Embodiment in Architecture of Place and Time [ Ver贸nica D铆az ]
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Embodiment in Architecture of Place and Time
[ Interweaving the new with a unique culture and a contextual history ] A Master’s Research Project presented to the Graduate School by:
Veronica Diaz
veronicadiaz@mail.usf.edu
Submitted in partial fulfillment of the requirements of the degree of:
Master of Architecture School of Architecture + Community Design College of the Arts University of South Florida Spring 2013 Chair [ Robert MacLeod ] Committee [ Josue Robles ] [ Nancy Sanders ]
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Dedication
First and foremost, I dedicate this document and the work that I have been able to accomplish to God! The reason for my existence, the inspiration behind all my work, and the force that has brought me this far. Thank you God, I would not have done it without you! Subsequently, I dedicate this study to my family. Thank you for all of your prayers, your unfailing love and support. I definitely would not have been able to accomplish so much without all of your help, patience, and abundant support. A very special dedication for two important people: Gabriel, my husband, for giving me the space to accomplish this important goal, for your unbreakable love and your unparalleled support throughout. I Love you! And last but not least, my mom, Rosa. Thank you for all of your prayers and support. For giving me strength when there was none, for being the perfect example of patience and perseverance. You truly are my role model; I am a better person because of you.
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Acknowledgement
Thanks to all those who have contributed to the content, structure and style of this document. In particular, thank you to my chair, Robert Mcleod, who has been my mentor and guide throughout the entire process. Thank you for your wise words of advice and recommendations. For allowing and trusting me to execute my ideas well. Your trust in me inspired me to do my best and go beyond my own expectations. Much gratitude to my studio peers, their input on my work generated great ideas and their company on countless nights with no sleep gave me courage to go on. Also, I want to recognize and give many thanks to my committee members: Josue Robles and Nancy Sanders. Thank you for your encouraging words in times of frustration. Thank you for your patience, your guidance, and for selflessly sharing much of your wisdom with me for the fulfillment of this project. Last but not least, I want to recognize and give credits to all of the design professionals I researched and used as inspiration- I hope I have given enough credit where it is due.
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Table of Contents
Abstract Introduction Definition of key Concepts Architecture as Identification of Place [ Culture | Society | Architecture ] [ Loss of Cultural Identity ] Generating a Framework [ Precedents ] -Glenn Murcutt
-Giancarlo Mazzanti -Jose Rafael Moneo -Nabeel Hamdi
[ Analytical Framework ]
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Merida Memory Mapping
[ Parque Santa Lucia ] -Applying a framework
[ Intervention ] -Program of ideas
-Facade Study -Proposed intervention
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Abstract A country is not only identified by its society and government but also by its architecture, and through the architecture it is possible to understand its culture, artistic sensibilities, and social structure. Architecturally speaking, our physical environment is being increasingly designed without substantial content and although we need to embrace the world and all its changes, we must also preserve our cultural identity. Every building can and should engage in a dialog with the history, beliefs and needs of a particular place and time. Through a deep study and speculation, this research seeks to develop an analytical framework that responds to the history, social needs and priorities of a society as it generates a design that reacts to, and reinforces a sense of place. Mexico, a country that is rich in history and culture, is the vehicle where I executed my ideas. I developed a design in Merida; a Spanish colonial city located in the Peninsula of Yucatan. I hope to create a strong correlation between architecture and the contextual history of this beautiful city, retaining the city’s cultural essence and adding to years of historic architectural prestige.
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Introduction
Throughout history the culture of a place has greatly influenced its architecture. For example, when one thinks of India, we think of the Tahj Mahal. Without their culture, would it be designed that way, or would it look like another building. History itself presents many examples as this, like the Greeks, the Romans, and the Egyptians that with their great environment and culture produced the great pyramids. Through progress and technological changes, the identity that once represented a place diminishes until it no longer carries the signature that defined it in the first place. Our physical environment is being continuously designed without substantial content and although we need to embrace the world and all its changes we must also preserve our cultural identity. Every country stores many layers of history and traditions within. Every one of them is composed by a specific environment, culture and style that is unique to them and by which they are known by. Each society contains certain needs that require attention and that in most cases are overlooked. As today’s society moves towards a modern materialistic world, all the elements that embody what culture is are not taken into consideration and the real needs that a society has are often being neglected. Architecturally speaking, as most countries are influenced by foreign ideas, inventions and technologies, they tend to completely stray away from the vernacular architecture of the region and by doing so the identity that once characterized the place gets lost and confused. This study is a response to the lost of identity in today’s society. My project seeks to create a relationship between a universal contemporary architectural language and the culture and needs of a region. The objective is to affect everyday life (livelihood) and to preserve the historical value and traditions that a place has to offer. Primitively, from studies based on similar international projects and research, an analytical framework will be gathered to respond to the social needs and priorities of a society and to identify a set of tools and ultimately generate a design that reacts to and reinforces a sense of place. To fulfill my investigation, I will study and analyze Mexico, a country that is rich in history and culture. In specific, I will develop a study in Merida, a Spanish colonial city located in the Peninsula of Yucatan. Do to its location, Merida is greatly influenced by the Mayan culture, traditions and religion. The surviving remnants of the Mayan culture can be seen every day, in speech, dress, and in both written and oral histories. MÊrida retains an abundance of beautiful colonial buildings and is a vibrant cultural center with music and dancing playing an important part in day-to-day life.
