‘Non Space’ Archiving Thresholds
Scarlett Hessian 01.10.15 – 20.01.16 Semester 1 Non Space - Archiving Thresholds Supervisors : Merete, Heidi, Amanda, Nick
INDEX
1 - Abstract 2 - Introduction/ Context 3 - Mission 4 - Vision 5 - Method 6 - Deliverables 7 - Presentation Plan 8 - Schedule 9 - Bibliography
A B S T R AC T
“Understanding architectural scale implies the unconscious measuring of an object or a building with ones body, and projecting one’s bodily scheme on the space in question. We feel pleasure and protection when the body discovers its resonance in space.” (Juhani Pallasmaa,1994, Questions of Perception; Phenomenology of Architecture,36)
My project is the study and investigation into selected ‘non- spaces’ of the area in Norrebro. Collecting data and details at physical and social thresholds. Mapping and archiving thresholds in order to explore the multifaceted nature of thresholds, specifically thresholds in relation to transition and their ability to generate architectural experience and how it is that we can measure our perceptions of these spaces. From this, my focus for this project is to make a catalogue/ collection of thresholds; from surfaces, details, 3-dimensional spaces, voids, and passages. Through the means of drawing, casting and model making. With this experience of crossing of thresholds in mind, I will record through photographs, drawings and casts to develop an archive of 3-dimensional studies and drawings of my chosen sites. Trying to capture and highlight the beautiful details and phenomenological approach of ‘non-spaces’ local to Norrebro. Always referring back to the understanding of banality and the mundaneness within these ‘non-spaces’; whilst trying to measure the potentials of experiences in these ‘non- spaces’. Through the process of research and archiving I will determine whether I will make a design intervention; however I aim to progress without a determined design outcome. Therefore using this as a research project initially with the potentials of a design intervention.
A B S T R AC T
“Even a ‘banal event can be emotive’ (Andre Breton. Mical, 2005, 222).
Diller & Scofidio Slow House
Mario Botta Villa Bianci
Diller & Scofidio Slow House
INTRODUCTION / CONTE X T
“Circulation space as a volume/ a space within a space – a place for activity. A movement space is characterised by its function as a transitional space; in other words a passage space, which distributes & redirects, viewed as we stroll through it, as opposed to a ‘place space’ which serves to rest/ stay.” (Till Boetteger, 2014, 54)
My motivation to investigate thresholds started from initial research of the area of mapping senses of sound, touch, smell and sight. This lead to looking very closely into the materiality and how people use the small everyday things of their lives in Norrebro. This zooming in of the space lead me to look closely at the use, scaring and impressions that are left in a space and on materials; developing an archive of haptic and Phenomenological experiences of my chosen sites. Exploring these spaces of tactility and thresholds with different mediums of casting, drawing, photography, film and model making. I am going to look at the work of the following designers as an exploration of materiality, tactility, Phenomenology, non-space and space activation at a modest, human scale.
Rachel Whiteread Carlo Scarpa Carol Bove Myung Keum Koh Mario Botta Gordon Matta Clarke Dan Graham Dani Karavan Christine Bjerke Peter Zumthor Louis Kahn David Chipperfield Diller & Scoffidio – Slow House
1 - Rachel Whiteread
2 - Peter Zumthor
3 - Carlo Scarpa
4 - Do Ho Suh
5 - Rachel Whiteread
6 - Carlo Scarpa
7 - Gordon Matta Clar ke
8 - Ar turo Franco
9 - Carol Bove
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MISSION
“Between here and there.” (Jane Rendell)
My interests are looking into physical, cultural & social thresholds and the non- visible boundaries in spaces of Norrebro. These I am calling ‘NON- SPACES’ I plan to record these spaces by a means of recording Analysing Thresholds/ Non Spaces: Unsuccessful thresholds are disorientating, in giving people chance to pause, to change their mind about entering. This intermediate state of ‘in between-ness’ has a double function of displaying inside or outside in which I plan to explore how to function better as a threshold between space. In entrance contexts, weak contrasts of design motifs/ symbolic of its purpose causes disorientation for the user. However studying entrances in Norrebro around Blagarsgard Vis along the lakes gave clear insight into different displays of entrances. I have included photographs of these different ‘thresholds’ and I plan to continue archiving these pieces of information for my investigation. Thresholds can all be invisible, however, the way one locks, obstructs, opens, invites, extends or limits determines the accessibility of the spatial experience and therefore defines a threshold in a non-space. A gate, door, lock or curtain people use in their homes, creates a boundary or threshold between space at a human scale. Exploring the tactility of these spaces, and what humans interact with. I will then catalogue and archive these physical objects and the physical experiences of interacting with them.
