GT 24 - Kristen Anthony + India Chand - The Beach Beneath the Street
Collection
India Chand & Kristen Anthony
Collection
India Chand & Kristen Anthony
The Beach Beneath the Street
This thesis investigates the methodologies for achieving a balanced figure-ground relationship within an urban campus setting. Central to this inquiry is examining the commons—public spaces—in their interplay with architectural forms through sectional, ground plane, and plan analyses. The outcome being a building and a commons where one is not privileged over the other. The study extends to speculating on the future of architectural pedagogy, with a specific focus on SCIArc. Furthermore, it delves into the politics of architectural form, critically assessing adaptive reuse strategies, the implications of material systems, and the typology of long buildings.
Glossary
Aa
adaptive reuse
the renovation and reuse of preexisting structures for new purposes.
ambivalence
“simultaneous conflicting feelings,” 1924 (by 1912 as ambivalency), from German Ambivalenz, coined 1910 by Swiss psychologist Eugen Bleuler on the model of German Equivalenz “equivalence,” etc. from Latin ambi- “both, on both sides.”
architecture scalie
the term “architecture scalie” doesn’t have a widely recognized definition in the field of architecture. It is considered a sort of slang term or nickname for a scale figure or a digital figure or object inserted into the scene to provide a reference point for scale.
balance
1570s, “be equal with,” from balance (n.). The meaning “serve as a counterpoise to” is from 1590s; that of “bring or keep in equilibrium” is from 1630s; that of “keep oneself in equilibrium” is from 1833.
blurry
“confused and indistinct,” 1855, from blur (n.).
Bb Cc
campus
“college grounds,” 1774, from Latin campus “flat land, field,” from Proto-Italic *kampo- “field,” a word of uncertain origin.
choreography
“the composing or arrangement of dance,” originally ballet, 1789, from French choréographie, coined from Latinized form of Greek khoreia “dance” (see chorus) + graphein “to write” (see -graphy).
late 14c., “a number of people associated together by the fact of residence in the same locality,” also “the common people” Latin communitatem “was merely a noun of quality ... meaning ‘fellowship, community of relations or feelings’ “ [OED], but in Medieval Latin it came to be used concretely to mean “a society, a division of people.” In English, the meaning “common possession or enjoyment” is from c. 1400. Sense of “a society or association of persons having common interests or occupations” also is from c. 1400.
community congregation
late-14c., congregacioun, “a gathering, assembly, a crowd; an organized group, as of a religious order or body of scholars; act of congregating,” from Old French congregacion and directly from Latin congregationem (nominative congregatio) “an assembling together, union, society,” noun of action from past-participle stem of congregare “to herd together, collect in a flock, swarm; assemble,” from assimilated form of com “together.”
crowd
1560s, “large group of persons, multitude,” from crowd (v.). The earlier word was press (n.). Crowd (n.) was used earlier in the nowarchaic sense of “act of pressing or shoving” (c. 1300). From 1650s as “any group or company of persons contemplated in a mass.”
Dd
datum
proper Latin singular of data. In architecture, a form which ties together or anchors all other elements of the design.
dependance
From mid-15c. as “state of deriving existence, support, or direction from another.” From 1620s as “reliance, confidence, trust.”
disorder
displacement
1520s, “lack of regular arrangement;” 1530s, “tumult, disturbance of the peace;” from disorder (v.). Meaning “an ailment, a disturbance of the body or mind” is by 1704. 1550s, “remove to a different place, put out of the usual place; refers to forcible removal from a familiar place and is the undoing of place attachment. It is a specific and imposed form of disembedding.
c. 1300, “twice as much or as large,” also “repeated, occurring twice,” also “of extra weight, thickness, size, or strength; of two layers,” from Old French doble (10c.) “double, two-fold; two-faced, deceitful,” from Latin duplus “twofold, twice as much,” from duo “two.”
edge
the line where an object or area begins or ends.
duplicate
c. 1600, in grammar, “the form or number relating to two,” from Latin dualis “that contains two; the dual number, duality,” from duo “two” (from PIE root *dwo“two”). General sense of “relating to two, expressing two, composed or consisting of two parts” is from 1650s. 1530s, “one of two or more things corresponding in every respect to each other.” From 1701 as “another corresponding to a first or original, an exact counterpart or double of an original.”
Ee“an erasing, an obliterating,” 1734, from erase + -ure. Rasure “act of scraping or erasing” is from c. 1400. an occur in various contexts, including historical records, cultural narratives, personal identities, and physical spaces; may involve the suppression or distortion of information, experiences, identities, or voices, often with the intent to marginalize, silence, or invalidate certain perspectives or realities.
