Princeton University School of Architecture Workbook 13/14 by Princeton University School of Architecture

1 ConTEnTS

Workbook— 13/14 2

Dean’s Letter

Undergraduate Program

ARC404/MARio GAndelsonAs—Fall 2012

ARC404/Guy noRdenson—Fall 2012

AhMed —Ammar, Senior Thesis Spring 2013

de lA hoz— Carly, Senior Thesis Spring 2013

MARsh— Margaret, Senior Thesis Spring 2013

MyeRs—Jessica, Senior Thesis Spring 2013

PAPPenfus—Anthony J., Senior Thesis Spring 2013

PeRez—Kayla F., Senior Thesis Spring 2013

shAkesPeAR—Ellen C., Senior Thesis Spring 2013

M.Arch Thesis Projects

diAMAntoPoulou—ivi, Fall 2011

ARC501/MiChAel MeRedith—Fall 2012

BeRtsCh—Matthew and

ARC503/PAul lewis—Fall 2012

BoninG —Willem, Spring 2012

ARC505A/liAM younG —Fall 2012

ettedGui—Laura and

ARC505B/yusuke oBuChi—Fall 2012

GolA-PAPA—Julianne, Spring 2012

ARC505C/GiAnCARlo MAzzAnti—Fall 2012

Johns—Ryan, Spring 2012

ARC502/Axel kiliAn—Spring 2013

weiss—Antonia, Spring 2012

ARC506A/Jesse ReiseR—Spring 2013

ARC506B/AleJAndRo zAeRA-Polo —Spring 2013

M.Arch Studios

101

Doctoral Program

105

RESEARCh SEMinARS

124

GonzAlez GAlAn—ignacio

112

ARAGüez—José

126

GRossMAn—Vanessa

114

Avilés—Luis

128

hAndweRkeR—Margo

116

BedfoRd —Joseph

130

MeisteR—Anna-Maria

118

BRitz—Marc

132

olAiyA—Yetunde

120

eveRsole—Britt

134

RiCChi—Daria

122

fABRiCius—Daniela

136

vAnnuCChi—Federica

3 DEAN’S S TAT E M E N T

Workbook—13/14 Architecture is about many things, but is ultimately seeking to transform the real, both physically and culturally. Even in the current crisis, making buildings and cities remains the largest source of material wealth in the economy, but also a primary generator of social inequality, energy consumption and carbon emissions. Yet despite buildings and cities’ crucial role in shaping our world, the discipline of architecture is losing agency. The engines that drive the processes of the built environment today have become often more creative— and destructive—than architects’ wildest dreams. This poses a serious challenge to anyone involved in the exercise, advancement, discussion and dissemination of architecture’s discipline. To regain agency, an engagement with the real is required. It is only through friction with the outside—either with architectural practice or with other fields of knowledge—that the disciplines of architecture remain alive. However, the accepted notion that professional practice is the model for the discipline is also driving us into stagnation. For architecture to regain its capacity to transform reality, the specificity of architectural knowledge needs to be addressed. Design, architecture’s core activity, is a synthetic mode of thought that cannot be adequately developed through the customary analytical methods of the sciences, engineering or humanities. Across its different activities, Princeton SoA is vested in the development of alternative models of practice by addressing design as a research endeavor. Princeton University’s longstanding commitment to multi-disciplinarity offers an ideal milieu to expand architecture’s capacities by engaging with neighboring fields. Unlike other architecture schools, we are so integrated with the University that we are spared from having to construct artificial multi-disciplinary

environments to enrich our practice. We will be complementing our well-established and successful engagement with the humanities to engage also with the outstanding scientific traditions at the University. By creating new inter-departmental alliances we will gain access to cutting edge intelligence in computation, engineering, sustainability, political economy and other fields which appear as the most promising areas of development for architecture’s future. The small scale of Princeton SoA allows us to operate through a laboratory culture that promotes experimentation and individual entrepreneurship, and links practice and theory, design and research. Princeton SoA has a solid tradition of fostering experimental research and alternative practices in architecture. Our graduates are expected to develop a level of intellectual, technical and entrepreneurial self-reliance that is unique among our peers. This independence has become the trademark of Princeton SoA. Our primary focus has been, and remains the production of advanced knowledge in the discipline rather than the provision of manpower for the industry. We do not teach how to master conventional technologies; we investigate how to develop innovative methods to challenge the status quo in both practice and the discipline. Knowledge production at Princeton is not concerned with normal science but with revolutionary science; it has always had an irreverent, rebellious, untamed spirit. We seek knowledge unbound, paradigm-shifting, passionate, fearless and risky. Not for the faint-hearted. Alejandro Zaera-Polo Dean of the School of Architecture

The undergraduate program in architecture offers an opportunity for in-depth study of the discipline of architecture within the context of a liberal arts education. The program of study emphasizes the complex relationship between architectural form, culture and society considered through an in-depth exploration of architectural design, history and theory of architecture, building technology, urbanism, and landscape architecture. Particular attention is paid to the social and political aspects of architectureâ&#x20AC;&#x2122;s urban setting, and its impact on the natural environment. Princetonâ&#x20AC;&#x2122;s undergraduate program is known for its rigorous interdisciplinary approach. The course of study includes a sequence of design studios and complementary courses in the history and theory of architecture, drawing and representation, computation, environmental and building technology. The broad academic program prepares students for graduate study in architecture and related disciplines such as landscape architecture, urban planning, civil engineering, art history, and the visual arts. In addition, the B.S.E. program in architecture and engineering is offered through the School of Engineering and Applied Science. The School also directs the university-wide Program in Urban Studies which offers additional opportunities for interdisciplinary study. Each student completes a senior thesis, a rite of passage for all Princeton students. The thesis gives seniors the opportunity to pursue original research and scholarship on topics of their own choice under the guidance of faculty advisers. The senior thesis is a detailed project, presenting a well-argued piece of research on a precise architectural theme, and may include architectural drawings, models, video, photographs, and computer-generated images. The thesis is a yearlong project that begins in the fall semester. Faculty thesis advisers are assigned at the beginning of the fall term of the senior year, and students work closely with the adviser in the formulation of the topic, research methods, organization of the thesis material, and presentation of the work.

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Undergraduate Program in Architecture

ARC404—Fall 2012

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TAIHU COASTER PARK: CONCEPTS & TUNNEL CONDITIONS

ARC404 Gandelsonas—Fall 2012

INSTRUCTOR: MARIO GANDELSONAS The Chinese Garden: an experiment in interdisciplinary translations

For an architectural student, it is impossible to overstate the importance of first-hand exposure to the sites and cities that are the subject of their design work. For most of our students, the fall 2012 senior studio was their first opportunity to travel to China; for some of the American students, it was their first significant educational experience abroad. While in China they not only experienced the city directly (gathering site information and photographs necessary for their design work)—they worked closely with their counterparts at Tongji University in Shanghai. Travel to China offers our students exposure to a unique mix of the urgent issues associated with modernization, urbanization and globalization, while at the same time introducing them to China’s rich historical and cultural past. Indeed, it is this mix of history and modernity that makes the experience of China so important for our students.

TAIHU COASTER PARK: PERFORATING THE HILL & INSERTING TUBES

SECTION CUTS (every 20 m)

The site for the first part of the studio was three Suzhou Chinese gardens: The Wang Shih Yuan Garden (The Unsuccessful Politician’s Garden), The Chuo Cheng Yuan Garden (The Garden of the Humble Administrator), and The Lin Yuan Garden (The Garden to Linger In). The site for the second part of the studio after they returned from China was Suzhou New District in the city of Suzhou. The program for the first part was the “reading” of the three Chinese gardens located in the old city of Suzhou and the program for the second part, the design of a new cultural and entertainment node in the Suzhou New District.

TAIHU COASTER PARK: INTERSECTIONS

FAST > THRILL: Twists SLOW > LEISURE: Meander through twists

HIGH INTENSITY MOMENTS

NEEDLE PEAK

DROP

DROP THROUGH TUNNEL

“HEAD CHOPPER”

LOOP SPIRAL

LOOP

TAIHU COASTER PARK: MAIN ATTRACTIONS

LEISURE COASTER START

THRILL COASTER

END

BOTH COASTERS PROVIDE AN UNEXPECTED ADVENTURE. CHOOSE WISELY!

TEA HOUSE TEMPLE + GIFT SHOP TICKETS / INFO / RESTROOMS

M TAIHU COASTER PARK: UNRAVELED PATHS

ENTER HERE!

THRILL COASTER: 1.9 km LEISURE COASTER: 1.5 km

De La Hoz—Carly

Carly De La Hoz

METRO TUNNEL / FUNNEL ENTRANCE GATE VIEW POINTS

Carly De La Hoz

Escalante—Ubaldo

One of the most intriguing aspects of China is the interplay between the garden and the machine. Through Chinese design, I experienced intimate spaces, interesting spaces, and interactive spaces, all through both One of the most intriguing aspects of China is the interplay between the garden and the machine. Through a "mechanic" perspective and through a "natural" Through my design of the He Hill Theme Chinese design, I experienced intimate spaces, interesting spaces, and interactive spaces, perspective. all through both a "mechanic" perspective and through a "natural" perspective. Through my design of the He Hill Theme Park, I Iemphasize thiscreating interplay, creating two nodes, thatnaturepresent the two extremes of the Chinese natuPark, emphasize this interplay, two nodes, that represent the two extremes of the Chinese ral experience and the Chinese mechanized experience. I create intimate, interesting, and interactive spacral experience and the Chinese mechanized experience. I create intimate, interesting, and interactive spaces throughout the site to emphasize these experiences and foster a playful spirit between the two. es throughout the site to emphasize these experiences and foster a playful spirit between the two.

vs. The Machine The Garden vs. The Machine

me Park

The He Hill Theme Park Sarah Murphy Gray

Machine:

tion:

Light/ Shading:

Texture: Activity:

Garden:

LED Lights

Streetlights

Mirrors

Fire

Sunlight

Steel Structure

Railway Tracks

Asphalt/Cement

Placed Stone

Dirt Path

Coaster

Sight-seeing

Skate-park

LED Lights

Streetlights

Steel Structure

Railway Tracks

Skeet-shooting

Asphalt/Cement

Sight-seeing

Fire

Sunlight

Placed Stone

Dirt Path

Skate-park

N 1

Skeet-shooting 3 2

Garden:

Hiking

Mirrors

Coaster

ARC404 Gandelsonas—Fall 2012

Transition:

hine:

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bitationCo-Habitation

Hiking

BUS STOP

METRO

PARKING

MEZZANINE

RIVER

ROLLERCOASTER

CIRCULATION

Plan:

3 1

Scale 2": 75' E

Garden Plan

AERIAL VIEW 500:1

Machine Plan

COLLAPSED PLAN 500:1

Gray—Sarah

Hepburn—Matthew

Parc Terminal

1 minute

Natural State Sensory Deprivation

15 minutes

Virtual State Sensory Deprivation

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Master Plan

30m

Auto Hub Northwest Entrance (Residental Entrance) Boat Rental

Information Center Restrooms Cafe Snack Stand

Parking: Cars and Bicycles

Nature

Slabs

Structure

Circulation

Boat Rental

Main Entrance (Tourist Entrance) He Hill Park

Ticket Office Information Center Restrooms

Lion Hill Park

Gift Shops Restaurants

Candy Land

Section

Suzhou Amusement Park

Parc

Scale 0’

500’

Scale 180’

0’

Perspective 5 4 3

1 2

Scale 0’

250’ 1

Entrance

2 Ticket Booth 3 Terrace 4

Parking

5 The Mind’s Garden

Scale 0’

100’

KuHN—Elizabeth

Myers—Jessica

inal

Term

Regulation

Deprivation

ARC404 Gandelsonas—Fall 2012

Jessica Myers

RESIDENTIAL

_EXCHANGE STUDENT STUDYING ARCHITECTURE AT TONGJI UNIVERSITY

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USER PROFILE: PAUL PRINCETON

PAUL ENTERS THROUGH NORTH ENTRANCE

ESMERALD SHOPPING

_IN SUZHOU TO ANALYZE GARDENS FOR CURRENT PROJECT

PAUL’S ROUTE

SANATORIUM HE HILL PARK

_HAS FIVE EXTRA HOURS BEFORE HIGH SPEED TRAIN LEAVES FOR SHANGHAI. VISITS AMUSEMENT PARK

INDUSTRY

ARC404 Gandelsonas—Fall 2012

Micro Plan

Perez—Kayla

Elevation & Section

Experience

ELEVATION

Shakespear—Ellen SECTION

THE GREAT WALLS OF CHINA: A MODERN CHINESE GARDEN

PLAN

Interior Plan Toilets

Tunnel City Restaurant & Cafe Toilets

Wiring / Electrical

Piping

Air Duct

Wiring / Electrical

Piping

Air Duct

Rock Climbing

Swimming

Airy Wind Tunnel

Swimming

Airy Wind Tunnel

Large Roller Coaster

Toilets

Mountaintop Terrace Toilets

Gift Stands

Ticket & Information

Rock Climbing

The traditional Chinese Garden utilizes program, landscape, and structure, to create a very unique experience for everyone that visits. What I attempted to do here, was utilize those 3 techniques, but put them into action in a more modern way. By choosing this site, I was able to have 3 types of landscape like that of the traditional Chinese Gardens: flat land, elevated land, and water. Then, by laying out a specific path to travel, one that touches all aspects and areas of the site, I installed these walls. In the traditional gardens, there are many points at which you catch a glimpse of what is to come, but then as you keep walking, that view disappears...only to be re-opened to you around the next corner. It is this idea I wanted to take to the “extreme”. What these walls will prove to do, is an updated version of that “disappearing glimpse”. With numerous aperturesand with changing heights of the portals, there are will be many different views to see.

Pappenfus—Anthony

Shanley—Tucker Wiring / Electrical

Piping

Air Duct

Rock Climbing

Swimming

Airy Wind Tunnel

Large Roller Coaster

Tucker Shanley | ARC 404 | Final Presentation

15 underg r a d uat e

ARC404—Fall 2012

PLANS 1:100

G.02

INSTRUCTOR: Guy Nordenson Radical Conservation: Judd Foundation/Chinati Foundation—Art and Archive Conservation and Storage Center, Marfa, Texas

G.03

From 1971 the artist Donald Judd installed his and his friend’s works in a number of buildings in the small town of Marfa, Texas. The installations are permanent but many are in old buildings that have continued to age since they were first acquired. None of the buildings have anything like the conditions maintained in modern museums. Indeed Judd chose to move to Marfa in 1971 and to install his and their work in this way in specific contrast to conventional museum settings.

G.04 G.07 G.08

G.05

Soon after Judd came to Marfa he persuaded the Dia Art foundation to purchase Fort DA Russell and installed work in the barrack and artillery shed buildings. This became in time the Chinati Foundation. Chinati oversees the conservation and preservation of Donald Judd’s permanent installations on this site, plus hosts some temporary installations.

G.06

GROUND LEVEL G.01 G.02 G.03 G.04 G.05 G.06 G.07 G.08

Separately, the Judd Foundation manages over a dozen of Judd’s former living and working spaces in Marfa. Together, the Judd and Chinati Foundations have initiated a comprehensive restoration program for these installed spaces. The work this studio produced will help inform and develop that program. The studio developed designs for a small art and archive conservation and storage facility in Marfa, Texas for the joint use of the Judd Foundation and the Chinati Foundation collection. The program for this project was prepared by the foundations for this studio specifically.

RECEPTION OFFICES ARCHIVES / READING ROOM WOOD / METAL WORKSHOP LOADING DOCK / TEMPORARY STORAGE STORAGE GALLERY CONSERVATION

PLANS 1:100

G.01

G.02

G.03

SECTION 1:75 G.04 G.07 G.08

B.01

G.05

G.06

BASEMENT LEVEL B01/ B02 GROUND LEVEL B.01 G.01 G.02 G.03 G.04 G.05 G.06 G.07 G.08

Ahmed—Ammar

RECEPTION OFFICES ARCHIVES / READING ROOM WOOD / METAL WORKSHOP LOADING DOCK / TEMPORARY STORAGE STORAGE GALLERY CONSERVATION

STORAGE

ARC404 Nordenson—Fall 2012

G.01

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BUILDING PLANS (1:100) ARC404 Nordenson—Fall 2012

1 loading dock 2 transition 3 packing area 1 (unpacking) 4 workshop 5 packing area 2 (packing) 6 temporary crate storage 7 photo / x-ray room 8 conservation lab 9 archives storage 10 reading room 11 offices 12 permanent storage

11 8 A

+0ft G

11 A

A D

D C

Basement Level 3 Plan

1:100

Basement Level 1 Plan

1:100 Site Plan

1:100

-14ft

Basement 1 - Storage / Reading Room Basement 1 - Storage / Reading Room

Basement 3 - Storage / Conservation Basement 3 - Storage / Conservation

3 6

Section B-B

1:50

Section A-A

1:50

-14ft Basement 1 - Storage / Reading Room

Reading Room

-7ft Basement 3 - Storage / Conservation

Unrolled Section

1:100

a -26ft

Auduong—Ray

a. large object storage b. object storage c. painting storage

Evans—Charles

Conservation

19 underg r a d uat e

ORGANIZATION

ARC404 Nordenson—Fall 2012

Photography

Storage

Archive Conservation

Courtyards

Krause—Sophie

Leib—Charlotte

SITE SECTIONS 1:500

Site Plan

Scale 1:500

ARC404 Nordenson—Fall 2012

Basement

MATERIALS AXON

ABSTRACT RENDERINGS INTERIOR VIEWS

Circulation Diagram

DELIVERY RAMP

Office, Archive, Reading Room

Loading Dock, Packing Room, Temporary Storage Conservation Labs (Painting and Object), Photography Room Workshops (Metal and Wood), and Material Storage

LOBBY

PROGRAM AXON

STORAGE CORRIDOR

Access to Permanent Storage in Basement User/Conservator Circulation Art Circulation

MATERIALS AXON

Princeton SoA SIW Fall 2012 Nordenson Brittany Zwirner

GLASS WOOD WET

CIRCULATION AXON

DRY

PROGRAM AXON Marsh—Margaret

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PHOTO REALISTIC SITE RENDERINGS EXTERIOR VIEWS

Zwirner—Brittany

23 se n i o r t h es i s spr i n g 13

The following thesis abstracts offer examples of the scholarship of the Senior Theses.

Ahmed—Ammar

Aldo van Eyck’s Playgrounds in the Image of the Child Aldo van Eyck (1918-1999) is known for his works with CIAM, Team 10, and the Forum group, but a less well-known part of his oeuvre, though just as important, consists of the more than 700 playgrounds that Van Eyck designed between 1947 and 1978 for Amsterdam. These playgrounds formed a continuous network of places that injected new life into the post-war urban fabric of the city, and places where the children found due recognition as inhabitants of the city. This thesis studies the relationship between the child and the architecture of Aldo van Eyck’s playgrounds. The child is really the key figure here, and I argue that its ‘image’ or presence is a recurring theme in the spaces, afforded movements, and the play objects of the playgrounds. In the first chapter, I argue that there are formal parallels between the child’s concepts about space and Van Eyck’s playground compositions. Play as a compositional strategy is an important concept. I draw upon a series of Van Eyck’s compositions that are at once playful, spontaneous, and architectural. In the second chapter, I argue that these playgrounds are movement-spaces of transient occupancies and play. To this end, I follow the movement of the child at the scale of the city, the playground and the physical body itself. In the third chapter, I study the agency of objects in child’s play. In case of Van Eyck, these objects do not have any intrinsic meanings or values built into them but for a child they signify both the place of play, and the occasion to play—in the sense that if a child saw a sandpit or a climbing frame around the street corner, it was simply ‘time’ to play. In a way these objects are the activation sites where ‘play’ just occurs. The goal of this thesis is to create an architectural framework—of form, movement and objects—that works at the scale of the child.

Banne Buiksloot

Legend

Child. Adult. Apparently passive: sitting, lying, resting, standing still, or sleeping. Communicating with one another, or talking to each other in dramatic play. Interacting with, using or modifying the environment. Restrained or frustrated by the environment. Passing through; direction of travel, walking or running. In conflict with each other; a playful physical fight. Doing something together; co-operating. Apparent behavioral territory.

