Foreword
Architecture, Landscape and the Ecosophic object
The project considers the notion of ‘the Ecosophic Object’, taking this as the main theoretical impetus in the speculation upon principal themes of Architecture, Landscape and Ecology. By means of the Ecosophic object, Ecology can be understood as the interrelation between the environment, social practices and human subjectivity (“the three ecologies”, Guattari, 2000). Therefore the study recognises Landscape and the Urban, not as dialectically distinct, but each as an effect of the other.
PARA-Situation X: Olbia. J Kinghorn L Butler
Contents
Introduction
I
Filo Fragment Fictions
Thesis
-
-
II
Olbia
Landscape, Economy
III
Palimpsest (PARA-Site)
Durable/Temoporal
-
-
-
IV
Isola Bianca
Infrastructure
V
Fragmenting Isola Bianca
Isola Bianca
(Narcissus)
-
-
-
VI
Edge (Agency)
Edges
VII
Cartography(Drawing)
Body
-
-
-
Volume I The design report is divided into two volumes. The intention of Volume I is to serve as an introduction to the thesis, a ‘way in’. Established here is framework of stimulus that may be referenced in the exploration the second volume. Taking the same nature as the work contained in its pages, Volume I is to act as the instigator for the speculation upon, and understanding of, the key themes of the thesis. Volume I recounts the delamination of Isola Bianca. In a city that has come to be defined by tourism, the contemporary urban body is gradually encroaching upon the natural. Olbia is initially understood as a Palimpsest of contextual layers, hidden beneath a thin ‘Eurotrash’ veneer. Porto Isola Bianca, continually growing and extending, becomes an agent of this condition, feeding from the contemporary “surface” culture of the tourist city. The process of deconstructing this veneer acts as a point of departure for development of the thesis, eventually maturing into a study concerning itself with the tense relation between that which is ‘Durable’ and that which exists as ‘Temporary’. The Metropolitan landscape is fragmented by proliferation of the veneer, PARAsites of this condition take form as interventions that feign durability, failing to recognise the virtue of their temporality. From this, revealed is the ‘other’ or ‘Edge’ that sits between these two extremes. The Design Report provides a means by which the studio exhibition and, therefore, the Thesis is navigated. In essence a ‘catalogue’ of works, the document aids the visitor in understanding the role they play as part of the exhibition and thesis, providing a collapsed version of the delaminated project.
Volume I
Fragmentation, Revelations and Edges
Volume II
Situations, Fictions and Cartographies
I
Filo Fragment Fictions Filo Fragment Fictions engages with the city of Olbia as an agency primarily concerned with the socio-economic conditions currently in operation within both low-density urbanity and its surrounding landscape. A layered conception of historic, cultural and architectural conditions proves a fertile point of departure.1 Questioning how such conditions have arisen has become the parti for a series of interrogation exercises, and in understanding the disjointed nature of the city’s landscapes.2 Architecture of both corporeal and incorporeal species investigates relationships between the urban and tectonic; socio and economic; life-story and live-project3, on the scales of body, building and landscape.
[
1 2 3
]
Filo. Fragment. Fictions.
Design Report
PARA-Situation X: Olbia. In Olbia, the presence of capitalist motives encourage, and are fed by, a global economy of tourism and trade. This creates a situation whereby culture is not conceivable without the input of the tourist economy. Olbia as a city can be seen almost as a non-place, a ‘space of flow’. As a port, the city receives thousands of tourists a year, many of whom pass through to other destinations within Sardinia. The airport is also another extension of the city as an in-between space, reinforced by the fact that the majority of the Olbian population are seasonal, transient residents.
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Filo Fragment Fictions
1:100,000 Tourist Resort.
