everyday
and
eternal
designing enduring architecture with recurrent collage operations
polly
smith
everyday
and
eternal
designing enduring architecture with recurrent collage operations
advised
by
polly smith peter waldman
table
of
contents
introduction
7
Thesis Statement Diagram Framework
part 1: deconstruction and reuse
15
The Condition Benefits Terms Turning Difficulties into Benefits Case Studies
53
part 2: change is good
Educational Environments Material Longevity
part 3: assemblage & architecture
Collage: A Brief History Collage as Architecture, or Architecture as Collage Flattening Multiple Meanings
part 4: collage: a process for reuse
113
Giving Purpose to Found Fragments Added Value
123
part 5: enduring architecture
63
Expressing Past, Present, and Future An Expanded Sense of Time
part 6: testing ground
141
reference Notes
149
Bibliography
table
of
contents
Terrazzo floowing, Palladian Villa
6
thesis
statement
This project looks to collage as a design methodology for reassembling previously used building materials as found objects. Building resources are being depleted from their natural sources and material production continues to rise; in order to conserve the environment and energy outputs, we must deconstruct buildings which can no longer be used or adapted in place, thus gathering materials to be reused for new construction. Designing with collage operations adds meaning, links materials to a larger history and culture, and creates an enduring architecture; buildings become an assemblage of unaltered, everyday objects that maintain embodied energy and illustrate an expanded sense of time.
research
guides
How can collage techniques integrate used materials into architectural design?
Can this practice be transformed into a purposeful, community based enterprise, reusing building matter and renewable resources found on or near building sites?
What are the limits on reusing the very elements from previous construction, ideally unaltered so as to maintain embodied energy?
How can we reuse materials and manage resources to anticipate architectural endurance?
thesis
statement
7
reusing the building intact or in place is not an option availability of materials materials to retain their embodied energy structural or even cultural value and can be reused in an unaltered state to avoid a loss of this inherent potential. 75% less co2 emissions
DIFFICULTIES:
BECOME
economy
$$$ logistics
WH
Yd
eco
nst
BENEFITS:
ruc
economy new subtraction industry new labor force logistics online materials marketplace
e? lag
ol Yc
WH emphasizes process adds meaning and value to found objects links abstract ideas with the physical environment on the threshold of 2 & 3 dimensions finds opportunity in waste connects throwaways with architectural production aesthetic of acceptance additive techniques are open to possibility
8
t?
ruc
THE CONDITION:
building resources are becoming scarce at their natural place of origin and accumulating within buildings.
THE OPPORTUNITY:
mine the city itself through DECONSTRUCTION of buildings slated for demolition.
t?
THE PROCESS:
reuse materials with
COLLAGE principles of
ASSEMBLAGE.
phenomenal transparency figure-ground reversal
?
dualities & ambiguities multiplicity of meaning
THE PRODUCT:
architecture is linked to a broader history and culture, e mphasizing
ENDURANCE of
building matter
environmental conservation sense of time expanded material illustrates time unique moment + existing system diagram
9
Lake Martin, 2008, oil on canvas
10
framework I come to this thesis subject with an interest in material assemblages, which can be traced through former projects- as an artist my paintings bring a familiarity and foundation; as an architecture student I have designed building assemblies as collage onto existing cultural and material frameworks; and as a traveler I completed a research project on reading architecture in Rome, where I witnessed a reuse of building materials over thousands of years. There is a temporal process in making, in painting, building, and contextual interventions, which suggests a mode of assembly over a long time. This act of putting things together can be called collage.
framework
11
Culinary Institute, 2012 Via dei Fori Imperiali, Rome, 2013, pencil drawing and crayon rubbing of Colosseum brick
12
13
14
part
1:
deconstruction
and
reuse
“In the transformation of material from the earth’s crust to the urban system the material is not lost, but often out of account. Urban mining is not a surrogate for waste management but a new envelope for wellknown contents.” Peter Baccini and Paul H. Brunner, Metabolism of the Anthroposphere
deconstruction
and
reuse
1
15
60% of the materials flow in the us economy is consumed by the construction industry (excluding food and fuel), according to the US Geological Survey
40% of material going to landfills comes from the construction industry. 92% of building related debris results from renovation and demolition deconstruction rather than demolition reduces 75% of co2 emissions4
16
the condition: natural resources are being depleted; buildings contain resources finite resources are being depleted The modern construction industry uses an enormous amount of material, and in the United States and most developed countries it has largely relied on material production by way of gathering and refining natural resources. It is now evident that finite natural resources (minerals and fossil fuels) are being depleted at a faster rate than regeneration and the long-term consequences of building in this manner greatly contribute to environmental degradation. Air pollution has increased due to manufacturing processes and transportation emissions. The natural landscape has been degraded by quarries and mining, loss of woodland, and landfill sites.
1990’s british construction industry: - used over 250 million tons of crushed rock and gravel, 3.5 million tons of metals, .5 million tons of polymers, and nearly 4 million cubic meters of timber. - 10 million tons of post-industrial waste were generated - 30 million tons of materials were generated from demolition - 3.5 billion new bricks were used each year; 2.5 billion bricks were in demolished buildings; of these only 140 million were salvaged and resued, the rest went to landfills.2
call to eliminate waste According to the Hannover Principles established in 1992 by William McDonough and others, nature and humanity are interdependent, and designers have a responsibility to acknowledge the consequences of the waste-producing methods that are largely in place. Efforts should be taken to “eliminate the concept of waste.�3 Building with reused materials is one way to reduce material flow and debris and move towards a closed-loop system.
deconstruction
and
reuse
17
Salvagewrights, Orange, VA
18
metabolism of the built environment Peter Baccini and Paul H. Brunner first wrote about a metabolic understanding of the built environment in their 1991 book, Metabolism of the Anthroposphere. The second edition, published in 2012, expands on the understanding of the human sphere as a growing entity. The anthroposphere is the part of the enivroment that is made or modified by humans for use in human activities.The entire built environment is composed of material, and this stock is rising as more and more materials are bing produced. “For future stock reuse (‘urban mining’), exploration methods to identify location and amount of materials in urban stocks are required, and design criteria allowing efficient stock reuse as well as control of substance flows to the environment have to be developed.” Urban mining is “the exploration and exploitation of material stocks in urban systems for anthropogenic activities.”7
deconstruction
and
reuse
19
Vacant rowhouses in Philadelphia
20
mine the city Building materials have accumulated within buildings while being exhausted at the sites of their natural origins. According to Andreas and Ilka Ruby, “As mines become increasingly empty, our buildings become mines themselves. We can no longer consider our built environment as a final storage site for the materials it contains. Rather we should learn to see buildings as interim storage, a transitory organization of matter that could also be redeployed elsewhere, in different ways, and for other uses. The city thus becomes an integrated mine for its own reproduction.” For example, there is more copper in buildings today than in the earth. Buildings are tied to financial markets and thus affected by depreciation and real estate economies. However, the material value making up these buildings remains the same- a heavy timber beam still has the capacity to carry load regardless of how much its building container (and land plot) is worth monetarily.5 Unbuilding can yield higher-quality materials than materials produced new today. Much salvaged lumber is old-growth harvest, which was grown slower than today’s lumber supplies and in turn has higher density and fewer defects than most newly produced lumber. “In old factories, silos, and water tanks you can find high-quality heart pine, redwood, and fir timbers; in old barns, pine, chestnut, and oak; and in older school bleachers and benches, quality maple and fir... High-quality wood can also be found in the millions of older homes across [the United States]. In nearly every community, wood flooring, windows, doors, cabinets, and lumber can be salvaged. And if you keep your eyes open, high-quality architectural materials, including hardware, period lighting, elaborate bracketry, and trim, are also readily available.”6 There is a ‘teardown epidemic’ in the United States, as many smaller homes are being bulldozed and sent to landfills to make space for newly constructed luxury homes. Entire neighborhoods of houses have been demolished in Denver and Dallas, just an example of the growing pattern of housing stock demolition. According to the National Trust for Historic Preservation, more than 100 communities in 20 states are experiencing significant numbers of teardowns. Reuse of materials can help avoid sending all of this material to the landfill, as well as maintain some of the cultural value of historic elements.7
deconstruction
and
reuse
21
Kiel Moe’s comparative energy analysis
22
benefits of reclamation & reuse Reclamation and reuse of materials in building construction is a growing industry because of its environmental and project-related benefits. Environmentally, reusing materials reduces society’s impact on the world we live in. Materials are not taken from their natural sources, and eliminating material production reduces emissions and energy outputs. Together these factors reduce the environmental impact of building construction. In terms of energy conservation, all materials have an embodied energy, that is the sum of all the energy required to produce it. Embodied energy includes raw material extraction, transport, manufacture, assembly, installation, decomposition, as well as human labor, processing emissions, etc. Materials already in buildings have embodied energy, and if we reuse these materials without altering them, we are maintaining the embodied energy. No further energy is being put into producing the material, no further raw materials are being extracted. According to Kiel Moe, “matter is but captured energy.” Energy becomes matter, matter becomes materials, and materials become buildings. Moe promotes convergence and solidarity, mutually beneficial bonds between design, buildings, people, construction, material, and industry. Architectural design can “purposefully create robust and vital feedback loops between these relationships.”8 It is worth investing in high-quality, literally solid building materials, because their life span makes up for high embodied energy. For example, the Pons Fabricus, a brick, tufa, and travertine bridge in Rome has an embodied energy that is six times higher than a contemporary steel and concrete bridge of similar span. However, the life span of the Pons Fabricus, due to its mass and long-term durability, makes it an energetic system that stores energy in multiple ways. The long-term energy comparison reveals that the Pons Fabricus is five times more energy efficient than the steel and concrete bridge over its lifetime.
