5.1 URBAN FABRIC: Transformational Object
5.2 BUILDING FABRIC: Spectras Of Vienna
C CHARRETTE: Writings On The Wall
TRANSFORMATIONAL OBECTS
CONTENTS
PRIMER - SYMPOSIUM Vienna Study Trip
experience reaction
symposium
exhibition casts & posters short film
STAGING Vienna & Symposium aftermath
reaction program & brief site analysis site program tourist fragments circulation
Forced Perspective
research diagrams
Design Concept
axometrics (Belvedere) axometrics (Cafe) internal atmosphericsBelvedere garden axometrics (Plaza) internal atmospheric plaza axometrics (Connection) internal atmospheric connection external atmospheric circulation external atmospheric helicopter view reflection
PRIMER
W
ithin the studio ‘Transformational Objects’ we have been reflecting on themes of analysing the city through a psychoanalytic approach in relation to the key readings ‘Architecture and the Unconscious’ and ‘The Transformational Object’. From the analysis and discussions of these texts we have developed a greater
“
We know that there is an unconscious life to each self. Is there an architectural unconscious, that is, a type of thinking that directs the projection of a building, influenced by many demands, yet finding its own vision out of the constituent elements? (pg.28)
Architecture and the Unconscious, Christopher Bollas
”
How that when we see buildings we can imagine also the historic layers of time, the two buildings ‘obliterated’ and the ‘existent’ which through our discussions can see this as a method of working, to draw upon the historic layering of Vienna and bring forward the unconsciousness of the city. And the text also draws our attention of the unconscious processes going on through our design work and of how we can take influence and decisions without conscious thought on these
“
Not yet fully identified as an other, the mother is experienced as a process of transformation, and this feature of early existence lives on in certain forms of objectseeking in adult life, when the object is sought for its function as a signifier of transformation. D.W Winnicott, as discussed by Bollas in The Transformational Object:
”
Transformational objects are in a sense subjective to each individual, an experience that transforms a person. Through looking at Vienna, we can see transformational objects throughout historic examples that could be seen as the Ringstrasse and it’s intent to transform the city from an enclosed walled city, opened out to the world and used as a public transitional space showcasing the grandeur of the city. Through the development of the Ringstrasse over time it is debatable to whether it has been successful in its intent now it has become a functional route of transport. Originally it was heralded and spoken by historians positively. However, now the intense traffic infrastructure seems to cut the inner city from the other districts again, just as the historic wall once did. Upon further research, one may also identify the Anschluss as a transformational object that the Viennese welcomed and sought.
H
T
istoric centre: UNESCO status under review Feels like a living museum (pristine, well maintained) The innerstadt struggles to deal with its past, where memorials often seem insincere and pushed to one side. This amplifies the stagnant uncertainty of the historic centre, leaving it anxious about both its past and future. The ‘memorialisation’ of the Innerstadt frozen/petrified in time
rans Less ornate architecture, of the historic Disjunction between His The city is confused with / confused urban strateg Ignored by the city Leopoldstadt : Praterster of meeting for trains a the door to Vienna to somehow after the war the more modernised ra glory diminished.
PRIMER
As a studio, we headed to Vienna through conversation with James; as well a Can we identify or connect with the unconscious Vienna (Bollas)? Is there physical evid Vienna presented within the films still relevant/present today? Effectivity of plazas and Heldenplatz etc.) What atmosphere are we going to feel? Is it a rich a fruitful heritage o Is Donau City actually providing a successful new identity for Vienna as a modern city
sitional zone: , almost a failed pastiche
storic and New h its identity of this zone gy
rn - used to be a junction around Europe, it was many immigrants, but r and reconstruction of ailway station, its formal
D
onau city: Attempting to re-sculpt the identity of Vienna by creating second city centre Ineffective equivalent of Canary Wharf Feels devoid of life and personality Inhabited silence Anxious representation of Vienna’s future UN institutions headquarters
BRIEF - TRANSECT
a with an open mind, bearing in mind the majority of us had not been before. However during Vienna prep week, as prep week reading, we had developed a few particular ways of looking at or themes to tap into during the trip: dence (or lack of) palimpsest within the city? What does this say about current day Vienna? Are the projection of d the monuments at their heart, are they a true representations and confrontations of the city’s past? (Gestapo, or a tourist trap? Perhaps a successful balance of the two…Comparison between the Innerstadt and Donau City. y?
SYMPOSIUM
POSTERS
In the form of collage, Vienna’s past is forced to confront its anxiety surrounding its future. Past and future anxieties address each other as disregarded nazi occupation and prospective metropolis collide in the scene of Vienna’s postcard imagability.
MAK museum Judenplatz - Rachel Whiteread
SYMPOSIUM
CASTS
taking inspiration from our an exhbition in the MAK museum: the play of light and projected shadows of Vienna’s pride - chairs and the monument of Rachel Whiteread in Judenplatz. It was a genesis for our studio’s installation for the upcoming symposium.
