Suthata Jiranuntarat Portfolio by suthata.j

S U T H A T A JIRANUNTARAT Arch it ectura l Por tfolio 2014

IM M ERSIV E B ODIES The Reciprocal Relationship of Human and Architecture 6

SUP ERP OSITION Knowledge Resource Center 70

RE CO NSI D E RI NG AR CHI TE CTU RE SCHO O L Chulalongkorn University 38

E NG AG I NG INTE RD E PE ND E NCY Ferry Crossing&Interpretation Center 82

BANG

COAL E SCE

Conflict Zones Design Build Projects

Innovation and Architecture for the Sea. Jacques Rougerie Competition

108

116

CU LTI VATI NG CRE ATI VI T Y Living Urban Park 52

PE RME ATI NG L I F E Fostering Flow and Exchange 94

NATI O NAL PANTHE O N O F K A Z AK HSTAN Astana Pantheon Competition 122

SUTHATA JI RANUN TARAT 100/61 Laddawan Soi 14, Chalermprakiat Rama IX, Nongbon, Prawet, Bangkok, Thailand 10250 +668 1937 4267 suthata.j@gmail.com

EDUCATION

Chulalongkorn University, International Program in Design and Architecture (INDA) – Bangkok, Thailand Bachelor of Science, First Class Honours; GPAX: 3.75

2009.08-2013.07

Meiji University – Tokyo, Japan Exchange Program

2013.04-2013.07

International Community School

2001.08-2009.05

– Bangkok, Thailand

High School Diploma, Honours

ACADEMIC EXPERIENCE

AIJ International Architectural and Urban Design Workshop – Tamura, Japan Embracing the Community with Public Transportation and Amenities

2013.07

COVA Laboratory 48-Hour Competition.Meiji University – Tokyo, Japan Nowhere, Special Award

2013.05

UTM/I-AUD Intensive Architecture and Urban Design Workshop – Tokyo, Japan The Envisioned Future of Nakano

2013.04

Our Next City Centers: Adding City Design to Architecture. Chulalongkorn- Meiji University Summer International Workshop – Bangkok,

2012.08

Thailand

Revitalize Z’ shell-Ter. INDA Design Build for Community – Gorkarna, India Computation

2012.05-2012.06

Fluid Space. INDA Design Experimentation Workshop - Bangkok, Thailand Project Manager

2011.10-2012.01

BANG: Conflit Zones. INDA Design Build

2011.05-2011.06

– Berlin, Germany

Mapping Kreuzberg, Representation and Reinterpretation of Boundaries, Thai Park/Market

PROFESSIONAL EXPERIENCE

Space Popular – Bangkok, Thailand Designer

2014.01-2014.09

Studio 1 – Bangkok, Thailand 3D Architectural Visualisation

2012.10-2014.01

Projects: Infinity Spa (Architectural and Furniture Design), Fun&Fit, National Pantheon of the Republic of Kazakhstan Competition, Design for Death Competition

Project: Grace Baptist Church

Innovation and Architecture for the Sea. Jacques Rougerie Foundation Competition

2013.10

– Paris, France

Coalesce

Archimedia – Tokyo, Japan 3D Architectural Visualisation

2013.06

Project: Yangon Condominium

TEACHING EXPERIENCE

Chulalongkorn University – Bangkok, Thailand TA for Second Year Design Studio. Instructor: Lara Lemes Chulalongkorn-Kingston University

2014.01-2014.05

2014.01

– Bangkok, Thailand

TA for Design Experimentation Workshop. Instructor: Christoph Leuder, Alexandru Malaescu Visceral Intricacy III: Digital Prosthetics Virtual Grammar of Architecture – INDA,

2013.12

Chulalongkorn University. Bangkok, Thailand

Guest Critic

AWARDS & RECOGNITION

SKILLS

Academic Excellence Award. First Class Honours INDA, Chulalongkorn University

2013

Studio Works Exhibition INDA, Chulalongkorn University

2013, 2012, 2011

Design Merit Award INDA, Chulalongkorn University

2010

Rhinoceros, Vray, Maxwell, Bongo Animation, Sketchup, Autocad, Adobe Suite (Illustrator, Photoshop, InDesign, AfterEffects) English, Thai

Software Languages 5

IMMERSIVE BODIES

The Reciprocal Relationship of Human and Architecture Visceral Intricacy II: Architecture as Performance pursues a new experience driven architecture of new urban sacred spaces. It explores the possibilities of architecture as performance by pushing the boundaries for humanarchitecture interaction. It seeks to bring architecture to life to a level where it can expand communication and exchange between architecture and its inhabitants to unknown levels. Through exploration of the possibilities of a transformable architecture and analysis of existing kinetic and movable structures, an active architecture that performs and acts according to its own “experience” and responds to the human activity inside is created as a form of communication bond between the architecture and its occupants. The exploration begins with the analysis of manmade performative construction of the Royal Opera House, investigating the precise and complex choreography of the involved agents — machines and humans — acting in symbiosis. Furthermore, a study of Protes-

tantism, its history, beliefs, people, calendar, artefacts, and architecture, examines the sacred communication between believers and architecture through the intricate ceremonies and rituals performed in the sacred space. The performance of the new architecture is situated in Central, Hong Kong; where believers will gather to perform sacred ceremonies (following a precise choreography) within the dense and complex urban infrastructure. Immersive Bodies emphasizes the idea of participation and activation, symmetry and alignment, and sacred and spiritual experience through the intricate and reciprocal relationship between human and architecture. The activation of the performance occurs when people participate and engage with the architecture as it responds back in symbiosis. Multiple agents, from various people and social groups in the site to the architectural space itself, come together correspondingly to produce a truly immersive experience.

Instructor: Fredrik Hellberg Spring 2013

Roy al Opera House D i e Wa l kü re , Act III

Symbiotic Relationship in Architectural Choreography To understand architecture as performance, one begins with investigations of the existing performative constructions to analyse the mechanics of its movements and the complex choreography of its actors. Immersed by a transformable architecture that brings together multiple actors to serve a unified purpose, my explorations of performative architecture iniated with the analysis of the exceptionally complex and precise choreography of the Royal Opera House. The Royal Opera House is one of the most prestigious and technologically advanced opera houses in the world. Located on Bow street in Convent Gardent, Central London, the opera house consists of three main performance stages: the main auditorium, the Linbury Studio Theatre, and the Clore Studio. The study focused on the main Auditorium, the celebrated auditorium where the performance of Die Walküre, or the Valkyrie, was held. The main auditorium seats 2,256 people all facing the main stage where the mesmerizing performances take place. In front of the stage, the orchestra pit sinks two meters under croft where the conductor directs the music that moves the whole opera. The stage, with a depth of 24 m and width of 14.3 m Stage Left and 14.3 m Stage Right, is framed by the proscenium, 13.5 m in width. Beyond the main stage lies the people, equipment, and spaces that made all the live performances possible. Above the stage is the fly tower, with a grid 37 m above the stage floor. The flying system is highly advanced and fully automated allowing for precise control. Surrounding the main stage are side stages where stage equipment, scenes, props, etc. are stored, prepared, and transferred on and off stage. Moreover, the Royal Opera House consists of two rehearsal rooms the same size as the stage. The get-in lift allows props and scenes to be delivered and moved into the fit-up room and finally onto the stage. The complexity of the opera house extends beyond

just the captivating performance of the actors and the enthralling music of the orchestra perceivable by the audience. Backstage, 189 other crew and technical members are responsible for the management and success of the performance. The Die Walküre demanded very much of the performance talent as well as technical expertise. For Act III, a two-ton wall was to be moved up stage by a stage buggy, locked into the spigot that extruded from beneath the stage, rotated several times by the hydraulics operator, detached from the spigot, and finally lifted from the stage and up to the fly tower above. Not only that, there was to be flames running across the metal helix which wrapped around the scene. All this was to be carried out in front of the live audience enchanting them with the orchestra music and performance, without them acknowledging the presence of the backstage. Undoubtly, Act III of Wagner’s Valkyrie requires extremely complex choreography, network, and movement between the conductor, th orchestra, the performers, and the backstage and technical crew. In charge of the whole operation, the deputy stage manager follows the music score and calls out all the cues for every part of the performance: audio/visual effects, props, technical crew, hydraulics operator. Every moment is choreographed with acute precision to the music. Although the movements, skills, and tasks of each element of the choreography are different, every movement of each performer, conductor, orchestra member, backstage and technical crew serve a single unified purpose: the opera performance. Even with its incredible complexity, the opera house only offers a restricted view from a single point of perspective. Thus, although all focus towards the same performance, only certain members of the audience, those in the optimized positions, can perceive the opera performance as it should be. Moreover, the architectural performance, as engaging as it is, receives very little to no response back from its audience. 9

