Machine of Narcissist Voyeurism
A sensual condenser for Auckland’s metropolitan life
The Precinct Tower, View from Customs Street
The Precinct Tower, View from Customs Street
Customs / Queen Street intersection
The Precinct is the apotheosis of architecture as instrument of metropolitan flâneurs. Walter Benjamin’s literary figure of flâneur is redefined in a contemporary city to carry a set of rich association with leisure, pleasure and sensuality. Such a figure has come to be emblematic of urban narcissism and voyeurism. The introduction of a metropolitan flâneur in the Precinct promotes a complete conquest of a tower by social activity. It engages with the way of life, lifestyle modification and sensual inception without pretentious exposition. They become a source of spectacle in the city and consequently the object of voyeuristic gaze. The Precinct is used as a sensual condenser: a machine to generate and intensify desirable forms of human intercourse.
Queen Street overhangs and its mirroring reflection
Part of the reason why social network services are prevailing is because what we think, is important enough that other people might take time out of their lives to perceive them. This is taking narcissism a lot further than Narcissus ever did. He was self-absorbed that he only ever inflicted it on himself, whereas we, having to express our thoughts, put it somewhere that anyone in the world can read. This also proliferates voyeurism; inadvertently as we read other people’s entries. Metropolitan flâneurs hence are characterised by their trait of narcissist voyeurism. They see but they also want to be seen.
Zurich tower afterhours
As Auckland establishes its image of a vibrant commercial centre, simultaneously grows its number of explicit sexual typologies in the “Heart of the City’. In response to their flagrant appearance and sexual contents, the Precinct suggests an alternative adult playground to their presence. The design presents itself as a classy adult playground – an esoteric milieu occurring within the politics of downtown CBD. The notion of creating spatial poeticism integrates programmatic juxtapositions and sensual encounters. Through the use of narrative delineation, the project argues to establish a new attraction paradigm which lures the flâneurs of the contemporary city.
ily use survey at the Britomart train station has increased more than five folds over the past ten years, expecting a further rise estimated 37,000 commuters per day in 2021. Cruise ship passengers through Queens Wharf have also increased in the mo cent years and is expected to get bigger. “A cruise ship turnaround - during which passengers disembark and embark - can orth US$1-2 million ($1.2-2.4 million) to a local economy, depending on the size of the ship, through re-stocking, hotels and tou ence the city’s waterfront is always a big discussion in the redevelopment plans and as a result of the on-going production, the ere several major changes near the Viaduct basin after Rugby World Cup 2012, for example, the Cloud. Auckland’s waterfro ings both international and local guests to the ‘heart of the city’, where the Britomart train station and Fanshawe and Qu reets meet, bringing in major motorway traffic. From here, city passengers and visitors begin their wander through the ‘C Sails.’ Typical destinations include the Civic centre, Skycity, Auckland Domain, Parnell, Newmarket etc. Through their tri d stay, the functionality of the city as distraction parallels to what happens in Las Vegas’ Strip. As the dispersion of the maj urist attractions gives a set course for the tourists, the urban space to and from the arrival point becomes the distractive oa the city. Entertainment and accommodation give tourists a break from the main show and engender increased concentrati city landmarks. The contextual quality of the waterfront hence arrives to be the starting point of distraction in the cityscap placement in the centre of public transportation - a ‘via’ to city attractions – is also at the beginning of distractive space whi hances this value. The precinct consists of two office blocks – Zurich house and HSBC house - and its footprint is dominat a four storey shopping centre. The phallic towers cast shades over Queen Elizabeth II Square (QEII Square is directly behi e HSBC house), and overwhelm the site with their masculine stands. It is a high density mix-used zone which receives maj affic and pedestrian flows of the city. A major challenge people face is getting to their destinations on foot from the Precin stoms and Quay Streets, with heavy traffic flowing from the motorways, limit pedestrian amenity and crossing points, maki e experience of walking to the city centre and the waterfront difficult. The two-storey-high overhangs - additions above t destrian path along the face of Queen Street – are extremely impractical during wet seasons. It is hard to accept that th ve considered the fact that New Zealand’s rain does