Thesis Booklet

THE DISSOLUTION

OF STATIC DEMARCATION

A Thesis presented to the faculty of the NewSchool of Architecture + Design

In par t ia l fu l fi l lment of the requirements for the degree of Bachelors of Architecture

By Lauren PasionSan Diego, 2012

Approved by:

_____________________________________Doug WiganowskeThesis AdvisorUndergraduateThesis Co-Chair

_____________________________________Phi l ipp Bosshar tUndergraduateThesis Co-Chair

_____________________________________Len Zegarsk iUndergraduate Program Chair

M E DI AT I NG S P ECI F ICI T Y + D E MAN DS O F F I E LD CON DI T ION S

6 D I S S O LU T IO N O F STAT I C D E M A R C AT IO N

Premised with the wr i t ings of Col in Rowe, Peter E isenmann, Rem Koolhaas, Stan Al len, Jesse Reiser, Nanako Umemoto and Bernard Tschumi and influenced by the works of Di l ler Scofidio + Renfro, and Morphosis, th is thesis seeks to respond to the chal lenges of contemporar y paradigms. Such discourse attempts to formulate an authent ic ethos appl icable to a mult i tude of conversat ions. The inquir ies addressed in this text wi l l remain as par t of an ongoing dialog of osci l lat ing negot iat ion that is u l t imately in search for the operat ive subl ime.

“Architecture is l ike the sea, or money: i t fa l ls into an intermediate categor y between matter and events. I t i s a modulator. “ 1

L A U R E N P A S I O N

I am deeply grateful for Doug Wiganowske, who endured endless hours of cr i t iques f rom which a r ich dialogue has developed the contents in this book. I a lso owe thanks to the design exper t ise of Phi l ipp Bosshar t and Mozhdeh Mar t in, whose guidance and ins ight contr ibuted to my research and growth.

Many thanks to NewSchool of Architecture + Design [Undergraduate C/O 2012, Faculty and Staff] for providing the forum and unforgettable studio culture.

My Fami ly - Mom, Dad, Kr yst le, June and Mike, I am indebted to you for your endless love and suppor t throughout this journey.

a c k n o w l e d g m e n t s

1 0 D I S S O LU T IO N O F STAT I C D E M A R C AT IO N

C O N T E N TS 1 1

d i s s o l ut io n o f stat ic d e m a rc at io n

a rc h i t e c t u r e o f a uto n o my

h y p e rc u lt u r a l f i e l d c o n d i t io n s

D E T E R M I N AT E L E G I B I L I T Y

A P P L I E D c u r at io n

I L L E G I B L E D E F O R M AT IO N S

Norm and FormDifferent iat ionPar tsGrouping - Saturat ionEphemeral Condit ions

Deformed Perceptual Phenomena

Fuzzy Condit ionsHypercultureNegot iat ionIntensi t ies

L i teral TransparencyPhenomenal TransparencyDeterminate Expectat ions

Fluid TransparencyBlurr ing Percept ionFields, Mix vs. MashGener ic and the EventMoments of ExchangeConnect iv i tyCont inuity, ConstantLayered ThickeningSuper imposi t ionRefract ion Inv is ib i l i ty

D I S S O LU T IO N O F STAT I C D E M A R C AT IO N12

DISSOLUTION OF STATIC DEMARCATIONd e f o r m e d p e r c e p t u a l p h e n o m e n a

Architecture’s necess i ty to demarcate is inherent in i ts phys ical att r ibutes, however i t i s the moment of di fferent iat ion that has generated formal independence and per functor y discont inuity. Consequent ly, the perceived f ragmentat ion of spat ial exper ience does not reflect contemporar y not ions of fluctuat ing flu idi ty and blurred programming. A manifestat ion of such obscure del ineat ion can be tangibly achieved only through architectural inter vent ions which manipulate the recognit ion of over t di fferent iat ion. Address ing the open-endedness of Modernism and legibi l i ty of Postmodernism, the dissolut ion of the stat ic demarcat ion is a necessar y response to mediat ing the speci fic i ty and demands of fie ld condit ions.