10 - F ran k L l oyd Wr ig ht
11 - C a r l o S c a r p a
12 - P e t e r Z u m t h o r
13 - Pet e r Zu m t h o r
14 - D a n i Ka r a v a n
15 - C a r l o S c a r p a
16 - D a n G r a h a m
17 - P e t e r Z u m t h o r
18 - Pete r Zu mt h o r
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VISION
“Every touching experience of architecture is multi- sensory; qualities of matter, space, and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle. Architecture involves seven realms of sensory experience which interact and infuse each other.” (Juhani Pallasmaa)
I chose to focus on a very human scale after studying the area of Norrebro in very high level of detail during the research phase of the project. Using the senses to be what measures our perceptions of space; sound, smell, noise, touch and taste. This tactile way of measuring space held my interest the more local and personal the research became. Exploring how locals use the space, and studying how they have created new thresholds within the existing thresholds of public spaces, specifically the courtyards. This overlapping of new and old thresholds in public space, then leaves areas of ‘non-space’ which I want to map in the area. Then focusing in on specific areas and sites to explore at greater detail and multiple scales between 1:100 – 1:1 to understand the details within these ‘non spaces’. During initial research, the studying of the materiality and human and physical responses to these and how they are used to define thresholds became my main focus of interest. How can we as designers redefine people’s perceptions of thresholds, to either limit or expand the invitation to use public or private space? This then lead me to think in very small scales with banal, everyday life narratives. What does one touch to unlock their front door? What is the handle made from? Does the rain soaked timber door remind him of a place he’s been before? These banal, rather ignored moments that occur in everyday life, are taking place in what we would describe as a threshold. A doorway, an entrance, a passage, a stairwell or a corridor. They are very transient spaces, in which we would not describe to be a ‘place’ but an in-between space. It is these areas of Norrebro, with site specific investigations I plan to record, archive and catalogue such details in order to better understand these, so to speak, ‘forgotten spaces’.
VISION
Diagram of plan of investigation
“To live is to leave traces” (Colomina, 1992, 74).
VISION
“Every building or space has its characteristics sound of intimacy or monumentality, rejection or invitation, hospitality or hostility.“ (Juhani Pallasmaa,1994, Questions of Perception; Phenomenology of Architecture, 45)
I began to collect photographs of the entrances into residential buidlings of Norrebro. The photos below display the contrasts in what is happening in the same citzy zone, but these exist two roads apart, less than 100 metres from one another. This to me shows a clear differnece in treatment of these ‘non-spaces’ and thresholds. I aim to collect more data in photographs, casts and models of further areas of Norrebro to collect an archive of more of these ‘thresholds’
VISION
“It is pleasurable to press a door handle shining from the thousand hands that have entered the door before us; the clean shimmer of ageless wear has turned into an image of welcome and hospitality. The door handle is the handshake of the building. The tactile sense connects us with time and tradition; through marks of touch we shake the hands of countless generations. “ (Juhani Pallasmaa, 1994, Architecture of the Seven Senses; The Shape of Touch, pg 33)
The photographs below are examples of some thresholds I am going to be investifating into in the area of Norrebro. Facade finishes and details, door finishes, handles, locks, floor finishes and pavings, staircase hand rails, stairwells and passages.