not fall (here, the word ‘fall’ does not comply, as fall defines a vertic ovement), instead it hits from all sides. More so, the shopping mall itself is an antithesis of retails in other parts of the c ntre. It is an introvert aggregation of shops, within a fortress-like shell which is entirely covered in advertisements. This is wfully well-kept shopping legacy in this country where this happens all around the suburbs such as Sylvia Park and Albany; severely bigger scale. Considering the ‘profane illumination’ in Auckland’s cityscape, it should be a shame that this is wh uckland has to present to people’s (and visitors’) arrival to the city. The Precinct fails to communicate its identity to people w alk across from Britomart train station and numerous bus stops through which they arrive. The Precinct, in its current conditio a mere volume of distraction that people tend to avoid attending and consider it as a transitional space in their journey d from one destination to another. The shopping mall hardly manages to attract pedestrian flow only for it be a shelter oroughfare between Queen and Albert Streets. The Precinct should rise to become a connective proposition, where it connec e social hubs of the city, as well as being an integral social hub itself. Its geographical position – while on a reclaimed land – h advantageous attribute for it to become a substantial ‘hot spot’ of the city. There is an opportunity to turn the Precinct as arting point of people-focused harbour space. It connects the Wynyard Quarter, the Viaduct basin, Princes and Queens Wharve d all the way to Britomart. Auckland has a strong historical relationship with its surrounding waters. This is always celebrat the suburban beaches. However the city neglects the coastline, perceiving it only as an economic gateway dominated by gorous port. The site should address our incredible coastline and the new development should enable people to engage with t ater’s edge in a city centre. This aim is reinforced by Auckland Council’s Masterplan 2012, which develops Quay Street as a hig ality Harbour Edge space that reunites the city with its waterfront. Auckland Council’s masterplan establishes Quay Street high-quality Harbour Edge space that reunites the city with its waterfront. “Quay Street will become a multi-modal boulevar th the pedestrian space between the red fence and the north side at the water edge referred to as the promenade.”
e to ost be urs. ere ont uay City ips jor asis tion pe. ich ted ind jor nct. ing the hey cal city an at hat who on, to red cts has sa es, ted ya the ghas rd,
an estimated 37,000 commuters per day in 2021. Cruise ship passengers through Queens Wharf have also increased in the m ecent years and is expected to get bigger. “A cruise ship turnaround - during which passengers disembark and embark - can worth US$1-2 million ($1.2-2.4 million) to a local economy, depending on the size of the ship, through re-stocking, hotels and to Hence the city’s waterfront is always a big discussion in the redevelopment plans and as a result of the on-going production, th were several major changes near the Viaduct basin after Rugby World Cup 2012, for example, the Cloud. Auckland’s waterf brings both international and local guests to the ‘heart of the city’, where the Britomart train station and Fanshawe and Q Streets meet, bringing in major motorway traffic. From here, city passengers and visitors begin their wander through the ‘Cit Sails.’ Typical destinations include the Civic centre, Skycity, Auckland Domain, Parnell, Newmarket etc. Through their trips tay, the functionality of the city as distraction parallels to what happens in Las Vegas’ Strip. As the dispersion of the major tou attractions gives a set course for the tourists, the urban space to and from the arrival point becomes the distractive oasis in city. entertainment and accommodation give tourists a break from the main show and engender increased concentration city landmarks. The contextual quality of the waterfront hence arrives to be the starting point of distraction in the cityscape placement in the centre of public transportation - a ‘via’ to city attractions – is also at the beginning of distractive space w enhances this value. The precinct consists of two office blocks – Zurich house and HSBC house - and its footprint is dominated our storey shopping centre. The phallic towers cast shades over Queen Elizabeth II Square (QEII Square is directly behind the H house), and overwhelm the site with their masculine stands. It is a high density mix-used zone which receives major traffic pedestrian flows of the city. A major challenge people face is getting to their destinations on foot from the Precinct. Customs Quay Streets, with heavy traffic flowing from the motorways, limit pedestrian amenity and crossing points, making the experie of walking to the city centre and the waterfront difficult. The two-storey-high overhangs - additions above the pedestrian path al