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THESIS DOCUMENT Lydia Mills ARC8060

Contents

Oikos Transformed Critical Introduction pLace-making The Algae Curtain The Tale of the Venetian Lagoon Once Upon a Time... Venice Becomes the Centre of the World The Five Octagons And then... The Phantasmagoria of Shadows Epilogue Bibliography

Introduction Oikos Transformed

The studio responds to the open letter to the architectural community, calling for greater attention to the ongoing climate crisis in architectural education. My thesis addresses this through the lens of lace, which as a concept has shaped the way I see the world for almost ten years. The first section of this document outlines the theoretical framework that was formed in my Thesis Research project. The second section on the algae curtain, does not include a designed object, but instead the themes I explored that related to the project and fed into the final section. Last is the thesis, which is structured as a fair y tale. Through a narrative, placed somewhere between fiction and reality, I was able to explore a number of themes and topics that interest me, such as boundaries, otherness and transformation. All the themes play a role in efforts made to combat climate change, but are also relevant to a range of current issues. Through this method of working, and exploring ideas, I felt I gained a new perspective on the topic, particularly by treating ever ything in this liminal dimension as both fact and fantasy, living and inanimate. The characters are also building materials that all form the world they exist in, just as the building materials are characters that have a say in how they shape and construct their environment.

pLace-making

// pLace-making

10.

Thesis Research Project

11.

// COMPUTING

Computing. François Chatelin describes computing as ‘a human activity much older than any historical records can tell’1. A similar definition could be applied to the act of making textiles. This section explores the intertwined histories of textiles and computing, contemplating what these activities are and why we do them.

For centuries, lace has been a source of admiration, across countries, cultures and creative disciplines. The act of lacemaking has built economies and communities, testifying to the value of female labour in society. For nearly ten years, lace has influenced my thoughts, developing from a design concept into a personal philosophy. My undergraduate dissertation, Lace is More, examined the spatial qualities of ‘lace’ boundaries and the existing buildings that embody them by creating a sense of connection and fluidity between nature, technology, architecture and people. The thesis research project focussed on the art of ‘pLace-making’ which emerges from the human activities of lacemaking and computing, with the aim of forming a theoretical framework for my design thesis.

Figure 2.1: Produced by the author, Lacemaker in Burano, 2019, Digital photograph.

// pLace-making

20.

21.

Lacemaking.

Cross (C)

Like weaving, lace might also be considered a binary art, whether it is made by hand or by machine. In bobbin lace, binary control lies within the decision between ‘twist’ and ‘cross’ (figure 3.3). Lace machines, such as the Leavers machine, utilise a system of punched cards or tape similar to Jacquard’s. However, lace is distinguished from weaving by the dualistic relationship between positive and negative space, which adds a second dimension to the binary nature of lace. A woven cloth creates a solid boundary between two spaces. Whereas lace contains voids – the nonexistent which exists and is defined by the thread which

Twist (T)

surrounds it. Lace has Zeros. Unlike a woven boundary, lace allows certain levels of access between one space and another, creating fluid space. A lace boundary can be either physical or abstract. It has a simplex nature, as it sets a limit but still allows for ambiguity. The language of lace tells a story, forming a narrative without enforcing it. This section explores the first dimension of lace as a binary art, illustrated through the process of making bobbin lace, which typically incorporates a combination of weaving and braiding techniques.1

Above: Figures 3.1 & 3.2: Produced by the author, Bobbin Lace Exploration, 2019, Digital photograph. Opposite Page: Figure 3.3: Produced by the author, Bobbin Lace Diagram 1, 2019, Adobe Illustrator.

// pLace-making

Endnotes. 1 Devon Thein, LACE Not Lace: Contemporary Fiber Art from Lacemaking Techniques (Clinton, NJ: Hunterdon Art Museum, 2018), p. 8. 2 Sophie Ploeg, The Lace Trail: Fabric and Lace in Early 17th Century Portraiture. An Interpretation in Paint (London: Blurb, 2013) <http://www.blurb.co.uk/b/5410344-the-lacetrail> [accessed 17 January 2020]. 3 In 1899, Thorstein Veblen wrote: ‘If, in addition to showing that the wearer can afford to consume freely and uneconomically, it can also be shown in the same stroke that he or she is not under the necessity of earning a livelihood, the evidence of social worth is enhanced in a very considerable degree. Our dress, therefore, in order to serve its purpose effectually, should not only be expensive, but it should also make plain to all observers that the wearer is not engaged in any kind of productive labour.’ Thorstein Veblen, The Theory of the Leisure Class (New York: Macmillan, 1899), p. 170. 4 Gail Baxter, ‘Lost in Lace: Concealed and Revealed’, in Lost in Lace: Transparent Boundaries, ed. by Lesley Millar (Birmingham: Birmingham Museum and Art Gallery, 2011), pp. 15–18 (p. 17). 5 Jane Ellen Panton, From Kitchen to Garret: Hints for Young Householders, 7th edn (London: Ward & Downey, 1890), pp. 94–95. 6 Thein, p. 8. 7 Veronika Irvine, ‘Veronika Irvine’, in LACE Not Lace: Contemporary Fiber Art from Lacemaking Techniques, by Devon Thein (Clinton, NJ: Hunterdon Art Museum, 2018), pp. 47–49 (p. 49). 8 Veronika Irvine, ‘Broadening the Palette for Bobbin Lace: A Combinatorial Approach’ (University of Victoria), p. 191.

26.

27.

pLace-making. This section examines the notion of ‘pLacemaking’ in architectural details and projects. The pLaces that will explored are spatial and material responses to issues caused by existing ‘solid’ boundaries in ecology and gender. Place vs. pLace. Solid boundaries and the ‘Places’ they form obstruct and fragment, creating tension in the natural world and amongst humans. For centuries, they have been used as tools for separation, causing social inequality and political unrest. One example of ‘Place’ in history is the ghetto, although solid boundaries are not always formed to intentionally of excluding or alienating. Solid boundaries also occur through the oversimplification of abstract ideas that Chatelin writes about when she describes ‘effective’ computing - ‘Only trivialized notions can be

crystal clear’1. By insisting on complete clarity of complex ideas, the ideas are unintentionally reduced and misunderstood. Juhani Pallasmaa describes a similar approach to architecture in the West, which has occurred as a result of a historical tendency in Western culture, beginning in ancient Greece, to regard sight as ‘the noblest of senses’2. Favouring the eye, which he describes as ‘the organ of distance and separation’3, prevents us from forming an intimate sense of connection and understanding in our surrounding environment. Just as Chatelin writes of the value of ambiguity in computing, Pallasmaa writes of the same value in architecture. pLaces allow for the ambiguous. They exist, as nature does, in a state of fluidity and change. They are built from complex narratives that continue to develop in relation to the context that surrounds them.4

