Recorded-[ing] Shadows

RECORDED-[ING] SHADOWS A SQUARE FOR SMITHFIELD

TASOS THEODORAKAKIS

SN:15113802

“... In order to activate memory, it is required to establish active rememberance, a space of the desire for life, where instead of desperately reminisce the past for the lost items, this desire trigers the design of a new “chronos”. This is when the past is now revealed as a space and allows us to engage with the creative act as a complementary instrument, as completion of the unfinished, as continuity!”

Mimnermou 2 Architects

UNIVERSITY COLLEGE LONDON BARTLETT SCHOOL OF ARCHITECTURE

BENVGHE5 TUTOR: HANNAH CORLETT

25 APRIL 2017

RECORDED-[ING] SHADOWS A SQUARE FOR SMITHFIELD

TASOS THEODORAKAKIS I SN:15113802

1. Memory

SYNOPSIS

A. SYNOPSIS

Public spaces are ‘places’ of memories and traces. They are in fact, the ‘depositaries’ of public memory. They act as a canvas for the city to record its past and interact through its presence. Memory is expressed in these spaces in multiple ways (statue, event, form, orientation, etc.). Overall, they summarise the identity of the city, as a palimpsest that is constantly changing. Architecture, as a form of mimesis, often is a tool of revealing what is absent and what needs to be remembered.

This project is an exercise of such a case, in a public space where older historic traces are expressed spatially in a new structure [Layer A]. This new structure - acts as a ‘machine’ for defining the new, ephemeral traces [Layer B]. The new space is a recorder, a palimpsest of both its past and its present. The exercise takes place in the Elms of Smithfields, a rounded park (Duke’s Garden) over Smithfields car park. Opposed to its previous use as a place of contradictory spectacle the remaining field is currently isolated from its surrounding contexts and its past. The park needs to regain its relationship with the city through a new ground that brings back the essence of the place’s history.

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2. Siena 1968 /Henri Cartier Bresson 6

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SYNOPSIS

Memory in public space :

How can a place = reflect its History + record new memories

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3. Elms of Smithfield

THE ELMS OF SMITHFIELD / DUKE’S PARK

B. THE ELMS* of SMITHFIELD elm: the tree considered to be by the Normands as the tree of justice.

“On this Smooth Field Wat Tyler died, stabbed with a sword by the Mayor of London while the boy Edward sat on his horse, and witnessed.

Across Europe all the kings watched, for their own business.

The peasants are revolting, sire.

To cover up the memory of Wat, paved over, built over, and washed in the stenches of death, Smithfield has ever since worked for its living.

Said the Wizard of Id: I’ll say they are!

A Dark Day in Smithfields, Katy Evans-Bush

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4. Smithfield of London 10

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THE ELMS OF SMITHFIELD / DUKE’S PARK

Site

Area

City of London / City Wall

Topography

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6. Elm’s of smithfield 12

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THE ELMS OF SMITHFIELD / DUKE’S PARK

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7. Elm’s of smithfield/ Site plan in the 19th century

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THE ELMS OF SMITHFIELD / DUKE’S PARK

B. THE ELMS* of SMITHFIELD

The site is located in Smithfields, a locality in the ward of Farington in Central London. It is a roundabout that stands in front of the Smithfields market and serves mainly as a point of entrance for vehicles into the underground car park. On top, of this artificial moat lies the Duke’s park where this project takes place.

The area used to be a quite broader open public space in the medieval times known as Smooth field. Back then, it use to be a quite protrusive place. Apart from being the place for the famous livestock market (dating from the 10th century) it was also a public space for gatherings where jousting between knights were held as part of Royal tournaments and of course executions of outlaws took place.

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8. Elm’s of smithfield/ A public space

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THE ELMS OF SMITHFIELD / DUKE’S PARK

PUBLIC EXECUTIONS Located outside of London’s city walls, Smithfield was a place of queer spectacle. The location was chosen mainly due to its close proximity to the church of St. Bartholomew the Great (London’s oldest surviving church founded in the 1123). The convict would be dragged by a horse to the place of execution, where he would face death by being hanged, drown, beheaded and quartered. Among others, some of the rebel leaders who were punished in this place was sir William Wallace and Wat Tyler in the 14th century.

