Topology of a Phantom City by Hamish Beattie

TOPOLOGY OF A PHANTOM CITY HAMISH BEATTIE

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“Before I fall asleep, the city, again . . . .�

- Alain Robbe-Grillet, Topology of a Phantom City

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TOPOLOGY OF A PHANTOM CITY

a 120-point thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Architecture (Professional)

by Hamish Beattie Victoria University of Wellington School of Architecture 2015

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ABSTRACT As the global slum population swells to over one billion people, impoverished rural migrants moving to urban centres are increasingly turning to landfills and garbage dumps as their habitat and source of livelihood. These populations scavenge sites under toxic conditions, looking for discarded items to eat, wear, use, sell or trade. Cultural compositions are in a constant state of dynamic flux, continually redefined as new migrant groups arrive representing different age groups, languages, religions, and needs – leading to tensions within the slum communities. Political engagement with these issues has become stagnant, as the slums are regarded as complex burdens on the state.

These immigrants survive within a dynamic physical environment, as the landfill continually changes configuration and composition. Waste is gathered and removed by the scavengers in one place while it is brought in anew by the city at another. The result is a habitat that is fluid in form and content, changing repeatedly over time – sometimes forming mounds, other times depressions, sometimes toxic, other times of meagre value. Both space and time for these migrants are in a continual state of flux. Their dwellings constructed from scavenged materials – and their waste, sanitation, water, income, and community-gathering areas – all must respond to this fluid context.

Architecture itself must evolve to respond to this fluid state.

A new boldness, bravura even, has returned to architectural design and its depiction. Ideas and proposals for unbuilt, indeed often unbuildable, structures are being produced not just by architects but by many others working in different visual media – film designers, creative advertising, music video producers, fine artists and computer game programmers – reflecting both the general cultural climate and a visceral appetite for politically motivated architecture. Topology of a Phantom City asks the question: how can the realm of socially motivated unbuilt architecture draw public attention to pressing global issues?

Using Alain Robbe-Grillet’s 1976 nouveau romain Topology of a Phantom City as a provocateur, an experimental architectural design for the inhabitants of Baruni Dump in Papua, New Guinea recognises that yesterday’s future has indeed become today’s present. And for us to survive, it is now the role of architecture to provide for today’s tomorrow.

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PREFACE

In 2013 I spent a year working for the United Nations Human Settlements Programme in Nairobi, Kenya.

Through this work, I was exposed to and worked on a number of slum upgrading and urban infrastructure projects based throughout east Africa, India, Columbia and Haiti. This work opened my eyes to the incredible diversity and vibrancy these communities exhibit. It also made me realise that standard approaches to architecture may not apply to new contexts which no longer align with traditional presumptions of place and community being static.

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ACKNOWLEDGEMENTS

I would like to thank my supervisor Daniel Brown for his knowledge, enthusiasm for design and critique. His continuous support has been integral to the development of this project.

To my friends who have helped me along the way and for retuning me to reality.

And finally to my parents who have shown their unconditional support and put up with me through my five years of study - I could not have done this without your help.

Thank you.

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CONTENTS VOLUME ONE Abstract INCIPIT Introduction Problem Statement Aims and Objectives PART A – OUTSIDE THE LENGTHENED SHADOW Introduction A City of Diversity Traditional Landowners Baruni Landfill Fluidity of Site Context Habitation Dwellings and Shelter Settlement Patterns Vernacular Settlement Patterns Site Access Livelihood Waste Composition Sanitation Conclusion Works Cited Sources of Figures

VOLUME TWO ii

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PART B IN THE GENERATIVE CELL

Topological Mechanisms Topological Collage Conclusion Works Cited Sources of Figures

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PART D – CONSTRUCTION OF A RUINED TEMPLE Introduction Conclusion

PART E - PROVISIONAL MODEL FOR THE PROJECT Introduction Concept One - Linear Arrangement of Nodes Concept One - Critical Reflection Concept Two - Between Two Nodes Concept Two - Critical Reflection Concept Three - A Nodal Network Concept Three - Critical Reflection Concept Four - Tower Node Concept Four - Critical Reflection

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TOPOLOGY OF A PHANTOM CITY Prologue Epilogue

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CODA Conclusion

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121 122 130 132 140 142 150 152 162

PART F - EXCAVATIONS IN RETROSPECT

A Political Framework Works Cited Sources of Figures

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PART C – TOPOLOGY OF INVARIANCE

Introduction Topology of a Phantom City - Alain Robbe-Grillet

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Further Development

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INTRODUCTION Increasingly we live in a world where place and time are no

immediacy of online media.

longer perceived as static or linear. The world is in the thralls of global conflict, and it is heavily influenced by online

According to the United Nations Human Settlements

media: global conflicts gather foreign converts through

Programme, 1 billion people, or 32 per cent of the world’s

Facebook; city-wide riots are initiated through Twitter;

urban population, live in slums, the majority of them in the

environmental disasters are more readily communicated to

developing world. Moreover, the locus of global poverty

the world; political machinations are visible immediately

is moving to the cities, a process now recognized as the

online.

‘urbanization of poverty’. Without concerted action on the part of municipal authorities, national governments, civil

Architecture is at a crossroads, where even our ‘built’

society actors and the international community, the number

environment must respond to fluid time and place. The

of slum dwellers is likely to increase in most developing

current generation of young architecture students has

countries. And if no serious action is taken, the number of

been raised with online games, where place and even time

slum dwellers worldwide is projected to rise over the next

can shift at the press of a button. For this new generation,

thirty years to about 2 billion (UN-Habitat 4).

time is no longer linear; the built environment is no longer static. This new generation of architects is also witness to

Todays generation is growing up with this reality.

massive global diasporas caused by conflicts fanned by the

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PROBLEM STATEMENT

As the global slum population swells to over one billion people, in countries like Papua New Guinea impoverished rural migrants moving to urban centres are increasingly turning to landfills as their habitat and main source of livelihood. These populations scavenge such sites often under toxic conditions looking for discarded items to sell. Their dwellings are typically informal and constructed around the periphery from scavenged materials. These marginalized people survive within a constantly changing physical environment, as the landfill continually changes configuration and composition, while cultural compositions are also continually redefined as new migrant populations arrive, often leading to tensions within these slum communities. In many countries, political engagement with such issues has become stagnant, as slums are regarded as complex burdens on the state, with a growing perception that forced eviction is an appropriate solution.

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RESEARCH AIMS

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To help improve political understanding of the value of the inhabitants of landfill based slum sites and encourage political discourse to improve their situations.

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To create a synthesis between speculative architecture and reality so that visionary architecture may invite new and innovative solutions as future technologies are developed.

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To enable inhabited landfill sites to become sustainable and to provide employment to the inhabitants.

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To ensure the provision of basic services (water, sanitation, electricity, etc.) even though these fluctuating communities are not sited within typical urban contexts capable of providing underground systems of sewerage, etc.

RESEARCH OBJECTIVES •

To explore the dynamic nature of landfill sites as a fluid context requiring visionary ideas for fluid habitation.

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To design focal nodes within these fluctuating landfill sites that can provide basic services to immediate community groups catering for a variety of cultural groups in a single setting.

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To enable these nodes to provide sorting and recycling capabilities, to safely and efficiently reuse discarded materials.

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To enable new technologies within an architectural setting to use the recycled materials in new ways to provide shelter as well as employment for the slum dwellers.

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“Antonio Sant‘Elia stated that “Each generation must build its own city.”

Archigram and

Constant, in their own very different ways, fulfilled this Diem and at the same time they speededup the process. They never realized — or acknowledged — that the modern age could create utterly different kinds of ‘instant cities,’ the hastily constructed communities of urban dwellers displaced by catastrophes of both human and natural origin — war, economic disaster, hurricane, and earthquake. After all, where was the role for architects in them? What could architects do to turn these instant cities into affirmations of the human spirit? Architecture is about planning.

How can architects plan for the unplanned, for the unpredictable? Exactly….”

-Lebbeus Woods

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Fig. 1.01 Port Moresby Papua New Guinea

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Fig. 1.02 Baruni Landfill Port Moresby

INTRODUCTION Urban landfills can become inhabited by rural immigrants

and the generation of waste. The poor must make the most

who have no place else to live and scavenge for meager

of the resources available to them so scavenging from

supplies. Waste is gathered and removed in one place while

landfills often provides them with reusable and salable

it is brought in anew at another. The result is a ‘habitat’

materials to sustain themselves.

that is fluid in form and content, changing rapidly and repeatedly over time — sometimes forming mounds, other

According to Martin Medina, Senior International

times depressions, sometimes toxic, other times of value.

Relations Specialist at the United Nations University,

Both space and time for these rural immigrants are in a

scavengers are usually migrants from rural areas (3).

continual state of flux. Temporary shelter construction,

Middlemen often take a large percentage of the profit

waste collection, sanitation, access to water, income/

from the sale of materials, which helps explain scavengers’

livelihood generation and the supported population’s

low incomes (4). The poor have developed creative ways

changing ethnic composition all must respond to this fluid

to satisfy their needs, including recovery of items not

context. Architecture itself must respond to accommodate

necessarily part of the waste stream and construction

fluid site conditions.

of crude shelters from found materials. Scavenging is an important survival strategy enabling impoverished

Landfill environments such as the Baruni Landfill in Port

individuals to cope with scarcity. Scavengers typically

Moresby, Papua New Guinea represent the insatiable

specialize in recovering only one or a few types of materials

global human appetite for the consumption of materials

from waste (6).

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A CITY OF DIVERSITY Though Papua New Guinea is one of the least urbanized

investments and development, social development, poverty

collection varies dramatically between the formal areas and

countries in the world, there is a growing and seemingly

reduction, basic services, and social amenities or crime

the informal and settlement areas.

irreversible trend of urban migration. According to the

prevention have not been fully implemented due in large

1990 census only 15% of the population was resident in

part to the cultural conflicts endemic to such a diverse

urban areas. Nevertheless, at 4.3% annual growth, the urban

nation (Stanley 6). Increasingly residents of informal urban

population is increasing at almost double the national

settlements are being evicted by police and their homes

average. At this rate, by the year 2020, 27% of the country’s

demolished (fig 1.03, 1.05).

population will be living in cities and towns. The country is home to over 1000 ethnic groups speaking over 800

Port Moresby, the national capital, is confronted with issues

languages. This, coupled with the urbanization trend, is not

directly related with rural-urban migration. Port Moresby

seen as a potential stimulator of growth, but as the cause

has a population of just over 400,000. The unemployment

of problems such as spontaneous informal settlements,

rate in Port Moresby is high with more than 50% of the

high unemployment rates, alienated and delinquent youth,

unemployed living in informal settlements (fig 1.04), and

violent crimes and drug and alcohol abuse (Satish 34). This

vernacular urban villages (fig 1.06-1.09) (UN-Habitat 12).

unfortunate trend is the result of uncontrolled rural-urban

60% of the total land area in Port Moresby is alienated or

migration caused by weak governance and inadequate

state-owned land while 40% is under customary ownership

planning (28). National policies regarding balanced rural

(Satish 34). The availability of basic urban services like

and urban development, urbanization, local economic

water, energy, sewerage network, sanitation and refuse

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Fig. 1.03 Forced evictions.

Port Moresby

Fig. 1.04 Typical urban dwelling Port Moresby

Fig. 1.05 An excavator demolishes an informal settlement.

