie, 2016). The closure of the power station will leave 750800 workers unemployed in an area where numerous job cuts are not uncommon as manufacturing and industry collapses in Australia, leaving in its wake a fragile social fabric in the Valley. With unemployment at 7.5% in the Valley – March 2017 (Department of Emplyment, 2017) – with one in five people in Morwell jobless (Lazzaro, 2017) leaving questions as to how the community will sustain itself in the future with the rate of crime rising by 6% from 2015 and an overall high of 20% (Crime Statistics Agency, 2017). The Latrobe Valley hosts a community defined around the open cut mines that surround the towns, coal and growth of the area are intertwined and have been since the beginning. Like wounds in the landscape the Morwell Open Cut has forced the town to sprawl to the North East with Hazelwood to the South West physically determining the urban typology of the locality. The Open Cut is an everpresent reminder as homes lie of the periphery overlooking the deep black pit. The physical power of the mine is not unheard of in the Valley, the Yallourn W Open Cut and power station North West of Morwell once a shining reminder of the opportunity that the industry could provide for the workers, building up the township of Yallourn in the image of a garden city, only to be consumed by the mine as more brown coal was discovered underneath. The encroachment of the mine soon engulfed the whole town by 1984 with the Yallourn power station and main open cut substituting (Victorian Places, 2015).
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One day when I was feeling blue, I thought that I would go Back to my home in Gippsland where the mountain rivers flow, In my old hometown called Yallourn I hoped that I might find Some of my friends of bygone days that I had left behind. Chorus: Yallourn, Yallourn, town where I was born In the valley of lignite coal; Nothing is left of old Yallourn But a big black empty hole. I found the power station still, beside the river side; The rolling foothills swept away up to the Great Divide; But where my town Yallourn had stood was neither heart nor soul; Instead of digging coal for people, they dug people up for coal. John Wolfe, Yallourn. Bush Melodies. 1992.
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Figure. 66. Yallourn Open Cut. 1928. Center for Gippsland Studies
Figure. 67. Yallourn Open Cut. 1928. Center for Gippsland Studies
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Figure. 68. Newspaper Clipping. 1915. Morwell Advertisor. National Library of Australia.
Figure. 69. Typical Settler Huts. 1917. Yallourn North Collection.
Figure. 70. Yallourn House. 1926. John Young Collection.
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Figure. 71. Sir John Monash, turning the first sod at Yallourn Power station. 1921. Federation University Collection
Figure. 72. Transmission line Yallourn - Melbourne. 1923. John Young Collection.
Figure. 73. Newspaper Clipping. 1934. The Argus. Figure. 74. First train load of briquettes. 1925. John Young Collection.
Figure. 75. Queen Elizabeth and Prince Phillip visit. 1954. Public Record Office Victoria. 103
Figure. 76. Yallourn Town. 1940. Museum of Victoria
Figure. 77. Yallourn Technical School. 1947. Museum of Victoria 104
Figure. 79. Dredger Morwell. 1959. John Young Collection.
Figure. 78. Aerial Traralgon. 1935. RAAF.
Figure. 80. Great Flood. 1934. Museums Victoria.
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Figure. 81. Yallourn E Power Station. 1960’s. Museums Victoria.
Figure. 82. Yallourn Demolition. 1970’s. Marie-Therese Elz.
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Figure. 83. Hazelwood Power Station. 2016. Farrah Plummer.
Figure. 84. Morwell Open Cut Fire. 2014.
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Figure. 85. Loy Yang A and B. 2004. FarTracer.
Figure. 86. Briquettes, Morwell Briquette Factory. 1959. Victoria Places.
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Figure. 87. Energy Brix emergency sign. 2014. Energy Brix.