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This study will strive to address the community’s social needs as well as to celebrate the lineage of culture stored within the city and produce a highly responsive design that is native to it; an exclusive project that could only be placed in Merida Mexico. As I attempt to execute my ideas, the emphasis of this project will be to mirror the culture, environment, history and everyday traditions of this city. Although many could argue that contemporary architecture is already a part of the “material culture” of a place or the people who created it, my emphasis is to bring forth the argument that in the process of making, the essence, characteristics, qualities, the needs, traditions, beliefs and the uniqueness of the society are not prioritized, resulting in a design that says nothing about its country and people. Just as in many years before, when the architecture of a place stood as a symbol of its country, today’s architecture can carry the same message allowing its design to be shaped by the context that has defined the country for decades.
“The soul of the city resides in its history; once this soul is given form it becomes the sign of a place”1
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Peter Eisenman Introduction, Aldo Rossi, The Architecture of the City. MIT Press 1984, pg.7
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This text has as a purpose to explain the content of my project: the topics that will be investigated, the objective of such investigation, the hypothesis that I am proposing and the methodology of investigation that I will implement throughout the project.
A] Question:
What is Culture? How can architecture be informed by the culture and needs of a society?
B] Objectives:
Objective 1: The primary objective of this project is to create a relationship between a
universal contemporary architectural language and the culture and needs of a society.
Objective 2: The second objective expects to develop an analytical framework that
Objective 3:
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attempts to address the social needs, issues and priorities of a society as it generates a design that reacts to and reinforces a sense of place.
The third objective seeks to fulfill a study in Merida Mexico to address the community’s needs as well as to celebrate the lineage of culture stored within the city and produce a highly responsive design that mirrors the culture, environment and history of this beautiful city.
C] Purpose:
The ultimate purpose of this project is to improve lives and livelihoods and to preserve the historical value and traditions that a place has to offer.
C] Methodology:
Primary Sources: A portion of the information communicated in this project comes
from personal experiences. These experiences include a trip I made to the peninsula of Yucatan. During this trip I had the opportunity of getting an exceptional direct approach with the Mayan culture.
Secondary Sources:
With help from books, essays and articles mentioned in my
bibliography I could get a professional, technical and conceptual approach to the subjects in discussion.
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Definition of Key [
Concepts ]
To fully comprehend the topics that are presented in this document, it is necessary to first clarify the meaning of the key concepts that are discussed throughout it. The objective of this section is precisely to define four concepts that I consider fundamental in the context of this text. To understand how to design for an array of cultures, one must first ask: what is culture?
a.
What is Culture?
“Culture is that complex whole which includes knowledge, beliefs, art, law, morals, customs, and any other capabilities and habits acquired by man as a member of society.”2 According to this definition, the English anthropologist Edward Tylor suggests that culture is all the elements that composes a society. In other words, it is the everyday traditions, the history, beliefs, patterns of thoughts, anything that reflects the values of a society and promotes a sense of belonging.
“A culture acquires a personality in much the same manner as an individual, and these characteristic traits are passed on from generation to generation. A particular culture accumulates a body of collective knowledge, and develops or adopts belief systems and behavioral patterns.”3 Leo Hansen reinforces the definition proposed by Edward Tylor. He states that each particular culture acquires an identity that characterizes a civilization, a nation or social group and that eventually affects an individual’s thought process, moral values, aesthetic ideals, and religious beliefs.
Mexican Art, Diego Rivera. Flower Girl oil painting
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English Anthropologist Edward B. Tylor. Primitive Culture, 1871 Leo Hansen, Culture and Architecture [An Integrated History], Cognella, Inc. 2012. pg. 4
b.
Interweave
“The city is a living organism with unique culture and a past called a ‘contextual history’ and a future in which new buildings act as the threads that weave the cities living traditions into a whole and new fabric.”4 The word interweave implies to put together or combine two or more things so that they cannot be separated easily.5 This word is often used in different circumstances, but throughout the course of this document, interweave is used in relation to architecture and its context. This word embodies one of the major goals contained within this research: To blend architecture with a unique culture and a contextual history.
c.
Pedagogical Environments
In this study, this concept is used in a sense of promoting spaces for interaction and learning to improve lives and livelihoods. Pedagogical or Learning Environments should be within the reach of everyone in the community to develop a capacity, to think, interact, share ideas and resources, to focus energy and attention on learning. A question and concern always kept in mind; or that at least should be kept in mind by a designer, is of how a built design can affect and promote spaces that encourage essentially all that, and of how to design environments that do not compete with but complement nature. Ultimately, the aim is to positively address the community and enhance their lifestyle.
d.
