Helsinki Eye

Helsinki Eye Rejuvenating Regional Identity through Perception of Temporal and Spatial Dynamicity HAN Sujeong

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Aalto University School of Art and Design Helsinki, Finland MA in Spatial Design Spring term, 2011 HAN Sujeong hansooj@gmail.com 2

Table of contents 0. Introduction (Summary)

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1. Background study

1.0 The scope of interpreting ornament

1.1 Classical approaches

1.2 Presentation and expression

1.3 Signs and communication

1.4 Image, pattern, and systems

1.5 Case studies for environmental dynamicity

2. Design plan

2.0 Introduction of the design plan

2.1 Site analysis

- Connotative elements

- Denotative elements

2.2 Creating ornamental element

- Concept process

- Helsinki Eye

- Mock up

- Fabrication plan

3. Conclusions

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0. Introduction (Summary)

There is a variety of points of view towards ornaments between nineteenth century and twentieth century and constant arguments regarding how the ornament illustrate and affect people’s way of thinking and philosophy of the era. However, today’s substantially affluent society has been changed to reject conformity and value diversity variedly interpreted according to culture, society and perspectives. People are eager to express a variety of personal emotion and spirit through ornamentation. In this sense, ornament would inspire us open new vistas such as affluent, varied, poetic and inexhaustible conceptions in mind.

From this point of view, each region formulates their unique identity with ornamental elements. However, since the metropolitan city includes various localities, city dwellers could be insensitive to them. According to these phenomena, some localities would have been lost their unique identity. In this regard, the study assumes that city dweller’s mindset awakened through communion with surroundings would have the possibility to rejuvenate lost city identity. Furthermore, as long as people’s perception of circumstances is revitalized, the surroundings would respond and provide the opportunity to renew their perspectives of the city.

To verify this hypothesis, the design process is planned.

First of all, two ways of classification can be utilized to analyze the site. One is to find connotative elements such as history, activities, and weather conditions relating to temporal dynamicity. Another is to find denotative elements such as routes, directions, usage, shapes, forms, light and material relating to spatial diversity. Through the analysis, the design project would be planned. The proposed project acts as a medium to connect city environment and city dweller through illustrating spatial and temporal dynamicity. Through project, the study can observe how the city dwellers react and reinterpret the surroundings, which could help to find the way of rejuvenating the city identity.

To conclude, the study would observe the possibility to rejuvenate the city identity by seeding a new ways of thinking the city. With a new way of perceiving their surroundings, city dwellers would find unexpected aspects of city and use their imaginations of the city in more diverse ways. In the future, city dwellers could build up the next development through their enhanced perceptions of the city.

Introduction

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1. Background study

1.0. The scope of interpreting ornament The ornament is widely defined in this research.

The need to communicate is a key characteristic of human society. Human beings always relate with objects and they have a desire to increase their significance through those relationships.

Becoming significant is only possible after they have considered the meaning of objects they contact. The mode of contact is generated by observing objects thoroughly and discovering their meaning based on personal perception. To articulate these findings, human beings have created meaningful objects, which are defined as “ornament� in this study. There are a variety approaches to ornaments, and this study will concentrate on how disputes regarding the ornament illustrate and influence people’s way of thinking and philosophy of given eras.

The scope of interpreting ornament

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1.1. The classical approach to ornament in architecture

Ornamentation in architecture has been a controversial issue since modernity had been the key philosophy of the twentieth century. Modern architecture, conceived of as the elimination of ornament in favour of purely functional structures, left architects the problem of how to properly adorn modern structures. There were two available routes out of this perceived crisis. One was to attempt to devise an ornamental vocabulary that was new and essentially contemporary (Ruskin 1849, p.190), whereas the latter approach declared that lack of decoration is the sign of an advanced society. The argument was that ornament is economically inefficient and “morally degenerate” and that getting rid of ornament was a sign of progress (Loos 1908, p.21).

This part will consider both approaches and attempts to arbitrate in a dispute between two opinions. Ruskin insisted on seven aspects of architecture, which are sacrifice, truth, power, beauty, life, memory, and obedience, which was generated from religious origin. He also argued that no new style was needed to redress this problem, as the appropriate styles were already known. The ‘truest’ architecture was therefore the architecture of Gothic cathedrals and Venice. Practically, he suggested “An ‘honest’ architecture with no veneers, finishes, hidden supports nor machined mouldings and that beauty must be derived from nature and crafted by man.” (Ruskin 1849, p.183)

On the contrary to this, Loos (1908, p.19) claims that evolution of culture is synonymous with removal of ornaments from utilitarian objects. He defines the ornament as criminal or degenerate comparable with tattoos at an era did not accept them. In Industrial Revolution, mass production and rapid development had required simple and functional objects, because without decoration the prices and labour force costs could de reduced. ‘Ornament is crime’ conception has been accepted in architecture due to people’s desire to appear refined and modern, even though it seems that Loos’ claim is extremely biased.