SYMPOSIUM
CASTS
The cast fragments of architecturally universal elements embody the facade and preferred imageability that Vienna has created for the Innerstadt. The shadows create the skyline of Vienna’s desired future. Monuments and skyscrapers devoid of life will be generated from the shadows of the past. Both states lie dormant, trapped in the state of anxiety about what they should be.
n
tio i b i
ic etr
m a r iag
d
m
no o ax
SYMPOSIUM
FILM
Through this installation we understand and interpret the identity of Vienna, allowing us to question the way in which Vienna sees itself developing. In terms of Donau city, where Vienna is making anxious decisions to identify with other cities around the world, it is clear in this sense to be losing a connection to its own identity.
o
xh e f
SYMPOSIUM
INSTALLATION
The casts, the subsequent shadows and the atmosphere created inside the frames represent the 3 zones we have outlined in our studio. The Innerstadt, petrified and unable to accept both its past and its future, Donau City, the prospective metropolis devoid of life and character and transitional zone, trapped between an immovable object and a dejected adolescent creating a melting pot of disorientation and confused identity.
film stills
SYMPOSIUM
FILM
The video is intended to create a sense of anxiety and disorientation as a reflection of Vienna’s insecurities about its sense of place; both physically and in time. These insecurities are presented in a barrage of the senses where Vienna’s confused condition cause breaks and glitches in the façade - revealing narratives and atmospheres that the city attempts to hide.
QR code for film
STAGING
POST
SYMPOSIUM
REFLECTION
reflecting from my own experience and emotions with our studio brief in regards to Vienna. I was looking for an objective I would be able to get behind that. As from my trip, I had a hard time identifiying myself to Vienna with it’s plasticity and museumfication
POST
SYMPOSIUM
REFLECTION
what, will and how will I proceed in setting up a brief and poignantly enough a spark plug to drive the project. What will be a transformational object for Vienna, or does Vienna even need anymore with it’s constant effort to create a image of themself in the world.
tiredness PROGRAM
BRIEF
EXPERIENCETIAL COLLAGE
quick collage to represent my generative process on how I am starting the rationalise coming up with a main anchor of my brief: looking at my experience as a “tourist” in Vienna. - being very exhausted by following a set journey/ route to explore and “understand” Vienna.
splurge
$$$
DECADENCE
PROGRAM
BRIEF
EXPERIENCETIAL COLLAGE
and it has occured to me that not disimilar to any general tourist experience: after walking/ exploring Vienna, it seems that the tireness of the journey would lead up to a stop to relax. For us, it was a roof top bar in Donau tower, the tourist route on the map, any of the famous cafes or bars in Innerstadt. An efficient capitalist system that I intend to exploit in my
condition
strategy
urban
PROGRAM
BRIEF
program?
purge
EXPERIENCETIAL COLLAGE
What kind of transformational object would Vienna need to address the urban conditions that I have started to identifiy from it’s masterplan for 2020 (explained later) and from my own observations and reactions to it’s situation? After much deliberation I have gone ahead with a mind map to piece together the threads I have set out.
PROGRAM
BRIEF
TOURIST MAP
using the clear idea of condensing all of tourist, capitalistic and consumerism into a singular point for Vienna to focus on as a purge. Naturally, I started looking into the representations highlighted by Vienne, the imagery it wants to have - in the form of information presented to me in tourist guide maps.
PROGRAM
BRIEF
TOURIST MAP
in addition to the tourist maps provided by Vienna’s tourism board. I looked deeper by comparing them to the map presented and provided to me by the university itself. As a second opinion on the further distiallation of the embodied image of Vienna - the sense of identity it wants to be perceived as.
PROGRAM
BRIEF
TOURIST MAP
though rather different compared to the offical or generic tourist maps, it is one with more focus of the architectural nature. It shared the same discourse as I have come to know from my previous work and studies. That architecture, culture and identity intertwine with one another. Hence this other interation is important analytical tool.
SITE ANALYSIS
LOOKING THROUGH MAPS
with the choice between the 3 different site regions. I have a clear intention of tackling the urgan issues within the inbetween zone, as it’s fluidity interested me. However I could not pinpoint exactly where. Hence taking a closer look at the data from maps to masterplans
SITE ANALYSIS
CONCEPTUAL SKETCH DIGESTION
with the brief more or less settled, I started to look from at the transect from a macro view. trying to distill the urban conditions of Vienna: the hierachy of the districts and sector in realtion to a rough site, picked out for the project. To see pass the veil and into
SITE ANALYSIS
CONCEPTUAL SKETCH DIGESTION
I knew wanting to investigate the conditions of Vienna’s embodied image and wanting to push it to the end of the specturm of creating some sort of master plan to utilise this physical “tourist map” as a purge. It made sense for me to pick between Praterstern or Centre Mitte Station as both places are the first key contact to the city of tourist to arrive from the airport.
SITE MAP ANALYSIS
though both sites fit the bill for my pr entrance for tourist who arrive into the city site of mixed used development with a focu capitalism. Situated right at the edge of the
CHOOSING OF SITE - CENTRE MITTE STATION
roject. However, the Centre Wien Mitte Station/ shopping mall was more optimal. Firstly, it was the main and first from the airport via all 3 main plublic transport system: S- Bahn, U- Bahn & the CAT train. Secondly since it was a us of a giant shopping mall. It fit the bill as a continuation of a focal point for the city’s purge of consumerism and e Innerstadt, easily accessiable . Logically , if “purge” is carried out, it would free up the city to not only focus on its development organically but also hopefully bring some “life” into it’s mummfied inner core .
SITE PROGRAM
VERTICAL CIRCULATION COLLAGE
from the research of the Centre Wien Mitte shopping mall, looking at it sectionally informed me how I would start planning the circulation of the movement of said tourist (me) up to the physical manifestation of the Tourist map.
SITE PROGRAM
SPATIAL MASS
whilst sketching the circulation section , not only pondering on the intial placement of programs in said building. I started to consider how the building mass would sit on top of the Centre Mitte shopping mall and react with it’s surrounding context.
TOURIST FRAGMENTS
ELEMENTS
drawing from my own experiences tracing the route as stipulated from the tourist map provided to me. I have picked the elements that have stood out to me which displays the embodied imagery that Vienna wants to display.