deconstruction
and
reuse
23
Lumber at Salvagewrights in Orange, VA
24
Such examples reveal the immense embodied energy in the very materials we already have. Instead of saying, “they just don’t make them like that anymore,” let us locate quality materials in buildings and reuse them to their fullest capacities. Building with reused materials brings benefits to a project, including reduced cost, planning permissions, LEED certifications, and ‘green’ associations. It also allows for the implementation of collage as a design process, which I will later argue benefits projects by adding references to culture and time.9 This is a wide interdisciplinary topic, involving engineering, economics, and architecture. There are many issues and emerging possibilities to reduce waste that are outside of the scope of this project. I have aimed to understand more deeply the acts of deconstructing buildings and reusing those materials in a largely unaltered state.
deconstruction
and
reuse
25
Deconstruction causes less damage to materials than demolition.
26
terms: a case for deconstruction and reuse deconstruction and unbuilding refer to the dismantling of a building in order to salvage its parts. demolition is a destructive process that damages the building components to the point where they cannot be reused. It can include the use of explosives, or simply lack of care to maintaining the integrity of materials. Deconstruction allows buildings to be taken down without as much noise, dust, and damage to nearby soils, plants and buildings as demolition.10
recycling: indirect/ reuse: direct- use in conjunction In the industry, recycling refers to indirect reuse of material, reprocessed at plants and greatly altered in state before being reused. This includes the breaking down and reshaping of metals, plastics, cardboards, etc. Structural concrete is effectively recycled into aggregate. There is much scientific advancement in this field which allows for innovative re-use of matter. While recycling, as a fundamentally altering process, has many benefits and is the only way to reuse some products, there is an abundance of materials that can be reused without being drastically altered. Recycling is certainly a preferable alternative to matter ending up in landfills, but it may not be the best reuse of all materials.11
reuse focuses on maintaining the materials in their original form. Reuse may include some cleaning, removal or replacement of a part, but the component remains largely unaltered. The intent is to move the salvaged objects directly back into new construction or renovation, either for the same or a new use. Some elements appropriate for reuse include: wood framing, stone, bolted steel, countertops, doors, and flooring.12
deconstruction
and
reuse
27
St. Peter’s Basilica steps constructed from Colosseum Travertine.
28
Much material that could be reused in its current state is being recycled; this eliminates the embodied energy of those materials, and requires additional processing energy. A shift from recycling to reuse would reduce the reprocessing involved and lead to energy savings and fewer emissions. For example, 90% of steel and aluminum is recycled, that is returned to the processing plant where they are with virgin metal. About 10% is reclaimed and reused. While this is definitely preferable to metals going to landfills, much metal, such as structural steel with bolted connections, can be deconstructed and reused in its current state.13 Of course recycling is an important and necessary part of eliminating waste. This project simply focuses on the possibility of increased reuse without alteration as another path to this shared goal.
nothing new Reclamation and reuse are not new ideas, but since the industrial revolution in the 19th century, these practices have not been the norm in developed countries. Today’s renewed interest comes from necessity for efficiency, and perhaps a return to common sense. From the earliest large-scale construction in ancient Egypt, Greece, and Rome, stones, iron, and marble dressings were salvaged from buildings wrecked by earthquakes, war, or in disrepair, for use on new construction. For example, the current steps of St. Peter’s Basilica in Rome were built in the 4th century from marble taken from the Colosseum, built in 70 AD.14 The manpower required to reuse the materials was much less than the cost of quarrying new stones and hauling them over great distances. Vitruvius, the Roman building engineer, recognized the structural value of previously used architectural elements, writing in the 1st century : “Brick that will not stand exposure on roofs can never be strong enough to carry its load in a wall. Hence the strongest burnt brick walls are those which are constructed out of old roofing tiles.”15
deconstruction
and
reuse
29
Marble has been removed from the Pantheon over thousands of years for use in other Roman building projects 30
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reuse
31
diagrams from addis p. 2022
These diagrams show the process from the views of the salvage industry and the design team and client. 32
how to unbuild Bob Falk and Brad Guy’s book Unbuilding: Salvaging the Architectural Treasures of Unwanted Houses provides information for do-it-yourselfers, builders, architects, and salvagers on manually disassembling wood frame buildings. An unbuilding project needs to be highly planned and organized, with a focus on logistics, labor, and site evaluation. Safety and heath issues should be carefully reviewed and the main priority of the project. Falk and Guy’s book specifically guides its readers through the process, from ‘soft stripping,’ picking the best materials and fixtures, to full deconstruction.16
designing & building with reclaimed materials The reincorporation of once-used materials must consider these criteria: quality, safety, consistency of product and supply, scale, price, aesthetics, functionality, and durability. Reclamation and reuse involve many industries and players, including the waste industry, the demolition contractor, the recycling and manufacturing industry, the salvage industry, and the client and design team. Each entity has a different view of the process and different concerns that impact their profit. For example, the waste industry is concerned with materials separation; the demolition industry is concerned with storage of salvaged materials; the recycling industry is concerned with developing manufacturing processes for recycled materials.17
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reuse
33
Addis p 22
34
turning difficulties into benefits reversability of construction Building with used materials should follow the Design for Disassembly Principles laid out in Architectural Graphic Standards. “DfD in the built environment integrates the life cycle of building systems, components, and materials, and of the entire building, in to the first design. By implementing DfD concepts, the building will both use and be a potential future source of materials, closing the loop on materials flow in the building industry.” This method specifies joints, materials, and structural solutions that enable the building to be taken apart for reuse.18 The German engineer Werner Sobek wrote: “all new construction has to anticipate and enable the possibility of its future disassembly, in order to allow the building to disappear if the reason for its existence has ceased to exist.” To remain reversible, must “use structures that can be disjointed and use materials in such a way that they can be separated from one another to be either reused, recycled, or nontoxically disposed of.” We use many irreversible structural systems and complex composite materials.19
difficulties of reclamation and reuse: economics The main reason reclamation and reuse is not used on a large scale today is that it does not make sense financially. It is usually more expensive to deconstruct and reuse materials than to build new construction with new materials.20 Buildings are attached to unstable, changing real estate markets, so their value inflates and deflates over time. However, the materials they are made of have “lasting and accrued value through use and reuse,” according to Keller Easterling’s chapter “Architecture to Take Away: The Subtraction of Buildings as a New Construction Economy.” We need to detach the materials from the real estate market so that value can be assigned based on quality, not physical location.21
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35
Salvagewrights salvage store in Orange, VA
36
logistics It is challenging to use reclaimed materials because “[new] buildings are made of what is available and competitively bid, based on economics, tested performance of physical properties, and aesthetics.”22 The material harvesting industry is limited by many parameters, including regulatory incentives, equipment, volume, reuse scenarios, and transportation costs. In some parts of the world waste is managed in intelligent material streams. In the US, however, material management efforts are associated with “pious volunteerism and the quixotic virtues of saving or recycling” and are slowed by reform and regulation. Many of these efforts are marginal or tedious, out of the mainstream construction industry.23 The number of architectural salvage firms has steadily grown over the past 50 years, but most operate on a small scale, making it difficult for designers to know what materials are available, and their qualities. These companies stock a wide range of goods, from low-value items like doors, pavers, and lumber, to high-value objects, sought after for their materiality, such as wrought-iron gates, or for their scarcity, such as roof tiles. While salvage yards are a viable option for small scale builders who need just a few objects, it cannot compete with today’s mainstream construction industry. Some of these businesses specialize, providing one species of wood, for example, or barn dismantling and reuse.16 Habitat for Humanity ReStores operate in nearly every state, and obtain like- new materials from donors as well as salvage from deconstruction. Habitat’s volunteers conduct salvage and deconstruction projects.24 The Building Materials ReUse Association (bmra.org) is a non-profit whose mission is to advance the recovery, reuse and recycling of building materials. It provides a directory of salvage businesses, and trains people in deconstruction methods.