Port Moresby 2012

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TRADITIONAL LANDOWNERS The land on which the city of Port Moresby has developed is traditionally the territory of two intermarried peoples now often collectively called the Motu-Koita, or MotuKoitabu. These people have occupied Port Moresby since before European settlement in 1870 and hold customary ownership of 40% of the land within the National Capital District — a fact which is seen as an inhibitor to growth as much of the developable land is under this banner. The Motu-Koita inhabit multiple water edge sites around the city (fig. 1.09). Increasingly these are falling into a state of disrepair as vernacular practices of construction of their over water dwellings are lost, and new materials unsuitable for these conditions are used. The land and sea surrounding these villages is also becoming increasingly polluted (fig.

1.07, 1.08), and violence between customary landowners and migrant informal settlers is becoming commonplace.

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Fig. 1.06 Vernacular Motu-Koita Village (Hanuabada) C. 1914

Fig. 1.07, 1.08 Vernacular Motu-Koita Village (Hanuabada) 2010

Fig. 1.09 Traditional Motu-Koita Villages Aerial Photograph 2014

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BARUNI LANDFILL The Baruni Landfill is the site of the thesis research

prevalent since the settlers either live in unsanitary shacks

investigation. It is Port Moresby’s official waste disposal

or directly on the dirt under old tarpaulins supported by

site. It is located only 4km from the centre of Port Moresby

empty petrol drums (fig. 1.25) (10).

and just 2km inland from Fairfax Harbour. It is situated in a valley which is open only to the northwest, standing in opposition to the CBD. The dump is accessed from Baruni Road which has no direct linkages to the city itself (fig. 1.01).

Until 1997 Port Moresby utilised another landfill site, at Six Mile to the southeast of Port Moresby City, which was closed permanently when it exceeded its carrying capacity.

Upon the closure of the Six Mile Dump, squatters moved to the Baruni Dump. With these new arrivals there was an increase in criminal activities (Office of the Auditor-General of Papua New Guinea 7). The relationship between the Motu- Koitabu villagers, who live in close proximity (approx 1 kilometer), and the scavengers is currently at an all-time low (8). Drunken brawls and fights are now common among the new settlers and the traditional landowners. Disease is

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The “back road” (officially known as Baruni Road) has long had a reputation for armed holdups and the perpetrators in recent times were popularly said to come from the ranks of the squatters at the dump, who scoured their habitat constantly for materials to build shelters, sell at the roadside, or turn to other subsistence purposes.

The police found some stolen vehicles hidden behind the dump, and while the raid on the dump community itself disclosed no stolen property, the stolen vehicles were used as justification for the eviction of the dump squatters and the torching of their makeshift shelters in the planned operation the police had code-named “Rolling Thunder” (Goddard 13).

Fig. 1.10 Port Moresby Papua New Guinea

Fig. 1.11 Baruni Landfill Site Plan December 2014

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Fig. 1.12 Approach Baruni Road

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Fig. 1.13 Entrance Baruni Landfill

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Fig. 1.14 Fluid landscape Baruni Landfill

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Fig. 1.15 Burning of waste Baruni Landfill

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SITE SECTION

Fig. 1.17 SECTION A-A’ Baruni Landfill

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Fig. 1.16 Baruni Landfill Site Plan December 2014

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Fig. 1.18 SECTION B-B’ Baruni Landfill

Fig. 1.19 SECTION C-C’ Baruni Landfill

Fig. 1.20 SECTION D-D’ Baruni Landfill

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Fig. 1.21 Child walks barefoot through household, industrial and medical waste

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FLUIDITY OF SITE CONTEXT

Fig. 1.22 Typical landfill surface.

Very few factors within the site are static – by its very nature, the physical context of the landfill is continually subject to change.

Being an active landfill the site is continually changing.

Garbage is dumped daily from a variety of private contractors.

This garbage is then moved about via earthworks machinery or by hand by the large numbers of scavengers, continually sculpting the landscape. As the dump is unlined and unbounded, the dump surface/ footprint itself is in a continual state of flux as shown in the diagrams opposite. The dump surface has a distinct relationship with other variable site factors such as occupation of adjacent space and access routes around the site.

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Fig. 1.23 Landfill-Baruni Road threshold.

Fig. 1.24 Fluctuation of landfill footprint.

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HABITATION In addition to the landfill of Baruni Dump being in a

The Baruni Dump population is culturally diverse. The largest

state of flux, its population is also in a continual state of

resident ethnic group is from the Goilala district in central

flux. It has grown steadily with the general trend of rural

province. This group makes up approximately 50% of the

urban migration. This has been compounded by a series of

resident population after many of them migrated to this site

recent forced evictions which have resulted in migrations

after the closure of the Six Mile Dump in 1997 (Office of the

from informal settlements within the city fabric to the

Auditor-General of Papua New Guinea 78). Other resident

landfill, causing population surges within an already hostile

groups include those from Chimbu Povince, Koiraris in

environment, both physically and socially (Rooney).

Bougainville, Kerema District in the Gulf Province and those from the Southern Highlands, most notably the Taris (79).

The site is currently occupied by a variable population of

There is also a large proportion of people from other groups

between 400-2000 people (Office of the Auditor-General of

who inhabit the site, as well as visit it regularly as a means

Papua New Guinea 78). These range from semi-permanent

of subsistence. As the nature of the population is so variable,

residents of the site who have constructed makeshift

no data exists as to the exact composition. Additionally, due

dwellings to a commuter population who spend their days

to Papua New Guinea’s ethnic diversity, the site is also home

scavenging from the refuse. Due to the informal nature of

to a multitude of language groups — a factor which also

the site, no concrete population data exists (17). Many of

fuels alienation, conflict and the overall flux.

the scavengers travel from ethnically segregated zones to the landfill. This can often result in clashes between rival groups within the site (Goddard 16).

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Fig. 1.25 Typical shelter constructed from cardboard, plastic and petrol drums

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DWELLINGS AND SHELTER Dwellings and temporary shelters within the site are typically of makeshift construction and are made from materials readily found within the vicinity. Empty petrol drums, cardboard and plastic sheets are common materials, although many other scavenged materials are employed for shelter in various applications.

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Fig. 1.26 Use of computer waste for shelter

Fig. 1.27 Woman sits in shelter Fig. 1.29 Storage of useful materials around shelter

Fig. 1.28 A family shelter

Fig. 1.30 Typical Shelter Baruni Landfill

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SETTLEMENT PATTERNS As the landfill surface changes in content and configuration over time due to continual dumping, scavenging, burning and bulldozing, the inhabited zones around the landfill also change. As can be seen on the diagram opposite, this response is continual and evidences the fluid nature of life for the landfill’s inhabitants.

Fig. 1.31 and 1.32 illustrate typical settlement patterns around the dump. Shelters are typically located around the dump periphery in close proximity to pathways connecting the dump to the city to the south.

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Fig. 1.31 Locations of temporary shelters.

September 2014

Fig. 1.32 Landfill areas where temporary shelters have been built over time.

2002-2014

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VERNACULAR SETTLEMENT PATTERNS The settlement patterns of Baruni Landfill can be seen

These houses, representing one of the most original

to follow similar traits to traditional vernacular villages.

architectural forms developed in Papua New Guinea, were

Although largely limited by the physical environment,

up to 200 meters in length (fig. 1.38, 1.39). This type of

settlements within the landfill can be seen to form nodal

habitat is sometimes associated with semi-nomadic peoples,

or nuclear patterns around access ways (fig 1.37), drawing

as in the Mt Bosavi region in Southern Highland province.

distinct parallels with their rural settlements.

In these structures, men occupy the central passage with entries at each end while the women and children occupy

Nuclear typology is prolific in Goilala District, the origin

rooms situated on both sides of the passage and on the

of many Baruni inhabitants, on the coasts, the Morobe and

upper levels, access to which was assured by ladders leading

Madang provinces and parts of the Eastern Highland (Oliver

to trapdoors located in the ceiling (fig. 1.40).

2.II.6). Each traditional village is divided into a number of MADANG

parts with the division expressing certain sociological rules

EASTERN HIGLAND

and regularities. The inner circle consists of yam houses,

S

MOROBE

personal huts of the chief and his kinsman and bachelor houses. The outer ring is made up of matrimonial homes,

CENTRAL

closed yam-houses and houses belonging to widows or widowers (fig. 1.34). One difference between the two rings is a taboo on cooking which is not allowed in the inner ring.

This form can also be more homogenous in configuration depending on specific beliefs of each different tribal culture.

Another prolific vernacular settlement typology is a habitat consisting of a single dwelling (men and women together).

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PO RT MORESB Y GOILALA

Fig. 1.33 Geographic regions.

Papua New Guinea

Fig. 1.36 Typical nuclear settlement - Concentric.

Dancing Gound Yam house

burial ground

chief’s hut

Fig. 1.34 Typical nuclear settlement.

Papua New Guinea

Fig. 1.35 Vernacular Village Goilala Region 2014

Fig. 1.37 Typical nuclear settlement - Built around transport routes.

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Fig. 1.39 Typical longhouse plan.

12m

Verandah Steps

Verandah

Fireplace

Sleeping Area

60m

5M

Fig. 1.38 Long House near Mendi in the Southern Highlands province.

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Bachelor Sleeping

Main Post

Arrow Storage

Dancing Room

Fire Pits

Exclusively Male Activity Area

Exclusive Female Sleeping Area

Fighting Platform

Married Men’s Beds

Fire Pits

Bachelor Sleeping

Opem End

Predominantly Male Activity Area

Benches

Benches

Fig. 1.41 Longhouse entrance

Food Storage Main Entrance Predominantly Female Activity Area

Fig. 1.40 Longhouse interior plan

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SITE ACCESS

Fig. 1.42 Child collecting waste barefoot.

As a symptom of the fluidity of the physical context, access ways within the site also fluctuate. As garbage is dumped, moved, sorted or burnt, access routes to and within the site vary greatly as can be seen in the diagrams opposite. Typical access routes lead over and from Baruni Road as well as over the hill on the southern tip of the landfill. These access routes also change yearly due to vegetation.

Fig. 1.43 Paths made through dump surface.

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Fig. 1.44 Human movement network around Baruni Landfill.

2002-2014

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LIVELIHOOD

Fig. 1.45 A woman collects cans for resale.

Most scavengers generate their main source of livelihood from the landfill. Time is spent looking for usable items for housing, storage or tools, or items that can be on-sold. Recyclable items such as tin cans are a common source of income as they are readily accepted by commercial businesses within the city.

Some scavengers set up hawker stalls along the adjacent Baruni Road selling their scavenged wares (fig. 1.48, 1.49).

Recently there has also been a rise in the number of trees felled by the occupants from around the landfill, where the wood is sold as firewood (fig. 1.50).

Fig.#. (Right) Dump inhabitants await the unloading of new refuse

Fig. 1.46 Children work in the landfill.

Money gathered from such revenue streams is typically used to purchase small quantities of food. Often many dwellers will resort to sifting through the garbage for discarded food items as a supplementary source of sustenance. Water is collected in recycled plastic containers from nearby natural water sources. This practice is becoming more dangerous as leaching and runoff from the unlined landfill is contaminating the groundwater.

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Fig.#. (Right) Dump inhabitants scavenge amongst refuse

Fig. 1.47 Transport of waste materials for sale.

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Fig. 1.48 Selling of waste on Baruni Road.

Fig. 1.49 Selling of waste on Baruni Road.

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Fig. 1.50 Selling of gum wood felled from the landfill periphery.

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Fig. 1.51 Waiting for the delivery of waste.