Royal Opera House. Composition and moving elements 10

Wall rotation controlled by hydraulics operator

Wall movement controlled by stage buggy

Attachment of point hoists to the wall

Fire movement through double helix

Wall lift by point hoists

Die Walk端re Act III. Performance Choreography

Pro testantism

T h e B o d y o f Ch rist

The Body of the Church Immersed in Christ. The Immersive Architecture of the Church Protestantism focuses on the belief of the one true God. God exists in the form of the Holy Trinity: God the Father, God the Son, God the Holy Spirit. Consequently after the fall of man, all of mankind entered into sin and death. Nevertheless, God still graciously loves man and grants salvation to mankind through the sacrifice of His one and only son: Jesus Christ. For when one acknowledges and confesses one’s sins, seeks forgiveness, and professes one’s faith in Christ, one escapes condemned death and receives eternal salvation through Christ. Protestants place great virtue on the life and teaching of Jesus Christ (the Messiah), with emphasis on His virgin birth, baptism, teachings and miracle works, sacrificial crucifixion, and resurrection. After His ascension to Heaven, He poured out the Holy Spirit on the people. Protestants believe that God lives within them, in the form of the Holy Spirit. Thus, all believers, connected through their faith, belong to a unified church: the body of Christ. Although each member of the church is blessed with different gifts, talents, and skills, every member works together to serve one body. The church is the universal body of Christ made of all believers. Ideally in everything they do, Protestants do it in remembrance of God. Christianity is not merely a religion, but a way of life. They live to serve and worship God and develop their relationship with Him. Throughout their life, they undergo various events following the example set by Jesus Christ — such as christening, baptism, and evangelism — to strengthen their individual faith and also the faith of others, including existing members of the church and nonbelievers. The architecture plays a vital role in Christianity. It narrates the story and history of the religion visually and experientially. The paintings and symbols along

the walls and stained windows of the church tells stories from the Holy Bible. The architectural spaces influence the effect of the religious ceremonies and rituals that takes place within. The sequential experience one takes through the architecture gradually removes one from the distractions of the busy and chaotic earthly world as one enters into a truly immersive sacred atmosphere. Various types of church architecture evoke different experience, feeling, and emotions. In Gothic architecture, the elements evoke an impressively overwhelming environment. The great height and scale of the space reaches high towards the heavens and allows sounds to prolong within the space. As lingering music filling the sacred space, believers are submerged in the heavenly songs of praise and worship. With over a thousand years of history, Westminster Abbey is truly one of the most significant architecture in England. It holds the highest and most prestigious ceremonies for some of the most powerful and respected people: coronation of monarchs, place of worship, royal weddings, and funerals for the royal family as well as notable figures in England’s history. Through symbolism, painting, images, sculptures, and the architecture itself, Westminster Abbey tells not only England’s history, as it serves also as a church, it narrates the story of Christ and beliefs of Christianity as well. The crucifix plan, the stained glass windows, the majestic height of the towers, the ornamentation of facade and pointed arches, the sculptures, the cosmati pavement, and high altar all manifest the life and story of Jesus Christ as well as the connection and relationship between the earthly realms and the divine. As one walk in from the western entrance through the nave towards the rising sun in the east, one looks forward to the second coming of Jesus Christ. As the architecture soars to the sky above, it raises one closer to the heavens, closer to God.

The life of a Protestant believer 17

Westminster Abbey. The Holy Communion 19

Inte r se ction of Multiple Ac t ors

In t e r se c t i o n o f Ly nd h urst Te rrace , C ochra ne Street, a n d Ga g e Stre e t in Ce nt ral, Hong Kong

Organizing Alignment within Disorder From the analysis of two complex systems the Royal Opera House and Protestantism, I was very fascinated by the idea of multiple agents coming together to produce a sense of ecstasy: a “climax.” This climax would be achieved by participation and activation by different actors: people, light, wind, and sound. A choreographed sequence with precise timing and control would be established to create a “performance” leading up to the “climax.” The effects I seek to achieve is an “immersed” environment, similar to that of an opera house or a Gothic Church; yet surpasses them as the architecture is no longer static but plays a major role in the performance and responses to the agents acting upon it. No longer is the performance and transformation of the architecture just percieved by removed audiences as in opera houses; nor is the performance just physically experienced as a static space. Architecture and humans engage in a symbiotic relationship where each participant responds to the forces and movement of the other. Humans participate in the movement and transformation of the architecture and space; whilst architecture reponses and influence the choreography and sequence of people’s interaction. In the context of Hong Kong where a prominent axis or prescribed view barely exists, the architectural performance seeks to provide symmetry and alignment in a seemingly chaotic and complicated site. When actors are unaware of their participation in the choreography, effects produced would be meaningless. Yet, when actors actively perform and conduct their religious rituals and ceremonies, the symmetry and alignment would be gradually revealed

until one achieves the climatic moment. Immersive Bodies inhabits the hyperdensities of Central Hong Kong at the intersection of Lyndhurst Terrace, Cochrane Street, and Gage Street. Each path of the street intersection as well as the elevated walkway above evokes its own unique and distinct characteristics. Lyndhurst Terrace is lined with shops and restaurants frequent by locals and tourists and provides car access to the intersection. The connecting Gage Street consists of a supermarket, a convenience store, and several small restaurants; the street turns into a busy market during the day and becomes less active at night as the market and stores close. The Cochrane Street, a pedestrain street, connects Hollywood Street, lined with antique shops and art galleries, and Wellington Street, a busy commercial street. From the Hollywood Street, pub and restaurants are located beneath the elevated walkway turning the area of the Cochrane Street into a night club during the night. The complexity of Hong Kong is not only limited to the sloping ground level. An extensive network of elevated walkways, linking various areas of the city and spaces within the buildings together, intensifies the intricate and complex nature of the city. A part of this elevated walkway rises above the street intersection connecting the residential areas on the hills to the lower commercial areas. Although the street and the elevated walkway are situated in close proximity, the users of each rarely have interaction with one another, let alone take notice of the other’s presence. The diverse qualities of each path provide exciting potential and challenges for an architectural performance that seeks to establish symmetry and alignment through a complex choreography within a seemingly chaotic and disorganized site.

Also eminent in the Hong Kong context is the impact of architecture on the city physically and experientially. The tall towers rising throughout the city, especially those of High-tech architecture such as the renown HSBC building, display the technological advances of the city and, in a sense, evoke qualities similar to those of the Gothic church. These buildings are not only icons of the cities but serve as meeting and gathering spaces. On Sundays, immigrant domestic workers take shelter throughout the public spaces of the city, including the elevated walkways and the open ground level of the HSBC building. Thus, the building also performs a public and social function.

Church administers 4 universities, 144 secondary schools, 192 primary schools, 273 kindergartens, and 116 nurseries; 16 theological seminaries and Bible institutes, 16 Christian publishing houses, 57 Christian bookshops, 7 hospitals, 18 clinics. They also manage 59 social service organizations : 227 community and youth centers, 74 day care centres, 17 childrenâ&#x20AC;&#x2122;s homes, 35 elderly homes, 106 elderly centers, 2 schools for the blind and deaf, 47 training centers for the mentally handicapped, 15 camp sites, and 5 international hotel guest houses.