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37
SuperUse Studio, Rotterdam
38
solutions: make it work economics This discussion has examined the building construction industry in regard to deconstruction- it may make more sense to consider the emergence of a subtractive construction industry in this scenario. Both sides of the industry must contribute to achieve environmentally conscious construction. As has been demonstrated, there is much unbuilding to do, so the new ‘subtractive’ construction sector has much potential gain. Easterling states, “Building subtraction, as a heavy industry and a design protocol, is an emergent and aggressive enterprise, within which negative development is a lucrative means of mining the city.” The subtraction industry includes demolition and recycling in addition to deconstruction. Most subtractive construction today occurs in the form of demolition rather than unbuilding, which we have also discussed. As our building materials shift from being considered waste to valuable resources, a more sensitive subtraction industry is in demand, necessitating skilled laborers in extraction.25 Companies specializing in sophisticated deconstruction techniques are becoming known. The Japanese construction company Kajima is developing new technologies for deconstruction, including one method in which jacks lower successive floors in multi-story buildings, allowing disassembly world to be performed at the ground level. This method has achieved greater safety, economy, and a 99.4% recycling rate.26 The high cost of labor may be offset by using deconstruction as a training ground for unskilled workers, teaching construction techniques. The Roman example of Colosseum marble used at St. Peter’s was possible because of an abundance of cheap labor and the difficulty of transportation.
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39
Wall slated for destruction in Manresa, Spain
40
logistics “A live marketplace begins to overcome obstacles to profitability in the subtraction industry.”27 Easterling’s solution to help grow the subtraction economy and spread the word about it is an online materials marketplace similar to Ebay or Amazon, but specifically geared towards building material trade. STREAM, Easterling’s name for the marketplace, would be a website to link designers, contractors, and DIY-ers with both small surplus operations and tonnage or volume of material removed in a building subtraction. The mobile app for the site would quickly allow users to locate this alternative harvest in their area on GPS-enabled smart phones.26 One feature on STREAM would be a simple building material calculator that quickly references market values, such as dollars per ton of copper, transportation costs per ton from the supplier’s location. This enables materials to be traded for their determined value, not the cost of disposal. “The seller, who used to pay a material disposal fee for material previously known as waste, can either sell the material or trade its determined value for removal.”27 Each item for sale would have accurate specifications and structural abilities listed. Entrepreneurial small and midsize salvage operators could create their own surplus, and buyers and sellers reputations would be checked by user reviews. As the industry grows and volumes and opportunities compound, the momentum of the subtraction sector would make it able to handle bureaucratic delays and powerful lobbies. “The material mining industry will likely sponsor unforeseen territories of obsessive managing and chiseling, within which buildings, composed of a bar-coded index of materials, become ‘inventory.’”28
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Planet Reuse Online Marketplace
42
case studies: planet reuse Materials managers are currently emerging, but today struggle to be visible or control much volume. PlanetReuse.com is an online materials marketplace which could grow into Easterline’s vision of STREAM; currently in the ‘beta’ phase, it simply does not provide the volume of material to make it the mainstream website necessary to grow the industry. Planet Reuse was named one of The Wall Street Journal’s Top 20 Startups of the Year in 2012, reflecting the need and potential for reused material accessibility. Planet Reuse’s goal is to reduce the 40% of material going to the landfill which comes from the construction industry. The company is marketed towards home renovations, connecting homeowners and contractors with materials available at salvage stores. 78% of home renovations start online, but most reuse stores don’t have an online inventory, so there is a disconnect between the supply and users. They have given QR codes to Habitat for Humanity ReStores, which put a code on every item, scan the item and input information, which is displayed on the Planet Reuse website. Buyers can find what they are looking for, its specifications, and location from their computers or smartphones.29
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HARVESTED MATERIAL MATERIAL
QUANTITY Pre-1960 (1,500 sf)
Hazardous Materials
Post-1960 (2,000 sf)
Asbestos Led Paint
Rubbish Doors and Windows Fixtures
Lighting
HazMat Disposal
Plumbing
TRASH
Appliances Cabinets
Built-ins
Shelving Bookcases
Brass Aluminum
ONE SINGLE-FAMILY HOUSE
TYPICAL RESIDENTIAL CONSTRUCTION
Copper
Metals
Asphalt Shingles
Roofing
1,350 ft2 28 ft3
2,400 ft2 50 ft3
4,500 ft2 281 ft3
8,000 ft2 500 ft3
7,300 board feet 608 ft3
13,000 board feet 1,083 ft3
1,125 ft2 47 ft3
2,000 ft2 83 ft3
4,388 ft2 274 ft3
7,800 ft2 488 ft3
Vinyl
1,462 ft2 61 ft3
2,600 ft2 108 ft3
Brick
90 ft3
160 ft3
731 ft3
1,300 ft3
Wood Shingles Sheet Metal
Insulation Wood Sheathing
2,200 ft3 Plywood OSB
Wood Studs
REUSE
Vinyl
Flooring
Tiles Carpet Wood
Wall Surfaces
Drywall Plaster
Trim/moulding Wood Shingles
Cladding
RECYCLE
Brick Chimney Foundation
Concrete CMU
Hazardous Materials
Asbestos Led Paint
Rubbish Doors and Windows
Fixtures
HazMat Disposal
Lighting
TRASH
Plumbing
Shelving
Brass Aluminum
ONE 80,000 SF BOX STORE
TYPICAL COMMERCIAL CONSTRUCTION
Copper
Metals
Roofing Membrane
80,000 ft2
Roof Decking
5,000 ft3
Insulation
Steel Structure
45,000 ft3
Trusses
15,360 lf
Columns
1,580 lf 85 ft3
REUSE
Steel Studs Drywall Vinyl
Flooring
Tiles
80,000 ft2 3,333 ft3
Carpet
Cladding
Brick EIFS
900 ft2 225 ft3
CMU Walls
33,920 ft3
Concrete
29,400 ft3
RECYCLE
Brown, Kneller, Suau, and Sutton’s project “Deconstructing Danville” explores how harvested materials could be fed into reuse and recycling.
44
TY
TYPES & YIELDS
LANDFILL
END USE
Trash
SALVAGED MATERIALS FOR RESALE
Architectural Finishes
Insulation
Wood Products De-nailing on-site
Scrap Metal
Flooring
Masonry Mortar removal on-site
Cutting
Sorting
PACKAGED FOR CONSUMERS Insulation
PACKAGED FOR MANUFACTURERS
Sifting
Palleting
Cooling
COURSE AGGREGATE
Vibrating Screen
Fine Grinding Separator
Drying
BIOMASS PELLETS 16,910 ft3 per 10 houses
RECYCLED MATERIALS FOR DISTRIBUTION
Shredding/ Compressing Grinding
PACKAGED FOR FOUNDRIES
Jaw Crusher
Concrete/ CMU
PACKAGED FOR CONSUMERS
5,085 ft3 per commercial bldg
Grizzly Feeder
Wood
Sorting (Ferrous /Non-Ferrous)
Metals
Material Input
22,000 ft3 per 10 houses 45,000 ft3 per commercial bldg
Material Input
L
FINE AGGREGATE 18,710 ft3 per 10 houses 63,320 ft3 per commerical bldg Impact Crusher
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45
Gerry Humphreys, Milestone Project Management Inc., La Cuisine, Winnipeg
46
milestone project management, inc. Gerry Humphreys, the owner of Milestone Project Management, Inc. in Winnipeg, Canada, advocates for an open mind toward building with reclaimed deconstructed materials and making substitutive choices over new. The company manages the entire process from deconstruction to storage and modification, to rebuilding. Humphreys presented the following strategy for deconstruction at the Reclaim and Remake Symposium in Washington, DC in April 2013 : “The Strategy that Works for Us: Deconstruction Sequence Step 1. Identify materials with re-use potential The best value for deconstruction and reuse is to have that material replace what otherwise would have to be purchased as new. As an example, if in deconstruction I reclaim a 2 x 10 plank and I can reuse it to replace a 2 x 10 plank, that I otherwise would have to buy new, that is best use, best environmentally and best economically. Step 2. Identify materials not required, find markets So if I take that same 2 x 10 plank but I don’t have use for it on my project and remembering that material holds its most potential in that form, look for another possible market. Can I trade it for something I need, can I sell it to benefit the project, can it be donated to help a another project or…. Step 3. Materials modified in dimension for re-use Using the example of that same 2 x 10 plank, I don’t have use for it in its original dimension and I cannot find another market for it. Can I use it as another function? i.e, can I cut the 2 x 10 down and use it as say 2 x 4 framing and not having to buy that framing as new. Step 4. Materials modified in form for other re-use My same 2 x 10 and I have not found a use in any of the first three steps. Can I change its form? Can I take that 2 x 10 and chip it for its value as a fibrous material and use it for maybe a landscape pathway Step 5. Identify materials for recycling or as unsuitable and destined for landfill”
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47
Gerry Humphreys, Milestone Project Management Inc., La Cuisine, Winnipeg
48
Humphreys continues, “Initially this process looks and feels a bit cumbersome but when you take it from a single item and multiply it in a situation of large volumes of material it makes more sense. So picture these same steps and talk about a building made of thousands of bricks. With a simple mental process and asking yourself a few simple questions it works well; do I need them, if not can someone else use them, or maybe I can use them for something else, or maybe I can use them in some other form like crushed for a sidewalk base and at the end can they be recycled or are they garbage? When deconstruction is not part of the project or not available at the time but there is still a desire to integrate reclaimed material in to the building project then we follow a similar strategy but more of questioning choices based on available reclaimed material: 1. Can we replace a new item with a similar reclaimed item from the marketplace? Say my building drawings ask for a certain sized wood beam to span between two columns. Can I find a similar sized and shaped reclaimed wood beam possibly from another site and that will satisfy the same purpose? 2. Can we replace a new item with an equal but different type material from the marketplace? So my building drawings ask for a certain sized wood beam to span between two columns. Can I find an equivalent beam but say made of steel that will satisfy the same purpose? A lot of the way we think about our industry changes when your mindset has a focus on reuse and reclaim. These same questions can be applied to many of today’s building materials and processes.�30
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49
Gerry Humphreys, Milestone Project Management Inc., Grown Rapids Town Centre and the demolition of the Swan River Hospital
50
Milestone Project Management is an interesting model, and demonstrates how demolition and building with salvage works as an integrated process in today’s market. Humphreys has essentially combined the industries of demolition, reclamation, design, and construction within one company. One of the most powerful aspects of this company is that it teaches atrisk and unemployed populations construction skills through reclaiming materials. They are essentially learning construction by de-constructing, and subsequently enter the labor force, potentially rebuilding with the very materials they deconstructed. This approach could supply a labor force to the growing subtraction industry, and lessen unemployment.
