On time, Materiality and Identity. Marc Ayoub
Supervisor: Riet Eeckhout
Drawing Architecture: Manoeuvring between Factual Inevitabilities and Fictional Urgencies
Faculty of Architecture Campus Sint Lucas Brussels
Table of Contents:
Architectural Ruins from the perspective of a Lebanese:
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Part I: A collective attachment to the Shell.
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a. Introduction
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b. The Paradox of the Ship of Theseus
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c. The circumscribed perimeter of form.
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d. Circumscribtion within physical limits.
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e. Façadism as denial of loss.
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f. Transformation Attenuates the Horrors of Demolition.
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Part II: Research by Creation
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a. Controllers: Devices and Prosthetics.
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b. Assembling Fragilities.
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c. Explorative Augmentations.
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Part III :The Augmented Palace of justice Final Thoughts
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Architectural Ruins from the perspective of a Lebanese.
Architectural Ruins from the perspective of a Lebanese:
Growing up in Lebanon meant that from birth, I was immersed in an environment rife with ruins. Coming across debris and rubble is nothing out of the ordinary: debris and rubble is inextricably linked to my perception of the urban landscape. I have always been drawn to and fascinated by these devastating structures—a dichotomous perception of collective trauma.
Ruin: the physical destruction or disintegration of something or the state of disintegrating or being destroyed.
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Beirut Holiday Inn Hotel 365daysoflebanon.com
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Architectural Ruins from the perspective of a Lebanese.
On devastation:
This urban devastation is the product of war and violence. Like many other Lebanese people, I grew accustomed to the sight of bullet holes on buildings and concrete structures violently ripped open, rebars spilling out like innards.
Memento Mori: Remembering the inevitability of death Each Lebanese individual retains in their minds indelible memories of the war, memories based on visual, auditory and other sense perceptions; this fact leads to the birth of different perceptions of this critical moment. Such perceptions are anchored forever in the mentality and transmitted to the younger generation. Even if they did not experience these tragic moments they would still be influenced by these memories.
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Villagers going back home after the cease fire (war of July 2006) Photo: Patrick Baz—AFP Time Magazine
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Architectural Ruins from the perspective of a Lebanese.
Time passes, and some ruins simply lay in our environments like empty shells, inanimate and lifeless, but in cases where ruined buildings had to provide shelter, they are repaired to a modest extent in which their surfaces still carry the wounds and scars. Beirut left ingrained in my subconscious the image of dismantled forms stuck in a traumatic state, clinging on to their identity.
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Images from Mar Mikhayel Street following the Beirut port explosion of August 4 2020. (Own Photos) 6.
Rashid Karami International Fair, (Tripoli Lebanon), designed by Oscar Niemeyer turned into an execution wall by the Syrian occupation (1976-2005). Own photo 2016
Architectural Ruins from the perspective of a Lebanese.
On Fascination:
What is known as the Lebanese territory today was never named Lebanon before the declaration of its independence in 1920. It was part of larger empires and occupations that imposed their presence on the land for the most extended portion of history. They built fortresses, castles and dwellings, affecting the local styles. This leaves traces of their existence in a layered manner. Today Ruins of these past civilizations are scattered across the territory. Their presence can be strongly felt, preserving stories and anecdotes that constitute the narratives of our existence. They are visual signifiers of our identity.
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Beit-ed-din Palace of the Druze as depicted by W.H. Bartlett and W. Floyd. Original print - Fisher son and co. London and Paris 1841
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Architectural Ruins from the perspective of a Lebanese.
My fascination stems from the playfulness I feel when entering a ruin. By some miracle, our ancestors gifted us artefacts that have weathered the tests of time. I start imagining, filling in the blanks the missing elements left, rounding out the outline of the decayed structures. It is a mental experiment, a game played using the scattered material left on the site. Living in Lebanon, I learned to be aware of the relationship between time and identity materialized through shells of ruined buildings.
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Roman temple in Faqra, Mount Lebanon, Own Photo 2017
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Saida’s Fort or Sidon’ s Sea Castle built by the crusaders in the thirteenth century. Own Photo 2016
Architectural Ruins from the perspective of a Lebanese.