he face of Queen Street – are extremely impractical during wet seasons. It is hard to accept that they have considered the hat New Zealand’s rain does not fall (here, the word ‘fall’ does not comply, as fall defines a vertical movement), instead it hits f all sides. More so, the shopping mall itself is an antithesis of retails in other parts of the city centre. It is an introvert aggrega of shops, within a fortress-like shell which is entirely covered in advertisements. This is an awfully well-kept shopping legacy in country where this happens all around the suburbs such as Sylvia Park and Albany; at a severely bigger scale. Considering profane illumination’ in Auckland’s cityscape, it should be a shame that this is what Auckland has to present to people’s ( visitors’) arrival to the city. The Precinct fails to communicate its identity to people who walk across from Britomart train station numerous bus stops through which they arrive. The Precinct, in its current condition, is a mere volume of distraction that pe end to avoid attending and consider it as a transitional space in their journey to and from one destination to another. The shopp mall hardly manages to attract pedestrian flow only for it be a sheltered thoroughfare between Queen and Albert Streets. Precinct should rise to become a connective proposition, where it connects the social hubs of the city, as well as being an inte ocial hub itself. Its geographical position – while on a reclaimed land – has an advantageous attribute for it to become a substan hot spot’ of the city. There is an opportunity to turn the Precinct as a starting point of people-focused harbour space. It conn he Wynyard Quarter, the Viaduct basin, Princes and Queens Wharves, and all the way to Britomart. Auckland has a str historical relationship with its surrounding waters. This is always celebrated in the suburban beaches. However the city neglects coastline, perceiving it only as an economic gateway dominated by a vigorous port. The site should address our incredible coast and the new development should enable people to engage with the water’s edge in a city centre. This aim is reinforced by Auckl Council’s masterplan establishes Quay Street as a high-quality Harbour Edge space that reunites the city with its waterfront. “Q Street will become a multi-modal boulevard, with the pedestrian space between the red fence and the north side at the water e eferred to as the promenade.” Such an urban fabric requires more than a simple upgrade; it should activate adjoining sites paces, and offer pleasant waterfront and city centre experiences. With slowed vehicle speeds and improved streetscape of Quay Street, the Precinct takes an advantage of the enhanced environment. The Precinct should generate a mixed-used destina
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DRESSROOM 01
First-floor plan (scale 1/2000), Section (scale 1/2000)
The stairs of the dressroom are risen two floors above the street into a room that overlooks at its guests. Photos stream on the walls, nude mannequins, posing models concurrently activate the landscape. The showcases are just another exhibition in the splender of the kaleidoscopic interior.
Dressroom - West section - Albert Street (Scale 1/200)
Opposite and this page: Model (Scale 1/200) Left: View of the Dressroom from Quay/Albert Street corner Right: View from Albert Street Showcase stairs on ground floor to first, VIP room in the background
DRESSROOM
PISTON 02
Third-floor plan (scale 1/2000), Section (scale 1/2000)
Through a narrow ramp which wraps into a tall tube he is staged, his gown is risen from below. Reflections, shattering of light, dustless sufaces - an ideal inspection for his upgrade.
Piston - West section - Albert Street (Scale 1/200)
SANITARIUM 03
Second-floor plan (scale 1/2000), Section (scale 1/2000)
To be released into a softly lit, lightly scented atrium, adorned with a green nave, the fl창neur has no specific relationship with any individual, yet he establishes a temporary, yet deeply empathetic and intimate relationship with all that he sees
Sanitarium - West section - Albert Street (Scale 1/200)
Opposite and this page: Model (Scale 1/200) Left: View of Sanctuary from Piston Lounge Right: View of the pool in Sanctuary The pool recedes down towards the harbour, with its guest unable to notice the gaze from above
PISTON / SANCTUARY
FLÂNEUR’S BRIDGE 04
Second-floor plan (scale 1/2000), Section (scale 1/2000)
The bridge proceeds toward the sea as the harbour light falls on its porcelain tiles. The bodies remain primitive, and exposed to the public. The bridge gives them an illusion of beauty and wonder
Flaneur’s Bridge - West section - Albert Street (Scale 1/200)
Opposite and this page: Model (Scale 1/200) Left: View of the lap pool from Flaneur’s Bridge Right: Equivalent encounter at dusk The multiplicities of sectional components evoke social encounters. Narcissists perform, Voyeurs watch. They often become one another.