Architecture for Place “Place is to architecture as meaning is to language”6
Architecture for Place refers to an architecture that is deeply embedded in its time and place and is expressive of them. It’s a kind of architecture that creates awareness of time by remembering its antecedents, it protects its built heritage. Architecture for place means to design an architecture that is site specific, that embodies a unique culture and history and seeks to understand the future through a better understanding of the past. __________________
Excerpts from Urban Design, UD Associates. Cambridge Dictionary. Cambridge University Press 2013 6 Simon Unwin, Analysing Architecture. Routledge; 2 edition (November 15, 2003) 4
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“The site is an expectant reality, always awaiting the event of a prospective construction on it, through which will appear its otherwise hidden attributes.”7 For the distinguished Spanish architect, Jose Rafael Moneo, architecture brings to life all the attributes of a site. The story and reality of it are brought together through the textures and materiality, the voids and spaces, shadows and lights. Architecture tells the story expressing something that is not being looked at or that has been forgotten. In this research site is the driving force of the project. It is the generator of all the ideas and concepts and what determines the outcome of this study. The purpose is to highlight the major importance contained within a context, how it influences all the decision making and how it is manipulated to enhance the lives of its habitants.
“I believe that the grandeur of architecture lies in its ability to bestow life – its own life – on what is being constructed.”8 “Architecture has traditionally served to help us achieve presence in an otherwise frightening cosmos. Within the infinite universe of time and space, architecture creates one moment, one place.”9
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Jose Rafael Moneo Interview with Rafael Moneo, 2010. Magda Anglès and Judit Carrera, Madrid, April 2010 http://www.publicspace.org/es/texto-biblioteca/eng/c005-entrevista-a-rafael-moneo 9 Essay, Thoughts On José Rafael Moneo by Robert Campbell. Architect and Architecture Critic, The Boston Globe 7
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Merida Museum of Roman Art by Rafael Moneo
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Architecture as Identification of [
Place ]
“Architecture has also been compared with film-making -- an art form that incorporates people, place and action through time.� Simon Unwin, Analysing Architecture.
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Routledge; 2 edition (November 15, 2003)
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[ Culture | Society | Architecture ] “We shape our buildings; thereafter they shape us.” Winston Churchill “From the first prehistoric villages to the present day, there has always been an integral relationship between the culture of a civilization and its architecture throughout history. The compositions and configurations for the structures where humans live, work, eat, play, worship, and sleep have observable psychological effects upon individuals, and far-reaching sociological effects upon communities. Fundamental customs, mannerisms, and beliefs are both the causes and effects of the human-built environment.”10 Every civilization is collectively shaped by its history, language, art, artifacts, tools, ideas, social practices, rituals, and beliefs. In other words by its Culture, and eventually this culture begins to influence its society so much that it becomes a representation of it. The Wholistic idea of culture begins to be the major influence for built forms. Throughout history, architecture has stand as a symbolic representation of its culture. Leo Hansen in his book Culture and Architecture states,
“Sometimes the architectural remains of extinct civilizations are studied to find out more about the people themselves; how they lived, what kind of people they were, and what they believed.”11 He explained further that for some civilizations, the archaeological remains are the only available clues, specially if there is an absence of literature or art. Undeniably, there is a strong relation between culture and architecture. The change in culture and knowledge affect the way people react with the built environment. Architecture is an expression of culture. While knowledge of science and technology provides us with know-how to select materials and choose construction techniques, culture provides us the guidance of what we should aim at and how to achieve the aim. It tells us what to do and what not to do. It guides us on how to and why to do. It informs us where to do and when to do! It tells us what we are! Culture in its broadest sense incorporates the essence of all aspects of human endeavour. The awareness, wisdom and knowledge in various fields such as psychology, sociology, economics, anthropology, environmental sciences, habitat studies,architecture, engineering, law, politics etc, are synthesized in a way of life that is reflected in culture. In this way it is culture that shapes architecture.
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During different periods of evolution, architecture has recorded the impact and influences of culture, providing us with a great source of reference to the culture of different societies and nations. Since the Greeks, the Egyptians, and Romans; among many other civilizations, architecture has left an impression in society. It narrates a story of events, of changes, ideas, beliefs, theories and traditions. It identifies a place, and for many it has stand as a symbol of power. For example, the great pyramids of the Mayan civilizations. The Mayan version of the pyramid is truncated so that a temple can be built on the top. During their rituals, the priests would ascend the pyramid from the earth to the sky by means of staircases, they believed that this brought them closer to the gods. The shape of the pyramid is directly derived from their beliefs and every detail is a celebration them. During my trip to Yucatan, I visited a significant amount of pyramids. I was directly exposed to the Mayan culture and was overwhelmed on how present the Mayan culture is in its architecture. Every stone and corner, every detail and shadow, every built form spoke of this great ancient civilization. It was a great lesson to see how the environment is present in every form of architecture. Ultimately, as long as architecture remains a part of human beings, it can not but be influenced by the culture of human societies. Culture is ever evolving and in the process it provides inspiration to architecture to evolve to its higher creative expression and synthesis, thus becoming the identity of a place.