At the same time, Sullivan shared Ruskin’s opinions and as a modernist he attempted to combine ornamentation and functionality. He regarded the ornament as an essential element of architecture and another way to illustrate functions. For instance, the body ornaments definitely have a function for survival in the wild. Peacock’s tail feathers and a lion’s mane are such ornamental elements seemingly without function, but this attractive decoration parades their brilliant biological characters and assists them in finding a mate. This organic approach defines ornament as another manifestation of function. It is believed that each part follows the rhythm of both the function and ornament, which obviously benefit from this sympathy with each enhancing the value of the other. In this regard, the function and ornament could be considered as organic schemes linked each other like “A flower appearing amid the leaves of its parent plant” (Sullivan 1982, p.188)

Ruskin’s and Loos’ opinions have reflected spirit of an era in terms of ornament and function.

However, in today’s affluent and individualistic society, people are eager to articulate their own emotions and spirit with a variety of means. Whereas modernism was primarily concerned with issues such as identity, unity, authority, and certainty, our times are often associated with difference, plurality, textuality, and scepticism. Therefore, in accordance Sullivan’s definition, it is evident that the possibilities of marvellous ornamentation inspire us open new vistas such as affluent, varied, poetic and inexhaustible conceptions in mind.

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Background study

Milan Cathedral in Milan Photo by Sujeong HAN in 2010 The largest Gothic cathedral with the highest Gothic vaults of a complete church in the world.(1858)

Villa Savoye in France Photo by Sujeong HAN in 2010 The villa is representative of the bases of modern architecture with Le Corbusier’s “five points”(1931)

Casa Milà in Barcelona Photo by Sujeong HAN in 2010 The motive of the building is generated from curves of nature by Antoni Gaudi(1910).

Classic approach

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1.2. Presentation and expression

In the middle of nineteenth century, there were several theorists of architecture and art analyzing how the ornamental elements were accepted at that era, and who opened new perspectives to enhance both realms. This part will compare theories from Venturi & Brown, Reinhardt and Frascari.

Venturi and Brown (1972, p.90) compare implicit and explicit symbolism in architecture.

‘Explicit’ here referring to ‘denotation, heraldry, meaning’ can be seen as being ugly and ordinary depending on the point of view. It is believed that modern architecture has rejected the ornamental elements. Venturi and Brown think that independent ornamentation, regardless of structure and program, would not be essential for architecture and would be regarded as unnecessary symbolism. On the other hand, the word ‘implicit’ is here used to mean ‘connotation, physiognomy, and expression’. It is evident that modern architecture has pursued the purest symbolism, which can be found in a variety of architectures influenced by modernism. However, the authors pointed out the ironic symbolism behind the modern architecture. In an excess of focusing on one principle, they would have missed other ornamental aspects and became a dry expressionism, empty and boring.

On the other hand, Reinhardt (1953) considers how to accomplish the purity in the art. He says that fine art can only be defined as exclusive, negative, absolute, and timeless, which is not practical, useful, related, applicable, or subservient to anything else. Fine art has its own thought, its own history and tradition, its own reason, and its own discipline. It has its own ‘integrity’ and not someone else’s ‘integration’. For the access to the purity, he suggests getting rid of twelve elements of the art work outlined by the following rules: no texture, no brushwork, no drawing, no forms, no design, no color, no light, no space, no time, no size or scale, no movement, no object. He seems to chase genuine purity resembling that of modern architecture, but he wants to attain the purity of art that would be apart from all the circumstances such as history and tradition, whereas modern architecture has followed the main principle rejecting just the ornamental elements.

Frascari (1984, p.512) emphasizes on the importance of details in architecture using as examples Scarpa’s work and a quotation of Kahn: ‘the joint is the beginning of ornament and that must be distinguished from decoration which is simply applied. Ornament is adoration of the joint´ (Louis Khan 1975, Light is the theme p.43)’. He insisted that on the same drawing there are several layers of thought, which means that details related to non-structural elements, such as window or door frames, could illustrate the specific meaning and construing of the architecture.

To conclude, the ornament has been discussed from different points of view with different approaches from various fields. Venturi & Brown recommended that modern architecture would need to accept ornaments generously and consider other ornamental elements. On the other hand, Reinhardt insists that artist should forget the traditional or conventional thoughts and have their own expressional ways. In the other aspects, Frascari insisted importance of ornament grown from details. According to these approaches, the theorists have categorized ornamentation in various realms, and investigated and considered a variety of aspect in terms of ornament, which could be the signpost to settle the disputed points regarding current presentation and expression.

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Background study

UN studio, La Defense office Complex is well integrated with the larger urban plan. The exterior faรงade reflects the larger urban condition, while the interior faรงades of the courtyards have been designed with the office tenants in mind. These faรงades are clad with glass panels in which a multi- colored foil is integrated and, depending on the time of day and the angle of incidence, a variety of different colors are reflected, animating the courtyards.

Ad Reinhardt. Abstract Painting. Red. 1952.

New York, MoMa.

TJEP, House of textures Living in an increasingly prefab world, He asked that it is possible to detail an entire house as if it were jewelry. And he wonders that we can achieve this by using modern automated fabrication techniques. In order not to fall back onto traditional decorative patterns he devised an archetypal house in four cut-through layers of different textures from graffiti to wall paper, including bricks, tubing, carpets.