This public service quality is encouraged within the Protestant community, especially in Hong Kong where the Church is very much invovled in providing service and support to the public; seen through its involvement in various educational institutions, healthcare, and social service organizations. Although the number of Protestants in Hong Kong is about 480,000 (6.7% of the total population), the church plays an important role in the city. The Protestant

The complex, vibrant, and lively aspects of the site enhances the effect of the architectural performance. The site, being activated differently throughout the day and night by multiple types of users and activities â&#x20AC;&#x201D; busy office workers, excited tourists, eager shoppers, merry partygoers, constant locals â&#x20AC;&#x201D; generates varying experiences and performances. As religious ceremonies and rituals take place publicly in such an open intense, dense environment, the sacred message would be received by a much wider audience than that of the traditional church.

HSBC. Hong Kong

Westminster Abbey. London

Gage Street. Central, Hong Kong

Cochrane Street. Central, Hong Kong

Lyndhurst Terrace. Central, Hong Kong

Intersection Gage, Cochrane, Lyndhurst Terrace. Central, Hong Kong 23

Intersection between two traffic roads, two wa Each path consists of its own distinctive qualit 24

alking streets, and an elevated walkway above ties, intersected yet separated from one another. 25

Im m ersi ve B o dies T h e Re c i pro cal Re lat ionsh ip of Huma n a nd Arc hitecture

The genesis of architecture can be traced back to humanity’s orientation towards the sacred order. The first constructions of human civilization sought to symbolize and embody the characteristics and attributes of God or deities. To align with the sacred realm, man manifested through architecture the imagined ideals of God. Believers of a shared faith join forces to create sacred monuments, from simple altars to massive intricately ornamented structures, to communicate with their God. The communication is performed when believers come together to activate various spaces through sacred ceremonies and rituals. Man speaks and prays to altars, preaches from podiums, and sings songs of worship and praise in the sacred spaces; whilst the architecture narrates its stories through paintings, ornaments, and sculptures, choreographs the sequence of movement through its spaces, and overwhelms its inhabitants with its spatial and experiential qualities of scale, intricacy, light, and sound. As humanity imposes various conceptions of sacred order onto architecture, the architecture, in turn, shapes the choreography of man’s performances in its spaces. The formal and spatial qualities of the architecture can determine the experience as well as the ceremonies and rituals performed in the space. In Gothic architecture, the tall towers soar towards the sky reaching to the heavenly realm, bringing believers closer to God. The great height and pointed arches enable sounds to reverberate and linger in the church’s interior spaces influencing the music that is performed: slow harmonious choruses. Together, its impressive scale and height, expressed structure, intricate ornaments, and captivating sounds immerse

and overwhelm believers and non-believers alike. Although existing, the exchange and interaction between architecture and man is limited. Even though the present religious architecture can indirectly impose, to an extent, the movement of its inhabitants, it fails to respond to those movements. Its staticness restricts the experience of its users to a predetermined perception. In a Christian church, the procession of ceremonies and rituals are conducted through a single approach, from the nave to the high altar. Although the people move through the spaces, they do not directly interact with the architecture, nor does the architecture acknowledge their presence. The architecture remains static and is only vaguely “alive” in the imagination of the believers. Immersive Bodies investigates the intricate and reciprocal relationship between human and architecture: breathing life into architecture and expanding communication and exchange between architecture and its inhabitants. In response to man’s search for sacred order, it creates alignment and symmetry through the participation and activation of the public urban space in a sacred and spiritual performance. The activation of the architectural performance occurs when people participate and engage with the architecture as it responds back in symbiosis. As it breathes through the city’s infrastructure, Immersive Bodies transforms a chaotic and disorganized street intersection into an immersive living organ. As people pass through its body, the architecture baptizes the immersed bodies with its overwhelming voice.

The chaotic and disorganized street intersection transforms into an immersive living organ. With influences from the Christian churches, especially those of the Gothic style, the architecture immerses its inhabitants with its grandeur scale and astonishing voice. Immersive Bodies, working as a living organism/ instrument, breathes in air from the city’s infrastructure — the water mains — and exhales through a system of pipes branching out from the central altar. Nourishing its life are the people and vehicles that pass through its body. As it breathes, water rises up and down the main pillars helping maintain constant air pressure inside its body. As people and vehicles pass through each of the intersecting paths, the architecture responds and speaks back through a variety of organ pipes. The tone and intensity of the performance response reciprocally with its activation through participation and interaction of its various actors. Adapting from the systems of organ pipes used in religious ceremonies, Immersive Bodies utilizes air pressure — gained through pressure in the water mains running through the site — to power its operations. The regulator applies the system of the

Bringing together of different agents: people, light, sound, water, architecture, and space. Performing religious rituals and ceremonies, believers purposefully create symmetry and alignment towards the center through communication with the architecture.

Greek hydraulis using water pressure to maintain constant air pressure. The air then travels to the windchest which are located on top of the “altar piece” within the intersecting pointed arches. The “keys” of the organ located on the ground are activated as actors exert pressure onto them. The more actors, the more keys are pressed creating fuller and louder the sounds. As the keys are pressed, the air pressure travels through the pipes to open valves letting air out from the mouths of the pipes filling the atmosphere with diverse compositions. To perform religious ceremonies and rituals, believers, approaching from different paths, come together and play through to keys, moving to the precise choreography of the specific ceremony, immersing the space with worship music. Each musical composition varies according to the number of performers — religious believers and other members present in the space — as well as the choreography in which those performers move — the keys they activate/play. Immersive Bodies lives with the life that inhabit it. Its voice performed by the city and the people, its music resonating to the heavens.

Investigation of the pipe organ and its elements and mechanics. The project employs mechanics of the pipe organ and expands it to a public field of musical notes activated by users of the space.

The pipe organ is organized into each intersecting path. Each path contains a keyboard (61 notes, 5 octaves or 61 pipes and 5 ranks of pipes). The pipes are arranged so that sound would surround its inhabitants from all sides. The keys are arranged according to the scale on the keyboard (in some cases one side are the notes from the C scale and the other the C# scale). Furthermore, the placement of the pipes and keys directs perspectives towards the High Altar in the center. This organization and alignment creates a transition through space as sounds become denser and fuller as one moves towards the High Altar, the main worship space.

The organ breathes through the cityâ&#x20AC;&#x2122;s infrastructure and provides air throughout its body to be released. The water in the regulator rises and fall with each breath of the organ. As the inhabitants engage with it by exerting pressure on the keys, it responses back accordingly by vibrating air out through the corresponding pipe.

As a body of the church (two or more people) is established, the organ will sound. On regular days, the sounds would be random and disorganized. 30

Through active participation of the church, organized music will be created, filling the atmosphere with praise and worship. (The larger the congregation, the fuller and more complete the music)

On special ceremonies such as Baptism, the elevated walkway will be filled with water acting as a baptism pool floating in the middle of the intersection. 31

Approach through one of the paths directed towards the central High Altar.

Underneath the elevated path. Structure of the water, air, organ, and steel pipes are revealed. praise and worship. (The larger the congregation, the fuller and more complete the music)

Elevated walkway with baptism pool in the center. Pipes run along the walkway to supply air to other paths.

As one is immersed in the overwhelming musical trance, one gazes up towards the heavenly light. praise and worship. (The larger the congregation, the fuller and more complete the music)

RECONSIDERING ARCHITECTURE SCHOOL Faculty of Architecture, Chulalongkorn University How can we critically and optimistically design for the future of our practice? What about the future of architecture education? What should the architecture school of the future look like, how should it function, and how should it address sociocultural realities? A school of architecture is a special type of building and, perhaps one of the most challenging spaces to design. A school of architecture must simultaneously accommodate a large variety of functional demands, serve as a didactic model for both students and professors, foster trans-disciplinary collaboration, enable dynamic capacities of expansion and academic flux, and engage social, cultural, and historical narratives. The new school of architecture functions as a part of the city, a dynamic site where flows converge and intersect. Challenging the former rigid zoning and division of programs

the fixed, restricted rooms with no crossinteraction, it seeks to connect and integrate seemingly separate spaces, placing them in the context of the other. The existing building elements are incorporated with the new, redefining old functions and introducing new ones. This new juxtaposition, adjacencies, and integration of programs, spaces, and architectural elements allows for greater possibilities of interaction and exchange between people â&#x20AC;&#x201D; students, faculty, and visitors â&#x20AC;&#x201D; as well as didactic experiences where the architecture engages users with constant new definitions and interpretations. The architecture school exhibits a dynamic experience of space created by the architectural elements, the environment within and surrounding it, and the people that inhabit it. The function and interpretation of the architecture continually transform as it is experienced and understood individually and collectively.