In this thesis I present the favela as a housing solution for Rio de Janeiro. Previously favelas were thought to be a housing “problem” from an architectural and infrastructural viewpoint. By evaluating the social and structural improvements that have been implemented over the past ten years in three favelas—Rocinha, Vidigal, and Santa Marta, I will show that favelas have evolved from makeshift settlements to stable communities. In studying how homeowners have constructed and improved their own homes, I will examine how this raw, hand-crafted urbanism leads to the longevity and vitality of the favela as an architectural typology. Chapter I addresses the question, “What is architectural about the owner-built dwelling?” By evaluating the vernacular’s merit in architectural discourse, defining asfalto and morro, and discussing what constitutes an architectural “problem” versus a “solution,” this Chapter sets the study of the favela typology within an architectural context, emphasizing that the hillside favela is unique because it developed in section, rather than in plan. Chapter II sets up the history and background of the favela in Rio de Janeiro and focuses primarily upon recent improvements in the three favelas, substantiating the claim that favelas should no longer be viewed as “problems” or “diseases” within the city. Chapter III looks at specific government-led and designer-initiated interventions that have helped to upgrade slum settlements within the past twenty years. This Chapter also analyzes “favela hype” projects and sets this thesis up as a project itself—a theoretical project through which to reconsider the self-built city. Chapter IV addresses permeability and flexibility in boundaries—within real estate transactions, in public versus private space, and in the concept of the informal versus the formal. This Chapter also examines the issue of mapping an urban fabric that resists representation, and assesses theories of the oblique and sensory design within the context of the topographically dynamic hillside favela. Finally, Chapter V studies self-construction and informal building techniques. This Chapter includes case studies from multiple visits to the favelas, in addition to drawings and diagrams of the building process. By incorporating theories of the owner-built dwelling with the author’s own drawings and formal analysis, this Chapter posits that the “self-built” element in favela construction contributes to the vitality and the longevity of the favela as a sustainable development.

The final section makes conclusions about how architecture can continue to make a lasting impact in favela communities, and makes projections about the future of these settlements. This thesis posits that the hillside favela in Rio de Janeiro is a vital, thriving architectural typology that will maintain its vernacular roots as it continues to evolve as an urban environment in years to come.

De la hoz—Carly

The Favela Typology: Architecture in the Self-Built City

se n i o r t h es i s spr i n g 13

De La Hoz—Carly

This thesis explores the representation of the Deconstructivist Architecture show at MoMA in 1988. The show is widely considered to be contrived, disjointed and unjustified; critics attacked the collectivity of these seven architects and their work as a group. However, their projects were intriguing in the ways that they responded to Postmodernism through an amplification of Constructivist tendencies. Thus, by focusing on their representational materials we are better able to understand the motives and results of “The” Deconstructivists. Specifically, through analyzing and diagramming the section drawings of the show, larger conclusions about their representation as a whole can be drawn. The section is inherently revealing, differentiating it within the realm of two‐dimensional representation. Thus, it serves as an appropriate lens through which to perform our active investigation and, furthermore, justifies our extrapolation. Ultimately, their section drawings reveal various trends in representational emphases: on the physical vs. the abstract, on object vs. surface vs. line, and finally on tension with vs. obliteration of the datum. In demonstrating these emphases, their drawings autonomously outline the progression of choices and deliberations made within the architectural design process. Thus, the complexity of architecture becomes apparent. In typifying the dualities of architecture and its practice, Deconstructivist representation brings us closer to the discipline rather than creating the discontinuity and schizophrenia that is so believed.

Marsh—Margaret

The Caricature of Architectural Practice: An Exercise in Deconstructivist Representation Through the Section Drawing

se n i o r t h es i s spr i n g 13

Marsh—Margaret

When a city begins as a market, its politics, behaviors, and culture begin in the market as well. Unlike many other big river cites like Paris, Calcutta, or Cairo rather than being situated on the river, New Orleans was founded at the end a river, at the mouth of the great Mississippi. Like New York and Shanghai, New Orleans’ became a natural a catchall for immigrants, merchants, and vagabonds alike. Food markets were the gates to that catchall. As in any city with a river as its major artery, New Orleans depended on two things: transit and trade. The ports and the markets were The Crescent City’s lifeblood often times at the expense of all else. The municipal food market spawned New Orleans’ center city. It was the epicenter of its urban fabric, its successes or failures often ensuring the city’s ability to grow. My thesis is organized around the public food market life cycle that historian Robyn Metcalfe establishes in her book, Meat, Commerce and the City, a study of the removal of London’s Smithfield meat market. Each chapter enters the life of New Orleans’ market network at crucial point in the cycle. In chapter one we follow the city’s struggle to install a market and formalize itself as a municipality. The next chapter focuses on the market’s establishment and expansion in the city and discusses the ways in which this expansion extended from contention between immigrants and New Orleans’ natives. The last chapter details the market’s slow decline as it became less and less relevant to the way New Orleanians shopped and used public space. The thesis concludes with current uses of what remains of the public market network in New Orleans and proposes an additional step to Metcalfe’s market life cycle.

Myers—Jessica

The Marketplace and the Metropolis

se n i o r t h es i s spr i n g 13

Myers—Jessica

“The Hospital Redefined” explores the participation of architecture in technology’s grand project to consume the health-care field and completely shift our current thinking of the 21st century medical facility. My study traces the physical implications and architectural results of the changing social and biomedical landscapes due to advances in wireless technology and medical practice. It is this dynamic and increasingly quickening pace of new innovations in the health care field, I argue, that will dematerialize and decentralize the hospital and give birth to a new building type within the next 30 to 40 years. While historic social practices were the dictating models of how buildings looked and acted (such as pre-war Victorian hospitals that catered only to the small percentage of financially fortunate or the late 18th-century asylums that were filled with mostly poor), technological innovations will dictate how the hospital functions in a society where mostly everyone is entitled to health care-economic status aside. While my thesis will briefly discuss the implications of changing health care and insurance policies in Europe and the United States—as a framework through which I can compare and contrast—I will focus primarily on the capabilities available that will, in the short term, redefine efficiency and in-patient/out-patient models, and in the long term, reshape the medical facility. By assessing medical facilities through both typological and iconographic means, I hope to present a clear history of: a) how the internal functioning and organization of the hospital transformed over time and b) how different political and economic factors influenced the way in which the hospital as an icon was considered. I then attempt to show how the advancement of technology and the spread of wireless network capabilities is the underlying factor that has transformed the medical facility and will continue to do so in the future. After outlining several conversations with doctors, nurses, and experts in health design from firms ranking among the top ten in healthcare infrastructure, I close by arguing that the hospital will eventually cease to exist as the institution we know it as today.

Pappenfus—Anthony J.

The Hospital Redefined: The Effect of Evolving Wireless Networks, Technology + Bioinformatics on the Future of the Contemporary Medical Facility

se n i o r t h es i s spr i n g 13

Pappenfus—Anthony J.

33 se n i o r t h es i s spr i n g 13

Perez—Kayla F. This thesis analyzes the development of two twentieth century escapisms that both established their architectural foundations from an American infatuation with the primitive nature of New Mexico’s landscape: the countercultural utopian commune and the contrived tourist destination. I begin by discussing the historical roots behind the necessity to establish these built escapes in the first place; for the New Mexican “destination,” building an escape was necessary as a way to remedy Santa Fe’s faltering economic situation upon finally gaining statehood in 1912. I focus my discussion on Fred Harvey, who—in tandem with the Atchison, Topeka, and Santa Fe Railroad and city of Santa Fe—determined to transform New Mexico’s primitive inhabitants and architecture into commodities that could be bought and sold to draw tourism into the region. Starting with the Atchison, Topeka, and Santa Fe Railroad’s entrance into New Mexico in the 1880s, Harvey created a complete tourist experience with his hotels, restaurants, “Indian Detours” tours that all found inspiration from the land’s primitive simplicity that was so attractive to Americans seeking an escape at the time. Different than Harvey’s determination to generate a grid condition that would draw people to the capital and help New Mexico gain the attention that it never had with its reputation as a backward, Spanish- speaking region, the communards determined to flee the grid and create a new way of life away from America’s consumerism and waste that they so despised. In the late 1960s to early 1970s, rural communes exploded as “hippies” left the cities in search of a more-simple way of life. These people saw the Indian way of living off the land as an inspirational model and quickly assimilated these primitive traditions into their everyday lives. Contrasting with Harvey’s promotion of forms defined by consumption, leisure, and a romanticized image of New Mexico, the communards determined to adopt the Pueblo Indian communal lifestyle and construct forms of production, sustainability, and mysticism. Historian Timothy Miller notes that New Mexico became “a symbol of the entire rural countercultural impulse” by the late 1960s (Miller, The 60s Communes: Hippies and Beyond, Syracuse: Syracuse University Press, 1999, 63). Such a desire to return to a way of life that communards felt had been lost led to new architectural forms that became symbols for their renunciation of American society. My thesis establishes a link between these two New Mexico escapisms that drew inspiration from a similar primitive source, though they held extremely

opposing final goals and were years removed from one another. A further paradox also rose from the observation that despite their grievances against the mainstream, the ultimate outcome of the rural communes was their transformation into sensational points of public attraction through media attention. The thesis provides an articulation for these contradictions by defining and illustrating an architectural process of experimentation, code, and image; I define these to be sequential architectural steps in the evolution of New Mexico’s Harvey “destination” and communes. These architectural modes tie two seemingly distant escapes together by illuminating their similar fascination with New Mexico’s ancient culture, while also revealing the communes’ progression from countercultural retreats into types of “destinations.” Though each escape was divergent in the way they manipulated these architectural modes to fit their architectural purposes, I point out that the use of image proved to be comparable for both escapes—therefore leading to similar consequences in each case. As a result, Harvey achieved his commercial pursuits, while the commune eventually became commercialized by virtue of what happened throughout this architectural development.

Perez—Kayla F.

Opposing Notions of the Built Escape in New Mexico: The Countercultural Utopian Commune and the Contrived Tourist Destination

35 se n i o r t h es i s spr i n g 13

Shakespear—Ellen C. In order to offer an updated interpretation of the American Interstate system as something more complex than a token postwar modernist project, my thesis examines those ubiquitous sites along its shoulders: tourist traps. Specifically, I argue that tourist traps, during the golden years of automobile travel (1956–1970), owed their existence to the growing Interstate system, yet simultaneously opposed the logics it created. In this project, I am concerned with the assorted ways in which the unique organizational formats of tourist traps utilized opposing conceptions of perspective and scale, and, ultimately, produced distinct experiences of place. My first chapter begins in 1956, with the signing of the Interstate Highway Act, and during a time when technologies associated with electricity, automobiles, and electronics were reformatting the country at an unprecedented rate and scale. I argue that although the motivations behind the establishment of the Interstate system were justified by claims of strict reason and rationality, the legal consequences of the massive reformatting of land and infrastructure were complex and had spatial and organizational repercussions. Zones of confused territoriality alongside the Interstate were often perfect sites for tourist traps to flourish, as they were able to circumvent local laws and restrictions such as the sale of alcohol and other restricted products. The second chapter of my thesis considers the relationship between tourist traps and the Interstate from a motorist’s perspective. I argue that the underlying design and engineering principles that guided the

Shakespear—Ellen C.

The Interstate Tourist Trap: Sites of Reaction to a Landscape of Reason

creation of the Interstate Highway sought to embolden the motorist, offering him privileged and panoptic views of a conquerable American landscape. In contrast, tourist traps often subverted this privileged optic condition of the motorist by distorting scale. The experience of infantalization created at colossal tourist traps also brings into dialogue critical discussions of Cold War America, such as contentment, masculinity, and loneliness. Finally, the third chapter is concerned with the experience of the tourist trap at the most intimate level, considering how these two environments—the Interstate and the tourist trap—were experienced on the ground by tourists. Two types of tourist traps, the exotic destination and the nostalgic destination, are defined and considered in this section. I argue that exotic and nostalgic attractions demonstrate the extent to which tourist traps seized upon the blank-slate opportunity created by the Interstate, dreaming up and creating entirely anachronistic or geographically exotic postmodern theaters to dot the otherwise lifeless highway. In total, this thesis argues that the Interstate system cannot, as is frequently done, be considered a tidy, case-closed example of a modernist project. With this understanding of the interstate, some critics like Lewis Mumford argued that the architectural counterpoint to the highway was the super rational tower. What I argue is precisely the opposite: that the Interstate in fact provided for, and in many ways nourished the distinctly nonmodernist tourist trap. As I demonstrate throughout the thesis, the two sites operated in simultaneous opposition and dependency.

Top: South of the Border, Dillon, South Carolina, 2013. Above: Pirate Statue, Ocean City, Maryland, 2013. Left: Wigwam Village Motel #2, Cave City, Kentucky, 2013. Right: World’s Largest Peach, Gaffney, South Carolina, 2013. All photographs are the author’s own.

Liz Diller, Thesis Director Ryan Neiheiser, Thesis Coordinator Each semester, the thesis students are challenged to make an architectural response to a general thematic question. The theme is explored in workshops, stated as a written proposition and elaborated as a design proposal during the studentsâ&#x20AC;&#x2122; final semester. Thesis topics are one word themes, agreed upon by the faculty, that serve as a hinge point between architecture and questions of politics, culture, technology or society. The thematic organization of the final semesterâ&#x20AC;&#x2122;s independent design research creates a shared point of departure for students, faculty and visiting critics.

M . A rc h FA L L 11â&#x20AC;&#x201D; S P r i n g 12

M.Arch Thesis Projects

Architecture can now become voluptuous—and that does not mean that it jettisons the line or embraces the curve. Re-think architecture as a bottom-heavy construct, barely escaping symmetry, succumbing to gravity and being legibly informed by its forces. Shaped by a counter-aesthetic theory that negotiates surface and massing, austerity and lavishness, the complex and the monolithic, the beautiful, the weird and the grotesque.

Diamantopoulou—Ivi

UNAPOLOGETICALLY FAT: Voluptuous Architecture

M . A rc h FA L L 12

Diamantopoulou—Ivi

41 M . A rc h FA L L 12

Diamantopoulouâ&#x20AC;&#x201D;Ivi

43 M . A rc h FA L L 12

Diamantopoulouâ&#x20AC;&#x201D;Ivi

What if architects could design spaces for music starting with how they sound rather than guessing how they should look? With SoundUp software, architects can start the design process by collaborating with musicians on the acoustics of a space. An intuitive interface allows the users to “paint” their acoustic preferences, hearing the results in real-time audio simulation. The architect can then guide the generation of a corresponding geometric enclosure by setting parametric constraints ranging from site envelope to formal language to constructional limitations.

Bertsch—Matthew, Boning—Willem

From the Sound Up: Generating Form from Acoustic Preferences

M . A rc h S P r i n g 13

Bertsch—Matthew Boning—Willem

47 M . A rc h S P r i n g 13

Bertschâ&#x20AC;&#x201D;Matthew, Boningâ&#x20AC;&#x201D;Willem

49 M. Arch S P r i n g 13

Bertsch—Matthew, Boning—Willem

Our generation doesn’t write manifestos...instead, our manifestos manifest in miniaturized missives of 140 characters or less. This thesis seeks to test one fundamental question: is architecture economically scalable? Rather than serving the wealthiest portion of society, a tightening minority possessing disproportionate control of the American economy, Miniature Architecture reevaluates the economic status of its audience, ballooning its constituency and therefore its power. The project consists of a series of architectural products designed for a new kind of client, a ‘middle class’ enabled by social exchange and digital methods of procurement.

The thesis is sited in the American suburb, in which exists a national generic in desperate need of reconsideration: the single-family home. Where low-density was once appropriate, where nuclear families once dominated, new patterns demand reconsideration of obsolete urban form. These tiny interventions adapt a catalog of singlefamily residences for a contemporary suburban demographic with diverse modes of occupancy. In doing so, the project seeks to multiply and complicate the suburban narrative, allowing for transgressive future development.

Ettedgui —Laura, Gola-Papa—Julianne

Miniature Architecture: Selling Out

M. Arch S P r i n g 13

Ettedgui—Laura Gola-Papa—Julianne

53 M. Arch S P r i n g 13

Ettedgui —Laura, Gola-Papa—Julianne

55 M. Arch S P r i n g 13

Ettedgui —Laura, Gola-Papa—Julianne

This project evolved as a recursive design-fabrication exercise which combines physical human input with the robotic manipulation of a stochastic material process (melting wax). By rapidly scanning a physical object while also melting it, the system attempts to achieve a topologically optimized result based on the given wax volume and user-placed loading conditions. A multitude of constantly communicated variables give simultaneous control to the human operator, the computer simulation, the robotic manipulator, and the material process. These elements become inseparable, and their individual import becomes indistinguishable from that of the global system.

Johnsâ&#x20AC;&#x201D;Ryan

Mixed Reality Modeling

M. Arch S P r i n g 13

Johnsâ&#x20AC;&#x201D;Ryan

59 M. Arch S P r i n g 13

Johnsâ&#x20AC;&#x201D;Ryan

61 M. Arch S P r i n g 13

Johnsâ&#x20AC;&#x201D;Ryan

63 M. Arch S P r i n g 13

Weiss—Antonia In a world which has generated political allegiances that cross regions, states and continents, the construction of a public voice remains a deeply spatial concern. This project considers architecture’s political agency in the context of transnational politics. Building upon initial research on Julian Assange and the political potential of “Spaces of Exemption” (such as embassies and supranational institutions), the thesis looks at the city of Brussels as the paradigmatic example of a truly transnational space. The majority of the city’s political activity is located in the Leopold Quarter, which is perforated by various extrajurisdictional entities. A variety of municipal restrictions have been imposed upon the area’s public space to shield these institutions from protesters and dissidents. Amidst colliding and overlapping orbits of power, little is currently made of the opportunity to create a strong public presence in one of the world’s most politically charged spaces. The project seeks to invert this condition:

Weiss—Antonia

Transnational Brussels: A Ground for Action

to make global politics a local and tangible affair and to insert the public into this powerful cocktail of political actors. The proposal provides a masterplan for a significant increase in the amount of public space, alongside a wide spectrum of program that is inserted into both existing and newly claimed public space. Rather than restricting the definition of activism to protest and occupation, political participation is understood as a field of possible actions, ranging from lobbying or blogging to guerilla projections and leafleting. The project seeks to learn from the spatial dynamics of Assange’s speeches and situates new interventions in the overlaps between different orbits of power. Much emphasis is thus placed on the architectural articulation of edge conditions – whether they be street curbs, blast zones, railings or jurisdictional borders - as moments charged with political potential.

Screen

Tribune

Seating

Water Feature Sound Feature

65 M. Arch S P r i n g 13

Weissâ&#x20AC;&#x201D;Antonia

Audio Outlet

Visual Outlet

Wifi Connection

Broadcasting Van

Lunch Van

Cell On Wheels

ES EN

GREEN + WATER

L PAR LUX

TA TIV

E IAM

CHARLEROI

PARIS

NATO

O EE

COUN

SIL

G RE HE

EU RO PE AN

344

U 17

French Dutch Speaking Speaking

03 FLEMISH PARLIAMENT

11 COUNCIL OF THE EU

The Flemish Parliament constitutes the legislative power in Flanders, for matters which fall within the competence of Flanders, both as a geographic region and a cultural community of Belgium. The Flemish Parliament approves decrees, which are Flemish laws, applicable to all persons in the Flemish Region, and to Flemish institutions in Brussels, it appoints and supervises the Flemish Government, and approves the Flemish budget.

The Council of the European Union is a body holding legislative and some limited executive powers and is thus the main decision making body of the Union. The Council is composed of twenty-seven national ministers (one per state). However the Council meets in various forms depending upon the topic. For example, if agriculture is being discussed, the Council will be composed of each national minister for agriculture.

118

x27

04 FRENCH COMMUNITY PARLIAMENT

12 EUROPEAN COUNCIL

The Parliament of the French Community is the legislative assembly of the French Community of Belgium. It consists of all members of the Walloon Parliament except German-speaking members (currently one), and 19 members elected by the French linguistic group of the Parliament of the Brussels-Capital Region within the former body.

The European Council consists of the Heads of State or Government of the Member States, together with its President and the President of the Commission. The European Council defines the general political direction and priorities of the European Union.

The European Commission is the executive body of the European Union responsible for proposing legislation, implementing decisions, upholding the Union’s treaties and day-to-day running of the EU. There is one member per member state, one of which is the Commission President proposed by the European Council and elected by the European Parliament. The Council appoints the other 26 members. The 27 members as a single body are subject to a vote of approval by the European Parliament.

Co-opted Senators

14 EUROPEAN PARLIAMENT

The Belgian Chamber of Representatives is one of the two chambers in the bicameral Federal Parliament of Belgium. It is considered to be the “lower house” of the Federal Parliament.

The European Parliament is the directly elected parliamentary institution. Together with the Council of the European Union and the European Commission, it exercises the legislative function of the EU. The Parliament is currently composed of 754 Members of the European Parliament.