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52
part
2:
change
is
good
The architecture profession is currently mutating from a producer of monuments to a curator of their transformation. Andreas and Ilka Ruby, “Mine the City�
1
53
Peter and Annelise Latz, Hafeninsel (River Island Park), Saarbrucken City Park, Germany, 1985-89.
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educational environments Deconstruction and rebuilding enforces the idea that a changeable environment is a good one. Longevity and new things are mutually reinforcing when placed together. The plurality of old and new creates a rich and complex environment, an awareness of the present time within the context of a broader history. People enjoy familiarity but also a changing environment. Kevin Lynch, in What Time is this Place, explores how our innate sense of time affects the ways we view and change our cities. “We prefer a world that can be modified progressively, against a background of remains, a world in which one can leave a personal mark alongside the marks of history.”2 Our environment teaches us how to act, by providing security, continuity, and attachment to place, but also change rather than permanence, and constant shifts between old and new. We must design our environment to enable us to discover unexpected relationships, comingling the past and present to provide an ever-changing, interesting, exploratory world.3 Colin Rowe and Fred Koetter advocate the design of a “Collage City.” It is a city of fragments from the past, present, and future, juxtaposing and layering small designs into a whole- a changeable, not utopian, solution to overly scientific or ad-hoc designs. Collage City provides a solution that is contemporary, efficient, and sets up a flexible framework to adapt to the future.4 Phoebe Chrisman’s MASS MoCA project exhibits an ‘openness to time,’ an evolution of architecture rather than stagnant preservation. “New layers continue to accumulate as contemporary needs evolve. Each visitor will read and interpret these layers differently, based on their knowledge of the place and their individual experiences past and present. The specific interpretation is not crucial to the success of the architecture; rather, the architecture provokes an open reception and interpretation, a questioning of what might have been and what might be.” This cyclical approach builds upon the economic and logistic solutions to reuse discussed in the previous chapter. We can pick and choose from the materials marketplace, combining materials from multiple buildings, changing the way elements are put together, using elements for their original use or a new use- all with the aim of environmental protection as well as designing interesting, thought provoking, inspiring environments.
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Carlo Scarpa, Entrance Courtyard to Architecture School of Venice, 1985
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changeability in venice Carlo Scarpa designed a new entrance to the Architecture School of Venice in 1985. He reused the portal, acknowledging a change in the use of the building, he placed the portal horizontally as a fountain element in the garden, and designed a new entrance to the street that reflected the changing values of the institution. His opening to the street is wide, demonstrating an openness of the school towards the city. The sliding mobility of the new door suggests an interest in tectonics and creative advancement, while keeping the door open most of the day welcomes visitors. The concrete stepping and cantilevered covering demonstrate the structural and formable capacities of this modern material which the previous stone did not have. The portal-fountain gives occupants a point of rest and contemplation, preparing them to enter the school. With his design, Scarpa invites students and visitors to contemplate the very act of entrance, of passage, perhaps alluding even to their unique place in time but within a larger history, and the transformation of lifelong students as they evolve from novices to experts. History is retained but reinterpreted through contrast of material and form in this powerful example of beneficial change.
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Carlo Scarpa, Entrance to Architecture School of Venice, 1985
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Peter and Annelise Latz, Hafeninsel (Island Park), Saarbrucken, Germany, 1985-86.
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material longevity The life expectancy of buildings is increasingly shorter as buildings’ value has become related to financial depreciation, program or ownership change. It is difficult to plan for long life span buildings that would be successful in the future; it makes sense to plan for short life span for buildings. Instead of focusing on longevity of buildings, we should focus on longevity of materials, assembling and disassembling them as suits our needs.5 Buildings should be considered cyclical, not always tragic or wasteful to remove.6 Andreas and Ilka Ruby expand on these ideas in “Mine the City”: “The nature of all construction is fundamentally transitory. No building is ever a completed project...Every act of building is only a momentary contribution to a larger whole that in itself is constantly evolving, for every transformation of the extant can, and likely will become the subject of yet another transformation at a later point in time.”7
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“Collage could even be a strategy which... might even fuel a reality of change, motion, action, and history.� - Colin Rowe and Fred Koetter, Collage City13
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Pablo Picasso, Guitar, 1913, pasted paper, wallpaper, newsprint, charcoal, wax crayon, ink on paper
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collage: a brief history Collage is an assemblage of two or more things normally not associated with each other. It results in more than the sum of its parts and allows for speculation. Collage flattens time and space, as figure simultaneously recede and project, creating multiple interpretations and experiences.1 Collage is linked to architecture by both its conceptual possibilities as well as material, formal, and representational potential. Collage has possibilityto excite, to give pleasure, to incite thought, to convince of a second glance.
synthetic cubism Pablo Picasso and Georges Braque initiated reappropriation in 1912, creating collage as an art form. Picasso’s Still Life with Chair Caning was the first deliberately executed collage, presenting an unaltered, everyday material, the oilcloth printed with chair caning, in conjunction with the ‘high art’ of painting. This began a shift towards process, and opened the idea that pieces of trash could have aesthetic merit. Collage assembles fragments into a composition that has a new meaning not inherent in any of the individual parts. In Collage City, Colin Rowe quotes Alfred Barr, writing about Still Life with Chair Caning: “... the section of chair caning which is neither real nor painted but is actually a piece of oil cloth facsimile pasted on the canvas and then partly painted over. Here in one picture Picasso juggles reality and abstraction in two media and at four different levels or ratios...[and] if we stop to think which is the most ‘real’ we find ourselves moving from aesthetic to metaphysical contemplation. For what seems most real is most false and what seems most remote from everyday reality of perhaps the most real since it is least an imitation.”2
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Pablo Picasso, Still Life with Chair Caning. 1912, collage, oil, oilcloth, paper, canvas, rope. 66
George Braque, Still Life with Tenora, 1913, pasted paper, charcoal, chalk, oil on canvas.
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Marcel Duchamp, Bicycle Wheel, 1951 (after lost original of 1913), metal wheel mounted on painted wood stool. Marcel Duchamp, Fountain, 1917, glazed ceramic, paint
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the ready-made Marcel Duchamp and the Dada-ists transformed collage into a culture of visual acceptance, even a desire for trash. They rejected existing cultural and aesthetic values, favoring idea to visual art. The ready-made is an ordinary, manufactured object, visibly mute, yet chosen by the artist and thus elevated to the status of art. The Dada-ists rejected the existing culture and aesthetic values, arguing that art cannot be defined.3 William Seitz’ catalogue for the 1961 Museum of Modern Art exhibition The Art of Assemblage quotes Salvador Dali, writing in 1942 about the influence of Dada artist Kurt Schwitters: “It was he who conceived of an embracing medium that included painting, collage, agglomerate sculpture, theater, architecture, typography, poetry, and even a form of singing.” Schwitters used trash as the underlying structure of his three-dimensional collage Merzbau, writing, “Art is an archprinciple, as sublime as the godhead, as inexplicable as life, undefinable and without purpose. The work of art is created by an artistic evaluation of its elements.”4
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Kurt Schwitters, Merzbau, 1933, waste materials, wood Kurt Schwitters, Merzbau in progress
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Tara Donovan, Untitled (Plastic Cups), 2006, 50’x55’ terrain of stacked plastic cups Thomas Hirschhorn, Too Too- Much Much, 2010, aluminum cans
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retaining identity Today’s collage artists are often more systematic, allowing materials to retain their identity and emphasizing an ecological discourse. Both Tara Donovan and Thomas Hirschhorn deal with field conditions, accumulation, and aggregation of a single object type. Donovan’s 50’x 55’ grouping of plastic cups comments on the unit and the whole, the every day object and the suggested undulating landscape, and the creation of fields from objects. The position of each part in context adds value and meaning.5
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Robert Rauschenberg, Pilgrim, 1960 Richard Diebenkorn, Interior with View of the Ocean, 1957.