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Visit
Looking through the lens of Josef Koudelka, the photos must speak for themselves, to enable the viewer to decipher their own idea of the situation but further invent their own conclusions. Even if my own conclusions are present they do not matter in the scheme. Something that frames the work and enables the work to function as a single body. It however is a decomposing corpse leveraged on the premise that it’s memoirs will be proclaimed. Driving East on the freeway posed a unique promenade of scenery that dislocated myself from the locale of Melbourne. Removed and transplanted in this new landscape foreign to the built urban form of the city juxtapositions with the vastness the scene affords. The journey through not to dissimilar from Tarkovsky’s Stalker (1979), transparent transitioning, planting myself in this new realm. An abruptness applied, the freeway bypassing the suburban landscape I was accustomed to, removing the drab monotony of family homes. Dislocating the context from the greater Melbourne as something else. At arrival, I was greeted with the immense monumentality of the Yallourn Power Station, a gargantuan cooling tower erected out of the natural landscape. Directing the eye forward and up, plumes of steam evaporating and diluting in the atmosphere; the silent scream of industry. The road swerved around announcing the station like an obelisk. This was only a passing through, a momentary transgression. The objective goal was the Brown Coal Museum, a historical lexicon of Yallourn; the town that was. Entering held the smell of your grandparent’s house, a proud mannequin stood behind the door and to the right the reception. Small, inconspicuous, a recess in the wall containing two humble men. The exhibit was broken up in two zones, the first room held historical mementoes of Yallourn pre1950, the second post-1950. Both acting as capsules, evoking turbulent fragments throughout the town’s history; a complimentary duality gesturing. Driving back, and stopping at the Yallourn W Power station. The site and infrastructure evade any sort of preconception of the human scale, reveling in this break from humanity you almost become another component in the landscape. The plumes rose up and up endless and dancing, evaporating like icebergs in the sky. Triumphant but temporal. Looking around axis of steel run down and forever to the pit, the death chamber, the open cut. Conveyor belts transporting the precious material, that glowing magic dirt, the brown coal. Like old monsters covered in battle scars from years of battle, fighting the urge to quit and covered in rust, but still forever running into the distance. Rushing to the Morwell Briquette factory, abandoned in 2014. A ghost factory, looking like it had been forgotten only yesterday, the space still a container of history and emotion. The workers had left traces of their existence everywhere, moments scarred into the hull of the buildings. Scale also forgotten here, the extrusions reaching for the sky, solid and strong, but damaged and beaten, bruises from the hard nature of the work. Veins of steel running all through the interiors, reaching for the boilers, that had ceased to run. Massive feats of engineering dead in their tracks, now exorbitant door stops. The space reeked of death. 111
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The Unknown Leap and the Long Fall. Great Open Cut Flood, 1934.
To reflect the absolute torrent of water and force that hit the Yallourn open cut I propose a seismic swing situated on the edge of the steepest slope of coal in the Yallourn Open Cut. Once positioned over a chasm cut into the landscape above a waterfall of coal receding into the greater landscape, as though one is toying with a wound and teetering a collapse. As a wanderer is introduced to the structure and they rise to the docking platform they become shrouded in a spherical meta form alluring a false sense of stability. The elevator dings and a selected view generated to only show the beauty of the endless plane is visible, the wind blows through and the structure screams and howls as they rise through the sky, stability is gradually lost. The wanderer reaches the pinnacle, an incredible turbulence sets as they are submerged in endless atmosphere, they are granted a gasping view out to a disarray of violent gashes in the landscape creating a swaying moirĂŠ, abstracted and fragmented patterns. Almost immediately the wanderer it thrust into the seat again is removed from the greater landscape, only teased for a moment, they are released and swung into the beyond, their body at the whim of the world, the giant swing injects and propels their mass breaking the tension of the air.
1934 Yallourn open cut flood. - Heavy rain in the catchment which overflowed the Latrobe river, bursting in Gippsland and filling the Yallourn Open cut - Flooding into the open cut at a rate of 5 million gallons a minute - From late afternoon to evening the raising waters eventually stopped works completely - The social climate at this time is very slowly recovering from the depression, people have been laid off from work and the population of workers is in turmoil - Residents and workers are marooned on the roofs of houses as everything around them is swept away by the torrent of water. - Livestock are lost and farm land is destroyed - Only one form of communication available which is a radio channel 3TR, this is used to co-ordinate the rescue of civilians - 12 000 000 000 gallons of water have filled the open cut raising the water level to 250ft and completely submerging many of the dredging equipment used to gather coal - Limited supply of reserve coal is left to power Victoria 35 000 tonnes - 1000 men are then employed on the spot to begin the reclamation effort in the open cut - It takes 5 months to eventually restore the open cut to a state where it is dry - To keep powering Melbourne the Old Brown Coal Mine open cut in Yallourn North is opened again and used to supply power to the station. Rate of 300 tonnes pulled out a day manually with horse and cart. - This eventually raised to 10 000 tonnes a day to supply Melbourne. - 250 000 tonnes were excavated by the end of the 5 months - Two-sided story as due to the depression taking jobs this then allowed struggling families non-stop work in Yallourn and allowed more money to be thrust into the area keeping the struggler afloat. The tragedy allowed for a new start for others at the expense of the government. - Rate of rising water was unprecedented and took the super intendant by surprise. 165
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Theatre of Sound.