150

Germany

Dutch French Speaking Speaking

GENT

105

120

135

150

165

180

DIPLOMATIC MISSIONS TO BELGIUM

DIPLOMATIC MISSION TO BELGIUM EUROPEAN UNION

DIPLOMATIC MISSIONS TO BELGIUM EUROPEAN UNION NATO

SUN 1:00

2:00

3:00

4:00

5:00

6:00

7:00

8:00

9:00

10:00

-11 hr

-10 hr

-9 hr

-8 hr

-7 hr

-6 hr

-5 hr

-4 hr

-3 hr

-2 hr

11:00

SUN 12:00

13:00

14:00

15:00

16:00

17:00

18:00

19:00

+1 hr

+2 hr

+3 hr

+4 hr

+5 hr

+6 hr

+7 hr

-1 hr

20:00 +8 hr

21:00 +9 hr

22:00 +10 hr

SUN SAT 23:00 24:0024:00 +11 hr

+12 hr

+11 hr

Italy

Poland

FJI

At present, the capital city of Brussels hosts 185 embassies. Because Brussels is the seat of the Belgian Government, the North Atlantic Treaty Organization and the European Commission, a country can send three ambassadors to Brussels, one to the King of the Belgians, one to NATO and one to the EC. Some missions serve all three functions, while other countries open separate offices for each.

ARE

Belgium Luxemburg

08 NATO COUNCIL

16 UN BRUSSELS

Each of the 28 members sends a delegation or mission to NATO’s headquarters. The Nato Council consists of the 28 permanent members of these delegations. The council meets together at least once a week and has effective governance authority and powers of decision in NATO.

The United Nations representation in Brussels brings together 26 specialised agencies, funds and programmes spanning the development, humanitarian and human rights work of the UN. The Director of the UN Office in Brussels is the representative of the UN Secretary-General to the European Union institutions. The team works to build understanding and support for UN system activities within the EU institutions and amongst a wider public in Europe.

FAO ILO IOM OHCHR

UNICEF UNDP UNESCO UN WOMEN

UNEP UNHCR UN HABITAT UNIDO

UNGPS OCHA UNODL UNFPA

19 LOBBIES

Brussels has the second largest press corps in the world after Washington D.C. The German press dominates Brussels these days, with 123 accredited journalists working in the city, followed by Britain with 98 and Italy and Spain each with 63. The number of Chinese journalists based in Brussels has risen steadily in recent years, from 14 in 2002 to 24 in 2010.

There is no precise figure available for the number of lobbyists in Brussels, but some estimates have suggested that 15,000 –30,000 people are actively employed in trying to influence the work of the EU institutions. Two thirds work on behalf of business interests. Civil society and trade unions remain dramatically under-represented. Corporate lobbying in Brussels has long passed the one billion euro mark in annual turnover, whichmakes the city the world’s second biggest centre of corporate lobbying power, after Washington DC.

1250

642

Media Outlets

HTI

> 100,000

3000

10,500

1,500

Regional Groups

Corporate Interest Groups

NGOs

SLM TKM GIN

LAO

MLT NOR ISL NLD GBR IND

LUX CYP

BLZ CAN

NZL HND

DOM BOL MNE ARG

POL

GEO BWA SLV TGO PER MUS ETH CHM CHL TUN NER MAR UGA MDG SYC

TUV

VAT BHR

BRA MCD BGD ECU IDN SURINAM CUB KGZ HRV PAN GNQ PRY TJK CZE CRI VNM SRB LVA BLR AZE MLI SVK MCOZMB ITA SYR VEN DZA PHL BFA CPV URY NPL ROU IRN GAB KEN GIN SWZ GTM KWT TZA WAN SAU ASM MDA BDS SMRMEX LBY YEM CMR HKJ COL ALB SDN GUY GMB THA RUS DJI

BEN

BGR

ERI NIC AFG

ISR HUN

UZB

SEN SGP IRQ MRT IVR

UKR

UNMIK

JAM

LBN

15,000 - 30,000

Throughout the year, thousands of demonstrators descend upon the city to target the Belgian and European authorities. Demonstrations must be registered with the local police and respect local legislation.

CHE AUS USA LKA DEU DNK TUR BIH ESP SVN ARM LTU JPN SWEZAF RCB FIN AUT IRL

MOZ QAT LCA

MNG

18 ACTIVISTS

BDI

PRT

UNRIC UNRWA UNUCRIS WORLD BANK

17 PRESS

TLS

LIE AND

3250 Diplomats

TO EU TO NATO TO BELGIUM

MMR LSO

15 EMBASSIES

INTERVIEW WITH CHRISTOPH SCHULT, BRUSSELS CORRESPONDENT FOR THE GERMAN NEWSMAGAZINE DER SPIEGEL

Your organization offers lobbying tours in the European quarter. How do they work and what is the goal behind them? At Counter Balance we focus on the impact of corporate lobbies on the policies of the European investment bank. We want the public to understand how lobbying works and how powerful lobbies are in European politics in general and specifically with respect to the EIB. We begin our tours on Square de Meeus which is the new lobbying hotspot since the Treaty of Lisbon gave the European Parliament more legislative powers. We tell a fictive story of a lobbyist who wants to convince the EIB to increase the role of private equity in European development aid. Our tour follows the footsteps of this lobbyists and takes visitors to the places and institutions he would visit during his quest to affect European legislation. Aside from Square Meeus, what are the other locations you visit during the tour? A very important stop is Place du Luxembourg which has many cafes, bars and restaurants. This is an important meeting point for lunches, dinners and afterwork drinks – both for politicians and lobbyists. And of course we talk about the Parliament too. How should one imagine the interaction between lobbyists and MEPs in the Parliament building? Unlike the informal lobbying that happens in spaces like Place du Luxembourg, lobbying in the Parliament is a rather regulated thing. You need a special pass to access the building. Only groups and individuals, who can prove that their presence is required in the parliament on a regular basis, can get such a pass. Usually this means that you’re on an expert group. Aside from sitting in on meetings of such expert groups, lobbyists will also host conferences and events in there, maybe in collaboration with an MEP. So our fictive lobbyist might organize a conference on the role of private equity in development and invite different

Brussels has the highest concentration of journalists anywhere in the world. What’s it like being a journalist here? I recently spoke to the accreditation office who confirmed that the number of journalists here is still growing. The presence of traditional media is shrinking but journalists working for new media are on the rise. As journalists you constantly run into each other. One main meeting point is the midday briefing at the European Commission. I don’t go there as much because I don’t report daily news. The press area in the Commission building is very professional with its own press bar, working station, even some TV studios. And all the press material is laid out there. You can also access that information remotely through EBS which is the EU’s own broadcasting station. Pretty much any important event is broadcast to the media through EBS.

GHA

Spain

REPORTING BRUSSELS

INTERVIEW WITH BERBER VERPOEST, MEDIA AND ADVOCACY COORDINATOR AT THE BRUSSELS-BASED NGO COUNTERBALANCE speakers to draw attention to his agenda.

“This Bubble of politicians and lobbyists is its own world within Brussels.” Are there more direct ways lobbyists impact legislation, too? The situation with the EU is actually somewhat unique in that politicians actively seek the advice of lobbying groups. MEPs in charge of drafting or amending a particular piece of legislation will almost always contact outside “experts” to advise them on the impact of this legislation. This gives these individuals a chance to basically write European legislation. How is your method of working and that of other NGOs different from the way corporate lobbies work? In many ways, I’s not so different. Of course, we don’t represent corporate interests but what we believe to be a public interest. But the main difference is really money: we don’t have the funds to give presents, pay for dinners, sponsor trips etc. That’s really the biggest problem with this system. In Brussels, how much money you have determines how close you are to power. The European Commission is aware of this and tries to counterbalance it by providing funds and grants to NGOs, but it’s really just a drop in the ocean. It seems the money to afford the right office space is also important? Yes, being in this part of the city is key. The “Brussels Bubble” of politicians, lobbyists and journalists is a world within Brussels. I was born close to here but I had no idea that this small community even existed before I became part of it myself. It’s a very international group of people and everyone sort of knows each other. Only if you go to the same bars, restaurants and events, is it really possible to stay up to date and make sure the right people get to know you.

“I don’t want everyone to know who I’ve been interviewing.” You mention that some journalists work from the press center in the Berlaymont building. Where else are your colleagues located? Many have offices in the area around Schumann. Journalists working for press agencies have to be fast and so they don’t have time to leave the building in which the press conference was hosted. During big summit meetings, there’s a temporary press center set up in the European Council Building. The atrium is then filled with long tables with a seat for each journalist and your own phone and internet connection. All the journalists actually sit together by country. I find it hard to work there because I am often writing exclusive stories and there’s a fairly high risk of someone peeking over your shoulder or glancing over to your

phone. But it’s good that these areas are there because it allows reporters to generate news without any delay. It’s strange to think that the press would be so divided in terms of their nationalities. Of course we exchange information, too, especially amongst the European press. Often the press of a particular country has better access to information pertaining to that country. In that sense the network of European journalists is really important. That’s different for the American, Chinese or Japanese journalists. To us Europeans, what happens in Brussels is really domestic politics, for them it’s obviously foreign affairs. Nonetheless, EU politics has become much more relevant for nonEU nations, especially since the crisis. The Chinese press has an ever-growing presence here. What is your interaction with lobbyists? Lobbyists actively target journalists. I think I probably receive 10-15 invitations a day to attend events and receptions across the city. This can be an exclusive concert by a pianist hosted, or something more explicit like a conference. Of course, lobbies also try hard to get the right press coverage. Facebook just opened an office here staffed with 6 people to lobby the EU. They contacted me to offer an interview. Sometimes lobbies can provide useful information but I try and keep a bit of distance. Where do you conduct interviews and meet people? It’s actually rather hard to find an informal meeting space in this part of the city. Belgium doesn’t really have a coffee house culture and so usually your only option is to have lunch or dinner in one of the nicer restaurants. There’s a real lack of cafes here. And I don’t like to take people to the few places that do exist. I don’t always want everyone want to know who I’ve been interviewing.

CAF

754

France

The Benelux Parliament consists of 49 members: 21 Members of Parliament from Belgium, 21 from the Netherlands and seven from Luxembourg. The 21 Belgian members are elected from amongst both Chambers of the Belgian Federal Parliament and by the Parliaments of the Communities and Regions of Belgium.

Accredited Journalists

EXTRAJURISDICTIONAL TERRITORY

07 BENELUX PARLIAMENT

105

President

06 CHAMBER OF REPRESENTATIVES

Netherlands

120

The Senate is one of the two chambers of the bicameral Federal Parliament of Belgium. It is considered to be the “upper house” of the Federal Parliament. Of the total of 71 elected senators, 40 are elected directly, 21 appointed by the Community parliaments and 10 senators are co-opted. Three further seats are taken by senators by right (these are the children of the king).

135

Head of State

13 EUROPEAN COMMISSION

150

x27

Walloon Parliament

05 BELGIAN SENATE

0 35K AVERAGE INCOME

A TOUR OF BRUSSELS’ LOBBY SCENE

Directly Elected Senators

St Gilles

ITT

Community Senators

Ixelles

IL NC

The Committee of the Regions (CoR) is the European Union’s assembly of local and regional representatives that provides sub-national authorities with a direct voice within the EU’s institutional framework. It consists of 344, the number from each EU country roughly reflecting the size of its population

Etterbeek

SUP ERN ATI ON AL

ROPEAN

U CO 11

M M CO

Y The Brussels Parliament is the governing body of the Brussels-Capital Region, one of the three regions of Belgium. The Brussels Parliament role mainly consists in approving the budget and creating and passing legislation in regional matters, known as ordinances.

3 Senators by Right

JOB DENSITY

nineteen Municipalities / city / region / national capital / European capital / three regional parliaments / one national parliament / three supranational parliaments / one royal palace / two official languages / three language communities / 3000 regional representations / 181 embassies / 3000 diplomats / 15,000 lobbyists / 1200 journalists / / ground for action

GENT

257 10 COMMITTEE OF THE REGIONS

Audergem

RLIAM ENT

ASSEM BL

LUXEMBURG LONDON

02 BRUSSELS REGIONAL PARLIAMENT

6 20

0 1.4

(euros)

ENTARY

COLOGNE

LONDON

Brussels Region

Dutchspeaking secondary schools

WALLOON REGION (french)

GLOBAL REPRESENTATION

165

PARIS

AMSTERDAM

50%

UNEMPLOYMENT RATE

10-12%

OVERLAP

CHARLEROI

BRUSSELS CAPITAL REGION (bilingual)

<8 %

Bringing together legislators from all the member states of the Atlantic Alliance, the NATO PA provides a link between NATO and the parliaments of its member nations.The NATO PA consists of 257 delegates from the 28 NATO member countries.

LUXEMBURG

8-10 %

ANTWERPEN

09 NATO PARLIAMENTARY ASSEMBLY

COLOGNE

Votes for Dutch speaking parties in 2010 election

FLEMISH REGION (dutch)

12-16%

The city council has a general normative competence and makes all decisions of municipal interest. The city council consists of 49 elected representatives. The Council has a general competence on all which is of municipal interest.

AMSTERDAM

16% +

01 CITY COUNCIL

ANTWERPEN

DIVIDE + CANAL

(jobs/km

E BEN

EP R

b r u s s e l s

JOB MARKET

Brussels

LANGUAGE DIVISION

Forest

LUX NE BE

NAT ION AL

ONAL NATI TIONAL ERNA SUP

TO PA RLIAM

08 NATO COUNSIL

09 NA

GIO NS

L NA IO

REG ION AL

AM BE

BELGIUM’S REGIONS

WoluweSaint-Pierre

AT RN PE

IONAL REG

URB AN

USERS / DAY

WatermaalBoitsfort

ENA

322,000 COMMUTERS 50.9% OF TOTAL EMPLOYMENT

500

Uccle

80,000

WoluweSaint-Lambert

map

TRAIN ROUTE

ENT

Anderlecht

L NA TIO NA

N URBA

L NA IO EG

14 EUR OPEA N PA 12 EU

CO M

Brussels becomes a city of a million inhabitants.

a c t i o n

St-Josse-tenNoode

SS IES

LOC AL

N BA UR R

1900AD

MAIN ROAD

ITY PA RLIAM

MolenbeegSt-Jean

COMM UN

05 BEL GIA

1800AD

One of the major top-down urban planning transformations: covering of the Senne (1865), as a hygiene meassure (comp. 1871).

TOPOGRAPHY

Koekelberg

FRENCH

1700AD

Sint-AgathaBerchem

REG ION AL

EM BA

13 EUROPEAN COMMISSION

1600AD

Evere

LOC AL

FOREIGN POPULATION

03 FLEMISH PARLIAMENT

1500AD

In 1695 the city was bombarded by the French during the campaigns of Louis XIV against Spain. 3.800 houses, 11 churches and numerous convents were destroyed. Approximately a quarter of the city was in ruin. The disaster especially struck the centre. The Grand-Place was ravaged. The cathedral Saint Michel and the palace district were saved.

EGY OMN BRU KOR

PAK

EXTRACTS FROM THE PROTOCOL ON THE PRIVILEGES AND IMMUNITIES OF THE EUROPEAN UNION

EXTRACTS FROM THE VIENNA CONVENTION ON DIPLOMATIC RELATIONS

Article 1 The premises and buildings of the Union shall be inviolable. They shall be exempt from search, requisition, confiscation or expropriation. The property and assets of the Union shall not be the subject of any administrative or legal measure of constraint without the authorisation of the Court of Justice.

[...]

Article 2 The archives of the Union shall be inviolable. [...] Article 5 For their official communications and the transmission of all their documents, the institutions of the Union shall enjoy in the territory of each Member State the treatment accorded by that State to diplomatic missions. Official correspondence and other official communications of the institutions of the Union shall not be subject to censorship. Article 6 Laissez-passer in a form to be prescribed by a European regulation of the Council acting by a simplemajority, which shall be recognised as valid travel documents by the authorities of the Member States, may be issued to members and servants of the institutions of the Union by the Presidents of these institutions. These laissez-passer shall be issued to officials and other servants under conditions laid down in the Staff Regulations of officials and the Conditions of employment of other servants of the Union. The Commission may conclude agreements for these laissez-passer to be recognised as valid travel documents within the territory of third States.

Article 22 1.The premises of the mission shall be inviolable. The agents of the receiving State may not enter them, except with the consent of the head of the mission. 2.The receiving State is under a special duty to take all appropriate steps to protect the premises of the mission against any intrusion or damage and to prevent any disturbance of the peace of the mission or impairment of its dignity. 3.The premises of the mission, their furnishings and other property thereon and the means of transport of the mission shall be immune from search, requisition, attachment or execution. [...] Article 24 The archives and documents of the mission shall be inviolable at any time and wherever they may be. [...] Article 27 1.The receiving State shall permit and protect free communication on the part of the mission for all official purposes. In communicating with the Government and the other missions and consulates of the sending State, wherever situated, the mission may employ all appropriate means, including diplomatic couriers and messages in code or cipher. However, the mission may install and use a wireless transmitter only with the consent of the receiving State. 2.The official correspondence of the mission shall be inviolable. Official correspondence means all correspondence relating to the mission and its functions.

05 / 06 / 07

p la n o f a c t i o n “It might make sense to think of the new organizations that have sprung up in recent years [...] as horizontal contemporaries of the organs of the state – sometimes rivals; sometimes servants; sometimes watchdogs; sometimes parasites; but in every case operating on the same level, and in the same global space.”

James Ferguson & Akhil Gupta, Spatializing States

In a world which has generated political allegiances that cross regions, states and continents, the construction of a public voice remains a deeply spatial concern. Over the past five decades, the city of Brussels has given rise to a political ecosystem that is not only trans-national, but also transgovernmental, trans-legal and trans-informed. Brussels houses regional, national and supranational institutions, the second largest press corps in the world, the largest population of diplomats, 15,000 lobbyists, and is visited by hundreds of thousands of activists a year. Despite being global in its encompassment, this political spectrum is ultimately local and urban in its manifestation. The majority of the political activity is located in the Leopold Quarter, which is situated to the east of the historic center and is perforated by various extrajurisdictional entities. A variety of municipal restrictions have been imposed upon the neighborhood’s public space to shield these institutions from protesters and dissidents. Amidst colliding and overlapping orbits of power, little is made of the opportunity to create a strong public presence in one of the world’s most politically charged spaces. This document is a call to action. It aims to generate a new awareness of the public’s role in the sphere of global politics, and of the agency of space in shaping political possibility.

i n d e x 01

gbr

fra

14 15

usa

01 Transnational Spectrum 02 Political Bodies 03 Brussels Background 04 Global Representation 05 Interviews 06 Extrajurisdictional spaces 07 Legislation 08 Photographs Institutions

che

09 Map Leopold Quarter 10 Destinations Journalist 11 Destinations Lobbyist 12 Destinations Activist 13 Shared Destinations 14 Infrastructure 15 Methods of Action

bibliography SELECT SOURCES: Andrew Boyd, ed., Beautiful Trouble: A Toolbox for Revolution, New York: OR Books, 2012. Berlage Institute, Brussels - A Manifesto: Towards the Capital of Europe, Rotterdam: NAi Publishers, 2008. Corporate Europe Observatory, Lobby Planet: Brussels - The EU Quarter, September 2011.

deu

and

rus

swe

http://corporateeurope.org/publications/putting-brussels-lobbyists-map Keller Easterling, “Extrastatecraft” in Perspecta, Vol. 39, (2007), pp. 4-16 James Ferguson and Akhil Gupta, “Spatializing States: Towards an Ethnography of Neoliberal Governmentality” in American Ethnologist, Vol. 29, No. 4 (Nov., 2002), pp. 981-1002. European Commission, Brussels: European Capital - Final Report, October 2001. http://ec.europa.eu/dgs/policy_advisers/archives/publications/docs/brussels_capital.pdf European Union, Protocol on the Immunities of the European Union, December 2004. http://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=OJ:C:2004:310:0261:0266:EN:PDF

fin

cog

esp

lit

Meg McLagan and Yates McKee, eds., Sensible Politics: The Visual Culture of Nongovernmental Activism, Cambridge: Zone Books, 2012. Saskia Sassen, Territory, Authority, Rights, Princeton: Princeton University Press, 2006. United Nations, Vienna Convention on Diplomatic Relations, April 1964.

RESEARCH AND DESIGN: Antonia Weiss, Princeton School of Architecture, 2013. Thanks to Ivi Diamantopoulou for her help in compiling and editing this document.

Weiss—Antonia

BELGIUM

LOCAL

N URBA

ONAL REGI

URB AN

2 0

T EN M LIA ENT AR IAM SP EL ARL LS P S SE BRU 02

1400AD

The wall became too narrow to contain all the population, which was increasing due to demand of manpower. Worker districts had even been established outside.