The execution would take place publicly as a form of spectacle, but that was not the only reason. It often provided a way for the state to demonstrate its power either towards political opponents or to prevent rebels from committing an act against the state. Although dragging and burning people was not the most efficient way to execute them, it was done in order to make a point, to warn and teach the crowd that they would also suffer and die in the worst way possible, should they share the same heretical views or commit a similar crime or act of treason. In general, apart from the profound punishment, executions could be understood as a form of exemplification, as a form of the time of public control.

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9. Elm’s of smithfield/ Public executions

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THE ELMS OF SMITHFIELD / DUKE’S PARK

“Public hangings were abolished in 1868. The last one took place outside Newgate Prison on 26 May of that same year. The man hanged was an Irish terrorist called Michael Barratt who had blown up the Clerkenwell House of Detention killing six people. A drunken crowd stayed up all night to witness the execution. They cheered wildly when the scaffold was brought out at dawn. More people – mainly young women and children – began to arrive. By the time a bell was sounded at eight o’clock in the morning to announce the arrival of the condemned man, the crowd stretched back as far as Smithfield.”

Cawthorne N. The Road to Tyburn - Public Executions: From Ancient Rome to the Present Day, 2006

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10. Smithfield / Historic analysis of the 20C 20

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THE ELMS OF SMITHFIELD / DUKE’S PARK

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11. Smithfield / Current state 22

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THE ELMS OF SMITHFIELD / DUKE’S PARK

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12. Isolation of Elm’s Smithfield into a rounded park in 20C

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THE ELMS OF SMITHFIELD / DUKE’S PARK

C. DUKE’S PARK, SMITHFIELD

In the second half of the 19th century, when Smithfields market building was erected, the trading was transferred there, and the open space started being less significant as a public space.

Today, this space stands as an intersection of West Smithfield, the principle street of the area and other smaller roots some of which remain from the medieval times and are indicators of the places previous use such as “Cow Cross Street” and “Cock Lane”. The open space is concentrated into a circular park know as “Duke’s park”, an isolated urban ‘island’ surrounded by an artificial moat, a ramp for vehicles used as a car park leading to the underground parking of Smithfield’s market.

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13. Duke’s garden / Bird’s eye view 26

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THE ELMS OF SMITHFIELD / DUKE’S PARK

14. Duke’s garden / Car circulation 27

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15. Duke’s garden / Artificial island 28

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THE ELMS OF SMITHFIELD / DUKE’S PARK

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16. Duke’s garden / Panoramic view of the park 30

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THE ELMS OF SMITHFIELD / DUKE’S PARK

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17. Duke’s garden / Street view 32

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THE ELMS OF SMITHFIELD / DUKE’S PARK

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18. Public executions / Public control

19. CCTV

20. CCTV / Crime monitoring

21. Reality TV

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INTENTION

C. INTENTION

As a form of public control at the time, executions in London were abolished in 1868. Elms of Smithfields was a place of spectacle, outside of the Wall and a place where at the same time, the public was told what was forbidden. As a contemporary form of public control in London, the reality of CCTV was introduced in 2003, which today raises a series of questions as to what extend does this form of surveillance affects public and individual privacy. Is it a way of merely surveillance and protection of the citizens or is it the new form of imposing power and control of the public?

The project aims to propose a new space where what is to be retrieved of the former Elms of smithfield’s is not a physical layer of any importance or historicity, but simply a retrieval of this public reality, this primitive ‘game’ of power imposition in its new contemporary sense. The revival of the place’s “genius loci” may be possible by retrieving this sense of being ‘controlled’, by introducing a space that may imitate or demonstrate this quality. By involving the individual into a new spatial experience where he/she feels as being exposed, watched and finally in a sense ‘controlled’ the revival of the former Elms of Smithfield would be finally accomplished.

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22. Recorded [ing] Shadows / Night 36

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CONCEPT

D. CONCEPT

The design intends to suggest a new topography for Duke’s garden, in which the previous, the forgotten Elms of Smithfield will become a part of this new public space. Architecture as a form of mimesis is conscripted in order to reveal what was there but can no longer be seen, in order to remind, in order to add to the present.

As the former reality of public executions held in Smithfield is transformed to the contemporary reality of CCTV, the design suggest a place where this feeling, this social reality is converted, is denatured into a ‘game’ that involves the individual’s shadow.