Ruin from the Beirut war of 1975-1990 middleeasteye.net A building in a ruined state has lost parts of its initial form. But is The outline of that form, in essence, the chief constituent of its identity? Is the preservation of identity an immediate process, or does it happen over a long period? Is the material used in reparations crucial to identity?
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Reconstructed Column in Faqra Mount Lebanon Own Photo
Architectural Ruins from the perspective of a Lebanese.
The questions I gathered on time, materiality and identity are central in my research. With my perspective on the matter driven by my upbringing in Lebanon, I needed to investigate through design the trifecta in action. Today, in Brussels, the justice palace sparked my curiosity. Although it is not a ruin, it could have easily been one. It is, predominantly, a shell surrounded by scaffolding struggling to maintain its outline. Its presence in the city intrigued me and piqued my interest the same way the structures I’m used to seeing in Lebanon did. What I saw in it activated my curiosity and imagination. I wanted to intervene and test the limits of its identity.
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Le Dernier Pharaon - Blake and Mortimer, Schuiten Second edition 2019
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Architectural Ruins from the perspective of a Lebanese.
To get closer to answering my questions, I chose to use two sections of the edifice. The aim is to continuously alter the materiality through drawing, allowing the space to perform in a particular manner. As a consequence, the interior is sacrificed in order to preserve the exterior image. This series of gestures enable the speculation of the integrity of its identity, as perpetual iterations alter the composition. The focal point of the investigation becomes legible in the drawing. It articulates the spatial tensions between the old and the new all the while being ruled by chronological constraints. That is to say, transformation happens bit by bit, component after component. It is an ongoing process, a phenomenon similar to the shedding and regeneration of one's skin.
The act of drawing and redrawing brings out new spatial qualities circumscribed within the constraints of the form that is visually recognizable as the Palace of Justice (from an exterior point of view). Ultimately, and on a broader scale, the drawings examine the modes of sustaining architectural identity and the implications of changes/augmentations on image
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Section 1
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Architectural Ruins from the perspective of a Lebanese.
The thought process that led to the two section drawings is documented in the booklet and constitutes the research. It is presented as references (Part I), observational and/or explorative drawings and models (Part II). The bulk produced in those parts was essential to build a case both verbally and graphically, ensuring that the sections of the Justice Palace (Part III) benefit from the research outcome.
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Section 2
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Iñárritu, A. G. (2015). The Revenant. Twentieth Century Fox. To find shelter, Hugh Glass (Leonardo DiCaprio) emptied the dead horse from its entrails. Out of necessity, the carcass became an inhabitable shell.
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Part I: A collective attachment to the Shell.
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Part I: A collective attachment to the Shell.
Many of the built structures surrounding us are created by the efforts of past generations, reflecting their needs and cultures. Leaving them to entropy, and these structures will inevitably decay. What is left behind is seemingly a shell that once encapsulated the locus of the inhabitant’s lifestyle. We are culturally attached to these shells as they tell stories of where we come from and how we got to our current situation. The absence of life within those spaces, or simply put, a lack of human maintenance, favours the infiltration of natural deterioration. Such structures are scattered in our daily landscapes. They trigger a melancholic response when seeing them. However, their obsolete nature is causing them to be viewed as spatially faulty, ruined, and unusable. Their role is reduced from a functional one to simply the display of past cultures. Buildings as such have a valuable identity and are worthy of preservation as a sort of exhibition. Even when every component that once constituted their initial form are threatened to be dismantled, we somehow find ways to either replace or repair them, keeping the shell present as a visual reminder of identity.
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Own Photos of Ruins in Ballounéh, Lebanon (January 2021)
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Part I: A collective attachment to the Shell.
This is an example of a ruin formed by the process of aging (images on the previous page). It presents minimal information about its past. There is acommon tale in my hometown about the prince Fakhreddin fleeting his region as a child to live with a Christian family. Hence why such a ruin might be preserved in that plot of land. I tried reconstructing the site in a drawing through a mapping process to attempt to find more information about its physical state. What tore it partially down is unknown; if it was built during the emir’s time, it means it dates from the 1500s, but the region has witnessed many wars since. Therefore I suspect that a combination of violent acts and natural occurrences is behind its current state. It also means neglect from the party who owns the land, most recently, the municipality that acquired it. Many of the fissures on its surface came from vegetation that found a way to grow within the walls. Something that heritage preservationists could have prevented. Nevertheless, the most beautiful thing about this place is its elements are dismantled yet scattered around it. Materialistically, I see it as a neglected Ship of Theseus. It has all the potential to be rebuilt with better components. However, it lays with all the defective parts beside it.