Pre-War Yallourn and Brown Coal Mine town, 1920’s-40’s.
The tale of two towns, begins at the edge of the Yallourn-Moe Rail trail, leading off hints of a 4/4 rhythm are heard behind the dense bush. Soon snippets of some unknown structure are seen over the top of the trees, following the sound a bridge becomes visible. All through the constant beat is ever present and always increasing in intensity. Looking past, the visual rhythm of the structure enacted by the bridge connected with the landscape and growing is a grotesque organ of some sort. Driven and teased by the sound and necessity the wander follows, a walking pace is established syncing with the sound, as one gets closer the ribs of the organ exhale a wallow then quickly inhale the wanderer into the sound. Internally soft curves sweep up to an incredible epicentre bathed in a loud light. Under the chasm turns a merry-go-round, the conductor to the space, surreal in nature and perplexing to see. Apertures of the outside world are glimpsed, moments tasted but never relished. Sound controls all, compelled the wanderer follows on, a safety established. Above and never touching, growing out of the landscape up the hill a small simple platform rises over the organ, as well sound is controlling one’s movement but to a lesser extent. The immersion of the passage is broken by the immediacy of the arrival to the end. Where one looks out over to the Power Station, plumes rising.
Yallourn town ship, pre-war. - Pseudo freedom for the townspeople. - State of the art facilities for the time. - Power straight to the house. - SEC was the totalitarian - Monash wanted the space to encourage better productivity for the workers. - Coal dust then blew over the town and created what is known as the Yallourn Squint. - Soot fell all over the area. - Strong axial planning to frame the landscape, creating desired views over the area. - Curated living conditions Brown Coal Mine Shanty Town. - Terrible facilities - Makeshift shacks and huts - Not established - Freedom to work anywhere - Up the hill so away from the coal dust - Views of the whole landscape - Sense of community - Cheap to live there - Able to build anywhere, and a power over the conditions to live in Connections between the two. -The Yallourn Bell that signalled when different activities should and shouldn’t start -Bakery in Brown Coal Mine eventually sold produce to Yallourn model town
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Villa Imperium.
Privatisation of Electrical Commission, 1996.
Nestled above the town square of Traralgon overarching like a fortress of civic strength. Only accessed by long slim ladder the first rung of an arduous task of exploration. Walking through the void and entering the through the hulking mass the wanderer is greeted with the unexpected. Like a Hollywood set, false facades repeated are arranged all around, held up barely with weak scaffolding. A great storage space of immaterial. A fork in the road instantly, sets up the theme of the labyrinth. A series of false facades, perforated through, representing the non-real authority but producing utter visual confusion. A glimpse of something is seen by the Wanderer as they enter a large chamber, hints of a raised platform a goal is present. Winding through, apertures of the platform now become ever present, running through many more chambers open allowing a breath. Passing other travellers, the Wanderer sees those who have given up, ‘Too much!’ screams one man, as he drinks his bottle. Soon the goal is reached the platform reveals itself, like a beacon of hope and the key to the maze. Climbing up all becomes revealed, there is only one answer to the maze and this is it. Overlooking the extents of Traralgon and further steam rises over the rolling hills. Loy Yang is burning still. But for how long.
