‘Site’ | ‘Context’
“Lynch's identification of five key elements that compose the
city image – paths, edges, districts, nodes, and landmarks – has played a
pivotal role in shaping THE site analysis for ChronoMemoria. In my project, I
focus on nodes, considering them central to the city's identity and essential
in fostering community interaction and exploration of memory and time. This
aligns with Lynch's emphasis on nodes as critical points for orientation and
interaction within urban spaces.”
PART 1: IDENTIFYING THE MENTORS.
The three mentors that have influenced my thinking in reference to ChronoMemoria are:
1. Daniel Libeskind
Quote:
“I consider memory the foundation of architecture. It is memory that creates orientation and gives us a sense of connection between traditions of the past, the present and the future. Memory is key to all my work. When you deal with places of memory, you have to be able to transmit something beyond the past. You have to transmit the hopes of the future. You have to structure the spaces in such a way that it has the equivalent to the complexity of the human spirit and mind. Without memory, we would not know who we are or where we are going.”
Citation:
Libeskind, Daniel. "Interview with Daniel Libeskind." Lee Kuan Yew World City Prize. Accessed URL: https://www.leekuanyewworldcityprize.gov.sg/resources/interviews/daniel-libeskind/#:~:text=Daniel%20Libeskind%20(DL)%3A%20I,the%20present%20and%20the%20future
Method: Narrative and Symbolism in Architecture
Daniel Libeskind is known for his distinctive architectural style and philosophies that often emphasize the emotional and symbolic aspects of architecture. One of the most relevant methodologies which explores memory, death, and time in architectural design, is his emphasis on narrative and symbolism.
He places a strong emphasis on using architecture to convey narratives and symbolism. His approach involves designing spaces and structures that tell a story or evoke emotions through their forms, materials, and spatial arrangements. He often selects materials that reflect the character and history of a place. These materials contribute to the sensory and emotional qualities of his architecture. He believes that architecture should not merely be functional but should also engage with people on an intellectual and emotional level. His designs challenge traditional architectural norms and create spaces that are visually striking and thought-provoking. He draws inspiration from the context of his projects, incorporating elements that pay homage to a site's history, culture, or significance. This contextual approach helps create a sense of connection between the architecture and its surroundings.
2. Peter Zumthor
Quote:
“Architecture has its own realm. It has a special physical relationship with life. I do not think of it primarily as either a message or symbol, but as an envelope and background for life which goes on in and around it, a sensitive container for the rhythm of footsteps on the floor, for the concentration of work, for the silence of sleep.”
Citation:
Zumthor, Peter. "Multiplicity and Memory: Talking About Architecture with Peter Zumthor." ArchDaily. Accessed [2023.10.03]. URL: https://www.archdaily.com/85656/multiplicity-and-memory-talking-about-architecture-with-peter-zumthor
Method: Sensory and Experiential Architecture
Peter Zumthor is renowned for his minimalist and phenomenological approach to architecture. His design methodology places a strong emphasis on the sensory and experiential aspects of space. One of the most relevant aspects of Zumthor's methodology is his focus on creating architecture that engages the senses and fosters deep emotional connections with the built environment.
His methodology centers on the creation of sensory and experiential architecture. He believes that architecture should engage all five senses and provide a profound, emotional experience for its occupants. This approach involves meticulous attention to the physical and sensory qualities of materials, light, sound, texture, and spatial arrangement.
His process of design is known for its meticulous attention to detail, emphasis on sensory experience, and a deep appreciation for the context and materials of a project. His design process that I aspire to learn from includes Research and Contextual Understanding, Sensory Exploration, Materiality and Craftsmanship, Model Making and Prototyping, Hand Sketching and Drawing, Iterative Design, Attention to Detail, Site Visits and Observation, Prototypical Building and Time and Patience. Peter Zumthor's design process is deeply rooted in a profound respect for the site, a commitment to sensory engagement, and a dedication to craftsmanship. His approach results in architecture that resonates emotionally and intellectually with those who experience it.
3. Juhani Pallasmaa
Quote:
“The elements of architecture are not visual units or gestalt; they are encounters, confrontations that interact with memory.”
“Our bodies and movements are in constant interaction with the environment; the world and the self inform and redefine each other constantly. The percept of the body and the image of the world turn into one single continuous existential experience; there is no body separate from its domicile in space, and there is no space unrelated to the unconscious image of the perceiving self.”
Citation:
Pallasmaa, Juhani. "The Eyes of the Skin: Architecture and the Senses." In The Eyes of the Skin: Architecture and the Senses, edited by Juhani Pallasmaa, 15-39. Chichester, UK: Wiley, 2005.
