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Thesis Title:
In the Junk-Space of Granite, SET Matters
Agency:
Granite Matters
Author:
Merve Gokahmetoglu
PARAsituation:
Granite Landscape of Olbia
Corporeal:
Quarry Bath House, Granite Workshop, Library Extension
Incorporeal:
Material
3 PHASE 1
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PHASE 1
ABSTRACT Olbia has beautiful and unique natural characteristics, however these are currently deeply distorted by the phenomenon of mass tourism, especially during the summer months. Tempted by the fast-pace (and easy money) of the tourist economy, the city is being built in an increasingly unsystematic way intended to satisfy the escalating and excessive demands of that industry. This agency focuses on the most obvious but currently unattended characteristic of Olbia: its natural granite landscape. Set apart from the most visited places, the agent employed by this agency enact a thorough survey of the abundant qualities and characteristics of the granite. Through an in-situ examination of every single corner of Olbia they take in places withdrawn from the touristic gaze. Committed to the aim of the agency, they observe, measure, record and test their findings in order to expose the hidden and neglected beauty of the town; to bring these natural characteristics to light again, and to propose a use of granite in tune with the metropolitan landscape, the city, and the latent and historic granite economy.
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Abundant qualities and characteristics of the Olbian granite
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PHASE 1
INDEX TO REPORT Introduction to Olbian Granite
4-9
Thesis
10-11
PHASE 1: Undertstanding the Material Revealing the Historic Layers of Olbia
14-33
Working with the cracks [First intervention on quarrying]
Ocupying the Crack
34-39 40-47
[Tectonics of Olbian Granite]
PHASE 2: Experiencing the Material Granite and Water
50-61
[Softened edges]
Olbia Survey
62-71
Register of Granite
72-75
Building proposal 1
76-81
Building proposal 2
81-97
PHASE 3: Activating the Material Global within the Local
104-105
Local Within the Global
106-117
Experimenting the Quarries
118-123
Quarry bath house proposal
130-161
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THESIS The aim of this thesis is an architectonic understanding of existing reserves and their reactivation within the local economy (its own space) and ecology through the overlapping different scales. A variety of interventions which concerns both today’s and future’s material understanding will be discussed. The first act of this thesis is to form an understanding of the standing reserve of two characters; the host and the parasite. This relationship helps address the existing parasitic situation of Olbia as the host body and the tourism industry as the parasite. While concentrating on the valuable material of the city, understanding the importance of the socially produced product is of substantial concern to reduce the dependence on the tourism economy. Therefore, the first proposition within this local economy of granite matter will respond to the necessity of appropriation of natural reserve in an economical, spatial and social context. Today’s capitalist understanding parasites from small scale industries and challenges their existence. To create a self-supporting economic cycle, inverting the global parasitic relationship between tourism and local activity to a symbiotic relationship between local and ecological activities will be the secondary focus. To ‘unhook’ Olbia’s existing economy, which is tied up to global rather than the local, understanding the potentialities of reintroducing matter into the quarrying will be crucial. The material of Olbia is understood through the corporeal limits of the quarrying, the standing reserve being the granite matter itself. Through a projection of the very real limits of both the material reserve of granite and the volatile tourism economy, the extraction is set up to accommodate an enzymatic transition from standing reserve to the fourfold. This transforms the material agency of granite quarrying into an ecological matter. Through the junk space of excavated granite quarry grows a series of enzymatic territories (SET), which opens up an understanding of the contemporary and projected knowledge of a parasitic ecological notion of the standing reserve.
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11 PHASE 1
INDEX TO REPORT Introduction to Olbian Granite
4-9
Thesis
10-11
PHASE 1: Undertstanding the Material Revealing the Historic Layers of Olbia
14-33
Working with the cracks [First intervention on quarrying]
Ocupying the Crack
34-39 40-47
[Tectonics of Olbian Granite]
PHASE 2: Experiencing the Material Granite and Water
50-61
[Softened edges]
Olbia Survey
62-71
Register of Granite
72-75
Building proposal 1
76-81
Building proposal 2
81-97
PHASE 3: Activating the Material
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Global within the Local
104-105
Local Within the Global
106-117
Experimenting the Quarries
118-123
Quarry bath house proposal
130-161
13 PHASE 1
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PHASE 1 1-Drawing the geological conditions of Olbia
2-Drawing the morphology of the ground
3-Detecting the Secret; the cracks of the surface
4-Revealing the hidden
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PHASE 1 Granite landscape of Olbia is understood through these layering analysis. Within the same region in the south of Olbia, different characteristics of the landscape is identified. The aim of this phase is creating a dialogue in between different conditions. By combining these characteristics, a new whole is aimed. A new whole that carries the traces of all these site conditions.