Presentation and expression

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1.3. Signs and communication

Communication is a process whereby meaning is defined and shared between living organisms. Since human communication was revolutionized with technology, there have been major developments in the field of communication in the past few centuries. According to development, the role of the communication generated and accepted to the society has been changed.

From the 18th to the 19th century, The Industrial Revolution facilitates major changes in agriculture, manufacturing, mining, transportation, technology, which had a profound effect on the socioeconomic and cultural conditions of the times. However, it has generated other phenomena which a variety of signs and communication was regarded as the part of the mass-production without their own identities. Kracauer(1963, p.78) defined these phenomena as ‘mass ornament’.

Since the principle of the capitalist production process does not arise purely out of nature, he warned that it must destroy the natural organisms, and community and personality perish when what is demanded is calculability. From his point of view, in that era, since people were insignificant members in the mass, the individual could be service machines without any friction.

However, in today’s affluent society, - since there has been a plenty of information and signals to be recognized simultaneously - communication has changed. While people have been insensitive to contact signals, communication between people and surroundings has been misinterpreted and misunderstood. With this phenomena, Eco (1986, p.182) describes the basic structure regarding signs and communication. He defines ‘communication’ as transmission of information from a source to a destination. To establish any form of communication, it is necessary to use a system of signification for correlating the expression and content of signs, which is established by the interdependence between them. A ‘signal’ may be a stimulus to a particular response. A ‘system’ is an instrument for connecting the expression to their content. In his opinion,, we would attain essential information among confused information only after we deeply understand the system of communication.

However, there is another approach in terms of space and communication. The plenty of signal and information has occupied public and private spaces, which made the border between them vague and disappearing. Baudrillard(1983, p.129) stated that advertising in its new dimension invades everything, as public space (the street, monument, market, and scene) disappears, it monopolizes public life in its exhibition. He argued that this loss of public space occurs contemporaneously with the loss of private space. The one is no longer a spectacle, the other no longer a secret. Their distinctive opposition, the clear difference of an exterior and an interior exactly would not be meaningful anymore.

From his point of view, it is necessary to build a symbolic space with its own rules of play and limits.

In conclusion, current society has been changed to reject conformity with one principle and value diversity, which attacks the use of sharp classifications such as male versus female, straight versus gay, white versus black, and imperial versus colonial. Rather, it holds realities to be plural and relative, and dependent on who the interested parties are and what their interests consist of. As follows, the meaning of signal would have possibilities to be variedly interpreted according to culture, society and perspectives. For instance, the grey could have more possibilities to accept other colors and change their messages with complementary colors are defined to mix to grey, either additively or subtractively. Therefore, the context out of being originated in one principle could facilitate a variety of interpretation with different aspects and the interaction between people and surroundings.

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Background study

Siegfried Kracauer Mass ornament Girls at a rehearsal, 1927

Eric Grohe Eric Grohe creates mural art that transforms the environment and communities as well. He believes that his art should involve, challenge and inspire the viewer; not simply adorn, but integrate with its architectural surroundings.

Roman Ondak The artist makes a image with converting personal information. Through marking their height with name, date, visitors join the exhibition.

Signs and communication

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1.4. Image, patterns and systems

We are surrounded by a variety of images and patterns consisting of buildings, cities, human beings and nature. Each element is connected each other and they communicate their images simultaneously. The surroundings have their own dominant images and meanings from their creators’ intention. However, as time goes by, those meanings have been changed through individual interpretation and historical analysis.

Ben van Berkel and Caroline Bos(2006, p.45) explained individual interpretation by personal experience. They stated that the after-image refers to the lasting visual impression caused by intense stimulation of the visual retina. They argued that we use the notion to include the entire scale of sensations and perceptions caused by intense impressions.

According to their point of view, observing people’s last perception based on individual experience would provide an essential clue to analyze various perspectives.

Another aspect is regarding historical interpretation. Contemporary societies have faced various and chaotic systems. Since the circumstances are directly or indirectly linked to existing patterns and form new patterns through communication between them, they have become decorative and talkative. Salingaros(2000, p.160) states this in terms of the pattern. He insists that new creations develop their own pattern language, which must link to existing pattern languages in related fields. According to his point of view, the existing pattern should be thoroughly observed and reflected based on balance between the historical and current interpretation.

In this sense, the methods to create images on the existing patterns would have been considered. Scalbert (2008, p.144) gave an example of contemporary architecture with the complexity of patterns and the physical surface of materials. Architects could borrow, copy, enlarge and adapt existing patterns and images through attempt to draw events.

The goal of the process is to integrate the event, by creating, or maintaining a structure out of it. The method seems to be similar to a collage that the jumbled effect produced by the close proximity of buildings from different periods and in different architectural styles.

To conclude, architecture is the integration of structure and event. Collage is the creation of structure out of events. The space between structure and event is what constitutes architecture.