__________________ 10, 11
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Leo Hansen, Culture and Architecture [An Integrated History], Cognella, Inc. 2012. pg. 3
Images courtesy: http://www.arqhys.com
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[ Loss of Cultural Identity ] This study is primarily a response to the loss of identity in today’s architecture. Currently our built environment appears to be designed without a substantial content12, with a purpose of fitting a criteria of supply and demand. There is a notion of a ‘universal architecture’ that in reality doesn’t always fit with its environment. An unresponsive design that simply tries to meet a need without conscience of its surroundings, of its history, its context. The inspiring ideas with what architecture was originally designed “Architecturally speaking our throughout history, and the dialog that it had with its context seems to no longer be the driving force in today’s society. Rafael Moneo argues: physical environment is being “News, films, TV, advertising—everything pushes us towards a life understood as a continuous consumption of information received through images. No wonder that architecture, in today’s world, no longer represents power. The media are the vehicle of power.”14 He also affirms; “The shadow of anywhere is haunting our world today … architecture claims the site from anywhere…. Architecture is engendered upon it…. The site is where architecture is. It can’t be anywhere.”15 Given that architecture is generated within a context (culture, climate and environment), the design becomes integral with the context, therefore architecture is the representation of the forces inherent in the context and it is impossible to separate it from these forces.
increasingly designed without substantial content. The values of the truth, the good and the beautiful are ignored. Without this how can one ever create lasting quality of architecture, since architecture is neither purely a physical, a purely intellectual, nor a purely psychic phenomenon but a comprehensive manifestation of all three, capable of influencing the lives of individuals and communitites.”13
Architecture has concentrated mainly on technological means and instrumental procedures that, in certain cases, manage empty forms without conceptual content. In other words, the dialectical relationship between material civilization and spiritual culture has been disturbed.17
In order to transcend this static production and reclaim the complex nature of architecture, we need a re-establishment of the dialectical relations between culture and material civilization within architectural theory. The aim of this transformation will be a new conception of architecture as the major cultural realm.18
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“A work of architecture separated from its cultural context loses its meaning, and thus, its value as an art form. If you take away a building’s context, its history, or its mythology, or the sociology of its builders, then it becomes merely brick, stone, concrete, or glass. Conversely, architecture is place setting for culture.”16
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Excerpt/ Balkrishna Doshi Essay, Thoughts On José Rafael Moneo by Robert Campbell. Architect and Architecture Critic, The Boston Globe 16 Leo Hansen, Culture and Architecture [An Integrated History], Cognella, Inc. 2012. pg. 4 17, 18 The Cultural Role of Architecture, By Jane Lomholt, Paul Emmons, John Shannon Hendrix. Routledge 2012. p172 12, 13 14, 15
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Generating a [ Framework
]
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Precedents As mentioned before, one of the main objective behind this study is to organize an analytical framework that responds to the social needs, issues and priorities of a society as it generates a design that reacts to and reinforces a sense of place. This framework is composed of ideas and areas of importance needed to be addressed in a society. The goal is to allow the framework to inform the design by linking it to the local forces, translating and integrating it into a contemporary design language that in return expresses the regional and local cultural identity and historical roots. In other words, an architecture that is highly responsive to its context; a place meaningful architecture. To help me develop the analytical framework, a study was done based on the work of a few design professionals whom have dealt with similar situations around the world: Glenn Murcutt, Giancarlo Mazzanti, Rafael Moneo and Nabeel Hamdi. As I studied their work, their approaches, concepts and ideas helped me to identify a pattern and to identify the areas of major importance. While studying each project, the whole concept became clear and more defined. Each project enabled me to recognize and address the value stored within each context and to channel my ideas in a way that I could only enhance the place. From each designer I learned something in specific. Each one of them inspired me to search within the depths of a society and generate a design that achieves locality and preserves place identity in new forms.
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Glenn Murcutt [ architecture for place ]
“Since most of us spend our lives doing ordinary tasks, the most important thing is to carry them out extraordinarily well.” Henry David Thoreau
Glenn Murcutt is an Australian architect that pours his creativity into small, economical projects that conserve energy and blend with the environment. From his father, Murcutt learned the philosophies of Henry David Thoreau, who believed that we should live simply and in harmony with nature’s laws. Murcutt’s architecture is of eloquent form and refined detailing, but is primarily concerned with bringing the qualities of the surrounding natural world into the daily experience of the occupants. Murcutt’s ideas and approach influenced this research’s framework guiding it towards a more environment-conscious direction. His detailed attention to nature, the movement of the sun, moon, and the seasons, and how he begins to design his buildings to harmonize with the environment of light and wind, are important aspect that helped shape this study. His focus on the surroundings force his designs to respond harmoniously with their context, creating an architecture that is unanimous with its environment in a way that they can’t be tell apart.
“ We do not create the work. I believe we, in fact, are discoverers.”