1996 dissolution of the SEC into the private sector. - The largest population of SEC workers was in the Latrobe Valley, peaking in 1990 with 9859 workers employed by the SEC - The decline was known to be happening prior to the eventual dissolution as restructuring was happening - Neo-liberal think-tanks in Melbourne and Tasmania convinced the government to sell off the utility - Claims of better productivity and stronger market competition which would make it better for the consumer over all - Claims that the privatisation would provide better efficiency - Due to smaller companies taking the utility the potential for blackouts and under supply of power became an issue as cost cutting measures were implemented to cope with the already cut workforce meaning maintenance was not a priority and breakdowns were common place. - Workforce in the Latrobe Valley post privatisation dwindled to about 2200 with external contractors in 2001. - Mass migration occurred and began the rapid decline of the valley - Local business begins to suffer as there is no money coming through and population is fleeing
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To enforce space on an environment is a violent act. This instantly creates division; the internal and external. Separate zones, no matter the transparency of the sections, only separation exists. Architecture can only exist in conjunction with this notion. A violation. Architecture is a violent act. Trauma elicits unpredictable responses, a nightmare journey infiltrating wounded territory. Volatile scenes exist within the framework of the human condition. Crisis! It is everywhere. An exploding body of visceral emotion, this is true beauty; this is Architecture. Architecture exploits madness, implanting itself under the skin; playing on social disruption. It is manifested through contagious viral input, becoming a reaction; a literal anaphylaxis. Permeated by thresholds of fire, territorial transgressions that define new spatial planes. It is up to the conductor to interpret the music to play the symphony.
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- Freye, Catherine and Rayner, Michelle. 2008. The Model Town and the Machine: A History of Yallourn. Part 2. ABC Radio National. Accessed, 13/09/17. http://www.abc.net.au/radionational/programs/hindsight/the-model-town-andthe-machine-a-history-of/3259522 - Fletcher, Meredith. 2002. Digging People Up for Coal: A History of Yallourn. Melbourne University Press. - Zizek, Slavov. 2014. Absolute Recoil, Towards a New Foundation of Dialectical Materialism. Verso. New York. - Powerworks. 2017. History of Coal. Powerworks. Accessed, 06/09/11. http://www.powerworks.net.au/history-of-coal/ - Yallourn North. 2017. History of Yallourn North. Accessed, 06/09/17. http://yallournnorth.vic.au/history/of-ourtown/ - Hazelwood Mine Fire Inquiry. 2014. Hazelwood ine FIre Inquiry Report. Victorian Government. Accessed, 24/09/17. http://report.hazelwoodinquiry.vic.gov.au/ - Lord, Kathy. 2014. Hazelwood mine fire: Looking back at the blaze that threatened Morwell. ABC News. Accessed, 23/09/17. http://www.abc.net.au/news/2014-09-02/hazelwood-coal-mine-fire-morwell/5711564 - George, Julie. 2013. 1934 Yallourn Open Cut Flood. Virtually Yallourn. Accessed, 15/09/17. http://www.virtualyallourn. com/node/4563 - Siemon, Don. 1995. The Restructuring and Sale of Victoria’s Electricity Industry: Is it worth it?. Brotherhood of St Lawrence. - Birrell, Bob. 2001. The Latrobe Valley, Victim of Industrial Restructuring. Centre for Population and Urban Research. Monash University. - Beed Davey, Gwenda. 2005. The Moe Folklife Project. Transmissions. Accessed, 27/08/2017. http://www.folklorenetwork.folkaustralia.com/TRANS-16-moe.html - Zupancic, Alenka. 