FLANEUR’S BRIDGE
Opposite and this page: Model (Scale 1/200) Left: Flaneur’s Bridge over Sanctuary garden Right: View over his shoulder Panoptic Voyeur - takes in all parts in a single view, embracing the entire space. At the same time, he is staged on the bridge, also performing his role in the encounter.
FLANEUR’S BRIDGE / SANCTUARY
PROMISCUOUS BATH 05
Second-floor plan (scale 1/2000), Section (scale 1/2000)
In the middle of the spa, an endless intertwine of tropical flora impedes the view to the other side. Occasional movements cast nude-coloured silhouettes on the leaves, and the hints of flesh penetrates through weaved holes of mangrove roots. It is a view of a predator, watching low behind its shrub.
Promiscuous Bath - West section - Albert Street (Scale 1/200)
Opposite and this page: Model (Scale 1/200) Left: View of the Promiscuous Bath’s changing area Right: View of the bath The spaces are divided, but they cross-over. They become fields, fields of events, where one another speaks to each other.
PROMISCUOUS BATH
DEGUSTATION BAR 06
Basement-floor plan (scale 1/2000), Section (scale 1/2000)
They arrive amidst the smoky waters, windows were high up and austere light shone strangely inside. Her satin robe sled down past her bust as she entered the shower, And she hid behind thin bamboo strips, a reminiscence of Hiroshige’s paintings
Degustation Bar - West section - Albert Street (Scale 1/200)
ATHLETE CLUB 07
Sixteenth-floor plan (scale 1/2000), Section (scale 1/2000)
Lit with red vehicle light, it reveals the contours of t(he)ir physiques more explicitly. The club is filled with a strong scent of cologne masking the stale smell of sweat. Behind the statuesque bodies and their vascularity, are blood stains and old ripped Arnold poster.
Athlete Club - West section - Albert Street (Scale 1/200)
PHYSIOGNOMY 08
Tenth-floor plan (scale 1/2000), Section (scale 1/2000)
Although most individuals have some narcissistic traits, the guests of the hippodrome manifest themselves as a pathological form of narcissistic personality disorder. The tower is used as a sensual condenser: a machine to generate and intensify desirable forms of human intercourse.
Physiognomy - West section - Albert Street (Scale 1/200)
A VOYEURISTIC JOURNEY
19.00pm (GMT + 12 :00) 04 Sep 2024, Dressroom, strolling
19.30pm (GMT + 12:00) 04 Sep 2024, Piston, gearing up
Walter Benjamin posits in his description of the flâneur that “Empathy is the nature of the intoxication to which the flâneur abandons himself in the crowd. He . . . enjoys the incomparable privilege of being him he wanders through a wonderland of his own construction, imposing himself upon a shop window here, a vagrant here, and an advertisement here. He flows like thought through his physical su
A VOYEURISTIC JOURNEY
20.30pm (GMT + 12:00) 04 Sep 2024, Sanitarium, voyeur
20.45pm (GMT + 12:00) 04 Sep 2024, Flaneur’s Bridge, inspection
mself and someone else as he sees fit. Like a roving soul in search of a body, he enters another person whenever he wishes” In this way the flâneur parasite, dragging the crowd for intellectual food. In so doing, urroundings, walking in a meditative trance, gazing into the passing scene as others have gazed into campfires, yet “remaining alert and vigilant” all the while. - Heather Marcelle Crickenberger
A VOYEURISTIC JOURNEY
22.00pm (GMT + 12:00) 04 Sep 2024, Promiscuous Bath, decision
23.00pm (GMT + 12:00) 04 Sep 2024, Degustation Bar, wonder
He is able to stroll at leisure; one might even go to the extreme of allowing a pet turtle to set his pace, observing the people, the building facades, the objects for sale-entertaining and enriching his mi According to Benjamin, the flâneur disappeared as the commercial world slowly deserted the interior-exteriors of arcades for the carpeted, artificially lit department stores that were to replace them: “If in th