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combines Assemblage, the collage process of putting together found objects, directly informs architectural reuse. Rauschenberg’s ‘combines’ and Nelvelson’s collections of parts and pieces transform the everyday into a labyrinth of complexity, which demands a level of attention not normally afforded to mundane objects. The uninteresting found objects have a form and history of their own, but as in the works discussed so far, assemblage elevates the objects and this new context adds meaning. The term assemblage denotes the technical procedure, but also a complex of attitudes and ideas.6
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Louise Nevelson, Untitled, 1964 and 1985
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“What an instinctive, even compulsive, assembler Louise Nevelson is! And her sculptural and poetic judgment is unerring.� - Lawrence Alloway, 19607
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Man Ray, Boardwalk, conceived 1917, executed 1973, plywood, paint, wood grain veneer, furniture knobs, cord
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Santa Maria in Aracoeli Basilica, Rome, 12th century, antique columns from various sources
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Joan Miro, Objet Poetique, 1936, stuffed parrot, wood, man’s hat, and other objects Pablo Picasso, Still Life 1914, painted wood; as precursor to Nevelson 80
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Peter and Annelise Latz, Hafeninsel (Island Park), Saarbrucken, Germany, 1985-86.
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collage as architecture, or architecture as collage Architecture has an underlying capacity to reconcile different levels of reality. It has the ability to communicate abstract ideas and concepts in the built environment of everyday life. Architecture is a physical manifestation of our larger culture and communicates the conceptual through its material and forms.8 Collage can be used in architecture and landscape architecture, not as convenient fragments, but as a link to larger cultural and, as Sanda Iliescu offers, ethical ideas. The reuse of materials in collage creates an accommodating framework that allows for non-formal relationships between parts, a reframing of context, references, history, and memory. Using collage principles that produce multiplicity of meaning, architects are able to frame ethics and sustainability with aesthetically pleasing results. Iliescu uses the example of Duisberg-Nord Parc by landscape architects Peter and Annelise Latz, as a spatial depiction of collage principles developed by artists such as Braque, Kline, and Kurt Schwitters.9 Collage is an art method that can be useful to architects because it investigates three-dimensional space in a two-dimensional medium. For Picasso, Braque, and Juan Gris its existence between painting and sculpture facilitated a new way of thinking about space. As architecture can take abstract ideas in the two-dimensional realm and realize them in the three-dimensional built environment, both collage and architecture are in-betweens or links between the two worlds, and they can inform each other. “Like a collage, revealing evidence of time and its methods of construction, a work of architecture contains accumulated history as it is lived and engaged rather than observed. Just as a work of architecture is only fully created and comprehended through bodily, sensory engagement, collage can serve as a representational analogue, providing the medium to interrogate spatial and material possibilities. The practice of collage has the capacity to capture spatial and material characteristics of the built environment, acting as an analytical and interpretive mechanism.�10
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Jef7rey Hildner, Ithaca: Dante | Telescope House digital collage, 2010
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Carlo Scarpa, Castelvecchio, Verona, 1959-73
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fragments not totality/ construction evident Collage simultaneously offers spatial, material, and intellectual content, placing an emphasis on process, which can be compared to architectural design and construction. As collage is a synthesis of unrelated fragments, its construction process remains evident in the finished work. The architectural experience is similar, as buildings are not perceived as a totality but an assemblage of overlapping materials. Shields quotes Steven Holl’s book Questions of Perception: “A city is never seen as a totality, but as an aggregate of experiences, animated by use, by overlapping perspectives, changing light, sounds, and smells. Similarly, a single work of architecture is rarely experienced in its totality (except in graphic or model form) but as a series of partial views and syn-thesized experiences. Questions of meaning and understanding lie between the generating ideas, forms and the nature and quality of perception.�11
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Carlo Scarpa, Castelvecchio, Verona, 1959-73
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Miralles and Pinos, Igualada Cemetery, 1985
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Sverre Fehn, Hamar Bispegaard Museum, Hamar, Norway, 1973
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Richard Diebenkorn, Ocean Park 67, 1973 & Ocean Park 27, 1967
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Fernand Leger, The Three Faces, 1926
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flattening Formal characteristics of collage, including phenomenal transparency, figure-ground reversal, and composite presence reinforce the medium’s ideas of multiple meanings.
transparency Colin Rowe and Robert Slutzky wrote two articles in 1955-56, analyzing transparency, simultaneously receding and advancing forms, in both painting and in architecture: In “Transparency: Literal and Phenomenal (Part 1)”, Rowe and Slutzky define two types of transparency, literal and phenomenal, which are illustrated by cubist paintings from 1911-1912. In literal transparency, contradiction of spatial dimensions is apparent, and cubism can “transpose insignificant similarities into meaningful complexities.” The essence of phenomenal transparency is stratifications of deep space, “devices by means of which space becomes constructed, substantial, and articulate.” Rowe and Slutzky are looking at Gestalt theory by Kepes. A painting or building’s formal structure can demarcate spaces as suggested or implied forms, and the phenomenal space can be experienced as shallow space. The authors name Villa Savoye by Le Corbusier as well as Three Faces by Leger as examples of phenomenal transparency; Gropius’ Bauhaus building and L’Alsacienne by Picasso demonstrate literal transparency.12
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Jacopo da Vignola, Villa Farnese, c. 1550, Caprarola, Italy,
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Rowe and Slutzky’s second essay on literal and phenomenal transparency focuses on surface configuration and manipulation, specifically the mental construction of surfaces in visual space, or the two dimensional manifestation of phenomenal transparency as a pattern. The authors quote Kepes, describing phenomenal transparency as “the capacity of figures to interpenetrate without optical destruction of each other,” and a “simultaneous perception of different spatial dimensions.” The façade of Le Corbusier’s Algiers skyscraper demonstrates phenomenal transparency, having superimposed compositional elements that the eye sees as an interwoven hierarchical pattern. I.M. Pei’s Mile High Center in Denver, CO and 16th century Villa Farnese at Caprarola are also presented as examples of phenomenal transparency, as primary and secondary articulations exist in both facades. Therefore, phenomenal transparency is not a Cubist invention. The authors next compare San Lorenzo by Michelangelo and Mondrian’s Victory Boogie Woogie, 1943-44, as similar compositions, both a series of transparencies in highly compressed space. Figural ambiguity allows fluctuations between systems of prominence, as well as multiple meanings.13 Essential ideas in Rowe and Slutzky’s articles are simultaneous perception and figure-ground reversal, cornerstones of collage.The importance is placed on the relationships between forms, not the forms themselves.