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Fig. 1.52 Sifting through smouldering garbage.

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WASTE COMPOSITION The composition of waste types within the Baruni Landfill

incinerators are no longer functioning (78).

is also continually changing. As the landfill is informal and therefore unregulated, a variety of waste types are dumped unsorted into the same area – to the detriment of the adjacent inhabitants, commuting scavengers and the environment.

In terms of composition, typical domestic waste contributes to over half of deposited waste, mainly collected from households within the city by private contractors. As much as 40% of the waste deposited within the landfill is commercial in origin (Office of the Auditor-General of Papua New 72).

This includes a large volume of hazardous toxic chemical products. In addition to the general waste disposed at the Baruni Dump, medical waste from the hospitals and clinics is also deposited there. Prior to 2006, segregation of medical care waste occurred at source and medical waste was burnt in specially designed incinerators which were generally managed by the health authorities. However, since 2006 medical waste is no longer incinerated but is disposed of in areas within the Baruni Dump because the designated

Fig.#. (Above) Open disposal of medical sharps

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Fig. 1.53 Discarded medical sharps

Fig. 1.55 Shelter within landfill Fig. 1.54 Waste composition

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SANITATION Sanitation levels within the vicinity of the landfill are low.

dump site are already evident (76).

Due to the informal nature of the dump, no public sanitary facilities exist. As such people go about their business wherever they happen to be, creating health hazards for other scavengers. Dump operators, nearby residents and inhabitants of the Baruni Dump are exposed to high health risks, especially the community living closest to the medical waste disposal site. Indiscriminate dumping of medical waste is a serious health hazard. Air pollution from the dump is now quite visible. Residents of neighbouring villages complain about the smog that drifts from the dump area and hovers above their villages (Satish 79). The cancer rate in the neighbouring villages is very high. The incidence of birth defects, still-born babies, miscarriages and various forms of deformity is already very high in surrounding villages and may be higher still near or within the Baruni Dump although no data exists to verify this (78). The problems can be compared to those of the squatters residing around the Six Mile Dump, where the effects of years of exposure to the Fig. 1.56 A family walks in Baruni Landfill

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Fig. 1.57 Medical waste pit

Fig. 1.58 Waste medical hazardous chemicals

Fig. 1.59 A child bathes in water beside the landfill

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CONCLUSION The Baruni Landfill is a very complex site, with a large range of associated societal issues. This analysis has shown the fluid nature of the site, which differs from typical architectural sites. The thesis argues that in order for people to not only live but thrive within such a site, architecture must respond to accommodate fluid site conditions. The role of nuclear settlement typology must also be addressed within the design response.

Based on this contextual analysis the following issues need to be addressed within the design response: •

Ability to adapt to a fluid site context

•

Ability to respond to diverse and continually changing ethnic composition, and population numbers

•

Provide basic sanitation and potable drinking water on site

•

Provide a waste processing solution for a variety of materials

•

Provide a means of livelihood for the inhabitants/ commuters to the landfill

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Fig. 1.60 A woman sits within the refuse 2013

Fig. 1.61 Children of Baruni Landfill 2013

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Moresby.” 28/11/2006. Crawford School of Economics and Government. 2

April 2014 <https://crawford.anu.edu.au/degrees/idec/working.../IDEC07-04.pdf>.

—.

“Informal Land Systems within Urban Settlements in Honiara and Port Moresby.”

Making Land Work, Vol. 1 2008: 85-107.

Stanley, Dr Samuel and Dr. Jane Boamah. “Crime and Violence Trends.” March 2007. UN

Habitat. 28/3/2014 <http://unhabitat.org/wp-content/uploads/2008/07/

GRHS.2007.CaseStudy.Crime_.PortMoresby.pdf>.

Storey, Donovan. “Urban Poverty in Papua New Guinea.” July 2010. National Research

Institute of Papua New Guinea.24/4/2014 <http://www.nri.org.pg/publications/

Recent%20Publications/2010%20Publications/DP%20109%20Urban%20 Poverty%20in%20Papua%20New%20Guinea.pdf>.

UN-Habitat. “Papua New Guinea: Port Moresby Urban Profile.” 2010. UN-Habitat.

26/6/2014 <http://www.fukuoka.unhabitat.org/projects/papua_new_guinea/pdf/

port_Moresby_March_2010.pdf>.

United Nations Office of the High Commissioner for Human Rights Pacific Region. “Call

for Government to Protect Against Forced Eviction in Port Moresby.” 22 July 2009.

United Nations Office of the High Commissioner for Human Rights Pacific Region.

21/3/2014 <pacific.ohchr.org/docs/PR_PNG_220709.doc>.

049

SOURCES OF FIGURES All figures not listed are by author.

Fig. 1.34. Anthony Maront, https://goilala.wordpress.com/2014/04/, 4/5/14 Fig. 1.01 – 1.02. Google Earth, 14/8/14 Fig. 1.35 – 2.36. Google Earth, 14/8/14 Fig. 1.03. Papua New Guinea Post Courier, 12/3/13 Fig. 1.38 http://www.delcampe.net/page/item/id,224420889,var,PAPUA-NEW-GUINEA-Fig. 1.04. Phillipe Schnider, http://www.foto8.com/live/paga-hill-port-moresby-papua-new-

LONG-HOUSE,language,E.html 15/8/14

guinea/, 12/3/13 Fig. 1.40. F. E. Williams, The Heart of a Pearl Shell, Los Angeles: University of California Press Fig. 1.05. Sam Moko, http://www.pngperspective.com/news/police-manhandle-papua-newguineas-opposition-leader-/, 16/3/13

Fig. 1.41 – 1.46. Operation Food For Life, 2013, http://www.offl.org.au/latestnews/2012/12/2/ images-from-baruni-rubbish-dump.html, 3/3/14

Fig.

1.06.

Popular

Science

Monthly,

December

1914.

https://archive.org/details/

popularsciencemo85newy, 12/3/13

Fig. 1.47-1.49. Peter John Tate, http://www.panoramio.com/user/2405290, 15/3/14

Fig. 1.07. Nigel Spence, http://www.radioaustralia.net.au/international/2011-05-05/funds-

Fig. 1.50-1.52. Operation Food For life, 2013, http://www.offl.org.au/latestnews/2012/12/2/

needed-for-png-school-for-deprived-children-says-charity/215992, 12/3/13

images-from-baruni-rubbish-dump.html, 3/3/14

Fig. 1.08. Nigel Spence, http://www.radioaustralia.net.au/international/2011-05-05/funds-

Fig. 1.53. Office of the Auditor-General of Papua New. “The Effectiveness of Solid Waste

needed-for-png-school-for-deprived-children-says-charity/215992, 12/3/13

Management in Papua New Guinea.” January 2010. Auditor General Papua New Guinea. 13 July 2014 <http://www.ago.gov.pg/publications/7593074.pdf>.

Fig. 1.09 – 2.11. Google Earth, 14/8/14 Fig. 1.54-1.61. Operation Food For life, 2013, http://www.offl.org.au/latestnews/2012/12/2/ Fig. 1.12 -1.29. Operation Food For life, 2013, http://www.offl.org.au/latestnews/2012/12/2/ images-from-baruni-rubbish-dump.html, 3/3/14 050

images-from-baruni-rubbish-dump.html, 3/3/14

051

052

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054

A POLITICAL FRAMEWORK

Architecture when it takes on political and social issues can

experience.

become an important device to help people change their lives for the better. This means empowering those who have

This section establishes context for the research within

been disenfranchised by prevailing institutions, mobilizing

the realm of new social activism in architectural design. It

the masses towards change. Architects promoting these

locates successful examples of socially motivated works of

agendas can facilitate political change, as well as models for

speculative and visionary architecture, film, installation

structures that serve as its mechanisms. When designed for

art and video games as case studies to provide bases for an

global publication rather than actual construction, these

architectural response to the complex habitational issues

conceptual models can serve as inspirations and guides for

exhibited within the Baruni Landfill. It asks how this

those who will actually develop and build an architecture of

thinking can help consolidate a set of ideals, goals, and

change from the materials and situations at hand. Architects

principles that can redefine design as a tool for political and

can bring the scope of their knowledge to bear on the task,

social action providing a responsive, tangible vision for the

and their instinct for the poetic can enhance the human

masses.

055

Rob Wilson in his text “Fighting the Banalities of the Built:

The visual supremacy of our progressively image-led

Pop Capriccos, Visionary Videos and Beyond” in Neil

culture has been driven largely by the development of

Bingham’s Fantasy Architecture states that over the last few

digital technology. This has facilitated instant global access,

years, a “new boldness, bravura even, not seen since the

transformation, manipulation and reproduction, enabling

1960s”, has resurged in architectural design (Wilson 18).

new ways of conceiving environments (18). In today’s media-

Ideas championed by the likes of Fritz Lang, Franz Kafka

saturated environment, many of these depictions of possible

and George Orwell have inspired new proposals for unbuilt,

architecture have been designed for mass consumption: they

and often unbuildable, designs being created not just by

face us daily on advertising hoardings, on television screens,

architects but by many others working in different visual

in newspapers and magazines, and in video games and in

media – film designers, creative advertising, music video

cinemas. But why this sudden abundance of architectural

producers, fine artists and computer game programmers –

imagery?

reflecting both the general cultural climate and a new-found appetite for politically motivated architecture (18).

Fig 2.01 (Right) District 9 2009 The oppression of the symbolic ‘Prawn’ in District 9, Drawing distinct parallels with contemporary slum life.

056

â&#x20AC;&#x153;The role of architecture is instrumental, not expre ssive. It is a tool extending individual capacities to do, to think, to know, to become, but also to pass away, to becom e an echo, a vestige, a soil for other acts, moments, indiv iduals.â&#x20AC;? â&#x20AC;&#x201C; Lebbeus Woods

057

Increasingly architects are using mass consumable forms

in weekly glossy magazines or online blogs, like fashion.

of an array of parallels and projections of current realities,

of design to bring awareness about isolated issues through

It isn’t a shared cultural experience like music. Yet we are

their works focus on the creation of a ‘vision’ as opposed

the use of the utopian / dystopian duality. Studios such as

constantly, literally, surrounded by it (Factory Fifteen).

to dealing with the intricacies of conventional planning of architectural space — an approach which may also be

Factory Fifteen hone in on diverse, complex political and social issues and express architectural issues through highly

Books such as Robert Klanten and Lukas Feireiss’s Beyond

polished film. Their internationally acclaimed short film,

Architecture bring together a wide variety of predominantly

Jonah, depicts a coastal African fishing village’s (Mombasa)

politically motivated architecturally influenced works,

transformation into a westernised metropolis, and with

enabling even small works to attain a greater degree of

this change developing social issues of crime, drugs and

influence. Consortiums such as Under Tomorrow’s Sky

corruption. The Bug depicts its protagonist stuck in a

are an additional phenomenon of the current global

totalitarian system — medicated to think, feel and function

environment. Organised by speculative architect Liam

— visualising the collapse of consumerist society, following

Young, the think tank of scientists, technologists, futurists,

the subject’s existential journey to leave the bounds of the

illustrators, science fiction authors and special effects

conformity (fig. 2.05).

artists asks questions of the current global condition and its direction for the future through the conceptual development

Architecture (must come down from) its ivory tower and

of a future city (fig 2.03), its challenges and opportunities.

greet the masses, allowing it to be shared and explored,

The goal of this project is not a realisable work, but rather a

discussed and dissected the way we do other cultural forms,

futuristic visual construction - a body of work obsessed with

like films, fashion, music, and art. This isn’t to say nobody

the possibilities and consequences of emergent technologies,

discusses architecture; many people do, but it isn’t talked

and conceived explicitly to spark discourse.

about in the same water cooler way the non-filmmaker casually chats about a movie. It doesn’t get fawned over

058

While evocative and provocative through their portrayal

productively applied in sites like the Baruni Landfill.