Fferasure fit
“suited to the circumstances, proper,” mid-15c., of unknown origin, perhaps from Middle English noun fit “an adversary of equal power” (mid-13c.).
flock
Old English flocc “a group of persons, company, troop,” related to Old Norse flokkr “crowd, troop, band.”
graffiti
1851, “ancient wall inscriptions found in the ruins of Pompeii,” from Italian graffiti, plural of graffito “a scribbling,” a diminutive formation from graffio “a scratch or scribble,” from graffiare “to scribble,” ultimately from Greek graphein “to scratch, draw, write” (see -graphy). They are found in many ancient places, but the habit was especially popular among the Romans. Sense extended 1877 to recently made crude drawings and scribbling in public places.
Gg Hh Ii
homophily
a concept in sociology describing the tendency of individuals to associate and bond with similar others, as in the proverb “birds of a feather flock together”.
hypo-
Greek. meaning under, beneath or below. from the bottom.
identity
c. 1600, “sameness, oneness, state of being the same,” from French identité (14c.), from Medieval Latin identitatem (nominative identitas) “sameness,” ultimately from Latin idem (neuter) “the same” (see idem).
individual
“single object or thing,” c. 1600, from individual (adj.). Meaning “a single human being” (as opposed to a group, etc.) is from 1640s. Colloquial sense of “person” is attested from 1742. Latin individuum as a noun meant “an atom, indivisible particle,” and in Middle English individuum was used in sense of “individual member of a species” (early 15c.).
Lllong
Old English lang “having a great linear extent, that extends considerably from end to end.
Mm
material-of-erasure
“of many kinds; numerous in kind or variety; diverse; exhibiting or embracing many points, features, or characteristics.”
manifold mass
As an adjective, “of, involving, or composed of masses of people; done on a large scale,” from 1733, first attested in American English mass meeting “public assembly persons in mass or of all classes to consider or listen to the discussion of some matter of common interest.”
materiality
1520s, “that which is the matter of something, material substance,” from Modern Latin materialitas, from materialis “of or belonging to matter,” from Latin materia “matter, stuff” (see matter (n.)). refers to the physical qualities and characteristics of a material, including its appearance, texture, and durability, which influence its use and perception in various fields such as design and architecture.
in the context of public spaces refer to physical elements or barriers intentionally constructed or implemented to restrict or hinder access to certain areas or resources. These materials may include physical obstacles as well as design features or infrastructure deliberately designed to exclude or marginalize specific groups of people.
refers to the physical substances, elements, and textures that contribute to the tangible qualities and identity of a specific location or environment.
Oomaterial-of-place order
c. 1200, ordren, “give order to, to arrange in a row or rank,” from order (n.). Sense of “set or keep in order” is from c. 1500.
Pp
pageantry
“splendid display,” 1650s.
permanent “enduring, unchanging, unchanged, lasting or intended to last indefinitely,” early 15c., from Old French permanent, parmanent (14c.) or directly from Latin permanentem (nominative permanens) “remaining,” present participle of permanere “endure, hold out, continue, stay to the end,” from per “through” (from PIE root *per- (1) “forward,” hence “through”) + manere “stay” (from PIE root *men- (3) “to remain”).
place
c. 1200, “space, dimensional extent, room, area,” from Old French place “place, spot” (12c.) and directly from Medieval Latin placea “place, spot,” from Latin platea “courtyard, open space; broad way, avenue,” from Greek plateia (hodos) “broad (way),” fem. of platys “broad,” from PIE root *plat- “to spread.”
place-making
is the process of conceptualizing, designing, and transforming physical spaces to create meaningful, inclusive, and vibrant environments that promote social interaction, cultural identity, and community well-being.
place-unmaking characterizes the outcomes of an urban renewal strategy involving the demolition of projects with the purported aim of improving areas. However, these efforts are perceived as an affront to the identities of the residents who call these condemned places home. The transformation, rather than preserving and placemaking, stands in stark contrast to these principles.
protest
c. 1400, “avowal, pledge, solemn declaration,” from Old French protest, from protester, from Latin protestari “declare publicly, testify, protest,” from pro- “forth, before.”
random
1650s, “having no definite aim or purpose, haphazard, not sent in a special direction,” from phrase at random (1560s). Old English rinnan “to flow, to run.”