A VOYEURISTIC JOURNEY
09.00am (GMT + 12:00) 05 Sep 2024, Athlete Club, mediate
12.00pm (GMT + 12:00) 05 Sep 2024, Physiognomy, intensify
ind with the secret language of the city. The flâneur is completely at home in this cross between interior and exterior worlds because his own personal interior-exterior boundaries are also ambiguous: he beginning the street had become an intérieur for him, now this intérieur turned into a street, and he roamed though the labyrinth of merchandise as he had once roamed though the labyrinth of the city”
The Precinct Lower Levels, Model (Scale 1/200) View from Albert/Quay Street Corner
UNDER-CONNECTION
Basement floor plan (Scale 1/1000) 01 Degustation Bar 02 Mediating Garden 03 Retail 04 HSBC core 05 Grand staircase 06 Retail 07 Zurich core 08 Britomart underpass 09 Train Station
The Precinct, and its new connection to adjacent city blocks, provide an increased pedestrian flow to the CRL’s underpass. Here, the Precinct provides an alternative journey to the commuters of the city. Hard shell with soft meat - it is a sensation after a full day of work.
INTER-CONNECTION
Ground floor plan (Scale 1/1000) 01 Dressroom 02 Quay/Custom Street Access - Little Queen Street 03 HSBC core/Retail 04 Albert/Queen Street Access - Te Ara Ahuhu 05 Bus Interchange 06 Tower lobby 07 Tower core 08 Zurich core/Retail 09 Public space
The floor contributes to the urbanity of Auckland. It reclaims the once lost Te Ara Tahuhu and Little Queen Street. Along these refurbished walking streets, the Precinct becomes a sensual playground which deliberates exposure and intimacy.
INTRA-CONNECTION
Mezzanine/First floor plan (Scale 1/1000) 01 Skybridge 02 Dressroom VIP 03 Dressroom 04 HSBC core/Retail 05 Cafe 06 Tower core 07 Zurich core/Reatil 08 Customs Street level entrance 09 Glass atrium entrance 10 Cantilever Mass
The mezzanine is a perfect ground for flaneurs, voyeurs and narcissists. It becomes viewing platforms, stages, runways, red carpets, naves, procession paths.
Custom Street Entrace Model (Scale 1/200) Customs - Quay Street axis : Little Queen Street Circulation + Mezzanine + CRL Platform entrance
Albert Street Entrance Model (Scale 1/200) Albert + Queen Street axis : Te Ara Ahuu Circulation + Mezzanine + Flaneur’s Bridge
ADULT PLAYGROUND
Second floor plan (Scale 1/1000) 01 Sanctuary 02 Terrace Pool 03 Cafe 04 HSBC core/shared office 05 Restaurant 06 Flaneur’s Bridge 07 Promiscuous Bath 08 Gymnasium 09 Zurich core/Athlete Club 10 Squash courts
Programmatic jusxtaposition, especially in the Western block of the Precinct invoke sensual encounters. These juxtapositions are eminent of narcissist voyeurism. Baths over a tower lobby, lap-pool above a public atrium, a terrace pool placed on top of high-end fashion store.
ADULT PLAYGROUND
Third floor plan (Scale 1/1000) 01 Tailor’s workspace 02 Piston 03 Waiting terrace 04 HSBC core/Conference lobby 05 Flaneur’s Bridge 06 Auditorium A 07 Auditorium B 08 Terrace 09 Changing 10 Reception 11 Zurich core/shared office
The Precinct juxtaposes itself in the city. Its relationship with the two existing towers and the new Precinct tower blurs the boundaries of programmatic isolation in the city.
METROPOLITAN MACHINE
04
05
06
Skylobby floor plan (Scale 1/1000) 01 Garden 02 Skylobby 03 Atrium 04 Hotel 05 Physiognomy 06 CRL tunnel
Hence the machine of narcissist voyeurism becomes a sensual condenser for Auckland’s metropolitan life. It continuously challenges our flaneurs’ leisure, pleasure and sensuality. The contemporary flaneurs desire for more and demands for the best.