Its exact position is determined by the proportions of occasion, execution, and purpose that form the contingent events in the process. Through the method, architecture could build creative and resourceful use of whatever materials are at hand regardless of their original purpose.

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Background study

Ben van Berkel After image

Nikos A. Salingaros Vast parking lots wreck the land for the people

Caruso St John The lace scanned to make a three dimensional computer model.

Image, patterns and systems

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1.5 Case studies for environmental dynamicity There has been many attempts to illustrate environmental dynamicity, which suggest various perspectives and interpretations regarding surroundings.

Claude Monet The Rouen Cathedral series by Monet captures the facade of the cathedral at different times of the day and year, and reflects changes in its appearance under different lighting conditions. He had long since been impressed the way light imparts to a subject a distinctly different character at different times , and as atmospheric conditions change.

For Monet, the effects of light on a subject became as important as the subject itself. His series Paintings are an attempt to illustrate the importance of light in our perception of a subject.

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Background study

Rouen Cathedral in the fog

Rouen Cathedral the West Portal

Rouen Cathedral

Rouen Cathedral

at the End of the Day

in the Morning

Lauri Astala A semi-transparent mirror hangs in the middle of a long space, and two chairs are mounted symmetrically on both sides of the mirror. A pendulum lamp swings just above the mirror thus alternating the view through the mirror from side to side.

Because of the symmetry of the space and mounting of the chairs, the spectator perceives only the people on the view disappearing and reappearing.

While seated symmetrically on both chairs, both spectators can perceive a short glimpse of a hybrid figure of themselves when the pendulum swings over the mirror.

Small Spectacle about Nearness 2005

Small Spectacle about Encountering 2005 Case study

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Anish Kapoor Kapoor’s pieces are frequently simple, curved forms, usually monochromatic and brightly coloured. Most often, the intention is to engage the viewer, producing awe through their size and simple beauty, evoking mystery through the works’ dark cavities, tactility through their inviting surfaces, and fascination through their reflective facades.

Turning the world Upside Down, 2005 Royal Park, UK

Cloud Gate, 2004, Millennium Park, Chicago

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Background study

Dan Graham These practicable structures made of partially transparent and partially reflective glass, are meant for both interiors and exteriors. They are always different in type and give rise to dialectic situations involving both the context and the audienceinteractively. The pavilion-user is therefore both protagonist and spectator, called upon to evaluate relationships and experiences. In this way the architectural structure, once object of formal contemplation becomes a physically tangible place where people meet and exchange views.

Two-way mirror

Fun house for munster 1997 Case study

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Background study

2. Design plan

2.0. Introduction of the design plan The aim of this design task is how to revitalize and reinterpret these mature ornamental elements through observation. The planned installation would investigate public areas in terms of the relationship between internal and external environment. The surfaces reflect, record and react to the static and dynamic images of harbor to provide new perspectives. It would become a physically tangible place where people communicate and exchange different views.

Introduction

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2.1. Site analysis

Analysis method The target location is the South Harbor of Helsinki with two overlaid contradictory images. While the old buildings illustrate static ornamental appearance, the modern cruise ships and the activities of the market square generate dynamic expressions.

To analyze the site, two ways of classification can be utilized.

One is to find connotative elements such as history, activities, weather conditions related to temporal dynamicity. Another is to find a denotative element such as routes, directions, usage, shapes, forms, light and material related to spatial diversity.

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Design plan

South harbor in Winter

South harbor in Winter

Photo by Helsinki museum in 1975

Photo by the port of Helsinki / Skyfoto

The South harbor The capital city’s new harbour was located at Kaupunginlahti on the south side of the city.

Construction work on the South Harbour began with the dredging of the bay in 1813 and proceeded with the building of quays and warehouses on the western shore and harbour basins at the bottom of the bay. Sailing-ships were loaded in the new harbour by the 1820s and it was also the focus for regular steamship traffic after it began in 1838. A passenger pavilion was built at the South Harbour in 1885.

The South Harbour took on its final form in the early 1890s when the quay area was extended to Katajanokka on the eastern side of the bay. The completion of the harbour railway to the South Harbour in 1895 increased the competitiveness of the harbour. Efficiency was also enhanced by obtaining a fixed crane in 1894. A new customs house and bonded warehouse was built at Katajanokka in 1901. Responsibility for warehousing operations was assumed by the Helsinki Warehouse Company, which was founded in 1896 by business men and the City of Helsinki and whose operations were transferred to the City Harbour Committee in 1944. The Warehouse Company built stores and bonded warehouses in the 1890s and a large new bonded warehouse between 1912 and 1929.

New types of ships, such as container and ro-ro vessels, changed the character of harbour operations in the early 1960s. Katajanokka could not provide the space required for container traffic and the South Harbour remained the preserve of passenger traffic from the 1970s. The South Harbour is nowadays Finland’s largest passenger harbour.

Site analysis

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The South harbor site plan

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Design plan

2.1. Site analysis

Connotative elements - Weather - History - Activities

Site analysis

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Weather

Inhabitant Photo by Sujeong HAN in 2010 Only he konows what happened in this area.