Place

pLace

Lacemaking Experiments

Zero Computing the ambiguous

Françoise Chatelin’s work provides a detailed definition and historical analysis of computing, in which she describes the philosophical idea of ‘Zero’ as one of the great landmarks in computation - the acknowledgement that nonexistence exists. The notion of nonexistence in histor y can be found in multiple forms, from the Indian ‘Sunya’, meaning ‘void’ to the Japanese concept of ‘Ma’, meaning ‘gap’. In the west, the Roman poet Ovid wrote of ‘Chaos’ – a time when nature was formless, ‘Before the ocean was, or earth, or heaven’ - a more fearsome view of nothingness compared to its pre- Christian, Eastern equivalents. Unsurprisingly, Chatelin refers to Zero as ‘above all, a formidable philosophical concept’. Zero dwells within lace. By celebrating the void and welcoming the chaotic unknown, the solid boundaries between human, technology, nature and spirit become fluid.

‘Void/Gap’ Japan

Sunya

Emptiness/Void/Nothingness’ India

Khaos

A vast chasm or void Ancient Greece

Textile Art and the Modern Computer

The first machine capable of generalpurpose computation was the Analytical Engine, invented by Charles Babbage and programmed by Ada Lovelace. What separated it from its predecessor, the Difference Engine, was its ability to do the four basic mathematical operations – addition, subtraction, dividing and multiplying – unlike the Difference Engine, which was only capable of addition (through the mathematical ‘method of differences’). This ability was made possible by a system of punched cards, developed by Joseph Marie Jacquard for his weaving machine, the Jacquard Loom.

A Digitised Image: Portrait of Jacquard Woven on a Jacquard Loom

Ada Lovelace and Charles Babbage’s Analytical Engine

Laceâ&#x20AC;&#x2122;s Binary Language

Bobbins are worked in pairs

Cross (C)

Twist (T)

Half Stitch C-T

Double Stitch C-T-C-T

Cloth Stitch C-T-C

C-T-C--C-T-C--C-T-C--C-T-C--C-T-C-Pin C-T-C--C-T-C--C-T-C--C-T-C--C-T-C-Pin C-T-C--C-T-C--C-T-C--C-T-C--C-T-C-Pin

Ground Stitch C-T-Pin-C-T

T-T--T-T--T-T--T-T C-T-Pin-C-T--C-T-Pin-C-T--C-T-Pin-C-T C-T-Pin-C-T--C-T-Pin-C-T--C-T-Pin-C-T C-T-Pin-C-T--C-T-Pin-C-T--C-T-Pin-C-T

Turn Stitch C-T-T-Pin-C-T

T-T--T-T--T-T--T-T C-T-T-Pin-C-T--C-T-T-Pin-C-T--C-T-T-Pin-C-T C-T-T-Pin-C-T--C-T-T-Pin-C-T--C-T-T-Pin-C-T C-T-T-Pin-C-T--C-T-T-Pin-C-T--C-T-T-Pin-C-T

Lace as Story-teller

Through the binar y language of ‘cross’ and ’twist’, the bobbin lace-maker tells a stor y. The stor y might involve the identity of a person or place, or evoke memories of meaningful rituals such as weddings, christenings or funerals. Like a precolumbian quipu, the stor y varies depending on the number of threads, their material, colour and thickness, and the knots or stitches used.

Identity

Ritual

Place

Power

Dining

Funeral

Venetian Point Domesticity

Cross (C)

Twist (T)

Style

Christening

Wedding

Burano Point

pLace-making: Diagram

Place

pLace

Solid boundaries and the ‘Places’ they form obstruct and fragment, creating tension in the natural world and amongst humans. For centuries, they have been used as tools for separation, causing social inequality and political unrest.

pLaces allow for the ambiguous. They exist, as nature does, in a state of constant fluidity and change. They are built from complex narratives that continue to develop in relation to the context that surrounds them.

Solid boundaries also occur through the over-simplification of abstract ideas that Chatelin writes about when she describes ‘effective’ computing - ‘Only trivialized notions can be cr ystal clear ’. By insisting on complete clarityo f complex ideas, the ideas are unintentionally reduced and misunderstood. Juhani Pallasmaa describes a similar approach to architecture in the West, which has occurred as a result of a historical tendency in Western culture, beginning in ancient Greece, to regard sight as ‘the noblest of senses’. Favouring the eye, which he describes as ‘the organ of distance and separation’, prevents us from forming an intimate sense of connection and understanding in our surrounding environment.

pLace-making: Gender

Place

Currently, the typical public bathroom and changing room reflects the idea that gender is binar y, usually consisting of two spaces, one for men, one for women, with a solid boundar y separating them.

pLace

Evolution of bathrooms and changing rooms

Airport Toilet - Stalled!

Hackney Leisure Centre - FaulknerBrowns

DRY CHANGE

‘Stalled!’ is a response to the ‘moral panic’ caused by court cases seeking to repeal Barack Obama’s Title IX protections that allowed trans individuals to access the sex-segregated bathrooms of the gender they identify with. Beginning with the airport toilets, the group has gone on to design a series of pLaces that focus on inclusivity for all, accounting for the needs of var ying ages, genders, religions and disabilities.

The Algae Curtain â&#x20AC;&#x2DC;More thanâ&#x20AC;&#x2122; a lace curtain

The idea for the algae curtain sparked an interest five main themes that could be explored further with regards to the Venetian Lagoon: Algae, food, stor ytelling, lacemaking and light. Eventually the design project moved in another direction. Therefore, the aim of the section is not to present a finalised design, but to investigate the five themes.

Algae

Story-telling

Food Culture

Lacemaking

Light & Shadow

Microorganism

Spirulina: A sustainable food source

Microscopic images of spirulina Spirulina, the Edible Microorganism - Orio Ciferri

Downloaded from http://mmbr.asm.org/ on October 21, 2019 at Newcastle University

Initial research on spirulina as a source of food in three scales.

Downloaded from http://mmbr.asm.org/ on October 21, 2019 at Newcastle University Downloaded from http://mmbr.asm.org/ on October 21, 2019 at Newcastle University

Algae

Communal

Mass-production

Kanembu women collect spirulina in Lake Chad

‘...then there were fishmongers and others who sold little loaves which they made out of a sort of slime which they gather from the great lake, which they thicken and they make loaves of it which taste like cheese.’ Historical depiction of spirulina in Lake Texcoco and ‘tecuitlatl’ cake - Florentine Codex, Book 11, 1793

Historia verdadera de la conquista de la Nueva España - Bernal Díaz del Castillo

Cyanotech Spirulina Farm, Hawaii

Story-telling The relationship between land and sea If the mermaid and the man wreathed in seaweed were a metaphor for the sea, each folk tale represents a loving and prosperous relationship between the land and the sea.

