Hiu tik li harrison final essay submission 20 08 2017

AO3005 Architectural history and theory

Transgression of architecture Trans-programming with heterotopia via psychoanalysis

Transgression of Architecture: Trans-programming with Heterotopia via psychoanalysis Hiu Tik LI G20697192 AO3005 BSc(Hons) in Architectural Studies Grenfell-Baines Institute of Architecture – School of Art, Design, and Fashion University of Central Lancashire

Abstract The argument of this thesis is to question whether trans-programming is a new norm to design architecture. The combination of different programs together with their spatial configuration in one space regardless of their incompatibility; this is the act of trans-programming in Bernard Tschumi's publication ''Architecture and Disjunction'' and his interview with the Architecture Humanities Research Association(AHRA), the building which is either a church, a town hall, a shop, or a school, which is reflected through the architectural implication In the 1970s and 1980s; as there were a lot of architects and scholars who see architecture with their own typology. Such were architecture as architecture, theater as theater, literature as literature, but they are not combined film, architecture, art and literature, photography and dance. If one combined and intersected different programmes it would be unusual and transgressive, such as airport and museums becoming shopping malls, conference centres, and tourist attractions.

This thesis is divided into three parts; The first part highlights Tschumi's view on trans-programming and spatial polemic as indicated in his publication and reviews the National library of France as to understand how the program is influenced by his theory. As the representation of the program is the progress of spatial integration, the second part would study the heterotopia’s principles in order to explore new methodologies for spatial practice. The third part consolidates the spatial properties as the intersection between the theories of Tschumi and Foucault; the convergence of two theoretical figures are reflected in the project of Parc de la Villette. Shigeru Ban’s Curtain house and Sou Fujimoto’s glass house would be an extended part of this essay to further review an alternative method to articulate space before the content proceeds to the final conclusion.

As architectural programming is eventually infused with the hybridized urban environment which reveals the architectural disorder in the city. Then, the oppositions of internal and external space are eventually mediated and turn to the method that form the architectural program. This evolution goes beyond the expectation of social order as it composes the space through different correlations, position, function, and transformation. At the same time, the architects followed the precedent to design a new architecture, an act that has not responded to the urban evolution as well as the changing of consciousness from everyday life. The reason was that architecture is not merely the reflection of the superficial entity, but the progress of transformation from individually to collectively or vice versa. Tschumi’s spatial polemic argued the fundamental notion of space is the obstruction to design new space.

He proposed that the trans-programming is an alternative way to transcend the architectural notion as a way to question the fragmented city in the world of today’s fragmentation.

Introduction Have we ever thought about the concept of architecture in oneself is a burden to designing innovative architecture? all the time, we strive to design interesting things that follow the principles of the precedent but we are seldom to question that which is often evaded by the mainstream of architecture. The most precious value of architecture is to articulate the living of people but the institutional process has disrupted the process of articulation. In Architecture and Disjunction, Bernard Tschumi has provided the transgressive approach to re-articulate space in modern architecture, education, and practice.

As Tschumi said “Trans-programming: combine two programs regardless of their incompatibilities, together with their respective spatial configurations” (2001, P.205). This essay will mainly focus on the discourse of Tschumi’s transprogramming together with the study of Foucault’s heterotopia. Trans-programming is chosen as the discourse of this essay together with the study of Foucault’s heterotopia while Tschumi suggested the other two ideas, cross-programming and dis-programming in Architecture and Disjunction (1994). He says the incompatible program leads to the paradox that is the impossibility of questioning the space and experiencing the real space at the same time. In other words, the concept of architecture becomes the obstruction of thinking the new space as people accumulated the experience of space subconsciously. Thus, the transgressive act is the method to invent a new relationship between space and activities.

Tschumi said there is ‘no space without event, no architecture without the program.’ (2011, P.121) In retrospective, ''event'' is the term coined by Michel Foucault, it is the beginning and the end. It can refer to any existence of the thing, such as the experience of human, culture, activity, ideal. Tschumi refined it as the moment of erosion, collapse, question or questioning the setting of the scene in our life which is to decompose the relations. Thus, this act became the turning point to meet the new setting of space.