Ssspace
1660s, “of or pertaining to human relations,” from relation + -al (1). From 1840 as “indicating or specifying some relation” in general.
relational relative
early 15c., relatif, “having reference (to something), relating, depending upon,” from Old French relatif and directly from Late Latin relativus “having reference or relation,” from Latin relatus, used as past participle of referre “bring back, bear back” (see refer), from re- “back, again” + lātus “borne, carried” (see oblate (n.)).
Meaning “having mutual relationship, connected with each other” is from 1590s; that of “arising from or determined by relationship to something else” is from 1610s; that of “having or standing in a relation to something else” is from 1650s; that of “not absolute or existing by itself” is by 1704. In grammar, “referring to an antecedent,” from 1520s.
refers to the physical extent or area that is occupied or available for use, encompassing both three-dimensional volumes and two-dimensional surfaces. It can refer to any location, environment, or territory, whether natural or built, and is often defined by its boundaries, dimensions, and spatial relationships. Space can be experienced and utilized in various ways, serving as a context for human activities, interactions, and experiences.
public space refers to areas or environments that are accessible and open to all members of the community, regardless of socioeconomic status, ethnicity, or background.
“lasting only for a time,” 1540s, from Latin temporarius “of seasonal character, lasting a short time,” from tempus (genitive temporis) “time, season” (see temporal, late 14c., which was the earlier word for “lasting but for a time”).
Wwtemporary wildness
early 14c., “unrestrained behavior,” from wild (adj.) + -ness. Late 14c. as “frenzy;” mid-15c. as “undomesticated state.”
Archive
figures, bodies, & crowds
Kristen Anthony
India Chand
Vernon Merritt III/Time Life Pictures/Getty Images
Leonardo Da Vinci courtesy of Noor Makkiya
Kristen Anthony
Chand
Hiro Goto
Gian Lorenzo Bernini courtesy of Noor Makkiya
Kristen Anthony
Chand
Bruce Reeve, 2011
Le Corbusier courtesy of Noor Makkiya
Kristen Anthony
Chand
Thomas Prior
Alvaro Siza courtesy of Noor Makkiya
Kristen Anthony
Chand
Martin Parr
Peter Cook courtesy of Noor Makkiya
Kristen Anthony
Martin Parr
Alison & Peter Smithson courtesy of Noor Makkiya
Kristen Anthony
Luke Collins
Steven Holl courtesy of Noor Makkiya
“Mr. Nobody”
Leo van Doesburg courtesy of Noor Makkiya
Kristen Anthony
Stephen Leslie, 2014
Kristen Anthony
Chand
Robert Doisneau, 1969
Fan Ho, 1954
ISTOCKPHOTO
Kristen Anthony
Still from the film The Social Life of Small Urban Spaces, 1988
Frederic Forest
Kristen Anthony
Alex Prager
Claude Parent courtesy of Noor Makkiya
Frank Gehry courtesy of Noor Makkiya
Kristen Anthony
Chand
Katrin Korfmann
Norman Foster courtesy of Noor Makkiya
Renzo Piano courtesy of Noor Makkiya
Kristen Anthony
Chand
Neil Leifer, 1966
Oscar Niemeyer courtesy of Noor Makkiya
SANAA courtesy of Noor Makkiya
Walter Gropius courtesy of Noor Makkiya
Kristen Anthony
Alex Prager
C.F. Møller courtesy of Noor Makkiya
Frank Machalowski
Andrew Geller courtesy of Noor Makkiya
Kristen Anthony
Chand
George Silk / Getty Images
Glenn Hurcutt courtesy of Noor Makkiya
Kristen Anthony
John Metcalfe
Vin Ganapathy
Kristen Anthony
protest crowds
Paris Protests, 1968.
Paris Protests, 2024.
Kristen Anthony
India Chand
O’Halloran, Thomas J, Resurrection City, National Mall, Washington DC, 1968.
National Mall, Washington DC, 2020.
University of Wisconsin Milwaukee, 1970.
University of Wisconsin Milwaukee, 2024.
City College of New York, 1969.
City College of New York, 2024.
University of California San Diego, 1970.
University of California San Diego, 2024.
Columbia University, 1968.
Columbia University, 2024.
University of Toronto, 1980s.
University of Toronto, 2024.
George Washington University, 1985.
George Washington University, 2024.
Harvard University, 1969.
Harvard University, 2024.
University of California Los Angeles, 1969.
University of California Los Angeles, 2024.
Case Western Reserve University, 1970.
Case Western Reserve University, 2024.