1992. A Perfect Place to Die. Theatre in Hitchcock’s Films. in Slavov Zizek’s Everything you wanted to know about Lacan. Verso - Kleinberg, Ethan. 2013. Derrida and Deconstruction. Philosophical Overdose. Accessed, 14/09/17. https://www. youtube.com/watch?v=N8BsnfjtNCg&t=2123s - Fry, Paul. 2009. Deconstruction. Yale Courses. Accessed, 14/09/17. https://www.youtube.com/ watch?v=Np72VPguqeI&t=11s - Victorian State Archive. 2012. Steam Power: The Timeless Force. Accessed, 18/09/17. https://www.youtube.com/ watch?v=hWnD0xgXwhk - Zizek, Slavov. 1994. Home. AA School of Architecture. Accessed, 20/09/17. https://www.youtube.com/watch?v=i919_ dyPdu8 - Zizek, Slavov. 2015. How and why violence functions. Zizek Studies. Accessed, 18/09/17. https://www.youtube.com/ watch?v=aWKr7NlSDAA - Zizek, Slavov. 2008. Violence. Google Talks. Accessed, 18/09/17. https://www.youtube.com/watch?v=_x0eyNkNpL0 - Zizek, Slavov. 2015. The Hegelian Wound. Zizek Studies. Accessed, 18/09/17. https://www.youtube.com/ watch?v=JBOIOlUa9Ok&t=337s
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Figure References - Figure. 1. https://lebbeuswoods.wordpress.com/2011/12/15/war-and-architecture-three-principles/ - Figure. 2. http://hyperallergic.com/wp-content/uploads/2016/01/lebbeuswoodsblog03.jpg - Figure. 3. https://lebbeuswoods.wordpress.com/2011/12/15/war-and-architecture-three-principles/ - Figure. 4. http://bosnia-sarajevo.com/war.html - Figure. 5. http://pro.magnumphotos.com/C.aspx?VP3=SearchResult&VBID=2K1HZO6FMX K4D7&P N=7 - Figure. 6. http://www.amusingplanet.com/2016/03/kaiser-wilhelm-memorial-church-berlin.html - Figure. 7. http://www.oobject.com/category/12-unrecognizable-before-and-after-views-of-cities/ - Figures. 8-13. Woods, Lebbeus. 1993. War and Architecture. Pamphlet Architecture 15. Princeton Architectural Press - Figure. 14. http://pro.magnumphotos.com/C.aspx?VP3=SearchResult&VBID=2K1HZO6FMXK4D7& PN=7 - Figure. 15. https://www.archdaily.com/288469/lebbeus-woods-experimental-architect-dies - Figure. 16. http://fabriciomora.tumblr.com/post/56733546249/injection-parasite-sarajevo-lebbeus-woods - Figure. 17. https://www.pinterest.com.au/pin/414753446910714043/ - Figure. 18. https://historyofourworld.wordpress.com/2009/11/18/lebbeus-woods-radical-reconstruction/ - Figure. 19. https://historyofourworld.wordpress.com/2009/11/18/lebbeus-woods-radical-reconstruction/ - Figure. 19. https://www.cvce.eu/en/obj/bombing_of_sarajevo_1993-en-7a1b66fc-1719-44e2-bf21d55a08c74ab2.html - Figure. 20. https://www.npr.org/2012/04/05/150009152/two-decades-after-siege-sarajevo-still-a-city-divided - Figure. 21. https://www.npr.org/2012/04/05/150009152/two-decades-after-siege-sarajevo-still-a-city-divided - Figure. 22. https://owlcation.com/humanities/The-Siege-of-Sarajevo - Figure. 23. http://historicaltimes.tumblr.com/post/103206936321/7-year-old-nermin-divovic-lies-mortally-wounded-in - Figure. 24. https://lebbeuswoods.wordpress.com/2010/04/21/as-it-is-interview-with-lebbeus-woods-1/ - Figure. 25. https://www.youtube.com/watch?v=DcxwoX7ega8 - Figure. 26. http://www.openculture.com/2010/07/tarkovksy.html - Figure. 27. http://offscreen.com/view/temporal_defamiliarization - Figure. 28. https://bostonhassle.com/event/stalker-2017-07-06/ - Figure. 29. https://pro.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=2TYRYD1KHWY1 - Figure. 30. https://pro.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=2TYRYD1KHWY1 - Figure. 31. https://pro.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=2TYRYD1KHWY1 - Figure. 32. http://www.this-place.org/assets/2K_7-Josef127_FN.jpg - Figure. 33. http://www.this-place.org/assets/2K_7-Josef127_FN.jpg - Figure. 34. http://www.this-place.org/assets/2K_7-Josef127_FN.jpg - Figure. 35. http://www.this-place.org/assets/2K_7-Josef127_FN.jpg - Figure. 