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PHASE 1 A1.001 Sedimantation Dominant material Flooding affect Crack Ratio Height Locus A2.001 Sedimantation Dominant material Flooding affect Crack Ratio Height Locus
: : : : : :
: : : : : :
High Water High None 0.00 /0 1
Medium Water, Geanite Medium Less 1m / 0.2 3
A3.001 Sedimantation Dominant material Flooding affect Crack ratio Height Locus
: : : : : :
Less Alluvial Granite None High 350m / 1.5 2
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COMBINED SECTION OF THREE SITES
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NETWORK IN THE NETWORK
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OTHERNESS: Drawing of the site conditions through overlapping layers.
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PHASE 1
Things have to be seperated from each other so as to be united later on. Simmel, 1994
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32 Drawing the Olbia’s sophisticated landscape with the same layering technique.
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PHASE 1
TAXONOMY OF THE SURFACE CRACKS
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PHASE 1 Experiencing the cracks
work on a series of plaster and wax models, experimenting on different crack formations and space qualities.
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Occupying the crack
Image: Sectional model of the survey apparatus drawing
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PHASE 1
Architectural development process
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47 PHASE 1
INDEX TO REPORT Introduction to Olbian Granite
4-9
Thesis
10-11
PHASE 1: Undertstanding the Material Revealing the Historic Layers of Olbia
14-33
Working with the cracks [First intervention on quarrying]
Ocupying the Crack
34-39 40-47
[Tectonics of Olbian Granite]
PHASE 2: Experiencing the Material Granite and Water
50-61
[Softened edges]
Olbia Survey
62-71
Register of Granite
72-75
Building proposal 1
76-81
Building proposal 2
81-97
PHASE 3: Activating the Material
48
Global within the Local
104-105
Local Within the Global
106-117
Experimenting the Quarries
118-123
Quarry bath house proposal
130-161
49 PHASE 1
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PHASE 2 Granite landscape of Olbia 51 Edgy Relationship of Water and Granite
Granite-Water Relations
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Weathering effect of erosuon caused by water
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56 Granite-Water Analysis Site:Wetlands
PHASE 2
Dominant Material: Water and Granite
Sedimentation: High Crack Ratio: Less
Granite type: Alluvial Granite
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PHASE 2
DRAWING OF THE GRANITE OUTCROPS
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OLBIA SURVEY
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PHASE 2
Mapping the Olbia survey of Agency
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From the mountain..
from the town..
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PHASE 2
..to the town.
.. to the beach
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Recording, Measuring, Capturing
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Recording the Different Uses of Granite
PHASE 2
New Taxonomy as the Outcome of the Survey
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PHASE 2 Analyzing the moments of granite through the rubber skin.
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Rubber as the register of Granite
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Tectonic development of the granite Plan of the M’s house (M is the fictional character of the project)
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PHASE 2 Development of sections
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Plans Revised
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PHASE 2 Setions Revised
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FILTERING THE MEMORY This drawing explains the shift in between sites through the moments of granite. Changing 80 terrial aspects of the sites are considered with an urban and ecological understanding.
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PHASE 2
Site plan progress
This process is the key element for my building. Series of physical displacements caused by tectonics of Olbia has been applied. Through the memory lines of granite ‘other’ has been unfolded. Three sites opened themselves in a different way after this new observation. As the outcome of this analyse, placing is shifted from depth of wetlands to the seaside. Bridge served to combine the different uses of granite in between these sites.
