Field Conditions Anatomised

FIELD CONDITIONS: ANATOMISED A Critical Essay on ‘From Object to Field: Field Conditions’ by Stan Allen Samuel Leach

Critical Readings in Architecture / AIM 14 / Essay 1 MArch 1 / University of Brighton / Dec 2011

'Field Conditions: Anatomised' / Samuel Leach / Critical Readings in Architecture / AIM 14

Introduction 'From Object to Field' implies the blurring of the boundaries between the figure and ground. It is a reaction against the perverse fascination with architectural semiotics; where production line buildings continuously neglected the demands of an urban society. Stan Allen believes the era of architecture as “object” is over, and a new model for urban design has been steadily developing since the post-war period. Indeed, the figure is no longer the exhibitionist it once was.

Allen argues that the traditional top down design process is insufficient for the negotiation of complex urban environments, and that through a bottom up approach, it is possible to orchestrate a more dynamic architecture. Allen's thinking is nothing new. On the contrary, his essay cites examples dating as far back as The Great Mosque of Cordoba, Spain (c. 785800). Rather it suggests a rethinking on part-to-whole relationships and interconnectivity, applicable at both the micro and macro scale; human and urban.

The Shift from Formal to Dynamic Allen's essay runs in parallel with his designs and writings within the field of landscape urbanism1. This has been just one of the models through which Allen has experimented with the integration of architecture within the urban fabric. In this new form of urbanism, the concept of the building as an organiser of space is replaced with the use of landscape as a tool for organisation of horizontal surfaces. To describe an example of this; OMA/Rem Koolhaas' Downsview Park, Toronto (2002), creates spatial definition and organisation through the strategic placement of trees and vegetal planes. The functionality of the park operates on a wider scale than the park itself; by establishing new connections to different parts of the city it becomes a major influence on future development outside of the park, particularly around points of connection.

Expanding on the potential of landscape urbanism; Kenneth Frampton's notion of “megaforms” describes the naturally occuring effect when architecture is enlarged to the scale of the urban environment. Due to the relative scales of human to landscape the architecture operates more freely, functioning by a system of hierarchies rather than an 1 This term was coined by architect Charles Wandheim in 1997, and relates to the use of landscape as a tool for order within the urban environment.

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'Field Conditions: Anatomised' / Samuel Leach / Critical Readings in Architecture / AIM 14

overarching rule. He asserts, “the need for topographic transformation in terms of landscape rather than in terms of self contained single structures”,2 expressing the need to re-visit the relationship between ground and envelope. It is a process of redefining, through layering, the territories between the field and the object; a procedure Allen describes as, “a thickening, and intensification of experience at specified moments within the extended field of the city”3, something which Allen has elaborated in more detail in his later essay 'Mat Urbanism: The Thick 2D'.4 No more is this apparent than Foreign Office Architects' Yokahoma Port Terminal, Japan (2002), where a layering of planes gives the effect of an undulating landscape, creating a horizontal rather than vertical extension of the ground. Allen also references the layering of Los Angeles and the major infrastructural role of the freeway system; something that is evident in Allen's own Yan Ping Waterfront5 project, where infrastructure plays the paramount role on several levels producing a graphically horizontal field. The evidence of landscape urbanism as a suitable model for recombination of ground and envelope is becoming increasingly apparent through the designs of architectural/landscape practices such as 'Snøhetta' and 'Bjarke Ingels Group'.

The Birth of the Electronic Era Allen emphasises that his thinking parallels a shift from analog to digital technologies.

With this transition, the birth of computer aided design software has unlocked unlimited possibilities, not just for the graphic presentation of architecture but for the initiation of the design itself. To briefly describe some of the uses of digital software, the modelling of complex forms through procedures such as manipulation, combination or superposition has generated never before conceived ideas. Digital modelling has also proved a valuable tool in the exploration of part-to-whole relationships. For example, a single shape can be easily duplicated to create a field, and then, through manipulation of single modules individuality can be established without affecting the overall identity.