Schaarbeek

URB AN

BAN UR

S US BR

1300AD

A first wall is built around Brussels in the 12th century under the reign of Henry I, the first Duke of Brabant. The wall had a length of 4 kilometres with 50 towers and 7 doors.

Ganshoren Area 2.46 km2

REG ION AL

NAL GIO RE

1200AD

1100AD

Brussels is founded in 979. Attraction of population, mainCharles of France, duke of ly traders due to the proximity Basse-Lotharingie, installs a fort to the river. A port is installed by the Senne. and commericial and agricultural activities emerge.

Jette Population

UN 16

1000AD

ONAL NATI

NAT ION AL

MOBILITY

Brussels (City)

NAT ION AL

NAL TIO NA

ITT EE OF T

ON NI

DENSITY

BR US SE LS

SUP ERN ATI ON AL

TIONAL ERNA SUP

SUP ERN ATI ON AL

19 MUNICIPALITIES

S E S P R S S R E 17 P 18 L O B B Y L O B B Y 19 A C T I V 0 I S 1 T S CIT YC OU NC IL

US BR

L SE

L TIONA ANA L ONA ATI RN PE SU

INT ER NA TIO

L NA

From the time of its founding, Brussels capitalized on in its geographic centrality and high degree of connectivity. Throughout history, city planners intervened on the city’s fabric with a heavy hand privileging infrastructure over preservation or urban coherence. The city’s central location between the major European metropoles as well as Belgium’s perceived neutrality, led the European Union to locate the larger part of its bureaucratic apparatus in Brussels.

M. Arch S P r i n g 13

ground for action

it seems that a large visitor population might be problematic for its community. Bookstores and galleries are inherently informal meeting places, so it’s necessary that this new building be for the Institute’s academic community rather than the university tourist. Since bookstores and galleries are also public spaces, the obvious way to protect this space from the outside is to hide it. The whole building will be underground. However, if the building goes underground, it must still have an entrance to the outside. It can’t be limited by the operating hours of another building, and it should, of course, be readily accessible to the Institute community. How then do you hide an entrance in plain sight? How do you create an entrance that an outside visitor might completely overlook? It seems that one way to “hide” this new building above ground is to give it a false history. If we could pretend this new building has always been there, then there’s no reason it should be any more a site of “academic tourism” than any of the other buildings on the campus. To achieve this, a historical architectural aesthetic must be borrowed from the existing context. The Institute resides on the grounds of a Quaker settlement, and there is an old meetinghouse just outside of the main campus. It’s easy to miss—the surrounding area is overgrown and the building functions merely as a historic site. The first Quaker meetings were often conducted outdoors and in people’s barns, and as such the simple and unadorned Quaker aesthetic makes their buildings almost antiarchitectural. It makes sense, then, to borrow this vernacular to “conceal” the entrance to the bookstore and gallery. The interior of the building, in contrast, is deep and vacuous—the floor drops out from underneath you the moment that you walk in, and you are made immediately aware of the space below. Domestic bomb shelters of the 1960s serve as loose structural and metaphorical guidelines for the project, so the underground walls are thick and load-bearing. The interior space lacks the material, textural qualities of the outside, and the distinction between the two spaces is always apparent to the inhabitant. Thus, the project primarily negotiates a compositional proposition: two collaged parts that can never be read as a complete whole.

69 M. Arch FA L L 12

Section looking northeast

ARC501—Graduate Design Studio Site plan

Section looking northwest

ARC501 meredith—Graduate Design Studio

INSTRUCTOR: Michael meredith Disciplinary Ruins

This introductory course presents the discipline of architecture through a series of interrelated discrete exercises. These problems are not meant to represent the synthetic totality of the discipline, rather an overview of a few important aspects, points of architecture that help construct a self-conscious framework, allowing for the students to individually connect-the-dots, providing a foundation for further development. Fuld Hall

Section looking west

Section looking northwest

Section looking northeast

Nassau Hall

Part to part

Section looking northeast

Section looking west

Above ground

Below ground

Site elevation

Morrow—Gina

71 M. Arch FA L L 12

ARC501 meredith—Graduate Design Studio

Meza—Jose

The challenge of this studio was to propose a new Princeton Architectural Lab based on three questions: 1. What new models could be developed for the lab in architectural education? Under the premise that the links between computational models and built form fundamentally change the agency of the architect, architectural schools across the globe are developing labs that proposal a more direct experimentation with materials and assemblies. The need to acquire new technologies is akin to an arms race. Taking a more critical eye toward this, this studio explored what the consequences of this technology are on architectural education, and how the lab might be conceived and configured. 2. How might this be developed in the specific context of Princeton’s SOA and the site of the current Architectural Lab? The Architectural Lab was developed by John Labatut

SECTION PERSPECTIVE

60 years ago as a critical component of an approach to education that foregrounded physical movement and material experiments, and extracted learning from the confines of drafting tables and from the restrictive nature of central campus. Out of site from Nassau and McCormick Halls, and lodged in the theatrical realm of the stadium. The location offered freedom for large scale experiments. Where typically architecture labs are pushed into basements, at this site there is a unique opportunity to directly engage the relationship between the shed and the equipment. What is the calibration between the lab and its enclosure? 3. As an integrated studio, what new synthetic and reductive wall section could be developed? This studio explored a reduction of materials, exploring opportunistic overlaps between structure, insulation, aperture and barrier. The goal was not to produce a complex skin through more accumulation but a dense performance through novel elimination or hybridization of components.

SECTION PERSPECTIVE

SCALE: NTS

Chua—Jane, Nimaga—Nasra

ARC501 Lewis, Oppenheimer, raman—Integrated Building Studio

INSTRUCTORs: Paul Lewis, with Nat Oppenheimer, Mahadev Raman Princeton Architectural Laboratory

M. Arch FA L L 12

ARC503—Integrated Building Studio

75 M. Arch FA L L 12

summer

SECTIONAL PERSPECTIVE DD SUMMER OCCUPATION 1/2”=1’

winter

-4.1

North Western Winds WC

G RA

U ST

T WE Y/ Y RT BL DI SEM AS

S CE

R OO CE TD PA OU RKS WO

Y N EA BL CL SEM AS

U ST

profilit k-60 with aerogel u-value 0.19 light transmission 38% solar heat gain coefficient 0.31

T WE Y/ Y RT BL DI SEM AS

Y N EA BL CL SEM AS

G RA

S AL RI TE RY MA BRA LI

S CE

S AL RI TE RY MA BRA LI

21 C 23 C summer winter

North Westerm Winds

studio

R OO CE TD PA OU RKS WO

4 C 30 C summer winter

covered outdoor working space 20 C summer

18 C winter

South Western Winds

PLANS ILLUSTRATING SUMMER CONDITIONS LEVEL 2 AND -1 1/16”=1’

PLANS ILLUSTRATING WINTER CONDITIONS LEVEL 2 AND -1 1/16”=1’

Schwarzwald—Anika, Weiss—Antonia

CROSS SECTION CC ENVIRONMENTAL PERFORMANCE 1/4”=1’

ARC501 Lewis, Oppenheimer, raman—Integrated Building Studio

SECTIONAL PERSPECTIVE CC WINTER OCCUPATION 1/2”=1’

IONAL PERSPECTIVE DD SUMMER OCCUPATION 1/2”=1’

77 M. Arch FA L L 12

ARC505a—Graduate Design Studio

ARC505a Young—Graduate Design Studio

INSTRUCTOR: liam young Brave new wow

We began by exploring the distant whispers and foreshadows of the near future. Architects are so often separated from the technologies that are shaping the city. Our discipline is too slow, too far down the technology transfer line to really intervene and shape the development of emerging research. New collaborations are being forged between designers and technologists as a way to explore the consequences and implications of emerging technologies. We began the term by exploring the edge of science and found there the weak signals that may suggest an alternative future for the city. Students trawled the pages of New Scientist, became Google explorers and unearthed a promising development trapped behind the grey walls of an institutional lab. Explore the Princeton’s own science faculty, particularly the department of mechanical and aerospace engineering with whom we collaborated across the term. What projects have direct spatial and urban potential, what projects call into question the static monumental built structures of the contemporary city? From an array of research presented to the group students selected just two weak signals and developed them into pieces of work. Using a time based media they illustrated their discovery and its possible behaviors and implications.

Boning—Willem

chapman—Julia

M. Arch FA L L 12

ARC505a Young—Graduate Design Studio

Watt—Trudy Seegers—Jesse

81 M. Arch FA L L 12

ARC505B—Graduate Design Studio

ARC505B Obuchi—Graduate Design Studio

INSTRUCTOR: Yusuke Obuchi Evolutionary Production, V.3 Temporally Buildings

This studio was concerned with the emergence of global network society and its effect on architecture, urbanism and design culture. It is an interdisciplinary experimental design research connecting architecture, engineering and computations to theorize and to develop design proposals for the contemporary urban environments. The Objective: Design Building Lifecycle: The studio focused on the design of ecological network of material, energy and information flows that continuously evolve the lifecycle of building processes aiming to generate sustainable urban environment.

N W

Phan—Phi Van

E S

AGRICULTURAL PRODUCTION

ginza honey bee project

fibrous waste POLLINATION management

RICE FIBRES

chain stitch

chain stitch-linear (10)

sugarcane- BAGASSE

chain stitchring (10)

KENAF

increase 1 every ring

cone

PULP-PRESSED MOLDING vegetation seed inplantation

single crochet stitch COMPOST TURNED INTO A NUTRIENT RICH SOIL

SUGAR CANE FIELDS

PRODUCT IS COMPOSTED AFTER USE

green construction

PRODUCT IN USE

1:1 ratio

single crochet-linear (10)

cylinder

SUGAR IS EXTRACTED. FIBRE LEFT OVER IS BAGASSE

BAGASSE BOARD

WET BAGASSE IS PRESSED DISINFECTED AND DRIED INTO PAPERBOARD

COMPLETED PRODUCT IS READY TO USE PAPERBOARD IS PROCESSED DISINFECTED AND PACKED

single crochetring (10)

WET BAGASSE IS PROCESSES

BIO-BOARD

PAPERBOARD IS READY TO USE

ROOFSCAPE ECOSYSTEM

BIO-PACKING WASARA

5:6 ratio

crenulation

11 MILLION SPECTATORS ATHLETES OFFICIALS JOURNALISTS

14 MILLION

TAKE-AWAY MEALS OVER THE GAMES

composting process

foundation chain (10) + 1st row single crochet (10)

8.5 THOUSAND TONNES LANDFILL PROBLEM 120 MILLION

PIECES OF PACKAGING MATERIAL NEEDED

OLYMPIC CONSUMPTION

1:1 ratio

flat

foundation chain (10) + 1st row single crochet (15)

stitch organization

Thomas—Claire

Chen—Debbie chitosan

83 M. Arch FA L L 12

ARC505B Obuchi—Graduate Design Studio

TRAM STATION & BRIDGE CONNECTION

ALGAE COLLECTION STATIONS PUBLIC FACILITIES / PLAYGROUND

NODES FOR CONNECTION

OPTIMIZING PATHS

OPTIMIZED PATHS & MAIN ROAD FOR COLLECTING ALGAE SOLUTION

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Wei—Harry Mingxia

Leung—Pak Lun

85 M. Arch FA L L 12

ARC505C—Graduate Design Studio

ARC505C Mazzanti —Graduate Design Studio

INSTRUCTOR: Giancarlo Mazzanti Open and adaptive mechanisms: Learning - Dialogue - Leisure

The course researched some of today’s architecture phenomena, the place of the architect in the contemporary world, and his role as a world transformer. This is framed in between a material practice and specially examining values such as repetition, the undetermined, the unfinished, the disposition in the construction of a practice that allows it to be adaptive, open, unstable and changing as a response to the constant change of our time, rather than as something fixed and closed. In the specific context of Colombia, the city of Medellín is an example of relations between architecture and politics as a mean to reach social inclusion and material transformation goals. We tried to understand the phenomena that generate and conform a Latino American city. We searched to create an architecture that produces more using less, as a learning exercise suitable to the current economic crisis; specifically, the roll of buildings as communitarian construction and social inclusion mechanisms, and their role as elements capable of encouraging new relations y behaviors between humans and non-humans.

Dong—Han Guang

Aviv—Dorit, Teeling—Milou

87 M. Arch FA L L 12

ARC505C Mazzanti —Graduate Design Studio

VIEW

CROSS

NAP

LOST

EXIT LEARN SNACK

? ?

SLIDE

CRAWL SIT

LOOK ENTER / EXIT P L AY

GO OUTSIDE

BUY / SELL

BUY

D E PART

ARRIVE

Knoell—Anna, Penarroyo—Cyrus, Yu—Loren

wang—Fei

89 M. Arch S P r i n g 13

ARC502—Graduate Design Studio Aesthetic Differentiation

ARC502 Kilian —Graduate Design Studio

INSTRUCTOR: Axel Kilian Models of Design

The studio focus was on Models of Design. The term MODEL appears in all disciplines but has a wide range of meanings. In the studio we explored the Model of Design as a combination of thought construct, physical construct and computational construct. The most common use of models in architecture is for representative, scaled mockups of design proposals as physical artifacts. But a model can also refer to the concepts behind a design, to the thought construct that embodies the design intention. Computation has increased the importance of scientific models in design and engineering as more processes rely on numeric methods that require the development of algorithms to process data according to such models of understanding. The natural sciences have a long history of scientific models developed in the attempt to describe, explain and predict the complexity of observed phenomena in abstract, simpler, yet meaningful ways. In engineering the increased use of computation has initially led to the dominance of analytical methods driven by numerical methods such as finite element analysis. In architecture, computation has been focused heavily on geometry and in turn geometry has become the dominant design representation in computational terms but also in design terms.

Morrow—Gina

Location

Relative Scale

Flamberg—Sonia

Image/Form - Graphic/Shape 91

ARC502 Kilian —Graduate Design Studio

Animations

Pacific Northwest

Circular Procession

Orthogonal Complex

Tappe—Daniel

M. Arch S P r i n g 13

Digital Wallpapers

Tursack—Hans

93 M. Arch S P r i n g 13

ARC506a—Graduate Design Studio

ARC506a Reiser —Graduate Design Studio

INSTRUCTOR: Jesse Reiser VERY FAST AIRPORTS

This studio explored the design of a family of LowCost Carrier Airports. We looked at Ibaraki International Airport, which comprises a link in a chain of airports spread throughout Asia in Japan, China, and Taiwan . Located Northeast of Narita and still further removed from metropolitan Tokyo, the situation of Ibaraki suggests an alternate set of architectural consequences for the contemporary airport. The flattening or placelessness of airport space - the interchangeability of its stores, hotels and its waiting rooms worldwide - is simply in advance of the same ineluctable processes everywhere else. The utopian or dystopian effects are simply more pure because unlike in traditional places there is no history, no resistance material, cultural or otherwise - to resist it. Such a situation has thus far fallen into two nihilistic formations, reactionary or celebratory which attempt to deliver representations of homecoming or more sophisticated models that celebrate the void itself. The airport has paradoxically found itself in a state of arrested development with the prevailing style being “high-tech”. An architectural style emulating the aviation technology of the 1960’s, high-tech has since spread to become a worldwide cliché. Being the standard architectural response to the airport wherever one goes, this worn style speaks neither to the specifics of place nor to the specifics of experience. The spaces of high-tech are spatially and structurally homogeneous.

Fries-Briggs—Gabriel, Pajerski—Nicholas

95 M. Arch S P r i n g 13

50000.00 SERVICE VEHICLE AND PERSONNEL POINTS OF ACCESS

2000.00

24500.00

5200.00

14000.00

14100.00

12000.00

SERVICE VEHICLE ACCESS

500

4000

1000

3000

1000 500 500 1500

OMENTS [OF STUFF]

Vanable—Ife

ARC506a Reiser —Graduate Design Studio

500 1500

97 M. Arch S P r i n g 13

ARC506b—Graduate Design Studio The 1933 Athens Charter envisioned a tabula rasa for a modern city that was healthy, functional and collective, based on the rational subdivision of functions. Its top-down approach deployed massive physical infrastructures to order the city based on an industrial logic. While most architects would agree that the Athens Charter is long since dead, have they really abandoned its megalomaniacal tendencies? Far too often, architects today envision the future city as something totally different from the present: flying cars and pig skyscrapers, sinewy voronoi megaforms draped ambivalently over streets and blocks, and hyper-urbanization models imported from Asian and Middle Eastern shores. Today in the west, we live in an age of austerity and diminished government, in which ideologies are everywhere supplanted by technocratic management and deregulation and in which government efficacy is undermined by the outsized influence of extremists. We are witness to capital everywhere run amuck, flaunting its irrationality and revealing the impotence of economic “experts.” In such an environment, sweeping plans may have value for maintaining a narrative of radical change, but they have little value in offering tangible models for immediate, measurable urban redevelopment.

kills neighborhoods. Our charter celebrates rigorously contradictory and irrational architectures, situations and constituencies: the spectacularly anonymous, the permanently nomadic, public control, people as corporations (rather than corporations as people), spontaneous leisure, local communities of outsiders, passive shopping and the slow Manhattanite.

Space to Caress Sound

Our charter for the Bowery imagines that the city ten years from now is the same as the city five minutes from now. All the practices, constituencies and technologies that will shape cities over the next decade more or less already exist. Our charter insists that architecture must imaginatively incorporate and encourage these populations and processes, and that architects must begin to think of themselves as creators of the new economy and the new politics, rather than merely illustrating it.

August MB100B Portable Stereo Speakers

A new, bottom-up urban charter is needed, one that: leverages technological infrastructure, mobility and ubiquity to produce new urban and architectural specificity; empowers architects and emerging publics to experiment with public space, modified streetscapes and new hybrid architectures rather than imposing regressive and restrictive aesthetic codes; takes as its model the production of sweeping “effects” through policy and participation, and through local intervention, rather than radical construction; and addresses the social and economic co-presence in the city of long-term residents and dynamic flows of itinerant workers, laborers and makers. Rather than a generic future city, our charter begins from an existing urban condition: the Bowery. Our charter takes the existing city and neighborhood as a creative constraint. Against the apathetic and exploitative approach of the conservative developer who blindly employs old models, and against the dead modernist logics of functional separation and zoning, our charter takes emerging practices of working, living, shopping and making in order to imagine mutated building types that aggressively weave into the urban fabric at the already existing scale of the neighborhood. Through considering new modes of transportation, civic space and urban leisure, our charter speculates on massive social change through micro-interventions and public policy. Our charter wagers that the neoliberal city creates holes, gaps and blind spots that offer opportunities for imaginative design, flexible occupation and experimental businesses that lessen the reliance on anchor companies whose failure

YMBA: Wei—Harry Mingxia, Dong—Han Guang

Emazon: Leung—Pak Lun, Phan—Phi Van

Howe Susan & David Grubbs - Souls of the Labadie (2008)

ANNWN Ocrilim (2008)

www.emazon.co

ARC506B Zaera-Polo—Graduate Design Studio

INSTRUCTOR: Alejandro Zaera-Polo The Bowery Charter 2013

99 M. Arch S P r i n g 13

Bowery Proposal

$2.7

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Birdsee Bowery Fest from Air.

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Exlusive Seat:

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.50

W@RK $0.50 $0.50

$1.25 $1.75 $1.75 $1.25

$1.25

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$1.25

Coffee Order: 3 Cappuccinos pick up @ #3 Zone $ 6.69 via Paypal

$1/hr

W@RK

Tutor Session

$2.7

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FREE

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Swipe to access. Please consider next person who also needs privacy.

Single Seat Financial Model IN USE 18:00-20:00

rent things to each other. The result is known variously as “collaborative consumption”, the “asset-light lifestyle”, the “collaborative economy”, “peer economy”, “access economy” or “sharing economy”.