Clear When the weather is clear, the harbor have vigorous images to express the mixture feeling between the old buildings and the ships. Modern cruise ships have been considered by the functionalism as a first building purpose. Relatively decoration should be reduced for the fastest ship, which is the same ways like a car or airplane. However, ironically it is used as the new ornamental elements for the south harbor. These simple and clear shape and color give a strong impression to the harbor compared with mature facade of old buildings.

Cloudy When the weather is cloudy, the harbor has not been clearly perceived or perceptible, which have a variety of images. Cloud droplets tend to scatter light efficiently and differently. The variation between light and dark to the elements have the spaces acquired the color of their environment or background and illuminated by non-white light, such as during sunrise or sunset.

Foggy At the break of the day, we can find the foggy effects, which are getting vague, sensitive and even marvelous. We can not figure out any shape and color but relatively, recognize the effects of light reflected to the sea and air. All buildings, ships and other elements would be surrounded by these spectacular atmospheres.

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Design plan

Clear Photo by Sujeong HAN in 2010 The Viking Line make the new ornamental image, which is clear and mordern compared with the facade of the old building.

Cloudy Photo by Sujeong HAN in 2010 Cloud provide a variety of images.

Foggy Photo by Sujeong HAN in 2010

It is getting vague, sensitive and even marvelous.

Site analysis

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History

The South harbor in 1860s

South Harbour and the Cathedral

Photo by Eugen Hoffers

Photo by Mikael Kaplar/Studio POiNT

History of harbours Helsinki was founded in 1550 as a trading town and port. Harbours have always been important to Helsinki. In 1640, the town was even moved to a better harbour location. Throughout its history, Helsinki has principally been mainly an import harbour with a wide area of influence. The construction of the Sveaborg fortress injected life into Helsinki’s trade and sea traffic from the 1750s, and in the early 19th century the city was the fourth most important port in Sweden.

After Helsinki became the capital city of the Grand Duchy of Finland in 1812, the development of the harbours became a focus of interest during the city’s reconstruction. In the planning of the harbours, attention was also paid to the appearance of the cityscape. Regular steam ship traffic from the 1830s created the basis for growth in passenger traffic. In the late 19th century, imports into an increasingly industrial Finland and higher volumes of exports required greater efficiency from the harbours. New harbours were built and the old ones modernised, and they were connected to the railway network.

From the 1870s, Helsinki was Finland’s major import harbour and second largest export harbour.

In the 20th century, several extensive harbour plans have been implemented. A 1920 harbour report by H.G. Torulf proposed a large free harbour and in the 1970s began planning for a large harbour at Vuosaari, 14 kilometers east of the city centre. The intention is to transfer the cargo ports from West Harbour and North Harbour to Vuosaari by 2004. A significant share of Finland’s foreign trade traffic moves through the port of Helsinki, which is also Finland’s largest port for imported general cargo and the leading port for passenger traffic.

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Design plan

1550’s~18th century Photo by Helsinki museum

19th century Photo by Helsinki museum

20th century Photo by Helsinki museum Site analysis

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Katajanokka The south side of Katajanokka is dominated by a passenger harbour which is frequented by large cruiseferries traveling between Helsinki, Stockholm, Mariehamn, Tallinn and Rostock. The rest of the district comprises co-operative apartment buildings and several small parks The South harbor 1940s.

Photo by Helsinki Museum Katajanokka pier in the late 1940s.

The South harbor Summer Photo by Sujeong HAN in 2010

The South harbor Winter Photo by Sujeong HAN in 2011

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Design plan

Ullanlinna The Ullanlinna dockyard was formed out of the Ullanlinna shipyard in 1847. In its heyday in the mid-nineteenth century it employed a couple of hundred shipbuilders. During the Crimean war, Russia placed several orders for war vessels.

The South harbor 1873 Painted by Thorsten Waenerberg in 1873 The shipyard is in the foregroung.

The South harbor 1912 Photo by Signe Brander in 1912 The shipwright’s in the South harbor

The South harbor 1929 Painted by Hugo Backmansson The shipyard is in the South harbor.

Site analysis

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Railway in harbor In the late 19th century, imports into an increasingly industrial Finland and higher volumes of exports required greater efficiency from the harbours.

New harbours were built and the old ones modernised, and they were connected to the railway network.

The South harbor 1907 Photo by Signe Brander in 1907

The South harbor 2002 Photo by Esko Toivari in 2002

The South harbor 2011 Photo by Sujeong HAN in 2011 Current view keep the previous images.

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Design plan

Old train track in Kauppatori Photo by Valok. Fred. Runerberg in 1934

Old train station in harbor Photo by Sujoeng HAN in 2011

Old train track 2011 Photo by Sujeong HAN in 2011 Site analysis

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Stevedores Dock workers were hired on a daily basis and each morning the stevedores would gather at the harbour looking for work.

The South harbor 1923 Photo by Helsinki Museum Storeshelter for wool at South harbor

The South harbor 1912 Photo by Signe Brander in 1912 The shipwright’s in the South harbor

Stevedores at South harbor Photo in Helsinki museum

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Design plan

Market square The market square have an important role to boost commercial transaction and trade.