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Franz Kline, Untitled II, 1952, ink and tempera on pasted newsprint
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figure-ground reversal Figure-ground reversal is the idea that images can been seen and understood in multiple ways. The philosopher Wittgenstein distinguished between ‘seeing that and seeing as’ in Philosophical Investigations in 1953. Using the example of the duck-rabbit, which can be ‘seen as’ either a duck or a rabbit, that is the same image can be interpreted differently. In figure-ground reversal, the figure, that which is the prominent object against a ground or field, shifts- it can be ‘seen as’, that is ‘interpreted’ as the figure, or as the field. The face/ vase is a famous example of figure-ground reversal, but this operation can also easily been seen in Leger’s Three Faces or in Pei’s Mile High Building facade.14 Sanda Iliescu on the 1950s collages of Franz Kline: “Kline created dozens of such works using discarded telephone book pages, collages that dazzled the eye with their complex oscillating shifts between figure and ground, between shapes that simultaneously recede and project. John Elderfield likened Kline’s black marks to an abstract ‘visual carpentry, reverberating and expanding the paper’s rectilinear geometry.’ One moment Kline’s black strokes figure prominently in our imagination, while the next our focus shifts unexpectedly to outlined figures of printed text. Often both conditions occur simultaneously, bluish-black and creamywhite shapes forming a poised, dance-like equilibrium.”15 William Seitz wrote on Picasso and Braque’s flattening of the plane: “Using a repertoire of brilliant innovations they played back and forth between recession behind the canvas surface and projection forward from it. Gradually, they limited the deep space by which artists had represented the world since the fifteenth century. The objects they depicted no longer diminished in size or disappeared in light and atmosphere. Immediate and tangible, their subjects were pressed forward by the advancing rear wall of the picture so that cubism became an art of the close-up.”16
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Richard Meier, Ara Pacis Museum, Rome, 1995-2006 Roman cantharus, 1st century AD, at Santa Cecelia Basilica, Rome
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Eduardo Chillida, Hommage a Goethe IV, 1978. Eduardo Chillida, Plaza de los Fueros, 1980. 106
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Eduardo Chillida, Tindaya Fuerteventura, 1994. Eduardo Chillida, collage for exhibition at Fundacio Caixa Catalunya, 1997. 108
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Egyptian Obelisk,Piazza del Popolo, Rome
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multiple meanings Multiplicity exists in the word collage itself: as a verb, to assemble fragments, as a noun, a work of art, a technique, and even a state of mind, according to Rowe and Koetter. This multivalence extends to the process of collage, which imparts multiple meanings in its final product. Each collage operates on three levels of meaning, per Collage, Assemblage, and the Found Object, by Diane Waldman: “The original identity of the fragment or object and all of the history it brings with it; the new meaning it gains in association with other objects or elements; and the meaning it acquires as the result of its metamorphosis into a new entity.”17 Jennifer Shields considers the dualities that collage evokes, including “representational/abstract, gestural/precise, field/figure, surface/depth, and literal/metaphorical.” Rowe and Koetter examine multiplicity in Collage City, stating that collage has “an attitude which encourages the composite.” Seemingly opposing ideas pair to provide a more whole understanding as well as an unexpected delight. Picasso’s Bull’s Head, 1942, a sculpture composed of two found objects, a bicycle seat and handlebars, displays this oscillation: “With Picasso’s image one asks: what is false and what is true; what is antique and what is of today, and it is because of an inability to make a halfway adequate reply to this pleasing difficulty that one, finally, is obliged to identify the problem of composite presence in terms of collage.”18 Collage brings about multiplicity and yet synthesizes spatial and material conditions, making it a process and product appropriate to architecture. In the Roman reuse of Egyptian spoils of war, the obelisk in Piazza del Popolo gains meaning as a symbol of power in an urban planning strategy.
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part 4: collage: a process for reuse “You may paint with whatever material you please, with pipes, postage stamps, postcards or playing cards, candelabra, pieces of oil cloth, collars, printed paper, newspapers.� -Guillaume Appolinaire, in defense of collage, 1913.1
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Robert Rauschenberg, Canyon, 1959.
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giving purpose to found fragments Assembling reused materials with collage in mind brings techniques and added meanings to architectural design. Buildings can express figureground reversals, shifting dominance, and connections to history. Because collage has roots in elevating discarded pieces of trash, it too is about giving new value and meaning to found fragments. Building with reused materials, also considered trash, can be a collage if it is the designer’s intention. Duchamp elevated the found object through the process of selection- the architect can also elevate ordinary objects by reusing deconstructed materials. Awareness of the designer as collage artist is essential, and the process of design enables material transformation.
from throwaway consumerism to architectural production Seth McDowell’s paper “Trash Tectonics: Experimentations in the Transformation of Waste” asks the question: “Can the discarded materials of throwaway consumerism be linked to architectural production?”2 In my project, ‘throwaway consumerism’ specifically refers to the trash of the construction industry- building materials which are now wasted, yet have collectively have an enormous value, in their inherent qualities for reuse and in the potential for a new subtraction industry. These items can no doubt be linked to architectural production; the process of collage can be connected to building with discarded items, since collage has a transformational power, elevating everyday discarded items to high art. Collage finds opportunity in excess and waste, transforming trash into a productive material. McDowell describes the transformation of trash into art during modernism and Dada-ism: “Collage became the mode of operation because it was a technique of stitching, pasting, and slapping together materials from their everyday functionalities. Second-hand, found material became romanticized for the rustication, disfigurement, and embodied cultural narrative.”3
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Kurt Schwitters, Untitled, 1921, mixed media.
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added value Collage gives new meaning and value to found fragments. Rowe and Koetter discuss collage’s use of bits of low culture in high art as another duality, seemingly opposite pairing which becomes mutually reinforcing. “For collage, often a method of paying attention to the leftovers of the world, of preserving their integrity and equipping them with dignity, of compounding matter of factness and cerebrality, as a convention and a breach of convention, necessarily operates unexpectedly. A rough method, “a kind of ‘discordia concors’, a combination of dissimilar images or discovery of occult resemblance in things apparently unlike.”4 Sanda Iliescu writes on how collage imparts much meaning by expanding the boundaries between “What makes a collage surprising, but also meaningful, it its open invitation to the presence of worldly, ‘unaesthetic’ things within the artistic frame... Yet, spanning this difficult divide between art and nonart, between the aesthetic and the worldly, is collage’s greatest achievement. When we experience a Latz park or look at a collage by Braque, Kline, or Burri, we sense a kind of transparency, as aesthetic impressions and other more worldly phenomena come forth and then recede. As this happens, one may be touched unexpectedly by emotions as personal and even spiritual as they are aesthetic. Perhaps the most rudimentary way in which a collage may kindle a sense of ‘goodness’ or ‘hope’ comes in its attention to old, worn objects. Something that was simply ‘garbage’ has been saved: lifted out, cared for, repaired, and accorded new aesthetic value. Collage’s aesthetic ‘saving’ can speak to us as a story of survival, a sign that things-and, by analogy ourselves- may withstand difficulties and be renewed. For instance, Kurt Schwitters collected street trash, old posters and discarded theater tickets, which he reassembled into richly nuanced color compositions.”
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Kurt Schwitters, Untitled (ereid), 1929, paper on paper
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Iliescu continues, discussing the transformation of salvage: “What, after all, is salvage, and how do we recognize it? We do so by perceiving a form in two very distinct ways: first, as what it used to be, and second, as what it presently is. Thus, two contrasting states- old and new, worthless and worthy- are preceived simultaneously.” Collage goes beyond messages such as ‘recycling is good’ to evoking a particular sense of harmony against the odds.”5 Ada Tolla and Giuseppe Lignano of LOT-EK architecture practice in New York, reuses objects not originally intended for architectural use. “We can reuse existing structures, or parts thereof, by displacing them from their original context and reapplying them elsewhere and for different uses with only minor physical modifications.” They reuse industrial objects like shipping containers, airplane fuselages which still “embody a highly functional apparatus that can be taken as such and deployed to a different use.”6 “Some of these marginal artifacts, as artists from Duchamp to Warhol have shown us, have a profound ready-made beauty and integrity. [They have an] anonymous perfection… the familiar is indeed strange.”7 Superuse Studio in Rotterdam works in a similar manner, but also researches material flows and reuse logistics in depth.8
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LOT-EK, Puma City, 2008 SuperUse Studio, Rewind @ Willemsplein, 2012
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A work of architecture retains its ability to prompt interpretations for generations beyond its creation...the ability of a buiding or structure to move us to see and hear ourselves and our place in the world. - Sandy Isenstadt, “The Interpretive Imperative.�1
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Lacaton & Vassal, Palais de Tokyo, Paris, 2012, before oppoite
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expressing past, present, and future Kevin Lynch writes, in What Time is this Place, that time and place are linked in the human mind, that the sense of place greatly contributes to the human sense of time. Collage flattens not only space, but time as well. Collages express the past, present and an implied future by allowing objects to retain their identity from former use, yet adding new meaning by juxtaposing with associated objects. The implied future would be the assumed cyclical deconstruction and reuse of the materials. This element of time in collage directly links it to the construction practices of deconstruction, reclamation, and reuse- especially if we continue that process as a cycle, designing for deconstruction and emphasizing the longevity of materials. The process of designing using reclaimed materials as collage becomes not only environmentally friendly and cost efficient, but also links the new construction to a broader cultural and historical context and situates the occupant in the present, a unique moment within the framework of time. This can be illustrated by case study of Russell Town Centre and the Dauphin Arena demolition, on page 45. Gerry Humphreys and his crew constructed a landmark to acknowledge the city of Russell, Manitoba’s manufacturing and agricultural background. They reused laminated beams from a hockey arena that was going be demolished, which were manufactured in Russell 75 years earlier. The materials themselves convey these messages, through the designer or artist’s arrangement.
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Matadero, Madrid, 2012
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cyclical transformation: socially sustainable French architects Lacaton & Vassal reject demolition of buildings on principle and are inspired by architecture history. Adaptive reuse of existing buildings is an important part of the material reuse, though not within the scope of this paper. However, I am interested in Lacaton and Vassal’s process of adding to what is pre-existing. “One can always transform buildings whenever change is needed, by reprogramming, adding to, and subtracting from existing structures. For Lacaton & Vassal transforming an existing building is not only more economically sound (not always the case), but also socially more sustainable because one does not need to replace historically developed identities overnight by manufacturing new ones.”2 The Matadero Madrid is a former slaughter-house and livestock market that was transformed into a cultural space in 1996. Various interventions leave the old masonry largely intact but add a second interior layer, often modern steel louvers and structure, allowing for efficiencies of light and wide spans. This adds meaning to the original structure and makes adapts it to today’s needs. This project also embodies Phoebe Crisman’s call for openness to reception, interpretation, time, and program.