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Drawings I made on the of Ruins in Ballounéh, Lebanon (January 2021)
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Part I: A collective attachment to the Shell.
The Paradox of the Ship of Theseus As far as the story goes, Theseus travelled through his various adventures on a ship. Each time a plank of wood defected, it was replaced with a new and more robust timber piece. Progressively the vessel had all its parts replaced, which raised the philosophical question: is Theseus travelling in a new ship, or are his voyages done aboard the same one? In the metaphysics of identity, the Ship of Theseus is a thought experiment that raises the question of whether an object that has had all its components replaced remains fundamentally the same object. Philosophers approaching the matter from a materialist perspective would argue that the ship’s identity does not remain the same. In fact, such an approach imagines the fate of every component being removed and replaced, concluding that after a while, Theseus would end up with two ships, one with the original components and the other with brand new ones.
Regardless, the compelling part of the thought experiment is, by and large, the process of taking out and replacing materials.
The circumscribed perimeter of form. I found interest in the artist Mona Hatoum’s work, given that it presents a similar spirit of volumetric circumscription and information preservation. In her 2018 installation Remains of the Day, Hatoum created a setting where what seems to be debris of destruction of home furniture is reassembled and completed with a wire mesh. The work is intentionally made to reflect on war’s violence and its effects, which Mona Hatoum generally explores as a theme.
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this installationsubscribes to the norms of materialists thoughts. By reassembling the elements, Hatoum looks back on the information/data already known, rather than creating a newer step or, simply put, an “upgrade.” The whole is circumscribed within the volume of its previous form. In other words, the chair is still recognizable as the same chair, albeit it visually has a somewhat “reconstructed” appearance.
Mona Hatoum: Remains of the Day, 07 Sep 2018 — 17 Nov 2018 Hong Kong myartsguide.com
It is in an approximate manner analogous to Theseus using different material to fix his ship as long as the final form is circumscribed in the initial volume.
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Part I: A collective attachment to the Shell.
Circumscribtion within physical limits.
In comparison to the ship of Theseus, I noticed that one of the main characteristics of the vessel is that it remained volumetrically intact. Rachel Whiteread Investigates the relationship between identity and form by pouring concrete inside existing buildings using them as moulds when the final concrete result transcends the locus of the space. In that sense, Theseus could have done the same to his ship and preserve it once and for all. Using his vessel as the data that would ultimately maintain its form. The ship would lose its buoyant capacities just like the house lost its liveable program. A final result for whitespread is an object circumscribed within the physical limits of an original mold. The mold reciprocally, is a delimitation of what is no longer present. Somehow, it is the object itself. Her work’s power is the relic aspect that architecture and space could evoke when reflecting on what is original and what is copied. The relevance also lays within her attention to the materialization of the place. What remains is an image of what once was a habitable place. The mold is the object itself, the initial state. The final form, the concrete stand-alone, reflects the original but goes on a different trajectory, transcending the space. The way some of the architectural heritage is being treated today indicates a dissolved version of the paradox that focuses mainly on the outer layer. If the outer shell is present to reflect on identity, it would perhaps be enough to preserve its identity through its image(?)
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Rachel Whiteread Untitled (House), 1993 (demolished on January 11, 1994) Concrete, wood and steel Commissioned by Artangel, sponsored by Beck’s. Photo: courtesy of the artist
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Rachel Whiteread Untitled (Domestic) Rachel Whiteread photo: Albright Knox 33.
Steel frame in Smithfield - https://spitalfieldslife.com/ 34.
Part I: A collective attachment to the Shell.
Façadism as denial of loss. One situation that deals with the issue in that manner is façadism. It is increasingly abundant in our urban landscape and is highly questionable since it suggests that the building is demolished almost entirely except for its exterior membrane. Indeed, eradicating it would present fewer constraints for the upcoming building that would replace its interior. However, it would receive negative feedback from the public, who probably view it as a loss of cultural identity.
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Steel frame in Smithfield - https://spitalfieldslife.com/
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Part I: A collective attachment to the Shell.