Torikauppaa 1936 Photo by Valok. A. Pietinen

Market square 1915 Photo by Signe Brander

Kauppahalli and Pakkahuoneen tori 1890 Photo by Luku Site analysis

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Current activities The South harbor is used as a sight seeing element and provide square for the public.

Sight seeing on the Ship Photo by Sujeong HAN in 2010

Market Square in Summer Photo by Sujeong HAN in 2010

Market Square in Winter Photo by Sujeong HAN in 2011

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Design plan

2.1. Site analysis

Denotative element Routes and Directions Usage Shapes and forms Materials

Site analysis

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Routes, Directions In winter season, pedestrian and vehicles take a shortcut.

Naturally it forms the road.

Esplanadi Street Photo by Sujeong HAN in 2011

Market Square Photo by Sujeong HAN in 2011

Katajanokka Photo by Sujeong HAN in 2011

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Design plan

Usage Some part of South harbor are used as a view point to see surroundings.

Market Square pier Photo by Sujeong HAN in 2011

Market Square pier Photo by Sujeong HAN in 2011

Market Square pier Photo by Sujeong HAN in 2011 Site analysis

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Shapes, Forms The sunlight is getting sharp and illustrate the virtical shapes of harbor.

Kauppatori pier Photo by Sujeong HAN in 2011 Current shapes of building and photo in 1910

Kauppatori Photo by Sujeong HAN in 2011

Kauppatori Photo by Sujeong HAN in 2011

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Design plan

Materials Lighting Light have a variety of shadow effects such as overlay, density, and reflection

Kauppatori parking lot Photo by Sujeong HAN in 2011

Kauppatori Bridge Photo by Sujeong HAN in 2011

K-5 building Photo by Sujeong HAN in 2011 Site analysis

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Materials ground Ground describe various activities and shapes with sunlight and shadow.

Kauppatori Photo by Sujeong HAN in 2011

Kauppatori Photo by Sujeong HAN in 2011

Kauppatori Bridge Photo by Sujeong HAN in 2011

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Design plan

Materials Water Sea have various reflection and transparancy according to the time and weather.

South harbor sea side Photo by Sujeong HAN in 2010

South harbor sea side Photo by Sujeong HAN in 2011

South harbor sea side Photo by Sujeong HAN in 2011 Site analysis

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Materials Glass Glass have unique characteristics that the amount of reflection change according to the light and space. it generate collage effects.

Station Photo by Sujeong HAN in 2011

Guard post Photo by Sujeong HAN in 2011

Phone booth Photo by Sujeong HAN in 2011

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Design plan

Materials Glass

Store window in summer Photo by Sujeong HAN in 2010

Store window in winter day Photo by Sujeong HAN in 2010

Store window in winter night Photo by Sujeong HAN in 2010 Site analysis

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Materials Glass

Window reflection on the K-5 building in summer day time Photo by Sujeong HAN in 2010

Window reflection on the K-5 building in winter day time Photo by Sujeong HAN in 2010

Window reflection on the K-5 building in winter night time Photo by Sujeong HAN in 2010

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Design plan

2-2. Creating ornamental elements

Concept process The purpose of the project is to seed a new way of thinking the city. The installation acts as a medium for building the identity of city dwellers: the proposed installation will rejuvenate both the city environment and people’s mindset. With a new way of perceiving the surroundings, city dwellers would find unexpected aspects of Helsinki and use their imaginations of the city in more diverse ways. In the future, city dwellers could build up the next development through their enhanced perceptions of the city.

Creating ornamental elements

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Seasonal dynamicity According to season, people’s activities would be changed. especially in winter season, people’s movements would be in limited space, which can generate specific activities.

Market square in Summer The South harbor is the main gate which have identifical images of Finland. Especially in summer time, the market square has an important role to build dynamic images.

Market square in winter The market square have not much activities in winter season.

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Design plan

Sight seeing point In winter season, there are some points that visitors see scenery around the South Harbor. Foot print show these people’s behaviors on the pile of snow.

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1

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2 1

Creating ornamental elements

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View frame

There are various frames to decide view point. Especially lectanglar frame have decided people’s view point which is generated from camera and photo’s frame. However, people want to get diverse ways to see the surroundings, which can be such as fisheye lense and glasses.

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Design plan

Shape

Each shape have their own directional surface to face surroundings. The circle shape have non directional faces so that it can provide various sight view.

Triangle

Rectangle

Pentagon

Circle

Creating ornamental elements

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Structure and pattern

A 'dome' is a structural system that consists of one or more layers of elements that are 'arched' in all directions. The surface of a dome may be a part of a single surface such as a sphere or a paraboloid, or it may consist of a patchwork of different surfaces.