Historically, the revolution of the industry has influenced the architectural fields, such as new technologies, building types, and the revival of classical architectural style, which emerged as a new building type at that time. The Scientific invention has inspired the architect and theorist to rethink the relationship between the factors of time, space and activities. The implication of Foucault’s statement has subsequently reflected that thought “The present epoch will perhaps be above all the epoch of space. We are in the epoch of simultaneity: we are in the epoch of juxtaposition, the epoch of the near and far, of the side-by-side, of the dispersed” (Foucault, 1984, P.1). Upon this assumption, he devised six principles to differ the otherness of space as a way to reflect the limit of reality through the philosophical discourse in order to reveal the relations of the subject in the form of knowledge.

According to Foucault, the place between the opposition of different places - the urban places and rural places, protected places and open places and sacred places and profane places and so on, are not neutral (Foucault, 1984). Therefore, the opposite relation has constituted the third space that exists everywhere. In other words, the existence of that place manifested its position between the ideal place and the real place. In addition, he identified that the people were governed by sacred presence as a result of the repeated spatial practice and that this relationship was rarely talked about because authorities thought it was unacceptable – mainstream architects and scholars only represented the authority.

From literature to the exploration of the cosmos, this process eventually inspires us to think out of the ordinary because we are not living in a homogeneous and empty space, in contrary, we have many kinds of it, for instance, the light, ethereal, transparent space, or a dark, rough, encumbered space and etc (Foucault, 1984). Therefore, we are not living in a kind of void. Instead, we are living in a set of relations which describe every place or site that have intricated relations.

Among all these relations, there is one kind that intersects with each of them and exists all around, which is called heterotopia.

The urbanization process has rapidly influenced the scene of everyday life, including large infrastructures, digital façades, government policies and etc (Bolchover and Hasdell, 2016); the compatibility of the city is changing, yet at the same time, it contradicts with our notion. The changing of normality is reflected on the dissociative status quo which created a disorder urban environment. People found dislocated elements in unfamiliar zones; such was the departure hall built at west Kowloon centre district instead of the border of Hong Kong, which means once you enter there, you would enter another territory which can be evolved as a kind of normality and people would get used to it after the certain time. The insanity of social order is not merely reflected in one event, but there is a profound influence which subsequently causes the psychosis activities according to the psychoanalysis situation: the city is not the same as we saw yesterday. This insane situation of the city can be the “analysand” in the psychoanalysis. The transference as the critical instrument to analyse the redirection of feelings from architecture to other subjects in order to understand the transformation of unconsciousness behind the signifier-signified process. In the present architectural design process, most of the architecture has adopted the precedent program as the new design without the understanding of its unconscious effect to our activities.

It is questionable that the program of architecture seems to be restrained by its own category. For example, house is a house, school is school, library is a library and etc, which merely replicated its precedent. This implied the truth that whether it is acceptable when the architecture is the reproduction based on the same interpretation from the previous one. At the same time, the new technologies and the societies are changing every day. This situation reveals something that is mysteriously underlying our ‘’freedom’’. For example, the entrance of the house, the classroom of the school, the bookshelf of the library. In contrary, would the ‘’insane’’ condition inspire the formation of architectural program and transgress the expected order. Simultaneously, the reflection of complexity in urban evolution and the program in architecture could be articulated in the new architecture.

From education to practice and construction of architecture; whether we could have more innovative in these processes if we go a bit ‘’mad’’. The fragmented city implies the problematic situation which is a chance to generate an architectural solution for this context. As the discourse of Tschumi and Foucault mentioned that the intermediaries existed within every opposition and it equals to the threshold that links up the difference of the polarity when there is the suitable condition.

In the frontier of architecture, the most critical advancement is the concept that we have already accumulated, being transgressive is an alternative act to criticized and proposed the new concept. This act firstly required the interrogation of its oppositions prior to its implementation. The answers of its questions are not merely reproduced one piece of architecture, as the follies is not merely the ‘’architectural’’ element, it affected the citizen as a notation to interfere the scene of everyday life. It is the glimpse that lightening the atmosphere of the field which provided the chance for us to open the new horizon. Alternatively, the combination of trans-programming and heterotopia as an inductive idea for the exploration of non-institutional space that is excluded from normality. This approach sets the discourse to supplement the insufficiency of modern architecture in responding to the evolution of mankind.

Figure 1. Perraul won the competition of French national library in 1989.

Figure 2. French national library competition, Tschumi, 1989.

Figure 3. Perraul’s design had built finally.

Figure 4. The French national library, interior view

Figure 5. Parc de la Villette

Figure 6. Advertisement for architecture, Bernard Tschumi 1976-77.