Genova - Olbia
Livoma - Olbia
There is a need to “resist the normalisation and making generic of otherwise specific practices and specific existential territories�. Prof M
Fiumicino - Golfo Aranci
11
Osservatorio di Capo Figari
Golfo Aranci - Livorno
Design Report
12
Filo Fragment Fictions
Veneer. In a city that has come to be defined by tourism, the contemporary urban body is gradually encroaching upon the natural. A “Eurotrash façade” presents itself as the city’s representative, a ‘veneer masking more than it reveals of the structure beneath’. Porto Isola Bianca, continually growing and extending, becomes an agent of this condition, feeding both of and from the contemporary “surface” condition of the tourist city. As a specific point of tension in this veneer condition, it proves an appropriate and stimulating point of departure for a critique of its inherent properties. However, this is not to say that such a surface does not have its own richness; within and below it exist hidden layers of narratives and history knotted to form a texture. It is possible, therefore, to begin a delamination of these layers, a deconstruction, rearranging, interrogating and extending to reveal identities forgotten. Particular points of tension can be identified on this surface, places that sit ‘in-between’-
Edges.
The surface is ignorant of its disjunction.
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Design Report
Agency Expansi Situation Thre
Author: J King
14
Filo Fragment Fictions
Agency Erasure. Situation Isola Bianca. Author: L Butler
xpansion. n Threshold.
J Kinghorn
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Design Report
16
Filo Fragment Fictions
Assignment of Space Olbia’s territories are in a state of flux. Bureaucratic assignment of space within the city is embodied in the very notion of an urban planning department – in which specificity to situation is no longer an active agenda. Urban planning is, although deemed necessary , overly simplistic – the resultant city plan becomes a series of independent fragments, each with a different intelligence, resonance or pace, which inherently buys into a specific economy of the city [be it tourism, industry, technology] and very rarely speak to those spaces sitting in adjacency. It seems that in the real-life urban environment this ‘utopian’ assignment of space, regimented and clinical, is impossible; Olbia is no exception. Sporadic Pockets of intervention rest on the surface of the city, between them creating unused, residual space and invisible limits. Those lines drawn as solid boundaries on planning documents try too hard to be what they are not: durable. These interventions fail celebrate their temporary nature and therefore sit awkwardly within a landscape that will always exist as more permanent.
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“In contemporary urban landscapes the loss of the original matrices of the city is the outcome of a reversal of history and time due to the removal of distinctive traits of places...� (The Urban Potential of External Territories 2011)
III
Design Report
Olbia as Palimpsest. Olbia is a city under extensive urban expansion. The landscapes of the city are growing exponentially: topographic, architectural, economic, cultural and industrial. This process has occurred over time, leaving in its wake a palimpsest city: a city that has been formed and re-formed by many cultures, leaving a series of trace layers. With each cultural re-build, comes an enrichment of the city, allowing Olbia to be treated as a series of conceptual, historic, tectonic and industrial layers. Olbia is therefore a palimpsest of narratives. Here, It is possible to begin a delamination of these layers, a deconstruction, rearranging, interrogating and extending to reveal identities forgotten.
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Filo Fragment Fictions
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Design Report
Palimpsest overlay/delamination. layered logic as theoretical impetus
Palimpsest is not only considered a methodology for the development of architecture; but also a machine that operates as a generator of urban attitudes, a catalyst by which architecture can emerge. Olbia is understood as a series of erasures, which inherently contain specific additions – i.e. with each cultural re-build, comes a conceptual enrichment of the city, allowing Olbia to be treated as a series of conceptual, historic, tectonic and industrial layers. Olbia is a palimpsest of narratives.
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Filo Fragment Fictions
Archive Palimpsest.
Urban Tectonics.
Disecting and cross-breeding research exercises.
Edges, Hierarchies, Departures, Connections, Gaps.
