JP JUST I NE POULIN
JUST I NE PO UL I N ARCHITECTURE PORTFOLIO
POULIN.JUSTINE@GMAIL.COM 213-820-1835 SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE M. ARCH 2
Justine Poulin is an artist and architecture student interested by the influences of technology on architecture and design. Currently advancing her graduate studies at the Southern California Institute of Architecture, she attempts to position her work at the intersection between art, technology and sciences. Prior to joining the M.Arc 2 program at SCI-Arc, she obtained her B.SC in Architecture from McGill University where
she acknowledges the implications of the digital in the present architecture practice. In addition to personal investigations and studio assignments, she pursued a minor in mathematics that focused on advanced calculus classes, complex geometry and computer science. She is now looking to integrate this knowledge in architecture’s poetic body and wishes to further her understanding of its implication in architectural discourse.
STUDY ON ACUPUNCTURE
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D S 5 0 0 0 3 G B X : NOT M A KIN G A RCH ITECTU RE
UPCYCLING
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D S 40 0 0 3 G A X : FU TU RA L IT Y
CLUSTER +
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D S 1201 2G B X : N E W ATL A N TA CEN TRA L L IB RA RY
BONNE AVENTURE
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D S 120 0 2G A X : W O RKSH O P I X-RAY
INFILL
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D S 120 0 2G A X : W O RKSH O P II EN GA GEM EN T
CITY GRID
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D S 120 0 2G A X : W O RKSH O P III CU RIO SITIES
THE MEAL A S 25 81 3 GA X: V O L U M ETRIC V IDEO
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LA BELLE EPOQUE V S 2702 3 GA X: V R F IL M SET
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PLAY ROOM V S 2703 3 GB X: PL AY RO O M
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À TABLE V S 4 201 2GB X: B ECO M E TH E IN TERN ET
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BLOOM V S 4 200 2GA X: V ISU A L STU DIES
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NEW ATLANTA LIBRARY A S 3 22 3 GA X: DESIGN DE V ELO PM EN T
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FOUNDATION LV A S 3 200 2GA X: TECH TO N ICS
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THE CITIES OF TOMORROW H T 2201 2GB X: TH EO RIES II
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PARAFICTION H T 2200 2GA X: TH EO RIES I
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MARCH 19
PROFESSORS HERNAN DIAZ ALONZO, RACHAEL MCCALL
D S 5 0 0 0 3 GB X: N OT M A KIN G A RCH ITECTU RE
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When Rei Kawakubo, the founder of Comme les Garcons, had to create her 2014 spring/summer collection, she decided to get inspiration from fields that had no obvious connection with fashion. Called “Not Making Cloths,” her collection redefined the boundaries of fashion. Similarly, this
studio (“Not Making Architecture”) is exploring paths that are as remote as possible from architecture to find new potentials for the discipline. “By dangling ourselves in other mediums of aesthetic, design and predictions, we could set up a path of radical newness.” (Diaz Alonso, McCall)
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MARCH 19 adapts acupuncture techniques and principles to an alternative world. In this fictional park, pop culture and surrealism coexisting, creating an estranged
omnipresence of surveillance in our modern society. In a world where global health is a major concern, surveillance and monitoring devices have become potential tools to
reality where scale and apparent causalities are challenged. Moreover, the project is a comment on the
prevent the spreading of diseases. How far would we go to ensure public health?
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On March 19, California Gov. Gavin Newsom, declared a stay at home order, due to the risks associated with the coronavirus. In this unprecedented crisis, questions about surveillance and privacy have been raised. In a world where global health is a major concern, surveillance and monitoring devices have become potential tools to prevent the spreading of diseases. But how far should we go into people’s privacy to ensure public health?
MARCH 19 is a reflection on the omnipresence of surveillance in our modern society. With humour and absurdity, MARCH 19 attempts to address fundamental issues concerning heath, privacy and individuallity. By adapting acupuncture techniques and principles to an alternative fiction, MARCH 19 presents a scenario that could become, in its principles, part of our new normal.
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p. 8-9 Rendering: Acupuncture on lemons p. 10 Rendering: Acupuncture on bananas p. 12-13 Rendering: Acupuncture on rambutans
p. 14-21 Animation: Extracted frame from MARCH 19 presenting the ramboutans as a surveillance device in the city of Los Angeles
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UPCYCLING
PROFESSOR PETER TESTA PARTNER JULIA PIKE D S 4 000 3 GA X: F U TU RA L IT Y
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Every year, over 50 million tons of electronic waste is created. In this studio we were asked to envision the future of Olivetti. We believe that Olivetti, along with any other company, need to address the issue of waste. Rather than recycling, which is usually associated with the degradation of materials, we believe that upcycling is the future. The definition of upcycling is to recycle something in such a way that the resulting product is of a higher value than the original item. For that reason we envision a waste research and
development facility as the place to upcycle Olivetti’s vision of future production. In a way Olivetti was already upcycling, by using different media to transform and refashion designs. The typewriter was at the heart of Olivetti’s industrial design, but was also a starting point for their cutting edge graphic design and architectural branch. We used Olivetti’s capacity of mixing different media to inform the way we would design their future facility. Similar to the functioning of the facility itself, the project aims to explore different ways of upcycling.
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p.24 Photograph of the final review layout: upcycling in three distinct investigatons (from left to right): SAMPLING, REMIXING, and RECOMPOSING
p.26 SAMPLING (first investigation): extracted frames from the animation of the SAMPLING phase p.27 SAMPLING (first investigation): conceptual roof plan of the facility in the SAMPLING phase
The workflow can be understood through three investigations where the conclusion of each phase is used as the starting point of the following. In this space, nothing is lost: everything is transformed and coexist within the same project. Each phase is concerned with a specific issue, bringing us closer to a final result where there is no more delineation between the old and the new, the 2d space and the 3d space, the digital and the physical.