Spat ial coherence of a fie ld al lows edge condit ions to become seemingly ul ter ior. Al though transparency is the most l i teral means to an elus ive edge, assemblages of undefined transi t ional exper iences [flu id t ransparencies] also have the abi l i ty to dis integrate perceived boundaries. Configurat ions of geometr ic and tectonic systems operate to foster an i l lus ive cont inuity, seamless ly carr y ing the user through layers of ar t iculated spaces.

This i l legible demarcat ion occurs speci fical ly at moments of over lap or exchange, focusing on oppor tunit ies where formal maneuvers may mediate

dist inct par ts. Instances of tangency, intersect ion, and bi furcat ion are cr i t ical in invest igat ing volumetr ic re lat ionships. By render ing a datum invis ib le at these nodes, the demarcat ion between volumes offer v isual absorpt ion or impl ic i t consciousness of per ipheral spaces. Thus, spat ial layer ing or ‘ th ickening’ [coined by Moholy-nagy] occurs, influencing the perceived organizat ion of sequent ial e lements. In this instance, the ampl i ficat ion of opt ical knowledge expands t ime and in doing so, faci l i tates the uncer tainty of confluence.

The mediat ion between nodes within a fie ld var y with intensi ty due to influences of prox imal forces. Demands of programatic int imacy, landscape, and ci rculat ion require gradients of v is ib i l i ty and clar i ty, adjust ing the opacity or aper ture of demarcat ion accordingly. In resul t , a spectrum of legible- i l legible demarcat ion is developed and is ut i l i zed to negot iate the local i t ies of par ts whi le curat ing an overal l cohesion.

U l t imately the unity of cohesion is apprehended by exper iencing cont inuity through a fie ld faci l i tated by nodes of control led edge condit ions. The dissolut ion of demarcat ion wi l l mater ial ize where stat ic di fferent iat ion seeks reconci l iat ion with the ambiguity of plast ic i ty.

d e f o r m e d p e rc e pt u a l p h e n o m e n a

Architecture asM O D U L A T O R

OBJECTIVE[constraints]

SUBJECTIVE[freedom]

OBJECT FIELD

POST - INDUSTRIALstandardized customizat ion

FORM FUNCTION MODERNISMform fol lows funct ion rendered the gener ic

POSTMODERNISMoptical dependence - representat ive contextual ism

DECONSTRUCTIVISMautonomy of formgeometr ic ‘pur i ty’

LEGIBLE ILLEGIBLE THESISdissolut ion of stat ic demarcat ionreconci l iat ion between speci fic i ty and coherence

CONVERSATION

1 5d e f o r m e d p e rc e pt u a l p h e n o m e n a

CONVERSATION

L I N E A G E

Histor ical ly, in the effor t to address a mult ip l ic i ty of changing var iables, architecture has acted as a modulator between the object ive and subject ive. However, each architectural movement st ruggled with the autonomy and representat ion of architectural e lements whi le address ing (1) ident i ty (speci fic i ty of local i ty) and (2) t ime (flex ibi l i ty). In my own attempt to do so, th is thesis explores the negot iat ion between legibi l i ty and i l legibi l i ty of architectural manifestat ions as a means to understanding relat ionships between elements.

n o r m a n d f o r m

ARCHITECTURE OF AUTONOMY

An evolut ion of any sor t or ig inates f rom a histor y which began f rom a systematic order. This ‘norm’ ser ves as a reference point for which var iables of deviat ion may be juxtaposed. Di fferent iat ion is achieved when deviat ions are so al tered, that i t shi f ts f rom being a “di fference in degree to a di fference in k ind.” 2

In architecture, the class ical car tes ian gr id ser ves as basis of formal generat ion. Due to the vast and fluctuat ing demands of architecture, the discipl ine is cont inuously shi f t ing to paradigms of novelty. Al though unstable, a common dialog occurs each cycle that mediates confl ict ing demands l ike form and funct ion.

1 7A R C H I T E CT U R E O F A U TO N O M Y

K U N S T H A U S M u s e u m o f M o d e r n A r t

Peter Cook, Col in Fournier

Zur ich, Switzer land

D I F F E R E N T I AT I O N

A R C H I T E CT U R E O F A U TO N O M Y

I t i s poss ible that di fferent iat ion may emerge out of s imi lar i ty. The percept ion of dist inct ion is dependent on what is the qual i fy ing measure. Geometr ical ly, the shapes shown here are s imi lar ly c i rcular, but are also di fferent iated by the internal hatching or color.