AGENTS
AGENTS Silvia Lai, Mario Doneddu, Sara Mantega, Fabio Campus, Denis Cuccu Mariella Masala, Nino Ondradu, Giuseppe Zingaro, Antonio Secondo Giovanna Diana, Baldassarre Riu, Davide Sechi, Daniele Ruiu, Salvatore Cambilargiu Margherita Perrod, Giovanni Ortu, Alessandra Craboledda, Anna Cuccuru, Ilaria Fadda
Silvia Lai, M Fabio Campus, Mariella Masa Zingaro, Anto Giovanna Dian chi, Daniele Margherita Pe dra Craboledd Ilaria Fadda
Li (aka He Li), John (aka Zhe Zhang, Ethan (aka Huining Li), Craig McLeish, Siyu Wang, Kittie (aka Sinling Ho), Neil Cunning, Ruth Marsh, Jamie Kinghorn, Nia Puliyel, Scott Wallace, Lynda Zein, Mathew Gauci, Caterina Mendolicchio, Stephen Micallef, Louisa Butler, Oliver Wit, Jorgen Ekerhovd, Eric (aka Yucong Wen), Sherry (aka Yi Li), Emiline (aka Mi Lin), Jak (aka Weifeng) Kong, Xiaorui Ge, Melinda Jin, Shiyun Shen, Anirudh Sood, Rachel Stancliffe, Barbara Swiec, Ryan Hodge, Jenny Robertson, Doug Wright, Mohsen Najafian, Elvira Marina, Paul MacDonald, Jane (aka Zheng Huang), Neo (aka Pengfeng Zhang), Way (aka Jinwu Wei), How (aka Hao Wu), Angel Hsiao.
Li (aka He Li Ethan (aka Hu Siyu Wang, Ki Cunning, Ruth Puliyel, Scot Gauci, Cateri callef, Louis Ekerhovd, Er (aka Yi Li), Weifeng) Kong Shiyun Shen, cliffe, Barba Robertson, Do Elvira Marina Zheng Huang), (aka Jinwu We Hsiao.
Samanta Bartocci, Verdina Satta, Christian Cannaos, Mimmo Biddau, Silvia Serreli, Elio Bedarida (Pisa), Yael Hameiri, Kevin Adams, Dorian Wiszniewski
THEME SUB-THEME
POINTS OF DEPARTURE MACHINE INTERFACE TECTONICS OF ROAD
29.
Samanta Barto Cannaos, Mimm Bedarida (Pis Dorian Wiszni
THEME SUB-THEME
27.
23
Hospital
1898 1954
Intervention
Industrial
Village
Village
1931 Building Scale
Titles
Archaeology
Flotsam
Maritime
Seaweed
24
Roman City
Landscape
Industry
Design Report
Building Scale
Territories
Appropriated Titles
Gateway
Industry Contemporary Urban Scale
Containers Gaps
Filo Fragment Fictions
Palimpsest Olbia is understood as a series of narrative layers, masked by a capitalist veneer. The intention of the Light box is to illuminate
the ‘filo’, an additive process that
sees contextual information extracted in the palimpsest process
in a collapsed format
[Simultaneously displaying the layers as delaminated].
Palimpsest Drawings.
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Design Report
IV 26
Growth of Isola Bianca
Filo Fragment Fictions
Isola Bianca A direct result of the urban proliferation of Olbia is the growth of Porto Isola Bianca. Isola Bianca becomes a particular point of tension in this ‘surface’ condition and the preoccupation with the imitating the durable. Once a small Roman port, the Island exists now as an urban-scale infrastructure that has devoured two island territories. The protagonist for architectural syntax, the deconstruction of Porto Isola Bianca, yields an underpinning interrogation of the role of capitalism in the city of Olbia. The project, from this point, begins to investigate the un-coincidental pairing of the city’s territorial expansion with its revenue-based economic expansion and its inherent effect on the metropolitan landscape of Olbia. Revealed are tensions and ‘Edge’ conditions that exist within the fabric of a city built to appear robust, to betray no aspect of time.
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Design Report
3.
2.
4.
Destruction & Detritus: Fragmented Identity.
28
Filo Fictions: Delaminated Identity.
Filo Fragment Fictions
29
Design Report
The Fragmentation of Isola Bianca. The construction of Isola Bianca consumed two small island identities. Envisioned as Ovid’s Narcissus , the island becomes the agent of it’s own destruction . The corrupt identity looks upon its reflection and is driven mad, eventually falling into decay. The heavy tectonic is broken down and re-articulated by hidden context, the islands, both housing and archiving themselves alongside the layers of a conceptual archaeology, becoming components of a stratified narrative.
V 30
Filo Fragment Fictions
Fracture. The delamination of Isola Bianca. The architectural catalyst in a game of tensions, erasures and additions.