The three investigations are sampling, remixing, and recomposing. Our first investigation began with sampling outdated products, graphics, and architecture from Olivetti and Le Corbusier. The investigation was to create new sets of relationships between them by blurring the line between shape, line and mass. Within this phase all modifications were slight and mainly graphical.
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p.28 - 29 SAMPLING catalogue (first invertigation): photographs of the objects produced during the SAMPLING phase through the sampling of outdated
products, graphics, and architecture from Olivetti and Le Corbusier.
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p.30 REMIXING (second investigation): extracted frames from the animation of the REMIXING phase
p.31 REMIXING (second investigation): extracted frames of the animation projected on the relief roof plan of the facility in the REMIXING phase.
The second investigation is the remixing of design aesthetics and form into a new collection. In this investigation, graphics are used as a way to disrupt the physical. By introducing pictures, we no longer blur between lines and forms, but rather between physical and digital, create moments where we don’t know if an element is mass
or graphic. These transformations have allowed us to perceive new connections between objects in order to create a collection of fragments or small clusters. Objects lose their integrity. They loosen their parts and start to connect around their materials and colors instead of their initial state.
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p.32 up REMIXING (second investigation): relief roof plan of the facility in the REMIXING phase with superimposed animated projection p.32 down REMIXING (second investigation): relief roof plan of the facility in the REMIXING phase
p.33 REMIXING catalogue (second investiation): photographs of the objects produced during the REMIXING phase through the fragmentation and the clustering of objects taken from the SAMPLING catalogue
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p.34 RECOMPOSING (third investigation): extracted frames from the animation of the RECOMPOSING phase p.35 up RECOMPOSING (third investigation): relief roof plan of the facility with superimposed animated projection of the interiors
p.35 down RECOMPOSING (third investigation): relief roof plan of the facility p.36 RECOMPOSING (third investigation): model of the instance of the RECOMPOSING phase that was recognised as the most suitable for the project’s site and context
The third investigation is to recompose the previous two, while referring to the qualities inherent within them. Rationalizing the attributes discovered through remixing, this phase consolidates our forms while conserving the fundamental qualities of previous investigations. We used projections to reunify what was disrupted and fragmented and created new
connections between our pieces. Our final model is one example of what recomposing could engender. This form was found through the evaluation of site and context, as well as connections throughout the facility. We believe that this composition is the best instance to push Olivetti into the future.
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p.38 - 39 RECOMPOSING (behind the scenes in SCI-Arc’s robot house): cluster of objects form the REMIXING catalogue were moved by robotic arms and projected on to obtain the animation of the RECOMPOSING phase
C LUSTE R +
PROFESSOR JACKILIN HAH BLOOM PARTNER IRVIN SHAIFA D S 1201 2G B X : N E W ATL A N TA CEN TRA L L IB RA RY
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p.42 Conceptual models: Initial massing models exploring the idea of the cluster and the formal qualities of vertical and horizontal towers p.44-45 Conceptual drawings: Graphic exploration of the initial library massing, investigating the cluster of common technological objects
p.46-47 Conceptual drawing: Conceptual perspective revealing the design intent of the project. Supported by a cluster of monoliths, the main volume of the library rises and cantilever above the street
The library’s main intent has always been to distributes knowledge, but in an age where libraries can easily slide into our pockets, the question comes: how can a library can do more then be a singular object? CLUSTER + proposes a new public library in downtown Fulton County district of Atlanta that aims to answer this question. By exploring the
idea of the cluster, it proposes a center that aggregates knowledge, rather than distribute it. “Active spaces” at the bottom lift the main volume of the libary. Supported by these monoliths and extends past the designated boundary CLUSTER + adresses itself in the urban fabric and brings the activity of the street within its walls.
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p.48 Long evelevation : View from the North street p. 49 Short elevation : View from the West street p.50 Long section : View from the North street p.51 Short section : View from the West street p.52 Plans: Plan of the ground floor and third floor
p. 53 Animation frames: Turn table of the cluster without the main volume of the library p. 54-55 Sectional relief models: Interior sections detailing the connections between the cluster and the main volume of the library
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the main volume, the cluster connects every secluded program to the main library at a point or the other. A central circulation core, acts as a transitional space between these active spaces and the quieter open space of the main library. It also helps to draw in the activity of the surrounding streets at the building’s ground level, and eventually to its main volume. A’ B’ C’ D’
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The library is divided in two types of spaces: the main library, and its clustered semiautonomous cultural spaces. These spaces, defined as “active spaces,” host programs that tend to stimulate a significant amount of social interactions. It includes an exhibition space, a cafe, an area for children and an auditorium. Sometimes in opposition, sometimes in communion with
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B O N N E AV E N T U R E PROFESSOR ANGELICA LORENZI PARTNER KUMARAN PARTHIBAN D S 120 0 2GA X: W O RKSH O P I X-RAY
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p.58 - 59 Conceptual drawing: Formal exploration of the Bonaventure’s fourth dimension through the distortion and reassemblage of architectural components present inside of the Bonanventure Hotel
p.61 top Interior perspective: The Bonaventure Hotel in its forth dimension p.61 bottom Technical drawing: Digital library of architectural components present inside Bonaventure
The Bonaventure Hotel is an icon for the city of Los Angeles due to its appearance in many movies and TV shows. With fiction, this piece of architecture has served many functions and overlooked many cities. In some movies, architectural elements have been added or suppressed, which drastically changed the character of the building. Throughout the years, one can argue that Bonaventure’s identity has become more than the Westin’s hotel located in downtown LA; it lives in people’s minds as an overlay of mental constructs drawn from fiction. By introducing the idea of the Bonaventure Hotel as a space-time machine where elevators are actually black holes, BONNE AVENTURE uses fiction to express its multiple identities. In this world where
time and space collapse, the Bonaventure shows its true nature; it reveals itself as the container of simultaneous and overlapping realities, where the souvenir or fiction becomes as important as the factual. Exploring the theme of the souvenir, architectural elements of the Bonaventure are decontextualized and reassembled following the way they are experienced while moving through the space. The interior design of the hotel thus becomes the physical expression of how it is recalled in people’s mind. Sometimes components are out of scale, in another orientation or distorted by an uncommon angle of vision. Each object comes to engage with each other following its own rules, rather than physical constraints.