Instructor: Yarinda Bunnag, Will Patera

Fa l l 2 0 1 2

The Faculty of Architecture, Chulalongkorn University is located in the urban center of Bangkok, Thailand. The surrounding major shopping malls, educational centers, schools and universities, arts and cultural centers, hotels, parks, and residential areas expose the university to a rich multitude of diverse flows. The architecture school stands at one of the entrances from the Phayathai road into the university. Taking advantage of this opportunity, the new school reveals and exhibits the learning process, works, and projects of its students (previously hidden within the walls) inviting different people from diverse practices and background to engage and experience its spaces. At the points where the building meets the city, social programs, such as cafĂŠs, plazas, and working spaces, encourage public engagement and collaboration. 40

Existing

Proposal

Isolated, disconnected allocation of programs

Integrated, interrelation of programs

Segregated circulation of different users

Circulation as a medium of exchange

Blocked areas, obstructed paths

Extension to the public street and University field

Interrupted visibility and accessibility by faรงade layer, idle courtyards

Introduction of programs to faรงade (book paths),courtyards (communal spaces) 41

Throughout the years, the Faculty of Architecture has undergone several transformations from its original two-storey building; additional buildings and spaces were constructed and others renovated to serve the growing number and needs of its users. However, the series of foreign attachments did not respect the organizational system and circulation of their preceding building blocking pathways and flows with closed rooms and dead ends. Programs, particularly studios, and circulation were segregated, separating the students and faculty of different disciplines into their respective floors and rooms. The new school of architecture intergrates with the antecedent architectural elements and redefines its program allocation, establishing connections physically and visually, allowing for more possibilities of communication and collaboration among its various users. Programs placed in context of another are connected by a continous series of stairs, ramps, and platforms, 42

which not only serves as circulation but also transforms into individual and collective spaces for learning and exchange. Selected elements of the preceding building (three courtyards, ornamented columns, and sections of the facade) are preserved to retain the historical narrative of the school yet simultaneously reconstructing new layers of meanings and interpretations through new and unanticipated relationships, perception, and interaction. For instance, the ornamented columns are cut from the old structure to become “objects” on display; the grid facade that envelopes the two courtyards, transforms into a continuous bookcase that extends from the central library into the studios, galleries, lecture and reading spaces throughout the school. As users —students, faculty, and visitors— circulate the school, they are continually stimulated to learn; not only through lectures and books but through actively engaging and experiencing the architecture and its people.

Preservation of existing elements

Structure and Circulation Core

Studios

Living, recreational spaces

Library and Book path

Reading spaces

Office and Administration

Lecture spaces 43

Ground F 44

Floor Plan 45

Third Fl 46

loor Plan 47

From the main road, pedestrians enter the architecture school through the public plaza (leading to the main auditorium) and cafe; while those driving pass view the exhibition of student works from the gallery above.

The courtyard above the main auditorium connects the surrounding exhibition gallery, studios, research center, and lecture halls.

Studensts enter the architecture school through the outdoor street or the field that continues into the event space (for sports and performances) and cafeteria courtyard.

The grid-like facade elements from the old building (which had blocked views into the courtyards) is transformed into a series of bookcases that connect the different programs and people together.

The workshop courtyard presents the learning process in creating models and physical experiments to students studying/working in the studios above and others who pass through on various levels of the building.

The main entrance welcomes students, faculty, and visitors with its grand exterior facade that seemingly serve as structural columns yet holds an elevator core on either side taking users from the central library to various spaces.

The central reading space above the library converge with adjacent studios and lecture spaces (which are circulation spaces otherwise).

Studio spaces circulate throughout the school; the varying levels of working spaces foster rich possibilities for exchange and interaction of students and faculties of different disciplines.

CULTIVATING CREATIVITY Living Urban Park Tokyo, the world’s most populous metropolis, comprises of vastly unique and complex entities. The metropolis is rapidly growing and developing technologically and urbanistically. The site focus is one of the reactions to bustling growth. The Odakyu Odawara Line in the Segataya district (HigashikitazawaShimokitazawa-Setagayadaita) is being transported underground to increase its train lines. Thus, the existing railroad on the ground level no longer serves its initial function. The site is designated to be transformed in to a commemorative urban linear park. The Odakyu Odawara intersects the Keio Inokashira Line at the Shimokitazawa station, one of the most popular area among the young and creative generation due to its unique and intriguing culture, atmosphere and urban condition. Whereas, Higashikitazawa and Setagayadaita are neighboring residential areas with new apartment buildings and old wood-

en hosues along narrow meandering streets. Taking in account the captivating qualities of the site, the masterplan of the linear park is developed, with Tachapol Tanaboonchai, Saki Hayashida, and Yuko Matsuo; the proposal aims for a continuous enhancing, stimulating, and intriguing experience through the park: the Living Exhibition. Sections of the Odakyu Line are then divided between each member. The Creative Center extends between Higashikitazawa station and Shimokitazawa station. It seeks to redefine the existing boundary between architecture and urban fabric. By integrating urban public spaces into buildings and vice versa, the architecture and city is preceived as a whole. It embraces the rich creative cultures of the site by providing flexible spaces where people of diverse interests, ideas, skills, disciplines, and culture gather, interact, and collaborate: cultivating one another’s (and the whole community’s) creativity.

Instructor: Masami Kobayashi

Spring 2013

The Setagaya district mainly consists of residential areas; one of the exception is Shimokitazawa. Shimokitazawa, an organically developed shopping district with distinctive narrow, winding streets, attract visitors with its cozy and fascinating venues: (second-hand) clothing shops, cafĂŠ, theatres, and live music clubs. Due to the limited space inside the shops, people and activities within often extend out to the streets, intriguing passersby. The intimate scale of the streets and shops help form a comfortable atmosphere for visitors and inhabitants. The neigbouring Higashikitazawa and Setagayadaita are residential areas, also with narrow streets and few wide roads. Higashikitazawa, being closer to the metropolitan center, appeals to the young generation who settled in apartments; while Setagayadaita still consists of old wooden houses. 54

Urban Block Layout

Building Density

Rail Network

Road Crossing

Green Open Space

Cul de Sac (social gathering space for locals)

Commercial / Mixed-Use / Public Buildings

Residential Buildings 55

Living Ex 56

xhibition

The linear park performs as a Living Exhibition, displaying and enhancing fascinating qualities of the area. It creates a continuous yet diverse experience along the railway and connects the scattered fragments throughout the surrounding neighbourhoods, that otherwise may remain undiscovered. Walking along the linear park and wandering through the spaces of the community, visitors experience the people, culture, architecture, landscape, and urban fabric as a whole. From the old wooden houses of Segatayadaita, the park acts as a communal living room where inhabitants (mostly elders) are encouraged to join in social activities, breaking from their usual private individualistic lifestyle. As one approaches Shimokitazawa, one gradually passes through more active programs: the public library and cafĂŠ. Since Shimokitazawa already comprises of numerous intricate complexities within itself, the park acts as a communal performance space for inhabitants and visitors to express their unique styles and vibrant spirit. Moreover, the park connects to various venues across the area; visitors are guided through the meandering streets, discovering exciting places with people that share similar interests and ideas. From the performance space, an open gallery exhibits works of locals and visiting artists and designers that reside in the creative center. The creative center, located in Higashikitazawa where many young creatives reside, appeals to those with similar vitality. It acts as a hub (for locals and visitors) that helps foster and cultivate knowledge, growth, and understanding, generating new ideas and perceptions. 57

Creative Cente 58

er Masterplan 59

Creative Cen 60

nter. Elements

The Creative Center explores and challenges the conventional boundaries between architecture (buildings) and urban space (space between buildings), built and natural environment, inside and outside, public and private, permanent and temporal. By blurring the existing definite boundary of buildings, enclosed walls and contained programs, public urban spaces continue into the interior spaces (where programs such as studios and galleries are located) and vice versa, encouraging greater possibilities of flow and interaction, convergence and integration between various groups of people, from temporarily residing artists to daily business commuters. Flexible, temporal elements and materials are incoporated to provide for changing needs of various users, whether it be living, working, performing, or entertaining. The various buildings in the creative center are curated to respond to the surrounding buildings, streets, and landscape as well as to enhance the sequential experience as one move through the varied spaces led by the Odakyu railway tracks: open public park surrounded by shops and large sports center, forested meandering path, intimate courtyards surrounded by studios, galleries, and living spaces, public park next to the library, beautifully landscaped gardens, courtyard framed by studios, living spaces, and linear gallery, open public plaza leading to the new underground Higashikitazawa station and ultimately the structure of the old station is preserved and converted into a restaurant and exhibition. 61

From the open gallery and park, the creative complex c bedrooms, where different artists, designers, and musici 64

comprises of studios, galleries, library, living spaces and ians live temporarily and varied individuals visit daily. 65

Between two creative complexes stands the learn gather to research, experiment, and collaborate. through the linear gallery passage and public pla 66

ning center where locals, visitors, and residences . One continues to the Higashikitazawa station aza where works and performances are displayed. 67

Approaching from Shimokitazawa, one wanders along the park through the bamboo forest into the creative complex.