TOURIST FRAGMENTS
MOST TAKEN
concurrently, I discovered a corealtion with the most popular taken photographs in the Innerstadt of Vienna and the fragments I have picked and discovered they overlapp in locations between both circumstances.
SITE MAP ANALYSIS
TOURISTIC KEY NODES & CHOSEN SITE I started to locate and track the main touristic fragments that are highlighted by the tourist maps and draw points of reference back to the site . So as to start to map out a semblence of where to situate these fragments internally withing the building.
SITE ANALYSIS
TOURISTIC KEY NODES CONCEPT DIAGRAM
A
s introduced earlier, there was stumbling in figuring out on the spatial layout of these many touristic fragments. Due to the nature of the proposal (the potemkin notion). There are no set resctrictions to the layout and linarity of the experiencal pods. Therefore, to use as an anchor to intiate the layout, knowing that circulation was key in the level layout of the ‘‘building’’. I took the view threads of each respecting touristic experiences in their original location in Innderstadt and drew to the site location. That in itself though rather rudimentary, was a good enough start to move forwards in the actualisation of the critque’s physical manifestation.
SITE ANALYSIS
INTIAL TYPICAL FLOOR PLAN SKETCH
H
owever while looking at the intial programatic circulation of the condensed touristic experience on site. I started to drift back into the thoughts on how would this physical tourist map manifestation would sit on the existing site context. Personally and morally, I would love not to follow in the foot steps of Zaha Hadid’s office egotistic attempt in designing the Antwerp Harbour office. Therefore, hoping these explorations would find some answers.
SITE
FRAGMENTS
MASSING INTERATIONS
drawing from my own experiences tracing the route as stipulated from the tourist map provided to me. I have picked the elements that have stood out to me which displays the embodied imagery that Vienna wants to display.
most practical & logical yet a need to design sensitively is still there
my favourite yet it is too “funky�, maybe an answer will come to me further on...
FORCED PERSPECTIVE
POTEKIM ELEMENTS
drawing from my own experiences tracing the route as stipulated from the tourist map provided to me. I have picked the elements that have stood out to me which displays the embodied imagery that Vienna wants to display. To create a thorough potekim city for
FORCED PERSPECTIVE
STUDY DIAGRAMS
from the research and study of creating forced perspectives and the optical illusions techniques used in stage and set designs. I disected them and started to replicate the techniques in context of my project - replicating these moments/ fragments of tourist experience.
FORCED PERSPECTIVE
STUDY DIAGRAMS
in the process in studying the methods on how forced perspectives work. I started to implement them architecturally and how these fragments would look physically.
FORCED PERSPECTIVE
STUDY DIAGRAMS
in addition, I looked into different methods of creating a potekim environment would come about other than a cone-shaped space that resembles the drawing diagrams in creating forced perspectives.
INTERNAL
ATMOSPHEREIC
BELVEDERE atomospheric perspective on tourist experience in corridor passage throughout building and what would be seen as one would be passing by.
INTERNAL
ATMOSPHEREIC
HALF OF JUDEN PLATZ /PLAZA? atomospheric perspective on tourist experience in corridor passage throughout building and what would be seen as one would be passing by.
peak past the potemkim facade to the actual service and falsehood of what they have experienced.
view out into Vienna’s city skyline & the reality of the faux tourist experience
INTERNAL
ATMOSPHEREIC
CONNECTION
a stark contrast of exposure from the hematic, insular environment of tourist street to the exterior reality (Vienna’s skyline) a chance to differentiate the dimensions
EXTERNAL
overall internal explosion
ATMOSPHEREIC
overall axometric explosion to present the overall journey. Explaining briefly in point, the collective fragments of moments as a cohesive whole. Where one start the touristic experience from within the mall out of the CAT station up into the ‘‘streets’’ and the experience culminating with a ferris wheel ride back to the lobby
Post crit, the feedback was to explore the notion that was raised earlier in the process; whereby there is a possibility to push the boundaries of the project of its ‘kitsch-ness’ and its crtique on the urban conditions of Vienna that it is striving to acomplish. Implimenting that in an encasement whos facade shouts as loudly as its critque. And what better precedent to follow in global consumerism than IKEA. “fixing” the problem by pushing way past its boundaries. Most notably, Koolhaas mentions similarily in his statements whereby to alter/change/’’improve’’ our current architectural conditions, his method is/was to overload the system with the very conditions it perpetuates till it crashes and reborn anew. However, that is a sentiment I do not favour or yet think is viable or true. As evidencely proven, doesn’t work. But this was a good point of reflection into my continual pursuit in the ‘modes of production’ of architecture.