$2.1

$2.3 $2.3

$2.7

Phone Cell:

In Use

Student: Cong Wang Such peer-to-peer rental schemes provide handy extra income for owners and can be less costly and more convenient for borrowers. Tutor: Andrew FrameOccasional renting is cheaper than buying something outright or renting from a traditional provider such as a hotel or car-rental firm. Subj: Java Script The internet makes it cheaper and easier than ever to aggregate supply and demand. Smartphones with maps and satellite positioning can Level: Beginner find a nearby room to rent or car to borrow. Online social networks and recommendation systems help establish trust; internet payment Duration: 2 hrs systems can handle the billing. All this lets millions of total strangers

$2.7

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FREE

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Host: Julianne Gola-Papa Location: Floor 3, Meeting 2 Time: 1:00pm - 5:00pm Invited to meeting: Alek Bierig, Anika Schwarzwald, Antonia Weiss Notes: Projector Needed

Artifical Light

Day Light

Tutor Session

FREE

$3.4

$2.7

2012 Architecture Plan

$2.7

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2013 Action Plan

$2.3

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FREE

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IN USE 18:00-20:00

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FREE

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Student: Phi Van Phan Tutor: Milou Teeling Subj: Ruby on Rails Level: Intermediate Duration: 2 hrs

$717 $17,208 $120,456 $481,824 $5,781,888

$2.8

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$2.4

scale rent

Host: Jane Chua Location: Floor 3, Meeting 2 Time: 10:00am - 1:00pm Scheduled Meeting Invited to meeting: Michal Koszycki, Trudy Rented By: Tsvetelina Churalska Watt, Laura Ettedgui Location: Floor 3, Meeting 2 Notes: None Scheduled Meeting Time: 1:00pm - 5:00pm Invited to meeting: Cyrus Penarroyo, Julia Rented By: Tsvetelina Churalska Chapman, Gabi Fries-Briggs Location: Floor 3, Meeting 2 Notes: Bring last weeks meeting notes Time: 1:00pm - 5:00pm Invited to meeting: Cyrus Penarroyo, Julia Chapman, Gabi Fries-Briggs Notes: Projector Needed $1.50

Zone 2: Connected Flow

W@RK

$2.7

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Tutor Session

$2.4

Student: Cong Wang Tutor: Andrew Frame Subj: Java Script Level: Beginner Duration: 2 hrs

$3.6

$2.4

Rent Financials Total Seats:40 Rent Average:$0.50/hr - $1.75/hr Rent Range: $1.00/hr One hour revenue 25% Efficiency: $10.00%/hr 50% Efficiency: $20.00%/hr 75% Efficiency: $30.00%/hr 100% Efficiency: $40.00%/hr

3.6

$1.25

$3.6

3.6

$0.50

pizza is in 3th zone

$3.6

$0.50 $0.50

$0.75

$1.75 $1.75 $1.75 $1.75

$1.25 $1.25 $1.25

$1.75 $1.75 $1.75

$1.00

$1.25 $1.25 $1.25 $1.25 $1.25

$1.50

$1.25

$1.50

Tutor Session

$0.75

$1.75 $1.75

$1.00

$1.75 $1.75

$1.25

$1.75

$1.25

$1.75

$1.25

Standing is Sexy: scheduled 18:30-21:20 $ 2.15 / hour via Bitcoin

$1.25

One month* revenue 25% Efficiency: $2,000.00/mo 50% Efficiency: $4,000.00/mo 75% Efficiency: $6,000.00/mo 100% Efficiency: $8,000.00/mo *1 month= 4 weeks

$1.75

$67,935 $815,220 Analysis Model Proposed Exisitng

Tutor Session

$0.75

$1.75

$1.25

$1.25 $1.25

$0.50

$1.75

$0.50

Student: Debbie Chen Tutor: Dorit Aviv Subj: Processing Level: Advanced Duration: 1 hr

$0.50 $0.50

$1.25 $1.25

$1.75 $1.75 $1.25

$0.75

$1.00

$1.75 $1.75

$1.25

$1.75

$0.75

$1.75 $1.75

$1.25

$1.75

Scheduled Meeting

W@RK Co-Working: scheduled 19:00-21:00 for Alastair and Stoked $3.2 / hour*person

$1.00 $1.25

$0.75

$1.25

$15/hour, in #21, 1st zone

$1.75

W@RK Instant Present:

$0.50

$1.25

$0.50

$1.25 $1.75 $1.75 $1.25

$1.25

$1.75

Host: Jesse Seegers Location: Floor 5, Meeting 2 Time: 1:00pm - 5:00pm Invited to meeting: Ife Vanable, Gabe Cira, Griffin Frazen Notes: none

v.s. Economy of Customization

$1.00

Lisa is looking for Greek $1.75 translator $1.75 $1.25

$1.25

$1.75

$0.50 $0.50

$0.50

$1.25 $1.75 $1.75 $1.25

$1.25

$1.75

$2.3/hour

$1.50

$1.50 $1.50

$1.50

rent

$1.25

Scheduled Meeting

$1.75

$1.50

$1.25

$0.50 $1.75

Escritor, artista y filósofo mexicano radicado en Nueva York quien cuenta con una muy variada y excepcional obra multidisciplinar. Ha escrito intensamente acerca de dinámicas no-lineales, teorías de auto-organización, vida e inteligencia artificial (A.I), teoría del caos, arquitectura e historia de la ciencia. Actualmente, de Landa es profesor de la Escuela de Graduados de Columbia University en Nueva York en el área de arquitectura y es titular de la Cátedra Gilles Deleuze en la European Graduate School en Saas-Fee.

$1.75

$0.50

Host: Tsvetelina Churalska Location: Floor 5, Meeting 2 Time: 1:00pm - 5:00pm Invited to meeting: Cyrus Penarroyo, Julia studio 9 Chapman, Gabi Fries-Briggs Notes: Projector Needed

$0.50 $0.50 $0.50

$1.25 $1.75 $1.75 $1.25 $1.75

$0.50

$0.50 $0.50

$1.25 $1.75 $1.75 $1.25

$1.25

Zone 2: Connected Flow

$1.75

$1.25

$0.50

$0.50 $0.50

$1.25

$1.75 $1.75 $1.25

$0.50 $0.50

$1.25 $1.75 $1.75 $1.25

$1.25

$1.75

$0.50

$1.75

$0.50 $0.50

$1.25

$0.50

Zone 1: Tiered Publicity

$0.50

1. why

$1.25 $1.75 $1.75 $1.25 $1.75

W@RK

$0.75

$1.75 $1.75 $1.75 $1.75

$1.00 $1.25 $1.25

$1.25

$0.75

$1.75 $1.75 $1.75

Being Surrounded + Instant Present:

$1.00 $1.25 $1.25

$1.25

Scheduled for 7 13:00 - TBD $ 5.25 / hr*person

$1.75 $1.75

$0.50

$1.25 $1.25

$1.75

$0.50

$1.25

$0.50

$1.75

2. what

$0.50 $0.50

$1.25

$1.75 $1.75 $1.25

$0.50 $0.50

$0.50

$1.25 $1.75 $1.75 $1.25

$0.50 $0.50 $1.75

$1.25

$1.75

$0.50

$0.50 $0.50 $0.50

$1.25 $1.75 $1.75 $1.25 $1.75

$1.25

$0.50

W@RK

$1.25 $1.75 $1.75 $1.25 $1.75

Swipe to Access

$0.50 $0.50

No. 45, Zone 1

$0.50

$1.25

- 20:53 $0.50 $14:53 1.15/hr via Paypal

WW@RK $1.75 $1.75

$1.25 $1.25

$0.50 $0.50

$1.25

$1.75

W@RK Green Work: 1 2 3 4 5 6 7 8 9

Scheduled Parking 14:20 - TBD included in $2.15 desk fee.

W@RK

1 2 3 4 5 6 7 8 9

Swipe to open:

1 2 3 4 5 6 7 8 9

Sandisk Packcage from Emazon. or wanna lock?

David’s bike that he won in a bet Brooklyn Brewery, Honey Ale Brooklyn Brewery, IPA Brooklyn Brewery, Dark Chocolate Malt FBK: Nicole says “these boots were made for W@RKing and im gonna W@RK all over you” Jennifer’s favorite seat at the bar Kayla and Jaffer just finished a game, so the table is open

1 2 3 4 5 6 7 8 9

18:00 - 20:30

****** Zack

1 2 3 4 5 6 7 8 9

W@RK

1 2 3 4 5 6 7 8 9

Package and Mail Sorting Chair Purchased 02/17/2013, $175 Seat Saved for Thomas Sydney’s pool stick Jonah’s Pool stick 5 Stripes, 5 Solids (Best of 3, Game 1) TWTR: Taking a break from work at the pool @pool @stripesnsolids FBK: Jonah checked in at W@RK. 5:15pm Happy Hour Menu, $10 Appetizers, $5 Beer Sprite Desani Water

Linked Inn: Stokes—Alastair, Thomas—Claire

W@RK: May—Lindsey, Wang—Fei

Instant Darkness No. 5, Zone 1 8:00 - 17:00 work $ 0.25/hr followed by Talk

Aaron Swartz: freedom of knowledge

21:00

Dear Mr. Adams, I’m submitting an application for the editorial position you advertised on SuperJobs on September 10. I've spent the last year and a half working full-time as a writer and editor for a publishing company that specializes in educational content. During that time, I've logged thousands of hours doing everything related to the editorial process, including copy editing, proofreading, content entry, and quality assurance. I currently manage a team of over 40 freelance writers who work on a variety of different subjects, and I ensure that the quality of every submission meets our high editorial standards. I'm also very familiar with English grammar and usage and have no trouble adapting to

rate

717 seats 717x 29.28 SF/seat 39.05 SF/seat

open save save as print exit

W@RK Express Work: Instant Print, 1 page $1.0 via paypal --Printing Now

notes Bowery Lot Area Use to Calculate: 3,235 SF (same area used to calculate above proposal)

SF/month SF/year

floor/month floor/year building/month building/year Scale Building Building

Rent $481,824 $67,935

DiffrenPercent

$413,889 14.099%

Units

$0.50

$0.50 $0.50

Scheduled #3 Monitor 19:05 - 19:45

$1.50

Floor Area (SF)

$3 $36

$9,705 $116,460

Annual revenue 25% Efficiency: $24,000.00/yr 50% Efficiency: $48,000.00/yr 75% Efficiency: $72,000.00/yr 100% Efficiency: $96,000.00/yr

$1.00

$1.75

Economy of Scale

rent

$1.75

$1.25

$1.75

$1.75 $1.75

$1.75 $1.75 $1.75 $1.75

$1.75

W@RK

Student: Anna Knoell Tutor: Loren Yu Subj: Excell Level: Intermediate $1.00 Duration: 1 hr

scale

One week* revenue 25% Efficiency: $500.00/week 50% Efficiency: $1,000.00/week 75% Efficiency: $1,500.00/week 100% Efficiency: $2,000.00/week *10 hours = 1 day *1 week= 5 days

$1.00

$3.6 $3.6

$2.4

single unit rate hour day week month year

buidling proposal seats in building seat multipilier SF/seat on workspace floors (1-7) SF/seat overall floors (b-7) rate $717 hour $5,736 day $28,680 week $114,720 month $1,376,640 year Existing Office Rental Model

$0.50

Scheduled Meeting

$2.4 $2.4

39.05 SF/seat

rent

$1.75

$1.25

$0.50

$1 $8 $40 $160 $1

scale

$1.50

Host: Alastair Stokes Location: Floor 3, Meeting 2 Time: 1:00pm - 5:00pm Invited to meeting: Claire Thomas, Alejandro Zaera-Polo, Brit Eversole Notes: Projector Needed

$2.4

$1.3 $2.4

Air Vent Knoll Kitchen Lamp Structural Steel Column 2-HR Fire Safety Door to Egress Complimentary use of “w@rk” mugs Lemon’s from last night’s Happy Hour Flowers from Union Square Famers Market Mike’s Rented Seat, 3 hours Decaf and Hazultnut Coffee Starbucks, Venti Late Bodega, Large Coffee Macbook Air, 13” Dell Laptop, 16” Jill’s Rented Seat, 2 hours Dena’s Rented Seat, 2 hours Glass Wall Separating Kitchen Susan’s Leftover Lunch German-English Dictionary Lean In, Sheryl Sandberg Sylivia’s Rented Seat, 1 hour

$1.50

$1.75

$1.25

$1.50 $1.75

$1.75

$2.4 $2.4 $2.4.75 $12.4

$2.7

$1.75

$3.2

$2.7

$1.1

$1.3

$1.5

$1.50

$1.25

StartUp Social: Pak is looking for a html 5 person to co-found Omazon. Zone 2, #18 Group. Free to join.

$1.5

$2.1

$1.50

18.4 in x 12.4 in x 16.1 in

W@RK

717 seats 717x 29.28 SF/seat

Single Seat Benchmark Study

$1.1

Zone 3: Flat Privacy

scheduled 19:00-21:00 with Juliana, a spanish translator. enjoy!

buidling proposal seats in building seat multipilier SF/seat on workspace floors (1-7) SF/seat overall floors (b-7) rate hour day week month year

rent

Scheduled Meeting

Ping-pong Social:

scale

$2.4

$1.1

Scheduled Meeting Workspace Lighting Distance: 50 ft

single unit rate hour day week month year

$1 $24 $168 $672 $8,064

$2.8

$1.75 $1.6 $1.75

scale rent

$1/hr Single Seat $3/mo/sf Existing Benchmark Rate

building rent calculated using the same number of floors as above proposal

Rate

month month month W@RK needs to operate at at least 14.099% occupancy in order to be competitive with the exisitng rental model proposed this is based on research of existing and currently available offices for rent

ARC506B Zaera-Polo—Graduate Design Studio

W@RK

WORK

101 Ph.d. P ROGR A M

The Ph.D. Program The interdisciplinary nature of the program stresses the relationship of architecture, urbanism, landscape, and building technologies to their cultural, social and political milieux. Supported by strong affiliations with other departments in the humanities, sciences, and social sciences, the program has developed a comprehensive approach to the study of the field. Students interact with their peers to sustain individual projects in a context of collective research. The fields of study are normally, but not exclusively, selected within the history and theory of one of four primary areas: architecture, urbanism, landscape, and engineering/building technology. During the first year of residence, a two-semester pro-seminar introduces students to historical research and methodological approaches, and guides the development of individual research proposals. A guest seminar series, supported by the School of Architecture and administered by the students in residence, forms a venue for ongoing discussions. PROGRAM COMMITTEE—

Supporting Faculty—

Recent Visiting Faculty—

Beatriz Colomina, History and Theory Chair, Director of Graduate Studies, Ph.D. Program

Eduardo Cadava, Department of English, Media Technologies, Literary Theory, 19thCentury American Literature, Comparative Literature, Theories of Translation

Jean-Louis Cohen Spring 2012, Fall 2012 Professor, Institute of Fine Arts, New York University

Esther da Costa Meyer, Department of Art and Archaeology, 19th- and 20th-Century Architectural History

Sylvia Lavin Fall 2009, Fall 2010, Fall 2011 Chair of the Ph.D. in Architecture program and Professor of Archi tectural History and Theory, UCLA

Lucia Allais, History and Theory M. Christine Boyer, Urbanism Axel Kilian, Computational Design Spyridon Papapetros, History and Theory Alejandro Zaera-Polo, Dean of the School of Architecture

Hal Foster, Department of Art and Archaeology, 19th- and 20th-Century Art History, Cultural Theory Michael W. Jennings, Department of Germanic Languages and Literature, Late 18th-Century and early 20th-Century European Culture Thomas Y. Levin, Department of Germanic Languages and Literature, Aesthetics, 20th-Century European History and Art History, Cultural Theory John A. Pinto, Department of Art and Archaeology, Renaissance and Baroque, Landscape Studies Anson Rabinbach, Department of History, 20th-Century European History, Intellectual History, History of Technology

John Rajchman Fall 2006 Adjunct Professor, Director of Modern Art M.A. Program, Department of Art History and Archaeology, Columbia University Elizabeth Grosz Spring 2006 Professor, Women’s Studies in Trinity College of Arts and Sciences, Duke University Mirko Zardini Fall 2007 Director, Canadian Centre for Architecture

103

The wide range of possible research topics is illustrated by the following dissertations. S. Can Bilsel (University of San Diego) Architecture in the Museum: Displacement, Reconstruction and Reproduction of the Monuments of Antiquity in Berlin’s Pergamon Museum (2003) AnnMarie Brennan (University of Melbourne) Olivetti: A Working Model of Utopia (2011) Sarah Deyong (Texas A&M University) Archigram and the City of Tomorrow (2008) Inês Fernandes (Lisbon) Building Brasilia: Modern Architecture and National Identity in Brazil (1930–1960) (2003) Anthony Fontenot (Woodbury School of Architecture) Non-design and the Non-planned City (2013) Gina Greene (University of Pennsylvania) Children in Glass Houses: Toward a Hygienic, Eugenic Architecture for Children During the Third Republic in France (1870–1940) (2012) Romy Hecht (Pontificia Universidad Católica in Santiago, Chile) The Attack on Greenery: Critical Perceptions of the Man-Made Landscape, 1955–1969 (2009) Branden Hookway (Cornell University) Computational Environments of the 20th Century (2011) Karin Jaschke (University of Brighton) Mythical Journeys: Ethnography, Archaeology, and the Attraction of Tribal Cultures in the Work of Aldo van Eyck and Herman Haan (2012) Lydia Kallipoliti (Syracuse University) MISSION GALATIC HOUSEHOLD: The Resurgence of Cosmological Imagination in the Architecture of the 1960s and 1970s (2013)

Joaquim Moreno (Columbia University) From a Little Magazine to the City: Arquitecturas Bis (1974–85) (2010) Ernestina Osorio (University of California, Los Angeles) Intersections of Architecture, Photography, and Personhood: Case Studies in Mexican Modernity (2006) Emmanuel Petit (Yale University) Irony In Metaphysics’s Gravity. Iconoclasms and Imagination in the Architecture of the Seventies (2006) Stephen Phillips (California Polytechnic State University) Elastic Architecture: Frederick Kiesler’s Mobile Space Enclosures (2008) Beatriz Preciado (Université Paris VIII, Museu d’Art Contemporani de Barcelona) Gender, Sexuality, and the Biopolitics of Architecture from the Secret Museum to Playboy (2012) Enrique Ramirez (Princeton U Airs of Modernity 1881–1914 (2013) Lutz Robbers (IKKM Weimar) Modern Architecture in the Age of Cinema: Mies van der Rohe and the Moving Image (2011) Ingeborg Rocker (Harvard University) Evolving Structures: The Architecture of the Digital Medium (2010) Rafael Segal (Harvard University) A Unitary Approach to Architecture—Alfred Neumann and the ‘Humanization of Space’ (2011) David Smiley (Barnard College) Pedestrian modern: modern architecture and the American Metropolis, 1935–1955 (2007) David Snyder (Shenkar College of Engineering and Design) The Jewish question and the modern metropolis : urban renewal in Prague and Warsaw, 1885–1950 (2007)

Joy Knoblauch (University of Michigan) Going soft: Architecture and the human sciences in search of new institutional forms (1963–1974) (2012)

Sara Stevens (Rice University) Developing Expertise: The Architecture of Real Estate, 1908–1965 (2012)

Roy Kozlovsky (Northeastern University) Representation of Children in Postwar Architecture (2008)

Diana Kurkovsky West (Drexel University) CyberSovietica: Planning, Design, and the Cybernetics of Soviet Space, 1954–1986 (2013)

Louis Martin (l’Université du Québec à Montréal) The Search for Theory in Architecture: Anglo-American Debates (1957–1976) (2002) Joanna Merwood (Parsons School of Design) The Mechanization of Cladding: The Chicago Skyscraper and the Constructions of Architectural Modernity (2003)

Shundana Yusaf (Rensselaer Polytechnic Institute) Wireless Sites: Architecture in the Space of British Radio (1927–1945) (2011) Tamar Zinguer (The Cooper Union School of Architecture) Architecture in Play: Intimations of Modernism in Architectural Toys, 1836–1952 (2006)

Research topics in progress by students in the program include: research seminars—

106 Playboy & Architecture: 1953–1979 —Fall 2008 108 Modernist dilemmas: Chandigarh and Brasilia at 50 —

122 Fabricius—Daniela Calculation and Risk: The Rational Turn in West German Architecture, 1965–1985 124 Gonzalez Galan—Ignacio The Logics of Arredamento: Circulation and Display of the Italian Interior, 1928–1963

112 Aragüez—José Form’s Patterned Idiosyncrasy 114 Avilés—Luis Postwar Rhetoric.Technology, History, Ornament (1947–1966) 116 Bedford —Joseph Hermeneutic-Phenomenology’s Architectural Genealogy: Dalibor Vesely and Joseph Rykwert. (1968–1988) 118 Britz—Marc Durand in Deutschland: Formal Economy, Financial Argumentation, and the Scarcity of Means in German Architecture from 1799 to 1848 120 Eversole—Britt The Disenchantment with Democracy: Architectural Models of Self-Organization, Italy 193x–196x

126 Grossman—Vanessa Managing Utopia: Architecture and French Municipal Communism, 1958–81 128 Handwerker—Margo Public Displays of Effection: Ecological Art and Utility, 1969–1984 130 Meister—Anna-Maria From Form to Norm: The Systematization of Values in German Design 192x–196x 132 Olaiya—Yetunde Expert, Artifact, Fact: The Technopolitics of Architectural Production in French Black Africa, 1945–75 134 Ricchi—Daria From Storia to History: Literature and Fiction in Italian Architectural Writing, 1940–1957 136 Vannucchi—Federica From Control to Discipline: Design and Power at the Milan Triennale, 1945–1973