Method: Phenomenological Approach to Architecture
Juhani Pallasmaa is a prominent architectural thinker known for his focus on phenomenology in architecture. Phenomenology, as a philosophical approach, examines the subjective experiences of individuals in relation to their surroundings. Pallasmaa's design methodology is deeply rooted in phenomenology, a philosophical perspective that emphasizes the subjective experience of individuals in relation to their environment. He believes that architecture should engage all the senses and that it should create spaces that resonate with the human experience. His work and approach are characterized by several key principles and practices:
Phenomenological Philosophy: a philosophical approach that examines the lived experiences of individuals in relation to their surroundings.
Sensory Engagement: He believes that architecture should not be solely visual but should also cater to touch, sound, smell, and even taste when appropriate. He explores how materials, textures, light, and sound influence the sensorial experience of spaces.
Holistic Approach: Pallasmaa takes a holistic approach to design, considering the totality of an architectural experience. He believes that architecture is not just about individual buildings but about the entire environment and context in which they exist. This approach is particularly relevant when designing spaces related to memory, death, and time, as it acknowledges the broader context of human existence.
PART 2: IDENTIFYING THE CASE STUDIES.
Case Study 1: The Jewish Museum, Berlin by Studio Libeskind
Latent Garden:
Just as the "latent garden" blurs the line between natural and artificial elements, Libeskind's museum challenges conventional architectural norms by seamlessly merging past and present. The building's zigzag design represents a fractured history, evoking feelings of disorientation and uncertainty, much like the ambiguous nature of the "latent garden."
Additionally, the museum's unique design, symbolize the absence and loss experienced by the Jewish community in Berlin. Both the "latent garden" and the Jewish Museum provoke reflection on the relationship between architecture, history, and emotion, encouraging visitors to question preconceived notions and explore the interplay between the built environment and the human experience.
Areas of Impunity:
Just as "Areas of Impunity" highlight zones where the distinction between natural and artificial elements blurs, Libeskind's museum creates a space where architectural boundaries are deliberately blurred to evoke emotions and provoke thought. The museum's jagged, disorienting staircase immerses visitors in a disconcerting atmosphere, akin to the sense of ambiguity in these unconventional zones.
Moreover, the museum's labyrinthine spaces symbolize the gaps in history and the disconnection experienced by the Jewish community, paralleling the idea of previously negative zones being redefined and brought to life. Both "Areas of Impunity" and the Jewish Museum challenge traditional notions, inviting viewers to confront complex, liminal spaces that challenge their perspectives on architecture, history, and human experience.
Eco monumentalism:
Eco monumentalism seeks to blend natural and artificial elements seamlessly and Libeskind's museum utilizes a design that integrates history, emotion, and architecture in a way that transcends conventional boundaries. The museum's angular, disjointed structure generates an emotional response, like the way Eco monumentalism aims to evoke a new kind of gaze and critical dimension.
Both concepts invite visitors to explore the interconnectedness of nature, architecture, history, and human emotions, offering a deeper understanding of the complex relationships that shape our experiences.
World Material:
World Material describes a combination of natural, artificial, and intangible elements merging into a complex whole, the Jewish Museum represents a similar fusion. The museum's tight spaces and light corridor architecture intertwines the physical space with the historical narrative, creating an immersive experience that blends the tangible and intangible aspects of history.
Both "World Material" and the Jewish Museum invite visitors to explore the intricate interplay between physical structures, history, memory, and human emotions, ultimately providing a profound understanding of the complex layers that shape the structure and its narratives.
Hybrid Techniques:
Just as "Hybrid Technique" emphasizes the combination of natural and highly sophisticated artificial materials to create energy-efficient and visually appealing designs, Libeskind's museum employs a unique architectural language that blends history and modernity. The museum's concept design represents a fusion of past and present, emphasizing the idea of hybridity.
Moreover, it symbolizes absence and fragmentation, paralleling the concept of hybrid materials integrating diverse elements.
New Naturalism:
New Naturalism challenges conventional definitions of nature and artifice, the Jewish Museum transcends the boundaries of conventional architecture. The museum's architectural design symbolizes the history and cultural identity, making it a dynamic, ever-evolving space. Just as "New Naturalism" emphasizes a profound ambiguity in nature's representation, the Jewish Museum explores the complex and often ambiguous relationship between history, memory, and the built environment.
Both concepts urge viewers to reevaluate their perceptions, offering a fresh perspective on the interconnectedness of nature, architecture, history, and human emotions.