The use of superposition in architecture has been pioneered by architect Peter Eisenman, who documented his early experiments with digital modelling in his book 'Digital 2 Frampton K., (1994) 'Towards an Urban Landscape' Columbia Documents, New York pp83-93 3 Allen S., (2009) “From Object to Field: Field Conditions in Architecture and Urbanism”, 'Space Reader: Heterogeneous Space in Architecture' p 136 4 Allen S., (2009) “The Thick 2D: Mat Building in the Contemporary City”, 'Practice: Architecture, Technique and Representation', Routeledge, London.

5 Allen S., Yan Ping Waterfront Project, Taiwan (2009)

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'Field Conditions: Anatomised' / Samuel Leach / Critical Readings in Architecture / AIM 14

Eisenman: An Office of the Electronic Era'.6 To give an example of the application of this effect in his own works; the City of Culture of Glaicia, Santiago de Compostela, Spain (1999-2012) was designed by the superposition of the medieval plan of Santiago and a Cartesian grid over the topography of the hillside location. By allowing the topography to manipulate the grid and the plan, unusual effects were produced which created a unity between all three elements. What is particularly interesting about this technique is the ability to create a dynamic field simply from a reconfiguration of figure and ground, without losing definition of its constituent elements. Digital modelling continues to facilitate the creative ingenuity of architectural practices such as 'Reiser & Umemoto', whose book 'Atlas of Novel Tectonics' explores in exceptional detail many of the principles of field conditions. In their architecture, which they describe as, “the substrate for accidents of history rather than its embodiment”7, Reiser & Umemoto have utilised digital modelling to produce complex space-frame systems capable of re-shaping organisational systems. They affirm that, “with such mutable models, it is now possible to conceive of a diverse field of structural types operating locally within the same structure while maintaining systemic coherence throughout.”8 Opposing Arguments Although Allen poses a compelling argument for the shift in thinking from object to field, he fails to acknowledge the principles of conflicting design thinking proposed by figures such as architectural theorist, Colin Rowe.

In contrast to the argument of 'Field Conditions', Rowe's book 'Collage City' argues that the success of the city relies on the diversity of conflicting ideas and situations implemented by successive generations, and that a holistic urban design approach would only be detrimental to its overall integrity. Rowe's opposing argument is cogent, and the demand for 'iconic' design is still undeniably argued by some architects and politicians alike.

However, Rowe's argument fails to acknowledge the limitations of modernism and the need for a more dynamic urban model.

6 Eisenman P., 'Digital Eisenman: An Office of the Electronic Era', (1995) Birkhäuser Architecture, Basel 7 Reiser & Umemoto, (2006) 'Atlas of Novel Tectonics', Princeton Architectural Press, New York. p18 8 Reiser & Umemoto, (2006) 'Atlas of Novel Tectonics', Princeton Architectural Press, New York. p156

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'Field Conditions: Anatomised' / Samuel Leach / Critical Readings in Architecture / AIM 14

Towards a Bottom-Up Architecture The “holistic approach” proposed by Allen can also be referred to as the “bottom-up” approach, which is not a design process in itself but rather describes any process which originates from pre-existing conditions. OMA/Rem Koolhaas gives a perfect example of this with the McCormick Tribune Campus Centre, IIT, Chicago (2003). Pre-existing routes that had been formed instinctively by students moving between halls of residence provided the basis for the interior layout. It is this kind of intuition and consideration to existing conditions that enables a truly successful design. Koolhaas saw the potential of these established routes and transformed them into architecture.

Allen has described the field as “loosely bound aggregates characterised by porosity and local interconnectivity.”9 He has shown his recognition of this within the field of the city by interpreting this within the scale of a building – his competition entry for an art gallery in Maribor, Slovenia (2010). The proposal comprises individual units built up from faceted planes, which interlock with one another to create a whole through repetition of self-same parts. The faceted appearance was designed as a non-literal representation of the pitched roofs of the surrounding buildings; however, in terms of functionality this produces varying levels of spatial density which allow for different scales of exhibits. Allen's part-towhole relationship is convincing; however, the proposal fails to connect to the urban fabric in any way other than an implied visual reference, which is perhaps why it failed to impress the judges.