The Mermaid’s Gift

The Man Wreathed in Seaweed

Burano

Italian Riviera

“

A bridegroom from Burano fishing in the open sea, encountered some mermaids trying to seduce him but managed to resist their voices. The queen of the mermaids, amazed by his faithfulness, decided to reward him with a beautiful gift: she hit the side of his ship with her tail and the extremely fine and light foam she created became the wedding veil for the bride. When the women of Burano saw the exquisite veil at the wedding, they decided to do their best to craft by themselves something that would be as beautiful and as light as the mermaid’s gift.

”

“

On the day of the wedding, the mariners in port saw a man emerge from the water. He was covered from head to foot with seaweed, and out of his pockets and the holes in his clothes swam fish and shrimps. It was none other than Samphire Starboard. He climbed out of the water and went ambling through the city streets, with seaweed draping his head and body and dragging along behind him.[...] Samphire Starboard told his story, and the captain was imprisoned. Green though he was with seaweed, Samphire took his place beside the bride clad in white and was joined to her in matrimony.

”

There are several theories about how lace came to Burano, however the stor y of the mermaid’s gift has been passed on through generations of lacemakers. The lace - produced with water and gifted by an inhabitant of the sea - has contributed to the economy, culture and heritage of Burano.

Sometimes translated as The Man Wreathed in Algae, the tale describes a transformation undergone by the alcoholic known as Samphire Starboard. As he emerges from the seawater, he no longer resembles a man, but a creature, born out of the sea. When the creature, ‘green though he was’, marries the princess, the sea and the land form a joyful union.

Food Culture Shop windows in Venice

A study of the shop fronts of Veniceâ&#x20AC;&#x2122;s food establishments shows the variety of interfaces between consumer and food. The primar y image shows the theatrical window display of a chocolate shop that caught the eye of ever y newcomer, causing them to slow down and engage with the shop front.

Lacemaking Craft as Venetian Identity

Burano’s main tourist attraction: the lace museum Burano

Woman at a sewing machine in a shop window

Lacemaker in window of the lace museum

Densly populated island of Burano in comparison to surrounding islands in the north of the lagoon as a result of the lace industry

Burano Point

Venetian Point

100 m

Burano: The Site Burano

A ‘pLace’ between land and sea

Burano’s main port for tourists is at the north of the island. From there, visitors walk passed the colourful buildings, along the canal until they reach the square, where the lace museum and the Church of San Martino resides. The initial site for the project was situated in the southern-most point of Burano, where another union between the land and sea could take place.

50 m

The Algae Curtain by Loop pH Precedent Study â&#x20AC;&#x2DC;Living algae is pumped through the textile soaking up the daytime sun and photosynthesising to produce a biofuel that can be used locally.â&#x20AC;&#x2122;

Light & Shadow Sketch Model

The sketch model explored the idea of light and shadow as a building material. Clear spiral tubes, influenced by the microscopic form of spirulina, are filled with algae. When the sunlight hits the curtain, the algae photosynthesises and darkens in response, casting a shadow indoors that resembles the dappled sunlight on a forest floor. The algae is then flushed ever y 14 days into a river in the floor, which runs towards a storage unit.

Digitised Image Punch Cards

Initial Programme Ideas

C-T

Textiles: Root of Computing + Architecture

Processing - DLA

Binary Language

Jacquard Loom

Morphogenesis

Analytical Engine

Ada Lovelace + Charles Babbage

Matter to Information

Alan Turing

Information to Matter

Computing The initial programme was leaning towards a community centre for craft and computing and a bath house, due to the scale of Buranoâ&#x20AC;&#x2122;s existing architecture. However, the programme and site became restrictive, preventing the project from taking a logical next step from the initial research on lace boundaries as a nonphysical entity. Therefore, it was decided that the site needed to moved away from Burano.

Christianity Weddings

Patterns + Repetition

PROGRAMME

Funerals

Rituals

The Lace Oikonomy

Site

Dining

Worlding Island

Burano

Feasting

Revivalism Lace School Lace Museum Fishing

Story-telling

Rites + Sacraments

Relationship to Water/Sea

Bright Colours

Man Wreathed In Seaweed Mermaidâ&#x20AC;&#x2122;s Gift City of Wells

Identity

Fluid Space Solid Boundaries Clash with nature Exiles vs Inhabitants Ecological Crisis

Place

Context

Connection to nature Invisible Cities

Algae

Style/Fashion Wealth Housewifery

Lace Boundaries

Bio-materials

Sexuality/Fetishism

Querini Stampali

Octavia

Economy

Industry

Community

Women + Girls

Culture

Lace Tells

Seafoam

pLace-making in Venice Site Analysis

Venice’s Material Palette: Inhabitants and Exiles The site analysis began with a list of ‘materials’ that Venice is built from. After attempting to seperate the materials into the categories of ‘inhabitant’ and ‘exile’ of Venice, it became clear that, depending on the point of view, ever y material can be seen and treated as an outsider.

Islands

Rats

Mermaids

Death

Moisture

Disability

Waste

Locals

Wellies

Birds

Flora

Cruise Ships

Algae

Water

Local Crafts

Christianity

Tourists

Festivals/Carnivals

Palazzos

Light

Decay

Oysters

Gondolas

Shadow

Terrazzo

Bridges

Lace

Refugees

pLace-making: The Lagoon

Place

pLace

‘A spatial division and distribution of social functions may at the same time convey a pleasing sense of visible order, making sharper distinctions between the healthy and the ill, the sane and insane, the male and female, or the true citizen and the temporary resident or trader. It may be no coincidence that Venice was the first European city to have a Jewish Ghetto, closed by gates in 1516, and to settle traders of different nationalities, especially Greeks, Dlamations, Armenians, Turks and germans, in their own quarters.’

By insisting on complete clarity of complex ideas, the ideas are unintentionally reduced and misunderstood. Juhani Pallasmaa describes a similar approach to architecture in the West, which has occurred as a result of a historical tendency in Western culture, beginning in ancient Greece, to regard sight as ‘the noblest of senses’. Favouring the eye, which he describes as ‘the organ of distance and separation’, prevents us from forming an intimate sense of connection and understanding in our surrounding environment. Just as Chatelin writes of the value of ambiguity in computing, Pallasmaa writes of the same value in architecture.