Spaces can be reconstructed to serve various programatic needs with varying levels of privacy.

An interior studio transforms into an open public gallery by modifying the flexible partitions.

As one approaches the Higashikitazawa station, the outdoor gallery exhibits the railway tracks as an â&#x20AC;&#x153;objectâ&#x20AC;? on display to commemorate the Odakyu Line.

SUPERPOSITION Knowledge Resource Center The Knowledge Resource Center aims to encourage the sharing and creation of knowledge by bringing together traditional book-based library resources and services with technologically advanced tools for the discovery, use, and effective presentation of information. It seeks to promote and encourage reading and life-long learning through providing opportunities to develop, exchange, and display creative works. Thus, learning happens not only through books and media but also through interaction, exchange, and experience: learning as a way of life. In order to integrate learning into daily life, the projects explores life in the city focusing on that of the site, studying and analysing the users, building typology, and urban condition. It reflects the unique urban character of the site: vitality, multiplicity, simultaneity, flexibility, intersection. As with the city, spaces change and transform with the dynamic

interaction between architecture and humans. Superposition of the city places programs, people, and activities in a space occupied by another so that they coincide. Users experience multiple occurances happening simultaneously, similar to the city with different levels (skytrain, elevated skywalk, pedestrain street) and variations in the urban condition (shopping centers, high-rise hotels, clustered housing, compacted shophouses). Bringing in the city, the Knowledge Resource Center superposes the diverse users — enterpreneurs, office workers, students, tourists, and locals — and activities of the area — commuting, traveling, eating, selling, shopping, learning, playing, meeting, and (being near the Baan Krua community and Jim Thompson’s house and museum) silk making. The superposition of the city opens diverse possibilities as different agents begin to intersect, interact, and exchange.

Instructor: Kerrie Butts

Spring 2012

Hotels

Ratchatewi staion

Boat pier on the Saan Saab canal, connected to Chao Phraya River

Shophouses

The site is located in an abandoned plot of land in the Ratchatewi area, previously being used as a backdrop for graffiti and a small sports court for locals. The surrounding residential area consists of traditional timber houses, especially in the Baan Krua community next to the Saan Saab canal, mixed-use shophouses (commercial on the ground floor and residential on the upper floors), high-rise condominiums and hotels. Historically, the Baan Krua community is known for its silk production for Jim Thompson, his house, now converted to a museum, being across the canal; presently, only a handful of houses are still involved in silk production. The timber house emphasizes the idea of family and community; the compacted shophouses mixture of public space and private space and different users; the high-rise hotels and condominiums private individual units with a shared common space. Adjacent to the city center, the site is exposed to multiple users in constant flux. Siam skytrain station is the one of the major intersection nodes of the city, surrounded by extensive shopping venues: three connected shopping malls and an outdoor shopping square. Across the Phayathai road is the National Stadium, another large shopping mall, and Bangkok Arts and Cultural Center. To enhance the idea of Superposition of the city, an extension of the existing skywalk (from Chidlom-SiamNational Stadium stations connecting major shopping malls and office buildings along the line) is proposed to link to the Knowledge Resource Center, Ratchatewi station, and Phayathai station, where the BTS skytrain connects to the Airport Link; thus, connecting the multiple major nodes of the city.

Palace wall

Siam 73

Fourth Floor media

Third Floor

library reaading and study spaces cafe

Second Floor

exhibition silk gallery and shop children study and tutor public plaza (skywalk connection )

Ground Floor

restaurant auditorium silk production and learning mulberry garden outdoor recreation space

Below Grade

workshop space supply/book store administrative office 75

Ground Floor Plan

The Knowledge Center can be accessed from several points: the main street, the alleyway (soi), the skywalk connection. From the main street, one is greeted by the restaurant and auditorium. One can enter the building through the restaurant or walk through the alley between the two buildings to enter the lobby or the auditorium. In the lobby, one can explore the mulberry garden in the outdoor courtyard or continue up the stairs or elevator to the gallery, library, and reading spaces. From the back alley (soi), one approaches a recreational square. Next to the small park, the silk production and learning center helps to revitalize the value of Thai silk and related products, holding open workshops to locals and visitors. Beside the park, a set of stairs lead down to the underground courtyard 76

where the workshop, supply and book store, and offices are located. From the skywalk connection, one enters the public plaza where public events are held, including the marketplace where unique handmade products are sold. Adjacent to the plaza is the indoor gallery, where art and cultural works are exhibited, and the silk shop and gallery, where dyed silk are hung to dry and finished silk fabric and products are sold. Above the gallery is the library and main reading space, where visitors can study individually or collectively. From the reading space, one can view the gallery exhibitions from above. The outdoor patio contains a cafĂŠ where people can relax and meet casually. A children section, overlooking the park, provide spaces for child daycare and education.

Third Floor Plan

Main street access

Third Floor Plan

Approaching from the skywalk, one enters the public plaza where flows of the city meet.

The silk gallery connects the silk production and learning center, the art and culture gallery, as well as the public plaza.

The library provides a variety reading, studying, and working spaces for diverse users and their changing needs.

The art and culture gallery can be accessed and viewed from various points in the Knowledge Resource Center.

ENGAGING INTERDEPENDENCY Ferry Crossing and Interpretation Center, Bang Kra Jao Bang Kra Jao, known for being the “green lung” of Bangkok, is a natural reserve almost completely encircled by the Chao Phraya River, where Bangkok city dwellers and tourists retreat to appreciate and enjoy nature away from the chaotic and bustling city life. Historically, the locals of Bang Kra Jao were self-sustainable, working on farms and orchards and constructing canals for transportation and irrigation. However, Bang Kra Jao gradually became more urbanized with new concrete roads and buildings taking over a number of canals and farmland. As the new generations turned to seek jobs in the city, many farms, green areas, and canals are left discarded and abandoned. The new pier serves to promote and evoke history in to the present context. It makes use of availiable natural resources, creates a new center for locals and visitors to gather and interact, and revives the values and importance of nature and the river. Throughout history, water has always been important and essen-

tial to Thai life and culture, serving functional uses and symbolic significance in daily life and special ceremonies; yet through rapid urbanization the virtues of water begin to be lost. The design reveals the interdependency between people, nature, and the river. Being Bangkok’s green lung, nature and the river is vital to everyday life of Bang Kra Jao. Interdependency is experienced through the transformation of spaces through out the day: tide levels of the river, the cultivation of the farm, and activities of people at different levels of the center. Each encounter is unique to the conditions at that point in time. The rising and falling of the water tide transforms the spaces, activities, and circulation of the center; some spaces are only accessible during low tide, while some activities happen only during the high tide. Moreover, the form of the center plays with perception and sequence of experience. Sharp angles and turns show contrasting views, programs, and experiences.