Although the major characteristic of Allen's Maribor proposal was visual integration into the urban fabric, fragmentation also has potential for greater flexibility and adaptability, even introducing a model for a new kind of urbanism. The possibilities of fragmentation have recently been explored by architects such as OMA/Koolhaas with his competition entry for National Art Museum of China, Beijing (2011). Although the scheme as a whole is perhaps more a figure within a self implemented field condition, Koolhaas has experimented with the model of “repeated self-same parts”. The enfilade so commonly used in museum buildings has been replaced with a new arrangement of cellular spaces of varying thicknesses, interconnected to more heterogeneous fragments. The advantage of 9 Allen S., (2009) “From Object to Field: Field Conditions in Architecture and Urbanism”, 'Space Reader: Heterogeneous Space in Architecture' p. 120

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'Field Conditions: Anatomised' / Samuel Leach / Critical Readings in Architecture / AIM 14

this plan arrangement and indeed Koolhaas' motivation behind the scheme is the flexibility it allows in the programme, not only for the opening of the museum but for the future use of the building. Koolhaas has understood that the traditional model for the 'museum' is insufficient and has anticipated that the requirements of the 'museum' will continue to change. Koolhaas' compares his proposal to the model of the city, saying that “Like a city, individual sections need not be permanent; areas can be redefined, renovated, or even replaced, without compromising the whole.”10 Whether or not the essence of this concept will be realised remains to be seen. As Koolhaas himself states, “Architects are often compromised by the curators”.11 As previously mentioned, working with previously established conditions is nothing new.

Incidentally, a previous case study of mine; Bernard Tschumi's Le Fresnoy (1997) could be considered an example of this. To briefly describe its relevance, at Le Fresnoy, Tschumi implemented a new roof structure over a complex of existing buildings, thus orchestrating a set of existing elements into a single composition. By unifying these buildings and introducing a new element, a new relationship was formed between the 'parts' in which unexpected events could occur. Tschumi has claimed that one of the stimuli for this approach was budget, yet it was also a vehicle for his studies on the relationship between event and architectural space. Le Fresnoy stands not just as an example of utilising preexisting conditions, but as a demonstration of the diversity of this kind of design approach.

Confusion Between 'Field' and 'Figure' Although it is relatively easy to describe the difference between field condition architecture and figure/ground, when examining individual projects there is often debate over whether one conforms to one or the other. It is therefore interesting that after arguing that Le Fresnoy is an example of field conditions, another of Tschumi's projects 'Parc de la Villette' in Paris (1987) has been criticised as being more figure than field. I can attest to the latter.

At Parc de la Villette, Tschumi uses an unconventional ordering of points, lines and planes in an attempt activate new events through the creation of unusual spaces. This deconstructivist response to the urban environment sought to remove the security of the 10 Koolhaas R., (http://oma.eu/projects/2011/national-art-museum-of-china) 11 Rem Koolhaas on the compromises made to the final design of the Pompidou Centre, Paris, by the curators. (2011) “Rem Koolhaas in Conversation with Nick Serota”, Public Lecture at Tate Modern, London.

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'Field Conditions: Anatomised' / Samuel Leach / Critical Readings in Architecture / AIM 14

familiar park configuration and therefore leave the visitor to initiate their own programme.

One of the defining characteristics of the field condition is it's non-hierarchical nature, therefore Tschumi's re-definition of park space as heterogeneous convincingly places Parc de la Villette within this category. Although the success of Tschumi's designs in operation is debatable, his experimentations have attracted much attention for continuously challenging the constricting boundaries of architectural norms.

Political Influence on Architecture The shift in the thinking of architects from the object to the field is evident, yet it would seem the more interesting proposals remain solely as unsuccessful competition entries.

This is due in part to the political and cultural implications of designing 'iconic' architecture in order to give an identity to a city, neglecting the need for an architecture which responds and integrates with its environment. Allen himself admits when referring to his Maribor Art Gallery proposal, that the building, “had to have a singular identity within the city”.12 Kengo Kuma has also highlighted this issue in his book 'Anti-Object'13 pertaining the success of the object to the fact that it “shares the aims of the prevailing economic system”14, perhaps due to the reliance of the economy on marketing and advertisement. Unfortunately, the architect's role has increasingly become an obedient one with the power remaining in the hands of the politician or client.