Ph.d. P ROGR A M

Recently Completed DisSertations—

105

Over the last decade, the Ph.D. program has transformed traditional academic training into a collaborative scholarly workshop generating polemical publications, exhibitions, films and other multimedia platforms. This workshop acts as the core of the interdisciplinary Media and Modernity program at Princeton, positioning architectural research within a wider field.

r esea r c h sem i n a r

Ph.D. Research Seminars

107

Professor Beatriz Colomina with students: Luis Avilés, Marc Britz, Daniela Fabricius, Gina Greene, Margo Handwerker, Joy Knoblauch, Yetunde Olaiya, Enrique Ramirez, Molly Steenson, and Federica Vannucchi from Princeton University The seminar was dedicated to the study of Architecture in Playboy: 1953–1979. The thesis of this research seminar was that Playboy played a crucial yet unacknowledged role in the cultivation of design culture in the USA. Through a wide range of different strategies, the magazine integrated state of the art designers and architects into a carefully constructed vision of a desirable contemporary life style. The seminar explored the ways in which Playboy was ahead of professional and popular magazines in promoting modern architecture and design. The collaborative research seminar assembled and analyzed the magazines, the secondary literature on Playboy, the related archives, and conducted interviews with protagonists. As in previous Media and Modernity research seminars, the project culminates in the collaborative production of a travelling exhibition or event.

playboy & architecture—Fall 2008

Research Seminar Fall 2008–09

r esea r c h sem i n a r

Playboy & Architecture— 1953–1979

109

Professors Beatriz Colomina and Esther da Costa Meyer with Vikram Prakash, Professor at the University of Washington, and students: Marc Britz, Matthew Clarke, Vanessa Grossman, Kevin Hayes, Tamicka Marcy, Christina Papadimitriou, Phoebe Springstubb, Sam Stewart-Halevy, Osnat Tadmor, Federica Vannucchi During the twentieth century, several new capitals were built from scratch, for economic and political reasons. Two of these—Brasília and Chandigarh—share several traits, partly due to the impact of Le Corbusier. In these new cities, the full force of modern architecture was put to the test. The spring the 2010 seminar taught by Professors Beatriz Colomina (School of Architecture) and Esther da Costa Meyer (Art and Archeology) was dedicated to reassessing these two capitals which are both turning 50 this year. In the seminar, the original projects were examined from different and often conflicting perspectives, with particular attention paid to the role of popular and professional media in the global promotion and circulation of the new cities. The seminar explored the transformations that took place during the last half century, including the dramatic change from a nationalistic to a transnational globalized perspective, and from a city built after the end of colonization to a city flourishing in our current age of postcolonial critique. The highlight of the seminar was travelling to Chandigarh to see the works in person, interview some of the living protagonists and to gather archival material on site. With Vikram Prakash, Professor at the University of Washington, a native of Chandigarh, and son of one of Le Corbusier’s project managers, the class was able to not only study the Capital Complex designed by Le Corbusier, but also the progressive housing projects of Jane Drew and Maxwell Fry, the public infrastructure of Pierre Jeanneret, and the urban plan developed by Corb and Albert Mayer. Professors da Costa Meyer and Colomina and some of the students will continue to collaborate on an ongoing discussion about Chandigarh’s urban and architectural legacy as part of a Media and Modernity project. Right: (from left) Marc Britz, Christina Papadimitriou, Kevin Hayes, Matthew Clarke, Sam Stewart-Halevy, Beatriz Colomina, Phoebe Springstubb, Tamicka Marcy, Osnat Tadmor, Vanessa Grossman, Federica Vannucchi, Esther da Costa-Meyer. Opposite page, top: Esther da Costa-Meyer (left); Professor Vikram Prakash (far right), University of Washington—Seattle, son of Aditya Prakash who worked with Le Corbusier in Chandigarh; and S.D. Sharma (second from right), who worked with Le Corbusier and Jeanneret in Chandigarh; with local students. Photo: Matthew Clarke. Chandigarh photos: Ragunath Vasudevan, architect/ photographer.

chandigarh, india—Spring 2010–

Proseminar Spring 2010

r esea r c h sem i n a r

Modernist Dilemmas— Chandigarh and Brasilia at 50

111 r esea r c h sem i n a r

Research Seminar Fall 2010—ongoing Professor Beatriz Colomina with students: Anthony Acciavatti, Juan Cristobal Amunategui, Jose Araguez Escobar, Joseph Bedford, Esther Choi, Gary Eversole, Daniela Fabricius, Ignacio Gonzalez Galan, Vanessa Grossman, Evangelos Kotsioris, Anna-Maria Meister, Federica Soletta and Federica Vannucchi. This class explored a series of pedagogical experiments that played a crucial role in shaping architectural discourse and practice in the second half of the 20th century. The central hypothesis of the class is that some of these experiments can be understood as radical architectural practices in their own right. To test this hypothesis, we compared a series of case studies and identify their degree of innovation, radicality and influence. Radical pedagogy disturbs assumptions, rather than reinforce and disseminate them. This challenge to normative thinking is a major but symptomatically neglected force in the field of architecture. Each experiment has a particular timeframe as the pedagogical techniques often generate a new set of norms to be challenged by another philosophy of education. As a collaborative research endeavor, the Radical Pedagogy project utilizes different formats to test assumptions, engage diverse audiences and refine the posed questions.

Clockwise from far left: Alvin Boyarsky, Cambodia Sit-in, University of Illinois at Chicago, 1970; cover of Architectural Design, April 1971; Buckminster Fuller’s Discontinuous Compression Sphere at Princeton University, 1953; students of Fuller’s with 8 ft. tensegrity sphere, Southern Illinois University, 1961; cover of Open Plan: Architecture in American Culture (Institute for Architecture & Urban Studies, 1977); students in the Milan Galleria from Giancarlo De Carlo, “How/Why to Build School Buildings,” Harvard Educational Review: Architecture and Education, n 4 (1969) 12-34. Background: Giancarlo De Carlo’s student conceptual models from Ricerche di metodo per il disegno urbano: programmi e risultati del corso di elementi di architettura e rilievo dei monumenti I e II nel biennio 1962-1964 (Istituto Universitario di Architettura di Venezia, 1965).

113 Ph.d. a b s t r ac t s

Aragüez—José

Form’s Patterned Idiosyncrasy As social, environmental and political concerns became increasingly pressing over the course of the twentieth century, the question of form in architecture kept taking on more and more forms. The understanding of form in nature, form as the reification of power structures, the psychology of formal perception, the quest for form’s “interiority,” form as the catalyst of participatory processes, the phenomenology of form, the relationship between form and formalism—the ubiquity of form in our field cannot be taken but as a marker of its significance. This dissertation starts with the premise that, though everywhere, “form” in architecture has not been sufficiently theorized. Rather, it tends to remain in the background of other narratives that are built into spheres peripheral to architecture. Moreover, for all its complexity, discussions around form have all too often been grouped in relation to the dualism of “autonomy” supporters and “engagement” factions. Here I will tackle “form” as a constitutive category for architecture to take place, and I will do so by maintaining that such a dualism is in fact fallacious, for, insofar as form is the medium of engagement, a committed attitude is only possible when a deeply informed understanding of form is in place to begin with. Three authors who have remained outside autonomy-versus-engagement debates— Vittorio Giorgini (1926-2010), Michaël Burt (b. 1937), and Cecil Balmond (b. 1943)—will constitute the objects of discussion for the first part of this study. Their work will be interpreted as having emerged at the intersection of the logically consistent and the utterly idiosyncratic, and the notion of dispositional thinking will be built as a way to negotiate those two aspects in the conception of their formal experimentations. In the second part, a critique of received ways of positing the problem of architectural form will be elaborated, out of which this dissertation will depart to construct an alternative notional domain, one centered around form qua internal configurative principle, i.e. form as a three-dimensional law of configuration, as an organizational pattern at a building scale. Overlooked in the scholarship, the work of Giorgini, Burt and Balmond will be examined in their capacity to induce the platform from which to extend the bounds of possibility of the concept of architectural form, this being the main goal here pursued. In that regard, the idiosyncratic character of their formal production is essential for the purposes of this project, for it will allow to access such a concept beyond received formulations, most of which revolved around socalled “canonical” architecture instead. Though primarily operating within the purview and scale of architecture, they were designers whose nature was determined to a large

degree by their thinking as engineers, and ultimately as geometers. My dissertation will thereby suggest that the status of a particular kind of engineer within architecture (the one on the edge, more precisely, inside and out at the same time) might enable the figure to be the frame for a new conceptualization of form. As I will show, the engineering valance of their design procedures can not be separated from the fact that, despite their obvious differences—Burt closer to being a mathematician, Giorgini to an artist, and Balmond embodying a stronger intellectual inclination—their work can be read together as featuring a self-defined rigor underlying the apparently capricious. Giorgini’s general hypothesis entailed that, whether a point, a segment, a triangle, a parallelogram or a symmetrical mesh, any geometric unit can be taken through a deformational sequence in such a way that an asymmetrical structure would be obtained similar to those existing in nature, where only curved lines and surfaces, he believed, could be found. Burt’s research was primarily centered around the study of systems of space subdivision based on polyhedra with double-curved surfaces—so-called “saddle polyhedra”—, with incidental reference to analogous cases with planar surfaces. Balmond conceived abstract principles in such a way that opportunism, instinct and the capacity to seize the immediate became central to make any one contingent condition along the form-thinking process into another order. Thus, whether through periodical continuity (Burt), geometrically controlled, topologically sound transformations (Giorgini) or sequences of relational templates (Balmond), all three sought to establish a consistent structure or logic originating what otherwise comes across as whimsical, random or just plain weird. It is in the negotiation of these two aspects, and therefore as an index of that which sets apart the production of each author in terms of this negotiation, that the question of dispositional thinking will be posited as central—if composition emphasizes fixity and visual considerations, disposition will be taken here to release “arrangement” as a sort of open order. As a result, this dissertation will capture form’s patterned idiosyncrasy, viz., a qualitative realm of form that is defined within the liminal space between the idiosyncratic and the lawful, or in other words, between that which falls outside received ways of grouping resemblances and differences, and that which is rule-governed.

115 Ph.d. a b s t r ac t s

Avilés—Luis

Avilés—Luis (Pep)

Postwar Rhetoric. Technology, History, Ornament (1947–1966) Right after the Second World War, modern architecture entered a period of self-affirmation and defense of past accomplishments while being contested and opposed. The forerunners of modern architecture slowly moved from prominent attacking positions—which originally qualified their proposals as avant-gardist— to defensive ones, abandoning in turn many of the interwar normative precepts such as the banishment to ornament. Architectural discourse glided constantly between epideictic oratory, forensic debates, and deliberative opinions, challenging the persuasive capacity of its protagonists. Modern architecture was no longer about utopia but about eloquence. Meanwhile, the increasing sophistication of industrial modes of production expanded the aesthetic palette of architects combining standardization and expressive freedom under the same paradigm: new techniques and materials—plastics, polished metals, acrylics, or plywood just to name a few—flooded the market after the efforts of war economy. Beginning with the arrival of the European émigrés to the United States, this dissertation examines the influence of the industrial rhetoric of affluent societies in the development of postwar architecture, paying close attention to the adjustment of classical modernism and the frictions between emerging interpretations to legitimize their views within an international context. Rhetoric constitutes a privileged field to face this challenge. It not only provides an organizational method—the five chapters of the dissertation follow the classical and still widely accepted organization of rhetoric studies that was first proposed by Quintilian in his Institutio Oratoria (1 a.d. )— but also an epistemology: hidden behind literary metaphors, dialectic persuasiveness, and material gaiety stand many of the cultural and ideological assumptions that are historically relevant to understand the transition between the avant-gardes and postmodernism. Beginning with technological and industrial achievements— Inventio—the first chapter analyzes how an aesthetic consideration of mechanization triggered a reappraisal of geometric patterns and ornaments as legitimate companions for modern architecture. The second chapter— Dispositio—investigates the historical origins of fundamental concepts and expressive techniques of postwar architecture (such as texture) and their gentle assimilation in the architectural vocabulary. Starting with Moholy-Nagy’s posthumous book Vision in motion (1947), this chapter examines the indebtedness of those concepts to the artistic avant-gardes and the ideological transformations they required. The third chapter—Elocutio—deals with the

debates around the never fully accepted vision of modern architecture as a style. Originally rejected by some of the harbingers of modernity such as Sigfried Giedion, the coiners of the label “International Style” Henry RussellHitchcock and Philip Johnson felt compelled to fine-tune their original syllogisms in order to respond to the new techno-cultural situation. Eventually, as every style, indeed relied in a codified grammar that had to be recalibrated to face the new challenges that society was experiencing. The fourth chapter departs from the revival of past architectures—Memoria—to gain new impulse for architecture production. The incorporation of the prehistory of the modern movement to the discourse through formerly disregarded figures—such as Louis Sullivan or Antoni Gaudí—together with the demystification of foundational ones—Adolf Loos—also contributed to the expansion of the architectural lexicon. Finally, the last chapter—Pronuntiatio— pays attention to the sculptural effervescence and material gesticulations of architects such as Marcel Breuer, Edward Durrell Stone, Minoru Yamasaki, or Ernesto Nathan Rogers among others. The use of lattices, patterns, and textures in façade compositions materialized what Alois Riegl termed as Unendlich rapport, a continuous tissue of geometric abstract motifs that characterized the architecture of the period. The reemergence of ornament in postwar architecture constitutes a paramount historical stratum in the archaeology of postmodern architecture.

(clockwise from top left) Frank B. Gilbreth, “Cyclograph of an Expert Surgeon Tying a Knot,” 1914. From Sigfried Giedion, Mechanization Takes Command, 1948 László Moholy-Nagy, “The Transformation”, 1927 Herbert Bayer, “Einsamer Großstädter”, 1932 László Moholy-Nagy, “Space Modulator”, 1945 Marcel Breuer, Paul Rudolph, Victor Lundy, et. al., Pavilion for the American Concrete and Masonry Association. Concrete Industries Exposition, Ohio, 1958. [Smithsonian Archives for American Art] Marcel Breuer, US Embassy in Den Haag, 1955–58 [Smithsonian Archives for American Art]

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The advanced masters level course in the History and Theory of Architecture offered by Dalibor Vesely and Joseph Rykwert at the University of Essex in England between 1968 and 1978 was the first of its kind. It was the first taught-course in the history and theory of architecture that granted a degree. Degree courses prior to 1968 had only been in the building sciences and were largely in the service of developing principled technical knowledge by which the architectural profession hoped that it might lead the construction industry. But the newly founded course at Essex had an entirely different ambition. It aimed precisely to challenge the then dominant concern for technical knowledge in architecture. Its goal was to redefine architectural theory on the basis of meaning rather than method. Through a mixture of philosophy and history, it simultaneously diagnosed architecture’s dangerous imbrications with the extreme positivistic and rationalistic attitude towards science— seeing it as the very symptom of a crisis of nihilism in the West—and it offered a cure for the sick patient, in the recovery of architecture’s relationship to cultural traditions and to the basis of such traditions in the non-rational dimension of life. While the Essex course lasted only a decade, it fuelled an entire genealogy within Anglo-American architectural education over subsequent years. The major members of this genealogy include Daniel Libeskind, Alberto PerezGomez, David Leatherbarrow and Peter Carl. The roots, stem and branches of this family tree have coursed with ideas drawn from phenomenological-hermeneutics. Through consistent readings of Maurice Merleau-Ponty, Martin Heidegger and Hans-Georg Gadamer, this genealogy has developed a particular understanding about the way that ideas are intertwined with practices. On the basis of these ideas a number of pedagogical strategies were developed in design studio to reconnect the embodied practical life-world that takes place within buildings to a higher-level content by which it could become more meaningful.

This dissertation explores the history of this course and the impact of the ideas developed within it upon the teaching of architecture in England and North America from 1968 to the present. It offers an account of these efforts to transform the teaching of architecture and in particular how they interacted with other discourses and problems within architecture during this period and with the institutional conditions of the various schools in which these ideas were put into circulation.

Bedford—Joseph

Hermeneutic-Phenomenology’s Architectural Genealogy: Dalibor Vesely and Joseph Rykwert. (1968–1988)

Ph.d. a b s t r ac t s

bedford—Joseph

119 Ph.d. a b s t r ac t s

britz—Marc

Britz—Marc

Durand in Deutschland: Formal Economy, Financial Argumentation, and the Scarcity of Means in German Architecture from 1799 to 1848 As architectural educator, prominent French theorist Jean-Nicolas-Louis Durand (1760–1834) had a considerable influence on the German architectural production throughout the first half of the 19th century. Attracted by the French architect’s modern teaching method, a generation of young German architects became guest students in his course on architecture at the École Polytechnique in Paris and interns in Durand’s private atelier. In contrast to the rather unstructured education in their homelands, Durand provided the Germans with a codified system of architectural composition and a radically concise conception of the architectural object. For Durand, architecture was referential only to the history of its own solutions and thus divisible into genres of autonomous artifacts in the service of common public welfare. Durand propagated the idea that the prime objective of every architectural design lay in the achievement of the most fitting and the most economic disposition of a conventionally defined architectural repertoire within the ideal constraints of a building’s given genre. German students like Gottlob Georg Barth (1777–1848), Clemens Wenzeslaus Coudray (1775–1845), Johann Friedrich Christian Hess (1785–1845), Leo von Klenze (1784–1845), Peter Cremer (1785–1863), and Adolph Anton von Vagedes (1777–1842) continued to practice along the lines of Durand’s teachings throughout their subsequent careers in the many capitals of the various German states. As court architects or state-employed architectural inspectors, they were forced to adjust and fine-tune Durand’s abstract universal theory of architectural disposition to the quite often hostile contingencies of their commissions. Guided by the will to stick to Durand’s generally classicizing architectural idiom and faced with the primary task of erecting public and private buildings under the pressure of material and financial scarcity, these site-specific adjustments took on many forms. Given these circumstances, Durand had involuntarily set the agenda for the Germans to follow with an ingenious conflation of architectural form, budget, and beauty: “All of the architect’s talent comes down to the solution of two problems: (1) in the case of private buildings, how to make the building as fit for its purpose as possible for a given sum; (2) in the case of public buildings, where fitness must be assumed, how to build at the least possible expense. It will thus be seen that in architecture there is no incompatibility, and no mere compatibility, between beauty and economy: for economy is one of the principle causes of beauty.”1 Durand’s discovery that architectural form could be supported by a financial

argument resonated in the many ways in which the German architects tried to match their own sense of beauty to their patrons’ budgets. From the formulation and implementation of administrative guidelines for urban and rural planning to the reorganization of architectural education, including the erection of institutional buildings, and the renewal of architectural theory, Durand’s followers were forced to set his lucid theory of architectural fitness and economy to work in the muddled complexity of a nation struggling to emerge from provinciality. This dissertation will examine Jean-Nicolas-Louis Durand’s architectural theory in correspondence to the architectural production of his former German students by analyzing the multiple compositional tactics and building techniques in which the German architects followed Durand’s economical dictum throughout their careers. The dissertation’s main focus will be on the notion of financial argumentation as a potentially subversive strategy to realize architectural objects according to specific formal preferences. Apart from highlighting Durand’s influence on Germany’s early modern architecture, the dissertation will thus describe the more practical problems related to the implementation of architectural projects against the financial and material scarcity in early 19th century Germany. Following the trajectory of the German disciples’ professional development and drawing from the different texts, buildings, projects, and biographies involved, the ultimate objective of the dissertation is to examine the theoretical conflation of architectural form and financial argumentation in Durand’s theory within the material constraints of a number of concrete examples ranging from Coudray’s failed theatre project in Weimar to Klenze’s successful museum in Munich.

1 Jean-Nicolas-Louis Durand; Précis of the Lectures on Architecture; The Getty Research Institute Publications Program, Texts and Documents; Los Angeles; 2000; p. 86.