Chapter One – Paradox of space Nowadays, the concept of architecture can vary. The urbanization and globalization are transforming everyday life rapidly: from what was deemed as an outrageous style (Dadaism and surrealism) has become admirable art pieces; from the transgressive notion (the notion of the program was the forbidden territory in the 1980s) to the usual practice in architectural design progress. The expectation of society seems to have eventually dissolved. However, the form of governing that society is still forbidden to transgress.

As Bataille said, it is not a deviant term but ‘Transgression opens the door into what lies beyond the limits usually observed, but it maintains these limits just the same. Transgression is complementary to the profane world, exceeding its limits but not destroying it.’ (Bataille and Dalwood 1962, P,67). In architecture, the transgressive act is to articulate things in a new way and it has to investigate what is the limit (accepted law, commands, moral principles or other established standard of behavior) that rooted in architecture. Tschumi argued that the architect has inherited the precedent as the knowledge to design architecture rather than transgress it (1994). From education to practice, we are often blinded by the precedent that is used to define the possibility of design, but we have seldom questioned the representation that whether it is the restriction of architectural notion. The subsequent statement conveys the idea that the precedent may not be able to represent the architecture that has not been built at that moment, but that act sets the presupposition prior to the initiation of the exploration process.

The conventional principles give a notion that differs from the design between Tschumi and Perraul in the competition of France national library. The winning entry subsequently reveals its social principles which is set up by main stream architects, scholars, and authorities. Perraul’s design echoes the notion of the precedent which were mainly bookshelves and seats in the library at that period. The clear separation of space, circulation, geometrical form has been reflected in Perraul’s design. The static spatial atmosphere was created to strengthen the rigorous conscious of readers divided by spatiality which is the representation of traditional architectural order. Needless to say, it has been built finally.

On the contrary, Tschumi designed an unbuilt architecture by using an abnormal program: dynamic circuits and the running track on the top level. This program is to enact with the urban space as the reinterpretation of architectural program rather than adopt the designated relationship between the program, space, and movement; he designed dynamic circuits to reduce the separation of readers within the same building. The exhibition circuit and the running track on the top incorporated the activities of the city rather than isolated inside and outside. At that time, the library of this kind was seen as unusual because it violated the taboo as the juxtaposition of two incompatible programs is opposite to the expectation of society.

As transgression embedded the intention to transform culture by challenging established principles (Rice & littlefield, 2015). For example, Parc de la Villette, as Derrida said, ‘They put in question, dislocate, destabilize or deconstruct the edifice of this configuration’ and the follies ‘maintain, renew and reinscribe architecture’ (1986, p.328). This act implied the process of self-reflective and the oppositional problems by revealing the structure of power and authority instead of design the architecture to reflect and reinforce the societal framework.

‘The impossibility of simultaneously questioning the nature of space and at the same time, making or experiencing a real space.’ (Tschumi, 1994, P.47) This argument raises the strange paradox in the concept of architectural discourse. In the debate at the conceptual architecture conference in London in 1975, the majority of participants have concluded that ‘’all architecture is conceptual’’ and this consolidated statement has reflected the prevailing political implication in the years following the 1968 crisis. During that time, the school became the rebel’s base and its activities eventually extended beyond the school as a result of the civilian stationing and camping on the streets. Since the rebels chained up all space to protest for the civic right, these streets are not ordinary streets anymore but emerged to proximities formed by humanity.

The evolution echoes Hegelian’s dialecticism who emphasized architecture is an artistic supplement added to the simple building (Hegel, 1920). Therefore, architecture does not point to the utility and thereby it is not merely the projection of ruling socioeconomic structures, but it makes immaterial things “architectural” rather than separate them into two polarities. For example, in the 18th century, Piranesi’s prison and Boullee’s cenotaph envisioned the opposition of society instead of the description of the real situation. Even though prison is an art work, it manifests an ‘’architectural’’ scene; the rejection of ornamental and extravagant Rococo design in Sir Isaac Newton cenotaph is against the societal culture at that time because of its pure form derived from nature. Both of them have provided an important enlightenment to present architectural development even though they had not been built in that time. The place of contestation emerged between imagination and reality which intersected with both subjects when there is suited condition.

