THE GREAT WALL OF BALACLAVA
1
4
5
CONTENTS Position
09 - 11
Site Analysis
13 - 19
Precedents
20 - 35
Exploration
37 - 77
Communication + Resolution
79 - 135
Appendix
137 - 155 7
Through using the action of the ‘cut’ how can we restore connection
to
both
sides
of
the
Balaclava
train
line?
9
Sight is one of the first steps to building a connection to a place before physically being within - take away that line of sight and we are cast into uncertainty, not knowing
what
lies
beyond
that
realm
and
limited
to
how we interact, inform decisions and what we expect.
The
Great
Wall
disconnection
of
Balaclava
that
the
project
Balaclava
recognises
train
line
the
creates
through its topographical divide. The train line creates both
a
visual
and
physical
disconnection
offering
only 3 avenues to which re-connection can be made.
The project proposes a series of design tools in the form
of
various
topography the
two
create
of
intervention
the
apposing
more
train sides.
circulation
line,
that
These and
through
cuts
aim
the
to
raised
reconnect
implementations
connection
in
the
will form
of both visual and a physical transversal connection.
It
is
such
through as
Georges that
looking
Matta Eugene
we’re
able
Clark,
at
artists Richard
and
designers
Serra,
Nancy
Haussmann
and
the
layout
interrogate
the
role
of
the
of cut
work Holt, Rome and
start to explore form through topographic modelling. 11
S I T E A N A LY S I S
13
14
15
16
17
B B
C
A
A
A
C
B
A C D
B D
E F
C D
E
F
E
D G
G
E
F
F
H H
100
200
300
400
500
600
14m
12m
10m
A
A B
B C
C 8m
D 6m
4m
2m
E F G H
18
D E F G H
A
A
19
20
P R E C E D E N TS
21
2
22
23
24
Nancy Holt SIGHTLINES 5
2011
29
Nancy Holt is an astrist that positioned her installations through the medium of sight as her main iterrigator. The installations set views to which the vastness of the desert was brought back to human scale, allowing visitors to view their surrounding through the more contained perspective offered by the tunnels. The tunnels also acted as a frame; framing the rising and setting of the sun at the summer and winter solstices.
Although
they
landscape,
it
form
the
that
are is
this porject
not
cuts
idea
of
through framing
endevours
to
the
through iterrogate.
6 30
31
City of Rome under Pope Sixtus V and Domenico Fontana
In 1585 when Sixtus V became pope, only Michelangelo’s design at the Piazza Campidoglio demonstrated an attempt to organize more than one building spatially. His vision sought to use circulation routes as the base of the cities organizational structure,
which
connected
the
monumental structures of classical Rome to his proposed mapping. This has been employed in The Great Wall of Balaclava project which endeavors to use the concept of spatial connect through sight that both can, and cannot be accessed to propose new ephemeral sensations, whilst connecting spaces that were previously inaccessible. 32
7 33
8
34
Georges Euegene-Haussmann Paris Haussmann
was
one
of
the
key
renovationers of the city of Paris, France. The streets were non-traversable, with grid like structure creating a awkward layout; making people weave through alleys to get to their destination - with no other avenues on offer. Hausssmann and
looked
proposed
at
the
alternative
existing avenues
grid (cuts)
that would split its grid like structure and connect
parts of the city together. Offering
new axes of movement. This Improved the liveability of the city as well as creating long visual connections that would otherwise be non-existent from its original short streets. It was looking at Haussmann’s work that we were able to rethink the structure of the street, posing questions of what connections can be made if avenues were extended. 35
36
EXPLORATION
37
TRANSVERSAL
39
40
41
42
43
44
45
46
47
PHYSICAL CUT
49
50
51
52
53
54
55
56
57
VISUAL CUT
59
60
61
62
63
THE LOOKOUT
65
66
67
68
69
70
71
72
73
74
75
76
77
RESOLUTION
79
80
PHYSICAL CUT
81
82
83
The case study looked at the idea of the physical cut as not only an implementation that enables physical transversal from one
space
to
another,
but
to
also
create moments where the inhabitant is entrusted spatially within cut - where the cut forms is directly framing a ‘scene’ on the other side, but also manipulated the
inhabitant
Some by
the
forced space the
moments
moment
feeling
enclosed together or
feel
and
overwhelmed
space; due
open
confinements
feeling.
inhabitant
to
the
tight
and
free
from
of
the
form.