Relevance to my Studio Design Experiments The influence of Allen's essay can be extended to my own design studio work, where analysis of the field condition and local interconnectivity have helped to shape my ground and envelope experiments.

To initiate the project, I started by establishing logical routes through the site, connecting local points of interest and mapping the key views. A Cartesian grid was then overlaid and manipulated in relation to these routes, channelling the flow of movement through the site.

The result of this was a new topography which defined these routes, but absence of 12 Allen S., (2010) 'Field Conditions Maribor' 13 Kuma K., (2008) 'Anti-Object: The Dissolution and Disintegration of Architecture', Architectural Association, London.

14 (http://www.design.upenn.edu/calendar/kengo-kuma-anti-object)

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'Field Conditions: Anatomised' / Samuel Leach / Critical Readings in Architecture / AIM 14

intensity points meant the proposal lacked any spatial hierarchy. The problem was to find a balance between figure and ground, without creating a single focus point that removed the importance of the routes. My solution was to overlay a second Cartesian grid and create deformations at the main points of intensity; the key views from the site. The deformations were created by establishing a fixed point at the location of the key view, and a series of points within the site which could then be adjusted to create extrusions, influenced by the location of the view point. The aim of this was to maximise the potential of these views, allowing different perspectives and producing different densities of space simultaneously.

My proposal has resulted by considering the ground not as something in which to implement an object, but as something that can be manipulated itself to create definition of space. This is precisely the kind of approach Allen advocates in his essay, stating that, “Formally, it suggests that the figure could be understood not as a demarcated object read against a stable field, but as an effect emerging from the field itself: as a moment of intensity, as a peak or valley within a continuous field”15 I then increased the levels of the site, by raising the second grid and extruding at specific points both positively and negatively. The negative extrusions created an open ground level interrupted by the envelope to define a spatial density, while also influencing movement through the site. This brings me back to Allen's Maribor project and his revisiting of field conditions, where sculptural columns were used to shape a ground level space below the envelope. The positive extrusions initiated a different effect, due to the absence of a secondary horizontal plane to enclose the space. The result of this was an adjustment of the perspectives from the site, while creating a secondary traversable ground level which peaks at the points of key views; utilising the notion that a hiker traverses a hill or mountain for the anticipated view.

The interesting potential of the field is its ability to evolve spatial thinking through the absence of the “object”. Objects create reference points within a field which define the space. Scale and regularity matters, in that it dictates the organization of spatial heirachy.

For example, a single skyscraper within a horizontal field will hold dominance over a space, but if a second skyscraper is implemented the control over the space is halved. By 15 Allen S., (2009) “From Object to Field: Field Conditions in Architecture and Urbanism”, 'Space Reader: Heterogeneous Space in Architecture' p. 134

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'Field Conditions: Anatomised' / Samuel Leach / Critical Readings in Architecture / AIM 14

manipulating a field in a way which produces no single focal point, new levels of spatial hierarchy evolve. This leads to the experimentation of relationships between parts, and how they effect the definition of spaces, and thus the argument returns to Allen's essay. We are introduced to this concept of spatial definition through Allen's study of the Great Mosque of Cordoba, Spain. In his analysis, Allen explains how the “hierarchical order by extensive geometric relationships” preserves overall unity.16 However, the importance of my project within this essay is not how the proposal operates in theory, but how it relates to the design principles of Allen's essay. The proposal responds to the field in more ways than connecting attractions or by simply framing a view. It utilises local conditions and focuses on the relationship between those conditions in order to define space within the site. Rather than the exhibitionist figure or the architectural icon of previous generations, the proposal prioritises operation within a larger organisation while creating a blurring of territories. Peter Eisenman gave a similar description about his proposal for a Library in Place des Nations, Geneva (1999), “The new building emerges between the landscape and the objects, putting both conditions out of the focus in a single heterogeneous space.”17 Conclusion The extent of the influence Allen's essay has had on the field of architecture and urbanism is difficult to determine, as architects rarely cite the writings of their contemporaries as influences on their designs. However, the aim of Allen's essay has not been to propose a previously undiscovered paradigm, but rather to draw our attention to the its presence; through making an observation and praising its advantages.