These two subjects have created the contradiction like an infinite iteration process. This situation associated with the reception which is a place of ‘welcome’ and ‘departure’ at the same time; the relations of leavings and comings are an inevitable clause in the constitution of ‘reception’ (Coyne, 2011, p.68). The implication of this relation reveals the opposition as the production of social praxis versus the ideality is the production of metal constructed process and the assumption that they are intended to meet up. This is the place that converge two independent subjects and simultaneously mutually exclusive (Tschumi, 1994); it is the process that evolves to a new object with manifested characters of the mixed components. Yet, the production of this place threatens the established relationship between concepts and spatial practice which is possibly why it is deemed as abnormal. However, the fundamental argument lies on Tschumi’s paradox between questioning the nature of space and experiencing the real space, which constantly provoke the discussion on the impossibility of architectural space and it has revealed the limit of taboo that has haunted architects throughout history. This taboo is unveiled through entrenched paradigms that are embedded in the related rules which are often without any explanation for the taboo in architectural schools.

Figure 7. Piranesi’s prison

Figure 9. French revolution, Paris, May 1968

Figure 8. Boullee's Cenotaph

Figure 10. French revolution, Paris, May 1968

Chapter Two – otherness of space Today the space has come across with its history instead of an invention as there is the “hierarchic ensemble of place” (Foucault, 1986, p.1) from the ever-accumulating past. This is spontaneously intersected with time and constitute space over the evolution of humans, such as the sacred and profane places, the protected and open or exposed places, and the urban and rural places. In cosmological theory, there are super-celestial places versus celestial places as well as the celestial places versus terrestrial places. Those independent places mutually extends, intersects and contradicts with others which are to thrive on the planetary configuration.

In so far, there are two main types: reality and Utopia. Foucault said, “In the mirror, I see myself there where I am not, in an unreal, virtual space that opens up behind the surface; I am over there, there where I am not, a sort of shadow that gives my own visibility to myself, that enables me to see myself there where I am absent: such is the utopia of the mirror” (1986, P.4). Utopia then is an imaginative place where one can find the perfect form of society or demonstrate the subversive notion of society. It is unreal and contradicts with the reality even though it exists in every culture, civilization, and places since the founding of the society. In between these two main types, there is third kind, heterotopia, simultaneously exists and contradicts with reality. It is a placeless place that provides the mixed and joint experience that juxtaposed the utopias and real places at a point that is neglected by society.

The third space described by Michel Foucault is often associated with the following principles: 1.

It takes varies form and can be divided into two main categories. One is called crisis heterotopias; these are privileged or sacred or forbidden places that are reserved for individuals. For example, a boarding school in the form of nineteenth-century, military camp for young men. Another one is heterotopias of deviation which is for the people that is deviant in accordance with the required mean or social norm. For example, rest homes, psychiatric hospitals, course prisons and possibly retirement homes which lie on the boundary between these two categories.

2.

The function of heterotopias can transform over time with a reflection of the society in which it exists in. Each heterotopia can synchronize its function with the culture in that places at different points in history such were the building built under the bridge.

3.

It is capable to bring different, possibly incompatible, real spaces or sites together in a single space such as the theatre, opera house, gallery and etc.

4.

For the juxtaposition of heterotopias, all experiences or things are perpetually accumulated over the change of time.

For example, museums, libraries, holiday camps and traveling fairs are places that function with the heterochrony.

5.

The heterotopic site has its own system of how one enters and exits the space that is isolated and penetrable, such as the barrack or a prison or sauna where one can get in only with permission or fulfill certain required conditions of the places with the needs of rites and purifications.

6.

Heterotopic has a function in relation with the space that remains, namely a space that creates illusion or a space of compensation. For example, brothels are illusory and colony are the compensation. Yet Foucault said, “the ship is the heterotopia par excellence” (Foucault 1984, P.9); the heterotopia is manifested as a ship with the character of illusion and compensation because the passenger on that ship is situated in the process of transportation on the ocean toward a defined destination. During the time, they are fascinated the image of the final place they will arrive after a certain time. It is just the effect of the ship that provoke the initiative to envisioned the life of a real place. At the same time, the facilities of the ship would imitate the setting on shore such as the deck as the ground, bridges to cross space, saloons, cargo holds, and bars. Those are architectural elements are set up according to normal life except it is on a ship.