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Joseph Cornell, Night Skies: Auriga, 1954, box; wood; glass; paint; paper.
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an expanded sense of time Collage is inherently non-chronological. In collage, the concept of date is unimportant, and time is free to rearrange itself. “Collage is a juggling of norms and recollections... a willfully interjected impediment to the strict rote of evolution,” according to Koetter and Rowe. Picasso said, “there is no past and future in art,” meaning that art, and specifically his use of collage, brings the past and future into the present.3 Joseph Cornell’s assembled boxes confront issues of time and place, urging the viewer to reflect on his or her existence in a larger time and universe. “Joseph Cornell’s serene and exquisite boxes are journeys into an enchanted universe that also has the reality of this world.... They are autonomous allegories providing a discovery of the past, present and future; an endless complex of ideas and associations. It is no coincidence that Cornell has selected astrological charts and astronomical maps for many of his boxes, for the sun, the moon, and the planets which govern objects and men also reveal the knowledge of the universe.” - K. L. McShine, 19614 Both Cornell and Le Corbusier enhance a sense of time by assembly of objects. Cornell’s shallow boxes give the viewer an experience of looking into the deep, considering the universe and our relative smallness. Alternatively, Le Corbusier takes deep space of a cityscape and removes excess objects to create a shallow space, and with it a notion of flattened time and place.5
material illustrates time Materials themselves are shiny and new or show the patina of age. A combination of new and old heightens this sense, demonstrating contrast and effectively conveying historical meaning. Materials can also symbolically illustrate time, as in Cornell’s astrological maps and Le Corbusier’s lack of material context. The artist’s intention is conveyed in selection and employment of found objects or reused materials.
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Joseph Cornelll, Untitled (The Hotel Eden), c. 1945
Joseph Cornell, Space Object Box, c. 1955 132
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Le Corbusier, Apartment for Charles de Beistegui, 1930-31, Paris.
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Ed Ruscha, The End, 1991, acrylic and pencil on canvas
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a moment in time Text is often used in art and architecture as an indicator of the present moment. Franz Kline chose to paint on phonebook pages, perhaps as a record of inhabitants of one specific time, their multitude breeding anonymity. Braque and Picasso used fragments of the newspaper, often the word “journal,” meaning daily, as a reference to time. In architecture, inscriptions bearing the date or marking an event or patron indicate a specific moment; graffiti claims “we were here.” These deliberate and accidental references to time situate a present moment within a larger framework of history. By indicating a unique moment, text references the extended system of past and future. Ed Ruscha’s word paintings are rooted in his commercial work during the Pop Art era. His work in the 1990’s presents words painted over photorealistic backgrounds, as if the phrase is physically positioned in a larger outside system, supported by its environment, or history.
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Graffiti, Pantheon portico, Rome, crayon rubbing Dedication inscription, Via della Conciliazione, Rome
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manresa, spain My current studio project is sited in Manresa, Spain; buildings on the site are slated for destruction but contain many useable materials. The post-industrial town is economically depressed due to unemployment, flight from the center city, and fractured institutions. I propose a new link between the inaccessible riverfront, religious Jesuit institution, and center city in the form of a pedestrian passageway, with places of outdoor prospect and rest as well as indoor secular programming, along the route. An agenda of energy, of reallocating resources, will drive the project. This preliminary work lays a foundation for a possible testing ground of this process, using Manresa as a lab. A series of operations would transform the site with very few energy expenses, using the cultural tools of collage and reuse. The design and construction process will be that which I have laid out in this research. Buildings will be deconstructed by unskilled laborers, as training for future construction. Materials will be deconstructed piece by piece, assessed for quality, sorted, and used in the design of new construction and improvements to the existing. Materials could be moved short distances and reused, different materials joined in collage, changing the function of some sites, etc. Rebuilding using collage as a design methodology, and the deconstructed materials as found objects, will give a sense of history and purpose to the project, situating the inhabitants of Manresa within a larger cultural context. This environmentally friendly solution also creates an enduring architecture, which situates its occupants in a unique moment within the larger system of time.
testing
ground
143
PLAN EXISTING 1:1500
existing plan and material conditions
144
testing
ground
145
5
6,6
24
7
2,0
24
5
25
0
3,0
22
3.6
22
9.8
23
7.2
24
4
0
8,0
7,8
21
20
8
1,3
20
5
0,8
20
0
RIVER
proposed plan and sections
146
4
4,7
22
9,5
22
SECTION A 1:400
SECTION B 1:200
testing
ground
147
148
reference
149
endnotes part 1: deconstruction and reuse 1. Peter Baccini and Paul H. Brunner, Metabolism of the Anthroposphere, 2nd ed. (Cambridge: MIT Press, 2012), 340. 2. Bill Addis, Building with Reclaimed Components and Materials: A Design Handbook for Reuse and Recycling (London: Earthscan, 2006), 5. 3. Guy, Brad. “Sustainable Design- Design for Disassembly,” in Architectural Graphic Standards, 11th ed. (Hoboken, NY: John Wiley & Sons, 2007), 843. Ibid., 844. 4. 5. Andreas and Ilka Ruby, “Mine the City,” in Re-inventing Construction, ed. Andreas and Ilka Ruby, (Berlin, Ruby Press: 2010), 243-244. 6. Bob Falk and Brad Guy, Unbuilding: Salvaging the Architectural Treasures of Unwanted Houses (Newtown, CT: The Taunton Press, 2007), 9. 7. Ibid., 16. Baccini and Brunner, Metabolism of the Anthroposphere, 50. 8. Kiel Moe, Convergence: An Architectural Agenda for Energy (London: Routledge, Taylor & Francis Group, 2013), 9. 9. Addis, Building with Reclaimed Components and Materials, 7. Falk and Guy, Unbuilding, 5. 10. 11. Guy, “Sustainable Design,” 844. 12. Falk and Guy, Unbuilding, 10. Addis, Building with Reclaimed Components and Materials, 6. 13. 14. “Secrets of Lost Empires,” PBS, accessed November 20, 2013, http:// www.pbs.org/wgbh/nova/colosseum/qanda/ 15. Vitruvius, De Architectura, Book I, Chapter VII, Section 18. 16. Falk and Guy, Unbuilding, 2. 17. Addis, Building with Reclaimed Components and Materials, 20. Guy, “Sustainable Design,” 844. 18. Ruby and Ruby, “Mine the City,” 244. 19. Addis, Building with Reclaimed Components and Materials, 5. 20. 21. Keller Easterling, “Architecture to Take Away: The Subtraction of Buildings as a New Construction Economy,” in Re-inventing Construction, ed. Andreas and Ilka Ruby, (Berlin, Ruby Press: 2010), 266. Guy, “Sustainable Design,”843. 22. Easterling, “Architecture to Take Away,” 269. 23. Falk and Guy, Unbuilding, 22. 24. Easterling, “Architecture to Take Away,” 265-6. 25. Ibid., 268. 26. 27. Ibid., 271. 28. Ibid., 270. 29. planetreuse.com, accessed November 20, 2013. Gerry Humphreys, “Making Choice: Strategies for Material Re-use and 30. Reclamation,” (paper prsented at Reclaim and Remake International Symposium, Washington, DC, April 11-13, 2013).
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part 2: change is good 1. Ruby, and Ruby “Mine the City,” 246. Kevin Lynch, What Time is this Place (Cambridge: MIT Press, 2. 1972), 38-39. 3. Ibid., 40-43. Fred Koetter and Colin Rowe, Collage City (Cambridge, MIT 4. Press, 1978), 118-150. Phoebe Crisman, “A Case for Openness: Ethical and Aesthetic 5. Intentions in the Design of MASS MoCA,” in The Hand and the Soul: Aesthetics and Ethics in Architecture and Art, ed. Sanda Iliescu (Charlottesville, University of Virginia Press, 2009), 239. 6. Ruby and Ruby, “Mine the City,” 243. Easterling, “Architecture to Take Away,” 266. 7. 8. Ruby and Ruby, “Mine the City,” 246.