Iterations 84
85
86
87
88
TRANSVERSAL ENCOUNTER
89
A
B
C
90
A
B
C
A
A
B
B
C
C
C
91
The
transversal
looked
encounter
at
the building of topography to visually build a cut that framed views to other encounters and scenes. The cut enables the
viewer
to
only
see
the
scene
at
specific location along the transversal, where
the
uncertainty
inhabitant but
then
is
cast
brought
into back
through the enabling of sight once again.
Iterations 92
93
94
95
96
VISUAL CUT
97
98
99
The
visual
cut
looks
at
the
idea
of
creating a snippet of what the other side it like (a scene). The form creates some what of an anamorphic projectionwith not
the
view
becoming
of
the
apparent
opposite until
side
directly
standing in front. The
elongated
topographic from
the
form,
height
ground
as
well
frames
a
diagonally
as
it
section -
giving
views of different forms as the height increases.
Iterations 100
101
102
THE LOOKOUT
103
104
105
The lookout breaks the boundary between the two sides. It enables the physical traversal of the train line where a view of the other side is open to the viewer - the lookout (as well as the red colour) suggesting direction of sight by over coming the building height
The study explores the bending of sight through the physical cut using
mirrors,
that
shape
and
frame scenes on the adjacent side. Iterations
106
107
108
Exploration mirrors shape
as and
into well angle
how
as
their
may
be
used to inform new ways of
manipulating
sight. 109
110
Exploration into how tree heights and configeration may
inform
shapes
and
the direction of lookouts. 111
112
113
114
115
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
The of
Great
Wall
of
sight
through
cut.
The
project
the
visual
the
territorial
The
project
Balaclava the
manipulation
Explores
and
project
the
the
physical
divide
that
looks
at
ways
act
explores of of
the
of
notion
topographic
‘cutting’
transversal the
the
train
extending
through
to
diminish
line
creates.
sight,
while
choreographing the viewers vision through the multiple use of tools that were generated by the exploration of case studies. In these case studies, as designers, we were able to interrogate the act of cutting more precisely, exploring various outcomes of the transversal cut, the visual cut and the physical cut. These actions enable us to both limit someones vision, but still enable it; where by through the manipulation of form we were able to choreograph the viewers sight and movement, giving them a specific glimpse to what lies on the other side and extending ones perception of space. It is these tools that can then be implemented further on site, as well as be used on other similar train
lines
where
these
topographic
disconnection
occur. 135
136
APPENDIX
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
REFERENCES 1. Barbican Art Gallery,. Splitting. 1974. Web. 1 June 2016. Web. Accessed, 25/5/16. Available at: www.criticismism.com/2011/03/06/ gordon-matta-clark-splitting-1974 2. Clark, Matta. Untitled. 1975. Web. Accessed 26/5/16.Accessed, 25/5/16. Available at : https://calpolyla201.wordpress. com/2012/09/30/conical-intersect-paris -france/ 3. Gideon Fink Shapiro,.Richard Serra 2014. Web.Accessed 26/5/16. Available at: www.svbscription.com/blog /richard-serra 4. Serra, Richard. Richard Serra’s Massive Steel Sculptures At Gagosian Galleries. 2013. Accessed 28/5/16. Availiable at:www.glenwoodnyc.com/manhattan-living /richard-serra-nyc-2013/ 5. Holt, Nancy. Sightlines. 1997. Web. 1/6/16. Available at:www.grahamfoundation.org /public_events/4041 6 . H o l t , N a n c y . S u n Tu n n e l s . 1 9 7 6 , P h o to : Ret i s ( v i a F l i c k r ) . A cce s s e d 1/6/16. Available at: www.apollo-magazine.com/nancy-holt/ 7. Roma di Giovanni Battista Nolli, 1748, published by Istituto di Studi Romani, Rome, 1962. Accessed 1/6/16 Available at: www.mdhistory. net /doing_good/7001/HTML/FIG00004.HTM 8. Georges Euegene-Haussmann, Paris,published: jeudi 3 janvier 2013. Accessed 1/6/16. Available at : www.fog-webpaper.blogspot .com.au 9. Sean Hogan . 2008. The Inter vie w: Richard Serra. The Obser ver. [ONLINE] Available at : www.theguardian.com/artanddesign/2008/ oct/05/serra.art. [Accessed 30 May 2016]. 1 0 . J a m e s A t t l e e , ‘ To w a r d s A n a r c h i t e c t u r e : G o r d o n M a t ta - C l a r k a n d L e C o r b u s i e r ’, T a t e P a p e r s , n o . 7 , S p r i n g 2 0 0 7 , w w w . t a t e . o r g . u k / research/publications/tate-papers/07/towards-anarchitecture-gordon-matta-clark-and-le-corbusier, accessed 5 June 2016. 157