Fig. 2.02 (Left) Under Tomorrow’s Sky 2012 The project develops a future speculative city to explore the possibilities and consequences of today’s emerging biological and technical research.

Fig. 2.03 (Right) Under Tomorrow’s Sky 2012

Fig. 2.04 (Below) Jonah 2014 This work parallels many of the real problems associated with the introduction of western culture in an underdeveloped country.

059

Fig. 2.05, (Left) The Bug 2014

060

Fig. 2.06, (Right) Justin Plunkett Con/Struct

061

Social discourse is reflected in the works of many artists and

example challenges the viewer to question the future of

architects, using vivid representations and reinterpretations

auxiliary urban spaces (theme parks) in the realm of poverty

of the world’s current city-scapes to drive alternative modes

and urban sprawl. The juxtapositions that they create allow

of thought. This growing trend to engage the city and

for the fostering of discourse centred around the amount of

architecture as subject, provides an increasingly powerful

resources the developed world pours into spaces of ephemeral

tool for social change.

experience. However through their representation they discount the attributes of human engagement with the

Architects such as Olalekan Jeyifous (fig. 2.08, 2.09) and

design response. Olalekan Jeyifous’s works, while designed

designer Justin Plunkett (fig 2.06, 2.07) endeavour to

to create provocative dualities of conventional planning

push the boundaries of political architectural questioning

techniques and informal urban sprawl, lack the evocative

through reinterpreted contours of urban settlements. They

visual qualities of works such as Plunkett’s. Evocative visuals

represent ideas of a degenerate futurism, yet one might find

are pivotal to establishing viewer connection with the issues

similar typologies and scenes in places such as the favelas of

being addressed.

Brazil and North Africa, and in overpopulated cities such as Lagos, Mexico City, and Mumbai. These familiar, yet dissociated visions permit exploration of thought and design which otherwise may not be explored through traditional architectural methodologies.

These case studies develop provocative portrayals of space in order to drive discourse. Plunkett’s work Con/struct for

062

Fig 2.07 (Left) Justin Plunkett Con/Struct Fig 2.08, 2.09 (Above) Olalekan Jeyifous Central City This series contains abstracted planimetric drawings and eerily-serene cityscapes that suggest the changing contours of urban settlements representing an idea of a degenerate futurism.

063

Feature films such as Avatar, Wall-E, District 9, Elysium

flooded Earth raising issues of social exclusion and race

and Chappie have raised issues relating to the challenges

relations while permitting viewer connection with a first

faced by the worldâ&#x20AC;&#x2122;s informal communities, and their

person perspective (fig. 2.10, 2.11). Ross Damien Jordanâ&#x20AC;&#x2122;s

relations to the general populous. These films with political

work, Faveliza imagines Rio de Janeiro under a future

metaphors invite audiences to take from them symbolic

government elimination strategy which barricades the

messages, upon which individuals can later reflect and

favelised regions from expansion and destroys all electricity

find personal relevance; that is, someone may draw from

networks that enter the shanty towns. Slum dwellers are

the movie notions about the consequences of intolerance

left with little choice but to begin vertical expansion whilst

while another might view it as a parable about the dangers

creating their own energy from the resources with which

of the misuse of government power. District 9 for instance

they are left (Jordan) (fig. 2.12). Although all of these cases

draws distinct parallels with the forced evictions of 60,000

express political and social motifs through the depiction of

people and demolition of District 6 in Cape Town by the

architecture, and are evocative, they lack a developed sense

apartheid regime in the 1970s formulating a fluid notion of

of spatiality in dealing with specific contextual issues.

time and space as a mechanism for reflection on past events.

Elysium on the other hand explores the Earth in 2154 and the problems of immigration, class issues and food scarcity in an overpopulated and polluted world (fig. 2.13, 2.14).

These ideas are also mimicked in the environments of many video games and provide a valuable source of inspiration for developing politically motivated design. In Brink, two factions, Resistance and Security, battle in a once-utopian city called The Ark, a floating city above the waters of a

064

Fig 2.10, 2.11 (Far Right) Brink 2011 This video game inhabits the threshold between the utopian and dystopian.

Fig 2.12 (Right) Ross Damien Jordan Faveliza Fig 2.13 (Left Top) Ring World Elysium Syd Mead 2013 Fig 2.14 (Left Bottom) Elysium 2013

065

Installation design also plays a part in the world of politically

of the given scenario and it provides clear spatialisation of

motivated design in the realm of informal architecture and

the issues the works encompass. While the design response

creates clear spatialisation of issues that many purely digital

for this research investigation will not be in installation

works fail to achieve. Mumbai-based installation artist Hema

format, ideas of juxtaposition of elements, and the removal

Upadhyay uses sculptural installations to explore notions

of site aspects from their usual context to provoke discourse

of dislocation. Many of her works make direct reference

could provide a valuable mechanism to engage the viewer.

to slum conflict through provocative juxtapositions in her installations. Dionisio GonzĂĄlezâ&#x20AC;&#x2122;s 2011 Favela uses digitally manipulated photographs to image an urban space where the decomposing homes of the inhabitants are integrated into architectural outbursts of a futuristic and abstract style.

Wang Qingsong in his installation Dream of Migrants, depicts a China where an aimlessly drifting population moves from one place to another â&#x20AC;&#x201D; mostly from countryside to big cities to look for jobs. Dream of Migrants expresses this pursuit of dreams and bigger opportunities in bigger cities. For this work the artist constructed a three-storey set in a Beijing movie studio that combines Chinese, Soviet and European architectural and cultural typologies to push the concept of race relations in the context of the urban environment. This approach permits the viewer to take an objective viewpoint

066

Fig 2.15 (Right) Hema Upadhyay Where the bees suck, there suck I 2009 Fig. 2.16 Wang Qingsong Dream of Migrants

067

Fig. 2.17, 2.18 Dionisio Gonzalez Favelas

068

069

Fig. 2.19 Chappie 2015

070

Architecture has the ability and potential to benefit people in

served, and to play an active role in responding to the social

more ways than a finished built work by bridging the divide

challenges the worldâ&#x20AC;&#x2122;s human habitat faces.

between fantasy and reality and combining the emotive aspects of the fantastic with the problem solving, spatial

We are well acquainted with the monumental architecture

attributes of architecture. This chapter has investigated and

of official power, the large and expensive buildings that

reflected upon approaches in which architectural design

demonstrate the wealth of private corporations, arts

can play a direct role in addressing critical social and

institutions, and stable governments. But what about

environmental issues through the creation of conceptual

the architecture of resistance to established authority?

visions tailored to provoke discourse. Architecture designed

What about the architecture of rapid political change?

to parallel reality can enable the unification of ideas through

Such architecture cannot be expensive, because those

provocative imagery encouraging viewers to ask questions.

who need it are not sponsored by banks and mortgage

Architecture may borrow ideas and methods from other

companies. Anyway, there isnâ&#x20AC;&#x2122;t the time for the usual

disciplines such as film, installation art and gaming

building process. Political architecture of this kind must

environments. Through this process architecture will be

be improvised, spontaneous (Lebbeus Woods 8).

provided an ability to expand the scope of practice of design to benefit more people, the great number currently under-

071

WORKS CITED Bell, Bryan and Katie Wakeford. Expanding Architecture: Design as Activism. New York:

Human Settlements. Nairobi: Earthscan Publications Ltd, 2003.

Bellerophon Publications, Inc, 2008.

Woods, Lebbeus. “Anarchitecture: Architecture is a Political Act.” Architectural Monographs

Bingham, Neil, et al. Fantasy Architecture 1500-2036. London: Hayward Gallery Publishing,

No22 1992: 6-144.

2004.

Young, Liam. Under Tomorrow’s Sky. 10 August 2012. 2 December 2014 Busbea, Larry. Topologies. Cambridge: MIT Press, 2007.

Davis, Mike. Planet of Slums. London: Verso, 2006.

Factory Fifteen. 2014. 22 December 1015 <http://www.factoryfifteen.com/7936/home>.

Jordan, Ross Damien. Ross Damein Jordan. 2013. 12 December 2014 <https://www.behance.net/rossdamienjordan>.

Klanten, Robert and Lukas Feireiss. Beyond Architecture. Berlin: Gestalten, 2009.

Robbe-Grillet, Alain. Snapshots and Towards a New Novel. London: Calder and Boyars Ltd, 1965.

—. Topology of a Phanotm City. Paris: John Calder Publishers Ltd, 1976.

United Nations Human Settlements Programme. The Challenge of Slums: Global Report on

072

<http://undertomorrowssky.com/>.

SOURCES OF FIGURES Fig. 2.01. Neil Blomkanp, District 9, http://www.dvdactive. com/reviews/dvd/district-92.html, (12.11.14) Fig. 2.02, 2.03. Daniel Dociu, Under Tomorrowâ&#x20AC;&#x2122;s Sky, http:// undertomorrowssky.com/ (05.08.14) Fig. 2.04. Factory Fifteen, Jonah, http://www.factoryfifteen. com/7936/1433863/home/jonah (07.10.14) Fig. 2.05. Factory Fifteen, The Bug, http://www.factoryfifteen. com/7936/1433863/home/thebug (07.08.14) Fig. 2.06, 2.07. Justin Plunkett, Con/Struct, http://www. justinplunkett.com/construct/ (05.08.14)

sonypictures.com/movies/elysium/ Fig. 2.15. Hema Upadhyay, Where the Bees Suck, There I Suck, http://www.artnet.com/artists/hema-upadhyay/ (05.08.14) Fig. 2.16. Wang Qingsong, Dream of Migrants, http:// www.goethe.de/ins/cn/en/lp/kul/mag/bku/12832509.html (13.01.15) Fig. 2.17, 2.18. Dionisio Gonzalez, Favelas, http://www. dionisiogonzalez.es/2004-2007.html (5.8.14) Fig. 2.19. Neill Blomkamp, Chappie, http://www. sonypictures.com/movies/chappie/ (12.11.14)

Fig. 2.08, 2.09. Olalekan Jeyifous, Central City, http:// archinect.com/vigilism/project/settlements-and-citystrategies (13.01.15) Fig. 2.10, 211. Bethesda Softworks, Brink, http://bethsoft. com/en-gb/games/brink (14.01.15) Fig. 2.12. Ross Damien Jordan, Faveliza, https://www. behance.net/rossdamienjordan (05.01.15) Fig. 2.13. Syd Mead, Ring World - Elysium, http://borg. com/2013/08/23/elysium-the-art-of-the-film-spotlightswork-of-weta-creators/ (05.01.15) Fig.

2.14.

Neill

Blomkamp,

Elysium,

http://www.