Spatial Division of Social Function

The variety of Venice and of its surrounding islands may be one of the features that make the city so appealing and memorable to its visitors, hurrying through a day trip and learning to associate each island with a particular trade, function, historical event, or religiousorder. While the centre of the city has achieved a unity and functional interdependence which make it difficult to disentangle quickly its seperate neighbourhood or parish histories, the outlying islands still retain their somewhat different characters, and, to some extent, their idiosyncratic forms of social life. - Lidia D. Sciama, A Venetian Island

Shadows

Jewish Ghetto

Poveglia Asylum + Lazaretto (Plague Quarantine Station)

Night time in Venice

pLace-making Venice’s Relationship Between Wood and Water

A historical relationship between wood and water runs throughout the city of Venice, from the pile foundations that uphold the city, to the beautifully crafted gondolas that glide along the canals and through the lagoon. Although it plays a major role in the Venetian identity, the relationship between wood and water exists in a state of tension, causing an array of problems for both the historic architecture and the native ecologies of the lagoon.

Place Doorway Floor Barriers

MOSE Project

Many attempts have been made combat these issues, ranging from metal braces and anchor plates, to large pieces of infrastructure– all done with the intention to patch up and reinforce the solid boundaries between the built and natural environment. However, over time, tension has continued to build, attested by the damage caused in the ‘A cqua Alta’ in November 2019 - the highest since 1966.

The MOSE project is described on its website as a defense system against the sea. Instead of defending against human invaders, the people of the lagoon now tr y to defend themselves against the lagoon’s creator.

pLace-making Venice’s Relationship Between Wood and Water

pLace Querini Stampali

Ca’Foscari

Due to the Acqua Alta, most door ways in Venice have small flood barriers that prevent floodwater from entering the buildings. Usually this solid boundar y succeeds, however when the sea level rises too much, the saltwater flows over the barrier and floods the ground floors, causing considerable damage. In the Querini Stampali, the lace-like walls of the ground floor allow water to flow freely in and out of the building. The water runs over hard floor surfaces and into the exhibition space, in which temporar y wooden stands hold artworks for the duration of the exhibition.

In response to Venice’s high humidity levels, blocks of traditional cherr y wood have been laid loosely to construct the stage floor. When the humidity is low, it is possible to move the blocks slightly. When humidity levels rise, the blocks swell and become stiff. The acceptance of humidity creates an awareness of the surrounding context, forming a sense of connection between the building, the inhabitants and the environment.

Venice

pLace-making: Refugees

Place

The Venetian lagoon

pLace

Semi-permanent cities and ‘welcome centres’

Za’atri Refugee Camp, Jordan

500 m

Italian ‘Welcome Centre’ for refugees, surrounded by shanty town

Recent Migrants in Italy

Italian Governmentâ&#x20AC;&#x2122;s Response to the Migrant Crisis

The Tale of the Venetian Lagoon

ottagono venice

Once upon a time, a lagoon was crafted by the sea....

Venice becomes the centre of the world.

The Octagons are born out of conflict.

And then...

The Phantasmagoria of Shadows

10 m

99 years on, the story continues...

Fairy Tale Timeline

ottagono venice

Once Upon a Time - 5th century AD

1100 - 1500

1571 - 2014

Once upon a time, the Lagoon was crafted by the sea...

Venice becomes the centre of the world

The Octagons are born out of conflict

2014

And then...

10 m

Now

2113

The Phantasmagoria of Shadows

99 years on..

Once upon a time, a lagoon was crafted by the sea...

Transformation Fairy Tale theme

Throughout the tale of the lagoon, several transformations occur. Like Ovid’s epic poem, ‘Metamorphoses’, the first chapter introduces the theme through the creation of the ‘world’. In both Kafka’s ‘the Metamorphosis’ and Ovid’s Metamorphoses, the themes of transformation and conflict go hand-inhand. Violence, trauma and alienation either lead to, or are caused by transformation.

Metamorphoses - Ovid

The Metamorphosis - Franz Kafka

The First Venetians Roman Refugees ALTINO The Venetian lagoon was first populated by humans during the fall of the Roman Empire. When Germanic tribes invaded northern Italy in 421AD, Romans from the surrounding mainland towns and villages fled to the lagoon in search of refuge. Refugees from Altino fled to the northern islands of the Lagoon, such as Torcello, which became the adinistrative capital of the northern lagoon. Those from Padua and Este fled to the southern islands, such as Chioggia and Poveglia.

PADUA

ESTE

ottagono venice

A Natural Defense System Continuous transformation

As the sea plays with the lagoon, moulding the earth into swirly patterns and little mounds, the lagoon exists in a continuous state of change. Only those who live the lagoon and know it well are able to navigate through the marshy lands and waters. As a result, the lagoon is almost impossible to invade, either on foot or by boat. 1

‘Tourism Versus the Habitable City’, Preserving the Word’s Great Cities, Anthony M. Tung

100 m

OUTER WORLD

Shadows Main Theme

ES SN

CO N

SC IO U

U IO SC S

PERSONAL

SELF

UNCONSCIOUS

Refugees

SC IO N CO N

SHADOW

V TI EC

The primar y shadows addressed in the fair y tale are refugees, and the sea and its ecology.

EGO

N CO

In Jung’s structure of the Psyche, the Shadow is the part of the Self that people hide from others and the outside world, such as bad thoughts and feelings, or personal features that bring about feelings of shame. According to Jung, the shadow can be a part of the individual unconscious or the collective unconscious 1 - the shadows of the ‘normal’ society.

PERSONA

ANIMUS/ANIMA

INNER WORLD C.G. Jung’s Structre of the Psyche

‘The Concept of the Collective Unconscious’, The Collected Works of C.G. Jung: Voume 9, Part 1, Carl Jung

Sea + Local Ecology

Venice becomes the centre of the world

Venice as the centre of the lagoon

Medieval maps of the Venetian lagoon reveal a hierarchy of settlements, which places Venice above the other islands of the lagoon. Venice might described as the main ‘Persona’ of the Lagoon - the image that is consciously presented to the rest of the world.