REFLECTION
In this semester 1, I have been working in the Transformational Object studio led up by James Craig. Mainly driven by the writings from the psychoanalyst Christopher Bollas, looking into the ideas of Transformational objects and Architecture and the unconsciousness. Dwelling into the metaphysical drive towards an aesthetic or environmental moment, such as a landscape, painting or a building. The notion is that we are drawn to particular environments because they offer a chance for us to change in some way (for better or for worse) our identity. As a studio we then explored how we may apply Bollas’ notion of the Transformational Object to a city like Vienna’s current urban conditions. As mentioned early in my portfolio, I had a detachment towards Vienna. Not by any prejudgment or influence as it is in my habit to not jump into a conclusion in analyzing the culture, identity and development of a place before being in person in the city or place. That detachment was founded based on a nagging lack of feeling/emotion or lifelessness derived from being in Vienna for a week. Through discussions and conversations between my fellow colleagues and tutors, I have concluded that the city’s current trajectory of action to project an image of its ‘modernity’ in the image of a metropolis much influenced from the current state of globalisation and capitalism. Competing to match cities like Manhattan City in New York, Tokyo, London and Singapore etcetera. Not discounting the advantages of globalization, I personally feel that the race to create such an image by importing architectural ideals from
considering the local context of culture. Has created one not only the musuemfication of its Innerstadt but also a collective confusion of identity oh what it is to be Viennese. It could be said that Vienna’s method of imitation of its lustrous past into the now (Innerstadt) and imitation of the vision of the future into now (Donau City) has created some sort of alternative Potemkin city reality. A distortion of reality of living, distortion here defined as some sort of transparency. And transparency defined as a simultaneous perception of different spatial locations. Prompting me to consider that fact that my perception of Vienna can and will never be the equal or the same of that a Viennese. That the only way to proceed with the project is in a form of critique of the extreme end of the spectrum on Vienna’s urban conditions. This became an anchor to my exploration about Vienna’s psyche in its culture and identity with architecture. And how by discovering a Transformational Object for the city for such a purpose can bring to light the very circumstances the very surroundings it is attempting to change. I must admit Vienna is not the sole city that is developing in this manner and that every city’s situation differs vastly from the another. Therefore I would like to state that this study and exploration is isolated to the city’s specificity. Going through the semester with the knowledge gained from reading Kevin Lynch, Pallasmaa, Grosz, Ricoeur, Baudrillard and Loos with past understanding of Lefebvre’s writings has helped deepen my critical thinking of how the urban fabric of a city very much informs the city’s sense of identity; collectively or individually, in turn how their surroundings are shaped by it which then influences said identity, a dialectic relationship between these elements. I hope to carry on deeper into the next semester perhaps with more in-depth understanding of the political, philosophical and anthropological of such conditions on how architecture can mold each and everyone
EXCAVATING
MU
SEO
ITY
EC C HI O
MODERN
DI CASTELV
SPECTRES OF VIENNA
THE REPRESSED
CONTENTS
PROLOGUE CATALYST Brief Analysis
Host Buildings Plans, sections & diagrams
Figuration not Representation Object
Sketch Physical Model
INTERIM Intial Exploration circulation core
GORDON MATTA-CLARK & LEBBEUS Intervention Exploration threshold & permeability
“COMMONS” & PUBLIC SPACES material consideration structural consideration
Re-interation of Intervention threshold & permeability material consideration structural consideration 1:25 section details
PROLOGUE SEMESTER 1 TO 2
In thinking about the invention of the city, its image or more so the identity. I started reflecting on the various different perspectives on the relative agency of architect/ planner and citizen alike. Where with de Certeau, he believes in the subverting capacity of citizens (as against the totalisations of architects/ planners); Rykwert believes that we can have the city we want but only if we demand it and work as co-producers with architects/planners throughout; for Lefebvre, citizens can demand, and even make, or subvert, but only if we become conscious of the spatial practises/modes of production that dominate, and architects/ planners do the same; Tafuri imagines that all hope is lost, agency has been fully vanquished by capitalist realist totalisation. Any lingering hopes in design are delusional & false. Jameson sort of oscillates amongst all of these positions. All seems impossible to achieve or solve. Perhaps though nigh impossible the action of trying, trying itself is worth it.
BRIEF:
Spectres of Vienna challenges students to excavatethe hidden traces of the repressed in Vienna that constitute spectral figures inhabiting the city’s architecture (and urbanism). In particular, each student will choose a building to work with from spanning from the 1860s to the near present, listed at the end of this document. In almost every instance, architecture manifests the official story as determined by the dominant power at any given moment, and by the modes of production organised in its image. It has perhaps always been thus but since around the middle of the 18th century, the condition has become ever more pronounced; a by-product of capitalist realist conceptions of the world that now have a seemingly unshakable hold on the imagination. As each individual projects develope, they will be challenged to consider in what ways the study building they have selected participates in cementing repression of historical and emotional contents – on an individual and cultural level – that are just too horrible to remember, confront, or be resigned to (and thus assimilate). In developing projects, students are also encouraged to seek out the ghosts of modernity and modernist architecture that reside alongside the spectral hosts of Utopia lurking everywhere, which strikes fear into the hearts of architects (and others), and has done so since at least the 1950s. While performing this enquiry, students will inevitably be challenged to directly confront whatever UtopiaAnxiety they may have. From this, I would love to carry on the study into the state of modern ‘modes of production’ of architecture. In our highly globalised consumeristic environment of Capitalism.
BRIEF: CATALYST To carry out quick study of each of the buildings in Vienna to develop a shared general knowledge of all of them, and to inform selection of the one individual, work with in much greater detail throughout the semester. Whichever building is selected, the initial challenge is to develop a comprehensive understanding of it, comprising analysis of its details & material assemblies (or tectonics); site & context; current & past use; history & cultural significance, developed against a deepening critical-historical understanding of the theories and practises of modernist architecture, and of Vienna’s traumatic history as well. After the initial study of the building options, and the selection of one to work with, each of us would start to develop proposals for a new structure that physically disrupts with the study building by colliding with it, crashing through it, or erupting out of it. Nathaniel reiterates that this exercise is to keep in mind that all proposed moves must be supported by critical-historical analyses of Vienna and the selected study building, developed through interpretations of both, and this brief. Additionaly take a found object and carry out an intervention as you would in main project
these 2 peaked my interest as possible ‘‘host’’ buildings
FIRST STEPS
choosing a particular host building
choosing a particular building to analyse its material construction and more so a ccomprehensive understanding on the conditions in which produced said building. As we know it, these factors are dialetic in relationship and studying one or both religiously will reveal the other or the whole picture. We were instructed to carry out this study on all of them. However, seeing it as our studio had a strength of five people. It was quite a impossible task with the time constrain. Hence we each set out to analyse ones that peeked our interest .
