12.14.2011 blam - thesis talks

8/3/2019 12.14.2011 BLam - Thesis Talks

1/21

fab-ri-ca-tion(noun)

1. the action or processof manufacturing orinventing something: The assembly or fabrication of electronic products.

2. an invention; a lie: The story was a complete fabrication.

source: the Oxford English Dictionary


2/21

REPRODUCTION + REPRESENTATION |DAVID HARVEY

PROCESS + MULTIPLICITY |DOREEN MASSEY

SPACE VERSUS PLACE |EDWARD CASEY

The social construction of place begets a fluidprocess of generating multivalent narratives.

Instead, then, of thinking of places as areas with boundaries around, they can be imagined

as articulated moments in networks of social relations and understandings, but where a largeproportion of those relations, experiences and understandings are constructed on a far largerscale than what we happen to define at the moment as the place itself.

(from Space, Place, and Gender)

Fluidity and multivalence of social reproduction become codifiedinto the fixed spatial constructs of image and representation.

Consider, as a starting point, de Certeaus contemporary critique of the map as a totalizingdevice. The application of mathematical principles produces a formal ensemble of abstractplaces and collates on the same plane heterogenous places, some received from tradition andothers produced by observation. The map is, in effect, a homogenization and reification of therich diversity of spatial itineraries and spatial stories.

(from The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change)

Place is socio-spatial.

And yet place, despite these auspicious directions in contemporary thought, is rarely namedas such - and even more rarely discussed seriously. Place is still concealed, still veiled, asHeidegger says specifically of space. To ponder the fate of place at this moment assumes a new

urgency and points to a new promise. The question is, can we bring place out of hiding andexpose it to new scrutiny?

(from The Fate of Place: A Philosophical History)

[CH.1] theories of place, process, and representation


3/21

T H E F A B R I C A T I O N S O F A R C H I T E C T U R E


4/21

1871 1900

1887 1938

Honolulu [ Oahu, Hawaii ]

1998

honoluluharbor

piers 19 - 21historic

Chinatown

Chinatowncultural district

downtownbusiness district

capitol andhistoric district

high-riseresidences

midre

publichousingprojects

redevelopedindustrial

zone

park

sector

sector

sector

sector

sector

sector

from the Hawaiian Government Survey / by W.A. Wall from the Hawaiian Territorial Survey from the

swampy lowland on the northern border of Nuuanu Stream

about Aala Park:

- located northwest of thefamous tourist district ofWaikiki and the business districtof downtown Honolulu.

- adjacent to historic Chinatown,which includes a thrivingmarketplace and growing artenclave that is an increasingdraw for tourists

- directly south of a low-income

housing area (both private andpublic housing projects)

- east of a redeveloped industrialzone with growing commercialinterests

- semi-permanent homelesspopulation recently evicted bystate authorities

the park is an urban nexus

deed passed onto (U.S.)Hawaii Minister of theInterior under KingKamehameha V

first beautification project to convertthe park from "a barren wastecomposed of harbor dredgings into aresort of beauty."

1969 1980

the Aala Triangle consistedmostly of slum dwellings, dancehalls, and pool rooms generallyoccupied by urban derelicts.

the entire four-acre areawas razed and rebuiltinto a new gateway toHonolulu.

the area was mostlyoccupied by transients,drug dealers, andprostitutes.

$2.3 million renovpark, including barecreation fields, wand playground e

baseball / site of public rallies skate park / crime hotspot / homeless encampment

eviction of the homeless with new plans to redevelop the park

family-friendly attraction to support local businesses and tour

privateaffordable

housing

Aala

Park

1936 1950 200

[CH.2] the place :AALA PARK [Honolulu, Hawai


5/21

[map 0.1] : STREETS

[CH.2]


6/21

[map 0.2] : BUILDINGS

[CH.2]


7/21

[map 0.3] : URBAN TEXTURE

[CH.2]


8/21

IOLANI PALACE

AALA

TRIAGLE

HONOLULU

TOWER

MAUNAKEA

TOWER KUKUITOWER

QUEEN EMMA

GARDENS

HONOLULU

COMMUNITY

COLLEGE

KAIULANI

ELEMENTARY

KAULUWELA

ELEMENTARY

OAHU

CEMETARY

LILIHA PUBLIC

LIBRARY

KUAKINI

HOSPITAL

SAM CHOYS

DOLE CANNERY

STADIUM

CENTRAL

MIDDLE

SCHOOL

KUKUI

GARDENS

APTS

MAYOR

WRIGHTS

ST. ANDREWS

PRIORY SCHOOL

BOARD OF

EDUCATIONWASHINGTON

PLACE

QUEENS

MEDICALCENTER

HAWAII

STATE

ART

MUSEUM

IZUMO

TAISHA

SHRINE

CHINATOWN

LOWER

KALIHI

KALIHI

SANDISLAND

(QUARANTINE

ISLAND)