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PHASE 2
Bridge is somthing superior to the nature, bridge is in its correlation of seperation and unification. George Simmel, 1994
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PHASE 2 89 Model of the project
Model of the project
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PHASE 2 GROUND FLOOR PLAN
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PHASE 2 UPPER FLOOR PLAN
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PHASE 2
OFFICE- SHOP SECTION
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PHASE 2
Mapping the Proper Uses of Granite
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INDEX TO REPORT Introduction to Olbian Granite
4-9
Thesis
10-11
PHASE 1: Undertstanding the Material Revealing the Historic Layers of Olbia
14-33
Working with the cracks [First intervention on quarrying]
Ocupying the Crack
34-39 40-47
[Tectonics of Olbian Granite]
PHASE 2: Experiencing the Material Granite and Water
50-61
[Softened edges]
Olbia Survey
62-71
Register of Granite
72-75
Building proposal 1
76-81
Building proposal 2
81-97
PHASE 3: Activating the Material
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Global within the Local
104-105
Local Within the Global
106-117
Experimenting the Quarries
118-123
Quarry bath house proposal
130-161
PHASE 3
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PHASE 3
“Disruptions and inequalities that the extraction of natural resources for globalized raw material markets imposes on local ecological and social systems.� (Bunker and Ciccantell, 2005:23)
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PHASE 3
105 Drawing the Manupulation of Material
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PHASE 3
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PHASE 2 Manupulation
109 of Material
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PHASE 3
111 1 Figure GLOBAL WITHIN THE LOCAL
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PHASE 3
Heidegger: “The jug and its corresponding void had the potential to contain, and embody, the fourfold preconditions of existence, holding in its familiarity the possibility of reflecting the fourfold back to those who engaged with it.� (Sharr, 2007; 34)
Figure 2
Figure 4 Figure 3
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Figure 5
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PHASE 3
With a quarry, the earth gives opportunity to human-beings to build and engage with it. This is one of the reasons why we may struggle to understand the material through our experiences as much as a craftsman or a mason may do so. It is not just because their speciality is on the matter itself, it is also because they gather the world while being ‘near’ to it. By being near, Heidegger points to their “physical and intellectual relationships with it” (Sharr, 2007; 30). Granite matter was there five hundred million years ago and will be there maybe millions of years more. However, by carving out through the earth’s layers, we create a void, a space, a bond in between humanbeing and earth, thus it matters. It is no longer a matter, a space that we are unaware of.
Working with the quarry Proposal: Diving Centre
Quarry exoension in 15 years Site:Olbia
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PHASE 3
Traditional quarry research Re-using the abondoned granite quarry Experimental Proposal
Diving Centre Proposal
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PHASE 3
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Conjecture of the Historical Sectional Development of a Granite Quarry
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PHASE 3
121 Figure 6
Figure 7
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Figure 8
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PHASE 3
Heidegger: “The jug and its corresponding void had the potential to contain, and embody, the fourfold preconditions of existence, holding in its familiarity the possibility of reflecting the fourfold back to those who engaged with it.� (Sharr, 2007; 34)
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PHASE 3
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Progress and Memory Loss and Gain
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PHASE 3
Figure 9
Figure 10
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My proposition for Olbia is a long-term project, which is considered with an architectural and urban sensibility. First phase of this project: indicates series of small-scale quarries in the city centre; a well-considered area is chosen to activate material understanding. Second phase continues with the re-use of quarries by raising a bathhouse around and on it. Within the first act, the aim of the city centre quarries, which is an anomalous act, can be explained under three aims. First, bringing the renaissance of lost craft, second, providing an education tool for the future quarryman, and third, attracting the tourists. Location of the project is chosen according to one of the very central points in Olbia. Granite intensity of the site, easy public access and intense civic activities, and manipulation of the material are the main reasons for this selection.
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PHASE 3
This quarrying process is a hand crafted process which does not include any destruction or. Therefore, heterogeneity of the process of material will be emphasised. Moreover, the relationship in between worker and user, and material and worker will be highlighted.
Areas of Interest Enzymatic Territority
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PHASE 3
Existing Piazzas
Every year through the expansion of quarries, different kind of public and material interventions are proposed. First two years, different quarrying emerges in two different areas in the borders of chosen site. At the end of the first year, a platform appears for people to watch granite-working processes at the east side of the site. In the second year, extension of St Paolo Church’s piazza reaches to the site and a coffee shop starts to appear above the quarrying activities. Additionally, a wall appears at the west side of the site to shield quarry from the neighbourhood.
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PHASE 3
Figure 11
YEAR 2014
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PHASE 3
YEAR 2016
In the following two years (from 2016 to 2018) third quarry begins to be excavated while others getting bigger and deeper.
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PHASE 3
Figure 12
YEAR 2018
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PHASE 3
YEAR 2021
Next three years (from 2018 to 2021) a workshop for the craftsmen emerges at the north part of the site, and a secure pathway in between the quarries gives chance people to watch hand working quarrying process from a closer distance. Introduction of workshop is an important point in this process not only because of its educational significance, but also because of its future use. Workshop is proposed in an unusual way that you do not expect to see in a kind of space. Walls are covered with the tiles and rooms are combined to each other with the door arches.