The excellence of the ship turns to the juxtaposition of two kinds at the same time that encourage the thinking of imaginative space while experiencing the real place. Therefore, the ship is a place that connects with other places, spaces, and sites. As it is not a self-generated place but a single place that is infused with reality and ideality. Unpredictable activities can happen on the ship which is associated with the carnival that imply equivalent spatiality such as the fun fair, wedding party, dancing, gaming and etc. The space of this kind was beyond social expectation in the past as people then could not imagine the once floating platform could turn out to be a huge vessel. Needless to say, it has turned to a gigantic vessel that accommodates complicated activities nowadays. Hence, ship and carnival demonstrate the articulation of a heterotopia as an alternative spatial practice which actualized the space between reality and ideality.

Chapter Three – meeting point between the theory of Tschumi and Focault The actualization of the space of the ship implied the possibility of the combination between activities and space.

According to that ship, the concept of architecture is eventually blurred and it demonstrates an alternative articulation that manifests the architectural scene. Therefore, heterotopia became a method to mediate the impossibility between the new concept and the old dictum in reality. “the most intricate and perverse organization of spaces could accommodate the everyday life of an average suburban family.” For example, the program of the Parc de la villette connects with urban space as the follies are performing the notation point and simultaneously signifies between the human conscious and the fragmented city.

The boundary of architecture refined at each folly which is regulated by a set of linear grid line. The entire configuration formulates macroscopic intervention to the city that is analogized to the disjunction of city fabric. For example, Mikhail Bakhtin described that the notion of carnival gives the sense of formless activity which excluded from the normality of the urban environment (1968). The carnival embedded the act that we first recognized the boundary of space and the limit of society. At the same time, we criticized those boundaries that delimited the definition of architecture with other subject due to the finding of architectural equivalents in the carnival. This process searches for the affirmation and the consciousness of the transgression which differs from the norm and hitherto unimagined activities to occur as like as the ‘ship’.

Therefore, some properties could be highlighted when we are thinking about the relation of transprogramming and heterotopia: 1.

Complex, organized, disorder spatial configuration. For example, Hong Kong walled city, there were many kinds of activities in the building blocks, such as salons, restaurants, clinics, brothels and etc. All of them are juxtaposed at the same place with their respective spatial configuration.

2.

It is contrasting to the real place as it manifests the opposite side of society.

3.

Juxtaposition without the consideration of hierarchy. For instance, the asylum shows another type of space, such as a wider corridor, the people sleep on the floor, dancing in the room and etc.

4.

Spatial dislocation is usual activities; the space of theatre emerged in the school.

5.

There is a point at the difference of each spatial character where constitute a meeting place for any kind of space.

6.

Time is a factor that influence the composition of the space. In the city, we travel to various places during the day.

There are many kinds of syntax that people have created; there is a certain intersection between them. When the urban configuration changes, those defined syntaxes would also evolve. It is analogized to the program of architecture that implies different sequence, function, activities and atmosphere in the progress of integration.

To examine the summary above, it is inevitable to enter the field of psychoanalysis for tracing the rationale that leads to the insanity of space, place, and site. As Tschumi investigates the madness that raises an architectural question which corresponds to Foucault’s investigation in Madness and Civilization, he argues that insanity raises the question of sociological, philosophical and psychological nature. Much of today’s spatial practice still rely on the progress and the continuity of program which is conceptually false to devise the new architectural solution. In contrast, the excess of the program: transparent house, running track on the roof of the school, and playground in the market, are the new interpretation of program that go beyond the limitation of the temporal spatial notion.

When space differs its function with the building typologies, namely the juxtaposition of the incompatible program, it replaces the meaning of space. “A sign is not a sign of something, but of an effect which is what assumes as such the functioning of the signifier” notes Lacan (1972-73), “Smoke is nothing but the sign of the smoker.” We would subsequently wonder how to produce meaning if the sign can be substituted; but if the sign is the variation of form that is regularly changed, then, it is the constants that play with the interchangeable relationship. “Form does not know more than it expresses. It is real, inasmuch as it contains being. Form is the knowledge of being.” (Tschumi, 1996, P.177) Everyday life is linked to the relation of signifier-signified. The process of extracting those relations within a certain form is to identify its definition in space temporarily. Thus, it is sufficed to say that “architectural” is everywhere.

Considering the dispersion of this kind of fragmented “architectural” things, an analogy to the schizophrenia can be drawn.

The works in the psychological field have shown that schizophrenia could hide in other mode of being in order to exist, existence outside the body and disconnection from its origin, restriction, identity, and part of personal history. ‘In schizophrenia, something takes place that fully disturbs the relation of the subject to reality and drowns content with form.’(Lacan, 1953-54) This mental disorder leads to the confusion between words and meanings which gradually develop to the chaotic thought.