FIGURATIONS
NOT
REPRESENTATION
On a side note, during the early stages of our long discussions (more adptly put; conversations) with Nathaniel. There was a key push towards a break from the current ‘modes of production’ as a methodology and as a thought experiment. To refrain or stop our habit of attempting to create a final imagery as a spectacle to ‘‘sell’’ the idea. In doing so, trap ourselves in the totality of creation with little or no focus on the process. Hence, taking the initiative to stick to purely drawings to be done by hand. You can say that in doing so, are we not being traditionalist, by forgoing the capbilities and advantages of drawings/ graphics created from the comupter programs such as Photoshop, Illustrator, Revit, Sketchup etc. But simply put, it is a start in the right direction away from CGI (computer generated image). That the tactile process of drawing, figuration through representation, not represention versus figuration, though one might consider still falls into the trope of the orthodox ‘mode of production’ in architecture. Helps generate more in depth architectural ‘‘product’’.
HUMAN SCALE?
SENSE OF ALIENATION
REFERENCES
Looking at Meier’s drawings
Nathaniel proposes to us to imulate Richar Meier’s drawings. Follow in the footsteps of his methodology. I felt that yes there is eminence in that as a reintroduction into the focus of hand drawings. However, the notion of falling into the standard orthodorx practices of architectural production weighs heavily over me. For all the effectivness in it, there is a lack of narrative and focus on human scale in such drawings. They only tell the ‘‘story’’ of the building as a singular product, insulated from the human ‘touch’
FEROCITY
SENSE OF UNDERSTANDING
REFERENCES
Diller Scofidio : Memory Of Guilio Camillo
Another reference brought up during the conversations within the studio group tutorials was that of Diller Scofidio’s early work of an installtion in New York. One of their early work in which we had discussed brought traction and interest to the pair and propelled them upwards in the industry. There was a sense of feorcity and daringness in their installation. Not only so, a clear display in their construction understanding. In which, what each material function were, their pros and cons. Additionaly how each material played with each other’s
produces a Janusian moment: a gap, which is no longer here but not yet there—a synapse that can only be bridged tentatively by the stride. The structure is tensioned into place against the thick masonry walls and apertures of one bay of the Anchorage. The installation was tensioned into place against the thick structural masonry walls and apertures of one bay of the Anchorage Vaults.
A commedia dell’arte troupe, directed by Matthew Maguire, guides an audience through the labyrinth in the Brooklyn Bridge Anchorage vaults, the paths of Camillo’s mind. The installation theatrically spears three successive chambers of the Anchorage with two discrete structural units that cantilever toward one another but never meet. Exploring the aesthetics of danger, the installation
REFERENCES
Diller Scofidio : Memory Of Guilio Camillo
constraints and advantages, produced not only what the installation was hoping for; to aid in the telling of the directed theatre piece but with the atmoosphere of it located in the Anchorage Vaults under the Brooklyn Bridge. I felt that there are more notable lessons I could take from this reference compared to Meier’s drawings. Perhaps it is the shift in the general consensus of this current generation fo architectural students or maybe just my own. And more so in the way they have drawn or composed the idea.
Hoftburg Palace, St. Michael’s Wing SITE PLAN, SECTION & ELEVATION this drawing is an excercise as a reintroduction to the basis of drawing by hand. And as mentioned before, not in the context to just represent or create imagery but to develope from the process to understand and create spatial conditions honestly. Taking the plan: the traditional ‘mode of production’ and start developing the section instinctively without referencing the plan but through its elevation. Unsurprisingly, the end result was strikingly accurate to the actual plan. However there is a possibility, the accuracy was derived from a familiarity with the foundations of classical / baroque architecture construction.
SITE PLAN ANALYTICAL DIAGRAM
Hotel Sofitel, Jean Nouvel
Starting from the orthodox methodology of architecture production. I analysed from the plan how the host building was constructed. Furthermore looked at the surrounding urban conditions, help piece together my understanding of the building’s conception. Noting that it is not unusual for architecture that is comissioned by the city/ state to create a projected image that is shared in this state of globalisation. One of percieved distinction of ‘‘class’’ or more accurately, developed. It seemed like both ‘hosts’ examplifiy this quality of projecting a percieved identity of Vienna at a point of time. Following my intution to proceed with the Hotel Sofitel to explore an intervention into the ‘‘now’’ instead of one into the ‘‘past’’ of now.
‘THE PLAN VIEW’ DIAGRAM
circulation core
This was yet again, more of a starting poing as an introduction to the building, its spatial program and focus. Looking at its plan, I start to piece together the spatial program, layout and structural construction. Due to the nature of the building as a typical model of the state of globalised consumerism, the focus obviously was put onto assets that promote that. And evident that the only material consideration done was towards the created spectacle of the large art installation.
ANALYTICAL SPATIAL DIAGRAM
understanding the threshold
Wanting to deviate from the orthodox methods of illustrating, analysing production of architecture. To focus onto the human experience and perception. I intiated with a drawing the main volume of the Hotel Sofitel building that interested me the most. Picked the extensive number of curtain walling to understand the threshold of the nature of the building. Which progressivly more obvious to me in addition to my personal experience of it, that the building is very hematic and insular. Ironically, with the use of glass curtain facades to portray transparency.