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p.62 Exterior perspective: the Bonaventure Hotel in its forth dimension p.64 Animation : instance of one of the reality of Bonaventure in the forth dimension
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INFILL
PROFESSOR CASEY REHM PARTNER KUMARAN PARTHIBAN D S 120 0 2GA X: W O RKSH O P II EN GA GEM EN T
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In the context of an upcoming housing crisis in LA, it is not enough for public spaces to have a unique function; we need to reimagine spaces as a transformative agent that would allow both public and private activities. INFILL tends to densify downtown Los Angeles while redefining the relationship between housing units and
public spaces. Presently underutilized, both the Bonaventure Plaza and the Union Bank Plaza offer interesting anchor points to uplift user engagement to a vertical public fabric. INFILL enables these two plaza to reach their full potentiald by becoming the node for a new habitation development to grow.
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p.68 Point cloud isometric: photogrammetry of the site p.69 Isometric: chosen site populated by the different INFILL components
p. 70 Elevations and isometrics: INFILL main component p. 71 Elevations : Assembly of the main component into housing units
The housing units are organized around a main circulation system that offers both private and public moments. The wood decking creates small public spaces whereas the concrete floors offer direct connections to the housing units. Monumental vertical circulation cores are also speed out to the site to invite users and inhabitant to explore the structure. The housing units are, for their part, created by
the agglomeration of a single component placed in various orientations. At some moments, the component creates roofing, at others, a surface for a bed. Its porosity allows interaction between stories, while the component’s masses provide some private areas. Its geometry allows fluidity throughout the structure while adding modern ornamentation to the overall structure.
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p.72-73 Plan views: INFILL on site displaying its different densities p.74 Perspectives: High end and low density housing filling the Bonaventure Plaza p.75 Perspective: High density housing on S Flowe Street
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CIT Y GRID
PROFESSOR MARCELYN GOW PARTNER KUMARAN PARTHIBAN D S 1200 2GA X: W O RKSH O P III CU RIO SIT Y
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p.78-79 Conceptual collages: Formal exploration of the potential facade of the tower based on 3d scans and photographs of building facades in downtown Los Angeles p.80 Photograph: Cluster of the tower’s final chuncks
p. 82- 83 Photograph: layers of the tower, presented as discrete chuncks p. 84-85 Photograph: Final tower
City grid is a poetic documentation of one’s journey through downtown Los Angeles. Inspired by Ed Ruscha’s “Every building on the sunset strip,’’ this tower brings the city grid of downtown Los Angeles vertically by mapping 3d scans of existing building in downtown Los Angeles to the tower’s
piece displays a moment, a souvenir or an impression of the city. A color palette close to the one used by the impressionists in the 1860s-1890s also contributes to convey the idea of the souvenir, the nostalgia. It creates the tower, as a simulacrum of an origin that only exists in people’s imagination.
massing. Each piece, composed of two or three different scans, relates a part of downtown. Due to the imprecision of the 3d scans and the 3d printers, the initial buildings merge with each other and unfold into an abstracted and ornamental façade system. Rather than a faithful copy of its parent, each
Stack on to another, these pieces share moments of tension and fusion. The interlocking of the pieces recalls the interaction of the original building in the urban fabric, somethime hiding, or revealing parts of another chunck. Together, the pieces come to form a cohesive tower that overlooks its fragmented origin.
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THE MEAL PROFESSOR PETER TESTA PARTNERS DUTRA BROWN, CHRISTINA GRIGGS, JONATHAN WARNER A S 25 8 1 3 GA X: V O L U M ETRIC V IDEO
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p.88 Animated scenes of the making process: dought making and pasta station p.89 Animated scenes of the making process: cooking
the tomatoe sauce p.90 Animated scenes of the making process: serving p.92 - 93 Renderings: selected views of the VR scene
The beauty of lasagna is in the coming together of disparate ingredients. The act of cooking one is not dissimilar to the construction of building—layering of different materials to the creation of one harmonious whole THE MEAL is a digital environment that uses contemporary means to present the making of this traditional Italian dish. Moving away from the traditional cooking shows or the more recent cooking blogs, THE MEAL investigates the possibly of presenting the making of a recipe in a space that is completely digital and interactive. By using volumetric captures, our team was able to transpose human motions in a VR kitchen where the user can navigate freely. The
different steps of the making are singled out and presented simultaneously, allowing the user to explore, at its pace, the making process of the lasagna. THE MEAL aims to create an environment that goes beyond the digital. Instead, it proposes a “phygital� world, a world that mixes different techniques of representation within the same space. In the ingredients of the lasagne, and in the VR kitchen, our team played with the nature of the materials, and their resolution. We replaced building materials with traditional ingredients and vice-versa. We also combined photogrammetry, volumetric caption, renders and real footages to create our unique cooking experience.