073

074

075

076

INTRODUCTION Part A established the fluid nature of both the population

definitions of topology may be used to respond to dynamic

and transformations of irregular surfaces — utilising them

and the site of Baruni Landfill, to which an architectural

conditions of fluid time and space within the context of the

to describe those spaces that had been ignored or left

response must cater. Part B of this thesis reflected on examples

Baruni Landfill settlement.

imprecisely measured by earlier writers, that define our

of the background and basis for political action within

environment. According to Professor Christophe Girot,

architecture. This section looks at French nouveau romain

The stance of the nouveau romain or ‘New Novel’ of the

chairman of landscape architecture at the Swiss Federal

author Alain Robbe-Grillet’s use of topology in literature

1950s provides an exemplary case for the application of

Institute of Technology in Zurich:

and film, its definition and particularly how it can be used

theoretical topology as a new means of conceiving of

as a tool to deal with fluid time and space. The thesis design

architecture within a fluid time/space context. As one of

Topological ‘space’ differs from Cartesian space in

experiments will explore translating this methodology into

the original founders of the New Novel movement, French

that it overlaps temporal events within form. Space

architecture as a means of addressing a new era, context and

novelist Alain Robbe-Grillet not only championed the form

then, is no longer a vacuum within which subjects and

medium with attributes of fluid time and space as exhibited

but was also one of its most prolific writers and theorists. In

objects are contained; space is instead transformed into

within the Baruni Landfill. As variation in context increases,

his opinion, pre-New Novel literature had lost its capability

an interconnected, dense web of particularities and

conventional architecture’s ability to respond to shifting

to deliver an influential reader experience due to many

singularities better understood as substance or filled space

context falters. However “topology” has been employed to

prominent authors at the time not recognizing shifts within

(Girot 15).

deal with fluid context dynamics in landscape, literature,

the surrounding social and cultural contexts (Towards a

film and fine art. The thesis design experiments will explore

New Novel 45). He argued that in order for the New Novel

This understanding of topological space suggests distinct

how “topology” might also provide a mechanism for

to be truly representative of the times it must reflect a reality

parallels with the environment of Baruni Landfill, where

architectural responses to fluid contexts.

filled with the ambiguity of everyday life and devoid of

boundaries and conditions are not clearly defined, but

constructed or implied meaning (53).

merge and distort as context related factors change.

The principle aim of Part C is to explore how different definitions of topology may be used to gain insights for

Robbe-Grillet heavily adopted the conceptual bases of the

speculative architectural design in informal landfill sites

mathematical definition of topology in order to garner

in order to challenge conventional modes of thought.

literary reform. His translation transforms the mathematical

Additionally Part C highlights the ways in which different

definitions of the word - the measurement of folds, stretches, 077

TOPOLOGY OF A PHANTOM CITY In Robbe-Grillet’s novel Topology of a Phantom City

interpretation of the mathematical definition as: the way in

(Topologie d’une Cité Fantôme) the ideas of architectural

which constituent parts are interrelated or arraigned(4). This

topology come to light and are expressed as a world of

permits him to create adjacencies and connections between

These conceptual ideas, as Robbe-Grillet explains, may be

“spectre, specular reflection, and spectacle, evoking the

objects and events within the text to allow the whole to

used across a variety of contexts in order to make sense of

mirroring of space and time” (Smith 100). Robbe-Grillet

become greater than the sum of its parts.

a complex modern world, acknowledging the dislocation of

explores a “city” that invents itself through a fiction that is peopled with spectres from another time.

time and space through the use of repetition, literary collage The clearest indication of the spatial orientation of Topology is its organisation in five parts called “Spaces”, where each

“Repeatedly upon a time (in fact one could say as a rule)…”

space blends and merges into one another across time

(Robbe Grillet, Topology of a Phantom City 98).

periods and points of view (Smith 88). The use of “rehearsals” of content within the text where Robbe-Grillet practices

Robbe-Grillet uses the word topology with more or less rigor

scenes to come on a stage within the novel build a scene of

as circumstances and his own methodological purposes

non-chronological time and repetition.

dictate in his theoretical writings and novels. At various moments he appeals to all three of the traditional definitions

Robbe-Grillet portrays topological dislocations of space

of the word. The first definition he uses is “the branch of

and time by utilising detail and the layering descriptions

knowledge that deals with the topography of a particular

of properties of space to enable the reader to subliminally

region and especially how this reflects its history” (Busbea

make connections between other parts of the larger work.

4). The second is the traditional mathematical definition of

This subtle manipulation allows Robbe-Grillet to create

“the branch of mathematics that deals with those properties

a literary space that never unfolds in linear chronological

of figures and surfaces which are independent of size

fashion. Within the context of politically active architecture

and shape and are unchanged by any deformation that is

in Baruni Landfill, this concept could be employed spatially

continuous, and with those abstract spaces that are invariant

by collaging attributes of site and intervention, permitting

under homeomorphic transformations” (4). The third is his

the viewer of the unbuilt end outcome to draw new parallels

078

about the site and the problems at hand.

and the deforming of classical novelistic structure.

Fig. 3.01 Alain Robbe-Grillet and Rene Magritte La Belle Captive 1983

â&#x20AC;&#x153;The multitude is composed of innumerable internal differences that can never be reduced to a unity or a single identity â&#x20AC;&#x201D; different cultures, races, ethnicities, genders, and sexual orientations; different forms of labour; different ways of living; different views of the world; and different desires. The multitude is a multiplicity of all these singular differencesâ&#x20AC;? (Michael Hardt and Antonio Negri).

079

TOPOLOGICAL MECHANISMS As an architectural mechanism, the employment of these

able to respond to a site in a fluid action just as fluidly as the

applications within the realm of politically motivated

literary tools can be translated into a spatial sense, where

site acts on the architecture. As context shifts, architecture

architecture. This attribute as Lebbeus Woods argues, can

repetition and collage of elements can create a better

must respond — therefore architecture may quite literally

afford specific opportunities in the realm of architectural

understanding of a complex and disorientating informal

translate the literary stretches, twists and distortions to

design:

environment.

classic

physical movement within the architecture, or conversely

architectural typologies could be employed to permit the

manipulate the way in which the architecture manifests

The architect who designs building non-types — the

reading of differences and similarities between typical

forming of the surrounding settlement.

freespaces of unknown purpose and meaning — inverts

Likewise,

the

deformation

of

the pyramid and creates new ones. Each inhabitant is

semi-static architectural sites and fluid ones such as Baruni Paralleling physical characteristics of informal settlement,

an apex, placed on end, a point of personal origin. Each

“topology” can be used to investigate the kind of spatial

pyramid extends into a void of time, seeking its base, its

Within the written text, topology can “signify the

continuity and reversibility that we find in a Möbius strip or a

terminus, that would render the volume a whole, total and

topography of a room, a house, a city, or a place” (Stoltzfus

Klein bottle, recording the interchangeability of one surface

coherent. But the base recedes before the advancing volume

83). It elucidates structural relationships and configurations

with another (Stoltzfus 84). Bruce Morrissette, in discussing

of experience, resisting completion. In the indeterminate

which may be stretched, twisted, and distorted. According

Robbe-Grillet’s works, defines its use as one of the “primary

darkness of the void, many pyramids interpenetrate and

to Robbe-Grillet, “In Topology [of a Phantom City] there are

intellectual operations capable of revealing the modalities of

dissolve, one into others. They form a flux, a matrix of

volumes whose inside is outside. There are surfaces where

surfaces, volumes, boundaries, contiguities, holes, and above

indeterminacy, an inconsistent pattern, a city of unknown

one side is on the other. ... [I]n Project pour une Révolution.

all of the notions of inside and outside” (87). Vicki Mistacco

origin and destiny, a politics not of being, but of becoming.

. . the house, the street, and the keyhole . . . function as

gives topology an additional metaphorical dimension in

Ontogenetics” (Anarchitecture 8).

topological spaces” (83). At times one has the impression

which the “production” of contemporary texts depends on

that the whole house empties itself and that it passes entirely

the continuity and contiguity of both reader and writer (83).

through the keyhole, that the whole inside of the house

Topology, therefore, may refer to the spaces within a text

becomes the outside in line with ideas expressed in Gilles

as well as to the implied spatial relationship between the

Delueze’s text Cinema 2: The Time-Image (83). In this way,

intrinsic text and the extrinsic reader — relationships which

these concepts when transplanted to architecture may be

have ontological and perceptual implications and distinct

Landfill.

080

â&#x20AC;&#x153;An accident is about to happen, it happens, it has happened; but equally it is at the same time that it will take place, has already taken place and is in the process of taking place; so that, befor e taking place, it has not taken place, and, taking place, will not take place â&#x20AC;Śetc.â&#x20AC;?

Gilles Deleuze, Cinema 2: The Time-Image (100)

081

TOPOLOGICAL COLLAGE

Throughout Robbe-Grillet’s novel Topology of a Phantom

Much of Topology is an assemblage of texts that have been

City the architecture of topological deformation, over and

previously published to accompany works of visual artists:

above any attempts at formal and spatial dynamism, goes

lithographs by Robert Rauschenberg, etchings by Paul

beyond the defined form and reveals the qualitative space

Delvaux, photographs by David Hamilton and Paintings by

of spatial relationships. Robbe-Grillet’s objective reality

René Magritte. As Smith explains, “Topology can be read as

expunges pre-constructed meaning from the work while

a hybrid text that finds its full extension in the visual (88)”.

concurrently presenting a world onto which the reader

Robbe-Grillet twists these works within the literature to suit

is able to project his or her own “perceived meaning, thus

the narrative he is telling.

becoming more immediate, more personal, and more real”

082

(Smith 45). The ambiguity and disjunction between time

As an architectural design mechanism, this could be

and space found within Topology provides moments in

employed to create the narrative within Baruni Landfill

which readers can insert their own creative input and bridge

in order to convey the struggles and social message of the

the intentional gaps provided by a fragmented narrative

work. The assemblage could form as a collage of Robbe-

sequence. Within most of Robbe-Grillet’s works, the sense

Grillet works, or equally a rearrangement of just one in

of character found within the traditional novel appears to

order to tell a different story. This could also be of benefit in

have been expelled; it is in fact not missing from the work

the design process, where initial sketches, photographs and

at all. In the New Novel the reader is presented with the role

more thoroughly formed concepts could be collaged into a

of protagonist — a trail parallels ideas of politically active

larger body of work to provide a response covering a wide

works like those discussed in Part B.

range of issues.

Fig. 3.02 Suspect Traces on the Surface Alain Robbe-Grillet and Robert Rauschenberg (1972)

Fig. 3.03 Robert Rauschenberg - Co-Existence, (1961)

083

CONCLUSION This section has highlighted various modes in which topology

abstract spaces that are invariant under homeomorphic

may be used to respond to dynamic notions of context.

transformations, has the ability to deal with the design of

Through these various applications, a definition of topology

those factors that remain invariant under fluctuations of

may be distilled which will allow for the advancement of an

context. These factors could provide the basic necessities

architectural design of a politically motivated intervention

for habitation within such a site such as sanitation, access

within the fluid context of the Baruni Landfill informal

to water, and access to a means of livelihood in one form or

landfill site. The definitions span and can be applied to many

another.

of the dynamic issues within this site by applying three definitions utilised by Robbe-Grillet.

The third definition is the way in which constituent parts are interrelated or arranged. This aspect of topology can be

The first definition is the branch of knowledge that deals

utilised as a conjunction for the former two components, in

with the topography of a particular region and especially

which the organisational systems of site are populated with

how this reflects its history which Robbe-Grillet uses to

the invariant aspects of the second definition.

reflect on and draw parallels with reality. This aspect has the capability to deal with specific site factors including

This section has highlighted specific topological tools

language, organizational structures and a changing physical

employed by Alain Robbe-Grillet and other authors,

environment. In relation to this, it has the ability to respond

designers and artists in order to deal with fluid time and

to pre-existing organisational structures to form synergetic

place and changing complexity which can serve as tools to

systems with the existing context.

solidify and communicate a politically active architecture.