ANALYTICAL SPATIAL DIAGRAM
possible point of intervention
delving deeper into the spatial understanding of the part of the building that interest me. It is the only bit of the building that stood out to me was the volumetric arrangement and its relationship to the user experience. Not only so, only upon reflection after the completion of the sketch. I have unconsciously picked up on the plasticity and inability to escape from the use of concrete slabs enveloped with a full length glass curtain wall. Maybe my intervention onto the building and in the wider scope that urban condition of Vienna, can be something to do with this.
SHINY SMOOTH REFLECTIVE ANALYTICAL MATERIAL VIGNETTE
HARD ROUGH CORSE
VS
material contrast
Further analysis, the Hotel Sofitel is every thing of the very conditions that produced it. The glitz and spectacle of the current capitalist state of the world, where global consumerism trumps. The hotel’s goal to serve an identity of percieved sofistication and distinction due to its ‘‘4 stars hotel experience’’. And it needed a space that directly portrays that. Everything in it was dark, smooth, shiney and reflective, I guess is the current perception of modernism ( in turn distinction of being more developed). Therefore, for a successful intervention to excavate past this ‘facade’ of supposed identity, materially said intervention would have to be a direct contrast.
TOUCH
handrail
sculpture possible interations of physical model. Each focusing on an element of bodily touch
pen?
door handle
human hand
CATALYST
OBJECT
smart phone
bodily touch of the hand
As mentioned earlier regards to the catalyst’s objectives. I decided to investigate the notions of my analysis towards the Hotel Sofitel with directive to explore the boundaries and threshold of the bodily human touch to our physical envrionment. Intially, wanting to create 6 models of chosen vartion condition of touch.
jello
timber
plaster
intergration of previous notion in utilising contrasting materials to Hotel Sofitel’s into the model
THRESHOLD
tension cables to aid in load carrying of the Jello
deconstructive approach the various tangible and intangible threshold of the human touch with the envrionment
CATALYST
OBJECT
existing steel structure
thresholds & pearmability looking into exploring and expressing the boundaries and threshold limitations of human interaction with their physical environment in the format of Hotel Sofitel. The Jello representing the intervention acting as a form of statment to re-interate our notion of touch that we take for granted.
components of model
CATALYST
finished model
Partial to the process of creating the physical model, I started experimenting with the plaster base to create two different tonal finish. This was more of a side project to play around with. The basis of the physical model for the Catalyst was to show the dinstinction between the threshold of the envrionment and how we react to it. And to turn the door handle , you would have to stick your hand into the jello. Forcing an interaction which has
CATALYST
catalyst crit layout / feeback
a more impactful impression as the act of pushing your hand through the jello to get to the door knob is quite a violent action. Perhaps this is a foreshadowing to the next phase of the project to create contextually (historically, sociolly and politicaly) an intervention to the host building; Hotel Sofitel by Jean Nouvel. I do start to reconsider my conflict & disagreement with Nathaniel’s intial notion of Castelvecchio Musuem by Scarpa being a violent oppistion to Modernism.
‘THE PLAN VIEW’
SECTION
circulation core
After the Catalyst review, I started revisting the my disagreement with Nathaniel on the notion that Castelvecchio was as violent as the chestbuster scene in the Alien’s movie. And how would such a violence be expressed accurately in this context. Additionally started looking at the tangible threshold as fixed limitations and the intangible in the voids between the physical environment bursting ou, conceptually of course.
‘THE PLAN VIEW’
SECTION
the repressed bursting out
Bursting out like a growth slowly manifesting to a cusps of exploding out violently. Taking into account the programmatic layout of Hotel Sofitel. Breaking that hematic and insular impermeability it has. That the existing circulation would be a vital path to travel, between the relationship of the exterior ground floor( common people) and the interior rooftop bar (hotel guest).
HEMATIC
‘THE PLAN VIEW’ DIAGRAM
refiguration of existing host
Investigating again in further detail with the plan and section to wrap my head around the host building. As there were limiting information, which were just the ground floor plan and the typical hotel plan in the tower above. I started to generalise with the notion of how such a commercial building would be built in my past work experience. The way they have laid out spatially and structurally have left much to be desired and my dislike for it is growing.
INSULAR
ANALYTICAL THRESHOLD DIAGRAM
relationship with ground
Yet again I revisited the issure regarding how to achieve an intervention whereby it tackles the impermeability of the hotel, the restrictive boundaries and thresholds it has created. Tackle the reintergration of a space for people and not just the distinguished consumers the hotel is targeted for. Is there a way to solve the verticality? and the breaking of these 2 planar dimensions.
(1974) Clarks’ performance of a literal deconstruction, by removing the facade of a condemned house along the Love Canal, and later moving the resulting walls to Artpark, in his work Bingo.
MATTA-CLARK
Anarchitecture
Gordon Matta-Clark (1943–1978), who trained originally as an architect, is best known for his spectacular ‘building cuts’. These have often been seen as an outright rejection of the architectural profession. He used a number of media to document his work most notable his ‘building cuts. In his use of puns and other word games as a way to re-conceptualize preconditioned roles and relationships (of everything, from people to architecture).Demostrating also that the theory of entropy applies to language as well as to the physical world, and that language is not a neutral tool but a carrier for societal values and a vehicle for ideology.