In constrast to pure semiot ics, architecture can be measured by formal or per formative values. For example, the Modernist paradigm’s focus on funct ion and the event generated a uni form Internat ional Sty le.

P A R T S

I s a wal l of br icks just one large br ick?

The relat ionship between par ts of a modular system offers l i tt le var iety when scale is manipulated. This homogeneity is reduct ive and l i teral ly mir rors a heirarchical par ts - to-whole re lat ionship.

When par ts are an aggregate of i terat ions, a mult ip l ic i ty of unexpected relat ionships are formed. The diverse configurat ion has the potent ial to operate across di fferent scales and manifest coherent speci fic i ty in a fie ld.

2 3A R C H I T E CT U R E O F A U TO N O M Y

G R O U P I N G - s at u r at i o n

The grouping of par ts provides a systematic approach to configurat ions. This does not necessar i ly entai l geometr ic containment or l inear uni formity, but rather faci l i tates communicat ion between f ragments.

Groupings, however, produce an addit ive and heirarchical methodology. For systems to communicate in a feed-back loop, independent of heirarchy (where the par t icular affects the whole and v ice-versa), adjacencies are perceived as degrees of saturat ion, where the densi ty of re lat ionships are the group.

27A R C H I T E CT U R E O F A U TO N O M Y

E P H E M E R A L C O N D I T I O N S

In an attempt to address the flucuat ing demands of speci fic i ty, s tandardizat ion for customizat ion has emerged. Gener ic systems enable interchangeable par ts to operate independent ly. Al though a degree of flex ibi l i ty is real ized, the fault of th is system is the cont ingency on customizat ion as an imposed force rather than generated.

Epi tomized by the dependence on super fic ial semiot ics, architecture is the cr i t ical medium to communicate systems beyond a means of representation.

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T H E O R Y

T H E T R E N D TO WA R D S H Y P E R C U LT U R E

FUZZY CONDIT IONS

Forces of technology and global izat ion have drast ical ly al tered behavioral patterns and relat ionships in society. People are becoming more interact ive [hyperact ive] and discipl ines are more col laborat ive [hypersocial], whi le architecture addresses a mult i tude of scales [hyperdimensional]. The fuzzy or vague condit ions of developing trends chal lenges architecture to address the demands of speci fic i ty in these contemporar y fie ld condit ions. The mediat ion of intr icacy and coherence through generat ive formal and tectonic techniques wi l l resul t in a plast ic system that is able to address changing needs rather than imposing a s ingular solut ion. In resul t of th is reconci l iat ion, the dissolut ion of stagnant demcarcat ion wi l l be achieved.

3 1H Y P E R C U LT U R A L F I E L D C O N D I T IO N S

H Y P E R C U LT U R E

H Y P E R C U LT U R A L F I E L D C O N D I T IO N S

HYPERACTIVE - People are more are interact ive, encouraging connect iv i ty and shared resources.

HYPERSOCIAL - Networks of cross-discipl inar y col laborat ive approaches that inspire shar ing and par t ic ipator y effor ts to achieve contextual ly responsive resul ts.

HYPERDIMENSIONAL - The capacity for architecture to adapt and transform over t ime, assuming changes in s ize, scale, form and appearance depending on speci fic s i tuat ions and needs of the contemporar y society. 3

P R E S C R I P T I V E U N P R E D I CTA B L E

PA R O C H I A L

G E N E R I C

G LO B A L

C U STO M I Z E D

I N D I V I D U A L N E T WO R K

e g o c e nt r ic C O L L A B O R AT I V E

TA CT I L E

H O M O G E N O U S

V I R T U A L

H E T E R O G E N O U S

O B J E CT F I E L D

E P H E M E R A L

D E M A R C AT E D

A DA P T I V E

A M O R P H O U S

F O R M A L I N F O R M A L

N E G OT I AT I O N

I N T E N S I T I E S

Architecture as a modulator of diverse systems and elements requires the mediat ion of extremit ies. This is achieved when reconci l iat ion occurs without exclus ion or sacr i fice. Reiser + Umemoto’s descr ipt ion of fineness presents a logic that invest igates the balance between geometr y and force appl icable at al l scales.