The most important for this investigation is the response to

The second definition, the branch of mathematics that

fluid context. This is conducted through the use of change in

deals with those properties of figures and surfaces which

point of view to respond to fluid notions of place, repetition

are independent of size and shape and are unchanged by

over time to dislocate the linear notion of time, and through

any deformation that is continuous and with those of the

collage to bring together design elements which would not

084

usually go together to arrive at different conclusions.

“I would therein describe men, if need be, as monsters occupying a place in Time indefinitely more important than the restricted one preserved for them in space, a place on the contrary, prolonged immeasurably since, simultaneously touching

widely separated years and the distant periods they have lived through – between which so many days have ranged themselves – they stand like giants immersed in Time” (Marcel Proust 322).

085

WORKS CITED Busbea, Larry. Topologies. Cambridge: MIT Press, 2007.

Smith, C Roch. Understanding Alain Robbe-Grillet. Columbia: University of South Carolina Press, 2000.

Christina, Guiseppa Di. “The Topological Tendency in Architecture.” Science and Architecture 2001: 7-13.

Stoltzfus, Ben. “Robbe-Grillet’s Dialectical Topology.” The International Fiction Review, 9, No. 2 1982: 83-92.

Deleuze, Gilles. Cinema 2: The Time-Image. Minnesota: University of Minnesota Press, 1989.

Woods, Lebbeus. “Anarchitecture: Architecture as a Political Act.” Architectural monographs Girot, Christophe. Topology: Topical Thoughts on the Contemporary Landscape. Berlin: Jovis, 2013.

Hardt, Michael and Antonio Negri. Empire. Cambridge: Harvard University Press, 2001.

Malewitz, Raymond. The Practice of Misuse: Rugged Consumerism in Contemporary

American Culture. Redwood: Stanford University Press, 2014.

Morrissette, Bruce. Alain Robbe-Grillet. New York: Columbia University, 1965.

—. “Topology and the French Nouveau Roman.” Boundary 2 Vol. 1, No. 1 1972: 45-57.

Proust, Marcel. Time Regained. 1927.

Robbe-Grillet, Alain. Snapshots and Towards a New Novel. London: Calder and Boyars Ltd, 1965.

—. Topology of a Phanotm City. Paris: John Calder (Publishers Ltd, 1976.

086

No22 1992: 6-144.

SOURCES OF FIGURES Fig. 3.01. Alain Robbe-Grillet and Rene Magritte, http://blog.thephoenix.com/BLOGS/ outsidetheframe/archive/2008/02/21/alain-robbe-grillet-1922-2008.aspx, (13.06.14).

Fig. 3.02. Alain Robbe-Grillet and Robet Rauschenberg, http://art.famsf.org/robertrauschenberg/untitled-pg-1-book-traces-suspectes-en-surface-suspect-traces-surface-alain, (13.06.14).

Fig. 3.03. Robert Rauschenberg, http://noise-admiration.blogspot.co.nz/2012/02/artwork-ofday-312012-robert.html, (13.06.14).

087

088

089

090

INTRODUCTION

This section uses Alain Robbe-Grillet’s novel Topology of

— a starting point — from which it invents lines, planes,

a Phantom City as a provocateur for preliminary design

and a whole architecture, and our impression that these are

studyies responding to site as fluid in terms of space and

being invented in the course of its description is reinforced

time. This notion is conceived as a speculative interpretation

by the fact that it suddenly contradicts itself, repeats itself,

of the landfill environment as perceived and drawn by a

thinks better of it, branches off in a different direction,

young inhabitant of the landfill.

etc. But the lines go on accumulating, and it becomes overloaded; they contradict each other, and change places

This section utilises the topological literary transformations

until the very construction of the image renders it more

of Robbe-Grillet to generate a speculative “environment”

and more uncertain” (Alain Robbe-Grillet, Towards a new

by responding to the dynamic and fluid contexts of Baruni

novel 145).

Dump. This process follows Robbe-Grillet’s methodology by beginning simplistically, collaging, distorting and changing

This quote is used as a narrative to guide exploration. The

point of view in order to break down the linearity and static

drawn environment will be composed of a series of movable

nature of a typical design response.

architectural service nodes in response to settlement patterns of Baruni Landfill. The goal of this preliminary

“It doesn’t begin by giving the reader a general picture, it

design section is to create a visual language to dissect and

seems to spring from a minute and unimportant detail,

generate more thoroughly developed concepts in Part E.

which is more like a geometrical point than anything else

091

092

Fig. 4.01 Transformation of architectural service node design experiments through various sketch languages in response to vernacular settlement patterns

it seems to spring from a minute and unimportant detail, which is more like a . . . .It doesnâ&#x20AC;&#x2122;t begin by giving the reader a general picture,

geometrical point than anything else - a starting point.

(Alain Robbe-Grillet). . . .

093

Fig. 4.02 Sketch experiments locating service nodes within a fluid grid system (Response to ethnic/ language groups within the site).

094

095

Fig. 4.03 Sketch experiments pairing service nodes with initial site plan sketches. Site plans are selected based on being the most different from one another to create unexpected compositions.

096

. . . .from which it invents lines, planes, and a whole architecture. . . . (Alain Robbe-Grillet) 097

098

Fig. 4.04 Site plans are collaged to construct sections of their corresponding node sketch to link section and plan views.

099

Fig. 4.05 Site plans collaged to construct sections of their corresponding node sketch.

100

it suddenly contradicts itself, repeats itself, thinks better of it, branches off in a different direction, etc. . . .

. . . .and our impression that these are being invented in the course of its description is reinforced by the fact that

(Alain Robbe-Grillet)

101

102

Fig. 4.06 Sketch Experiment Process: from the developed sections in the previous step, new speculative sketches are developed by extracting components to derive a collaged plan in the next step.

103

Fig. 4.07 Plans developed from the collaging of extracted sketches.

104

. . . .But the lines go on accumulating, and it becomes

(Alain Robbe-Grillet)

overloaded.

. .

105

PH PV

106

Fig. 4.08 Uniting of section and plan

107

108

Fig. 4.09 Three-dimensionalisation of an experimental architectural service node

109

Fig. 4.10 Three-dimensionalisation of section

110

111

. . . . they contradict each other, and change places (Alain Robbe-Grillet)

until.

. . .

Fig. 4.11 Collage of sections into environment

Fig. 4.12 Re-drawing of environment/ adding detail.

114

. . . . the very construction of the image renders it more and more uncertain. . . . (Alain Robbe-Grillet) 115

CONCLUSION

This section has translated the topological literary tools of Robbe-Grillet into a speculative â&#x20AC;&#x153;environmentâ&#x20AC;? by responding to the dynamic and fluid contexts of Baruni Dump (fig. 4.12). This has enabled the creation of a design language which is developed from a site and a theoretical response in order to break down the linearity and static nature of a typical design response.

116

“Why should we try and reconstitute

the time that belongs to clocks

in a tale that is only concerned

with human time? Isn’t it wiser

to think of our own memory, which

is never chronological?“ Alain Robbe-Grillet

117

118

119

120

INTRODUCTION Part D translated the literary tools used by Robbe-Grillet into drawing/spatial transformations in order to generate a conceptual environment for Baruni Landfill. Part E further develops this conceptual environment and tests four design concepts (highlighted in red) for the Baruni Landfill site to respond to the thesis Research Objectives and the conditions laid out at the conclusion of Part C. Each of the four preliminary design concepts iteratively builds on the insights gained from the previous one, but from a different starting point to provide the topologically invariant aspects of site (toilets, sanitation, waste processing) and to link them via the three integrated and distilled topological interpretations,

whereby

these

invariant

parts

are

interrelated and arranged. The four design concepts are: Concept 1: Linear Arrangement of Nodes Concept 2: Between Two Nodes Concept 3: A Nodal Network Concept 4: Tower Node

121

Concept One - Linear Arrangement of Nodes.

Concept Design One looks at the use of a wall as a vertical

which the community may build dwellings in response to

datum line to connect the fluid grid to the inhabitants. The

population fluctuation.

wall contains the service nodes developed in the previous section as a linear array and functions as a series of harvesters

Two variations of the DAM were explored. In figure 5.08,

which move from the base of the â&#x20AC;&#x2DC;DAMâ&#x20AC;&#x2122; (Debris Assemblage

a series of mining arms excavate the landfill surface,

Mechanism). Sited along the main access route within the

processing garbage, creating usable materials and depositing

site, the DAM creates a boundary between the toxicity of the

decontaminated soil on the habitable side. Sanitary facilities

unprocessed dump site and the habitable space behind as

are located on the habitable side of the dam, where biological

garbage is processed and removed. As the landfill is mined,

waste is processed in the electro-bioreactors in the anterior

processed and sorted the habitable space is extended and

mechanism.

contracted on either side of the wall. Public space is created behind the DAM wall on the top level above habitation,

The second variation on this concept is an inhabitant

creating a space where the multicultural community may

controlled collection mechanism (fig 5.10). In this variation,

form around each processing harvester. This space may be

the inhabitants collect waste and deposit it into sorting bins

used to hold social gatherings, markets and to intermingle

within the landfill. These are then hoisted up to the DAM for

with other communities. Habitation is provided in terms

processing.

of the supporting framework below the public space within

122

Fig. 5.01 Site plan

Fig. 5.03 Concept one distilled from environment

Fig. 5.02 Initial mechanism sketch

Fig. 5.04 Concept one distilled from environment

123

Fig. 5.05 Proposed waste sorting mechanism

Fig. 5.06 Preliminary section sketches

124

Fig. 5.07 Waste is gathered at a collection point at the base for processing. However this is quite one dimensional as waste can only be gathered form one direction.

Fig. 5.08 Version one - waste is mined via arms

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Fig. 5.08 Waste is collected by community and cabled for processing to provide means of livelihood.

Fig. 5.09 Duality of processed and unprocessed waste environments.

127

1 2 3 4 5 6 7

Waste Collection Waste Sorting Processing Facility Power Generation (Biogas) Sanitation Facilities Remediation Zone Public Space

7

6 5 4 3

2

1

Fig. 5.10 Version two - DAM section

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Fig. 5.11 DAM harvesters collecting waste

129

Concept One - Critical Reflection

Critical reflection: Although this preliminary design concept creates segregation and transition of the landfill from one state to another, it is one dimensional in terms of the ways in which the inhabiting community can settle within the system. It would inherently displace the community through its linear arrangement, which would impact social gathering. Connections made between differing communities would be in a linear fashion along the wall, as opposed to being more of a network reflecting traditional means of gathering.

130

. . . .Before I fall asleep, the city,

again . . . .

131

CONCEPT TWO - BETWEEN Two NODES

Concept Design Two builds on Concept One by dislocating

used for agriculture, etc. The lines that the mining arm run

the nature of the wall structure and re-conceiving the design

along provide basic services throughout the entire site with

as two static end nodes containing basic sanitation, water

the capacity for informal connections to be made at any point.

collection and waste processing acting as anchors of an expandable network (fig. 5.19).