part 3: assemblage and architecture 1. Sanda Iliescu, “Beyond Cut-and-Paste: The Promise of Collage in Contemporary Design,” Places- A Forum of Environmental Design 20 (2008): 62-63. 2. Rowe and Koetter, Collage City, 140. Jennifer A.E. Shields, Collage and Architecture (New York: Routledge, Taylor 3. & Francis Group, 2014), 2-8. 4. William Chapin Seitz, The Art of Assemblage (New York: Museum of Modern Art, 1961). 50. 5. Seth McDowell, “Trash Tectonics: Experimentations in the Transformation of Waste” (paper presented at Preceedings of the Subtropical Cities; 2013 Association of Collegiate Schools of Architecture Fall Conference. October 17-19, 2013: Ft. Laurderdale, FL), 3-4. 6. Seitz, The Art of Assemblage, 10. 7. Ibid., 117-118. 8. Dalibor Vesley, Architecture in the Age of Divided Representation (Cambridge: MIT Press, 2004), 356-389. 9. Iliescu, “Beyond Cut-and-Paste,” 61-62. 10. Shields, Collage and Architecture, 2. 11. Ibid. 12. Colin Rowe and Robert Slutzky, “Transparency: Literal and Phenomenal,” in The Mathematics of the Ideal Villa and Other Essays, by Colin Rowe (Cambridge: MIT Press, 1976), 159-83. 13. Colin Rowe and Robert Slutzky, “Transparency: Literal and Phenomenal (Part 2)” in Architecture Culture, 1943-68: A Documentary Anthology, ed. Joan Ockman (New York: Rizzoli, 1993), 206-225. 14. Ludwig Wittgenstein, “Philosophical Investigations,” in Deconstruction in Context, ed. Mark C. Taylor (Chicago: University of Chicago Press, 1986), 220-241.
reference
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Iliescu, “Beyond Cut-and-Paste,” 64-65. 15. Iliescu, “Beyond Cut-and-Paste,” 64-65. 16. Seitz, The Art of Assemblage, 22. Diane Waldman, Collage, Assemblage, and the Found Object (New York: 17. Harry N. Abrams, 1992), 11. 18. Rowe and Koetter, Collage City, 149.
part 4: collage: a process for reuse 1. Seitz, The Art of Assemblage, 117-118. 2. McDowell, “Trash Tectonics” 3-4. 3. Ibid. 1. 4. Rowe and Koetter, Collage City, 142. 5. Iliescu, “Beyond Cut-and-Paste,” 66-68. 6. Ruby and Ruby, “Mine the City”, 245. 7. Tolla and Lignano, “Pimp my World: How to Construct New Environments by Reusing Old Ones,” in Re-inventing Construction, ed. by Ruby and Ruby, (Berlin: Ruby Press, 2010), 297. 8. superuse-studio.com, accessed November 21, 2013.
part 5: enduring architecture 1. Sandy Isenstadt, “The Interpretative Imperative: Architecture and the Perfectibility of Memory,” Harvard Design Magazine, Fall 1997, 58, 62. 2. Ruby and Ruby, “Mine the City,” 245. 3. Rowe and Koetter, Collage City, 143-4. 4. Seitz, Art of Assemblage, 56. 5. Dalibor Vesley, Architecture in the Age of Divided Representation,
(Cambridge: MIT Press, 2004), 245.
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image notes Images not listed are author’s own.
part 1: deconstruction and reuse Fig. Fig. Fig. Fig.
p. p. p. p.
20. 22. 26. 26.
Falk and Guy, Unbuilding, 9. Moe, Convergence, 102. Falk and Guy, Unbuilding, 2.
http://www.visualphotos.com/image/2x4393028/italy_rome_st_peters_ basilica_porch_and_steps
Fig. p. 32-33. Addis, Building with Reclaimed Components and Materials, 2022. Fig. p. 42. planetreuse.com Fig. p. 44. Andrew Brown et al, “Deconstructing Danville: A Prototype of Rust-Belt Reinvention,” in Lunch8 (Charlottesville: School of Architecture Press, 2013), 106-107. Fig. p. 46-48. Gerry Humphreys, “Backstage LaCusine and Site Office for The Winnipeg Folk Festival,” (paper presented at Reclaim and Remake International Symposium, Washington, DC, April 11-13, 2013). Fig. p. 50. Humphreys, “Making Choices,”
part 2: change is good Fig. p. 54. Iliescu, “The Garden as Collage,” 155. Fig. p. 60. Iliescu, “The Garden as Collage,” 174.
part 3: assemblage and architecture Fig. p. 64. Pablo Picasso, Guitar. 1913. Available from: ARTstor, http://www. artstor.org (accessed December 1, 2013). Fig. p.66. Pablo Picasso, Still Life with Chair Caning. 1912. Available from: ARTstor, http://www.artstor.org (accessed November 19, 2013). Fig. p.67. George Braque, Still Life with Tenora, 1913, Available from: ARTstor, http://www.artstor.org (accessed November 19, 2013). Fig. p. 68. Marcel Duchamp, Bicycle Wheel, 1951 (after lost original of 1913). Available from: ARTstor, http://www.artstor.org (accessed November 19, 2013). Fig. p. 69. Marcel Duchamp, Fountain, 1917. Available from: ARTstor, http://www.artstor.org (accessed November 19, 2013).
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Fig. p. 70. Kurt Schwitters, Merzbau, 1933. Available from: ARTstor, http:// www.artstor.org (accessed November 19, 2013). Fig. p. 71. Kurt Schwitters, Merzbau in progress, in Seitz, Art of Assemblage, 50. Fig. p. 72. Tara Donovan, Untitled (Plastic Cups), 2006. Available from: ARTstor, http://www.artstor.org (accessed November 19, 2013). Fig. p. 73. Thomas Hirschhorn, Too Too- Much Much, 2010. Available from: artnectar.com (accessed November 19, 2013). Fig. p. 74. Robert Rauschenberg, Pilgrim, 1960. Available from: ARTstor, http://www.artstor.org (accessed November 19, 2013). Fig. p. 75. Richard Diebenkorn, Interior with View of the Ocean, 1957. Available from: ARTstor, http://www.artstor.org (accessed November 19, 2013). Fig. p. 76. Louise Nevelson, Untitled, 1964. Available from: ARTstor, http:// www.artstor.org (accessed November 19, 2013). Fig p. 77. Louise Nevelson, Untitled, 1985. Available from: ARTstor, http:// www.artstor.org (accessed November 19, 2013). Fig. p. 78. Man Ray, Boardwalk, conceived 1917, executed 1973. www. christies.com (accessed November 19, 2013). Fig. p. 80. Joan Miro, Objet Poetique, 1936, in Seitz, Art of Assemblage, 36. Fig. p. 81. Pablo Picasso, Still Life 1914, in Seitz, Art of Assemblage, 21. Fig. p. 82. Iliescu, “The Garden as Collage,” 156. Figs. p. 84-85. Jef7rey Hildner, Daedalus. Figs p. 92-95. http://elizabethquigley.wordpress.com/2011/10/02/hamarbispegaard-museum-sverre-fehn/ Fig. p. 96. Richard Diebenkorn, Ocean Park 67, 1973. Available from: ARTstor, http://www.artstor.org (accessed November 19, 2013). Fig. p. 97. Richard Diebenkorn, Ocean Park 27, 1967. Available from: ARTstor, http://www.artstor.org (accessed November 19, 2013). Fig. p. 98. Fernand Leger, The Three Faces, 1926. www.chapters.architectureforhumanity.org Fig. p. 100. Jacopo da Vignola, Villa Farnese, c. 1550, Caprarola, Italy, Available from: ARTstor, http://www.artstor.org (accessed November 20, 2013). Fig. p. 102. Iliescu, “Beyond Cut-and-Paste,” 65. Figs p. 106-109. Eduuardo Chillida images in Chillida Leku, ed. Fundacio Caixa Cataluya, 1997.
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part 4: collage: a process for reuse Fig. p. 114. Robert Rauschenberg, Canyon, 1959. Available from: ARTstor, http://www.artstor.org (accessed November 19, 2013). Fig. p. 116. Kurt Schwitters, Untitled, 1921. Available from: ARTstor, http:// www.artstor.org (accessed November 20, 2013). Fig. p. 118. Kurt Schwitters, Untitled (ereid), 1929, paper on paper, Available from: ARTstor, http://www.artstor.org (accessed November 20, 2013). Fig. p. 120. www.lot-ek.com Fig. p. 121. www.superuse-studio.com
part 5: enduring architecture Figs. p. 124-125. www.lacatonvassal.com Figs. p. 126-129. http://arkitektonirika.blogspot.com/2012/08/mataderomadrid.html Fig. p. 130. Joseph Cornell, Night Skies: Auriga, 1954, Available from: ARTstor, http://www.artstor.org (accessed November 20, 2013). Fig. p. 132. Joseph Cornelll, Untitled (The Hotel Eden), c. 1945, Available from: ARTstor, http://www.artstor.org (accessed November 20, 2013). Fig. p. 133. Joseph Cornell, Space Object Box, c. 1955, Available from: ARTstor, http://www.artstor.org (accessed November 20, 2013). Figs p. 134-135. Le Corbusier, Apartment for Charles de Beistegui, 193031, Paris. Available from: ARTstor, http://www.artstor.org (accessed November 20, 2013). Fig. p. 136. Ed Ruscha, The End, 1991, acrylic and pencil on canvas, Available from: ARTstor, http://www.artstor.org (accessed November 20, 2013).
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