36. https://www.nytimes.com/2014/03/09/nyregion/a-review-of-robert-smithsons-new-jersey-at-the-montclairart-museum.html - Figure. 37. https://russianculture.files.wordpress.com/2011/01/brodskyutkin005.jpg - Figure. 38. http://socks-studio.com/2014/06/22/mary-misss-1977-1978-perimeterspavilionsdecoys/ - Figure. 39. http://socks-studio.com/2014/06/22/mary-misss-1977-1978-perimeterspavilionsdecoys/ - Figure. 40. http://socks-studio.com/2014/06/22/mary-misss-1977-1978-perimeterspavilionsdecoys/ - Figure. 41. http://www.3ammagazine.com/3am/retracing-the-expanded-field/ - Figure. 42. http://www.3ammagazine.com/3am/retracing-the-expanded-field/ - Figure. 43. https://brooklynrail.org/2012/04/artseen/a-letter-to-robert-smithson-from-greg-lindquist - Figure. 44. http://ekladata.com/jGlIr4p9J9inEPRQp9hvNJefPU8.jpg - Figure. 45. Robert Smithson. http://96.126.110.191/Essays/JaredMadere - Figure. 46. http://socks-studio.com/2014/02/07/inhabiting-the-earth-walter-pichlers-sitsgruben/ - Figure. 47. https://www.aliceaycock.com/pmaze.html - Figure. 48. https://conversations.e-flux.com/t/looking-at-and-overlooking-women-working-in-land-art-in-the1970s/2382 - Figure. 49. http://thelastelectrician.tumblr.com/post/89803036562/monsieurphil-drawing-by-antonin-artaud - Figure. 50. http://www.shadowhousepits.com.au/releasing%20artaud.htm - Figures. 51-55. Brodsky and Utkin. 2003. Brodsky & Utkin: The Complete Works. Princeton Architectural Press - Figures. 56-58. Harvey, Miranda. 1979. Piranesi the Imaginary Views. Academy Editions. London - Figure. 59. http://rsnr.royalsocietypublishing.org/content/65/2/121 196
- Figure. 60. https://i.pinimg.com/564x/b6/bc/ec/b6bcece812b85cb67ef195b48e936aca.jpg - Figure. 61. https://www.archdaily.com/179261/flashback-b-018-bernard-khoury-architects - Figure. 62. https://www.archdaily.com/179261/flashback-b-018-bernard-khoury-architects - Figure. 63. https://nypdecider.files.wordpress.com/2014/08/alfred-hitchcock-rope-2.png - Figure. 64. https://i.pinimg.com/originals/e7/d8/d8/e7d8d8be03adb0cf244405313c76035c.jpg - Figure. 65. https://en.wikipedia.org/wiki/File:Divina_Commedia_by_Dore_-_Candida_Rosa.jpg - Figure. 66. http://www.abc.net.au/radionational/programs/hindsight/mine/3259630 - Figure. 67. http://www.abc.net.au/radionational/programs/hindsight/at-work/3259646 - Figure. 68. http://trove.nla.gov.au/newspaper/article/65867581?# - Figure. 69. http://yallournnorth.vic.au/history/of-our-town/ - Figure. 70. http://www.victorianplaces.com.au/node/67872 - Figure. 71. https://victoriancollections.net.au/ items/525c91452162ef13a4847877items/525c91452162ef13a48 47877article/10998152/564887# - Figure. 72. http://www.victorianplaces.com.au/node/67871article/65867581?# - Figure. 73. http://trove.nla.gov.au/newspaper/article/10998152/564887# - Figure. 74. http://www.victorianplaces.com.au/node/67872 - Figure. 75. https://c2.staticflickr.com/8/7084/7220006756_4b69ce4e68_b.jpg - Figure. 76. https://www.pinterest.com.au/pin/434104851552466054/ - Figure. 77. https://www.pinterest.com.au/pin/295971006742612058/ - Figure. 78. http://www.traralgonhistory.asn.au/rolf/chapter7.htm - Figure. 79. http://www.victorianplaces.com.au/node/65034 - Figure. 80. https://collections.museumvictoria.com.au/items/792392 - Figure. 81. https://www.pinterest.com.au/pin/295971006742945430/ - Figure. 82. http://www.abc.net.au/radionational/programs/hindsight/demolishing-the-yallourn-health-centre/3259680 - Figure. 83. http://www.latrobevalleyexpress.com.au/story/3707509/hazelwood-charged-with-workplace-breaches/ - Figure. 84. http://mininglink.com.au/story/hazelwood-coalmine-fire-inquiry-to-reopen - Figure. 85. http://bonzle.com/c/a?a=showcase&u=FarTracer&mo=39739271 - Figure. 86. http://www.victorianplaces.com.au/node/65032 - Figure. 87. Energy Brix.
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