University of Minnesota, 1972.
University of Minnesota, 2024.
University of Wisconsin Madison, 1992.
University of Wisconsin Madison, 2024.
Massachusetts Institute of Technology, 1969.
Massachusetts Institute of Technology, 2024.
University of Southern California, 2024.
los angeles
long
Wolfskill Orange Grove, Los Angeles, California. Taber Photo, 1880s.
Fourth Street Bridge, Los Angeles, California. Brian Grogan, 1968.
Union Terminal Market (now ROW DTLA), Los Angeles, California. 1930s.
Santa Fe Freight Depot (now SCI-Arc), Los Angeles, California. 2001.
One Santa Fe, Los Angeles, California. Iwan Baan, 2015.
Run DMC music video still, SCI-Arc, Los Angeles, California. 1984.
Temporary Tent (video still), SCI-Arc, Los Angeles, California. 2001.
SCI-Arc, Los Angeles, California. Carly Caryn, 2005.
SCI-Arc, Los Angeles, California. Carly Caryn, 2005.
SCI-Arc, Los Angeles, California. 2005.
SCI-Arc, Los Angeles, California. Tom Bonner, 2012.
SCI-Arc, Los Angeles, California. Carly Caryn, 2005.
SCI-Arc, Los Angeles, California. Olivia Saed-Billingsly, 2024.
SCI-Arc, Los Angeles, California. 2021.
Reference
readings
WInner 01 .. .,..., Nobel PrIze tor LIterature
Elias CanetH
" massive ••• provocative brilliant." -nME
2/5/24, 10:00 AM Where is Here? - Malique Mohamud - Reimagining Public Space
Reimagining Public Space
Malique Mohamud
Where is Here? March ����
Nick Axel How do you understand the nature of public space in post-colonial cities?
Malique Mohamud There are always multiple interpretations of every public space. A good example of this in Rotterdam is Heemraadsplein, which is also called “Pracinha d’Quebrod,” or the “Square of the Poor.” The public square is surrounded by a lot of green, a lot of fancy houses. But it’s also in Rotterdam West, and in the neighborhood of Delfshaven, which is sometimes called the eleventh island of Cape Verde due to the large Cape Verdean community that lives there. Before mobile phones, Heemraadsplein was the �rst place people who just arrived in the Netherlands from Cape Verde would go. If they went there, other Cape Verdean migrants would approach them and help them �nd their way, to �nd a place to live, to �nd work, etc. That square, as well as other public spaces in the built environment, have multiple layers of meaning. This is because they have their intended functions, but then they also have informal functions that weren’t part of the designer’s initial intentions. Recodifying and appropriating space happens a lot in migrant neighborhoods in Rotterdam. The communities that live there have had to �nd ways of building their lives. It wasn’t given to them, so they’ve had to appropriate squares, or nightshops, or other meeting spots throughout the city. These informal ways of using space are incredibly rich and dynamic. As a collective, we try to use the immaterial and material heritage of a post-colonial society to design spaces that actually serve the communities that we’re part of in a more intimate way.
An informal, but certainly productive atmosphere prevailed while (re)designing the square. Concrete Blossom, Het Plein, Rotterdam, ����. Photo by Sethi Djegane Gueye.
The color gray is no one ’ s color It is the color of cubicles and winter camouflage, of sullage, of inscrutable complexity, of compromise It is the perfect intermediate, an emissary for both black and white It lingers, incognito, in this saturated world
It is the color of soldiers and battleships, despite its dullness It is the color of the death of trees The death of all life when consumed by fire The color of industry and uniformity It is both artless and unsettling , heralding both blandness and doom It brings bad weather, augurs bleakness It is the color other colors fade to once drained of themselves It is the color of old age
Michelle Chang
Something Vague
1. Denise Scott Brown and Robert Venturi. “My choice of colour for the Vanna Venturi House.” Interview by Thomas Hughes, September 22/23, 2006, in Web of Stories, video, 2:14. https://www.webofstories. com/play/robert.venturi.and.denise.scott. brown/11.