Case Study 2: The Taj Mahal, India commissioned by Emperor Shahjahan
Latent Garden:
The "latent garden" suggests a fusion of natural and artificial elements, and the Taj Mahal is a stunning example of architectural and landscaping synergy. The iconic white marble structure seems to emerge seamlessly from lush, manicured gardens. The garden, with its intricate layouts, fountains, and pathways, reflects the idea of a "latent garden" as it combines the meticulous design of human-made elements with the beauty of nature.
Moreover, the Taj Mahal's architecture conveys a sense of timelessness and emotional depth, resonating with the idea of the garden being a place of memory and contemplation.
Areas of Impunity:
"Areas of Impunity" challenge traditional definitions while the Taj Mahal's architectural wonder defies categorization. It stands as a unique blend of various architectural styles and cultural influences, reflecting the fluidity and ambiguity in its design. The complex layout and meticulous details of the Taj Mahal's architecture symbolize a space where boundaries blur, much like the "Areas of Impunity" which are neither fully natural nor artificial.
There are no divisons, but subtle thresholds that act as gathering spaces and transition spaces. These fall under the areas of impunity.
Eco monumentalism:
The concept of "Ecomonumentalism," which seeks to blend natural and artificial elements seamlessly, finds a fascinating parallel in the Taj Mahal in India. Just as "Ecomonumentalism" envisions an architectural approach that harmonizes with the environment, the Taj Mahal's breathtaking design seamlessly integrates with its natural surroundings. The white marble structure stands as a testament to human artistry, yet it blends effortlessly with the lush gardens, reflecting pools, and the serene Yamuna River.
The architecture of the Taj Mahal is environmentally sensitive, with cooling water channels and a layout designed to capture the changing hues of the sky. Visually, these parallels can be illustrated by superimposing elements of nature and architecture, showcasing the union between human-made beauty and the natural world, embodying the essence of "Ecomonumentalism" in a visually stunning way.
World Material:
Like "World Material," the Taj Mahal showcases a fusion of various natural, artificial, and intangible elements. The iconic white marble monument seamlessly emerges from meticulously manicured gardens, forming a harmonious union between human-made craftsmanship and nature's beauty. The Taj Mahal's intricate architectural details and ornate designs embody the idea of combining different elements into a unified work of art.
Visually, these parallels are depicted by interweaving various elements from nature, intricate architectural features, and symbolic patterns, illustrating the synthesis of diverse components that together create a visually stunning and holistic masterpiece, capturing the essence of "World Material”.
Hybrid Technique:
Just as "Hybrid Technique" suggests a harmonious integration of diverse materials, the Taj Mahal beautifully harmonizes the earthly elements of white marble, precious stones, and intricate architectural details with the ethereal elements of light and shadow. The Taj Mahal's intricate inlay work and the play of light on its surfaces reflect the synthesis of natural materials and meticulous craftsmanship, resulting in a structure that captivates the senses.
Visually, these parallels are illustrated by showingthe interplay of light and shadow, showcasing the successful integration of diverse elements that together create an architectural masterpiece, capturing the essence of "Hybrid Technique".
New Naturalism:
"New Naturalism" suggests a fresh perspective on nature's representation, and similarly, the Taj Mahal is a remarkable reinterpretation of beauty. It merges the natural world with human artistry in its design, blending seamlessly with the surroundings. The Taj Mahal's white marble structure is both a work of art and a testament to the fusion of nature and architecture, reflecting the concept of a "new naturalism" where the boundaries between the two are blurred.
Visually, these parallels are depicted by the plan highlighting intertwining elements of nature, intricate architectural details, and a sense of unity and harmony, illustrating how both concepts challenge conventional definitions to create something beautiful and thought-provoking.
Case Study 3: Biosphere at Treehotel, Sweden by Bjarke Ingels Group
Latent Garden:
Like the "latent garden" seeks to redefine our perception of beauty in architecture, the Biosphere reimagines the conventional notion of a treehouse. The Biosphere is an innovative structure that appears to grow organically from the surrounding trees, almost like a futuristic arboreal garden. It challenges the traditional boundaries between architecture and nature, creating a unique space where guests can immerse themselves in the forest while enjoying modern amenities.
The Biosphere's transparent facade and harmonious integration with the forest make it an embodiment of the "latent garden" concept. In a visual representation, attempts to depict the elements of nature, the Biosphere's design, and the sense of unity, illustrating how both the concept and the architectural design challenge traditional definitions to create a harmonious and immersive experience that celebrates the interconnectedness of nature and the built environment.