Shadow, as a trace, a mark of presence but absent of a certain materiality is the new square’s main architectural element. During the ‘percorso’, the visitors experience series of events involving their own shadows being projected, becoming bigger or smaller and finally being retrieved after being previously erased. In order to establish these stages and episodes, the novel “1983” of George Orwell is conscripted as a fictional novel that tells the story of a linear progress through time of crowd and individual control. It is a tool used to trigger spatial qualities within the space as part of an overall personal experience. At the same time the citizen is observing other people’s shadows that are projected and coexist with his own. This relationship is constantly changing and involves reversals of the relationship of watching and being watched.

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23. “Approaching Shadow”, Henri Crtier Bresson

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CONCEPT

24. “Still Life” / Dimitris Papaioannou 2014

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25. “Slow House”, Diller Scofidio 40

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CONCEPT

26. Dining Disorder, Sarah Wigglesworth and Jeremy Till 41

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27. Archeological Excavation

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CONCEPT

28. Serpantine Pavillion, Herzorg and De Meuron

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29, 30. Schouwburgplein in Rotterdam, West 8

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CONCEPT

31, 32. The Sieve of Eratosthenes

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1. Stylus

2. transparent sheet of celluloid 3. translucent sheet of wax paper

4. slab of dark brown resin of wax

33. Structure of Freud’s ‘Mystic Writing Pad’

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CONCEPT

The ‘Mystic Writing Pad’ of Sigmund Freud

At base, the Mystic Pad was “a slab of dark brown resin or wax” on which sat a translucent sheet of wax paper covered by a transparent sheet of celluloid. When a person set a stylus to it, the dark resin would become visible through the wax paper at the points of contact, and thus one could write. When the record was no longer desired, erase it by simply lifting the wax paper off of the slab. (This contemporary kids’ toy is a rough equivalent.) The celluloid served merely to protect the wax paper from ripping as the stylus ran across it.

This may not sound like much of a metaphor for the human mind, but one unintended consequence of this procedure struck Freud as quite significant: “The permanent trace of what was written is retained upon the wax slab itself and is legible in suitable lights.” The Mystic Pad had a particular kind of memory.

“I do not think it is too far-fetched,” Freud wrote, “to compare the celluloid and waxed paper cover with the system of Pcpt.-Cs. [Perception -Consciousness] and its protective shield, the wax slab with the unconscious behind them, and the appearance and disappearance of the writing with the flickering-up and passing- away of consciousness in the process of perception.”

Rosen, J. Rebecca. 2013

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34. Recorded [ing] Memory 48

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CONCEPT

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35. Form, Space and Order 50

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FORM, SPACE AND ORDER

E. FORM, SPACE AND ORDER

The new public space of Duke’s park is the ‘Square of Piece’, an empty square that holds a ‘secret’ garden underneath. The square is being accessed from the North east part of the site. On top, the design proposes a ‘Sieve’ that may be accessed and is addressed as an ‘empty scene’. This gridded plane, allows direct sunlight to fall onto the garden underneath and may hold public activity in an open public space. In addition, four large public lights are placed diametrically in the rounded site, providing artificial direct light during nighttime, and may be controlled by their height and direction.

Underneath the rounded sieve, the garden is formed by a series of excavation acts and forms a negative space. The garden is being accessed from the north east side of the site, at a point where the ‘sieve’ is being displaced in order to depict the entrance. The hidden garden is a multileveled space that allows the citizens to move and experience different stances of the body. On this space, the individual’s shadow is being projected in multiple ways, as well as those of the other citizens standing on the sieve.

An interesting element is placed centrally in the garden which is a flat area of rest. During day time it is flooded either artificially or by rainwater which is gathered by the surrounding levels of the garden and results in the reflection of the above space.

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36. Layer A: The Sieve

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FORM, SPACE AND ORDER

37. Layer B: Excavated Ground

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38. The ‘hidden’ Park

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FORM, SPACE AND ORDER

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1. Site 56

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FORM, SPACE AND ORDER

2. Excavate 57

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3. Sieve 58

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FORM, SPACE AND ORDER

4. Displacement 59

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5. Entrance 60

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FORM, SPACE AND ORDER

6. Lights 61

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FORM, SPACE AND ORDER

Artificial Lights

The Sieve

Supporting columns

Underground park

40. Structure of the Recorder 63

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41. Entrance to the park 64

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THE SHADOWS [NIGHT + DAY]

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42. Horizontal section above ground level 66

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THE SHADOWS [NIGHT + DAY]

