Thesis Project_Narrative Architecture_Jingjing ZHU by JINGJING ZHU

NARRATIVE ARCHITECTURE

MArch JINGJING ZHU

VOLUME I / THE RESEARCH

I am spoken through the city and the city is read through me. Architecture from Without, Diana I. Agrest

TABLE OF CONTENTS Chapter i The Thesis Introduction Chapter ii The Precedents Chapter iii People Profiles Chapter iv Space Syntax Chapter iv Sites

Chapter i The Thesis Introduction This thesis explores the possibilities of overlapping programs through reading real life stories in the New York City to generate spaces for new encounters. By reimagining social connectors in this way, I intend to link remote personal biographies to find moments of interaction between people that could foster micro-changes in the urban landscape.

HUMANS OF NEW YORK

Chapter i The Thesis Introduction

The topic of my thesis begun to emerge after a casual conversation I had with one of my classmates at the beginning of last semester. She said, “JJ you should check out the website: Humans of New York.” And I did. The book was a portrait of hundreds of New Yorkers talking about details of their life in the city. After becoming familiar with the multiple narratives of the project “Humans of New York,” I realized of the spatial potentials that the multiple narratives claim for and I turned it into my major data source, as well as “my site” in a conceptual way. Reading one story after another, I found countless architectural opportunities that made me think about the reductive status of program in twentieth first century architecture. I initially proceeded by selecting 18 stories for further study. Through the process, I became aware that Architecture should be a collective act: Despite these 18 programs represented 18 unique individuals living in New York City, their architectural requirements hold the promise of representing a much larger population within city given its nature and density. Even though these stories are individual, they also speak aloud about the need for new social programs to accommodate the needs of larger segments of the population. One of the stories I read for instance, was about a woman: She is a musician, traveling from New York City to Detroit, and then Chicago with her drum by her side. She wants to stop and performe whenever she wants. As a result, I decided to include in my program temporary rooms for traveling musicians and artists. Another one is the story of an actor: he has never cast as a major character and he thought he suffered from stereotyping happening while he was interviewed. Thus, I designed an interview room for him with the hope this design could eliminate some of the stereotyping. [I achieve that by de-familiarizing the context in which these interviews take place. Part of the interview will be carried out in the spiral staircase before the interviewers and the interviewees become face to face. Finally, the most inspiring story among all is about the woman sitting here. She suffers from electrosensitivity. She needs to be protected from the electrowaves stemming from cellphones signals and other electronic devices. As the photograph illustrates, she is even sitting right next to the wrought-iron handrail to reduce the exposure to electromagnetic fields. It is estimated

And so I continued proceeding: after designing 18 different programs for 18 different individuals, I subdivided them into three categories: closed spaces, buffer-zone areas (that serve as meeting point or circulation) and structure (including here mechanical and electrical systems). I selected seven locations in New York City to test the possibilities of their combinations according to their functions and the locations of other facilities near the seven sites. According to the three categories, you can see from these diagrams, I used texts to show the relation among different types of programs. These are the seven models I made to see if this language could cater to the different site conditions. Some of them resulted in vertical structures, some others in horizontal layouts. And some are above existing buildings. All the sites that I choose to test these spaces are either idled or deserted spots in the city. This more detailed model is my prototype: a combination of the 18 programs conforming an architectural matrix. Since this is a vertical structure, the sequence follows levels of confort as well as acoustic and accessibility considerations. In these four scenes, I want to show how people interact with each other. And these are the meeting points for people to mingle. Take this as an example: at this sitting terrace, people who are using showers and lockers after practicing sports in the city would meet people sitting and sipping coffee and they will mingle with people who stopped by to watch or listen to performers downstairs. These are the most exciting moments in the building and I would like to underscore and celebrate them. They represent the social connectors that emerged out of the consideration of architecture as a form of narrative to generate new spaces, types, and institutions.

The Presentation Speech

Chapter i The Thesis Introduction

that 003% of the population suffers from some kind of electromagnetic sensitivity: In New York only, this represents 2561 individuals. My design provides a continuous shelter to host these people in a social space.

Chapter ii The Precedents

From Bernard Tschumi to Rem Koolhaas, the semiotics within urban city has been a recurring theme. As the quotation above, “I am spoken through the city and the city is read through me.”One could sense the presence of city lies within people, who express their understanding of the city through their daily acts, their needs of all levels and the interaction between them. Besides that, architects find their inspirations for new programs by wintessing people.

This witnessing process could be seen in Bernard Tschumi’s The Manhattan Transcript. A project lies between real architectural projects and fantasies.

Bernard Tschumi-- The Manhattan Transcripts

Chapter ii The Precedents

John Hejduk--Victims Functions/programs haven been within people since the very beginning. The complexity of the city endows people with multiple identities, which promotes a latent pattern of human interaction, or forms a invisible net within city. This study will be dedicated to researching for this invisible network and transform the above-mentioned assumptions into architectural realizations.