Areas of Impunity:
Just as "Areas of Impunity" challenge traditional definitions, the Biosphere redefines our conventional understanding of a treehouse. The Biosphere's unique design seems to effortlessly coexist with the forest, where the boundaries between nature and architecture become ambiguous. It invites guests to experience an unconventional space that exists beyond the typical confines of a building.
This parallel conceptually reflects the idea of "Areas of Impunity" as zones that have been redefined and reinvigorated, challenging traditional expectations.
Visually, these parallels are illustrated by juxtaposing elements of the forest, the Biosphere's design, and the sense of ambiguity, highlighting how both concepts push the boundaries of conventional definitions, creating spaces that encourage exploration, reflection, and a deeper understanding of the interplay between nature and the built environment.
Eco Monumentalism:
"Ecomonumentalism" challenges traditional approaches to architecture by prioritizing environmental sensitivity and the fusion of nature and artifice. Similarly, the Biosphere embodies this philosophy by seamlessly blending into its natural surroundings. The spherical structure appears as a part of the forest, not just placed within it.
The Biosphere's design reflects a commitment to environmental sustainability, and its transparency allows guests to immerse themselves in nature while enjoying modern comforts. Both "Ecomonumentalism" and the Biosphere emphasize the need for architectural designs that not only respect but enhance the natural environment.
World Material:
Just as "World Material" suggests the synthesis of various natural, artificial, and intangible elements, the Biosphere represents a harmonious merging of architecture and the natural world. The spherical design of the Biosphere appears as if it has organically grown from the surrounding forest, achieving a balance between the human-made and the natural.
It symbolizes a holistic approach to design that respects and celebrates the interconnectedness of the built environment and nature.
Hybrid Technique:
Just as "Hybrid Technique" seeks to harmoniously combine various elements for architectural innovation, the Biosphere reimagines the traditional treehouse by seamlessly merging modern architecture with the natural environment.
The Biosphere's spherical design gracefully hovers amidst the forest canopy, challenging the boundaries between human-made and natural structures. It embodies the concept of hybridity by offering guests a unique experience where the boundaries between indoor and outdoor living blur. This parallel conceptually mirrors the idea of "Hybrid Technique," where the interplay between different materials and elements leads to the creation of something innovative and harmonious.
Visually, it illustrates the concept of hybridity, creating a visual representation that exemplifies how both concepts push the boundaries of conventional definitions to create architectural experiences that seamlessly blend the built environment with the natural world, ultimately redefining our relationship with nature and design.
New Naturalism
Just as "A New Naturalism" invites us to rethink our understanding of nature and architecture, the Biosphere reimagines our relationship with the environment. The Biosphere's design, with its spherical form seamlessly integrated into the forest landscape, reflects a contemporary appreciation for nature's beauty and its potential to coexist with modern design. It symbolizes a new way of looking at the world, where architecture and nature are not in opposition but collaborate harmoniously. Both "A New Naturalism" and the Biosphere challenge conventional definitions, emphasizing that beauty can be found in the fusion of the natural and the human-made.
Assignment 5:
Barrio Logan
Rock Art Bridge: Bridging Cultures, Connecting Communities
• The "Rock Art Bridge: Bridging Cultures, Connecting Communities" project serves as a powerful symbol of cultural exchange and unity between Copenhagen and Barrio Logan. The juxtaposition of CA Rock Art in the vibrant neighborhood of Barrio Logan creates a striking contrast that highlights the diversity and history of both regions. This design endeavors to preserve the essence of the CA Rock Art while paying homage to its origins. By integrating these elements into Barrio Logan's coat, we aim to honor the cultural significance of the art form, strengthen cultural ties, and emphasize the importance of preserving and celebrating heritage, irrespective of geographical boundaries. This bridge serves as a tangible link between different communities, showcasing the universal value of art, culture, and heritage.
Assignment 6: IDENTIFYING SITES FOR THE THESIS | KEVIN LYNCH - IMAGE OF THE CITY ESSAY
Part 1:
Six possible locations for the proposed thesis:
Lynch element and rule utilized:
NODE: Locations in California where the site can serve as a "Node" within a city or community, connecting various paths and edges, and providing a central gathering place for people to explore the interplay of memory, death, and time.
In urban design, a "node" represents a central point or place within a city or community where multiple paths and edges intersect. It is a focal point that often serves as a hub of activity, a place for people to gather, and a point of reference for navigation. Nodes are critical for creating a sense of place and fostering social interaction.
SELECTION RATIONALE: Choosing nodes as locations for ChronoMemoria is based on the idea of making the architectural concept easily accessible and visible to a diverse audience. Nodes are typically well-trafficked areas that draw people for various purposes, making them ideal places for contemplation and reflection. By placing ChronoMemoria in nodes, it can effectively connect with individuals from different backgrounds and walks of life, fulfilling its purpose of exploring memory, death, and time.