NUUANU

PAUO

PUNCHB

CRATER

LILIHA

ALOHA TOWER

CENTRAL

BUSINESS

DISTRICT

[map 1.1] : PLACE NAMES / TOPONYMY

[CH.2]


9/21

[map 1.2] : RISK

[CH.2]


10/21

[map 1.3] : URBAN IMPRESSIONS

[CH.2]


11/21

VOLUMES

POINTS

LOGIC OF

THE FOLIES

DISTORTIONR EP ET IT IO N S UP ER IM PO S IT IO N I NT ER RU PT IO N F RA GM E NT AT IO N

LINES

SURFACES

Follies and Galleries Isometrics, AD Architectural Drawing (1986), source: the MoMA Collection Parc de la Villette masterplan drawing , source: Bernard Tschumi Architects photogra

[CH.3] parc de la villette :TSCHUMI

DECONSTRUCTIONthe park is an experiment inform, space, and how theseaect a persons ability torecognize and interactwithin such a space.

matrix of geometries: interpreting Tschumis Points, Lines, and Surfaces mapping and understanding the parks use of geometric ma


12/21

sosource: S M L XL by Rem Koolhaas and Bruce Mau

[CH.3] parc de la villette :KOOLHAAS

initial hypothesis 1. strips of program 2. point grids, or confetti 3. access + circulation 4 . final layer

PROGRAMBy organizing programmatic needs, O.M.A.s proposal

attempts to orchestrate on a metropolitan eld the mostdynamic coexistence of activities x, y, and z and to generatethrough their mutual interference a chain reaction of new,unprecedented events; or, how to design a social condenser,based on horizontal congestion, the size of the park.

(from S M L XL)

programmatic indeterminacy via superimposition and layers of a mathematical logic :

1 2 3 4

BOULEVARD

PROMENADE

ORDER LOGIC SEQUENCE IRREGULARIT

A - a

X

A = the available areaa = area of the facility required

X = # of points to be distributed

DESIRED DISTRIBUTION

K I O S K

P I C N I C

p a r a l l e l b a n d s

r u n n i n g e a s t t o w e s t

t o a v o i d c l u s t e r i n g o f p r o g r a m

a n d t o m a x i m i z e t h e b o r d e r s b e t w e e n t h e b a n d s o f p r o g r a m

h e n c e , m a x i m i z i n g e a c h b a n d sp e r m e a b i l i t y

p r o g r a m m a t i c i n t e r f e r e n c eo r m u t a t i o n s

a n d e n c o u r a g i ng p e r p e n d i c u la r


13/21

[CH.3] strategies :REGULARITY/IRREGULARITYLINEARITY (regularity)

TSCHUM

I

KOOLHAAS

grid base embedding : follies reinscrib

strips of program stitching : connecting

SUPERIMPOSITION (irregularity)


14/21

[CH.4] examining narrative structures :LINEARITY

A B C D Enarratives can be viewed and traced separately

links between events are clear

(e.g. clear and logical sequence)

narratives can be broken down into chains thatare linked by a series of events

LINEAR STRUCTURE NON - LINEAR STRUCTURE

narratives can be overlapping and read simulta

the links between events are less clear (e.g. jumps between tim


15/21

SHELTER(protected spac

BEAT(surveilled spac

LANDMARK(prominent spa

PARK(autonomous sp

TRANSIENT

USER IMAGE ASSOCIATION : POSTURE SPATIAL DEFINITION : PLACE

ENFORCEMENT

VISITOR

RECREATOR

RECUMBENT

ERECT

POSED

BRACED

[CH.4] translating narratives :FRAMING


16/21

[CH.4] fusing narrative chains :CONFLATIONspecic chains can be foregrounded

and/or obscured to conate moments


17/21

[CH.4] reinforcing narratives :SINGULARITY

the narratives and its structures are legible.


18/21

[CH.4] superimposing narratives :MULTIPLICITY

a dominant narrative is foregrounded/reinforced;others recede or are obfuscated; the single reading is still clear

[1] static state [2] dynam

multiple narratives are the reading is changing, but becomes m

the narratives and its structures are illegible and difficult to trace.


19/21

[CH.5] synthesizing narratives

by establishing ahierarchy of overlaps

while tying knots into

the articulation ofmultiple narratives ina single space, we can

define specific momentsas opportunities of

intervention.


20/21

[CH.5] codifying narratives

examining the overlaps

and intersections of thenarratives as spaces

to conflate.


21/21

[CH.5] visualizing narratives

12.14.2011 blam - thesis talks

Documents