Additionally, the concepts which Allen presents in his argument are not necessarily original but are suggestions of strategies used in precedents. Therefore it is difficult to judge a project's influence directly from the essay.

However, the method in which Allen presents his argument, identifying comparisons within other contexts and their contributions to field thinking makes for a cogent and 16 Allen S., (2009) “From Object to Field: Field Conditions in Architecture and Urbanism”, 'Space Reader: Heterogeneous Space in Architecture' p. 122 17 Eisenman, P., (1999) 'Digital Eisenman', Birkhauser, Basel, Switzerland – P.32

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'Field Conditions: Anatomised' / Samuel Leach / Critical Readings in Architecture / AIM 14

appealing proposal. The recent reprinting of the text also confirms it's continuing interest within the field of contemporary architectural and urban thinking.

The potential of the field condition is still yet to be explored. As Allen asserts in his concluding paragraph, “More than a formal configuration, the field condition implies an architecture that admits change, accident and improvisation. It is an architecture not invested in durability, stability and certainty, but an architecture that leaves space for the uncertainty of the real”18 It is the architect's realisation of these changes which has provoked a more adaptable and inclusive architecture, such as Koolhaas' National Art Museum of China, and has exposed the inadequacies of the formal typologies of yesteryear.

18 Allen S., (2009) “From Object to Field: Field Conditions in Architecture and Urbanism”, 'Space Reader: Heterogeneous Space in Architecture' p. 142

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'Field Conditions: Anatomised' / Samuel Leach / Critical Readings in Architecture / AIM 14

Bibliography Books: Allan S., (2009) “From Object to Field: Field Conditions in Architecture and Urbanism”, 'Space Reader: Heterogeneous Space in Architecture', Michael Hensel, Christopher Hight & Achim Menges. John Wiley & Sons Ltd, Chichester, UK. pp 119–143.

Kuma K., (2008) 'Anti-Object: The Dissolution and Disintegration of Architecture', Architectural Association, London. pp 90-97 Frampton K., (1994) 'Towards an Urban Landscape' Columbia Documents, New York. pp 83-93 Reiser & Umemoto, (2006) 'Atlas of Novel Tectonics', Princeton Architectural Press, New York. pp 18-35, 156 Eisenman, P., (1999) 'Digital Eisenman', Birkhauser, Basel, Switzerland – p 32 Allen S., (2009) “The Thick 2D: Mat Building in the Contemporary City”, 'Practice: Architecture, Technique and Representation', Routeledge, London.

Articles and Journals: Spencer D., (April 2011) “The Obdurate Form of Landscape Urbanism”, 'Journal of Landscape Architecture'. Issue 31. pp 53-59.

Websites: OMA/Koolhaas, R. (2011) ‘National Art Museum of China, Beijing'. OMA Website http://oma.eu/projects/2011/national-art-museum-of-china (date retrieved 10th December 2011).

(2011) 'Kengo Kuma: Anti Object'. Penn Design Website http://www.design.upenn.edu/calendar/kengo-kuma-anti-object (date retrieved 11th December 2011).

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'Field Conditions: Anatomised' / Samuel Leach / Critical Readings in Architecture / AIM 14

Film: Allen S., (2010) 'Field Conditions Maribor' http://www.youtube.com/watch?v=Xka6zYZhk1c (date retrieved 11th December 2011) Lectures: Koolhaas R., (2011) “Rem Koolhaas in Conversation with Nick Serota”, Public Lecture at Tate Modern, London. (12th December 2011) Buildings: •

OMA/Rem Koolhaas (2002) 'Downsview Park', Toronto, Canada.

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Foreign Office Architects (2002) 'Yokahoma Port Terminal', Japan

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Allen S., (2009) 'Yan Ping Waterfront', Yan Ping, Taiwan.

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BIG Architects, (2008) 'Slussen Competition Entry' Stockholm, Sweden.

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Snohetta Architects, (2004) 'Oslo Opera House', Oslo, Norway.