INTEGRATION WITH LYNCH'S PRINCIPLES: This rule aligns with Lynch's principles by focusing on the "node" element. Lynch emphasized the importance of nodes as key points of orientation and interaction within a city's structure. ChronoMemoria, as a space for reflection and exploration of memory and time, should ideally be located in nodes to maximize its impact on the community.
ACCESS AND VISIBILITY: Nodes are often easily accessible, whether they are located at the center of a city, in a park, or within cultural or civic districts. By selecting nodes, ChronoMemoria can be prominently visible and attract a wide range of visitors who may stumble upon it during their daily activities or visit it intentionally.
COMMUNITY ENGAGEMENT: Placing ChronoMemoria in nodes encourages community engagement. These central points are where people come together, making it more likely that individuals from different backgrounds will interact with and contribute to the space, fostering the shared human experience of exploring memory, death, and time.
IMPACT ON MEMORY PRESERVATION: Nodes are central to a city's collective memory and identity. By locating ChronoMemoria in nodes, the concept can contribute to the preservation of cultural and historical memory, as these are often places where historical events, cultural celebrations, and community gatherings take place.
Overall, the rule emphasizes selecting locations in California that serve as nodes to ensure that ChronoMemoria becomes an integral part of the urban fabric, accessible to a diverse audience, and effective in fostering a deeper connection between individuals and their environments while exploring memory, death, and time.
SITES:
1. San Francisco, California (Golden Gate Park)
Node: Golden Gate Park in San Francisco is a prominent urban node known for its cultural institutions and recreational areas. The park's central location makes it an ideal spot for the ChronoMemoria concept to serve as a central gathering point for reflection and contemplation in the city.
2. Sacramento, California (State Capitol Park)
Node: State Capitol Park in Sacramento is an important political and historical node in the state capital. The ChronoMemoria concept could serve as a space for reflection on the state's history and its role in shaping California's identity.
3. Oakland, California (Lake Merritt):
Node: Lake Merritt is a central urban node in Oakland, offering a serene environment for relaxation and recreation. Placing ChronoMemoria at this location would allow people to connect with nature and explore the concept of memory, death, and time in the context of the natural world.
4. Santa Monica, California (Third Street Promenade):
Node: The Third Street Promenade in Santa Monica is a bustling commercial node known for its shopping and entertainment. Placing ChronoMemoria in this location could provide a unique juxtaposition of consumerism and contemplation, encouraging visitors to reflect on the transient nature of life.
5. San Jose, California (Plaza de César Chávez):
Node: Plaza de César Chávez is a historic urban node in the heart of San Jose. It's a place of cultural significance, often hosting community events and celebrations. Placing ChronoMemoria here could contribute to the preservation of cultural memory and provide a space for reflection on the passage of time.
6. Central Park, New York City, USA
Node: Central Park is a well-established urban node in New York City, attracting locals and tourists alike. The park's iconic features and central location make it an ideal spot for the ChronoMemoria concept to serve as a central gathering point for reflection and contemplation.
Part 2: Essay on Lynch’s “The City Image and Its Elements.”
Kevin Lynch's essay, "The City Image and Its Elements," has significantly influenced my project, "ChronoMemoria," particularly in terms of the selection of locations and the project's deep connection with history, regional characteristics, and cultural context.
Lynch's identification of five key elements that compose the city image – paths, edges, districts, nodes, and landmarks – has played a pivotal role in shaping our site analysis for ChronoMemoria. In my project, I focus on nodes, considering them central to the city's identity and essential in fostering community interaction and exploration of memory and time. This aligns with Lynch's emphasis on nodes as critical points for orientation and interaction within urban spaces.
Furthermore, Lynch's work encouraged me to delve deeper into the site's history, regional attributes, and cultural context. As an example, the choice of Third Street Promenade in Santa Monica, California, connects the project with the city's unique blend of consumerism and culture. This aligns with Lynch's call to appreciate the cultural and historical layers that enrich a city's image and highlights the importance of recognizing the interplay between commerce and contemplation in urban spaces.
Kevin Lynch's essay has played a vital role in shaping the ChronoMemoria project, guiding our choice of locations, and fostering a deeper understanding of the selected sites within their historical, regional, and cultural contexts. His concepts of city image elements provide a robust framework for creating spaces that explore memory, death, and time while respecting the essence of the urban environment, as exemplified by the selection of Third Street Promenade in Santa Monica.