“The fineness argument is encapsulated in the densi t ies of a sponge: too fine and i t acts l ike a homogenous sol id; too coarse and i t becomes constrained to i ts members.” 4

L I T E R A L T R A N S PA R E N CY

Relat ionships between par ts can be mediated in a var iety of ways. Transparency in a l i teral sense is the most di rect means to an elus ive edge. Visual penetrat ion instant ly opens a dialog between spaces.

Al though glass provides clear legibi l i ty to systems such as st ructure or event, the v isual ampl i ficat ion of space has the potent ial to st imulate unexpected exper iences of dist inct par ts. Thus legibi l i ty can produce an i l legibi le percept ion of spat ial sequence.

D E T E R M I N AT E E X P E CTAT IO N S

L AY E R STA G G E RE X T R U S IO N S I N T E R LO C K

P H E N O M E N A L T R A N S PA R E N CY

Phenomenal t ransparency addresses the two-dimensional reading of volumetr ic space. Premised by the v isual layer ing manifested in Cubist paint ing, phenomenal t ransparency al lows v iewers to easi ly apprehend depth and geometr y.

S imultaneous percept ion of spaces is achieved through organizat ion ut i l i z ing the st rategies below. Phenomenal t ransparency is manifested in forms of aggregat ion than s ingle monol i th ic imager y.

“The impress ion of t ransparency is created when the depth, att r ibutes, and arrangement of spaces or sequences of spaces are clear ly perceivable.” 5

T H E P O R T U G U E S E p a i n t i n g

Georges Braque

d e t e r m i n at e e x p e c tat i o n s

LEGIB IL ITY

As demonstrated by Rowe and Slutzky’s L i teral and Phenomenal t ransparencies6, legibi l i ty del ivers di rect interpretat ions of spat ial re lat ionships. The opt ical effects are purely representat ional. As cr i t ic ized by Det lef Mer t ins, th is is a reduct ive and hierarchical interpretat ion. However, just as s imi lar i ty may be extracted f rom di fferent iat ion and v ice-versa, i l legibi l i ty [or indeterminate intensi t ies] may manifest by manipulat ions of legibi l i ty and conversely.

A lex icon for legibi l i ty :di fferent iat ionvis ib i l i tyf ragmentat ion/ discont inuitypredictabl i l i tyrepresentat ion

4 5D E T E R M I N AT E E X P E CTAT IO N S

S E E T H R O U G H C H U R C H

Pieter jan Gi js and Arnout Van Vaerenbergh

L imburg, Belgium

4 7I L L E G I B L E D E F O R M AT IO N S

F L U I D t r a n s pa r e n cy

Simi lar to the character is t ics of l iquid, flu id t ransparency takes shape due to i ts surroundings, or var iable forces. This type of condit ion is cr i t ical to providing the mult ip l ic i ty of exper iences required when implement ing flex ibi l i ty and adapt ive systems in architecture.

F lu id t ransparency is ver y much ci rcumstant ial and is perceived di fferent ly depending on the combinat ion of stat ic spat ial presence and i ts re lat ion to other var iable forces.

b l u r r i n g p e r c e p t i o n

ILLEGIB IL ITY

Contrast to legibi l i ty, i l legibi l i ty mediates re lat ionships of space through obscure connect ions. The use of ambiguous systems al lows for oppor tunit ies of unexpected synergies to percolate dist inct order. Ambiguity in this case is not equivalent to the gener ic resolut ion, but is instead a perceived oppor tunity for other than the represented.

A lex icon for i l legibi l i ty :fie ldblendinvis ib lecont inuityunexpectedlayeredconstant

T H E B L U R B U I L D I N G

Di l ler + Scofidio

Yverdon- les-bains, Switzer land

f i e l d s

F ie ld condit ions reflect shi f ts in re lat ionships - f rom s ingular to mult ip le, var iat ion to var iety, and so on.