Glenn Murcutt
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http://dbrds.wordpress.com
Simpson-Lee House, New South Wale, Australia, 1994. Glenn Murcutt
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Murcutt believes in the link between the environment and the building – perhaps even more so in placing emphasis on the ecological sustainability of his works. Murcutt’s motto, ‘touch the earth lightly’, convinces him to design his works to fit into the Australian landscape features. His works are highly economical and multi-functional. Materials such as glass, stone, timber and steel are often included in his works. “I am stirred to the point of anger when I see what continues to be done by so called progress – the destruction of the flora, the displacement of the fauna and all of it with the blessing, if not active collusion of our subdivision regulations. I am not rejecting urbanization. I am not seeking a kind of utopia in the bush — far from it. I am involved with and recognize the importance of a varied milieu. I am opposed to the total taming of this land and the loss of the wildness of the native scene. The land appeals for care and we need to become friends with the landscape and not be threatened by it.” -Glenn Murcutt
The Magney House by: Glenn Murcutt Image courtesy: http://www.taipei.gov.tw
Arthur & Yvonne Boyd Education Centre, Riversdale, NSW, 199699 (in collaboration with Wendy Lewin and Reg Lark)
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Giancarlo Mazzanti [ pedagogical environments ] “My obsession nowadays is how to transform education into architecture in order to create better architects.”19
Giancarlo Mazzanti
“...That is very powerful; I had the city under my skin, in my heart, and in my mind. The same with the country. You have to have it under your skin to feel it, see it, touch it. In your heart, to love it; and in your mind, to understand it.”20
Sergio Fajardo
Giancarlo believes that architecture can and should change the world. According to him, ‘Previous generations of architects thought of how architecture could interpret the world, but I think now is the time to think of how architecture can change the world. We architects can assume that role and make a real difference in how people live and behave’.21 Giancarlo Mazzanti strives to impact the community by promoting education through architecture. He believes that to close a door another must be open. In other words, to turn our backs from a way of life that is often painful, one must reconstruct and provide a better solution, one that positively affects and enhances lives and livelihoods. Creating ruptures by providing pedagogical environments. Mazzanti affirms, “What I’m passionate about, and the heart of what I try to do, is to adapt architecture to make it capable of changing behavior and transforming the ways it is used.”22 Mazzanti impacted this study greatly. His theory of affecting society pushed me to think about an architecture that would stand for something much more than a shape, and like him, my intent is providing a sense of belonging within a society. Creating a piece of art, one that the community would feel proud to be a part of and that would also celebrate their history. I intend to enhance and inspire the community by strategically channelling Mazzanti’s idea of pedagogical environments with the idea of a place-meaningful architecture.
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Sergio Fajardo and Giancarlo Mazzanti by Giancarlo Mazzanti. BOMB 110/Winter 2010, ARCHITECTURE (Interview) 21 We architects are politicians: Interview with Giancarlo Mazzanti. By Vladimir Belogolovsky December 13, 2011, ArchNewsNow.com 19, 20, 22
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Biblioteca Le贸n de Greiff, Medell铆n. Designed by Giancarlo Mazzanti.
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Photos courtesy: http://bombsite.com/issues/110/articles/3368
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Biblioteca León de Greiff
Biblioteca España, Medellín.
“Architecture only makes sense to the extent that it is capable of producing wellbeing, whether it is environmental or social. If not, it has no meaning, it becomes a game of egos, shapes, and buildings”
Giancarlo Mazzanti
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José Rafael Moneo [ place and time ] José Rafael Moneo, a Spanish architect based in Madrid, leaves his own mark on each of his creations, while at the same time combining aesthetics with functionality; especially in the airy interiors that act as impeccable settings for great works of culture and the spirit. The embodiment in architecture of time and place is Rafael Moneo’s deepest concern. All of Moneo’s work, none of which are alike, have a high respect for their context and history while projecting towards the future, determined to stand as a powerful representation of its culture. He makes buildings to outlast time. A Moneo building creates an awareness of time by remembering its antecedents. It then layers this memory against its mission in the contemporary world. David Netto, from The New York Magazine affirms; ‘Moneo has approached commissions with the goal of making architecture that is simultaneously an ornament to the Old World and a beacon of the new. His buildings are extremely site-specific, usually physically elegant and charged with experiential surprise, often in the plan or through internal manipulations of natural light. Always born of some well-considered relation to context, Moneo’s buildings are not objects meant to promote themselves, nor do they condescend... Moneo makes architecture that refuses to show off. His buildings are woven into cities rather than imposed upon them, and might as easily be about texture rather than form.’23 Moneo agrees to the fact that today architecture is no longer designed with substantial content, and precisely attempts to do exactly the opposite by letting architecture be fully influenced by its context. Moneo strives to give meaning to all of what he does and to not let architecture be merely about a game of shapes and buildings. In his perspective, he sees today’s architecture as nothing but commodities. In an interview he stated: “I very much fear that they are no more than the expression of financial operations since they are occupied by the people who are constructing them and are nothing but commodities bought up by investors who may never occupy them. This lack of interest in context unquestionably leaves architecture without the incentives that site bestows and that are so important when it comes to imagining what is constructed.”24 Rafael Moneo makes a statement with his architecture. The way he transmits life into his work without any detail being overlooked made me conscious of my surroundings and encouraged me to focus my study on a kind of architecture that humbly speaks about its culture and history and yet is powerful enough to stand the test of time. To create architecture that bears the imprints of time and place, capable of narrating a story, of seducing, and creating experiences is the biggest concern behind this study; architecture as a way knowledge. __________________ 23 24
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Lost in Translation, By DAVID NETTO April 12, 2013, The New York Times Style Magazine. Interview with Rafael Moneo. Rafael Moneo, 2010. Magda Anglès and Judit Carrera, CCCB
Merida Museum of Roman Art by Rafael Moneo
Image courtesy: Archinect
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Nabeel Hamdi [ placemaking and the architecture of opportunity ] Nabeel Hamdi is about creating an architecture of opportunity. Hamdi argues that we need to reflect on our practice, on the nature of the problems we are trying to address and with who. He believes that in order to improve society and sustain livelihood, as a designer, we must have the people at heart, not because it is nice to do, but because this is the most effective way of achieving real, lasting change. In presenting his ideas, Hamdi suggested that the path for practice should be to start with the conditions on the ground, understanding the rigour of what already exists, socially, culturally, economically and environmentally to drive idea development; to drive intervention. In other words, people’s lives should shape the intervention, rather than interventions insisting that people change their lives. Interventions should be a response and therefore a representation of a society. They should be shaped by the culture and history of the place rather than imposing something that is completely foreign. The where determines the how.