Venice and the Lagoon, Benedetto Bordone, 1528

View of Venice, Jacopo de Barbari, 1528

‘Map of Venice’, The Geography of Ptolemy, 1470

Venice as the centre of the Eastern and Western Worlds ‘Venice’s foundation myth endowed her with Roman genes, but she was reared with Byzantine sensibilities. Though founded supposedly in AD 421 by refugees from the Italian mainland at the demise of the Roman Empire, she became the westernmost point of eastern Christendom. As a far-flung outpost of Byzantium, this seafaring, eastwardlooking city evolved both literally and ideologically detached from the mainland. At first, the glittering paragon of the successful trading emporium was Constantinople. Gradually, from the eighth century onwards, Islamic caliphates swelled around the margins of the Byzantine Empire and contracted her frontiers. Ever opportunistic, Venice began to establish trading contacts with the expanding Moslem world and to exploit its tempting links to the spice markets of Central Asia and India.’ 1

Venice & the East: The Impact of the Islamic World on Venetian Architecture 1100-1500, Deborah Howard

Reception of Venetian Ambassadors in Damascus, Venice and the Islamic World, Anon, 1511

The Eastern Meditteranean, Portolan Atlas, Battista Agnese, 1554

Influence of the East on Venetian Architecture As the easternmost part of the western world, Veniceâ&#x20AC;&#x2122;s typology as a city has drawn a major influence from the East, from urban planning, to building details, such as the ogee arch. Deborah Howard argues that the ogee arch was adopted as a trademark by the Venetian merchant class in order to alude to a mental image of the Orient. 1 The introduction of the arch became a defining characteristic of the Venetian gothic style.

Closeup of Rialto market, Il Canal Grande: il rilievo, Tito Talamini, 1990

Plan of markets in Aleppo, Alep: vol.2, J.Sauvaget, 1941

Urban Scale: Comparison of Rialto market in Venice and Aleppoâ&#x20AC;&#x2122;s marketplace Venice & the East: The Impact of the Islamic World on Venetian Architecture 1100-1500, Deborah Howard

Orders of the Venetian Gothic, pl.XIV, The Stones of Venice, vol II, John Ruskin, 1851-3

Detail Scale: Ogee arches as a characteristic of the Venetian Gothic style.

Jung and the East Jung’s use of Eastern Religious Traditions ‘C. G. Jung’s dialog with Eastern religious traditions, spanning almost 50 years, was profoundly influential on the development of analytical psychology, enabling him not only to discover cross-cultural confirmation for his clinical research but also to extend his own metapsychological concepts Based on the assumption that Western consciousness is historically conditioned, is geographically confined, and represents only part of mankind, he argued that Eastern psychology forms the indispensable basis for a critique and objective consideration of Western psychology’

Jung, Carl Gustav, and Easterm Religious Traditions, Leon Schlamm

Painting mandalas as part of the individuation process The Collected Works of C.G. Jung: Voume 9, Part 1, C.G. Jung

ottagono venice

The Octagons are born out of conflict

Conflict at the Centre of the World The Ottoman-Venetian Wars 1389 - 1718

Out of a transformation from a quiet refuge, to a trade centre of the world, conflict arose and war broke out. At the start of the fourth OttomanVenetian war, 1570, five fortress islands were commissioned by the Serenissima, the Venetian militar y, to guard the lagoon against invading ships. The fear of further conflict was justified. In 1571, shortly after the commission, the battle of Lepanto took place - the last major engagement in the West to be fought almost entirely at sea.

Battle of Lepanto, Andrea Vicente, 1600

The Five ‘Soldiers’ ottagono venice

Poveglia

Abbandonato

Alberoni

San Pietro

Poveglia Abbandonato Alberoni San Pietro

Ca’Roman

10 m

The Octagon Cosmos

Sacred Geometry

There are a number of reasons why the Octagons are shaped as octagons, beginning with spirituality. During the Quattrocento, geometr y was closely linked with spirituality and symbolism, forming the field of study known as sacred geometr y. The octagon represents the connector between the circle, representing the cosmos and the square, representing the earth the halfway point between the ‘circling of the square’ and the ‘squaring of the circle’.

Human

The Octagon is therefore a metaphor for humans as beings made in the image of God, which can be seen in Da’Vinci’s representation of the Vitruvian Man. However, the octagon was occasionally used as a symbol of infinity, relating to the number 8. 1 The concept of the square attempting to become a circle was also realised in the development of the Hindu vastapurusha mandala, used in the traditional Indian system of architectural design ‘vastu shastra’.

The Octagon in Leonardo’s Drawings, Mark Reynolds

Vitruvian Man

Vastu Purusha Mandala

Earth

building with a central plan, a typology in which the geometric cen coincides with the central balance point of mass…” Leonardo began combine different geometries and multiple models, starting from the co concept of a building composed of a pivotal inner space to which side spac are added radially and symmetrically… He composed variations of ev increasing complexity: from square to circular plans, from polygonal lobed ones. The central-plan concept was thus progressively enriched by t addition of new volumes to the central space… The intersection between t basic circular shape of the dome and other figures (squares, octagons, and on) give rise to a variety of surfaces of cylindrical and spherical derivati Layout [Furnari 1995, 36-7].

The Octagon

Da Vinci’s ‘Squaring of the circle’

Structure

Sacred Architecture in Northern Italy Due to its religious symbolism, the octagon was commonly used as a motif in sacred architecture in northern Italy during the middle ages. Da Vinci often utilized the octagon shape to form structural elements or building plans in sacred architecture.

Fig. 8. Centrally planned church by Leonardo, MS. Ashb. 2037, 5-v; pen, ink, and graphit

The Octagon in Leonardo’s Drawings, Mark Reynolds

MARK A. REYNOLDS – The Octagon in Leonardo’s Architectural Drawings

Semiotics of the Vitruvian city

205

The Octagon The Vitruvian City

The octagonal city proposed by Virtruvius in De Architectura begins with a windrose. Once the directions of the four winds, solanus, auster, favonius and septentrio are established using a ‘gnomon’, an octagonal city is then built around a central point a horizontal marble slate with a bronze gnomon placed in the middle of it. As well as following the direction of the four winds, the octagon is an efficient shape for militar y protection as it allows for easy viewing in all directions of the eight-point compass. There are many interpretations of Vitruvius’ city plan. Galiani’s plan was particularly influential to the project due to the emphasis on the central feature. Figure 2. The eight-part windrose of Vitruvius according to the most ancient extant manu‘The eight-part windrose of ofVitruvius script of his work, Harleianus 2767. Three manuscripts his text include a figure of the eight-part windrose. Ifaccording this figure were from the original text, it would be the only one toderived [...] Harleianus 2767’, extant among his figures (reprinted by permission of the publishers and the Trustees of the 8 Vitruvius: vol. translated Frank Ganger volume 251, translated Loeb Classical Library from Vitruvius: vol. I, Loeb by Classical Library by Frank Granger, Cambridge, MA: Harvard University Press, copyright : 1931 by the President and Fellows of Harvard College. The Loeb Classical Library8 is a registered trademark of the President and Fellows of Harvard College)