ELEVATION
East Elevation (Scale 1/1200)
South Elevation (1/1200)
The fl창neur is the link between routine perambulation, in which a person is only half-awake, making his way from point A to point B, and the moments of chiasmic epiphany. He is
ELEVATION
West Elevation (1/1200)
North Elevation (1/1200)
s acutely aware, a potent intellectual force of keen observation--a detective without a lead. If he were cast a character in the “drama of the world,� he would be its consciousness.
TOWER AXONOMETRY
TOWER AXONOMETRY
PUBLIC
PRIVATE
Red - Schematic Modelling Black - Programmatic Section Foreground Section moments / Background Programme Distribution
The Precinct - View from Princes Wharf
Glossary distraction- zerstruung an evenly distributed attention; it means both to turn away from a certain activity or attentive focus, and to in its place focus on something else... ...would distraction help direct where focus could to go in a hyperactive environment; degustation- dégustation a careful, appreciative tasting of various social encounters- sampling all the sense consisting of eight or more courses; flâneur (flanœʀ) - a metropolitan life; who strolls in the Precinct. Observing, studying, encountering others with a trait of either or both of a voyeur or a narcissist; flânerie (flân|erie)- aimless idle behaviour drived by their traits; narcissist (nɑːsɪsɪst)- a flaneur who gains pleasure from expressing themselves, especially in their metropolitan life, how they would improve, how they would surpass, and supersede others; voyeur (voy¦eur)- a flaneur who gains pleasure from watching others, especially engaged in a metropolitan background; physiognomy (ˌfɪzɪˈɒ(g)nəmi)- facial features of a plastic culture, and its supposed art of judging character from facial features; piston (ˈpɪst(ə)n)- a cylinder fitting tight in a tube which moves in and out, an engine which derives motion of flanerie, an essential instrument for flaneurs; promiscuous (prə-mĭs′kyoo̅ -̅ əs)- having or characterized by many transient sexual relationships;
Reference Andersen, Hans C. 2005. “The Emperor’s New Clothes.” “The Nightingale.” “The Snow Queen.” In Fairy Tales. Translated by Tiina Nunnally, edited by Jackie Wullschlager, 91. New York: Viking Penguin. Auckland Council. 2012. “Harbour Edge Stitch: Uniting the Waterfront with the City Centre.” In City Centre Masterplan 2012, 78. Auckland: Auckland Council`. Benjamin, Walter. 1999. Arcades Project. Translated by Howard Eiland and Kevin McLaughlin, edited by Rolf Tiedemann. Cambridge, Mass: Belknap Press. Cixous, Helene. 2003. The Helene Cixous Reader, edited by Susan Sellers Routledge. Colomina, Beatriz. 1988. Architetureproduction, edited by Joan Ockman. New York: Princeton Architectural Press. Gibson, Anne. “Precinct Properties Unveils Profit Lift Waterfront Plan.” The New Zealand Herald., last modified February 18, accessed March 6, 2014, http://www.nzherald.co.nz/business/news/article.cfm?c_id=3&objectid=11204704. Gibson, Anne and Dougan, Patrice. “Plan to Demolish Shopping Centre for Central Rail Link.” The New Zealand Herald., last modified July 8, accessed March 6, 2014, http://www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objectid=10895447. Grillner, Katja. 2005. “In the Corner of Perception - Spatial Experience in Distraction.” Architectural Research Quartely (3-4): 245-254. Hadid, Zaha. 2001. CAC : Contemporary Art Center, Zaha Hadid Studio 2000, Yale School of Architecture, edited by Douglas Grieco, Wendy Ing and Nina Rappaport. New York: Monacelli Press. Heidegger, Martin. 