Instructor: Kesate Tadesse

Fa l l 2 0 1 1

Bang Kra Jao 84

The site focus is at Kum Nun Kao Pier, where people from the city arrive by boat from the Klong Toey Pier. The new ferry crossing and interpretation center is proposed to be located where the canal in Bang Kra Jao flows into the Chao Phraya River. Adjacent to the canal exists an abandoned village, only the buildings foundation ruins still remain. The existing pier is an isolated building which only directs users to the main road; whereas the proposed site allows for more opportunities and possibilities of interaction between the nearby local community, the abandoned ruins, the Chaophraya river front, and the canal that connects to the farms, natural reserves, communities, and people: the life of Bang Kra Jao.

Elevated Platform

elevated green park provides recreational and relaxing spaces for tourists and the neighbouring local community

Ground Level

gathering spaces for visitor and locals: visitor center, bicycle rental, restaurant, shops, multifunctional space for commercial, educational and recreational purposes.

Belowgrade Level

recollection and exhibition of abandoned spaces: natural sediments and building ruins (only accessible at low tide)

Boat approach at low tide

Below Grade Plan 90

Boat approach at high tide

Elevated Platform Plan 91

Pier (adjacent to the main road) at low tide.

Pier (adjacent to the main road) at high tide.

Pier (adjacent to the farm) at low tide.

Pier (adjacent to the farm) at high tide.

PERMEATING LIFE Fostering Flow and Exchange Inhabitation should be more than just dwelling in a space; it should evoke interactions between the users and the space they inhabit. Located in Bang Kra Jao, the site once housed a local village. After a series of unfortunate events, its inhabitants were forced to seek new refuge, leaving the abandoned remains of dwellings that can no longer foster life. Because of the dead space in between the adjacent village and the pier, the existing local community is disconnected from the main pier and visitors that arrive and depart from there. The project aims to reconnect and revive spaces of inhabitation, bringing life back to the site. The new community allows for dynamic flows of people and activities that would foster the site and its surrounding context: local community, pier, natural habitat. Cohabitation of different agents â&#x20AC;&#x201D; persons, natural forces and objects â&#x20AC;&#x201D; evokes new possibilities

of programs and relationships and encourages flow and exchange between them. The main program, residence complex for environmental enthusiasts, researchers, and designers, introduces new inhabitants, as well as the ideas, knowledge, and skills they possess, to help benefit and develop the site and surrounding areas. Along with the residence, public spaces and amenities, such as riverfront esplanade, restaurant, plaza, learning center, studio, garden, park, and farm, are provided to accomodate locals and tourists of Bang Kra Jao. Not only does life return to the abandoned village, the adjacent canal and Chao Phraya River also receives new life as water filtration systems and phytoremediation techniques are implemented to rejuvenate the contaminated water and revive the valuable relationship between people and the water. The new residential complex permeates the architecture, the environment, and the life of the inhabitants.

Instructor: Kesate Tadesse

Fa l l 2 0 1 1

Activating the Abandoned The site once served as homes for a small local community. An eviction notice and a fire forced residents to abandon the property, leaving behind building debris and garbage. The dead space separated the nearby community from the pier and main road, where tourists and visitors arrive.

Fostering Connections and Relationships Elevated pathways and platforms allow for greater movement and flow of a variety of users. Relocating the pier to the abandoned land connects the local community with visitors; thus, providing more opportunities of interaction and exchange.

Integrating Public Spaces The elevated pathways and spaces in between the platforms serve the public realm: circulation, plaza, market, park, garden, pond, and other educational and recreational spaces. The program of these spaces varies according to the time, date, water tides, and activities of users.

Stimulating Interaction and Exchange New programs â&#x20AC;&#x201D; temporary residence, creative studio, education center, gallery, and restaurant â&#x20AC;&#x201D; provide spaces where locals and visitors could meet and gather to exchange and develop ideas, knowledge, and skills.

Levels of Permeability

Elevated Path

Open Pavilion (Sala)

Public Room

physical permeability and connection protected (from direct sun and rain) semi-public spaces with flexible parbetween various programs, spaces, relaxed meeting place for communal titions; when closed allows for visual and people gathering connection, when opened allows for both physical and visual connection between inside and outside

Private Room hostel-type rooms for temporary residences with limited physical and visual permeability yet allows for light and wind to pass through

Water Filtration

gabion

Filtration of contaminated water using natural materials. Gabion. As water passes through, the rocks trap large particles i.e. trash, plastic bottles, plastic bags, etc. filtration system

gravel

smooth sand

gravel

activated carbon

palm fiber

pebble sponge gauze

palm fiber

Fitration System. As water passes through, the series of pebbles, palm fiber, carbon, and sand - separated by gauze and sponge filtration that keeps each element in place - trap small particles i.e. dust and dirt.

Phytoremediation Use of aquatic plants to reduce and/or remove contaminants from soil, water, sediments, and air.

aquatic plants

heliconia giant bacopa typha angus- canna indica ipomea tifolia aquatica

eichornia crassipes

Phytoextraction. Plants absorb contaminants from the environment into their biomass. Phytostabilization. Plants help prevent spread of contaminants. Phytodegradation. Plants break down and degrade the contaminants. Phytovolatilization. Plants release degraded contaminants, transformed into less toxic state, into the air. 97

Roof Plan

Permeating life encourage flow and exchange between various inhabitants. It permeates the site connecting and linking separate spaces in to a continuous flow. To accommodate changes in water level and to preserve the ground condition, the project is lifted from the ground allowing water and natural forces to flow below, adapting from traditional Thai construction and emphasizing the traditional values and virtues placed on the water. Elevated paths ease flows from

the pier to the complex (and its various programs) to the adjacent local community. The pathways and programs are organized and juxtaposed according to the site conditions, adjacencies to certain elements (such as the canal or the community), and sequential experience. Different levels of permeability of materials, transparency, and accessibility varies with the needs of the users for specific programs at various times.

Floor Plan

Visitors traveling the complex by boat arrive at the pier and riverfront esplanade. In the evening, the riverfront tranforms to a farmerâ&#x20AC;&#x2122;s market; on occasions, it hosts special events and performances. The esplanade leads to the gallery (once an abadoned warehouse) and the restaurant overlooking the river and canal adorned with aquatic plants that help rejuvenate the water. Those arriving by car crosses the bridge that leads to the square where events and performances are held; bicycle and boat rental are also available here. The lobby, which opens to the Chao Phraya River stands where paths connecting the pier, local commu-

nity, and main road intersect. The education center is juxtaposed with the local community; during the day it acts as a workshop, in the evening a living space. The ground floor is open similary to those of traditional Thai timber houses; the library is encircled with the bamboo columns that act as structure for the roof and protection for the books. From the education center, the path leads to the studio where those staying at the residences work; it is open for visits from locals and tourists. The last building houses the living spaces and bedrooms for the residences. 99

100

101

West El

North E

102

East Ele

levation

Elevation

evation

103

104

Gallery Sections

Residence Sections 105

View of Permeating Life from the Chao Phraya River

Arriving at the pier, one is welcomed by the esplanade and restaurant.

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Approaching from the bridge, one is greeted by the plaza leading to the education center and studio.

In between the elevated paths and buildings act as public spaces for recreation, relaxation, and agricultural education.

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B A N G Conflict Zones Berlin is a city that is rife with conflicts from the scars on the surfaces of its museums and monuments to the voids it bears in the heart of its urban landscape. Historically, Berlin has been witness and host to some of the most significant socio-political conflicts in the modern world. The architectures of the social and political movements are continually questioned as new regimes emerge. For example, a Palladian planned Nazi bunker has been transformed from a space that shelters citizens from attacks, to a storehouse for fresh fruits, a space for hosting raves, and currently a private collection of contemporary art. Today, contemporary Berlin is actively rebuilding and reframing its identity, both through economic policy, architectonic revisions, and cultural initiatives. Despite the seemingly surfeiting development in the city, Berlin is bankrupt and supported by its neighboring states. In this case the proposed resolution of (economic) conflicts has shifted away from tactical warefare and towards stimulating artistic initiative and creative capital. Art and architecture, as meida often used to pronounce conflicts,

become the principle venues for promoting tension: regulating society by challenging accepted fundamentals and equilibria. The Design Build course focused on investigating the varying manifestations of conflict in Berlin. Initiated and organized by INDA jointly with PROGRAM e.V., the course provided a platform for the students to research into the existing conditions of the city, to formulate a personal hypothesis toward the current condition of conflict, and to propose and construct a physical test of their thesis. The students began with a mapping project in Kreuzberg. We then moved to a site along the former Berlin Wall, in Park am Nordbahnhof where they were asked to design an interface that expands the definition of a boundary. For the final project wemoved to Preußen Park, known as “Thai Park,” in West Berlin where students designed and built pieces of outdoor furniture that both displayed and ameliorated the conflicts at work on the site. Park users — food vendors, diners, sunbathers, dog walkers, and tourists — all participated in the pop-up instllation.