The Semiotics of the Vitruvian City, Alexandros PH.Lagopoulos

itants will receive the poisonous exhalations of the beasts of the marsh. Vitruvius continues with the orientation of the walls; he is against orientation towards two of the cardinal directions, south and west, on the grounds that they involve too much heat.8 Alternation of heat and cold damages bodies and inanimate objects. Organisms are constituted, as Vitruvius writes (I.IV: 5–8), by the elements, the ðstoiweĩaÞ of the Greeks, which are heat, humidity (water), earth, and air, and the qualities of living beings are determined, according to their species, by mixtures of these elements naturally proportioned. We , recognize here the Pythagorean principle of isonomia ðisonomíaÞ, that is,

Berardo Galiani’s reconstruction of the Vitruvian City, 1758

The Secret Lives of Poveglia The Trauma Victim

A safe space for refugees

Poveglia is abandoned

Poveglia becomes a soldier

A public health official

While on duty, Poveglia contracts the Black Death

421 AD

1379

1571

1776

1793

Roman refugees from Padua and Este flee to Poveglia and take refuge from the barbarian invasions

During the War of Chioggia, Venice is attacked by the Genoan fleet. Poveglians are relocated to the Giudecca.

An octagonal fortress is added to the island and will bear witness to centuries of war and violence until the end of WWII

Magistrato alla Sanità, public health office, opens a checkpoint for all goods and people entering the lagoon.

Several cases of the bubonic plague on two incoming ships lead to the island becoming a hellish quarantine station, a ‘lazaretto’. 3 to 4 patients lay in each bed. At its worst, 500 die in the Lazaretto ever y day. The ground is filled with the bodies of plague victims.

Purchased by a billionaire

Poveglia grows old and withers away

Poveglia becomes a mad doctor

The rape of Poveglia

2014

1968

1922

1805

In order to reduce debt, Italian government has put the Octagon Islands up for sale. Ottagono poveglia was purchased by Italian billionaire, Luigi Brugnaro, who wished to “do it for Venetians to stop the Arabs or the Chinese from buying it for themselves”. A 99 year lease was purchased for €513,000 (£417,000). A rival offer from a local community group - the Poveglia Association, who wanted the island to remain available to the public. Brugnaro is now Mayor of Venice.

Sometime between 1922 and 1968, the island becomes a care home for the elderly, until it is eventually abandoned in 1968.

A mental asylum is built on the island. Rumours spread that a mad doctor carries out experiments on the patients.

Napoleon conquers the island. Poveglia’s church of San Vitale is burned to the ground and French soldiers use the island as an arms store.

As the keeper of the mentally ill, Poveglia perpetuates the continuous violence, illness and abuse it has witness throughout its lifetime, as if it knows no alternative.

Throughout the period, the island remains a quarantine station.

The Secret Lives of Ottagono Abbandonato The soldier that was left behind

A Roman soldier

Campana the soldier

Campana is abandoned

Abbandonato is claimed by the sea

Roman Venice

1571

1945

Now

A Roman bastion is built on the site and later abandoned.

A fortress island is commissioned by the Serenissima to guard the lagoon. The Ottagono Campana was built and ser ved the Serenissima, the Austrian Empire and then the Italian army until the end of WWII.

At the end of WWII, the island is once again abandoned and renamed â&#x20AC;&#x2DC;Ottagono Abbandonatoâ&#x20AC;&#x2122;, in accordance with its unfortunate fate.

Over time, the abandoned octagon has deteriorated and crumbled. Its remains are swept away by the sea.

The Secret Lives of Ottagono Alberoni The Romantic

Alberoni the soldier

Austrian reinforcements

1571 A fortress island is commissioned by the Serenissima to guard the lagoon. The Ottagono Alberono was built and ser ved the Serenissima, the Austrian Empire and then the Italian army until the end of WWII.

During the reign of the Habsburg Empire over the lagoon, Alberoni and his brother Ottagoni were strengthened.

A princess’ secret paradise

Cleopatra’s lover

Pre-WWII

1938

No longer a soldier, Alberoni is owned by the wealthy Bevilacqua family. There, the Contessa Carolina Dinargole Bevilaqua spends the summers with her two daughter. Within the high walls of the Ottagono, she lazes under fruit trees that have grown on the island while her daughters go swimming with the boys from the Lido.

Visited by British diplomat, Cecil Roberts, Ottagono Alberoni became the ulitmate lover of the young Cleo in Robert’s novel, ‘ The Guests Arrive’. After meeting several love interests of Cleo- Anthony, Tony, and Anton, we are introduced to the island of San Antonio, ‘a round Fort, lying low in the water, grey in colour and not incongruous between the sapphire water and the cerulean sky.’

With the rise of Mussolini at the start of WWII, the Contessa fled to America with her family and ser vants, leaving behind their beloved Ottagono.

(Photograph from The Guests Arrive, by Cecil Roberts)

Brick

Ottagono Alberoni Construction 1:20 Existing Wall Detail

Steel support for roof decking

Plant

Iron bars

Rubble

Istrian Marble

Oysters

ottagono venice

The Sale of Poveglia

In order to reduce debt, Italian government has put the Octagon Islands, along with some other islets of the lagoon, up for sale. Poveglia was purchased by Italian billionaire, Luigi Brugnaro, in 2014. A 99 year lease was purchased for €513,000 (£417,000). A rival offer from a local community group - the Poveglia Association, who wanted the island to remain available to the public. Brugnaro, who had stated a wish to keep the island available to the public has since Mayor of Venice. The island still remains unoccupied. The remaining four islands are still for sale, with most interest coming from wealthy, individuals. In the tale, they were purchased in the same year as Poveglia, by another party, primarily for the use of refugees and the Italian public. The tale ends in 2113 - at the end of the 99 year lease.

And then...

Like magic, Ottagono Alberoni reached up towards the cosmos and connected to the circle in the sky, taking a step closer to his true â&#x20AC;&#x2DC;self â&#x20AC;&#x2122;. Through the lagoon, local islanders would see a the strange object appear and then disappear behind the mist, like a recurring dream. They questioned whether the strange object was even there at all.

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Christoph Büchel Making the refugee crisis visible through fine art

‘Barca Nostra’

‘Verlust der Mitte (Loss of Center)’

At the 2019 Venice Biennale, Christoph Büchel exhibitied a migrant boat which sank in April 2015, with over 700 migrants on board. Barca Nostra, meaning ‘Our Boat’, was considered one of the art world’s biggest controversies, sparking a global debate about the purpose of art

An installation highlighting a sense of emergency in the situation. As part of the installation, a section of Ghent’s City Museum of for Contemporar y Art (SMAK) was temporarily transformed into a shelter for state authorised refugees from Middle Eastern war zones.