1962. Being and Time. Translated by John Macquarrie and Edward Robinson. New York: Harper & Row, Publishers. L, Matt. “Britomart’s Birthday Celebrated with News Part of CRL to Start Early.” transportblog., last modified July 8, accessed March 6, 2014, http://transportblog.co.nz/2013/07/08/britomarts-birthday-celebrated-with-news-part-of-crl-to-start-early/. Latham, Alan. 1999. “The Power of Distraction: Distraction, Tactility, and Habit in the Work of Walter Benjamin.” Environment and Planning D: Society and Space 17: 451-473. Martin, Josh. “US Firm Key to Auckland Project.” stuff.co.nz. Fairfax NZ News, last modified July 11, accessed March 6, 2014, http://www. stuff.co.nz/business/industries/9374327/US-firm-key-to-Auckland-project. Polkinghorne, John. “What is the Employment in the City Centre, Anyway?” transportblog., last modified February 17, accessed March 06, 2014, http://transportblog.co.nz/tag/cbd-rail-tunnel/. Prouty, Richard. “Architecture and Distraction.” One Way Street., last modified October 20, accessed April 2, 2013, http://onewaystreet. typepad.com/one_way_street/2009/10/architecture-and-distraction.html. The Hans Christian Andersen Center. “Hans Christian Andersen: The Snow Queen.” HC Andersen Centre., last modified August 27, accessed March 22, 2014, http://www.andersen.sdu.dk/vaerk/register/info_e.html?vid=68. Van Gerrewey, Christophe. “Architecture of Distraction.” OASE Journal for Architecture. Venturi, Robert, Denise Scott Brown, and Steven Izenour. 1972. Learning from Las Vegas. Cambridge, MA: MIT Press. Vinegar, Aron. 2008. I Am a Monument: On Learning from Las Vegas. Cambridge, MA: MIT Press. Wheeler, Michael. “Martin Heidegger.” Stanford Encyclopedia of Philosopy., last modified October 12, accessed March 28, 2013, http:// plato.stanford.edu/entries/heidegger/. Acknowledgement - Jinny H. J. Park, Jason J. S. Jung; H.J. (E) Cho; Eric I. H. Seo; Daniel J. I. Gu; Ohm Y. Sakultham
Comment It is much harder for man to let the other come through him. Writing is the passageway, the entrance, the exit, the dwelling place of the other in me- the other that I am and am not. I don’t know how to be, but that I feel passing, that makes me live- that tears me apart, disturbs me, changes me, who? - a feminine one, a masculine one, some?1 Narrative delineation has developed as part of the technology and instrumentation of architectural design and research. It is in resemblance to Le Corbusier’s identification in the very existence of printed media and Heiedgger’s notion of digital age’s symbolic concept.2 Beatriz Colomina in architectureproduction holds a similar position when she talks about architecture as an interpretative, critical act.3 Visual drafts can often mislead clients with their uncertain fidelity to the final product, hardly harnessing the visceral information which could be conveyed through text. Literary explorations have taken prestigious position as to successfully deliver messages in the stages of conceptualization and speculation. The studio has proven that the ambiguity of textual information engenders ambivalence in the development of the design. The variety of interpretation - elicited from the literary forms - may take disconnected manifestation in a refined stage. Heidegger poses a similar position when he defines that language depicts “the nature of a thing, provided that [we] respect language’s own nature... ...man acts as though he were the shaper and master of language, while in fact language remains the master of man.”4 At the same time however, it provides great potential for the design to be examined with. It is essential to decisively edit, and proceed to push the design forward. It is inextricable that the fascination of writing can beleaguer the deisgn at its early stage. Therefore, writing should take a parallel role; to constantly evaluate and develop theoretical solutions to the body of work.
Helene Cixous, The Helene Cixous Reader, edited by Susan Sellers (Routledge, 2003), 42. Beatriz Colomina, Architetureproduction, edited by Joan Ockman. (New York: Princeton Architectural Press, 1988), pp. 66. 3 Ibid, 84. 4 Martin Heidegger, ‘Building Dwelling Thinking’, in Poetry, Languages, Thought, translated by Albert Hofstadter (New York: HarperCollins, 2001), pp. 144. 1 2
Sean Ki Beom Park
Machine of Narcissist Voyeurism A sensual condenser for Auckland’s metropolitan life