In terms of the fluid nature of the site, this scheme still provides a level of autocracy due to its linearity, quite like

132

In Concept Two, the collection of waste is mechanically

the first concept design. Although significantly more fluid

conducted between these two endpoints. Waste is mined

than Concept One, movement and fluctuation within the

via the sliding mining arm (fig. 5.17) and processed in the

site is locked onto one axis, which dictates the positions in

northern node, which functions as the drop-off point for

which communities may situate themselves due to the linear

further waste disposal (fig. 5.21). Habitation builds around

access to services. In order for this to function more fluidly,

the processed side of the dump (working from south

the concept design next explored dislocating each service

to north) (fig. 5.19) with the mining arm facilitating an

node and garbage processing node from an over-arching

organizational system developed from the previous DAM

site structure, to allow for a more gradual fluctuation and

concept. The reclaimed landscape on this side can then be

interaction between site aspects and community.

Fig. 5.14 Concept distilled from environment

Fig. 5.12 Site plan

Fig. 5.13 Initial mechanism sketch

Fig. 5.15 Initial concept elevation of processing node 133

Fig. 5.16 Developing section sketches 134

Fig. 5.17 Preliminary plan

Fig. 5.18 Waste to sewage to treated water mechanism

135

Fig. 5.19 Plan and section

136

Fig. 5.20 Waste mining/ duality of processed vs. unprocessed landscape 137

1

1 2 3 4 5 6 7 8 9 10

138

2

3

Baruni Road Waste Collection (Incoming) Public Meeting Space Sanitation Facilities Mined Waste Transportation Module Unprocessed Dump Surface Waste Mining Module Suspended Habitation Processed Landscape Service Connection Pipes Power Generation (Biogas)

4

5

Fig. 5.21 Concept two Section

6

7

8

9

10

139

Concept TWO - Critical Reflection

Critical reflection: While significantly more fluid than Concept One, Concept Design Two fails to integrate livelihood generation of the community. Due to the mechanistic nature of the design, it provides little means of choice for the community regarding what they want to preserve from the landfill for other uses.

140

â&#x20AC;&#x153;Before I fall asleep the city

rears up once more . . .â&#x20AC;?

141

CONCEPT THREE - A NODal NETWORK

Concept Design Three tests ways to further dislocate

Concept Design Three transports waste to the top of

the linearity of the previous concept by developing an

the structure with each wall and provides a processing

interconnected static nodal system. Each structure, which

mechanism

is comprised of four walls and a hollow atrium-like space

processed, and returned to the bottom for reintegration into

(fig. 5.30), provides sanctuary for inhabitants within the

the exoskeleton in order to build public meeting platforms,

dump site. The primary objective of Concept Four is to

market space and public shelter. Connection is made between

encourage the processing of garbage within the site to

each of these structures (fig. 5.27) as waste is cleared around

become an important mechanism for public collaboration

it (fig. 5.32, 5.33), creating alleys of public space, allowing for

and participation as opposed to merely being an â&#x20AC;&#x2DC;occupationâ&#x20AC;&#x2122;

the extension of interior program to the exterior. Sanitation

and to foster livelihood generation within the site which the

facilities are located within the exoskeleton of the wall with

previous two concepts lacked.

services such as toilets and waste water redirected directly

within.

Usable

materials

are

into the waste processing mechanism (fig. 5.30).

142

separated,

Fig. 5.24 Initial plan sketches

Fig. 5.25 Distillation from environment

Fig. 5.22 Site plan

Fig. 5.26 Initial perspective sketch showing the connection of nodes

Fig. 5.23 Preliminary three - initial sketches

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Fig. 5.27 Processing/ Community nodes as seen form the landfill

Fig. 5.29 Plan and section showing the central gathering of community and settlement 145

1

1 2 3 4 5

146

Landfill Surface Exoskeleton/ Sanitation Facilities Waste Processing Public Gathering Power Generation (Biogas)

2

3

4

4

5

Fig. 5.30 Section showing the central gathering of community and amenities within the wall

Fig. 5.31 Node interior meeting space

147

Fig. 5.32 Interior of node after waste remediation

148

Fig. 5.33 Exterior site after waste remediation.

149

Concept Three - Critical Reflection

Critical reflection: Although this scheme of multiple nodes responds well to fluidity within the site, it still suffers from some of the weaknesses of the last two - particularly the duality of the landfill exterior condition and the interior being defined by a hard edge. In order to resolve this, the design needs to endeavour to break down the interiorexterior threshold. In terms of waste collection this concept removes the mechanical action of the previous concepts.

However, with the vertical waste processing system this unfortunately requires greater handling by the dump inhabitants.

150

Before I fall asleep the city rears once more before my pallid face, my features marked by age and fatigue, rears high before me, far behind me, all around as far as the eye can â&#x20AC;&#x153;

see, blackened walls, mutilated statues, twisted ironwork, ruined colonnades whose giant shafts

debris.â&#x20AC;?

lie smashed amidst the

151

CONcept four - Tower Node

Concept Design Four seeks to further increase the flexibility

while spaces, platforms etc. are added within the structure

and fluidity of the design in relation to the site by minimizing

just as in the previous concept (fig. 5.41). Waste collection

the interventionâ&#x20AC;&#x2122;s dominance over the ground plane. Instead

modules are moved around the site via cables strung between

of linear or static walls of the previous concepts, Concept

each tower with the ability for these to be lowered and raised,

Design Four is lifted up above the site enabling the site to

negating the need for carrying large quantities of materials by

be gradually altered after the insertion of the intervention

hand and thus facilitating faster cleaner processing within a

(fig. 5.40). Communities can form around and within each

large site (fig. 5.43, 5.44).

tower (fig. 5.42). Each tower then functions as a node within the deformed/ fluid grid, permitting and responding to the

Sanitary facilities are provided within each tower. Public

fluctuations within the context.

space is provided, with the ability to be customized for each inhabiting community (fig. 5.41). As space is cleared

152

Each structure is based on a legged platform with processing

around each tower, the raised platform provides the ability

capabilities within the structure itself. Materials are collected

for markets and other gathering spaces to be constructed

from the dump site and processed within the base of the tower,

beneath the tower (fig. 5.45).

Fig. 5.36 Distillation from environment

Fig. 5.34 Site plan

Fig. 5.37 Initial conceptual sketch

Fig. 5.35 Sketch diagram of complete system.

153

Fig. 5.38 Sketch diagram of system

154

Fig. 5.39 Initial elevation sketches

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5

Fig. 5.41 Developed elevation

4

3

2

1

1 2 3 4 5

Structural Legs Steel Structure with Internal Waste Processing Suspended Habitation Sanitary Facilities Public Meeting Space

Fig. 5.40 Intervention as seen from the landfill 157

Fig. 5.42 Site Plan showing the connection of nodes

158

Fig. 5.43 Section showing public space at top, sanitary facilities raised up out of the landfill and suspended habitation

Fig. 5.44 Elevation showing the connection of nodes

159

Fig. 5.45 Landfill environment after processing 160

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Concept Four - Critical Reflection

Critical reflection: Although Concept Design Four addresses the principal research aims and objectives, it could perform better in the realm of integration with the fluid site dynamics. For instance, each node may need to â&#x20AC;&#x153;grow and shrinkâ&#x20AC;? in order for it to respond to the fluctuating landfill site so that it can provide adequate volume for basic sanitary services, etc. To this end exploration of a modular design within the context of Concept Design Four would be an advantage. Additionally, Concept Four lacks a mechanism for the production of usable materials by the community, an aspect which is pivotal in promoting the political stance that the inhabitants should be self-sufficient and not be forcibly removed from the site.

162

â&#x20AC;&#x153;Before I fall asleep the city once more rears before my closed eyes its charred wall with their

blind windows, gaping recesses that open onto nothing; gray sky, flatness,

absent rooms emptied even of their phantoms.â&#x20AC;?

163

164

165

166

Further development

Concept Four will be developed further into the final design as it integrated the successful elements of Concepts 1-3 and also showed the most promise of fulfilling thesis research aims and objectives. Part F focuses on the design of more detailed programmatic planning (fig 6.01, 6.12), a modular structural system to enable vertical expansion/contraction (fig 6.07, 6.10, 6.16), and the mechanism for the production of usable materials (fig. 6.08, 6.09, 6.10).

167

Fig. 6.01 Initial plan sketches 168

Fig. 6.03 Alternative elevation sketch

Fig. 6.02 Concrete pump booms to pump ground decontaminated waste to be used as aggregate for habitation

Fig. 6.04 Development sketches 169

Fig. 6.05 â&#x20AC;&#x153;Printingâ&#x20AC;? Of processed waste materials

Fig. 6.06 Incinerated garbage aggregate blocks.

170

Fig. 6.07 Sectional sketches - Extrusion pump arms

Fig. 6.08 Section sketch

Fig. 6.09 Integration of new node within environment 171

Fig. 6.10 Exploded Axonometric

Fig. 6.11 Site plan

172

5

0

5

10M

173

New Modules Added as Site Changes Public Meeting Space

Sanitation Facilities

Glass Processing Nonferrous Metals Processing Ferrous Metals Processing Plastics Processing Water Treatment Waste Collection Grinder, and sorter Bioreactor

Structural Legs

5

174

0

5

10M

Fig. 6.12 Site Section

175

1 Year

2 Years

3 Years

Fig. 6.13 Growth axonometric - tower construction as supplementary modules are added 4 Years

176

5 Years

Fig. 6.14 Connection of towers within fluid site 177

Fig. 6.15, 6.16 Physical model testing structural rigidity and 3-dimensional relationship of components

178

179

Fig. 6.17 Physical model Vertical Circulation

180

Fig. 6.18 Physical model as seen from the landfill below

181

Fig. 6.19 Physical model as multiple nodes within the fluid site

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185

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VOLUME TWO: TOPOLOGY OF A PHANTOM CITY

HAMISH BEATTIE

001

002

003

004

VOLUME TWO: TOPOLOGY OF A PHANTOM CITY

005

006

CONTENTS VOLUME TWO TOPOLOGY OF A PHANTOM CITY Prologue Epilogue

009 067

CODA Conclusion

074

007

â&#x20AC;&#x153;If he was thinking all the time that he was only dealing with the frame, he would still be looking for the picture.â&#x20AC;? Alain Robbe-Grillet

008

prologue

This separate codex Topology of a Phantom City is conceived as an architectural narrative, paralleling Alain Robbe-Grilletâ&#x20AC;&#x2122;s literary narrative in his novel Topology of a Phantom City and is designed as the final outcome of this thesis as well as a standalone work to encourage social activism around the contextual issues exhibited within Baruni Landfill.

The illustrations apply the thesis design research investigation outcomes to the Baruni Landfill, reflecting an architectural interpretation of fluid time and space.

The quotes are taken directly from Robbe-Grilletâ&#x20AC;&#x2122;s novel and are reinterpreted through design to reflect his literary interpretation of fluid time and space and the narrative of the site, while the figure captions are the design narration from the experiential perspective of a young inhabitant.

009

Before I fall asleep, the city, again . . . .

010

011

I am alone. . . .

Fig. 7.01 I make my approach toward the phantom city, the road lined with informal market stalls, the looming towers sillhouetted through the mist.

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I am alone. . . .

Fig. 7.02 I enter off of the back road, meandering through the piles of scrap poised to become the life giving ore of the phantom city where I live.

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I am alone. . . .

Fig. 7.03 I pass â&#x20AC;&#x2DC;homesâ&#x20AC;&#x2122; scattered along periphery, works in progress. . . . being made from the dump, they blend into the dump... they are of the environment.

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Before I fall asleep this city once more rears before my closed eyes its charred walls with their

blind windows, g a p i n g recesses that open

onto nothing; gray sky, flatness,

absent rooms emptied even of their phantoms.