METHOD
“ A real architectural experience is not simple a series of retinal images; a building is encountered – it is approached, confronted, encountered, related to ones body, moved about, utilized as condition for other things, etc.” (Juhani Pallasmaa, Architecture of The Seven Senses; The Shape of Touch, pg 35)
I am going to map and archive with a multiple of mediums in order to catalogue the non spaces of norrebro. Mainly focusing on doorways, stairwells and passages. I will be casting surfaces, objects and details that lie at the thresholds I am investigating with alginate and resin. This will also lead into model making from plaster, concrete, wax, resin, metal and mixed media’s. I will be working in different scales across the process of the project. Casting being 1:1 scale to understand the intricate details. Modelling being between 1:1 and 1:50 Photographs and drawings will range from 1:1 to 1:250 Model making with plaster, concrete, resin, metal and mixed media’s in order to capture 3-dimensional space will be the first method of developing my understandings of these ‘non-spaces’ . This model making method is to develop and be refined further as the investigation or research unfolds. The desired end product would be a series of models from early tests to a more refined and designed resolution that will develop over the course of the research. The method throughout this project is to discover new ways of making and recording. I have never made site castings before, nor have I worked with resin, wax or plaster. I realise there will be a large trial and error process with this which at times will be frustrating. However, with this specific area of thresholds I am interested in, I feel these methods are the best and most accurate way for me to record. I will be using the Super-lab at university, as well as the metal and wood workshops. Alongside this I wish to make a large photographic record to capture light and peoples movements in space in these thresholds with camera film.
19 - R a h c e l W h i t e r e a d
2 0 - My u ng Keu m Ko h
21 - My u n g Ke u m Ko h
22 - Do Ho Suh
2 3 - A n i s h Ka poo r
24 - Rachel Whiteread
25 - Jorge Oteiza
26 - Benoist Ban Borren
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METHOD “Raising the issue of our invisible boundaries, which are implicit in our everyday social & psychological interaction in society” - (A room within a room)
E L E VA T I O N S | S U R F A C E S |
PL A N S | D E TA I L S | S U R FAC E S
S TA I RWE LL S | VO I D S
D O O R W AY S | L O C K S | H A N D L E S
VI E WPO I NT S | LI M I T S | BOUN DARI E S
S T U DY I N G | R E CO R D I N G AT M U LT I PL E SC A L E S | ZOOM I NG I N & OUT |
METHOD
DELIVERABLES
ARCHIVING •
Creating a collection of drawings in following, in scales of 1:100, 1:50, 1:20, 1:5, 1:1
o Elevations o Plans o Sections o Details o View/ framing •
Modelling/ casting
o Plaster o Clay o Wax o Ceramics o Concrete o Resin o Metals o Timber Project framing: Using different scales as a way to frame it • • • •
Begin working with 1:250 & 1:1 together Move into 1:20 with 1:1 Test at 1:20 & 1:5 Detail in 1:20 & 1:5
Presentation plan could be an exhibition of objects. • • • •
Castings Timber forms Metal casts Ceramic models
Start to write what thresholds could do better? EVERYDAY • • • •
Invite Intrigue Light a path Create understanding of public or private space
28 - Ch rstine Bjer ke
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- Rahcel Hurst
3 0 - Chr is Rober ts
Mixed media
Metal
Resin
Concrete
Plaster/clay
PR E S E N TAT I O N PL A N
1:5 Detail
1:5 Detail Models 1:5 / 1:20
1:5 Detail
A4/ A3 Archive Book
A0 Axo drawing
1:5 Detail
E xamples of archive of wor k
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SCHEDULE 44 m
Speak to Super-lab & workshops about facilities and casting materials
t
Site investigation - Define 3 sites to measure/ investigate. Measure up/photo- MATERIALS
Define methods of casting ORDER
graph 3 sites - start 1:250 map drawing w