BY SPACE STRUCTURES RESEARCH CENTRE IN UK

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Design plan

a. Ribbed dome

b. Trimmed ribbed dome

c. Lamella dome

d. Trimmed lamella dome

e. Tree-way grid dome

f. Four-way grid dome

g. schwedler dome

h. Trimmed schwedler dome

i. Diamatic dome

j. Diamatic dome

k. Geodesic dome

l. Geodesic dome

Case study

Fly’s eye dome Buckminster Fuller, an architect, inventor, author and futurist, conceived the dome as a prototype for a new type of affordable, prefabricated housing. The big holes were supposed to be filled with fiberglass windows.

Packed cardboard pavilion The pavilion features a bottomup design, with variable truncated cones, 409 in all, the basic construction elements in a network that fills the entire surface.

Pop Up Storefront Ring Dome Pavilion in Milan Wednesday April 16, 2008 – Sunday April 20, 2008 Minsuk Cho/Mass Studies Creating ornamental elements

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Pattern Motive Bee’s Eye the honey bee has compound eyes - hundreds of single eyes (called ommatidia) arranged next to each other, each with its own lens and each looking in a different direction.

Watch Your Step - Art Studio Honeybee Compound Eye Detail showing reflections of a flower.

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Design plan

Pattern process

Step 1 Divide plane with 16 cells

Step 2 Rotate and repeat random points

Step 3 Voronoi diagram from the points

Step 4 Control point curves from the diagram

Step 5 Reorganizing pattern for the entrance Creating ornamental elements

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Size

150

The standard size of height of people is 1700 mm. Based on the shpere shape, the sphere have extra space to make a gab between wall and people.

1700

R : 1000

150

2000

400

1700

R : 1250

400

2500

650

1700

R : 1500

650

3000

900

1700

900

R : 1750 3500

1150

1700

1150

R : 2000 4000

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Design plan

Wrap the Pattern on the shere

1500

Sphere Mould R : 1500mm

Organic Pattern

Creating ornamental elements

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1100

950

A

450

A

1800

600

950

Plan

1100

950

2100

400

950

Section A-A

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Design plan

2-2. Creating ornamental elements

Helsinki Eye The ‘Helsinki Eye’ is a installation project in Helsinki offering a variety of experiences and atmospheres created by shadow and glass effects depending on the time of the day. The eye shape and shadows created attract people with unique patterns, the structure splits the scenery into separate scenes, the glass walls reflects the surroundings, and create collage effects with diverse images. Through ‘Helsinki Eye’, people can get new perspectives and memories in terms of place and time.

Creating ornamental elements

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Site plan Helsinki Eye will be installed on the duck where people can see surroundings very well. At night the street lamp can be used for lighting effect.

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Design plan

Temporal and spatial dynamicity At the day time, the shadow generated from the organic pattern indicates the orbit of the sun and time.

At the night time, the artificial light inside illuminates the area and produces soft atmosphere.

Creating ornamental elements

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Day time elevation Night time elevation

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Design plan

Day time elevation Night time elevation

Creating ornamental elements

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Day time perspective Night time perspective

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Design plan

Day time perspective Night time perspective

Creating ornamental elements

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Day time inside view Night time inside view

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Design plan

Day time sky view Night time sky view

Creating ornamental elements

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2-2. Creating ornamental elements

Mock up

3D printing is a form of additive manufacturing technology where a three dimensional object is created by laying down successive layers of material.3D printers are generally faster, more affordable and easier to use than other additive manufacturing technologies.

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Design plan

Mock up 1:15 scale by 3D printer

Creating ornamental elements

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Day time scene Night time scene

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Design plan

Creating ornamental elements

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Summer light In summer time, sun light have higher angle which generate sharper shadow on the ground.

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Design plan

Winter light Sun light have lower angle which generate deeper and smoother shadow on the snow.

Creating ornamental elements

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2-2. Creating ornamental elements

Fabrication plan The pavilion consists of 400 flat wooden pieces generated by the one sphere shape, radius 1500mm. The repeated 25 pieces compose the pattern with 400 pieces. The flat surfaces and repeated pattern could reduce materials and time for the fabrication.

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Design plan

Computer aid simulation

Step 1 Group each repeated pattern Step 2 Wrap the pattern to the sphere

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Step 3 Reshape each element

Step 4 Find intersection objects between perpendicula boxes and the original elements

Step 5 Draw the lines from the middle points in the objects

Step 6 Find the intersection curve between perpendicular curcle surfaces based on the middle points and the objects

Step 7 Flat masses and the lines to connect each masses

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Design plan

Step 8 Orient the objects to basic plane

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Fabrication by CNC milling machine

Step 1 Making three holes for each piece on the plywood

Step 2 Cutting Outlines for each piece.

Step 3 Pulling off each piece

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Design plan

Step 4 Picking the basic points with wooden sticks

Step 5 Making intersection lines.

Step 6 Making circlar frames.

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Step 7 Making an glasses for each frame.

Step 8 Placing each acryl glasses.

Step 9 Assembling each piece.

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Design plan

Step 10 Assembling each piece with wooden sticks.

Step 11 Clamping with glue.

Step 12 Tighten all the pieces with clamp.

Creating ornamental elements

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Detail Section of each pieces

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Design plan

Detail The joints generated from flat surfaces was tilted and make diverse seams.