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LA BELLE EPOQUE
PROFESSOR ALEXEY MARFIN PARTNERS INA CHEN, FATEMEH GHASEMI, GREGORY KOKKOTIS, JONATHAN WARNER
VS 2702 3 GA X: V R F IL M SET
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p.94 Photograph: final VR exhibiton (credit: Xin Liu)
p.96 - 99 Renderings: selected views of the VR scene
The favorite is an American-Irlando-British movie produced by Yórgos Lánthimos in 2018. The movie takes place in the early 18th century, when England is in war with France. LA BELLE EPOQUE attempts to reproduce in VR one of the most recognizable environment
of the movie: the queen’s room. Respecting the ambiance and the period of the movie, LA BELLE EPOQUE tries to convey with materials, furnitures and personal aesthetic choices some of the most prominent themes of the movie.
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PL AY ROOM
PROFESSOR FLORENCIA PITA PARTNERS SRIYOYEE SINHA VS 2703 3 GB X: PL AY RO O M
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p.100 Renders : Left wall p.102 Renders : Isolated details of the room
p. 103 Render: Right wall p.104 Render: Back wall
This project focus on ideas of ‘play’ as an entry into architectural language. It intends to develop a vocabulary of forms and materials that will unravel living spaces and landscapes embedded with color, texture and ornament. Inspired by the work of Mathew Stone, PLAYROOM is a room at the intersection
between a paiting and a 3d model. Its furniture are inspired by the rococo mouvement, and its color scheme is derived from inital experiments with paint brushes, creating a new kind of interior where the brush strokes start to merge with the ornaments of the scene.
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À TA B L E
PROFESSORS DAMJAN JOVANOVIC, ANGELICA LORENZI VS 4201 2GB X: B ECO M E TH E IN TERN ET
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In our contemporary world, an impressive amoun of images is produced every second. Facing this new reality, the contemporary artist or architect has two possibilities: fight the digital, or follow the trend. By producing more than a thousand screenshots over the course of the semester, À TABLE embraced its
time while adding, not without irony, to the enormous amoun of food related content already present on social medias. These low resolution images, each produced in less than 10 minutes, explore the new wave of visual content, where quantity dominates over quality and meaning.
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p.108 - 115 Screenshots: Selection of the best screenshots of the semester
p.117 Booklet: Collection of the best 100 screenshot produced during the semester
The screenshots were created through a digital platform (sandbox) that allowed the used of a restricted number of objects and set of operations. Each composition was producing
within a window of 10 minutes, and did not allow any post processing. The platform was thus at the same time the modeling and rendering engine.
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Through a progression of screenshots, À TABLE deconstructs food arangements and challenge the appearance of commun aliments. By playing with textures, materials
and composition, À TABLE critiques the idea, mainly developped through social medias, that food should always look perfect and prestine.
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“ As we look around the modern world, we see the ghosts of other conventional distinctions, which now appear as arbitrary as the borders on our phones. On the internet, the gap between next door and next continent implodes. Northern
Baroque paintings, Triassic fossils and yesterday’s op-eds are tabs on the same browser. Raised by a global chorus of voices, our identities are voluntary, malleable and unprescribed. We are everywhere, anytime and everyone at once. ”
Thom Bettridge, Joerg Koch and Lucas Mascatello. The Big Flat Now Op-Ed, 032c Magazine
BLOOM
PROFESSOR ANDREA CADIOLI, CASEY REHM PARTNER PRIYANKA RAJANI VS 42 00 2GA X: V ISU A L STU DIES
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121 I V S 2GA X: B l o o m
This seminar was interested by the multiplicity of meaning of a same object. By overlapping different means of representation, BLOOM explores the multiple realities of the sunflower, creating an augmented object. Here, multiple layers of representations overlay the original
physical flower and translate in into 2d, 3d, digital and physical objects. BLOOM can be understood as a mesh, a point cloud, a rendering, a 3d model and an augmented reality, because BLOOM is, in fact, the superposition of all these realities.
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p.120 - 121 Conceptual collages: supperposition of the photograph, the point cloud, the mesh and the render p.114 Conceptual collage: Use of the anaglyph to add depth to 2d images
p. 117 Photograph of the midterm: The sunflower and its 3 modes of representation p. 118-119 Animation frame: Use of AR to change the appearance of the 3d model
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NEW ATL ANTA LIBRARY
PROFESSORS HERWIG BAUMGARTNER, BRIAN ZAMORA PARTNERS HIRAL AHIR, KUMARAN PARTHIBAN, RICHARD MAPES,YASH METHA, JULIA PIKE, PRIYANKA RAJANI, CALEB ROBERTS, IRVIN SHAIFA A S 3 22 3 GA X: DESIGN DE V ELO PM EN T
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Our team had the mandate to implement the design of Julia Pike and Richard Mapes for the new Atlanta library. In a 15 minutes animation, we investigate issues related to technology, the use of materials, systems integration, and the archetypal analytical strategies of force, order and character. More specifically, the video analyses the macro and micro structural components of
the projects, its environmental systems, its lighting, acoustic, fire safety components and the cost of the overall project. The design decisions necessary to produce these documents are made in accordance with the intentions of the initial design. The charismatic terrains and the external diagrid were not compromised but rather preserved and highlighted.