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Design Report
As conditions and their inherent narratives are pulled through the palimpsest’s layers, the existing Porto Isola Bianca is fragmented. Each piece naturally retains its own character – its own intelligence of place – by which new formations may [or may not] come to be specifically articulated. The spatial tectonic of the palimpsest city brings itself to bear on the current condition; a tectonic previously perceived as solid is realised as finite, fragmented and frayed at the edges.
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Filo Fragment Fictions
Language of Destruction.
1. 2. 3. 4.
Fracture Detritus Scar Re-Stitch
33
Design Report
At this stage, Agents take the fragmentation of Isola Bianca as a point of departure for the development of the thesis. A series of displacements and overlays take place on Isola Bianca and throughout the city. The port is deconstructed into smaller components, their juxtaposition relating previously isolated elements; one can be understood better with the other.
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Filo Fragment Fictions
Indexing Fragments of Isola Bianca.
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Design Report
As
Ovid’s
Narcissus
witnesses
his own reflection in a pool of water, falling in love with it, not realizing it was merely an image, he becomes obesessed with that which he is unable to behold. Unable to leave the beauty of his reflection, he dies. Narcissus is the origin of the term narcissism, a fixation with oneself. ever
This
solitude
unacheivable
other
in
the
marks
the point at which Isola Bianca fragments.
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Filo Fragment Fictions
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Design Report
Delamination Shedule
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Filo Fragment Fictions
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Design Report
Detritus. As an agent operating within an agency concerning notions of addition (particularly in his attitude towards palimpsest), the architecture of the cartographer’s house manifests with each decay of its counterpart, Isola Bianca. As the two become locked in an intense dialogue involving a series of erasures and manifestations, the cartographer collects, creates, archives and exhibits the incurrent traces, everdeveloping his palimpsest, and thus his architecture.
Index01: Plotting Narratives: reSITU. A series of displacements and overlays take place on Isola Bianca and throughout the city. The port is deconstructed into smaller components, their juxtaposition relating previously isolated elements; one can be understood better with the other: Eurotrash veneer// historic context. Architecture as ‘Island’// Architecture as city.
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Filo Fragment Fictions
41
Design Report
Here, the agents are at liberty to test these intelligences
[or
agencies]
within
different
parts of the city, as a reconfiguration of the palimpsest structure - this will then begin to alter
both
the
reconstituted
piece,
and
its
[specifically chosen] situation within the city.
02. Gesture
Isola Bianca Taxonomy. Destruction Diaries. Agency Palimpsest. Jamie Kinghorn. Louisa Butler.
Plan of Action 01. Veneer Condition Three specifically detailed areas of study used to frame thesis: Isola Bianca & Cartography Exercise (Filo Fragment Fictions) Industrial Zone (Boat Building Academy) Tourist Village (Next Steps)
Land Reclamation.
Industrial Port.
Island Trace.
Key Drawings: Metropolitan - Plan of Action 1:10000 Landscape - Site Sections 1:5000,1000 & 500 Building - Academy 1:100,200 & 500 Tectonic - Completed Index Gestural - Palimpsest as Model
Containers. Records. Archives. 1:100
02. Gestural drawings of proposed sites Showing treatment of sites through interrogation - similar process to that of Isola Bianca & scrapyard.
Tourist Port.
Road.
Ship Building.
02. Gesture 01. Framing Thesis Historic Railway.
Tug Boat. Mediator of Scales and Maritime Processes. 1:400
Historic Port.
Final Exhibition layout Plan| Scale 1:100
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Filo Fragment Fictions
1:1000
1:5000
Index02: Fragmentation. Documenting Deconstruction. Each fragment has a specific intelligence, resonance or pace, which inherently buys into an economy of the city (be it tourism, industry, technology). What is important about these characters is that each is specific to a piece. The agents are then at liberty to test these intelligences (or agencies) within different parts of the city, as a reconfiguration of the palimpsest structure - this will then begin to alter both the reconstituted piece, and its (specifically chosen) situation within the city. Each piece, separated from the nonspecific material of the port body is then allowed to take on it’s own specific language relating to it’s function and site.