(above) Clemens Wenzeslaus Coudray, Design Study, Paris, 1801 (left) Leo Klenze, Design Study, Paris, ca. 1804

121 Ph.d. a b s t r ac t s

Eversole—Britt Political philosopher Norberto Bobbio has written: “I have to confess that…each and every day, I experience a flash of wonder, verging on incredulity, at the longevity of this chronic ailment that is our democracy.” Indeed, among Europe’s postwar democracies, none is more paradoxical than Italy. Despite, or perhaps because of its compromised origin—the creation of a formal democracy of rules and standards without substantive norms for how it would be implemented, reinforced and perpetuated—as well as its fickle political alliances, endless numbers of parties, ideological intransigence, and the public’s resignation to dysfunction, Italy’s democracy provided fuel for architects and urbanists to experiment with and sometimes against the State and the political system. Yet the bond between postwar Italian design and forms of governing has never been comprehensively studied. Questioning the relationship of political economy to design practices requires a historical study not of “how things got to be the way they are,” but of the alternatives explored, the hypotheses tested, the imagining of different futures, the roads not taken, and those moments when architects participated in government and in governing, formed their own political parties, joined existing parties or worked against them, wrote laws, made policy, worked with legislators and took politics into their own hands. This dissertation hypothesizes that rereading Italian architectural theory and experimentation from the 1930s to the 1960s as political theory offers the possibility of registering the growing disenchantment on the part of

Italian architects with the paradoxes, aporias and limitations of liberal democracy. It is organized into six paradigms— party, institution, participation, bureaucracy, school and territory. Case studies within each paradigm explicate the networks of power, policy, law, economics and activism into which architects and planners insinuated themselves. Architects were central in the nation’s rebirth, first during Reconstruction by imagining a post-Fascist, democratic Italy, and later, by posing alternatives to what came to be known as Italy’s “difficult democracy.” Italy’s post-Fascist democracy was neither total with regard to its form and ideas nor universally accepted. After designs that reflected, and in some cases challenged the new political system, the government’s unsuccessful attempts to implement effective planning policies to constrain unplanned urban growth posed new problems for architects. Urban dilemmas were not mere byproducts of the boom economico; they reflected the compromises and intransigence of parliamentarism and the inertia of the partitocrazia (the democracy of the parties). In short, this dissertation collects a series of experiments that range from efforts to give architectural form to liberal democracy, to projects that conclude that liberal democracy had become a threat to the city.

Eversole—Britt

The Disenchantment with Democracy: Architectural Models of Self-Organization, Italy 193x–196x

123 Ph.d. a b s t r ac t s

Fabricius—Daniela

FABRICIUS—Daniela

Calculation and Risk: The Rational Turn in West German Architecture 1965–1985 In this study, calculation, and the related concepts of risk and rationalization, will provide the central mode of understanding a series of practices in West German architecture between the 1960s and the 1980s. As it will be defined here, calculation is distinct from the more rarified topic of mathematics in architecture, with the potential to address not only questions of aesthetics, form, and design but also those of economy. Mathematics has traditionally held a privileged, even mystical status in architecture; calculation, by contrast, is usually associated with the drudgeries of labor. Yet calculation has an expressive quality and proper aesthetic beyond that of mere numbercrunching. Nor is it free of mystification, as the seemingly objective nature of calculation, its claims of exhaustive evidence, proof, and mastery (hence the shared etymology of accounting and accountability), make it particularly vulnerable to misplaced faith. Calculation is a form of prediction used to manage uncertainty and risk. In the 1980s, Ulrich Beck and Anthony Giddens argued that modern industrial society was no longer instrumentally rational as it produced a series of new risks. These risks are not eliminated, but managed and integrated, forming a “risk society.” Several aspects in West Germany in the 1970s correspond to this theory, and indeed set the historical stage for Beck’s formulation. As West German architects turned increasingly away from functionalism and its perceived risks one paradoxical response was the return of a “radical rationalism.” Even with the influence of the Frankfurt School`s critique of instrumental reason, rationalism not only lingered, but intensified. Politically progressive architects like those at Ulm and the TU Berlin looked to systems theory and sociology for alternatives in architecture and planning; however, these were also used to rationalize government bureaucracies, industry, and national security. This universal use of calculation is one of the reasons why it is difficult to identify an architectural project in West Germany that used calculation in a manner consistent with an avant-garde.

Case studies will focus on practices in West Germany that prioritize and thematize calculation visibly. Architecturally, this can be seen in an interest in abstract languages, numbers and formulas, quantifiable information, statistics, parametrics, and typology. As architectural information was quantified, calculation took place both at the scale of the building and of the city. Early examples will center around the Ulm School for Design, which was instrumental in introducing calculation into German architectural practices in the 1960s and 70s. Other case studies include the optimization of form in the experimental engineering of Frei Otto, and the of geometric and typological systems in the work of Oswald Mathias Ungers. The development of Frankfurt am Main into a city of skyscrapers in the 1970s will illustrate the use of calculation and risk at the level of the postmodern city that became a financial capital. In the two decades that will be studied here calculation increasingly loses its basis in the real and approaches simulation in the form of predicted and projected futures. No longer applied teleologically, numbers are abstracted from their material referent. The examples here share a tendency towards the numerical on the one hand but also the production of a symbolic economy. With the absence of function, or more specifically Zweck, an architecture of calculation accumulates other meanings. Questions emerge around form, language, symbol, and utopia. But even these architectural examples cannot escape the “real” effects of calculation that occur on a social and economic level.

Frei Otto/IL, “Multimedia” test of simultaneous measurements of the Olympics stadium model using cameras and gauges, c. 1968

125 Ph.d. a b s t r ac t s

Gonzalez Galan—Ignacio

The Logics of Arredamento: Circulation and Display of the Italian Interior 1928–1963 This dissertation examines the transformation of the architectural interior in Italy in the central decades of the 20th century through the lens of its circulation. Throughout this period, Italian discourse on interiors conceptualized its object of concern primarily as “arredamento”—a term meaning both furniture and the ensemble of elements that furnishes a livable space. While the word “interni” was also used at the time, the emphasis on “arredamento” signaled a distinct interest in the material elements that construct an environment, different both from the association between interior and interiority of the German philosophical tradition and the insistence on social control of French modern practices of the interior. Italian discourse transformed the interior from a unified and enclosed realm, as it was hitherto understood, into an ordered arrangement of elements that moved beyond stable boundaries. Curated displays of furniture and interior ensembles were central tools for the management of the interior’s circulation in the media and in the market. I will argue that the discourse of arredamento not only concerned the arrangement of elements within a room, but also the movement of goods, meanings and people throughout the territory. I will consider circulation as the central characteristic of modern liberal economies, systems of information and urban and territorial strategies of modern regimes of power. Circulate! In Italy, the circulation of arredamento was particularly entangled in narratives of national formation and eventually in its international dissemination. The national unification concluding in 1870 facilitated an internal market and migratory movements in a still predominantly rural society, and opened new routes of cultural circulation. Simultaneously, the nation state legitimated the forces that managed all forms of circulation, conducing to fascism as a maximum expression of these forms of control. Throughout the fascist period, a belated development of industrial production and the rise of mass media coexisted with the control of foreign trade and programs aiming at consolidating traditional familial structures. A thriving culture of arredamento unfolded in relation to these economic, cultural and social processes. This culture manifested in a particular attention to the market of applied arts, increasing publications concerned with the development of the modern interior and a series of programs developed by the fascist organization Dopolavoro addressing the household. This particular culture continued to play protagonist roles through the postwar, in the reconsideration of Italian identity after fascism and within the neorealist imaginaries of the country’s reconstruction. It also became a key actor of its so-called economic miracle ending in 1963. Italian industrial design products and its associated imaginaries spread

over international media and markets, questioning national boundaries while appealing to a supposedly idiosyncratic “taste” and “way of life.” Neither Fascism nor postwar democratic Italy, were unified centers of power or frictionless contexts for the processes of circulation governing the transformation of the interior. My work considers the diversity actors and media constituting these circulatory landscapes, which came both from the architecture profession and from an array of political, commercial and media agencies. Milanese architect Gio Ponti was central to this constellation, simultaneously concerned with the interior’s design and with its circulation: He was the editor of magazines such as Domus and Stile, directed institutions like Milano Triennale, and collaborated with the department store La Rinascente or the newspaper Corriere della Sera. Critics and designers such as Giulio Carlo Argan, Achille Castiglioni and Alberto Rosselli became key to a number of consequent circulatory enterprises, while the cinematographic studios Cinecittà before the war, the Riunione italiana per le mostre di arredamento in the postwar, and later the Associazione per il Disegno Industriale or the national television network RAI also developed their different agendas through architectural interiors, and built diverse constituencies around them (markets, audiences, workers and inhabitants also in circulation). In the different case studies I analyze, designs went beyond the representation and transmission of already formed social realities, and became active in their production: (1) interiors were considered to represent a civilization, while they rather incubated such an ideal formation; (2) they performed as cinematographic stages and reproduced specific social structures; (3) they aimed to form a popular taste for the construction of a post-fascist democratic society; (4) and they were designed to congeal new audiences in a booming economy. Exhibited chairs, photographed living rooms or showcased television sets, brought together different actors and audiences, negotiating their diverse cultural and economic interests and effects. When circulated in film stages, specialized magazines and commercial showrooms, interiors appeared to have no relation to any specific exterior. Constructed as rooms with no outside, windowless settings, interiors however remained attached to societal material conditions. In them, architecture exceeded the design of the object of furniture or interior and became a form of mediation between a new productive and commercial process and an increasingly larger audience. Throughout this period, the interior went from a taste-making chamber to a node in a communication network.

(clockwise from top left) RAI Pavillion at the Milan Fair, Achile and Pier Giacomo Castiglione (1952) Announcement of “Italy: The New Domestic Landscape” Exhibition at MoMA, in Domus (1972) Furnishing for the RIMA show, Ignazio Gardella (1946) “Ambienti in Transformazione,” article by Gio Ponti in Il Corriere della Sera (1933)

127 Ph.d. a b s t r ac t s

Grossman—Vanessa The massive reshaping of French cities that took place at the hands of architects since the advent of World War II has long enjoyed a privileged status in the history of 20thcentury architecture. The new French urban architecture that emerged from this period, particularly from 1958 onward, has been historicized alternatively, as the evidence of Le Corbusier’s influence, as a symptom of European capitalist development, and as the context for the invention of the grands ensembles. However, the history of postwar French urban architecture has never fully accounted for the impacts of the decentralization of political power that was paradoxically fostered in France with the advent of the Fifth Republic. Twofold, its new constitution made the office of President stronger at the same time as it proclaimed the free administration of local authorities of the Republic. Henceforth, decentralization gradually found its echoes in the physical environment, and the city became a project in France. Yet, since the aftermath of France’s liberation the city was already the privileged ground for the pervasive influence of one of architecture’s most important institutional patrons, the French Communist Party (PCF). Because in postwar France the most effective field of action for communism was not the national, but the municipal level of government, mid-sized French cities became sites of opportunity for architects pursuing political change through design. Municipal communism acted in postwar France as a special political mode, where the construction of an ideal society was tested against the management of daily life—what I propose to call “managing utopia.” This dissertation contends that the PCF was a crucial agent to study the decentralization of power and the rise of the French city as an architectural project. The alliance between architects and Party organization was indispensable for the postwar success of architecture as a discursive and physical construct for political decentralization. From 1958 to French presidential election of 1981 municipal communism was an unwitting participant in France’s decentralization whilst communists’ ultimate ambition was a return to a national strategy rather than an ultimate dispersal of power. Architecture was promoted as a mode of both spatial and ideological control, transforming cities into veritable communist bastions that provided the Party with its most solid electoral base, and much of its cultural identity. The PCF took on the role of a paradoxical architectural bureaucracy on the municipal stage, trying to affect large-scale social change but ultimately helping to diffuse urban policies and architectural power. On the other hand, belonging to the Party became a way for architects to legitimate their practice and gain access to architectural commissions in numerous communist municipalities. These

architects were given the chance to develop long-term collaborations and projects, a number of which aspired to be experimental and alternative. Across multiple generations, they even assumed political positions as the architectes-en-chef of urban operations and municipal council of cities, from André Lurçat, to the urbanist Michel Steinebach, and Renée Gailhoustet, in Saint-Denis, Pantin and Ivry-sur-Seine, respectively. As Paul Chemetov testified, “Communism for me was… an incredible universe…I am still marked by the activist experience, through the networks of friendship and all the philosophical or historical impregnation.” This intellectual fervor offered an alternative to modernist orthodoxy, with its mixture of late-Corbusean poetics and CIAM -inspired technocracy. For this evolving architectural network, which became for the most part professionally stigmatized, the urge to be reelected and the issue of political representation were rapidly incorporated into its architectural aesthetics, language and agenda. This network found a unique way for architectural culture and political culture to interact, and for social ideals to be implemented in the municipal scale. In these interactions the building became both a metonymy for the city and a unit of governance. The dissertation builds upon different cities and projects. Throughout four chapters, theoretical, formal and technical aspects of inventive urban architecture are analyzed in the context of the ideological dilemmas posed in France during the Cold War. The first chapter explores how, from 1944 to 1958, with the PCF ’s symbolic ascension after liberation, the alliance between communist political culture and architectural network was formed on the municipal stage during state-sponsored reconstruction. Lurçat’s 25-year work in Saint-Denis since 1945 epitomizes the communist efforts of the period, at the same time as it influenced a new generation of architects swept into the vortex of communism at the Beaux-Arts. The next chapter examines how, from 1958 to 1968, the longstanding collaboration between mayors and architects reached its apogee when cities gradually gained more autonomy in a post-reconstruction era of economic growth. The proliferation of communal and social services, in addition to housing campaigns, helped to program the cities like Romainville and Saint-Ouen around a particular communistic lifestyle. Designed by complementarity rather than juxtaposition, each building acquired for the architects the status of a puzzle piece, spanning out from the block as a unit of governance. An early critique of massive production and search for new brutalist aesthetics were allied to technological rationality in Pantin by Steinebach and the architect Jacques Kalisz, both members of the

multidisciplinary Atelier d’Urbanisme et d’Architecture (AUA , 1960-85). Chapter three explores how the city came to the forefront of French political discourse in the years surrounding May 1968. By examining the debates that pervaded architectural culture at the time, it focuses on the AUA’s project for the Villeneuve de Grenoble-Échirolles. This innovative urban development later became a controversial precedent for the collaboration between socialists and communists. Thanks to its experience in communist municipalities, the AUA developed a work-process for this that contrasted with dominant mode of French architectural production. Two years after the setting up of the “Union of the Left” (1972-77), the architect Jean-Louis Cohen and the economist François Ascher organized, together with the PCF ’s Federation of Isère, the conference “Pour un urbanisme…” in Grenoble. The event was designed to contrast the socialists’ proposal that urban policies could substitute for political and economical change. The final chapter analyzes how new ideas about urbanity deliberated in Grenoble were tested in the communist municipal ground. New notions about the rehabilitation of existing urban fabric inflected in the 1970s projects such as Gailhoustet and Renaudie’s for Ivry’s city-center, and Jean and Maria Deroche at Orly. Renaudie’s mixed-use complexes, linked by pyramid-like structures fanning outward in abundantly planted cascading terraces, favored an architectural expression of individuality that was directly opposed to the architectural standardization of the reconstruction years.

grossman—Vanessa

Managing Utopia: Architecture and French Municipal Communism, 1958–81

129

“Public Displays of Effection: Ecological Art and Utility, 1968–1984” examines a pivotal but neglected group of artists who rejected traditional notions of the art object and instead considered it as a tool for achieving environmental remediation. This innovative approach to the art object required a parallel transformation in the viewer, who instead became a user. This new dynamic gave these artworks an explicitly architectural logic—one that made them difficult to recognize as art, and yet enabled their viability. Because the works served a tangible function, they found financial support beyond conventional patronage and so withstood the decline of arts funding. The contemporary cultural landscape—from artist-run community gardens and free schools to public practice more broadly—is indebted to the legacy of this work, which has been overshadowed within scholarly criticism absent an account of such interaction as the most urgently needed form of art and architectural design. The first of these actors is artist and curator Gyorgy Kepes, professor in the School of Architecture at the Massachusetts Institute of Technology (1945–74) and founder of its Center for Advanced Visual Studies. Kepes was an early champion of projects that both facilitated awareness about the Earth’s most pressing problems while simultaneously developing viable solutions. Some have written about the interdisciplinary efforts within Kepes’s curatorial oeuvre, but there has been little focus on his conception of the user for whom he designed these collaborations. The first chapter focuses specifically on Kepes’s later writings, namely two of his unpublished books: “Art on a Public Scale” (1970–74) and “Arts of Participation” (c. 1970–74). These unpublished transcripts evince Kepes’s longstanding but understudied interest in coordinating a shift in the user’s inter-spatial and interpersonal perspectives specifically for the purpose of reshaping their awareness of nature as part of the commonwealth. Another chapter is among the first extensive looks at artist Robert Smithson’s letter campaign to mining corporations in the years and months leading up to his untimely death. Smithson piggybacked on regulation of the mining industry, which required companies to reclaim their mines if not to their original state, then at least for some other “useful” purpose. The artist capitalized on the ambiguity of this term, offering to rebuild the mining industry’s sites and its image with Earthwork. Negotiations for the first of these projects were under discussion when the artist died in a plane crash, and his essay “Earth Art and Mining Reclamation” (1971) was never published. Smithson’s wife and occasional collaborator Nancy Holt would continue the charge with her

landfill reclamation works Dark Star Park (1979) in Arlington, Virginia and Sky Mound (1984–present) in Hackensack, New Jersey. The work of artist Mierle Laderman Ukeles has been subsumed under the category of Land art, a movement dominated by men and exemplified by such works as Michael Heizer’s Double Negative (1969–70). Heizer, though he made large-scale artworks using materials from the Earth, in no way sought to conserve the environment, nor did he engage viewers at the level of activism. Ukeles’s work, on the other hand, was both preservation-driven and public—qualities that hinged on the artist’s interest in making her work accessible enough to be used. The chapter devoted to her begins in 1969, when Ukeles wrote her “Manifesto for Maintenance Art,” in which she draws a comparison between art making, female care giving and sanitation work. Ukeles’s synthesis of the preservation of life with the preservation of a city generated what became an intensely public practice: her collaboration with the New York Department of Sanitation. Though completed in 1969, the manifesto was not published until 1971, when art historian Jack Burnham included part of Ukeles’s text in his Artforum article “Problems of criticism: art and technology” (1971). The chapter ends in 1984, when Ukeles began making artworks about Staten Island’s Fresh Kills Landfill, which since and with her assistance is in the process of becoming a public park. Jack Burnham also promoted the early career of “problemsolving artists” Newton and Helen Mayer Harrison. The final chapter addresses the Harrisons multi-part “Survival Series,” a series of projects wherein the artists cultivated foodstuffs in a gallery setting. Their strategy was altogether different from contemporaneous attempts to revisit the landscape tradition. The couple was more interested in producing fertile landscapes than they were in creating immersive ones, such as Walter De Maria’s Earth Room (Munich, Germany; 1968). Their installations, which included “flat and upright” pastures and were often accompanied by “feasts,” offered restorative solutions to deforestation and a model for self-sufficient food production in the wake of increased industrial farming. They eventually magnified their interest in putting unproductive domesticated landscapes to good use as small-scale farms by putting unproductive landfills to good use as public parks, namely the Spoils’ Pile Reclamation (1976–78) in Lewiston, New York.