LEBBEUS
looking at his drawings and blog
The majority of his explorations deal with the design of WOODS systems in crisis: the order of the existing being confronted by the order of the new. His designs are politically charged and provocative visions of a possible reality; provisional, local, and charged with the investment of their creators. However more intriguing were the dscussion regardin the methodology in which he expressed this idea. And perhaps there is something notable to use in my current project.
SKETCH FIGURATION
PERMABILITY
how to intervene
From the references and thoughts about Gordon Matta-Clark and Lebbeus Woods, I continued to experiment in bridging the boundaries of the ground and the pinncale (pun intended) of consumerism of the hotel. Still utilising the notion of using the existing circulation core. But how would I bring people in to use it. Additionaly the thought of what kind og program and use would this intervention be about?
lack of depth determined from photos show that this is not the case on how the structure was achieved. For it is much thinner in reality compared to this theory
EXISTING STRUCTURE
analysis of & diagnosis of existing
taking a step back, I revisited the analysis of the exsiting building of Hotel Sofitel. After consultation with engineers and architects during tutorials to determine the case. It was suggested that the facade was a form of vierendeel truss anchored with a deep pile steel column at the corner. However I disagree as there was a depth lacking in the photos taken of the facade. Nevertheless, I carried on to investigate possible interventions.
SKETCH FIGURATION
PERMABILITY
stuck point : 1 Dimensionality
Implementing the directions and implimentations from the Woods and Matta-Clark into the project proved unsuccessful. Due to the fact, that by in a way blindly throwing their methods in created physical or conceptual intervention into a wholly different project contextually, would not work. That action fails in its one dimensionality.
SKETCH FIGURATION
PERMABILITY
pushing past the foot print
It occured to me that subconsciously I have been playing too timidly in generating an intervention that expresses the host building. And if I want to intervene violently I should not stick by the ‘rules’ of the host, more so the physical boundry and foot print of the building. To progress, I would need to break it.
&
"COMMONS" PUBLIC SPACES
After the interim crit, I started pusuring the nothing of breaking past the building’s footprint. The possibilty of fully pedestrainising the space in front of the host building peeked my interest. Further more Kevin Roche’s Ford Foundation was suggested to me to look through as a precedent to use to create an interaction extending beyond interior of the building, reaching even to the public realm on the ground. And the ongoing discussion and success story of the Royal Festival Hall and South Bank centre renovation plan creates a great thread to investigate. On the grounds to the reintegration of the public realm to a private one is in itself a powerful intervention. In simpler terms; Putting the chairs back that the private company has taken out to prevent loitering The Ford Foundation / Kevin Roche John Dinkeloo and Associates
Royal Festival Hall, South Bank Centre
INVESTIGATION
INTO PUBLIC SPACES
Seagram Plaza
Looking into the film where William H. Whyte studies the activities of people on the plaza at Segram Tower in New York. Noting the points on how an effective public space such as a plaza in a metropoliton exist in terms on its interaction with human activites.
INTERGRATING ONTO PROJECT SITE
taking lessons fromSeagram Plaza
1: a clear path of circulation (visually and physicall) 2:prescence of water and vegetation 3: prescene of seating 4: Food stalls and Newspaper stalls 5: proximity to main roads 6: allowance of multitude of different activites to happen 7: space that allows people to make their own 8: opportunities to create a purpose to stop ie:stall which also provides a sense of security due to passive visual survillence (strength in numbers)
1:250 SCALE
transdimesional figuration of urban plan
MASTERPLAN MODEL part of another expirment to explore representing information from a masterplan from last semester other than a flat 2 dimensional format. Which portrays the focus Vienna’s City council has on Innerstadt and in creating more zonal laws to gentrify and generate more opportunities of consumerism and commerce.
Vienna’s City Council masterplan for 2025
MASTERPLAN 2025
Vienna’s plans for its expansion
excerpts taken from their 2025 Masterplan document. And further cementing the idea that the intervention for the host building should be a move that subverts this action. As Hotel Sofitel is part of this move towards a generated identity of devleopment into current times with Modernism. Instead of a place to prepatuate this, it should be non privatised, a space utilised as ‘‘commons’’ for the public to use as they deem. A quiet riot against capitalism.
THRESHOLD
taking away the mass
SPATIAL DIAGRAM Being bold, I am takign away the mass as stipulated above to break the boundary of the existing as the ground floor space now is a triple height empty space that amounts to nothing. Why cover it up anyway?. Which in turn forces a supposed public lobby space to be actually public and open outwards.
THRESHOLD
SITE PLAN
pushing the permability
Following the move to pedestranise the frontage of the host building all the way to the river. It starts to give more prioity back to the public but dependent on how it is treated, back to the community. For now this was looking at the effects of erasing the impermeability of the host building and taking away of the exisiting mass and glass curtain wall.
ANALYTICAL SPATIAL DIAGRAM
mass exclusion and intervention
start to intergrate the relationship between the river, ground floor and host building. And it seems that the circulation path and journey is key. That a walkway is createrd to tackle the verticality of the host building and the inclusion of the circulation of the intervention and the existing be intergrated.
‘THE SEMI- PLAN VIEW’ DIAGRAM
intervention: walkway
The thought of the part of the intervention being a walkway that punctures into the host is quite feasible and in its creation help seperate the boundaries of the public space and main raod, without totally blocking access.
FIGURATION: INTERVENTION
coming back to a reo
the ideals and functi direction is. Everyone how to intergrate that
figuring out the ‘‘use’’ of the intervention
occuring predicament of generating a use of such an intervention into the host building whereby it reintroduces ionality of ‘common’ space and public usage. Concurrently informing how the walkway and its circulation path e likes a hot bath and swimming . Why not that? that would be a great place to have a public bath and pool. But t into the exisiting building. Such that it forces movement into the host building via the walkway or ground floor.