Chapter iii People Profiles

Architectural Requirement: Consultation Office

I’m studying to be a counselor for battered and abused women. I haven’t had any actual cases yet because I’m still learning. But eventually I want to help abused women clearly understand the situation that they’re in. Seventy percent of cases go unreported. There are a lot of reasons that women don’t speak out. Some have low self-esteem and feel like they have no other options. Some are afraid. But a lot of women just genuinely love their partners, and they convince themselves that it’s ‘just a phase.’

They think that things will get better. There can be a lot of idealism involved. I work at a bridal salon now. At our shop, we never call women ‘customers.’ We always call them ‘brides.’ Because brides are special. Marriage is a dream come true. I can see it in the brides’ faces when they try on their dresses. They feel like they’ve finally found their ‘happily ever after.’ And it can be hard to give up on that idea. Even if they’re being abused.

Chapter iii People Profiles Architectural Requirement: Showers for the Bicyclers

My mom wants me to be perfect and well-behaved and religious. If I’m less than perfect, she doesn’t want anything to do with me. Recently I met my dad for the first time on my 20th birthday. I visited him in prison and really opened up to him.

I told him that I was into girls, and that I smoke, and stuff like that. He was much more understanding than my mom. But then again, he really has no choice.”

Chapter iii People Profiles

Architectural Requirement: Playground for Kids

â&#x20AC;&#x153;I can do all the same things as my wife except for the milk part. And I try to make up for that by reading a lot of stories and showing her my vinyl collection.â&#x20AC;?

Chapter iii People Profiles

Architectural Requirement: Anti-Sterotyping Interview Rooms

“I’m artistically brokenhearted. I wanted to be a screen actor. I wanted to change the world through my sensitivity. But it was a very closed system in Italy. There are only like five movies per year. And there aren’t exactly auditions. You must be friends with the director to get a role. So I tried going to Britain. And that almost destroyed me. I was always cast as a foreigner. Usually I was a Mafioso, but I played all types of foreigners.

I’ve been a Spanish waiter, a Turkish waiter, and a French waiter. And they were always making me wear a mustache. So I tried for America. I applied for an ‘extraordinary talent visa.’ It cost me $6,000. The application was the size of a book. I had to submit ten letters of recommendation to prove that I was extraordinary. What a scam that was. Nobody cares that I’m extraordinary. None of the television stations will audition people with this visa.

Everyone wants to see a green card. I can only work on small productions. But things have gotten a little better. I’m getting some minor roles. I’m still playing gangsters. But sometimes I’m the funny gangster. Or the gangster with some sense. My next role is a scientist who turns into a zombie. In the movie, every stranger appears to be a zombie. But nobody is really a zombie. Strangers just seem like zombies. So, hey, there’s a moral message there.”

Chapter iii People Profiles

Architectural Requirement: English Teaching Classroom

“I teach English at a community college in Queens. I love the job, but I hate grading papers. I’d prefer to just have one continuous discussion about Shakespeare. I envy the math teachers who can just put their tests through a Scantron machine. Placing value on a student’s writing is much more nuanced and complicated.

What if they have great ideas but their English language skills aren’t as developed? What if English is their second language? What if they’ve faced major challenges in life? Do I ignore those things? Or do I consider context while grading? `

I want to set high standards and prepare my students for what comes next. But so many of them already have a self-defeating attitude. And I don’t want to discourage them any further.”

Chapter iii People Profiles Architectural Requirement: Temporary Rooms for Traveling Musicians and Artists

“I’m on a tour to study music with African roots. It’s not for school or anything. It’s just a personal project. I want to travel alone for an entire year with just clothes and my drumsticks. I’ve saved $6000 and I plan to work along the way. My first stop was New York. I’ve been here two weeks and I went to ten concerts. I’ve already spent $300 so I need to be more careful. I’m about to catch a bus for Detroit. I found a place where I can live in exchange for a few hours of daily work.

Then I’m going to Chicago, St. Louis, Memphis, and New Orleans. Then Cuba. Then Brazil. Then Peru. And after that I’ll go home to France. I want to learn as much about music as possible. But that’s only half the reason for the trip. I also want to learn if I can do it. I am a little afraid that I’ll get lonely, but that’s something I want to figure out. I want to know if I can be alone.”

Chapter iii People Profiles

Architectural Requirement: Public Dressing Rooms

“I’m a woman and I’m Andrea and I’m living my dream.”

Chapter iii People Profiles

Architectural Requirement: Rx Vending Machine

“It got to the point where I was stealing from stores, breaking into car windows. Everything but prostitution. I was living in the streets. Sometimes I wouldn’t shower for weeks at a time. Then one day I was walking down 149th by Lincoln Hospital, and I bumped into a drug counselor named Mr. Crespo. He took me to get some food.He gave me a few dollars. And he told me that I didn’t have to live like this anymore. I went to the methadone clinic the next day.

And now I’m hooked on that instead of heroin. It’s a mixed blessing. At least it’s coming from a doctor and not a pusher. I always know where my next fix is coming from. I can work now. I can pay bills. I can be reliable and productive. It doesn’t get you high like heroin, but it takes away the urges. But it’s like liquid handcuffs because the withdrawals are just as bad. If I stop for twenty-four hours, it feels like fire in my bones.

And they only give you one dose a time. So I get to the clinic every morning at 6 AM, and there are already one hundred people in line.”