Transformation Attenuates the Horrors of Demolition. A study led by Mo Michelsen for first-year students at the Aarhus School of Architecture (2011 to 2014) found that complete demolition is viewed as a total loss. The experiment takes place in rural Denmark, subject to many abandoned houses due to a rapid migration towards urban areas. When entirely removing a house, Michelsen observed an adverse reaction from the remaining inhabitants of the villages who felt unhappy about losing the image of their town. Which led him to partially remove bits after bits through various time intervals. It helped ingest the loss of the building and attenuated the mourning process. The experiment was called the controlled ruin as the state of the building was delicately handled regarding the response of its inhabitants. Moreover, transformation over intervals of time through a controlled ruin turned the rural houses into a new space that the town dwellers could use.
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Action D3: “The controlled ruin at the church,” implementation, March 2014. Photo: Mo Michelsen.
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The ruination sequence of Action D3: “The controlled ruin at the church.” Photos: Mo Michelsen. “The Blue Bath Tub”
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It is now necessary to recapitulate the chief points of previous observations (Ship of Theseus, Form, Identity, Façadism and Controlled ruins) as they will guide the process. The questions I ask myself becomes:
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Since in many cases the identity of ruins is related to its exterior form, how much material can I subtract from the outliWne before losing identity?
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In Beirut sometimes ruins are refurbished into shelters by repairing them to a modest extent. Their surfaces still carry the wounds and scars. But when repairing a ruin, the question arises: how true should I remain to the initial material?
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When questionning façadism can these external structures halt the deteriorating effects of time? Can we become masters of time by using prosthetics? And If we freeze a ruin in a certain moment, preserving its material and outline in a certain state, would the identity then be preserved in perpetuity?
The research led me to draw cases of building transformations and identity in my environment in an explorative manner. The following chapter (part II) is a display of the process work: drawings and models dedicated to create environments in which architectural objects are manipulated via secondary components such as scaffolding or prosthetics.
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Part II Research by Creation
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Part II a. Controllers: Devices and Prosthetics. Controllers: Devices and Prosthetics. They are the tools at our disposal that maintain the temporary equilibrium of shells. (Given, that the shell is culturally worthy of maintenance). These devices are designed to freeze the shell in space and time while changes are implemented to it. The prosthetic seems to hold identity in place. They are efficient at conserving the visual form while disregarding the architectural space. The key characteristic resulting from the use of the controllers is tension that appears after being coupled with the shell. When implemented the temporary controllers create a vulnerable environment, where the building is at its weakest and most submissive state. Wall Trapped in Prosthetics. (partially isolatd view)
This case was observed in a building that had lost its roof. The structural integrity seems to also be in dispair as entropic decay was slowly affecting the walls. In other words, the building’s form was at risk due to natural causes ravaging its walls. By partially drawing one side, it expresses the physical tensions applied. As a result of countering the inevitable decay (image on the right), the wall is set between two wooden planks that in themselves are held in place by metallic rods connected orthogonally to them. 43.
Part II a. Controllers: Devices and Prosthetics.
Prosthethetics (isolated view)
Drawing of scaffolding used for an architectural case suffering from façadism.
The building relying on these tools was drawn out. The result displays a set of wooden bars and metallic rods maintaining sufficient connections with each other. The isolated view of the scaffolding conveys the impression of prosthetics as the ones used on people to either support or augment the human body. This drawing aided the research in assimilating ways of drawing architectural dependency on prosthetics.
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Part II a. Controllers: Devices and Prosthetics. Observing my surroundings.
This drawing studies the preservation of a building as a whole. In that sense, it means that it brings forward the interplay of all the elements. One wall depends on the pressure applied from the prosthetics attached to the other wall and vice versa. It illustrates a perfect system in which the space between the two walls is obstructed by prosthetics. The architecture and the scaffolding benefit from one another; in that case, the ruin remains as displayed assembly while the structure fulfills its
purpose by consolidating the displayed ruin.
Additionally, it serves as an example of the various methods used, such as piercing and pressuring (images on the right) that have a somewhat violent connotation.
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Part II a. Controllers: Devices and Prosthetics.
Surreal bonds.