Circle Stargazing Deck

The Role of the Alchemist

Refugee Accomodation Viewing Platform

Integrating the shadow through transformation An alchemist transforms matter from one substance to another. Ottagono Alberoni now transforms the minds and lives of those who enter through a dream-like sequence of events that form a phantasmagoria.

Tower Ascent/ Aeolian harp

Octagon Labyrinth/ Mermaidâ&#x20AC;&#x2122;s Lair

Connecting to the Circle Initial Concept Sketch

Cosmos

Human

Earth

Giulio Camillo’s Memory Theatre

‘All human knowledge would have been archived on the different levels of the halfcircle, referring to a projection of the human mind and could have been retrieved through mental associations with images and symbols. Giulio Camillo described his theatre as a mens fenestrata, a “mind endowed with windows”, a structure providing the possibility of looking inside the human mind. He also defined it as a mens artificialis.’ -Mariabruna Fabriz

Echoing the Ideal City

Galianoâ&#x20AC;&#x2122;s Vitruvian City

Circling the Square

Earth

Human

Cosmos

Structural Concept

Circle (Cosmos)

Steel

Tower (Connector)

Steel Structure, Stone Cladding

Octagon (Human)

Stone

The Phantasmagoria of Shadows

Rites of Passage Arnold Von Gennep

Rites of passage mark a transitional stage in a person’s life. As this occurs, the rite may bring together groups in society which are often segregated, such as gender or religion. Typically, a rite of passage contains an element of sacredness. ‘Whoever passes through the various positions of a lifetime one day sees the sacred where before he has seen profane, or vice versa.’ 1

Hercules 12 Labours: Rite of passage used by Jung to symbolise the arduous nature of the individuation process.

Les Rites de Passages, Arnold Von Gennep

The Rite of Nekyia Death and transformation

Odysseusâ&#x20AC;&#x2122; journey through the underworld. Jung used Nekyia as a metaphor for the journey into and through the unconsious mind that a person must take while undergoing individuation.

La Scuarzola Tomaso Buzziâ&#x20AC;&#x2122;s Jungian Utopia

1 The Sirenâ&#x20AC;&#x2122;s Call The Aeolian Harp

When the sirenâ&#x20AC;&#x2122;s call is heard, the listener enters into a new mystical dimension in a trance. The inner work begins.

The Mermaid

The mermaid is a sea creature, half woman, half fish, that lures lost sailors into a trance and eventually their deaths through a song of seduction. Jung uses the mermaid as a shadow aspect of the Anima - the female part of the self. The mermaid represents the seductress an archetype that is often seen as shameful within a patriarchal society.

Ulysses and the Sirens -HJ Draper

The Aeolian Harp

The aeolian harp, played by the northern winds, creates a haunting song that brings listeners into a trance-like state. The siren harp lures those at sea towards the phantasmagoria and their death.

C String

The Mermaid’s song

When the wind blows against each string, a C note sounds. C is the first and last note of the natural diatonic scale that forms the Ionian mode, which Aristophanes associated with ‘the seductive song of prostitutes’ 1.

The Aeolian harp produces sound through the Von Karman Street Effect.

Aeolian Harp - 1:20

2 The Threshold

When the person passes through the threshold, they find themselves in a bright space. They look ahead through a narrow slit in the wall and can see all the way through to the end of the journey. Then they look up, through a glass roof and see the tower, catching a glimpse of the journey to come. They look down and see a stream of water. They follow, as though being lead by the boat man down the river Styx, into the under world.

View of the Journey Ahead

Red Terrazzo Cladding

Two Routes, One Journey

The phantasmagoria has two entrances and two exit. The entrance in the south (red) is for the refugees - the shadows. The entrance from the North East is for visitors from â&#x20AC;&#x2DC;normalâ&#x20AC;&#x2122; society - the personas. The two journeys are intertwined, but are still seperate.

3 The Labyrinth

4 The Clearing

Merging of Eastern & Western Symbolism Red Terrazzo Cladding The flecks of red in the terrazzo cladding indicate that the person has stepped into the under world - the inferno- and has began the process of Nekyia. However, the colour red also represents the root chakra. The Mandala-like pattern created by the rocks at the base of the building, filled with swirling sea water can be interpreted as an energy centre.

Red Terrazzo Cladding

Root Chakra

5 The Ascent

Now begins the laborious and over whelming ascent to the circle. As the person spirals leftwards, the wind blows into the tower and the sound of the harp echoes throughout. A bright temporarily blinds the person as they continue to climb. Occasionally the person spots a shadow on the other staircase. Sometimes the staircases meet and the person comes face-to-face with the shadow. The surrounding web of wires thickens, until all the person can see is the few steps in front of them that spiral off to the left.

Jungian Symbolism The Left-Leaning Spiral as a symbol of the Individuation process

Hanging Model Staircase Precedent

6 Inside the Tower Wall

During the climb, the person comes across a platform that leads into a small hole in the wall. They pass through the thick wall, following the strange noise that is becoming increasingly loud. When they leave the wall, the wind hits them and before them, they see a large wall of red strings vibrating loudly. Looking beyond the strings, they see the world they came from in a different light.

7 Reaching the Circle The Viewing Platform

The journey has been long and hard. Almost ready to give up, the person notices that the space is getting lighter. They look up and notice the bright space above is just a few steps away. When they look back down at the mess of steps, spotlights and wires that they have just come through, they feel queasy, but proud of their achievement. They climb the few more steps and discover a forest of white steel columns in a wide, open space. They walk towards the light and look down on the world they once thought they knew. The sun glitters on the surface of the water. From that position, ever ything seems so small. For a while, they feel a sense of euphoria as they reflect. ‘How can a world so beautiful cause so much pain? Perhaps I imagined it all. Or perhaps I could only be led to this paradise through pain. Was it even worth it?’ Soon, the sense of euphoria begins to wear off. They can’t stay there forever. They turn back towards the core of the space and the realisation sinks in that there is still a way to climb. So they set off once again.