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Design Report
Index03: Configuring Tectonic. re-SITU.
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Filo Fragment Fictions
In/Re-SITU Processes. Following its interrogation, the fragmented tectonic of Isola Bianca comes to retain a language of transfer, whereby movement of material and immaterial components of exchange expand the city’s territory. The freight container that so frequently facilitates this exchange provides both a vessel and a device that records movement through its surfaces. Thus, an intelligence of place must respond to the movement of material and immaterial. Such intelligence inherently involves and evokes a game of solid and void – that which behaves as solid in one circumstance (inSITU) acts as void in another (in receiving). Re-situation of the fragmented port draws it towards Olbia’s industrial area, as an agent of the trans-shipment of material and immaterial. As such trans-shipment takes place, the process is recorded through the container’s internal surfaces – a body which can also be treated as a palimpsest landscape.
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Design Report
Object.
Surface.
Container.
Trace.
Histories.
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Filo Fragment Fictions
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Design Report
Agency Detritus. Situation Industry.
03.
Agency Erasure. Situation Isola Bianca. Agency Expansion. Situation Threshold. 01. 02.
Testing Tectonic. Situation [a]
Testing Tectonic. Situation [c]
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Filo Fragment Fictions
49
Edge Model. Multiple scales
VI
Design Report
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Filo Fragment Fictions
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Design Report
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Filo Fragment Fictions
The statutory division of space within the city of Olbia translates into the proliferation of independent ‘pockets’ of intervention. These PARAsites of the growth of a ‘surface’-preoccupied culture leave
various
residual
spaces
and
forgotten,
liminal
places-
territories that sit in the grey area between the durable and temporal. These ‘Edges’ are what hold the potential to act in response to the tensions that exist between the urban and the landscape, the temporal and the durable, the fisherman and the tourist. The ‘Edgeworks’ model embodies various conditions of edge throughout the project.
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Design Report
56
Filo Fragment Fictions
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Design Report
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Filo Fragment Fictions
The oak ‘edge’ itself exists in lengths that correspond to and draw at a 1:1000 scale, where the tectonic pieces that cut into this edge exist at multiple larger scales. In several ways, the model engages at a 1:1 scale with the exhibition visitor through the material and grain of the object, and a series of 1:1 devices. Therefore, this means that the model is simultaneously scaled to the landscape, the building and the body, respectively. There exists in the model a layering of scales and overlaps significant of the process of drawing, revealing and re-drawing, a method which had been used as one of the main drivers in the development of the the thesis.
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Design Report
VII 60
Filo Fragment Fictions
The Edge model and therefore the thesis are choreographed by 3 1:1 cartographic devices: the Cartographer’s Drawing Board, The Plan Chest and the Lightbox. Together, the devices and the edge embody ‘Agency’. The visitor effectively becomes the 5th Narrator, the tourist; the individual to which the thesis must appeal in order to allow them to perceive conditions of durability, temporality and edge. A final object, the chair allows the visitor to simultaneously view multiple scales within the model both collapsed and delaminated. In this respect, the model as a whole becomes a cartographic device itself, allowing a 1:1 experience of ‘drawing’ the thesis. From this perspective, the visitor, similar to the tourist, is to be influenced by viewpoints and stories the various narrators.
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Design Report
The intention of the Light Box is to
The Plan Chest is the formulation
illuminate
of these layers in 3 dimensions
process
the ‘filo’, an additive
that
sees
contextual
(through drawings and models), how
information extracted in the action
the architecture comes to be and
of the palimpsest in a collapsed
exists.
format [Simultaneously displaying the layers as delaminated].
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Filo Fragment Fictions
The third piece, the Drawing Board, is the device that keeps the layers in
flux,
constantly
drawing
new
layers while others collide, come together, disappear or change.