The drawing is based on the WTC centre in Brussels, as it is being transformed
Even though the narrative of the towers is of little importance to the research in terms of real estate and current climate requirements, it brings to the front the enormous amount of effort and technology used to keep its cores in place. In contrast, most of what constituted the towers are demolished. The example also plays a role, as established previously, of being a false ship of Theseus since the process is selective to a particular purpose. In the WTC’s case, its architects selectively chose what to preserve from its identity, resulting in many ingenious solutions to keep the structure upright. It creates an odd inhabitable space for the period in which it is being worked on.
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Assembling Fragilities
I wanted to investigate the implication of working with a stiff and rigid physical material that presumably already exists and use it as a constraint to generate space. Therefore I created my own ruin that would allow me to experiment with its physical delimitations. I then conserved the parts used as a mold to pour the concrete in and displayed them as the “information” or “data” related to the initial form. After intentionally prematurely unmolding the concrete, I had several parts in my disposition that could be used to create space. The result is a reflection on the identity of ruins and their static state in time. It also reflects their starting point, chronological trajectory, and the final state they’re presented in.
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Part II b. Assembling Fragilities
The following is a set of small-sized models made of concrete, metal and wood. The aim is to test the limit of coexistance between object and prosthetics; to what extent can the object rely on its prosthetic without falling under complete domination? And to what degree can the prosthetics carry the weight of the body without crumbling? The concrete body is to be considered the object that needs augmentation to be held in a particular posture (either upright, hung or placed etc..). The method is improvisational; it means that the concrete shapes are arbitrary architectural objects created to be manipulated. The process reflects on the state of ruins and the steps we take to preserve them.
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Part II b. Assembling Fragilities
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Part II b. Assembling Fragilities
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Part II c. Explorative Augmentations
Explorative Augmentations Augmentation is established via pieces of machinery (drawings of mechanical objects). The placement of engines is not arbitrary. They are carefully placed in the vicinity of architectural shells to refer to a specific type of movement triggering the imagination of the viewer. The connections of architectural bodies to the augmentation machines is parasitic. In some instances, it punctures a facade to manipulate it; in other cases, it rests on the existing structure and fills up the voids. What is left of the original architecture is a nihilistic environment. The original purpose of these building has been dissolved. It is transformed from a habitat of a particular architectural program to a manipulation of the outer form.
Puncturing the Face (right image) One central idea of façadism is to install scaffolding that connects the front and the back façade of a building; this creates structural integrity and maintains the perimeter of the building in place while change is happening within. In this drawing, I am exploring the space that emerges when a façade, or in that case, the image of a building, is under total parasitic domination of its augmentative prosthetics. Indeed the displacement of facades creates spatial opportunities. However, due to the antagonistic relationship between the two (object and parasite), the new spatial possibilities are inevitably taken over by high tensions applied to physical material that serves the goals of the augmentative prosthetics: preserving the image at all costs. 61.
Engine connecting Façades by high tension cables manipulating them at will. 62.
Part II c. Explorative Augmentations
Object and Prosthetic: Two complementary objects for one closed system. The two architectural faces in the drawing refer to the central core of the WTC tower in Brussels as it is being renovated (2021). The transformation could not have happened without the use of heavy machinery in construction. In this instance, The machine is taken out of proportion and set next to the building’s core. The premise is simple, the device has no role if it wasn’t for the core, and the core cannot physically exist if it wasn’t for the machine. When going beyond the limits of structural integrity, both entities create a system that presents itself as a whole in which all elements are interconnected.
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Disproportionate machine acting on Building’s core 66.
Part II c. Explorative Augmentations
Imagining The Augmented Palace of justice.
Exploring the Palace of Justice from the perspective of an augmentative prosthetic.
The Palace of Justice is a place that could use prosthetics to preserve its image. In the drawing, the environment becomes a host for mechanical parasites that override the structural capacities of the Palace of Justice, rendering it a shell inhabited by augmentative devices.
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Part III: The Augmented Palace of justice
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The questions I gathered on time, materiality and identity brought me substantial information. With my research on the matter driven by my upbringing in Lebanon, I needed to apply what i learned from my findings. The process began with appropriating the orginal sections of the Palace of Justice designed by Poelart by drawing them myself. (image on the right)
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Section 2 of 2 before transformations
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Part III: The Augmented Palace of justice.
The earliest transformations began by following the principle of the paradox of Theseus; Painting over building components from the section and redrawing them. This made the patching stand out due to its thickness and difference in texture.