Yet, if this status creates the dissociation of meanings that analogous to the fragmented city as many ‘’architectural’’ elements throughout the contemporary city. Thus, the transference is a detective tool used to analyse the signifiedsignifier relation while it is used in the psychotherapy to redirect the feeling of patient from one person to another. This turns to the scientific method for the analysis of madness in the urban evolution and constitute the architectural space. ‘’In an architectural situation, these transference fragments can only be transported onto architecture itself” as Tschumi argues (1996, P.178). Then, the totality of transference is eventually dissociated and it is transformed as the fragments of the transference in this madness condition. Such were the instance of La Villette which has grasped the dislocated fragment to compose the systematic relations between objects, events, and people.

In La Villette, the focal point – Follies has intensified the place; the grid is to accommodate the fragmentary transferenceplace. This constitution has no meaning to the insanity but it is an impermanent reorganization of the dislocated or dissociated architectural elements. Those follies have synthesized its place and have transformed the notion of space through multidimensional approach. As such, the grid imposed order onto the follies as to comprehend its temporal relations between each folly. As the series of folly create the chaotic status, namely, a series of architectural fragment as mentioned before – the transference exploded into the fragmentary transference, which is the dissociation, a symptom of Schizophrenia.

Figure 11. The self-portrait of a person with schizophrenia. It represents the distorted experience of reality

Figure 13. Interior image of an abandoned Asylum

Figure 12. Fragmented mirror. The crumbed mirror with fragmented face.

Conclusion The transgression of architecture lies on a fundamental statement which is the impossibility of questioning the nature of space and making or experiencing the real space at the same time. Thought this paradox, the thinking of architecture reveals the norm via the transgressive act. That act embodies the instinctive curiosity of human beings who are situated in the questionable reality. The madness of architecture is not an illness but it multiplies the way of thinking, which is the madness constitutes the heterotopia par excellence echoed to ‘the ship is the heterotopia par excellence’ of Foucault (1984, P.9).

As Foucault thought that the liberation of the patients is to regroup them and it forms the psychoanalysis situation. This is associated with the re-organization of fragmented architectural elements which has created a psychoanalytical situation that required the tactic of transference to redirect the meaning of architecture. The grid played the role of the analyst to mirror the madness – follies. This act is transgressive in Parc de la villette; thus, it constitutes a disorderly notion of space and simultaneously embodies the restriction from the grid in this park. This echoed to the polemical situation: it is impossible to question the nature of space and experience at the same time. The actualization of Parc de la villette transcends the description of Lefebvre’s polemic – The reproduction of social relation of production. The acceptable notion has not been reflected in this park, but the madness provokes the conscious of humanity.

This certified the thought of the madness as it constitutes the indispensable part of the creative forces. In other words, the madness of architectural program benefits the articulation of space as it is turning the fragmented subject into the connected scene. That process is an abnormal approach to the main stream of architecture as it relies on the stability, institution, and authorities to execute their design. Therefore, the transgression set their own field of architecture by exceeding the taboo, norm, and order in the progress of spatial thinking. The trans-programming of architecture does not restrict the scope of creativity but it is to provoke the thinking of the fundamental nature of space and the reason of impossibility. However, the field of transgression critically selects their work and spatial character from the level of fundamental creativity by not just interrogating the main stream of architecture but itself in the process of thinking.

The concept of psychoanalysis inevitably used to interpret the fragmentation of the city as like as the way of curing mental illness in psychoanalysis treatment. As the understanding of the relations within that form of knowledge in the view of this essay, the transformation of relation necessarily happens during the design process. Then, the program signified its constitution as the traditional program represented the norm. In contemporary architecture, the urbanization and globalization are possibly the biggest norms to be transgressed in the future. As such, there would be the time of wondering, whether a program is a program, architecture is something beyond its form of knowledge. The transprogramming is not necessary to be certain as a new norm. Instead, architectural field have to put their focus to the origin of transgression: it is questioning the impossibility as an approach to reinterpreting the existence of architecture and what it will be reproduced in our future city.

Keywords Transgression; Trans-programming; urban environment; hybridized; limit; other spaces; disjunction; program; heterotopia; microscopic; entropy; system; alternative theory; obstruction; subconsciously; incompatibilities; homogeneous; psychoanalysis; transference; resistances; dissociation

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