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Design Report
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Filo Fragment Fictions
The Cartographer, the second in the series of narratives, exists as a PARA-site to Isola Bianca. The Cartographer envisages a re-articulation of the current situation in Olbia. He operates liminally between the scales of city, architecture and body; between the time frames of the city’s history; and between the forces acting both from and on Isola Bianca. Unaware of the magnitude of his work, the palimpsest becomes his brief, demanding an extensive [re]searching of identity within Olbia’s fragmented archipelago territory. Pieces of the fragmented isola Bianca, both material and immaterial, are articulated by the cartographer’s drawings. The diary Narcissistic Isola Bianca acts as the point of departure for the development of the thesis. Throughout the study, the thesis has been in a state of constant flux, continually drawing and re-drawing itself in its development. The project folds back on and references itself in a method reminiscent of the frantic drawing of the Cartographer The third cartographic device exists as an agency of the Cartographer, an apparatus for the generative process of drawing (both in the sense of “to draw out” as well as “to draw”). The device is the means by which new layers of the thesis are drawn and, keeping them in flux. The Cartographer’s drawing board simultaneously becomes the apparatus used to reveal the Thesis to the the exhibition visitor/tourist. The object holds a drawing series packaged into three volumes, detailling aspects of the projects logic.
65
A city that appears durable, Olbia risks being easily ruined by successive temporal interventions that fail to make virtue of their temporality. If modernity has taught us anything, it is to accept that architecture is impermanent. So, why does everything have to remain durable? Fragmentation and Tectonic extrapolation of the disjointed nature of Porto Isola Bianca – a major piece of urban infrastructure - within its urban and metropolitan contexts provide the point of departure for a narratological exercise, yielding its own cartographic processes and working methodologies. The cartographic device used to contain, scale and situate these exercises is the light box, simultaneously denoting the separation of conceptual urban layers and illuminating the resultant gaps. This document contains a series of drawings used to describe the project’s position on the contemporary situation of Olbia. A specificity of place is key to understanding the ongoing study.
Logic of Place & In-Situ Operations ge·ni·us lo·ci (jn-s ls, -k, -k) n. 1. The distinctive atmosphere or pervading spirit of a place. 2. The guardian deity of a place.
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01.Situation.
Design Report
Filo Fragment Fictions
A city that appears durable, Olbia risks being easily ruined by successive temporal interventions that fail to make virtue of their temporality. If modernity has taught us anything, it is to accept that architecture is impermanent. So, why does everything have to remain durable? Fragmentation and Tectonic extrapolation of the disjointed nature of Porto Isola Bianca – a major piece of urban infrastructure - within its urban and metropolitan contexts provide the point of departure for a narratological exercise, yielding its own cartographic processes and working methodologies. The cartographic device used to contain, scale and situate these exercises is the light box, simultaneously denoting the separation of conceptual urban layers and illuminating the resultant gaps. This document contains a series of drawings used to describe the project’s position on the contemporary situation of Olbia. A specificity of place is key to understanding the ongoing study.
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A tectonic is developed to reveal the city’s tense relations of temporality and endurance, embodying said relations within two processes: that of delaminating, or deconstructing layered logics; and that of the layering or collapsing of information. The studio’s cartographic device for this volume is the drawing board, a textured object used to hold the drawing series, whilst also accommodating the further drawing process that develops the project’s method. Concerned with the drawing of new layers to be added to the process, the device keeps the layers in flux, as new layers are continually being added while others collide, come together, disappear or change. As the thesis becomes concerned with the broader circumstances and effects of such an unusual urbanity, a completely new master plan is not desired - instead, incremental and sequential changes are favoured, as edges, gaps, fragments and residual territories become the platform upon which changes to the economic conditions that have brought about such urbanity are explored. This document contains the drawings used to develop a language of temporalities and durabilities, across a series of situations – as leading from the previous document. Both tectonic sensibility and technical specificity are used to do so.
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02.Tectonic.
Design Report
Filo Fragment Fictions
A tectonic is developed to reveal the city’s tense relations of temporality and endurance, embodying said relations within two processes: that of delaminating, or deconstructing layered logics; and that of the layering or collapsing of information. The studio’s cartographic device for this volume is the drawing board, a textured object used to hold the drawing series, whilst also accommodating the further drawing process that develops the project’s method.