Instructor: Yarinda Bunnag, Will Patera, Carson Chang Design Build 2011

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Mapping Kreuz b er g

C o l l abo ra t o r : Ta c hapo l Tanabo o nch ai

Various paths taken by a student based on the description of the narrator. The grey line underneath shows the path taken by a narrator describing key landmarks located along the route through the site.

There is no grand narrative for a city. Every city is made from combined experiences of its inhabitants over time. Nowhere is this truer than in Berlin, whose history is a combination of imperial, national-social, socialist, and Western democratic ideologies. The inhabitants of Berlin are carriers of these ideologies, actively constructing narratives as they move through the city. As visitors of the city, students were empowered with a unique way of seeing. In the eyes of a visitor, the everyday is examined for potential: the overlooked becomes salient, and the muted becomes pronounced. In their first encouter with Berlin, Fotini Lazaridou110

Hatzigoga led the students through Kruzberg starting at Kotbusser Tor station and ending at HenrichStraĂ&#x;e station. Students were challenged to produce a map of the walk based on their observations, iwht explicit focus on conflicts. The short exercise resulted in a diverse set of works that investigated spatial, sensorial, and temporal relationships. Some students investigated differences in experiences through multiple visits to the site, guided tours as maps through overlapping and sometime misalignment between audio-tour and visual experience, evolutions between historical images and contemporary use, and even attempts at simulated haptic experiences of space.

L i m i n a l Po si t i o n s Pa rk a m Nordba hnhof

The Berlin Wall was erected overnight on August 13, 1961. The next morning, Berliners awoke physically and psychologically divided. The wall evolved from checkpoints and fences into a thick zone that ran through the hart of Berlin. For more than twenty years, walls stood as an insurmountable boundary, often separated by a strip of barren land morbidly called the “death strip.” In 1989 protests in the East escalated, the wall fell, and the reunification process began. Today the coundary exists as a memory. In a few places, preserved fragments remain intact as reminders of the past. In most places in the city, the coundary exists as a sober stone line in the ground. The work of memorialization is, in many ways, complete. Visitor centers, installations, reconstructions, interactive maps, observation decks, and signs all point clearly toward a boundary. While these signs inform the visitor of the past, they do little to leave an impression of the spatial experience of boundaries. This project sought to expand the notion of boundaries through an architectural intervention. Rather than looking toward the past, this project engaged the boundary through spatial performances that offered an alternative, or possible future, for understanding boundaries. The site was located along a line in the ground in Park am Nordbahnhof. The line marked the former location of the Berlin Wall. Students situated their projects in relation to this line Each group designed an interface that challenged the definition of a boundary and revealed relationships between physical limits and subjects within the space.

Ba n g

Pre ßuen Pa rk ( Tha i Pa rk ) Preßuen Park, known in Berlin as Thai Park plays host to the city’s Thai diaspora every Sunday each summer. Despite local ordinances, food is prepared, umbrellas are put up, and even massage services are all on offer at the park. Located in a city that already operates under a split identity, Thai Park can be seen as both variant and microcosm to the city’s East/West divide. Clear separation of users, cultures and activities coexist every Sunday, and on occasion, these differing aspects collide. Sunbathing, dining, cooking, resting, gambling, massaging take place meters away from people playing sports, fetching with dogs, sunbathing in bikinis, and listening to music. Unlike many other Berlin public spaces where citizens from the former West and East intermix, cultural differences are displayed here in full effect. At first glance it appears that many of the Thais at the park, particularly those selling food, have imported an entire visual culture of clothing, cooking utensils and packaging techniques. Working in groups of three, students were asked to design and build a piece of outdoor furniture that both displays and ameliorates the conflicts at work each Sundary. Strategically placed in the park, student interventions invited user participation while concurrently sparking reflection on the socio-spatial conditions of their context. At the beginning of the project, the entire studio visited the park for a Sunday picnic. Students formed relationships with the Thais who used the park as well as the other users and conducted rigourous interviews on how the space was used. 111

Represen ta tio n a n d Re i n t e r p re t a t i o n o f B o u n d a r i e s C o l l a b o ra t or: Nat re e y a Kraich it t i, Pimc ha nok Wa ngveera mit

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Before

After

Initially left as an overgrown island of paved area in a vegetated field, the project reconfigured the circulation of the existing site and resuscitated a previously abandoned, bounded island, converting it into a shortcut for park users to cross from one side of the park to the other. The students worked solely with found elements on site. Through mowing and rearrangements of stones, boundaries were erased and new spaces were created.

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Th ai Park/ Ma rk et

C o l l abo ra t o r : Pa sit Rojrad t anasiri, Pre e Thira k ul

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Initial conditions in the park

Result of intensifying the market

Thais dining in the shade Berliners sunbathing Thai market

The project attempted to emphasize on the split dynamic of the park users as well as to ameliorate the notion of conflicts. The group developed a design that considered the existing condition on one side of the park, a Thai “market,” and to intensify its essence to make the conflict between the two sides — “market” and “park” — more obvious. At first glance, the low tables/benches almost disappeared or were so immediately integrated into the existing activities of the park. The low horizontal planes and umbrellas served both as functional spaces for dining but also as cultural signs of inhabitation, transforming the park into a “Thai” market. As a side note, the Thai community that uses the park requested to keep the low tables and umbrellas. Perhaps they are still in use today. 115

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COALESCE Innovation and Architecture for the Sea. Jacques Rougerie Foundation Competition

â&#x20AC;&#x153;Coalesceâ&#x20AC;? is a new state of being: the merge of the virtual and physical worlds, inherently bonding a l l t h e e l e m e n t s w i t h i n i t s e c o s y s t e m : t h e Un i ve r s e .

Collaborator: Tachapol Tanaboonchai,Wachira Leangtanom Competition Entry 2014

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As technological innovation advances and connects the world, the digital virtual realm progressively permeates itself into our existence. Introduced in the late 1950s, digital technology completely transforms our experience and perception. One can exchange, influence, and experience a person or a space without coming into direct contact or being physically present. Everyday life inevitably begins to evolve around ubiquitous digital devices and networks, the smartphone, the Internet, and social networking, linking various users and their diverse surroundings within the system. Many become so immersed in their virtual environments (such as phone applications and video games) that they often forget the natural physical one. Countless hours of the day are spent on improving and protecting their digital world (Facebook, Instagram, or Twitter); yet very little are transferred to caring of the natural world. Although the digital and physical environments coexisted, they remain separate entities. Coalesce advocates a sustainable development of the Universe. Through digital interface and real-world actions, it redefines the interrelationship between virtual and physical realities and all the elements within. It emphasizes the symbiotic relationship between humans and the environment locally and globally. Every action, virtual or physical, has an effect in the Universe. Adherents enter Coalesce through daily contact with their digital device, logging them in to the System. The System is a vast network of activities, information, services, and resources shared and updated by all participants from around the world. It engages members to interact and participate in nurturing and cultivating the Universe. Linking various origins, locations, professions, and abilities in the digital and physical world, Coalesce engages people to see the networks and relationships between countless parts that come together. In the Universe, a place exists both physically and virtually. Updated by the System, the conditions of the natural physical world regulate the digital environment. Devastating rises in sea level or harmful contaminants in the water and land will also infiltrate the virtual realm. Thus, the better the physical environment (land, air, and ocean), the better the virtual space in the System will be. Nevertheless, the digital realm enables spaces, buildings, and interactions to be virtually constructed and experienced, without the damaging consequences of physical construction (i.e. pollution, depletion of natural resources, and destruction of natural species and habitats.) In Coalesce, each member plays a role. Players protect and improve the Universe by virtually and physically performing tasks and missions that correspond to the character they are. As players navigate the Universe with their digital device, they can also perform special missions available throughout various locations on the map. These missions are site and time specific, rendering a memberâ&#x20AC;&#x2122;s ordinary daily routine much more exciting and stimulating. The way they live and how they treat the environment virtually and physically are recorded and evaluated in the System. Coalesce integrates the physical with the virtual environment, requiring active engagement in both. 118

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SYSTEM INTERFACE Members in Coalesce sign in to the System via the App. Everything and everyone is connected through the System. Geolocated by their digital device, a playerâ&#x20AC;&#x2122;s position appears on the interface (as a virtual presence when logged in and a physical one when logged out of the digital world.) The interface also displays information shared on the System: real-time updates of current world conditions, locations of Coalesce sites and involved organizations, interactions and missions available, the playerâ&#x20AC;&#x2122;s friends and their locations, and chats, blogs, messages, and events exchanged between the members. Players can explore territories, participate in missions, and engage in social interactions digitally and physically.