“ It was Sennett who said that in order to know how, you must know where- which is partly why projects go wrong.”25 Once more, the where defines the how of placemaking. In other words, context should generate the ideas and set of tools of how to intervene on a site. By doing so, the intervention would be undeniably embedded in its context, bringing the past into the present, providing a past that can be experienced, and creating permanences. Most importantly, identifying the context would address the specific needs of a society by providing opportunity.
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Sennett, Richard (2008) The Craftsman Allen Lane, London Nabeel Hamdi, The Placemaker’s Guide to Building Community. (2010) Earthscan.
We have to move away from the idea that an expert alone is some special kind of person, and accept that every person out there is a special kind of expert … I engage with people not because I like them. In fact, they also get in my way. It’s time consuming, it’s messy, everyone argues, there’s shouting, there’s conflict, all the rest of it. I engage with them in the same way I’d engage an engineer if I was putting up a complex building. I would be stupid not to engage an engineer if I was putting up a complex building – well how come I don’t engage with the expert out there that knows best… the tacit knowledge that they have about how to really survive and live… [etc] … I need that knowledge. That intelligence is not in the planning office (as much as I love the planning offices) – it’s in the street. I need to engage with the street as my source of knowledge. -Nabeel Hamdi
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Architecture informed by context Architecture informed by its Context is the emphasis of this study, and its influenced by the following interrelated framework. From the research, a broad list of domains were first gathered to identify the components that define a place and that should always be acknowledged at the time of designing. This list of domains will evolve as each point is further developed and eventually will evoke a design that reacts to and reinforces a sense of place. The first attempt on identifying these domains was to categorize the general areas of importance that need to be addressed within a community, and eventually develop subcategories that address the communitie’s position towards such domains. It is important to note that when distinguishing each domain, the idea of what the characteristics of each place are and of what makes up its physical environment and the sublime, was the main focus.
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Context
Physical/ Invisible
Social
Method of awareness
Typology
Urban Structure
Public Realm
local Identity
Spatial
Public/ Private
Domains
Mythical/ Spiritual
Traditions Sustain Livelihood
Response Time
Culture
Topography
History/ Record of Time
Expression of Culture of the Place Creative Design and Plan
Constraints
Place Transformation
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Type of Construction
[ Physical Environment ]
Climate
Physical
[How temperatures influence and affect design based decisions] [How to respond and take advantage of the environment]
Natural Resources [What are the natural resources available in the area]? [How can they be incorporated and used to enhance the unique character of the place]
Topography - Ground
[Influences and shapes the program and layout of a project]
Orientation - Sun - Shadows
[How is the orientation of the site manipulated for the benefit of the project]?
Type of Construction - Materials - Texture - Color
[What materials are produced and commonly used in constructions]? [Which material choice will successfully represent its context]? [What materials are more adequate to used according to the characteristics of the context] [How significant is the use of textures and color]
Built Form
- On site - Nearby Landmarks
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[Are there any existing built forms of any importance on the site]? [Acknowledge nearby significant landmarks] [How to engage with existing structures on site]
- Materials - Texture - Color
[What materials are produced and commonly used in constructions]? [Which material choice will successfully represent its context]? [What materials are more adequate to used according to the characteristics of the context] [How significant is the use of textures and color]
Built Form
- On site - Nearby Landmarks [Are there any existing built forms of any importance on the site]? [Acknowledge nearby significant landmarks] [How to engage with existing structures on site]
Building Typology - Zoning - Urban Structure - Density - Public/ Private
[What district zone is the site located on]? [What building typology currently empowers the majority of the population]? [Identification of public and private and how these are integrated in the site]
Architypes
- Wall - Threshold - Voids - Proportions - Unity - Light [How are these important building elements integrated and manipulated in the project, to execute a coherent design] [What does each element in particular means to the specific site]? [What is the level of importance on each element]?
[Incorporate significant events with the program] [What kind of crowd are the events addressed to]?
[ Intangible ]
History
Non-Physical
- Influences - Facts - Intentions
[What is the history of the place]? [What were the original intentions for the site]? [What important facts should be taken into consideration and allowed to influence the program and the decision making process] [What are the influences that are still present in the site]? [How can history be experienced in the project]?
Events
- Religious - Political - Musical - Time
Use
- Noise level - Crowdedness - Traffic
[Who uses the site]? [What amount of people]?
Society
- Needs - Values [religious, political, economic] - Beliefs - Religion - Issues - Pride - Participation [How will society influence the design]? [Respond to needs and create awareness] [How should the characteristics of a society be used to conserve and add to the local identity]? [What is the level of involvement of society in ongoing projects]?
[Acknowledge ongoing events] [What type of events are held in the site] [How often, how many times a week, or how many times a year]? [What events influence the site directly]? [Incorporate significant events with the program] [What kind of crowd are the events addressed to]?
Use
- Noise level - Crowdedness - Traffic
[Who uses the site]? [What amount of people]?