“The fie ld descr ibes a space of propagat ion, of effects. I t contains no matter or mater ial points, rather funct ions, ventors and speeds. I t descr ibles local re lat ions of di fference within fie lds of celer i ty, t ransmiss ion or career ing points, in a word, what Minkowski cal led the wor ld.” - Sanford Kwinter

M I X V E R S U S M A S H

Mixtures merge components whi le maintaining ident i ty of each ingredient. Paral le l to a col lage, the whole is s imply the sum of i ts par ts. Translated architectural ly, spaces are faci l iated through ci rculat ion.

A mash is the blend of par ts whose interact ion generates an operat ive system beyond i ts addit ion. In spat ial organizat ion, condit ions of mashing occur at moments of over lap and are faci l iated by this interst ice.

G E N E R I C A N D T H E E V E N T

When speci fic i ty is lef t to the “event,” gener ic spaces are constructed. Dependence on a s ingular mot ive avoids the real i ty of complex i ty. Thus, uni form solut ions y ie ld unresponsive ephemeral envi ronments. The exclus ion or perhaps ignorance of ex is t ing systems el iminates inevi tably must be replaced.

2 1 s t c e n t u r y m u s e u m

SANA A

Kanazawa, Japan

m o m e n t s o f e x c h a n g e

The ecology of architectural systems presents a divers i fied set of re lat ionships. Oppor tunit ies for exchange are faci l iated by architectural inter vent ions.

“F ie ld condit ions refers to design st rategies based on the aggregat ion of smal l , sel f -s imi lar par ts to create local di fferences whi le maintaining overal l coherence; fie ld condit ions impl ies the design of systems and assemblages, paying close attent ion to inter vals and the spaces between things. “ -STAN ALLEN

C O N N E C T I V I T Y

C I T Y O F C U LT U R E

Peter E isenman

Sant iago de Compostela, Spain

C O N T I N U I T Y

C O N S TA N T

The seamlessness of coherence begs for cont inuity. Whether appl ied betwen the landscape and bui lding or bui ld ing and i ts components, cont inuity can be addressed at a var iety of scales. Note: cont inuity is not equal to uni formity

Cont inuity is also re levant to t ime. Opposed ot the f ragmentat ion of spat ial exper iences, cont inuity al lows a constant exper ience fluctuat ing in intensi t ies, not durat ion. This produces the seeming expansion of t ime influencing the regist rat ion of memor y.

L AY E R E D T H I C K E N I N G

Super imposed layers of v isual information resul t in what ar t is t Moholy-Nagy cal ls th ickening. Thickening impl ies both an increase in depth and ar t iculat ion of space. According to Eve B lau7, the v isual intensi ficat ion also expands t ime, suppor t ing the necess i ty to engage with the amiguity ies of sensor y information.

s u p e r i m p o s i t i o n

R E F R A C T I O N

Variat ions aggregated in a l inear pattern can be perceived as a morphing form. On the other hand, when refract ion occurs in a nonl inear manner, new f ractal patterns emerge creat ing unforeseen systems. Refract ions can recur dependent on establ ished var iable constraints.

DISSOLVING THE STATIC DEMARCATION of ARCHITECTURE DISTINCTION FIELD CONDITIONS CURATION, INVISIBILITY LAYERING, SPATIAL THICKENING

Architecture’s necessity to demarcate is inherent in its physical attributes, however it is the moment of differentiation that has generated formal independence and perfunctory discontinuity. Consequently, the fragmentation of spatial experience does not engage contemporary notions of fluctuating fluidity and blurred programming. The dissolution of static demarcation is a necessary response to mediating perceptions of specificity [of differentiation] and contemporary field conditions.

EXAMPLES

GRADIENTS

differentiationjuxtapositionvisibilitydiscontinuityexpected, predictablerepresentationalfragmented

fieldblend

invisiblecontinuity

unexpectedlayered

constant

LEGIBILITY

ILLEGIBILITY

CONTINUITY

I N V I S I B I L I T Y

Inv is ib i l i ty is the ant i -spectacle. I t a l lows percept ion to be deciphered through exper ience rather than purely v isual interpretat ion. Opt ical references el iminate the presumption of space and al low for movement to faci l i tate an understanding of spat ial re lat ionships.

C E N T E R F O R C O N T E M P O R A R Y C O N F L I C T

CURATING MEDIATION

Concepts of permeat ing boundaries can be t ranslated metaphor ical ly to the chosen typology. A Center for Contemporar y Confl ict promotes cont inuity of t ime and connect iv i ty. I t wi l l be composed of 3 components: a museum, memorial and dialog center.