Tutorial / Site investigation - THEME: GROUND SURFACES & WALLS
Map drawing & photos 1:250)
t
Collect 5 details or more from 3 sites - casting, drawings, mapping
3D Model 3 sites + details (1:1)
f
Tutorial / Review current collection and methods of collection & collect
Plaster mould resin casts (1:1)
s
Photograph all moulds/ casts - write report on discoveries, begin archive
Mapping & archiving (1:50)
m
CAD & physical models & drawings of details and ground & walls surfaces
Only model information recorded
t
CAD & physical model & drawings of details and ground & walls surfaces
Finish model & sheet drawings 1:20
w
Tutorial /Collect data to begin THEME: STAIRWELLS
Site visit
t
Have a solid map of archiving areas in multiple scales - start of axo drawing
Complete base map/ diagrams
f
Tutorial / Plan what to cast/ model next and prepare further investigations
Speak to Super lab technicians
s
Implement investigations & review
Site measurements & documenting
m
Workshop time - plaster , clay and resin explorations
Order material - bring clothes
t
Continue in workshop
Complete 4 development models
w
Tutorial / discuss approach to measuring voids / non spaces in 3D
Bring archive to tutorial
t
Site measure 1st stairwell and begin drawings and models
Site tools
f
Tutorial / continue modelling stair well & chose selected details with stair to
Focus the framing
s
45
s
46
focus on s
Make presentation for Critique
s 47
CRITIQUE WEEK
m
Critique / Review Critique information
t w t f s s
Make programme structure/ re framing after critique Site measure 2nd stairwell & begin to draw & model Continue working on 2nd stairwell Introduction to Dialogues Brief Plan progress
48 m t w t f s s
Group Tutorials / Dialogues event work Make work/ archive of work to present for event and tutorial Group Tutorials/ Dialogues event work Prepare for dialogues event Dialogues Event Review
SCHEDULE 49 m t w t f s s
Tutorial - progress with tutorial comments Site measure 3rd stairwell & draw & model Seminar Continue CAD modelling and drawing of stairwells Physical modelling and drawing of stairwells Review progress & current state
50 m
Tutorial - progress with tutorial comments & Prepare for critique presentation
t
Prepare for critique presentation
w
Critique
t
Critique
f
Critique
s
Review current project state
s
51 m
Workshop time - concrete modelling
t
Tutorial/ Continue in workshop
w
Tutorial/ Continue in workshop
t
CHRISTMAS PARTY
f
Continue in workshop
s s CHRISTMAS BREAK 1 m t w t f s s
Tutorial/ Review work to date & holiday - plan progress LECTURE - tbc Tutorial/ Modelling & drawing Modelling & drawing Tutorial/ Modelling & drawing Drawing up details/ forms in 3D CAD
2 m
Tutorial - Review work to date & plan progress
t
Work on 1:5 detail drawings
w
Tutorial/ Work on detail drawings at 1:5, 1:1
t
Axonometric drawing collation
f
FINAL TUTORIAL
s
Final drawings
s
Final drawings
3
EXAM - Print for Wednesday
BIBLIOGRAPHY
BOETTGER, Till, 2014, Transitional Thresholds, Birkhauser Verlag, Basel BOLLNOW, O.F, 2011, Human Space, Hyphen Press, London COLOMINA, Beatriz, 1992, Sexuality and Space & The Split Wall: Domestic Voyuerism, Princeton Architectural Press HOLL,Steven, PALLASMAA, Juhani, PEREZ-GOMEZ, Alberto,1994, Questions Of Perception; Phenomenology of Architecture, A+U Publishing, Tokyo KUMA, Kengo, 2008, Anti- Object: The Dissolution And Disintegration of Architecture, AA Publications, London LEFEBVRE, Henri, 2004, Rhythmanaylsis; Space, Time and Everyday Life, Bloomsbury Publishing Plc, London PALLASMAA, Juhani, 2012, Eyes of The Skin, John Wiley & Son Ltd, London SIMMEL, George, 2010, The Metropolis & Mental Life “Simmel on culture’ , University of Chicago Press, Chicago SENNET, Richard, 1990, The Conscience of The Eye, Faber and Ltd, London SPRINGARE, Jukka, 2012, Haptics: Perception, Devices, Mobility, and Communication, Heidelberg Berlin STEVENS, Quentin, 2007, The Ludic City: Exploring The Potential of Public Spaces, Routledge, London