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Fiberglass Smooth Concrete Surface Blind BumpsTransition Surface Concrete Metal Deck I-Wide Flange Beam Active Heating and Cooling Vents
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Solar Shade Fin Metal Bracket Diagrid Structure Metal Panel Metal Panel Rainscreen Insulation Board Moment frame Rectangular Hollow Section Angle Cleat Tapered Insulation Concrete on Metal Deck I-Wide Flange Beam Hat Channel Anchor Bolts Acoustic Metal Ceiling Panel
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p.128 Isometric: zoom in on the envelope and strutural systems of one region of the building p. 129 Isometric: detailed region p. 130 Isometric: floor typical transition detail
p. 131 Isometric: boxes and envelope connection detail p. 132 Isometric: lighting systems p. 133 Isometric: RCP p. 134- 135 Isometric: cost analysis
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DIAGRID PRIMARY STRUCTURE
TERRAIN PRIMARY AND SEC STRUCTURE
Box Section Area - 1792 sq. ft. Cost - 14353.92
I - Beams Area - 54306 sq. ft. Cost - 2797302.06
I-Beam Area - 8067 sq. ft. Cost - 415531.17
C - Channel Area - 11084 sq. ft. Cost - 937817.24
DIAGRID SECONDARY STRUCTURE I - Beams Area - 54306 sq. ft. Cost - 2797302.06
TERRAIN TERTIARY STRUCTURE Space Frame: Tube Section Area - 7562 sq. ft. Cost - 1771776.6 Translucent Material : GFRP Area - 1767 sq. ft. Cost - 27724.23 Egg Crate : Metal Sheet Area - 236178 sq. ft. Cost - 386846.46
FACADE Glazing: Unitized Glazing System Area - 90584 sq. ft. Cost - 1005861.6
BOXES STRUCTURE I - Section Area - 9380 sq. ft. Cost - 488314.8
Louvers: GFRP Area - 45292 sq. ft. Cost - 445793303.8
CONCRETE FLOORS Area - 212970 sq. ft. Cost - 992440.2
BOXES FACADE Deck Floor: Galvanised Iron Sheets Area - 48720sq. ft. Cost - 584640 Glazing: Unitized Glazing System Area - 8883 sq. ft. Cost - 931824.7
F O U N D AT I O N LOUIS VUITTON
PROFESSORS RANDY JEFFERSON, MAXI SPINA PARTNERS DEEPAK AGRAWAL, THEO DATTOLA, JULIA PIKE A S 3 20 0 2G A X : ADV A N CED M ATERIA LS A N D TECTO N CS
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Ductal Concrete Panels Aluminium Panels Steel Connections Foundation Aluminium Clips Neoprene Weather Sealant Rock Wool Thermal Insulation Metal Stuts Concrete Foundation Walls
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Our team is proposing the replacement of the glass sails with ETFE panels for our transformation. ETFE or Ethylene tetrafluoroethylene is a high strength plastic polymer which is design to have a strong corrosion and heat resistance. When used in pneumatic panels, ETFE becomes a great roof material. The plastic is self cleaning and recyclable, decreasing the amount of maintenance needed. Each ETFE panel has life span of roughly 30 years. The material is
lightweight and can span longer distances than glass, decreasing the amount of structure needed to support the panels. With ETFE we can decrease the thickness of the sails structure, giving the Fondation Louis Vuitton a more lightweight aesthetic. The reduction in Structure allows for visitors to have a clear view Paris and the surrounding Park. With the lack of views being the main critique of the current Fondation Louis Vuitton design.
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p.138 Isometric: enveloppe articulation p.139 Isometric: iceberg pullaway p.141 Isometric: iceberg cutaway
p. 142 Isometric : glass sail pullaway p. 143 Isometric: glass sail crossection
Continuing with the initial intention of the sails, ETFE is similar to fabric where it provides a soft exterior appearance. The use of fabric ETFE panels relates to the Fondation Louis Vuitton and the company’s program. We believe that ETFE would be a cheaper and better roof panel
option for the Fondation Louis Vuitton because of how efficient it is. ETFE also provides the Fondation Louis Vuitton with the option to provide clear or opaque panels, either framing the surrounding views of Paris or providing shade to the terraces below.
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Tempered Glazing 1 Corrugated Metal Sheet 2 Steel Structure 3 Steel I-Beam 4 Concrete Foundation Walls 5 Metal Struts 6 Neoprene Weather Sealant 7 Aluminium Panels 8 1/2 ‘‘ concrete Ductal Tile 9 Steel Connection to Concrete Foundation Walls 10
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Top Aluminium Mullion Sealant 6mm Exterior Tempered Glass 1.52mm Interlayer with 50% opacity reflective white frit 8mm Interior Tempered Glass Aluminium Mullions Timber Beams Steel Joint Steel Beam
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DESIGN DEVELOPMENT: Keeping with Frank Gehry’s original design intent, ETFE panels provide a soft exterior easthetic, similar to Gehry’s inspiration sails. TERRACE: Similar to glass sails, ETFE panels will continue to provide chade and protect the terraces below, resoluting in a more regulated environment. RETENTION BASIN: With the reduction in maitenance required with ETFE panels as opposed to glass, there will be more water to recycle for different uses. ETFE will also contrinue to provide a micro-climat to the subfloor level and terraces.
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p.142 Isometric: Proposed transformation p.145 top Isometric: Top of ETFE panel p.145 bottom Isometric: ETFE aluminum mullions p.146 Photograph: Model of the proposed transformation
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THE CITIES OF TOMORROW:
HOW TO PROTECT T H E M U TA B L E
PROFESSORS ERIK GHENOIU, MARKO ICEV H T 2201 2GB X: TH EO RIES II
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INTRODUCTION The prominent rise of globalization in previous decade has sparked a renewed interest for historical and local urban fabric. In an attempt to protect and preserve, cities around the world take advantage of their historical heritage and use it as a way to forge their own identity. Ironically, the effort to protect bears an opposite result: zoning regulations and historic preservation strategies inhibit the true cultural identity of a city as they prevent it from addressing current social and economic problems.