Concerned with the drawing of new layers to be added to the process, the device
keeps the layers in flux, as new layers are continually being added while others collide, come together, disappear or change. As the thesis becomes concerned with the broader circumstances and effects of such an unusual urbanity, a completely new master plan is not desired - instead, incremental and sequential changes are favoured, as edges, gaps, fragments and residual territories become the platform upon which changes to the economic conditions that have brought about such urbanity are explored. This document contains the drawings used to develop a language of temporalities and durabilities, across a series of situations – as leading from the previous document. Both tectonic sensibility and technical specificity are used to do so.
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A catalytic proposition is developed and left in a state of suspension as further tectonic and programmatic testing takes place across the metropolitan landscape. A layering of detail in plan and section provide a useful means of testing and drawing. The ongoing methods are developed: drawing as a way of thinking and behaving, and a commitment to the testing throughout the state of suspended animation. Ultimately, the project provides that which is necessary to understand the city’s fluxes, making explicit that which is currently made inexplicit by its own territorial rigidity. Five narrators play out the project. Five para-sites, or subnarratives of these tense relations, call upon enzymatic conditions of otherness to reveal tension.
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03.PARA-SET.
Design Report
Filo Fragment Fictions
Now the project is extrapolated across the metropolitan landscape, projecting change and ultimately forming a series across a set of specific enzymatic territories – whereby the scrapyard located on the shore of the industrial zone (conceived as an archive of consumer-led industrial detritus) is a specific edge condition. Frame, Tectonic] are delaminated and the individual logics used to introduce an architectonic that invokes changes to the existing urban and economic paradigms. The collective territoriality of these agencies act as incremental changes to the existing landscape, coordinated in such a way as to hold the potential for perpetual extrapolation across the landscape – with each process yielding its own individual tectonic, as well as acting within the connectivity of the architectonic language. As the project is enacted through characters/commentators on the tense relations of temporality and endurance, it is documented as fragments, or Diaries – ways of drawing the metropolitan landscape. Their architectures become a product of the ongoing commitment to drawing: as discusses at the outset, the Cartographer’s role is of one who draws, who invokes the synonyms of “drawing”, through which collective processes are enacted. This volume contians drawings used to develop an understanding of the S.E.T Scale (Series of Enzymatic Territories) it details and draws from those territories in a state of flux, territories located on the edge that sits between the temporal and the durable.
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Design Report
The
purpose
of
the
lightbox
is
to
illuminate filo. The thesis has set up an emerging narrative that carries through the
exhibition,
existing
between
project
and
processes
of
program, layered
additions and delaminations. As opposed to conceiving of the exercise on Isola Bianca as “deconstructed” or “exploded” it is rather more poignant to conceive it - along with the city - as delaminated.
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Filo Fragment Fictions
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Design Report
Appropriated Titles
Territories Building Scale
Gateway
Landscape
This yields both its own tectonic and an
Titles
the
1931
City)
industrial
Roman City
delaminating
Industrial
whereby
(Cartographer’s Palimpsest
thicknesses
and
paces
1954
the
Industry
waterfront is the same – a process of reconfiguring
gradation of thicknesses (or thinnesses
Hospital
Village
Urban Scale Contemporary Industry Containers Gaps
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Maritime
Seaweed
which converge to make the thick).
Village
paces, and also itself is comprised of a
1898
of layers. The architectural tectonic is essentially the re-coordination of these
Intervention
Bianca,
Isola
Archaeology
exercises
House,
Flotsam
cartographic
Building Scale
additional one - a collection held by the
Filo Fragment Fictions
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Filo Fragment Fictions
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Design Report
The plan chest is the formulation of these layers in 3 dimensions (through drawings and models), how the architecture comes to be and exists. Where the light box is used to illuminate the gaps between layers, the plan chest – both in its structure and use – is used as a way of communicating the reconfigured landscape as a series of enzymatic alterations to the current notions of Olbia as a palimpsest. The drawers speak simultaneously of the apparatus used to hold the chest together and the narrator through whom the drawing process is performed.
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Filo Fragment Fictions
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Filo Fragment Fictions
“We do not create the work. I believe we, in fact, are discoverers.” Glenn Murcutt
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