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Part III: The Augmented Palace of justice.
Another way to use the Paradox of the ship is to cut out and copy building components. Following this act introduces depth to the drawing. There is an added layer between the original paper and the copied one. Hidden spaces start appearing on the sections.
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The image above is taken during the transformation in wich elements of the façade are copied. It is imperative that the outline seprating the interior from the exterior is preserved. In doing so, the abscence of the initial materialis compensated by the shadow drops that enforces the outline. However, it is reductive to the architectural detail of the Palace. 76.
Part III: The Augmented Palace of justice.
Cutting out the outer layer and seperating it from the rest of the drawing
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Early transformation of section 1 of 2. When i used craft paper and later on replaced it with ink. Even the materials introduced by transformation are subject to change as the process is ongoing. 78.
Part III: The Augmented Palace of justice.
A portion of a drawing from Section 2 of 2:In the image on the right, I extracted a substantial amount of architectural details from the heart of the drawing. I replaced them with an augmentative prosthetic that allows the structure’s integrity to be devoid of support. This inventive step results graphically in an altered composition contained in the form of the edifice. Thanks to the cutout method, the spaces generated were able to contain and integrate the new augmentations. This allows me to speculate that if I keep implementing similar steps, the Palace of justice wouldn’t require interior spaces since it would gain autonomy through its prosthetics. It would be an amplified fulfilment of the role of display it has in Brussels.
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Part III: The Augmented Palace of justice.
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Part III: The Augmented Palace of justice.
Layering process: inforcing the outline through difference in materiality.
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Part III: The Augmented Palace of justice.
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Part III: The Augmented Palace of justice.
Augmentative prosthetics become a considerable part of the system. While the drawing gains depth.
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Part III: The Augmented Palace of justice.
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Final Thoughts
Drawing 1 of 2 endured more changes since I started working on it earlier than drawing 2. When I implement newer steps, it gains maturity. Even the material I use to draw on it starts adopting a used up aspect. The lines of the form that separate the exterior and the interior become ever so blurred. Transformation extrapolated over time washes away any clear perception of the image. The Palace of Justice’s drawings were essential in conducting my experiment and provided me with many discoveries on Time, Materiality and Identity. But due to the paradoxical nature of the ship of Theseus, there were some questions left unanswered. For starters, what delimitates the exterior form of the Palace of justice can indeed be visually preserved using all sorts of tools. But similarly to Rachel Whiteread’s concrete sculptures, the result is a form circumscribed inside the section’s outline. It transcends the Palace of justice. To put it in a chronological perspective, at time T=T0 when no transformation occurred in contrast to time T=T1, T2, T3... the alterations in materiality progressively blur the identity. However, the experiments on Time, Identity and Materiality offered a wide array of design possibilities expressed graphically when dealing with existing ruins. Altering the materials and recomposing the outline provides an atmosphere that pays homage to the shells. The ones we are collectively attached to.
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Part III: The Augmented Palace of justice.
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References Bianchi, Pamela ,«Le lieu propre du néant» Sillages critiques [En ligne], 25 | 2018, mis en ligne le 01 novembre 2018 URL :http://journals.openedition. org/sillagescritiques/7638 ; Krag, Mo Michelsen Stochholm, and Keiding, Tina Bering. “1:1 (Dis)Section Learning through Full Scale Dissection and Transformations of Abandoned Buildings.” The International Journal of Art & Design Education, vol. 38, no. 2, 2019, pp. 280–298. Lance Hosey (2018) The Ship of Theseus: Identity and the Barcelona Pavilion(s), Journal of Architectural Education, 72:2, 230-247, DOI: 10.1080/10464883.2018.1496731 Pesic, Peter. “Seeing Double: Shared Identities in Physics, Philosophy, and Literature.” Common Knowledge, vol. 11, no. 3, 2005, p. 501. Ruenko, Lovell, JUNE 6, 2018, The Ship of Theseus, Philosophy at Tufts. ites.tufts.edu/ phil4chil/2018/06/06/the-ship-of-theseus/
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On time, Materiality and Identity. Marc Ayoub Supervisor: Riet Eeckhout Drawing Architecture: Manoeuvring between Factual Inevitabilities and Fictional Urgencies
Faculty of Architecture Campus Sint Lucas Brussels