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Our current understanding of preservation is dominated by the idea of permanence. Defined as “the activity or process of keeping something valued alive, intact, or free from damage or decay,” the term implies that what exists should not change or evolve.1 Similarly, the concept of cultural significance, introduced for the first time in the 1979 Burra Charter, also favors permanence over change and stagnation over evolution. Defined as the “aesthetic, historic, scientific or social value for the past, present, and future generations,”2 this concept highlights the passage of time and encourages places and architectures worth preserving to remain immutable over the years. As underlined by Rahul Mehrotra in his essay, Emergent Urbanism of Mumbai, “implicit in this definition is the belief that “significance” is static. It is a definition
that is object-centric (devoid of life) with its roots in the debate propagated by the antiquarians of the Renaissance.”3 As such, by having the notion of permanence imbed in the both the concept of preservation and cultural significance, cities are encouraged to implement conservation and zoning strategies that paralyses architecture on a specific time of cultural relevance. Consequently, zoning regulations and preservation strategies tend to restrains the manifestation of new architecture for the profit of one specific cultural reality that might not reflect its current socio-economic and political needs. For instance, the borough of Westmount, in Montreal, gained its prestige for its architectural consistency. Implemented as early as 1915, zoning
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regulations helped create a neighborhood with a clear and unidimensional aesthetic that brings us back to Canadian Victorian and post-Victorian era.4 However, by favoring masons stone and gingerbread details, and by prescribing modern technologies such as vinyl or siding windows, Westmount’s preservation committee encourages an architecture that is disconnected from its contemporary context. More importantly, the constant surveillance of the preservation committee inhibits the potential dynamism of the borough. Because of the tedious and long process that every new construction has to go through, it can take years for a building in Westmont to breaking ground. Even the slightest adjustments on the building exterior or its landscaping require the approval of the city board of inspection and, sometimes, the inspection of the planning advisory, which may take several weeks to obtain. Operating within such strict and scrupulous zoning regulations, the borough of Westmount renders any dynamic and spontaneous change in the urban fabric almost impossible. By fear of losing the aesthetic quality of its past, Westmount prefers to present an outdated image of itself and of its current needs. Additionally, the implementation of a rigid set of preservation rules may contribute to completely tranquilize the potential architectural dynamism of a place. This
phenomenon, referred to as museumification, is mainly visible in touristic monopoles such as Paris, Venice or Bruges and is understood as the transformation of a city initially inhabited into an urban museum.5 Frozen in time, the place becomes completely static and refuses to physically address the challenges proposed by its current socio-cultural and political condition. In 2008, L. Davezies observed this situation at the center of Paris: The center of Paris ossifies and museumifies: whithin a few years, this geographical center of Parisian political, financial and commercial power has become the place of another power, one that is touristic.6
Although preservation is not the only factor leading to museumification, the actions taken to leave the city to its pristine old state, with no real opportunity to personalize it, contribute to the feeling of disappropriation and detachment shared by its inhabitants. Thus, by protecting the architecture of yesterday, preservation strategies risk to atrophy the content of tomorrow. The problematic raised earlier definitely calls for a change in the way the identity of a city is protected. Preservation and zoning cannot solely protect the past or the static. They also need to provide tools for the development of new meaningful projects. For example,
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p.153 Westmount: Uniformity and compliance p.154 The indian kinetic city: Mix between the rigid and the mutable
Indian cities have, as Mehrotra suggests, a cultural value that goes far beyond their static architectural presence. By introducing the notion of “Kinetic City”, Mehrotra argues that the identity of Indian cities, like Mumbai’s, is forged by the dynamism between their different parts and their ability to constantly adapt to new needs.
For instance, the rural migration of late 1990s coupled with the inadequate supply of urban land resulted in Indian cities being overpopulated. As a result, the cities gradually developed a “new, bazaar-like urbanism”, an architecture where “the space of the everyday became the place where economic and cultural struggles are articulated.”7
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CONCLUSION In conclusion, one must face it: dynamism is now an important characteristic of our cultural reality. In the future, the cities will only grow bigger and be harder to regulate wth traditional zoning and urban planning techniques. Thus, cultural preservation and
answer lies within the problem: preservation needs to be rethought and tailored to the dynamism of cities. It must cease being a passive driver of architecture, and become an active agent of change, interaction and evolution. Only then will one create an
zoning needs to find ways to support, and not restrain the kinetic qualities that characterize the evolving cities of tomorrow. Perhaps, the
architectural equilibrium that fosters the dreams of the future and respects the history of the past.
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BIBLIOGRAPHY Davezies L., 2008, « Paris s’endort », in La Vie des idées, disponible sur Laviedesidées.fr
and Kinetic Cities. Durham and London: Duke University Press, 2008.
Hanna, Dr Bronwyn. “Developing the 1970s notion of ‘significance’ in the Burra Charter,“ Canberra University. May 15, 2015. Canberra University, https://www. canberra.edu.au/research/faculty-research-centres/ cccr/resources/insignificance/pdf/Bronwyn-Hannainsignificance.pdf (March 12, 2019).
Ressource de Géographie pour les Enseignants. ‘’Muséification,’’ Géo Concluences, January 2011. http:// geoconfluences.ens-lyon.fr/glossaire/museification (March 12, 2019).
Mehrotra, Rahul. Other Cities, Other Worlds: Urban Imaginaries in a Globalizing Age: Negotiating the Static
Semenak, Susan. “Keeping it real in Montreal,” National Post, March 15, 2012. https://nationalpost.com/life/ homes/keeping-it-real-in-montreal (March 12, 2019).
FOOTNOTES Image 1-3. https://www.architectural-review.com/essays/theindian-city-kinetic-consuming-reinterpreting-and-recyclingspaces/10030442.article Image 2. https://unjourmontreal.wordpress.com/2011/05/23/ chronique-le-quartier-de-westmount/
1. Merriam Webster dictionary 2. Dr Bronwyn Hanna, ‘’Developing the 1970s notion of ‘significance’ in the Burra Charter,“ Canberra University. May 15, 2015. Canberra University, https://www. canberra.edu.au/research/faculty-research-centres/ cccr/resources/insignificance/pdf/Bronwyn-Hannainsignificance.pdf March 12, 2019. 3. Rahul Mehrotra, Other Cities, Other Worlds: Urban Imaginaries in a Globalizing Age: Negotiating the Static and Kinetic Cities. (Durham and London: Duke University Press, 2008), 210.