43. Horizontal section under ground level 67

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44. Longitudinal section A 68

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THE SHADOWS [NIGHT + DAY]

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45. Longitudinal section A : Day 70

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THE SHADOWS [NIGHT + DAY]

46. Longitudinal section A : Night 71

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47. Longitudinal section B 72

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THE SHADOWS [NIGHT + DAY]

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48. Longitudinal section B : Day 74

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THE SHADOWS [NIGHT + DAY]

49. Longitudinal section B : Night 75

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THE SHADOWS [NIGHT + DAY]

-0.40

-0.60 -0.40

-0.80

-1.00

-1.00 -1.20

-1.40

-1.40

-1.60 -1.80

-0.80

-1.80

-1.80

-1.80

-2.00

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-1.20

-2.00

-2.00

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-1.60 -1.80

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-1.20 -0.80

-2.60

-2.00 -3.00 -2.80

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-2.40

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-2.80 -3.80

-3.40 -3.80

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-4.00

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The Descent 77

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The Columns 78

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THE SHADOWS [NIGHT + DAY]

The Corridor 79

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The Reflection 80

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THE SHADOWS [NIGHT + DAY]

The Lights 81

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51. Plan Diagram / Recording Shadows 82

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THE SHADOWS [NIGHT + DAY]

SHADOW EXPERIENCE

The underground park allows the citizens to move and experience different stances of the body and experience several ‘episodes’ of his shadow: Initially while descenting the multileveled planes.

Secondly passing through a series of columns with his shadow being partly projected or hidden Thirdly with a complete loss of his shadow while entering a dark corridor with a sequence of small wall openings towards the car park and a void.

And finally with a retrieval of his shadow, and the projection of his idol onto the central square area which is slightly flooded reflecting both the individual and the people on the above space on the sieve.

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52. Recorded [ing] Memory / The Descent 84

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THE SHADOWS [NIGHT + DAY]

53. Recorded [ing] Memory / The Reflection 85

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54. Recorded [ing] Memory / The Corridor 86

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THE SHADOWS [NIGHT + DAY]

55. Recorded [ing] Memory / Watching and being watched 87

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56. Recorded [ing] Memory / Night 88

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THE SHADOWS [NIGHT + DAY]

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Recorded [ing] Memory / Night 90

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THE SHADOWS [NIGHT + DAY]

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CONCLUSION

G. CONCLUSION

This project is an exercise based on a personal question of how public space may hold collective memory. Memory does not suggest a passive act. In order to revive memory of previous events or at least a didactic reading of the past, one’s individual and personal involvement is required. It is then that history becomes present as part of our day to day existence. The project does not imply a certain point of view or a specific way of reading Smithfield’s history. It is open to interpretation, to multiple readings and spatial experiences. It tells the story of a space being once there that is now absent and has actually shaped at some point or to some extend parts of its identity and reality.

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H. BIBLIOGRAPHY

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The Aatlantic. 25 January 2013 [Online] Available at: https://www.theatlantic.com/technology/archive/2013/01/the-mystic-writing-pad-what-would-freud-make-of-todays-tablets/272512/ [Accessed 19 April 2017].

Forster, Kurt W., Fredric Jameson, and Yve-Alain Bois. Cities of artificial excavation: The work of Peter Eisenman, 1978-1988. Centre canadien d’architecture/Canadian Centre for Architecture, 1994.

BIBLIOGRAPHY

Lavin, Sylvia. “History for an Empty Future.” e-flux Architecture [Online] Available at: http://www.e-flux.com/architecture/superhumanity/68713/history-for-an-empty-future/ [Accessed 19 April 2017].

Friedrichs, Melanie. “Placemaking and the University.” [Polis] [Online] Available at: http:// www.thepolisblog.org/2012_07_01_archive.html [Accessed 19 April 2017].

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Indag. math, 12, pp.247-256.

Kjerrgren, Lovisa. “Layers of land.” (2011).

Tanizaki, Jun’ichirō. In praise of shadows. Random House, 2001.

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Derrida, Jacques, and Hilary P. Hanel. “A letter to Peter Eisenman.” Assemblage 12 (1990): 7-13.

Morrisset, Lucie K. “Patrimony, the Concept, the Object, the Memory, and the Palimpsest: A View from the History of Architecture.” The Journal of the Society for the Study of Architecture in Canada (2010).