71a p p l i e d c u r at io n

K O R E A N D M Z

M U S E U M

ar t i factpastmemorial

M E M O R I A L

memor ypresentreflect ion

C E N T E R

dialogfutureconverse

C E N T E R

dialogfutureconverse

a p p l i e d c u r at io n

P R O G R A M

A museum chal lenges the stat ic curat ion of objects into a fie ld of c i rculat ion and undifferent iated programing.

A memorial , al though representat ive of a speci fic moment in t ime, offers an exper ient ial fie ld whi le commemorat ing speci fic indiv iduals.

A hub, wi l l ser ve as a gather ing place for people across geographical boundar ies to perpetuate contemporar y conversat ions on confl ict .

N e l s o n at k i n s m u s e u m o f a r t

Steven Hol l

Kansas City, Missour i , USA

A museum chal lenges the stat ic curat ion of objects into a fie ld of c i rculat ion and undifferent iated programing.

This museum is able to successful ly merge landscape and form. Al though synthet ic, landscape faci l i tates a cont inuous fie ld of c i rculat ion through the bui ld ing.

L ibrar y Level

Museum Store

Connect ion

Sculpture Garden

Event Room

Exhibi ts

CIRCUL ATION

M U S E U M

P E N TA G O N M E M O R I A L

KBAS Studio

Ar l ington, Vi rginia

A memorial , al though representat ive of a speci fic moment in t ime, offers an exper ient ial fie ld whi le commemorat ing speci fic indiv iduals. Speci fic i ty is embeded in the fie ld of par t icular gestures.

Engraving

Reflect ion Pool

L ight ing

B E N C H D E TA I L

M E M O R I A L

B E R L I N M E M O R I A L

Peter E isenman

Ber l in, Germany

SECTION7979

m e m o r i a l

S C O T T I S H P A R L I A M E N T

Enr ic Miral les

Edinburgh, UK

A hub, wi l l ser ve as a gather ing place for people across geographical boundar ies to perpetuate contemporar y conversat ions on confl ict .

The Scott ish Par l iament provides an example where the curat ion of par ts is faci l iated through a seamless approach to landscape and ci rculat ion.

Press Tower

Debate Chamber

MSP Bui ld ing

Queensbur y House

CannongateBui ld ing

D I A LO G C E N T E R

N O R D I C E M B A S S Y

Denmark - 3XN, Iceland - PK Hönun, Nor way - Snøhetta, Sweden - Wingårdh Ark i tek tkontor, F in land - Vi iva Arkk i tehtuur i Oy

Ber l in, Germany

Carr ied through the diplomatic miss ion of the Nordic Countr ies, the embassy epitomizes the shared unity of dist inct ly unique par ts. Comprised of 5 count ies [Denmark, Iceland, Nor way, Sweden and F in land.], 6 bui ld ings and 6 architect teams.

n o r d i c s h a r e d e m b a s s y

l A J O L L A C L I F F S

The chosen s i te presents ideal condit ions dissolv ing the demarcat ion of architecture. The cl i ffs at La Jol la provide an uninterrupted scape of cont inuity, which the proposed typology wi l l mix wi th. Other inherent qual i t ies of the s i te such as fog and eros ion provide processes on the s i te occurr ing over t ime, which manipulate percept ion.

S I T E P L A N

8 9a p p l i e d c u r at io n

C O N S T R A I N T S

Constraints of the s i te are t reated as oppor tunit ies, work ing with speci fic i t ies and demands of the s i te. By accept ing the real i ty of unpredictabi l i ty and complex i ty, new systems are produced.

S i te datums, thresholds and processes are ident i fied forces affect ing the manipulat ion of speci fic i ty in the fie ld of landscape.

X Y p l a n

Y z s e c t i o n

x z e l e v a t i o n

+negative

posi t ive

act ive

pass ive

concealadhere

project

center

museum

memorial

topodatum

slopedatum

plateaudatum

horizonthreshold

EFFECTS: s t ructure c i rculat ion

[modified by eros ion]

EFFECTS: ( in)v is ib i l i ty geometr y

[modified by fog]

EFFECTS: program int imacy

T E M P O R A L C O N D I T I O N S

Just as confl ict behaves, the temporal condit ions on this s i te occur at a var iety of speeds and intensi t ies.