4. Susan Semenak, ‘Keeping it real in Montreal,’ National Post, March 15, 2012. https://nationalpost. com/life/homes/keeping-it-real-in-montreal March 12, 2019. 5. Ressource de Géographie pour les Enseignants. ‘’Muséification,“ Géo Concluences, January 2011. http:// geoconfluences.ens-lyon.fr/glossaire/museification March 12, 2019. 6. Davezies L., 2008, « Paris s’endort », in La Vie des idées, disponible sur Laviedesidées.fr (translated from French) 7. Rahul Mehrotra, Other Cities, Other Worlds: Urban Imaginaries in a Globalizing Age: Negotiating the Static and Kinetic Cities. (Durham and London: Duke University Press, 2008), 210.
PAR A FI C T I ON IN THE REALM OF
SOCIAL MEDIA
PROFESSORS MARCELYN GOW, TIMOTHY IVISON H T 2200 2GA X: TH EO RIES I
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INTRODUCTION In a world dominated by fake news and distorted realities, artists such as Carrie Lambert-Beatty or Micheal Young use parafiction to “train [their public] in skepticism and doubt.1 ’’ Characterised by an aesthetic of estrangement, parafiction uses different media to distort something that looks real and thus expose the public to a plethora of possibilities of how the world could be. In doing so, parafiction artists wish to equip the public with adequate tools, allowing them to dissociate the truth from the false in any given situation. However, in a world
wonder whether the creation of alternate possible worlds is the right way to ask how we might “peel possibilities away from the dense surface of the way things are.2 ’’
driven and defined by social media, one could
of different plausible worlds.
In this paper, the author will argue that, in a world driven by digital content, parafiction leaves, in fact, residues that rather adds layers to our reality, blurring furthermore the distinction between fiction and reality. Then, by using as example a contemporary parafiction, the author will contemplate the risks that may engendered this overlapping
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Parafiction has no claim regarding “reality” or the way it should be described. According to Lambert-Beatly, parafiction is a “post simulacra” movement whose strategies “are oriented less towards the disappearance of the real than toward the pragmatic of trust.3 ” Through their art, parafiction artists attempt to create fictions that do not fundamentally influence our notion of truth, but the way to approach and trust it. In other words, by creating work that triggers doubt, or a feeling of estrangement, the primary goal of parafiction is to encourage people to question reality, regardless of what it is, and to do so in an even bigger context than the actual art piece: The estrangement is the redistribution. In the best examples of this work, the viewer begins to doubt more than just the artwork itself; they begin to question other moments that claim to represent reality, extending the effects of the artwork well beyond the piece itself, and into a world that includes architecture.4
However, in its article “The Parafictional and Medium Promiscuity,” Micheal Young submits the idea that the creation of doubt through an aesthetic of estrangement is extremely hard to achieve: this requires a complete mastery of media, not to rarify its specificities or critically undermine
its artificiality, but to use it to establish the possibility of redistributing the information that it contains.5
When dealing with feelings such as discomfort, uncanny or estrangement, one has to admit that the success of the final product remains uncertain, mostly because the cause of these feelings remains obscure to many. For instance, trypophobia might trigger an intense feeling of discomfort for certain, while leaving others totally indifferent. Also, a specific image, presented in two different situations, might provoke different emotional reactions at different subjects. Creating a successful parafiction becomes even more challenging since trickery plays an important role in its construction. The artist must find the right balance between a piece that is too real and a piece that directly reveals itself as a fiction. This fine line between subtlety and clarity makes it almost impossible for a parafiction to generate the desired degree of doubt without the predisposition or initial awareness of the public. As such, it appears that the success of parafiction is fundamentally dependent of the context in which it is presented. Lately, artists started using social media to reach the broadest pool of viewers, which makes parafiction hard to contain within a specific
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p.160 Lilmiquela Instagram post, September 21, 2018: This post, displaying lilMiquela in bikini, engendered a large number of hatefull comments, mostly direcrted
toward Lilmiquela’s body. mber of hatefull comments, mostly direcrted toward Lilmiquela’s body.
context, or within its curated primary form. As Benjamin observed in his “Work of Art’’ essay, ‘’one of the consequences of the proliferation of technological reproductions is the loss of context, of presence, of the authenticity that held an original artwork to be a singular creation.6 ” Thus, the replica of the parafiction only displays a faded version of the aura contained in the original or, according to Groys, its own aura, with no direct reference to the original.7 In any case,
the original, or the art piece connected to the context in which it was initially created, becomes hard to retrace if not, unimportant. This decontextualization of the image through social media may retain parts of the parafiction to be recognized as strange. Yet, by presenting parafiction as an art that acts uniquely on the notion of doubt, the literature fails to acknowledge the impactof these residues, namely, the parts of the
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fiction that haven’t yet, or will never, trigger a feeling of doubt strong enough for the fictional model to be rejected as a plausible reality. These residues, too detached from their initial context, will bypass the question of doubt and act on the notion of truth. They will open the door to parallel plausible realities that cohabitate with ours, letting
raised some questions about the way we trust social media and the content that they present. Although the announcement of Lilmiquela’s fake identity has primarily raised some questions regarding what to believe or not, this parafiction model continues to influence our reality in ways that go far beyond the notion of doubt. In fact, this
the fiction influence our own relationship with the real.
parafiction leaves behind a huge number of residues that, instead of provoking doubt or raising questions about the believability of social media, diminishes our ability to demystify the real.