Handwerker—Margo

Public Displays of Effection: Ecological Art and Utility, 1969–1984

Ph.d. a b s t r ac t s

Handwerker—Margo

131 Ph.d. a b s t r ac t s

Meister—Anna-Maria

From Form to Norm: the Systematization of Values in German Design 192X-196X The search for form was a driving concern of architectural theorists in 19th century Germany. As a new nation-state sought a coherent aesthetics to represent its political unity, “good form” was presented as a reflection of “good ethics.” With the advent of full mechanization in the early 20th century, however, architecture underwent a scale change: once a public art devoted to representing the state, it became part of the new discipline of industrial design, and buildings came to be seen as objects among others. At the same time, large industrial machinery was scaled down to household appliances, which became objects of design as well. The mass-production of those objects provoked the regulation of their shape, form and physical appearance. Standards were set, tolerances were defined—negotiated by an ever-growing set of technical norms. Formerly relying on principles derived from nature, good form was now to be prescribed by absolute quantities. The search for “the good” gradually migrated from aesthetic theory to the design of (and with) technological specifications. My dissertation addresses “the norm” as design project in mid-20th century Germany, identifying it as a shared concern of bureaucratic authorities and creative producers who sought to bind together aesthetics and morals. Beyond their task of regulating object-producing machines, norms manifested and communicated desired social values. Whereas form-finding in the 19th century had been an individual undertaking, institutional frameworks became the primary sites for the production and implementation of 20th-century aesthetic norms. Norms were both a designed project and design endeavor—conceived, administered, and disseminated by industrialist groups, state administrations, schools or art magazines. Design as authored by these institutional agents was not mere shaping or styling, but rather a way to extend the reach of aesthetics from a quest for “good form” towards a search for the “best format.” Institutions of different backgrounds and motivations partook in this agenda of formatting society—the norm was their shared tool. The first attempt to standardize norms on a national level came from the German Institute of Norm (DIN ), founded in 1917. Originally conceived to coordinate Germany’s military and industry, this technocratic organization soon broadened its ambitions to regulate the future for the “benefit of all of Germany.” The DIN created the Normenwerk to normalize German production—a systemt that broadly disseminated moral and aesthetic values, materialized as technological specifications. Under the rhetoric of economic optimization, norms provided the instrument to streamline the momentum of industrial progress, which was seen as the gateway to a betterment of society. Norms proliferated and regulated

more and more objects, boosted by the desire for social reform through technological growth. Schools soon followed suit. The Bauhochschule Weimar under Otto Bartning pushed towards a “new architecture” through typological method. The Dessau Bauhaus under Hannes Meyer educated the modern architect as a scientist who would operate through standardized processes, while dismissing “form-finding” as “purely artistic.” The logic of the norm both amplified and altered the disciplinary drive for new forms; German committees, programs and councils were created not only to disseminate normed objects, but to approve and administrate the values they embodied. The growing collection of norms mediated between large scale industrialization and the individual. Processes of homogenization and reduction left the consumer with only one available option—the screw, or the window. Idealized definitions of every-thing were circulated as parts of objects, buildings and cities. Where the A4 formatted administrative processes, the norming of a window was to format one’s view of the world. The norm prescribed behavioral codes by establishing specific relations between object and subject, and negotiating “tolerable errors” in things and people alike. The dynamic between production and reception of norms became reversible: curricula were standardized, while in turn normalizing students, and the normed door handle was both the physical manifestation of values and a normative object in German homes. The dissertation traces the dissemination and reception of objects both normed (such as the A4 paper format or the serialized window) and normalizing (such as Ernst Neufert’s Bauordnungslehre and Maßordnung) through three different German political systems, from the Weimar Republic through the Third Reich to postwar reconstruction. I will take the norm as an ontological model: its multiple temporalities of documentation and prescription, its material status as reproducible object defining reproducible objects, its respective role in the larger Normenwerk, its definition of tolerable deviation and minimally necessary precision. The operations of the norm system, designed to facilitate mass produced objects, will then be traced in the production of knowledge, of institutional values, and of politics. My case studies will span from the 1920s, when the first DIN designed objects reached mass-consumers, to the 1960s, when the self-proclaimed morality instilled in “good objects” at the HfG Ulm was superseded by the design of processes and environments. Although aesthetic discourses surrounding the norm revolved around technological and economic advancement, the norm inspired strikingly vivid spiritual fantasies

of moral virtue, embodying what Walter Hellmich, the DIN ’s first director, called Idealistische Sachlichkeit (idealistic objectivity). The norm served as medium for reenchantment, offering its reliable systematicity as projection screen for a new morality. Hellmich saw as one aspiration of the norm the creation of a Gewissensgemeinschaft (community of conscience), and Walter Porstmann called the A4 paper format he invented “the carrier of the spiritual traffic of the world.” Bruno Latour has argued that the advent of industrialization encouraged a delegation of ethics to machines. In Germany, however, what was regulated were not only tasks, but the very desire for codification: as if precision, tolerance, and the elimination of flaws could be outsourced to bureaucracy itself. Reform was seen as the necessary step to societal change on a national, and ultimately global, level—and it was communicated, disseminated and imagined through the norm. This dissertation aims to trace the progression from formfinding to norm-defining and its investment in moral and aesthetic values beyond the rhetoric of economic and technological advancements. I hope to embed the norm in the history of German design, scrutinizing tropes associated with Modern architecture (such as rationality, order and normativity) in relation to qualities often assigned to the norm as “rational” tool (such as neutrality, technocracy, efficiency). This dissertation as part of a larger intellectual project wants to undermine the assumed distinction between an enlightened rationality of technology and a re-enchanted ideology of aesthetics and morals. I pose the analysis of (literal and material) normalization processes as necessary for an understanding of Germany’s attempt to (re-)create values through design by reading the norm as the origin of both the design of information, and the design through information.

(top) The Normformat and its Entourage, ca. 1930 (above) Man as Normed Measure in Ernst Neufert’s ‘Bauentwurfslehre,’ 1936 (left) Good Design for Better Societies: Design at the HfG Ulm

133

After World War II, territories in French Black Africa—once considered the outer limits of la plus grande France—found themselves in an unfamiliar position: both in recognition of their wartime utility in resistance efforts and by pure serendipity, they became the centerpiece in an ambitious scheme to modernize the French overseas territories. The legacy of this scheme are the many civic buildings, housing settlements, and urban plans initiated in this period to improve living standards for France’s African subjects; but these were only one part of the story. The rest is that such colonial intervention had been made even more conspicuous by the rudimentary development that preceded it in these particular territories. Furthermore, tackling the climatic and sanitary concerns blamed for this rudimentary development in the tropics now presented the ultimate showcase for French ingenuity after the losses of the war. More than any other time and place, the cultivation of technical expertise became the crucial first step in the postwar modernization of French Black Africa. Between 1945 and 1975, French authorities therefore launched research ensembles to systematically document local conditions, advisory committees to standardize building solutions, and technical consultancies to convey this wealth of knowledge to the many architects and planners working in the tropics for the first time. My dissertation examines how the technical expertise cultivated within this elaborate apparatus of colonial development facilitated postwar architectural production in French Black Africa and thereby, enacted the colonial administration’s broader political objectives. The sort of entanglement outlined here between technical expertise and politics has been understood through the concept of techno-politics. Notably, techno-political readings have revealed how specific technological practices in colonial science, medicine, both shaped the exercise of political power and masked the other forms of agency present therein. Yet architecture, despite its earlier-noted centrality to modernization efforts, has only entered such readings so far in its simplest form as shelter from the elements. The goal of this dissertation is two-fold. On one hand, it introduces a broader analysis of architectural design to the discourse of techno-politics, which recognizes architecture’s inherent image-making role. Where architectural history itself struggles to articulate the complexity of postwar architectural production outside the West—either portraying it as a one-way traffic from imperial metropolis to colonial peripheries or privileging only the human actors—the dissertation, on the other hand, draws useful insights from techno-political research. As such, the techno-politics of postwar architectural production in French

Black Africa becomes not just a way to track the political implications of technical expertise generated in the colonial development apparatus at this time, but also, to uncover the broader spectrum of agencies involved in this process. The main question posed by the dissertation is therefore this: how was the particular assemblage forged, from technical expertise, politics, and several other factors, that facilitated postwar architectural production in French Black Africa? In this respect, the dissertation follows a precedent set by research into the construction of scientific facts and technological artifacts within science and technology studies. Initially, the standard methodology in this field was to identify a situation of complexity, to track its resolution, and in so doing, to determine the broader implications of that resolution. More recently, however, new methodologies have emerged that re-imagine this linear trajectory as a heterogeneous web of interactions. Rather than conventional human actors, scholars like Bruno Latour and Michel Callon instead track the agency of “actants,” which may be human or non-human on one hand and act as individual actors or networks on the other. To make the same methodological shift in this dissertation would be to address both the human (colonial administrators, architects, subject populations) and non-human (policies, materials, instruments) actants involved in postwar architectural production in French Black Africa while continually situating these individual actors within the broader apparatus of colonial development. My hypothesis is that such symmetrical analysis will help answer the dissertation’s research question. The dissertation engages this hypothesis from two angles. Chronologically, it charts the evolution of technical expertise within the colonial development apparatus over the three most active decades of operation; and thematically, it examines these successive periods through the respective entry-points of expert, artifact, and fact. Part one (1945– 55) focuses on the French architect Jean-Henri Calsat, who emerged as an “expert” of tropical architecture through his advisory role in both CSTB (Centre Scientifique et Technique du Bâtiment) and BCEOM (Bureau Central d’Équipement du Bâtiment), and design role on the 1950 master plan for Douala, Cameroun. Part two (1955–65) follows the implementation of a technological “artifact,” the mass-produced aluminum roof-umbrella, by French design ensemble ATEA-SETAP as part of their 1960 master plan for Abidjan, Côte d’Ivoire, commissioned by SCET (Société Central d’Équipement du Territoire). Part three (1965–75) traces the construction of the scientific “fact” constituted by the urban research of SMUH (Secrétariat des Missions d’Urbanisme et d’Habitat) and its successive outgrowths,

(above) Jean-Henri Calsat presenting a project to French colonial administrators, 1949, Brazzaville, French Congo (top) Jean-Henri Calsat touring a site by canoe, 1946, Douala, Cameroon Both, Courtesy of Archives of the University of Geneva, Archives of architecture, Fonds Henri-Jean Calsat

Olaiya—Yetunde

Expert, Artifact, Fact: the Technopolitics of Architectural Production in French Black Africa, 1945–75

Ph.d. a b s t r ac t s

Olaiya—Yetunde

MFU (Mission Française d’Urbanisme) and BEAU (Bureau d’Études et Aménagements Urbaine) in the Congolese capital of Kinshasa. Where each of the dissertation’s parts offers a different narrative of techno-politics, read in conjunction, they reveal a larger transition from the ambitious projects of the immediate postwar period to the more sustainable bilateral development that continued after the independence of France’s African territories. By weaving together these micro and meta-narratives, the dissertation in turn seeks to bring specificity to discussions on postwar architectural production outside the West whilst proposing more accurate strategies for global development initiatives.

135 Ph.d. a b s t r ac t s

Ricchi—Daria In the decades surrounding World War II, Italy was host to an extraordinary abundance of architectural writing. Not merely significant in terms of quantity, these texts were unprecedentedly varied in the range of genres they encompassed. History, criticism, theory, journalism, and fiction all took architecture as their subject matter. This wide range of writerly modes, as distinct from one another in the nature of their prose as in their means of dissemination, was produced by an equally varied cast of figures such as Bruno Zevi, an architecture historian and politician, Giulio Carlo Argan an art historian, Italo Calvino, a fiction writer, and Elio Vittorini and Cesare Pavese, writers and translators. Rather than converge on a single view of architecture, each form of writing embedded a different theory of architecture in its structure. By examining these differences, this dissertation will argue that writing rather than building practice became the primary means of architectural debate, and that writing about architecture was at that time both a topic for a specialized audience and a broader public. My dissertation roughly starts around 1940 and ends in 1957. It begins with multiple stories told under the form of myths. During World War II and in the early postwar, history is oriented toward the future. The preferred narrative is a form of fictitious, half-true story. Italian architectural historians and writers looked at America as the symbol of freedom and new possibilities free from a heavy past. Both writers, Cesare Pavese and Elio Vittorini never visited the United States but they imagined it as a land for new possibilities. Cesare Pavese recognized in the writing of Midwestern American writers such as Sherwood Anderson and Sinclair Lewis a voice and a style to be imitated by Italian writers to discover their own regionalisms. Elio Vittorini, who founded the magazine Il Politecnico in 1945 asked other writers to imitate authors such as Hemingway whose truthful and almost journalistic account could be used to solve problems of the Italian reconstruction. The same overzealous tone characterized the first writings of a young Zevi who did not conceal his enthusiasm for the American mythical pioneers such as Louis Sullivan and Frank Lloyd Wright. Like Giulio Carlo Argan, Zevi visited the United States in 1939 to study at Harvard graduating in 1943. In the spring of 1950, Cesare Pavese wrote an article about his conception of myth in the magazine Cultura e Realtà [Culture and Reality]. Criticized and condemned by the communist party, Pavese’s article marks the end of this mythical period. As the title reads culture is synonymous with reality and cannot be hidden or told in a different way. It is the beginning of the well-known neorealist moment.

History is considered an objective science. Chronicles, as the chronological recollection of events almost coincide with storytelling. History is concerned with the present condition to be told in a more straightforward and bare way. Main focus of this chapter is the magazine L’architettura cronache e storia, where the myth of America is downsized, and the weekly magazine L’espresso where Zevi holds his column. This is an example not only of architecture mingling with other disciplines, but also of how architectural history entered the general public domain via journalism, a new way of writing, and the popular press. Also writers such as the little-known Carlo Emilio Gadda, and popular authors, Elio Vittorini, Alberto Moravia, Natalia Ginzburg depicted scenes of everyday life with a pronounced emphasis on architectural settings. Architecture appeared in the background, but buildings and the expanding city also acted as protagonists. Besides depicting social life and its moral and intellectual values, these authors also gave an account of what was happening in the field of building construction and urban life, but without fictionalizing the bleak reality of that era. At this time fiction informed history and was part of history. Calvino’s realist novel La speculazione edilizia (A Plunge into Real Estate, 1957) partly published in Botteghe Oscure, set the scene around building problems, representing the social and moral habits of that time. The third chapter starts with this book, and does not have a temporal end. History writing turned to fantasy but also concerned the past and included a new attention to historicism. This turn to fantasy, though, does not imply an abandonment of urban issues, even if within the genre of fiction. An interest in the city, in urbanity, permeates Calvino’s writing, from Marcovaldo or The Seasons in the City to The Invisible Cities. 1957, a seminal year for ‘historicism,’ also marks a return to more conventional writing styles in history writing. Disillusion and skepticism become established, and the only solution against the present condition seems the retreat to the past or the escape to fantasy.

Ricchi—Daria

From Storia to History: Literature and Fiction in Italian Architectural Writing, 1940–1957

137

The history of architecture in the second half of the 20th century is threaded through by a continuous and schizophrenic quest for disciplinary organization. On the one hand, the boom of the postwar decades granted architecture a new relevance, and gave rise to numerous attempts to systematize architectural rules for controlling urban growth. On the other hand, this renewed prominence pushed architecture to establish itself as an autonomous field: a discipline, capable of resisting political pressure by force of its internal discursive coherence. Between control and disruption, regulation and deregulation, compliance and resistance, the quest for a disciplinary core was at the center of a power struggle between architects and a variety of external actors. This dissertation traces the coalescence of forces that led to architecture’s “disciplinary turn” by examining the history of one institution, the Milan Triennale. From 1945 to 1973, the Triennale served as a laboratory and testing ground for debating the relationship between architecture and power in the Italian context—a negotiation that produced what the dissertation calls “controlling mechanisms.” These were new types of planning practices, design strategies, discursive patterns, and modes of visual display, that could both shape architecture into a discipline and control the rebuilding of the Italian peninsula. The dissertation proposes that the Triennale contributed to the formation of the discipline by defining, testing, and resisting, various instruments of territorial, architectonic, aesthetic and visual control. Thus the Triennale is understood not simply as a space devoted to exhibitions but as a complex institutional apparatus bridging architectural, political and public spheres. The Triennale is known in architectural history for exhibitions that captivated an international public while capturing the essence of the Italian architectural mood. Every three years, the Palazzo dell’Arte opened its doors to an international audience looking for the newest industrial design, the latest interiors and the most radical architectural innovations. The exhibition’s mandate was unique: not only to “exhibit” but also to “produce” architectural experiments by gathering disparate strands under one thematic umbrella. The themes themselves were subject to intense negotiations between two committees, which had overlapping missions and memberships: the Study Center (Centro Studi), a group of architects responsible for the organization of the various venues, and the Council of Administration (Consiglio di Amministrazione), a political committee overseeing the activities of the Triennale. The preparatory meetings of the Study Center included a striking coterie of architects, from late-modernists such as Ernesto Nathan Rogers, Franco

Albini, Ignazio Gardella, Ludovico Belgioioso, Carlo Mollino, to the successive generation who contested the modern legacy, such as Giancarlo De Carlo, Marco Zanuso, Vittorio Gregotti and Aldo Rossi. This architectural who’s who was joined by an equally stellar cast of Italian intellectuals, such as Elio Vittorini, Umberto Eco, Enzo Paci and Marco Bellocchio. Through these lengthy debates, the Study Center effectively managed to produce thirty years of architectural discourse. In fact, behind the dazzling display, a deep architectural anxiety haunted the Palazzo. Repeatedly, the organizing committee asked: what is the conceptual and physical form of architecture today? At every exhibition, a new theoretical formulation of architecture was tested. What was evaluated was not only the public’s appreciation of architecture, or the contemporaneity of certain trends, but also –and inevitably– the architects’ intellectual control over their own discipline. As Manfredo Tafuri theorized in a lecture at the Istituto Universitario di Venezia in 1966, architecture had turned into a disciplinary study through the application of an intellectual control. Constructing an historical argument, the historian explained that this transformation had occurred during the Renaissance. By applying “methods of control” such as space, form and perspective, architects transformed architecture into a system of rules that governed design, rather than a set of more or less pragmatic construction methods. This dissertation borrows Tafuri’s conception of the architectural discipline as shaped by controlling systems, but follows the fate of these systems in the Italian postwar context, when architects, politicians, corporate patrons, and even the Vatican, sought to “discipline” architecture in its conceptual and physical form. Through this pattern of interference between architects and political actors, I will argue, architectural “control” shifted to architectural “discipline.” Whereas fascist Italy had used architecture for direct territorial control, in the postwar new strategies arose. In the face of a weakened state, political power could be interlaced with economic interests, to create instruments that could “control” the environment, “discipline” architects, and “communicate” to the consuming public. In this sense, architecture served as one of many cultural apparatuses that transformed the promise of the welfare state (a promise inherited from fascist modernism) into a normalizing society of control (which paved the way for postmodern disciplinarity). A crucial component of this historical dynamic was the requirement that these mechanisms be designed for “display” in the Palazzo dell’Arte. In other words, it was

Gianemilio Simonetti and Giancarlo De Carlo at the entrance of the XIV Triennale of Milan (1968), from Mioni, Angela, and Etra Connie Occhialini, eds., Giancarlo De Carlo: immagini e frammenti (Milan: Electa, 1995), 57

the “communicative” potential of architecture that raised its political stakes. As a medium, the exhibition appeared pluralistic. With its thematic variety, the Triennale was able to display a broad heterogeneity of architectural speculations: neighborhood plans, consumer products, management schemes, graphic strategies, theoretical pronouncements, and so on. But these were all ways to test from what stance architecture should draw its disciplinary strength: by “performing” like a law (as with the QT8 scheme, which became a legislative blueprint), by “persuading” like an advertisement (as with the Golden Compass, the first prize for industrial design), by “communicating” like a language (as with Vittorio Gregotti and Umberto Eco’s proposal for a “communicative” architecture), by fostering new social “processes” (as with De Carlo’s architecture for “the great number”), and so on. The Triennale, this dissertation will argue, was the place where legislation, linguistics, procedure, history and image— all crucial themes of postwar architectural discourse—were tested as possible modes of disciplinary control. Three objectives motivate my study: (1) To understand the evolution of disciplinary debates in relation to political power in Italy between 1945 and the early 1970s. (2) To reconsider the classical neo-Marxist conception of architecture that dominates Italian historiography from Benedetto Croce to Manfredo Tafuri, whereby architectural history is mainly moved by economic drives. A consequence of this concept is that architectural criticism assumes the form of a superficial layer, underneath which an economic reality proliferates. This study proposes that economic interests interlace with other means, and the latter are strong enough to activate structural changes in architectural history. In the place of a hierarchical relationship, I will seek to describe a circular dynamic, inspired by Carlo Ginzburg, whereby history proceeds by a constant exchange, circular in fact, between a determining power and the forms of this determination. What this historical model allows is the identification of the specific means—what I call architectural “controlling mechanisms”—responsible for these structural changes. (3) To provide a pre-history of the postmodern architectural discourse of “Autonomy”, especially as it was imported into American architectural academia beginning in the 1970s. By describing the specific socio-political conditions wherein in the Tendenza’s visions of architectural “purity” was institutionalized as an architectural agenda, the dissertation will reveal how interference between architectural problems and political interests were built into the disciplinary freedom that architecture sought in the late decades of the century.

Vannucchi—Federica

From Control to Discipline: Design and Power at the Milan Triennale, 1945–1973

XIII Triennale of Milan (1964) dedicated to “Leisure.” The photograph illustrates Il Barnum centrale a quattro percorsi (The Central Barnum with Four Paths), from L’Architettura: cronache e storia 109 (November 1963), 442

Ph.d. a b s t r ac t s

Vannucchi—Federica

(from top) IX Triennale di Milano (1951), Lo studio delle proporzioni (The Study of Proportions), from Domus 261 (September 1951), 16

Princeton University School of Architecture Princeton, NJâ&#x20AC;&#x201A; 08544-5264 Main Office 609-258-3741 Programs Office 609-258-3641 Fax 609-258-4740 E-Mail soa @ princeton.edu Internet soa.princeton.edu Design: Omnivore Thesis review photographs: Daniel Claro, Phi Van Phan Printed October 2013