2. Nelson Goodman, The Structure of Appearance, (Indianapolis: Bobbs-Merrill Co, 1966), 147.
3. See Rosanna Keefe, Theories of Vagueness (Cambridge: Cambridge University Press, 2000), 1–36.
The Vanna Venturi House is a vaguely gray building. A simple Google or Instagram search produces several color photos of its exterior, which appears in varying tones of what one could call gray. A visit to the building, depending on the season or time of day, reveals similar gray-like colors. In a 2006 interview, Robert Venturi and Denise Scott Brown recounted how the color of the house was selected.1 The original choice was “warm gray” – a hue that both Venturi and his mother liked. But after coming across Marcel Breuer’s advice to avoid green as a house color, Venturi said he painted over the gray with a shade of green. Over the years, as the architects’ ongoing desires to break the rules were tempered by aesthetic preference, the house was repainted more like its original color. Even though the house was at times perceived as more gray, the architects conceived of it as green. Thus one can say the house is not definitely gray because its hue lies somewhere on the spectrum between gray and green.
The uncertainty surrounding any building’s color emphasizes a fundamental indeterminacy in communicating architectural qualities, such as tall proportions or round forms. To borrow from philosopher Nelson Goodman, a quality is “a class of things that resemble each other.”2 Goodman’s definition makes the description of architectural qualities an interesting problem because there is difficulty in classifying things by shared perceptions. This is because discrepancies arise between the precise meanings of words, vision, and images, which in linguistics and philosophy is known as vagueness. While there are several contested theories of vagueness in these fields, the criteria developed by philosopher Rosanna Keefe are productive for architecture. Competing theories, like Terence Parsons’s view that things are inherently vague or Timothy Williamson’s position that vagueness arises from unavoidable ignorance, give architects no opportunities to instrumentalize vagueness to physically act on the world. For Keefe, vagueness arises from language, and something is vague when it demonstrates three characteristics: it is a borderline case, it has a fuzzy boundary, and it exhibits the sorites paradox.3
This content downloaded from 132.174.254.172 on Mon, 08 Jul 2024 20:39:50 +00:00 All use subject to https://about.jstor.org/terms
staging bodies
514NE w/ Anri Sala, Skanderbeg Square, Tirana, Albania, 2017
Bruce Nauman, Square Depression, Munster, Germany, 2007
Homage to Bladen, Netherlands, 1971
Kristen Anthony
Frida Escobedo, Civic Stage at the Lisbon Triennale, 2013
Kristen Anthony
OMA, Greek Theatre, Syracuse, Italy, 2012
Kristen Anthony
India Chand
OMA, Faena Forum, Miami, USA, 2016
Zamp Kelp, Haus Rucker Co, Inclined Plane
Kotaro Horiuchi, Fusionner
1.0, Gallery White Cube, Nagoya, Japan, 2014
Seagram Building middle ground
Centre Pompidou
Whitney Museum middle ground
Art Museum of São Paulo liberated ground
Agadir Convention Centre interior ground
architecture schools
Yale University Art + Architecture Building Paul Rudolph 1963
Harvard University Gund Hall John Andrews 1972
University of São Paulo Caramel Hall
João Batista Vilanova Artigas 1972
Ohio State University
Knowlton Hall
Mack Scogin Merril Elam Architects
Delft University of Technology BK City Fokkema, Braaksma & Roos, Kossman.dejong, Octatube, and MVRDV 1917/2009
Hinman Research Building
P.M. Heffernan/NADAAA 1939/2011
Georgia Tech
Preliminary Studies
crowding analysis
Instructions for Making
crowding strategies
Consider the ways things or people crowd. Things to think about:
Diagram the various strategies using a simple notation for the members of the crowd. 01. 02.
- do all members face the same direction?
- are there various smaller groups within the crowd?
- do the members face the center?
- are the members uniformly packed or do the edges become sparse?
- is the arrangement formal or more dynamic?
Stadium
Chaotic
Groupings
Herd [moving]
Herd [grazing]
campus analysis
University of California Los Angeles
University of Southern California
University of Minnesota
University of California Berkley
Columbia University
section diagrams
Precedent
Centre Pompidou.
SCI-Arc sloping down. liberated ground.
under/over.
Art Museum of São Paulo.
sloping up/over. middle ground.
going through. interior ground.
Precedent
SCI-Arc
Whitney Museum.
Agadir Convention Centre.
long building typology
Primary circulation runs parallel to building.
Crowd formation blocks circulation but still allows for large areas of the building to be unaffected.
Can blockade a section of the building off fairly easily.
Bar Typology
Scheme Studies
splat diagrams
Instructions for Making
Now consider how to represent those two parts in a way that makes them blur together or be read as one in the same. 01. 02. 03. splat
Create a series of plan studies on the site with these goals in mind:
- can you make a crowd out of two things? - how can you divide a space in two parts?
Analyze the diagrams in terms of what is building and what is not.