The most prominent example of intermingled realities is Miquela Sousa, better known by her online sobriquet Lilmiquela. Being without doubt one of the most mediated parafiction of this century, this 19 yearsold Spano-Americano-Brazilian influencer has 1.3 million followers on Instagram and a foot in the door of the music and fashion industry. From her impeccable hair and skin, her amazing body and her enviable lifestyle, everything about her seems too perfect to be true, and with reason. Miquela Sousa is, in fact, a computer-generated character created by a Los Angeles startup called Brud. Brud uses techniques of parafiction to conceive a plausible character, pushing some of her attributes to extreme perfection in order to arouse doubt about her tangible existence. After two years of online existence, the startup decided to reveal the scam following a orchestrated scenario that
Indeed, the multiplication social media content decontextualizes the images and hinders the awareness necessary to fully identify a work as parafictional. In the case of Lilmiquela, it is the accumulation of weirdly perfect photos and the hints given in the captions of her Instagram photos that provokes concerns about her actual existence. However, if taken individually or out of context, as reposts or as singled-out pictures in magazines, the pictures simply become residues of the parafiction, as they do not drastically differ from any other photoshopped or staged celebrity photo. These residues may be assumed to be real without provoking any further questions and, thus, simply become additional content that blurs the boundary between the fake and the real.
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Strangely enough, the multiplication of content also renders her overly perfect appearance bearable, if not normal, and thus cancels most of the effects intended by the parafiction. Removed from the parafictional intendent that initially justified the creation of Lilmiquela, images of this influencer become residues unable
years of activity on social media, Lilmiquela has been offered opportunities that most social media influencers would dream of: she released three singles, has an album on the way and participated in an impressive number of add campaigns with some of the biggest names in the fashion industry. Atypical of the parafictional model that
to trigger a sense of estrangement strong enough to be rejected by our reality. The doubts previously provoked by her posts have slowly been replaced by an acceptance of her falsity as part of our reality.
originated her creation, the images produced by Brud have loosen the context that defined them as parafiction, making Lilmiquela a major actor in the cultural production of the 21 st century and leaving behind parafictional residues. These residues add fake layers to reality, making it indissociable from fiction.
While some followers on Instagram are still worried about the credibility of her profile, most have decided to ignore her lack of tangible matter, and regard her as equal to humans. For instance, last September, Lilmiquela posted a photo of herself in bikini. The followers commented on the way she looks or ‘’lives’’, which demonstrates that this digital creation is being judged against the same criteria as humans. Even worse, many comments express criticism of her body, arguing that she is too skinny or even suffering from eating disorders. Additionally, the financial aspect of Instagram popularity leads to situation unseen in the past, such as offers made to Lilmiquela for roles normally fulfilled by humans. For instance, during her two
The danger with these residues is that they are, for most of them, more attractive than the reality. Parafiction mainly uses the technique of collage to generate a fictional, yet plausible model of the real. 8 As expressed by Micheal Young in ‘’The Art of the Plausible and the Aesthetic of Doubt,’’ the technique of the collage in parafiction has the advantage to recombine decontextualized images into a totally new and controlled context. Without the burden of carrying meaning, the parafiction artist is allowed to select, from any source, the images, or piece of information that will support, with maximal efficiency, the fiction that he is trying to compose. 9
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By losing their initial context and thereby the ability to generate estrangement, the residues of a parafiction simply become these highly composed models exempt of any randomness or imperfection. Lilmiquela’s photos on Instagram are a perfect example: the lack of arbitrariness of these models, not to say their lack of humanity,
makes them extremely appealing to the human kind. In the case of Lilmiquela, the fictional overpowers the real. More convenient, easier to manipulate and without any uncertainty, it is not surprising that Lilmiquela took over fashion contracts that were, before then, only reserved to humans. The residues of parafiction thus aliment a world of fictions and encourage the production of appealing fakeries.
p. 163 Lilmiquela Instagram post, Mai 21, 2018 and Kim Kardashian Instagram post, november 15, 2018: In comparison with Kim Kardashian’s Instragram account, Lilmiquela’s photos cannot obviously be indentified as fake.
p.164 Lilmiquela Instagram post, September 21, 2018: This post, displaying lilMiquela in a fashion magazine, proves her presence in diverse medias even though she is not humain.
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CONCLUSION If we do not pay attention to the consequences of these residues, parafiction risks to produce content that will dominate or direct the way we interact with the truth. Because of their hyperrealism and their human-like interactions, these residues nourish the belief that such level of perfection can be achieved by the human kind. Akin to the idea of the third level of simulacra introduced by Baudrillard, parafiction residues risks to form a new societal standard. They will promote a version of the real more real than the real, an ideal model that precedes, and determines the truth10.
What was said by Baudrillard in the1980s about Disneyland and Los Angeles risk to become true about our world and its digital counterpart: ‘’Disneyland is presented as imaginary in order to make us believe that the rest is real, when in fact all of Los Angeles and the America surrounding it are no longer real, but of the order of the hyperreal and of simulation.11 ”
In this inverted society, doubting our world becomes irrelevant. True or not, the fiction will still overpower the real.
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FOOTNOTES 1. Carrie Lambert-Beauty, Make Believe: Parafiction and Plausibility. October [Internet]. 2009;129 :78. 2. Carrie Lambert-Beatty, “Believing in Parafiction,” 86. 3. Michael Young, Kutan Ayata, The estranged Object : Treatise Series. (Chicago: Graham Foundation, 2005), 65. 4. Ibid., 75. 5. Ibid., 65.
6. Walter Benjamin, “The Work of Art,” 14. 7. Boris Groys, In the Flow (New York: Verso, 2016), 143. 8. Micheal Young, “The Art of the Plausible and the Aesthetics of Doubt.” LOG 41 Fall 2017: 42. 9. Ibid. 10. Jean Baudrillard, Simulacres et Simulation (Paris: Galilée, 1981), 171-183. 11. Ibid., 172.
POULIN.JUSTINE@GMAIL.COM 213-820-1835 SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE M. ARCH 2