EROSION - a s lower paced process, reveals layers over t ime

FOG - such condit ions ass ist in obscur ing v is ib i l i ty, temporar i ly obscur ing form and opt ical dependence

WIND - var ies consistent ly and has the potent ial to interact with architectural e lements such as bui ld ing sk in

n e g ot i at i o n

The bui ld ing to landscape relat ionship is mediated by a gesture towards cl i ff condit ion. This formal geometr y extends a cont inuity of both ci rculat ion and form between landscape and bui lding.

pure landscape

ILLEGIBLE

LEGIBLE

ILLEGIBLE

REDUCTIONtop down approach

-output is based on r ig id set of order

SATURATION

-var iety of par ts[di fference in degree]-saturat ion densi ty[di fference in k ind]

al lows for gradients

AGGREGATEbottom up approachsum = wholeMODUL AR

O R G A N I Z AT I O N

1 0 0 D I S S O LU T IO N O F STAT I C D E M A R C AT IO N

TO P V I E W

1 0 1a p p l i e d c u r at io n

E L + 1 0 FT

E N T R Y L E V E L

E L - 1 0 FT

E L - 2 0 FT

E L - 3 0 FT

E L - 4 0 FT

E L - 5 0 FT

E L - 6 0 FT

E L - 7 0 FT

s t r u c t u r a l l ay e r s

n e g ot i at i o n

The relat ionship between par ts of di fferent iated programmatic demands is mediated by ci rculat ion. Moments of confluence are saturated areas of intensi t ies where i l legible events may occur.

programdialogmuseummemor y

branch

C I R C U L AT I O N

type: B I F U R C AT I O N

locat ion: at entr y- programatic separat ion of museum and dialog

spat ial requirement: spat ial divergence both hor izontal ly and ver t ical ly

st rategy: v isual absorpt ion to inaccess ible par ts

appl icat ion: mater ial i ty, spat ial layer ing and stagger ing

affect: seeming obl ique expansion of space

type: TA N G E N T

locat ion: confluence of museum and memorial

spat ial requirement: two spaces or iginat ing f rom separate points meet creat ing cont iguous forms

strategy: al ter di rect ional i ty and obscure inter ior and exter ior e lements

appl icat ion: s t r iat ions, res idual forms

affect: obscure di rect ional i ty

type: i n t e r s e c t i o n

locat ion: juncture of dialog center and memorial

spat ial requirement: col l i s ion of forms and spaces

strategy: tectonic manipulat ion, geometr ic addit ion

appl icat ion: aper ture, mater ial i ty

affect: exaggerat ion of tangent

s e c t i o n 1

s e c t i o n 2

BIBLIOGRAPHY

1 4 7B I B L IO G R A P H Y

1.Ar ie ly, Dan. Predictably I r rat ional: The Hidden Forces that Shape our Decis ions. New York: Harper Perennial , 2010. Pr int .

2. B lau, Eve. “The Thi rd Project.”In Olafur E l iasson: Your Chance Encounter. Concept by Olafur E l iasson, Andreas Koch, and Carol ine Eggel. Exhibi t ion catalogue. Baden: Lars Mül ler Publ ishers; Kanazawa: 21st Centur y Museum of Contemporar y Ar t , 2010: no page numbers.

3. Botsman, Rachel and Roo Rogers. What’s Mine is Yours. New York: Harper Business, 2010. Pr int .

4. Choi, Esther and Marr ikka Trotter. Architecture at the Edge of Ever ything Else. Cambridge: The MIT Press, 2010. Pr int .

5. Chung, Judy, Jeff rey Inaba, Rem Koolhaas, and Sze Tsung Leong. The Har vard Design School Guide to Shopping. Cambridge: Taschen, 2002. Pr int .