Society
- Needs - Values [religious, political, economic] - Beliefs - Religion - Issues - Pride - Participation
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Architecture as an Expression of Culture
[ MĂŠrida ]
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Architecture as an Expression of Culture
To execute my ideas, I decided to implement them on Mérida Mexico. This choice was highly influenced by a trip I made to the Yucatan Peninsula, where I was directly exposed to the Mayan culture. The cultural and historical richness stored within this society captivated and developed within me an interest in this gorgeous civilization. Every detail of this place made me conscious about the importance of cultural identity in a society and inspired me to seek a study that would promote, preserve, and celebrate that identity through a context-filled architecture. The idea is to preserve the cultural greatness of a place as it transitions throughout time; thus creating a place meaningful architecture that speaks of its people, its culture, and history. Architecture as an expression of culture. It is important to note that the main idea of this project is not based in Mérida in specific, but about using Mérida as the vehicle on which to test my studies. Although I am applying my ideas on this beautiful city, the concept is meant to be applied on any other context. Mérida is the capital of the Mexican State of Yucatán and the largest city of the Yucatán Peninsula. Mérida has the highest percentage of indigenous persons of any large city in Mexico with approximately 60% of all inhabitants being of the Maya ethnicity. It is a city that is still very embedded in its Mayan culture, its influence can be seen everyday in its people, traditions, music, language, food and everyday routine. For a brief period, around the turn of the 20th century, Mérida was said to house more millionaires than any other city in the world. The result of this concentration of wealth can still be seen today. Many large and elaborate homes still line the main avenue called Paseo de Montejo, though few are occupied today by individual families. Many of these homes have been restored and now serve as office buildings for banks and insurance companies. Mérida’s architecture is highly filled with old Spanish influences, it contains elements of a colonial style and revolves around the idea of Mérida’s native haciendas. Sun, shadows, color and materiality defined traditional Mexican architecture with the notion of ‘the wall’ being the most Mexican of building elements. I hope to create a strong correlation between architecture and the contextual history of this beautiful city, retaining the city’s cultural essence and adding to years of historic architectural prestige.
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MĂŠrida [ Capital of the Mayan World ]
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[ Memory Mapping ] The process for creating architecture that bears the imprints of time and place, began with a study drawing that highlights the spatial relationships within the main historic district of MĂŠrida. The study identifies and strategically applies the framework earlier studied, to begin generating strategies that would later on influence the design process. It studies voids, significant built forms, orientation, relations, occupation of space and connections. Furthermore, the study speculates on the idea of composition. The way in how each block is design in relation to each other, and the disintegration of them from within the porosity that configures the solidity of its facades. Through this study, it is evident that continuity, symmetry, threshold, the idea of walls as layers, and the notion of solids and voids make up the structure of this complex and yet modest city.
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[ Parque Santa Lucia ] The specific site where the intervention takes place is Parque Santa Lucia (Square of Santa Lucia). Santa Lucia, also called park of Heroes, began construction in the 16th century, reaching completion in 1620. From the beginning, it was intended to honor all musicians of Yucatecan ballads. Bordered by an arcade on the north and west side; when MĂŠrida was a lot smaller, this was where travelers would get on or off the stage coaches that linked towns and villages with the provincial capital. The Bazar de Artesanias, the local handicraft market, is held here on Sundays and hosts popular entertainment several evenings a week, including a performance of Yucatecan songs and poems on Thursday nights. When built, the structure within the arcades was intentionally designed as dwellings. It was here where distinguished families and significant characters of the Mexican culture had the privilege of residing for periods of time. At the moment, the dwellings are deteriorating and in ruins but the plaza continues to be used throughout the week. __________________ 26
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MĂŠrida, Un Lugar lleno de Historia http://www.merida.gob.mx
[ Parque Santa Lucia ]
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[ Applying a Framework ] Process | Notes
Context [ Physical environment | Intangible ] - Environment: Sun | Shadows - Materials: Stones | Ceramic | Mosaico Limestone - Orientation - Nearby Significant landmarks: UNAM | Merida Sate Library - Historic Context - Temperature - Music and dancing events held - Sculptures of famous yucateco musicians on site - Levels of noise - Spanish Influences - Topography - 24 arches - 10 dwellings throughout the portals. [Importance]
[ History ]
- Connection Point - Park of Heroes - Intended to honor all musicians of yucatecan ballads. - Meant to be freely used by the public. - Mayan Influences
[ Traditions ]
Site traditions: - Bazar de Artesanias [Local Handicraft Market] Sundays
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- Popular Entertainments several evenings a week - Performance of Yucatecan Songs and poems on Thursday nights. - Sundays, 60th street is closed for bici-ruta - On 55 st., buses park for tours around the city
Merida Traditions: - Fiestas Patrias [September]
[ Social ]
- Create a cultural awareness - Respond to context, reinvent but hold on to the essence - Sustain livelihood - Create educational environments - Enhance traditions - Encourage interaction
[ Typology ]
- Urban structure [ Colonial architecture ] - Historic district zone Civics | Hotels | Commercial | Governmental
[ Public Realm ]
- Acknowledge of ongoing activities - Encourage new activities - Add to | Conserve local Identity
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Program of Ideas [ 3 main Influences | Creating Educational Environments ]
History
[ Not only the history where the site sits upon, but the history and stories that the ruins represent ]
Music
[ Present sculptures on site of famous yucateco musicians ] [ Original Intent of the plaza | Honor local music ]
Education
[ Learning is something which is developed and realized most optimally in interaction with others ] [ Built forms: UNAM | Central State library ]
[ Site Studies ]
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schemes
[ Reconstructing the Site ] 65|