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Figure 13
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PHASE 3
Figure 14
YEAR 2023
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Figure 14
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PHASE 3
YEAR 2025
Within the following four years, workshop expands and starts to serve not only for craftsmen but also for the people who wants to learn more about granite crafting techniques.
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PHASE 3
Figure 15
YEAR 2028
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PHASE 3
YEAR 2030
At the end of the 2025, a shop starts to sell the products been produced in the workshop with the material taken from Within these years, site’s relationship to surroundings is with an urban sensibility. A new cafÊ in the piazza, shops platforms are some of these propositions.
that have the quarries. considered and viewing
In these fourteen years (from 2014 to 2028), quarrying activity ends. Existing workshop walls and new additional parts start to turn an accommodation for the bathhouse.
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PHASE 3
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Pablic and Private Use
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Quarry Bath House Site Plan
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PHASE 3
Importance of the introduction of bathhouse takes its roots from the idea of ‘becoming’. Commercial use can disappear by over time, as Serres explains with parasite theory. However, material of the building and the form can last longer. In my proposition, material is highlighted in a durable, continuous and century spanning building.
Ground Floor Plan
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PHASE 3
Figure 153 16
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B-B Section Figure 17
B-D Section
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PHASE 3
Figure 18
Upper Floor Plan
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Library Extension Library Cafe
With the completion of bathhouse, existing stairs of the library are used to open the site to one of the most famous streets, Corso Umberto. By using the library to give an entrance to the site, more public circulation is aimed into the area. Moreover, extension of the library proposes a reading room that gives an opportunity to reader to get involved to the quarry bathhouse gardens.
Figure 19 157
PHASE 3
Lorentine Library Stairs Theme:Gate
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PHASE 3
Quarry Bath House Model
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PHASE 3
161 SET Subtracting & Adding-Loss & Gain
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Images Figure 1: http://damakimages.wordpress.com/2011/04/25/an-epitaphs-of-history-gravestone-maker/ Figure 2: http://www.dreamstime.com/royalty-free-stock-photos-marble-quarry-near-estremoz-portugal-image21810568 Figure 3: http://quarriesandbeyond.org/states/vt/vermont-photos02_b.html Figure 4: http://modernartobsession.blogs.com/modern_art_obsession/2007/05/new_work_ by_edw.html Figure 5: http://www.photoforager.com/archives/edward-burtynsky/rock-of-ages-7-activesection-wells-lamson-quarry-1991 Figure 6: http://quarriesandbeyond.org/states/vt/vermont-photos02_b.html Figure 7: http://vi.sualize.us/edward_burtynsky_vermont_quarry_pography_nature_outdoors_abstract_picture_qS4E.html Figure 8: http://www.utata.org/sundaysalon/edward-burtynsky/ Figure 9: http://www.plymouth.gov.uk/beerquarrylargeimage?id=287823 Figure 10: http://damakimages.wordpress.com/2011/04/25/an-epitaphs-of-history-gravestone-maker/ Figure 11: http://damakimages.wordpress.com/2011/04/25/an-epitaphs-of-history-gravestone-maker/ Figure 12: http://www.snowdengroup.com/events/snowden-photography-competition/photocompetition/previous-winners/2012
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Figure 13: http://www.plymouth.gov.uk/beerquarrylargeimage?id=287823 Figure 14: http://www.plymouth.gov.uk/qvworkinglives.html Figure 15: http://www.google.co.uk/search?q=hand+working+stone&source=lnms&tbm=isch& sa=X&ei=vb8EUvWrO8XOOMU_&ved=0CAcQ_AUoAQ&biw=1536&bih=769#bav=on.2,or.r_qf.&fp=3590 a3ae6f9e8a71&q=hand+working+quarry&sa=1&tbm=isch&facrc=_&imgdii=_&imgrc=_MUPGNI9RuF mAM%3A%3BYXRS4pjqk0Q5OM%3Bhttps%253A%252F%252Fsi0.twimg.com%252Fprofile_images%252F16 39283188%252F1104_-_Climbing_Tintern_Quarry_0023.jpg%3Bhttps%253A%252F%252Ftwitter. com%252Fmrhand87%3B427%3B427 Figure 16: http://www.aptpupil.org/Trips/vermont.htm Figure 17: http://www.italianporphyry.co.uk/why-porphyry/ Figure 18: http://quarriesandbeyond.org/states/vt/vermont-photos02_b.html Figure 19: http://entertainment.howstuffworks.ctom/arts/artwork/michelangelo-buildings6.htm