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I. IMAGERY 1.

2.

3.

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10.

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12.

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16.

17.

18.

Tasos Theodorakakis [March 2017].

Henri Cartier Bresson, “Siena 1968�

Tower hill london executions: https://s-media-cache-ak0.pinimg.com/originals/93/ e8/81/93e881582e83c115ea91ec98266f6809.jpg [Accessed 20 March 2017] Tasos Theodorakakis [March 2017].

Tasos Theodorakakis [March 2017].

Tasos Theodorakakis [March 2017].

Smithfield London: https://pepyssmallchange.files.wordpress.com/2014/08/smithfild. jpg?w=500 [Accessed 20 March 2017] Smithfield London William Wallace: https://pepyssmallchange.files.wordpress. com/2014/08/smithfild. [Accessed 20 March 2017] Burning At The Stake: https://en.wikipedia.org/wiki/Death_by_burning [Accessed 20 March 2017] Tasos Theodorakakis [March 2017].

Tasos Theodorakakis [March 2017]. //measure.org.uk/exhibitions/transit-emily-richardson-2/smithfield-a-brief-history/ [Accessed 20 March 2017] Tasos Theodorakakis [March 2017].

Tasos Theodorakakis [March 2017].

Tasos Theodorakakis [March 2017].

Tasos Theodorakakis [March 2017].

Tasos Theodorakakis [March 2017].

King Charles I Beheaded: http://www.history.com/this-day-in-history/king-charles-i- executed-for-treason [Accessed 20 March 2017]

IMAGERY

19. www.shutterstock.com/s/television+survey/search.html [Accessed 20 March 2017] 20. www.lbc.co.uk/news/.../brutal-hampstead-street-robbery-caught-on-cctv/

[Accessed 20 March 2017] 21. https://www.pinterest.com/mauthor/big-brother-tv-show/ [Accessed 20 March 2017] 22. Tasos Theodorakakis [March 2017].

23. Henri Crtier Bresson, “Approaching Shadow”. 1954 24. Papaioannou, Dimitris. “Still Life”. 2014 25. Diller Scofidio. “Slow House”. 1991 26. Wigglesworth, Sarah. Till, Jeremy. “Dining Disorder”. 2010: http://www.ediblegeogra

phy.com/dining-disorder/ [Accessed 20 March 2017] 27. www.triggerair.com/gallery/ [Accessed 20 March 2017] 28. Derzog de Meuron. Serpentine Gallery. 2012: http://www.serpentinegalleries.org/exhi

bitions-events/serpentine-gallery-pavilion-2012-herzog-de-meuron-and-ai-weiwei

[Accessed 20 March 2017] 29. West 8. Schouwburgplein. 1991-1996: http://www.west8.nl/projects/schouwburgplein/

[Accessed 20 March 2017] 30. West 8. Schouwburgplein. 1991-1996: http://www.west8.nl/projects/schouwburgplein/

[Accessed 20 March 2017] 31. https://www.mathsisfun.com/prime-composite-number.html

[Accessed 20 March 2017] 32. https://www.mathsisfun.com/prime-composite-number.html

[Accessed 20 March 2017] 33. Tasos Theodorakakis [March 2017].

34. Tasos Theodorakakis [March 2017].

35. Tasos Theodorakakis [March 2017].

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I. IMAGERY 36. www.myfrenchfinds.com/shop/sold-items.../garden-sieve-heirloom-seeds/

[Accessed 20 March 2017] 37. https://aswtproject.wordpress.com/2014/01/23/the-structure-from-motion-revolu tion-digitally-documenting-the-archaeology-of-eagle-nest-canyon/

[Accessed 20 March 2017] 38. Tasos Theodorakakis [March 2017].

39. Tasos Theodorakakis [March 2017].

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43. Tasos Theodorakakis [March 2017].

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46. Tasos Theodorakakis [March 2017].

47. Tasos Theodorakakis [March 2017].

48. Tasos Theodorakakis [March 2017].

49. Tasos Theodorakakis [March 2017].

50. Tasos Theodorakakis [March 2017].

51. Tasos Theodorakakis [March 2017].

52. Tasos Theodorakakis [March 2017].

53. Tasos Theodorakakis [March 2017].

54. Tasos Theodorakakis [March 2017].

55. Tasos Theodorakakis [March 2017].

56. Tasos Theodorakakis [March 2017].