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[ Making Connections ]
The project is a strategic intervention for the improvement of the quality of life of the society and the improvement of the cultural and natural services of the historic center. However, in an attempt to revive Parque Santa Lucia, this intervention strives for more than that. It is a recognition to whom resides in those beautiful places of the Mexican geography and have known how to safe for all the cultural and historical richness that they embody. In this study, the context was built in an invert manner, creating the boundaries of the adjacent structures and allowing them to contour and highlight the space of intervention, thus emphasizing the idea of voids and solids. The initial concept behind the proposed schemes was to contribute to the public realm by making connections. There are three main influences already present in the site: the influence of history, music and education. The influence of history, the history of the site and the history that the ruins themselves represent. The influence of music is represented by the existing sculptures on site of famous yucateco musicians and the original intent of the plaza meant to honor local music. And the influence of education is present in the site as adjacent built forms, UNAM [Universidad Nacional Autonoma de Merida] and the Central State Library. The idea is to create visual, physical and conceptual connections between these three domains while creating spaces that encourage collaboration and dialogue; spaces designed to bring people together and share ideas. Subsequently, the physical design of the structure is intended to respond to the analytical framework that was used to initially generate ideas and to indirectly mirror the elements and principles that characterize the architecture of the region. The proposed structure was designed manipulating the idea of porosity, layers and filters with exhibition spaces dedicated to honor yucateco musicians and the history of the city, and to commemorate the distinguished graduates of UNAM. The program is grounded by a central courtyard that bounds the surrounding spaces and acts as the main space for the structure. This courtyard resembles the courtyards of the traditional Mexican haciendas and as with them, it is the heart of the project. One of the challenges presented while designing, was on how to address and touch the ruins existing on the site and that represent a great part of the history of this place. In this project, the ruins become part of the intervention at a point where an element as important as subtle as the wall, becomes the threshold for both programs thus treating them as a wholistic structure. In other words, part of the old structure becomes part of the new. The idea is to not create boundaries between the existing and the new, and by strategically engaging part of the intervention with the present structure the ruins now become a beacon of admiration. Ultimately, the goal of the program is to provide educational environments that would promote learning and interaction thus highlighting the intent behind one of the three main influences, education.
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[ Facade Study ]
As part of the investigation a facade study was done to analyze the characteristics and concepts that define the architecture of the city and develop a prototype of a modern facade influenced by existing ideas. The ultimate goal is to manipulate existing ideas to generate a design that is highly influenced by them. Common architectural principles identified throughout the city include the manipulation of layers and thresholds, the use of materiality and color, the importance and variety of scale, the idea of porosity and discreteness, the high attention to detail and the presence of continuity and symmetry. The idea behind this facade study is of a de-constructed facade assembled by layers. In this study, layers are used in an indirect manner in relation to the way in which layers are used in traditional architecture. Besides creating depth, they act as filters allowing an individual to experience every fragment, thus perceiving the variation in materiality and scale. Moreover, this experience is enhanced by strategically placing thresholds to seduce and reveal as one transitions through the entity therefore creating awareness of time and place.
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Architecture as Identification of
[ Place ]
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This intervention strives to add to years of historical wealth contained within the site. It attempts on providing a place that is highly responsive to its context, thus contributing to a sense of belonging for the community. This project seeks to enhance everyday traditions and provide a space that encourages interaction and learning, ultimately contributing to the improvement of livelihoods. The walls, light and spaces within are designed as filters to seduce, to create expectancy and awareness. The main goal targets to frame views to the central courtyard and the main plaza, creating visual interactions and accentuating the idea of learning while increasing a sense of belonging.
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The structure contains a central wall that grounds the project and outlines the main central courtyard. The main facade, which is highly visible, is finished to resemble other sections of the city walls, although in broader, contemporary proportions, with long narrow apertures that reveal the spaces contained within both sides of the wall [ a central courtyard on the outside of the wall and a narrow hall featuring murals of the Mexican history on the inside ]. The interior central courtyard is an extension of the existing plaza allowing for visual and physical interactions between both spaces. The idea is to bring all the activities held at the plaza to the inside spaces, allowing the existing ruins to act as a filter channeling activities and ideas between two environments, blurring the line of inside and outside and creating the notion of one space. The walls strategically accept and restrain light to add to the whole experience of the space.
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[ Horizontal Section Study ]
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[ City Section Study ]
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“The principal challenge in the job, was simply coming to a definition of what makes a space sacred today, especially in a community where so many different heritages intersect. Another was crafting a building to last centuries in a city that is continually liberating itself and changing, always in the process of continual renovation. If his job is done well, the opinion of people in 50 years won’t be any different from the popular opinion that emerges in coming months and years.”27
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Rafael Moneo, Creating a Timeless Place in an Ever-Changing City. CHRISTOPHER REYNOLDS, Los Angeles Times. September 03 2012 27
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Always [ Glory be to God ] 83|