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Eisenman P., (1999-2012) 'City of Culture of Glaicia', Santiago de Compostela, Spain

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OMA/Rem Koolhaas, (2003) 'McCormick Tribune Campus Centre', IIT, Chicago

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Allen S., (2010) 'Competition Entry for Art Gallery', Maribor, Slovenia

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OMA/Rem Koolhaas, (2011) 'Competition Entry for National Art Museum of China', Beijing

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Tschumi B., (1997) 'Le Fresnoy', Tourcoing, France

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Tschumi B., (1987) 'Parc de la Villette', Paris, France

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Eisenman P., (1999) 'Library in Place des Nations', Geneva

Images: Fig 1: http://basictextures.com/wp-content/maxfreesize/water/water-waves-lake-blue-calm00102.jpg Fig 2: http://designerfied.com/wp-content/uploads/2009/03/water.jpg Fig 3: http://jeditraining.files.wordpress.com/2011/02/water_ripple1.jpg Fig 4: http://www.publicdomainpictures.net/pictures/9000/velka/muddy-sea-water11283676408wc3F.jpg Fig 5: http://www.cepolina.com/photo/nature/water/rapids/2/rapids_river.jpg Fig 6 http://images2.layoutsparks.com/1/122361/dolphin-water-waves-lovely-31000.jpg 11

Access Through the Site

River Thames

Site ‘E’

A 102

Site ‘C’

Manipulating the Grid to Produce Positive and Negative Space

Cartesian Grid

Producing Positive Extrusions

Producing Negative Extrusions

Positive

Neutral

Negative

Levels of Spatial Definition Positive

Neutral Negative

Directional Visibility Studies

3-Dimensional Realisation of Volume

Ground/Envelope - Breakdown of Constituent Parts

Combined Ground/Envelope

‘Positive’ Extrusions

‘Neutral’ Ground Plain

‘Negative’ Extrusions

Pre-Existing Ground Plain

References of Field Manipulation

Fig 1: Uniformity

Fig 2: Anomaly Within a Uniformity

Fig 4: Conglomeration of Anomalies Creates Uniformity

Fig 5: Conglomeration of Anomalies Creates Uniformity

Uniformity

Uniformity

Anomaly Within a Uniformity

Anomaly Within a Uniformity

Conglomeration of Anomalies Creates Uniformity

Fig 3: Anomaly Extends Within a Uniformity

Fig 6: Anomaly Within a Uniformity

Conglomeration of Anomalies Creates Uniformity

FIELD CONDITIONS: ANATOMISED A Critical Essay on ‘Field Conditions: From Object to Field’ by Stan Allen

Stan Allen’s essay ‘From Object to Field’ was selected not neccesarily for its influence on the field of architecture, but for the significance of the subject to contemporary architecture and urbanism.

It calls for an end to ‘objectification’ and suggests a revisting of part-to-whole relationships, presenting the advantages and logic of an altogether holistic approach to urban design.

The objective of my essay is to identify the significance of Allen’s urbanistic strategy on contemporary architecture, highlighting the continuting shift in thinking towards this design approach, and finally its influence on my own studio design work.

‘From Object to Field’ was first published in S Allen., (1997) ‘AD Architecture after Geometry’, Profile No. 127, John Wiley & Sons Ltd, London. pp24-31; and reprinted (revised and expanded) in S Allen., (2008) “From Object to Field”, ‘Practice: Architecture, Technique and Presentation’, Routledge, London/ New York. p251.

Stan Allen is Dean of the School of Architecture at Princeton University, USA. He graduated from Brown University with a Bachelor’s Degree in Architecture and a Master’s degree in Architecture from Princeton University. In addition to teaching, Allen is a practicing architect and theorist, and is a prominent figure in the field of landscape architecture. His urbanistic strategies have been widely published in S Allen., (1999) ‘Points and Lines: Diagrams and Projects for the City’, Princeton Architectural Press, New York; (2008; 2 Edition) ‘Practice: Architecture, Technique and Representation’, Routeledge, New York; and (2011) ‘Landform Building: Architecture’s New Terrain’, Lars Muller Publishers, Baden.

His architectural practice; Stan Allen Architect, is based in Brooklyn, New York.

Samuel Leach Critical Readings in Architecture / AIM 14 / Essay 1 MArch 1 / University of Brighton / Dec 2011