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NATIONAL PANTHEON OF THE REPUBLIC OF KAZAKHSTAN Astana Pantheon Competition â&#x20AC;&#x153;Domes, floating over the landscape, suspended in a green cloud.â&#x20AC;? Throughout history, religious practices have been defined by its beliefs, incarnated by its gods and represented in its architecture. Religious spaces are the projections of imagined supra-natural environments that belong not to humans, but to gods. Churches, temples, mosques, synagogues, etc. try to bring us into worlds that are beyond our reach and tell us stories about them. Specifically large scale domes have become the pure image of otherworldliness. We marvel at their scale, their purity and simplicity, their magnificence and perfection over and over again. We propose a series of four domes, floating over the landscape, suspended in a green cloud.

Different cultures derived from different religions have developed an architectural language of the divine that today we read and understand as such. Under the uniformly cladded domes, one encounters different and unique volumes derived from the study of religious spatial typologies: the church, the synagogue, the mosque and the temple. If the National Pantheon of Kazakhstan shall be a place of remembrance of the great achievements of its people, it shall also be an architecture that celebrates the coming together of multiple religions as its name indicates. The different religions are brought together by the use of one single ornamental system throughout all spaces: the motifs of Kazakhstan.

Space Popular Competition Entry 2014

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The Elevated Park Four domes are floating over the landscape, suspended from an external superstructure that creates a green cloud around them. As we approach them, we get an uninterrupted panoramic view of the surroundings in which Kazakh horses and other national animals wander freely in reserved areas of the vast landscape. Going up one of the hills, we can access the main avenue that will lead us into the building. We are now inside the superstructure. The superstructure consists of a space frame based on a regular pyramidal module. It has 9 supports of which only 3 are fully exposed, the remaining ones are concealed in small hills artificially created on the landscape or partially embedded in the temple-dome. We walk through the elevated park finding trees of different species planted on pyramidal planters suspended from the structure. These are the local species of Kazakhstan, which are planted creating two different types of forest: an evergreen 124

forest around the edges of the truss, which blurs the edges of the truss and maintain the image of a green cloud); and a deciduous forest in the inner areas, which naturally regulates the amount of sunlight, letting more light through during the winter as the trees have lost their leaves. We find different types of pavement arrangements in the truss: meandering narrow paths (minimum 3 meters width) that follow the layout of classical gardens in which one can wander around, cycle or relax in different spots with benches contemplating the horizon; larger paved areas where larger gatherings can form as well as the terrace for the coffee shop; and a larger grass surfaces with a grid of trees forming an elevated forest in the superstructure. We also find a technological forest in the truss, consisting of solar panels shaped to fit into the pyramidal structural module and oriented according to the two axes of the structure, southeast and southwest, to maximise the solar incidence on them.

The Pantheon Access 1: General Public The superstructure will lead us into the building at truss level through the synagogue-dome in the northeast end of the truss. We will access the poché, the thickness of the wall. The poché is an architectural mechanism to disjoint interior and exterior form. The four domes appear homogeneous from the exterior (only varying in size) yet each contains a different space. Within the poché, the inner structure of the dome connected to the trusses of the superstructure is revealed. We can see the structural cones that support the dome and from which the inner space (in this case equivalent to the volumetric typology of a synagogue) hangs. At this point we can choose to stay within the poché, which connects to other recreational areas in the truss, or go into the religious spaces through the grand staircase in the synagogue-dome, with an exterior radius of 36 meters. The light that comes in from the oculus, at a height of 45 meters, impregnates the whole space, revealing the Kazakh patterns in the walls. The light-coloured patterns of different textures, glossy and matte, dynamically change according to the light. Going down the grand staircase, one can access different burial spaces: niches for various religions. At the ground level, one can perceive the vast landscape as the domes are suspended from the truss without structural members to support them. From this space one can access the passage that connects with the mosque-dome, the main Pantheon space, as Islam is the dominating religion in Kazakhstan. This passage has a much lower ceiling (12 meters) and dimmed light, following the classical strategy of preparing for entering a sacred space. The mosque-dome has an exterior radius of 48 meters and its oculus is at a height of 54 meters from ground level. The ornamental system is continued from the synagogue and it flows into all spaces and is applied as a projection that does not follow the surfaces that compose that volume, but, as fabrics in yurts, it wraps the spaces homogeneously. Standing in the centre of the space, one has a panoramic view of the surroundings that extends far into the horizon. One can perceive the floor plan of the mosque, as it floats 4 meters above with no contact to the ground. The ground has different levels, creating vertical niches as well as accesses to underground niches. There are also tombs on the ground clearly marked by the pavement patterns, as is the case in most churches and cathedrals. In the centre of the space exists a hydraulic elevator, not perceivable unless it is in operation, which allows for ceremonial transportation of corpses from the ground below, where such facilities are located. There are also balconies from the poché into the space that offer overviews of the magnificent space. From the mosque-dome, one finds access to the temple-dome,

a 30 meter tall space with a squared base, a squared oculus with burial niches on all sides. This is the only space in which we can perceive part of the supports of the superstructure, which are embedded in the square base of the temple-dome. All niches throughout the whole building are suitable and can be adapted to all religions, as specific requirements are mainly the orientation of the corpse and its position in relation to the ground. Access 2: Ceremonial Arrival The last dome is the church-dome, which can be accessed from the mosque-dome. On specific occasions, it performs as a ceremonial access for distinguished guests. A driveway cuts through the space, through its southwest axis, allowing guests to be dropped off at the point corresponding to the crossing of a church layout. This spaces is not enclosed by a glass wall; it is open to the landscpe. In the apse, five radial tombs sit on plinths on the ground, a main tomb in the place of the altar, which has a higher plinth. Along the sides of the naves, spaces for more tombs are flushed with the ground and marked by an engraved metal plaque. The church-dome has 4 balconies that offer views from above. These balconies serve as spaces for a restaurant and connect with the main plaza and park in the superstructure. Exterior The domes are cladded with ceramic tiles, in a gradient from dark desaturated green to greyish purple. Different Kazakh patterns are applied as an edging or skirting at the level in which the domes meet the truss. The superstructure extends through the domes into the poché, where it meets the skeletal structure that supports the dome, from which the internal volumes hang. Outside the building, the landscape seems to expand infinitely. The Mausoleum of Kabanbai Batyr is lowered twelve meters into the terrain, and is now accessed through a grandiose spiral, which has a projected hole in the superstructure, providing uninterrupted views towards the sky as a dignified way to fit in with the rest of the building even if formally and aesthetically it is very different. On the south side, between the mosque-dome and the spiral, there is a lake which in the winter can be transformed to an ice-skating rink. Around the building, the floor organisational pattern, consisting of intersecting arches, expands forming arches of trees, dividing the land into different patches of lawn or crops, creating areas for the different flora and fauna of Kazakhstan. The Pantheon appears as an illusory image in the horizon: domes on a floating green cloud, yet another attempt to represent the supra-natural environments defined by religion.

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Burial ceremony typology

Religiou architecture typology

Site Plan 126

Roof Plan

Section of temple-dome, mosque-dome, church-dome, burial niches, elevated park

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Pantheon Level Plan

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Park Level Plan

Section of mosque-dome, burial niches, elevated park, Mausoleum of Kabanbai Batyr

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