6. Exner, U l r ich and Dietr ich Pressel . Basics: Spat ial Design. New York: B i rkhauser Architecture, 2009. Pr int .

7. K l ingmann, Anna. Brandscapes: Architecture in the exper ience economy. Cambridge: The MIT Press, 2007. Pr int .

8. Koolhaas, Rem. “Junkspace.” Obsolescence 100 (2002): 175-190. Pr int .

9. Malamed, Connie. Visual Language for Designers: Pr inciples for creat ing graphics that people understand. Bever ly: Rockpor t Publ ishers, 2009. Pr int .

10. Moussavi , Farshid. Funct ion of Form. Cambridge. Actar and Har vard Graduate School of Design. 2009. Pr int .

11. P ine I I , Joseph and James H. Gi lmore. “Welcome to the exper ience economy.” Har vard Business Review 98407 (1998): 97-105. Pr int .

12. Rosa, Joseph and Zoe Ryan. Hyper l inks. New Haven: Yale Univers i ty Press, 2011. Pr int .

13. Sadler, S imon. The S i tuat ionist Ci ty. Cambridge: The MIT Press, 1999. Pr int .

14.Saunders, Wi l l iam. Commodificat ion and Spectacle in Architecture: Har vard Design magazine reader. Minneapol is : Univers i ty of Minnesota Press, 2005. Pr int .

15. Reiser, Jesse. Al tas of Novel Tectonics. Pr inceton. The Pr inceton Press, 2006. Pr int .

16. Rowe, Col in and Rober t S lutzky. “Transparency: L i teral and Phenomenal.” Perspecta 8 (1963): 45-54. Pr int .

GLOSSARY OF TERMS

1 4 9G LO S S A R Y O F T E R M S

F ie ld Condit ion “F ie ld condit ions refers to design st rategies based on the aggregat ion of smal l , sel f -s imi lar par ts to create local di fferences whi le maintaining overal l coherence; fie ld condit ions impl ies the design of systems and assemblages, paying close attent ion to inter vals and the spaces between things. “ -STAN ALLEN

Fluid TransparencyA categor y of t ransparency that takes shape due to i ts surroundings, or var iable forces.

Hyperact ivePeople are more are interact ive, encouraging connect iv i ty and shared resources.

HypercultureSociety’s t rend towards ampl i fied relat ionships.

HyperdimensionalThe capacity for architecture to adapt and transform over t ime, assuming changes in s ize, scale, form and appearance depending on speci fic s i tuat ions and needs of the contemporar y society.

HypersocialNetworks of cross-discipl inar y col laborat ive approaches that inspire shar ing and par t ic ipator y effor ts to achieve contextual ly responsive resul ts.

I l legibi l i ty i l legibi l i ty mediates re lat ionships of space through obscure connect ions. The use of ambiguous systems al lows for oppor tunit ies of unexpected synergies to percolate dist inct order.

Legibi l i ty legibi l i ty del ivers di rect interpretat ions of spat ial re lat ionships. The opt ical effects are purely representat ional.

L i teral TransparencyRelat ionships between par ts can be mediated in a var iety of ways. Transparency in a l i teral sense is the most di rect means to an elus ive edge. Visual penetrat ion instant ly opens a dialog between spaces.

Phenomenal TransparencyPhenomenal t ransparency addresses the two-dimensional reading of volumetr ic space. Premised by the v isual layer ing manifested in Cubist paint ing, phenomenal t ransparency al lows v iewers to easi ly apprehend depth and geometr y.

1 5 1N OT E S

1. Reiser, Jesse. Al tas of Novel Tectonics.

Image: < http://www.mathias-design. info/Maya-Form-Fami l ies_-B iomorphic-Architectural -Sur face >

Image: < http://www.boston.com/news/packages/underattack/gal ler ies/wtc_scenes/4.htm >

3. Rosa, Joseph and Zoe Ryan. Hyper l inks.

Image: Reiser, Jesse. Al tas of Novel Tectonics.

5. Rowe, Col in and Rober t S lutzky. “Transparency: L i teral and Phenomenal.”

6. Rowe, Col in and Rober t S lutzky. “Transparency: L i teral and Phenomenal.”

Image: < http://lebbeuswoods.wordpress.com/2011/01/27/sot i r ios-kotoulas-emiss ion-architecture/ >

7. B lau, Eve. “The Thi rd Project.”

LAUREN PASION B.Arch(808) 499-7331LaurenPasion@Gmai l .com

LAUREN PASION

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