Creating ornamental elements

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Outside face

Inside face

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Design plan

Outside face Each piece have different directionsand angles which generate its own lenses and reflect diverse perspectives.

Inside face Inside face have the effect like honey bee eye. Each piece have different angles generated from the center point of sphere so that each have its own lense which reflect one object with diverse perspectives.

Creating ornamental elements

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Day time

The glass is more reflective and can reflect dynamic images of the daytime.

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Design plan

Night time

The glass is more transparent, which shows the activities inside the space to the visitors.

Creating ornamental elements

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Design plan

Creating ornamental elements

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Implications as above

The main intention of the project is how to build connecting point between people and surroundings through ornamental elements. From the analysis of site, the unique characteristics of the South Harbor have been observed. Especially, pure elements such as light and shadow build lively ornamental elements reflecting temporal and spatial diversity. Since the project adopts more aggressive approach to illustrate them through the framework, people could meet the point in communion with surroundings. As long as people’s perception of circumstances is revitalized, the surroundings would respond and provide the opportunity to renew their perspectives of the site.

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Design plan

3. Conclusion

This study follows disputes concerning ‘ornament’ and how they illustrate and affect people’s way of thinking and era’s philosophy. The important point is that since ornamenting is not to make new creation irrelevant to the tradition, it is necessary to reinterpret the mature ornamental elements from a current viewpoint. From this point of view, the project is sampling the current explicit and implicit site sources. To be specific, the project is planned to be realized and installed at real site. Through this installation, people’s behavior could be observed, which would be liked to the consideration in terms of how this method would rejuvenate the regional identity. Furthermore, there would be a definite interest on how this research method could affect other areas and sites.

Individual patterns are validated empirically over time. The language itself will be on the right track if it evolves a connective structure that incorporates scaling and hierarchy. […]

Patterns provide a necessary foundation for any design solution to connect with human beings. Salingaros(2000, p.160)

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References

Bibliography SET 1 CLASSICAL APPROACHES John Ruskin. “The Seven Lamps of Achitecture” (1849). In The Lamp of Beauty: Writings on Art by John Ruskin, ed. Joan Evans, London: Century, 1988, p. 181–210.

Louis H. Sullivan. “Ornament in architecture” (1892). In Kindergarten Chats and Other Writings, New York: Wittenborn, Schultz, Inc, 1947, p. 187–90. Original source: The Engineering Magazine, August 1892.

Adolf Loos. “Ornament and crime” (1908). In Programs and Manifestoes of Contemporary Architecture, ed. Ulrich Conrads, Cambridge, MA: The MIT Press, 1971, p. 19–24. Original source: Trotzdem 1900–1930, Brenner Verlag, Innsbruck 1931.

SET 2 REPRESENTATION AND EXPRESSION Ad Reinhardt, Twelve Rules for The New Academy (1953). In Theories and Documents of Contemporary Art: a Sourcebook of Artists’ Writings. Eds. Kristine Stile and Peter Howard Selz.

University of California Press, 1996.

Robert Venturi, Denise Scott Brown and Steven Izenour. “Ugly and ordinary architecture, or the decorated shed” (1972). In Learning from Las Vegas: the Forgotten Symbolism of Architectural Form, Cambridge MA: The MIT Press, 1977, p. 87–103.

Marco Frascari, “The Tell-the-tail detail” (1984). In Theorizing a New Agenda for Architecture – An Anthology of Architectural Theory 1965–1995, ed. Kate Nesbitt, New York: Princeton Architectural Press, 1996, p. 500–14. Original source: VIA 7: The Building of Architecture.

SET 3 SIGNS AND COMMUNICATION Umberto Eco. “Function and Sign: The Semiotics of Architecture” (1986). In Rethinking Architecture: A Reader in Cultural Theory, ed. Neil Leach, London: Routledge, 1997, p.182–202. Original source: The City and The Sign, M. Gottdiener and A. Lagopoulos (eds).

Jean Baudrillard. “The ecstasy of communication.” In The Anti-Aesthetic. Essays on Postmodern Culture, ed. Hal Foster, New York: The New Press, 1983, p. 126–34.

Siegfried Kracauer. “The Mass Ornament” In The Mass Ornament. Weimar Essays, ed.Thomas Y. Levin, Cambridge, MA; London, England: 1996, p. 74–86. Original source: Das Ornament der Masse: Essays (1963).

SET 4 IMAGE, PATTERNS, AND SYSTEMS Nikos A. Salingaros. “The structure of pattern languages.”arq 4, no. 2 (2000), p.149 61.

Ben van Berkel and Caroline Bos. “After-Image.” Hunch 11 (2006), p. 40–45.

Jean-François Chevrier. “Ornament, Structure, Space [A Conversation With Jacques Herzog].” El Croquis 129/130 (2006), p. 22–40.

Irénée Scalbert. “Ornament.” In Crucial Words: Conditions for Contemporary Architecture, eds. Gert Wingård and Rasmus Wærn, Birkhäuser, 2008, p. 138–45.

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