Chapter iii People Profiles

Architectural Requirement: Computer Training Rooms for Workers to Update Knowledge

“I thought I was going to work until I died. But they came in and told me that I was too old and that I didn’t know the computer. They thought I was obsolete. If that’s true—then how did I get so far without the computer? I’ve got that computer in my head. I can design the whole process. I can start with a blank sheet of paper and cycle the whole line: the robots, the tooling, everything. That was my life.

At night when I go to sleep, I’m still building welding lines. There were only 1800 of us in this town that could do it. And each of us had our own style. People could recognize Norm Szewsky’s work. But you know what happened? They took all 1800 of our brains, and they put them in a computer. So now a guy who don’t know nothing can just press a button, and out comes a clamp. Oh well, I don’t really give a shit. I’m checking out soon.”

Chapter iii People Profiles Architectural Requirement: Petshop for Adopting Senior Animals

“I always told myself that when I reached a certain point in life, I’d get a dog. I thought maybe when I get my own home. Or when I’m more settled. But that point never seemed to come. So I decided to go ahead and adopt. The majority of the dogs at the pound were pit bulls. I originally wanted a younger dog, but this one had a red card on her cage, which meant that she was going to be euthanized. She was emaciated and had kennel cough. But when I reached out my hand, she licked it. I named her ‘Adidas’ because I wanted a running partner. But that dream ended pretty early. All she wants to do is hug and kiss and lay on you. She doesn’t care who you are. If she senses that you’re the least bit receptive to her, she’s coming right toward you. Just a few minutes ago she jumped into somebody’s wheelchair. It’s made me more of a people person. I’m always having to explain to people why she’s trying to kiss them.”

Chapter iii People Profiles

Architectural Requirement: Small Gallary for Artists

“I’ve been out of art school for a couple years now. Eventually I’d like to make a living as a fine artist. I try to challenge myself in a different way every day. I’m always trying different colors, or different materials, or different styles of drawing. It’s my way of leveling up. Right now I’m seeing if I can touch the paper only once with each mark, yet still create enough information to convey light and shade. The hope is that by challenging myself enough, I can eventually reach a level where I can challenge the art world.”

Chapter iii People Profiles Architectural Requirement: Public Performance Platform

“I want to be a stand up comic. The hardest thing is to find material that’s not just funny—but also true. Funny can just be a surprise. But good comedy articulates truth in a certain way. And I don’t think I’ve experienced enough to know what’s true for other people. I’ve had a bit of a charmed life. Nothing too traumatic has happened to me. I have a lot of creative energy but I’m not sure that I have the arsenal to back it up.

Recently I was at an open mic upstate, and there was an older guy performing who used to be a heroin addict. There was just this sense that you should be paying attention to every word he says, and not just the punch line. I’m not there yet.”

Chapter iii People Profiles

Architectural Requirement: Electro-sensitivity Protection Structure

“I have electrosensitivity. When I’m exposed to electricity, it’s like one thousand scorpions stinging me. It’s like every description of fire in the bible. There is no ‘off the grid.’ Because the grid is everywhere. So I live ‘between the grid.’ I have a lot of memorized safe spaces. I’ve tested all the stoops in the neighborhood, and this is an especially good one because it has a lot of wrought iron going into the ground.

I wear seven layers of shielding clothes. I wear silver sterling boxers. I wear conductive socks. And nobody protects me because they think I’m imagining things. They think that they can decide how much I can take. Some people even point their cell phones at me. It’s like they’re punching me without punching me. Even after I explain the science, I get pigeonholed as crazy.

The bigotry is maddening. Because even if I remove all my quantified evidence, and I say that I believe it hurts me; that should be fine. I have the right to choose how much radiation I’m exposed to.”

Chapter iv The Space Syntax

Marslows Hierarchy of Needs, the six categories have not change for the past 100 years, while the order of them is experiencing tremendous changes. The physiological needs, to some extents are not humans’ first priority for it could be satisfied at most of the time as the development of human society. The needs of self-actualization is getting more and more attention. What’s more, the six categories’ rank should be diagrammed in a new way.(As illustrated in the Needs without Hierarchy)

Needs without Hierarchy

Chapter iv The Space Syntax

So it is architectsâ&#x20AC;&#x2122; responsibility to respond accordingly. After witnessing peopleâ&#x20AC;&#x2122;s daily life, architects should look to find a new language to represent this change in needs, a language reflecting the social needs of the real people living among us and strive for a prototype of architecture between a real architectural project and fantasies.

Chapter v Site

53th and 7th

47th and 6th

39th and 6th

38th and 7th

33th and 7th

28th and 6th

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19th and 7th

Chapter v Site

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47th and 6th

39th and 6th

38th and 7th

33th and 7th

28th and 6th

19th and 7th

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VOLUME II / THE DESIGN

Architecture is the will of an epoch translated into space. Ludwig Mies van der Rohe

TABLE OF CONTENTS Chapter vi Individual Programs Chapter vii The bufferzone Programs Chapter viii The Structure/Ventilation Program Chapter ix The Plans Chapter x The Prototype