8&9 Meeting the Anima and the Animus Refugee Accomodation After another short climb, the person reaches the accomodation. Here, they would stay for 40 days and 40 nights. Finally, a space to stop and think for more than just a few moments. Here, they will be able to gather their thoughts and contact their loved ones. Although the future is still unknown, it isnâ&#x20AC;&#x2122;t as uncertain. Anima They are first taken to a flat for themselves and their families. The spaces are small and warm, in a way that made the inhabitants feel as though they are being cradledenclosed in the safe and loving womb of their mothers. They miss their mothers, and all the relatives and loved ones they have lost on the perilous journey to this strange place. The person enters the bedroom that looks out towards Venice, in the north. So far removed from society and anyone else, the person breaks down and weeps. In this little bedroom, removed from the world, they no longer need to stay strong. Animus When dinner time comes, the new inhabitants are taken to the canteen. It is still fairly open, but not quite as exposed as the viewing platform was. Walls of delicate steel mesh surround them. Light melts through the walls, creating a warm glow. Looking around, the person saw a man through the delicate wall that looked like an old school teacher. The man is taking part in an exercise class that can be seen from the personâ&#x20AC;&#x2122;s table.

10 Reaching the Cosmos The Observation Deck

One night, the person decides to make the final climb to the obser vation deck and look at the stars. They have been aware of the place, as once a week, during the day, a drone flies over to drop off food and medical supplies from far away places. But the person never felt up to that last climb until now. Many of the inhabitants of that strange little world never make it up the final windy staircase to the top. When the person reaches the top, they come up onto a circlular platform, with white tiles that form a lotus flower of a thousand petals. At the crown of the building, the person is unable to see the land below, so looks up towards the cosmos. Never before has the person felt such a strong sense of connection to something bigger, something sacred.

11 & 12 The Descent + Rebirth The Exit

40 days and 40 nights have passed. The person has had time to recuperate and now looks towards a new life in Europe. They are taken back down through the viewing platform, down the windy staircase, moving rightwards this time. Somehow the person feels as though they are awaking from a deep sleep. They go back through the labyrinth, which seems less daunting this time, and they step off the island. They look back at the tower, having come to terms with their narrative and as they turn towards the new world, they are reborn.

99 years on...

The lease for the islands have come to an end. Brugnaro ceased all efforts towards the island when he became mayor of Venice. Poveglia is under water, alongside many of the islands. The stone octagon has been submerged in water and over time, the mermaids and sea life have crept in and made the octagon their home. They join the wind in song and continue to lure those lost at sea to the island. The people who arrive there now are seeking refuge because storms and floods have claimed their homes. Their boats float to the top of the stone octagon and they make their way through one of the stone arches in the tower. They pass through a thick wall and as they reach the centre of the tower, they look up to see a fearsome web of staircases and wires. The sea continues to mould the earth to her liking and make swirly patterns.

Sea life Reclaims the Octagon

Small slits in the exterior stone wall allow for wild plants to grow roots develop a habitat. The mermaids that inhabit the central space are a metaphor for the local ecology that make up Veniceâ&#x20AC;&#x2122;s material palette.

Bibliography

‘A rchitecture Education Declares’ <https://www.architectureeducationdeclares.com> [accessed 2 April 2020] Arnold van Gennep, The Rites of Passage (Chicago: University of Chicago Press, 1960) Barrie, Thomas, The Sacred In-between: The Mediating Roles of Architecture (London: Routledge, 2010) Beretta, Lorenzo, ‘Vitruvius and New Materiality: Practice and Theor y in the Development of an Architecture of Sound’, Proceedings of Meetings on Acoustics, 14.1 (2011) <https://doi.org/10.1121/1.3673337> Bruno Latour author, Facing Gaia: Eight Lectures on the New Climatic Regime (Cambridge, UK ; Medford, MA: Polity, 2017) Chatelin, Françoise, Qualitative Computing: A Computational Journey Into Nonlinearity (Singapore: World Scientific, 2010) Gottfried Semper, Style in the Technical and Tectonic Arts, or, Practical Aesthetics, Texts & Documents (Los Angeles: Getty Research Institute, 2004) Graham Livesey author, Ecologies of the Early Garden City: Essays on Structure, Agency, and Greenspace (Champaign: Common Ground Research Networks, 2019) Hollis, Edward, The Secret Lives of Buildings: From the Parthenon to the Vegas Strip in Thirteen Stories (London: Portobello, 2009) Isaacson, Walter, ‘ The Inspiration Behind Leonardo Da Vinci’s Vitruvian Man’, Medium, 2017 <https://medium.com/s/leonardo-da-vinci/theinspiration-behind-leonardo-da-vincis-vitruvian-man-974c525495ec> [accessed 13 March 2020] Jung, C. G., Archetypes and the Collective Unconscious, Collected Works of C.G. Jung, Collected Works of C.G. Jung, 2nd edn, 20 vols vols (Princeton: Princeton University Press, 1969), 9/1 <https://null/view/title/507416> [accessed 6 May 2020] Lagopoulos, Alexandros, ‘ The Semiotics of the Vitruvian City’, Semiotica, 2009 (2009), 193–251 <https://doi.org/10.1515/semi.2009.047> Mills, Lydia, ‘Lace Is More: The Value and Benefits of Applying Lace to the Architectural Design Process’ (University of Newcastle-Upon-Tyne, 2016) Pasquarelli, Luca, and Chiara A. Ripamonti, ‘Buzzinda: Walking through an Architectural Metaphor of the Jungian Individuation Process’, Psychological Perspectives, 59.3 (2016), 319–337 <https://doi.org/10.1080/00332925.2016.1202663> Reynolds, Mark, ‘ The Octagon in Leonardo’s Drawings’, Nexus Network Journal, 10.1 (2008), 51–76 <https://doi.org/10.1007/s00004-007-0056-8> Roberts, Cecil, The Guests Arrive (Hodder & Stoughton, 1935) Schlamm, Leon, ‘Jung, Carl Gustav, and Eastern Religious Traditions’, in Encyclopedia of Psychology and Religion, ed. by David A. Leeming (Boston, MA: Springer US, 2014), pp. 956–61 <https://doi.org/10.1007/978-1-4614-6086-2_363> Sciama, Lidia D., A Venetian Island: Environment, Histor y, and Change in Burano (Berghahn Books, 2003) Tung, Anthony M., Preser ving the World’s Great Cities: The Destruction and Renewal of the Historic Metropolis (New York: Clarkson Potter, 2001) Vitruvius Pollio, Vitruvius, On Architecture, Loeb Classical Librar y, 251 (London : Cambridge, Mass, London, : New York,: Heinemann ; Har vard University Press, WHeinemann, ltd; GPPutnam’s sons, 1931) Woods, Lebbeus, ‘War and Architecture’, in Pamphlet Architecture 11-20. (New York: Princeton Architectural Press, 2011)