In the gathering dusk I draw closer, going my way, and place a hand on the cold wall where, cutting into the schist with the point of the broadbladed knife, I write the word CONSTRUCTION, an illusionist painting, a makebelieve construction by which I name the ruins of a future deity.

Fig. 7.04 The city is homogenous, selling, making, building, sorting, cooking, eating. . . . living. Processed waste is reused in the construction of dwellings, poured as if cement, formulating new walls, floors, roofs and is sold in the markets to other settlements as our livelihood.

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019

But there is nothing left,

no cry, no rumbling, no distant murmur; nor is the slightest outline discernible to indicate any distinctions, any three-dimensionality in these succeeding planes that were once houses, palaces, avenues.

The advancing mist, thickening hourly, has already absorbed everything in its vitreous mass, immobilizing, extinguishing.

Fig. 7.05 Found artefacts are often taken directly to market. Other waste is taken for refinement. Social gathering of nodal communities occurs at each node. . . the tower providing loose boundaries for ethnic groupings and relationships.

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Outside, through the dusty panes or through the chink between the two casements, over on the other side of the avenue, one ought to be able to see the dense foliage of the motionless chestnut trees and make out here and there between the leaves the vertical wall of the reformatory for juvenile prostitutes.

But there is nothing left in

the dazzling light, no prisons, no

temples,

no

brothels,

nothing but the iridescent mist through which flocks of sheep pass in endless procession.

Fig. 7.06 Once per day the trucks come. . . .

Biomass is removed after refinement for use on crops or for disposal. Much of it is repurposed for various uses by the community . . . . nothing is wasted in this city.

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But there is nothing left, no cries, no rustlings, no distant moaning, no words of love.

The death weapon, the knife with the broad, coldly glinting blade has dried tears and all in the empty room where I am already sinking into the dreamless sleep of after

I am there. I was there. the destruction.

I Remember.

Fig. 7.07 I enter the node through one of the many hidden entrances integrated seamlessly with the surrounding context. The phantom city is a labyrinth, designed by its inhabitants. . . . . every twist and turn exhibiting life.

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Fig. 7.08 I trace my journey through the phantom city pausing at points of interest, orientated through the twisting and turning of the informal habitat by the positioning of the nodes. . .

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But there is nothing left in

the

prisons,

dazzling no

light,

temples,

no

no

but the iridescent mist through which flocks of sheep pass brothels, nothing

in endless procession.

Fig. 7.09 I deliver waste to the refinement drop off point. I see others searching through the heap for usable scraps, while the base of the pile is ground, decontaminated, sorted and reused as energy, building materials and fertiliser.

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001

Main Tower Module

002

Vertical Circulation

003

Waste Collection Platform

004

Waste Sorting Mechanism

005

Waste Grinding Mechanism

006 Bioreactor 007

Waste Printer Dock

008

Tower Leg

Fig. 7.10 Waste sorting/ processing level

5

030

0

5 10M

Fig. 7.11 Plan, 003 Waste Collection Platform

1

0

1

2

3

4M

031

Right. I am alone.

It is late. I am keeping watch. The last

watchman after the rain, after the war, I listen still through the

endless thickness of white ice for the imperceptible, absent sounds: the last crackings of burnt walls, a thin stream of ash or dust pouring from a split, water dripping in a cellar with a fractured vault, a stone coming loose from the gutted facade of a large and important-looking building,

tumbling

down,

bouncing from projection to cornice to roll on the ground among the other stones.

Fig. 7.12 As I move upward, I see the integration of various components, exposed in all their glory, the construction seems to build and deconstruct itself at will.

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Fig. 7.13 Vertical Module Plan

1 034

0

1

2

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4M

007 Assembled Vertical Structure

002

Main Staircase

003

Main Tower Structure

004

Floor Module

005

Interior Track Module

006

Sliding Mechanism Module

007

Interior Floor Module

Fig. 7.14 Vertical Module Assembly

5

0

5 10M

035

Before I fall asleep, still stubbornly persistent, the dead city. ...

Fig. 7.15 I wind upwards, I am passed by the arms of the tower, suspending the lifts, manoeuvred by the builders down below and within. Waste is processed in the interior, sandwiching me between zones of flux.

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001

Complete Typical Processing Assembly

002

Plastics Sorting Mechanism

003

Vertical Circulation

004

Plastics Processing

005 Water Purification/ Detoxification

006

Main Structure

Fig. 7.16 Typical processing module exploded axonometric.

5

038

0

5 10M

Fig. 717 Processing module plan.

1

0

1

2

3

4M

039

But she confines herself to shifting her gaze from the cloudy surface of the lookingglass and directing it

behind her again, her eyes a reflected blue, at the unmade bed with the body lying on it, offered up, split open, the pool of blood already coagulating on the white sheet as well as,

lower down, on the marble floor with its ancient black and white checkerboard pattern.

Fig. 7.18 Construction continues on the upper levels. Processed waste is poured as new floors, roofs and walls. These are then craned into place via the pouring arms.

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001

5 042

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002

Extrusion Arm

003

Arm Slide Mechanism

004

Arm Rational Mechanism

005

Extrusion Reservoir

006

Main Structure

007

Elevator Module

0

5 10M

Fig. 7.19 Extrusion arm exploded axonometric

Fig. 7.20 Plan - Extrusion arm/ integrated lift system

1

0

1

2

3

4M 043

I am alone.

Walking at random.

Wandering, as if at random, among

the unrecognizable fragments of what were palatial homes, public

buildings,

private

residences, gaming houses and houses of prostitution, theatres, temples and fountains.

Fig. 7.21 As I move upwards I pause for a drink.

Water collected from the roof or purified from the collected waste is made accessible in tanks on the upper levels.

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I am looking for something. It is beginning to get dark. I cannot quite remember what it

was. Can it really have been a prison? It seems unlikely.

Fig. 7.22 I pass sanitation facilities, overlooking the city, as a secure place. . . . a place of reflection.

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Fig. 7.23 Plan - Sanitation module

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0

1

2

3

4M

001

Shower Facilities

002

Toilet Facilities

003

Modular Structure

Fig. 7.24 Sanitation module exploded axonometric

5

0

5 10M 049

Before I fall asleep the city once more rears before my pallid face, my

features marked by age and fatigue, rears high before me,

far behind me, all around as far as the eye can see, blackened walls, mutilated statues, twisted ironwork, ruined colonnades whose giant shafts lie smashed amidst the debris.

Fig. 7.25 I arrive at the final meeting space, performance space, collaboration space.

A place for personal and collective reflection. . . .while we contemplate the city.

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Fig. 7.26 Plan - Public meeting space on top level

1 052

0

1

2

3

4M

001

Additional Module

002

Extrusion Arm Hoist

003

Head Elevation Mechanism

004

Top Platform

005

Head Structure

006 Primary Structure

007

Assembled Tower Head Fig. 7.27 Head exploded axonometric

5

0

5 10M

053

Before I fall asleep, the city, again . . ..

Fig. 7.28 From here I view the city and its intricacies. . . . How can a place so full of life once have felt so full of despair?

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Fig. 7.29 A section of my mind. . . . .

056

057

058

CODA

059

I am alone. . . .

Fig. 7.30 I remember the old phantom city, forging for scraps with my brothers, my sisters, my mother and father....

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I am alone. . . .

Fig. 7.31 I remember my life in the old city, weaving between fires, camouflaged by smoke....

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I am alone. . . .

Fig. 7.32 I remember the old phantom city.

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Before I fall asleep, the city, again . . ..

Fig. 7.33 I finish my drawing as I slide back into the shade.

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I am alone. . . .

Fig. 6.33 . . . . A mirror of my reality.

068

069

#YouAreNotAlone

070

Epilogue

What you have just experienced is the walk of a child, a potential young inhabitant of Baruni Dump - a person who has always lived there, whose place and time has always been fluid, a person who knows nothing else.

This child formulates alternate realities very different from you or me, realities that are a symptom of a fluid context.

071

072

073

CONCLUSION This thesis, its processes and outcomes draw attention not only

literary narrative to speculative drawn environment and into

•

How can architecture enable the landfill sites to become

to the notion of fluidity of context within sites such as Baruni

plausible architectures to develop and test solutions to the

Landfill, but also to architecture’s responsibility to find a way

dynamic conditions within the site, providing sanitation, water,

in which to respond to the issues of these sites. Architectural

waste processing, livelihood generation and public gathering/

design, placed into the public domain as visionary work, can

community formation. This enables the speculative, politically

(water, sanitation, electricity, etc.) even though these

help ensure that these issues are not swept under the ‘too hard

aware components of the architecture to fuse with an air of

fluctuating communities are not sited within typical urban

blanket’, are talked about and the inhabitants’ voices heard by

realism, permitting the work to ask more questions than a work

contexts capable of providing underground systems of

the wider international community.

of fantasy alone. This was conducted through the research as

sewerage, etc.

sustainable and to provide employment to the inhabitants?

•

Can architecture ensure the provision of basic services

a search for a new approach to politically active architectural This thesis uses Alain Robbe-Grillet’s novel Topology of

design utilising Robbe-Grillet’s literary mechanisms for dealing

Given more time and scope this thesis would next explore the

a Phantom City as a provocateur for design experiments

with fluid time and space as translated in Part D, developed in

applications of the design output in terms of its appropriateness

responding to the notion of memory, interpretation and

Parts E and F and presented in Volume Two.

for the uptake by mainstream and social media, and how this

recollection of environment as ‘drawn’ by an inhabitant of the landfill. This process utilises the topological literary

may actively enter and participate in the current global media The principal research questions this thesis has explored are:

transformations of Robbe-Grillet in order to generate a speculative environment responding to the fluid site and

environment, enhancing its opportunities to effect political and social change via Twitter, Facebook etc. in the manner of

•

How can architecture help improve political understanding

#Kony2012, #JeSuisCharlie. An expanded scope would also

population. Like the artefacts found within Robbe-Grillet

of the value of the inhabitants of landfill based slum

permit more exploration into other media, namely how an

works, each person within the site has a story to tell of their

sites and encourage political discourse to improve their

architectural work such as this may be explored within a real

day to day struggle; each of their stories adds to the overall

situations?

time 3d game (newsgames) engine or through an augmented

composition of the narrative. This thesis seeks to exemplify the internalisation of these struggles through design. The Topology of a Phantom City in this thesis is this internalisation.

The thesis has tested experimental methods of translation from 074

reality medium. It would also permit exploration as to how it •

speculative

might be applied to other dynamic environmental situations

architecture and reality so that such visionary architecture

besides landfills such as other types of slums around the world,

may invite new and innovative solutions as future

and disaster zones in developing countries such as the aftermath

technologies are developed?

of the 2004 Indian Ocean Tsunami or the Haiti earthquake.

Can

architecture

synthesize

between

There are also inherent limitations to this approach to design research. The architecture and its processes will always be open to personal interpretation, where oneâ&#x20AC;&#x2122;s personal background and experiences will play a role in the effectiveness of a politically motivated work such as this, and the ability for its message to reach a global audience.

We must keep our eyes open and recognise the directions our world and our urban environments may be headed. We must be proactive. â&#x20AC;&#x153;Before I fall asleep, the city, again...â&#x20AC;?

075

Fig. 6.34 2014 Graphisoft NZIA Student Design Awards finals

076

077

Fig. 6.35 2014 Graphisoft NZIA Student Design Awards finals

078

Fig. 6.36 2014 Graphisoft NZIA Student Design Awards finals

079

080

TOPOLOGY OF A PHANTOM CITY

081