FIGURATION: INTERVENTION
Additionally looking help in conceptualis in tandem with secti
spatial program ‘‘use’’ vertically
g into the verticality of the spaces, and the relationship of the point of intervention to further sing the spatial layout of the public bathhouse and its relationship with the existing. Done so ions and plans.
FIGURATION: INTERVENTION
While concep adjusting the ddir the building or sh
spatial program ‘‘use’’ vertically
ptualising the spatial program and layout of the interaction between new and existing. While rection on the circulation path where, people should either come enter from the walkway into hould they come from the ground floor through the circulation core . Would that not make the walkway obolete?
FIGURATION:
CONSTRUCTION ALCHEMY
Jumping back to the intergr additional weight of new deadl extend these baths and poo
materiality contrast and intergration
ration of a material contrast between the intervention and the existing and the ability to carry the loads and live loads such as a big pool and increased human traffic Would there be a possibility to ols out of the building into a totally new structure that is independent and leans onto the existing?
axometric section of possible intervention
looking into the how the existing structure is made up, as currently, it does not make sense with the depth of a steel truss to the depth of the facade
looking into how I would implement the material theory into the existing building facade
AXOMETRIC SECTION
Going into a 3 dimensional po the existing buidling however for the existing structure sys
existing facade to structural detail
possible construction detail of bathroom
materiality contrast and intergration of ‘‘use’’ visualisation
oint of view to look at such a query about its feasability. Though spatialy the program works with r the thought dawned upon me that it would be impossible structurally to add so much new loads stem was not designed for such. Also how would I show the material contrast of the intervention.
tunnel for vehicles
tunnel for vehicles
CONCEPTUAL SITE
PAPER MODEL
figuring the the physicality
After being stuck for awhile regarding the how would I still keep the bathhouse program, walkway and movemnt of public through the hotel’s cireculation core itself to gain access to the bathhouse and pools. Yet retaining the strength of the intervention. Decided to place the spatial programs of the bath externally from the building onto the plaza. The method of using papere to create quick 3D models helped in visualising proposed interations of the design objectives.
tunnel for vehicles
SITE
GROUND PLAN
new interation of program
As such, implented the final interation of the new revised spatial program into drawing as I needed to see in further detail how that would affect the relationship of this new threshold between the intervention and the host building. And the circulation path towards 1: hot/cool pool 2: sauna 3: cafe/ pantry for rest 4: hot/cold pool
PROGRAMMATIC
EXPLORATION
‘‘common’’ use of plaza
Looking sectionaly on what happens atmospherically and spatially when you place these large forms above a public space. And simultaneously inform and change the conditions on the ground floor. Furthermore, considering how the pool should interact with the river; floating or raised into the air.
SITE
PLAN
new interation of program
At the same time looking at how these new forms placed would affect the conditions on the ground floor. Due to the fact that the site is located where it recieved alot of south facing natural light, There was not to much of an issue in creating too much shadow
RE-EXPLORATION
TO MATERIAL
structural theory
Because of the direction to matrially contrast the existing host. The choice to using timber construction compared to steel posed an obstacle as how would I construct using timber to thoroughly hold the weight of the pool or even water proof it.
PLAN
1:25 DETAIL
RE-EXPLORATION
TO MATERIAL
walkway construction detail
Before tackling that, I jumped back into the construction of the walkway in which the public would use to get to the facilities. Stickign with a mostly timber structure and construction in conjunction with a semi-transluscent polycabornate floor to ceiling height facade. 1: creates a generously warm interior 2: ample light into the space.
SOM TIMBER
STRUCTURE
composite timber - concrete structure
In a form of epiphany and concidence, SOM testing of their Tower made of predominantly timber structure passed their set of structural testing. In which the composite concrete and cross laminated timber structural detail allowed the floor slab to hold a end load of 82,000 pounds – about 8 times higher than required by code and support a pool to a depth of 3.2 m. Stiffness also proved to meet code standards. Which opened the opportunity to utilise it.
RE-EXPLORATION
TO MATERIAL
walkway construction detail
Reserched in detail the actuality of using such a system of composite conrete and CLT structure. How it would be implemented in the project
MATERIAL
ATMOSPHEREIC
long section & closer material alchemy of the public ‘‘square’’ Reserched in detail the actuality of using such a system of composite conrete and CLT structure. How it would be implemented in the project
CHAN
GING
CHAN
GING
MAIN SITE
PLAN
ROO
ROO
M
permeability of intervention
In further analysis of the intervention, it dawned upon me that the intervention itself in concept is striking and bold however, it was not translated as such in its physicality. Especially where it interacts with the existing building. Therefore, before the crit, I started to experiment with the intervention’s permeability and thhe building’s, on how they can start to merge together to tell that narritive but in the mean time not let the need to be different from one another dilute its clarity.
M
* take note A1 drawing has been downsized in this digital format for ease of readability *
* take note A1 drawing has been downsized in this digital format for ease of readability *
SECTION
:
DETAIL
HOT POOL OVER RIVER
* take note A1 drawing has been downsized in this digital format for ease of readability *
SECTION
:
DETAIL
STEAM CABIN & ALAY
* take note A1 drawing has been downsized in this digital format for ease of readability *
SECTION
:
DETAIL
HOT POOL OVER RIVER
CHARRETTE
Architecture Interior Design Landscape Architecture Planning Urban Design
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THE WRITING’S ON THE WALL NCL CHARRETTE 2017
October 2017