ESALA MArch2 Design Report - Fraying the Sea Dyke

FRAYING THE SEA DYKE DEPOLDERISATION THROUGH AQUACULTURE FRAYING THE SEA DYKE 2020 - 2022 JIAMIN ZHONG XINGYU LU

Mezquita-Catedral de Córdoba, Spain

The Guadalquivir River, Spain

Mont Saint-Michel, France

The Couesnon River, France

The Bay of Mont Saint-Michel, France

Contents

Introduction A Note to Readers Prologue Glossary Script

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Fray

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Score Fold Sediment Drift Dwell

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Act

Reflection

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Animation

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Fraying the Sea Dyke - depolderisation through aquaculture

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A Note to Readers

In the first academic year, through the proposal for the construction of microl ands c ap es on t he s out h b an k of t he Guadalquivir River, we initially explored the design deduction process of the folding of urban fabric and the settlement of natural water patterns. In Roman times, the river could reach the Gulf of Cadiz from Córdoba via Savile. Materials carried by spring meltwater from the Cazorla Mountains pollute today's channels, requiring constant dredging of gravel and debris from the river. The proposal facilitates this process with hydrological research laboratories, cour tyards and gardens that analyze, document, nurture and replenish the plants, birds and aquatic life that inhabit the 657-kilometer long river. It achieves this in the form of a public landscape of passages, beds, walls, swimming pools and elevated walkways, with views across the river to the city's magnificent Mosque-Cathedral.

The complex three-dimensional tectonic field in which these journeys take place is provided by a meticulous cartographic process that draws and wraps the texture

of the city in which the Mezquita-Catedral de Córdoba is located – further enhancing the sense of reflection and registration. The mosque itself is a landscape architecture - a forest of columns supports the vaults, in which the ships of the 16th century cathedral rested - giving scale to these new administrations, creating a double shadowy landscape, hence the public can stroll through the choreography to frame the view back to its source of reference.

Therefore, in the second academic year, with Mont Saint Michel as a wider natural environment, we deepened the design approach of the first year and reinterpreted a new sea dyke landscape and a complex of waterfront public spaces combined with the concept of depolderisation. From the dam to the Mont Saint-Michel, Shadowscape from Cordoba, as a stranger, drives the contours of the entire landscape along the Couesnon River. After several stages of scoring and compression, the natural texture is compressed into a delicate, complex, organic and mysterious landscape structure. The expanse of the landscape was dismantled by

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the impact and sedimentation of sea water and drifted onto dykes on the edge of the salt marshes. The debris of the embankment evolves into a series of narrow stone gorges and ditches, which act as transition gates, guiding the sediment to erode into the fields in the future, forming a unique silt landscape in front of the secondary embankment. A new scenic walkways is created to extend the dam and sea dyke, linking a series of oyster ponds - one of the most promising industries in the area. This series of ponds, bounded by undulating dykes, forms a complete oyster farming system from nursery to harvest.

These two years of design evoke us to continuously sublimate the two main concepts of folding and sedimentation and their exploration of new architectural language. The exchange and iteration of

architectural elements across time and space between Córdoba and Mont Saint Michel allows this new architectural language to break down physical boundaries. And they continue to collage, shatter, layer, distort, and collide into different combinations and uncertain spaces in the interface of independent space-time and geographical environment. This creates a heterogeneous concept of time and space for us to flow abstract images that are different from reality at the level of consciousness and thinking.

This means that our folded and sedimented architectural structures emphasize the fragmentation and abstraction of the rupture, intersection and reinterpretation of space, which brings challenges to our two-year research on abstracting spatial images and drawing new architectural language from them.

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Prologue Fraying the Sea Dyke - depolderisation through aquaculture

Fraying the Sea Dyke develops in relation to current thinking towards the depolderisation of certain areas of the north French coastline as a possible response to rising sea levels.

The proposal explores a possible new form of aquaculture that intervenes into the expansive fabric of the nineteenth century polder landscape of the Bay of Mont-SaintMichel in the form of a series of constructed landscape seams. Each of these seams act as transitional gates and breach the outer sea dyke to choreograph the ingress of the tides.

In so doing, they flood certain areas to form an extension to the salt marsh habitats held by a secondary inner dyke and feed a series of pools that expand the local rich economy of aquaculture – specifically the cultivation of oysters for which the region is renowned. The pools and their associated laboratories and

storehouses, the architectural forms of which reinforce the seam, provide the sequence of nursery beds and desalination pools required prior to and following the four year exposure of the oysters to the deeper tidal zones through elevated baskets arrayed out beyond the marsh.

This frayed landscape forms a disturbance sea dyke’s path – a slowing of the pilgrimage route from the Chapelle Saint-Anne-dela-Grève in the west to Mont-Saint-Michel along the ridge of the dyke. At this level, the new landscape provides an elevated public realm of repose, refreshment and bathing pools at once witnessing the extraordinary cultivation of the sea and exposing views towards the abbey island beyond.

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Glossary

Score

Shadowscape

To mark a landscape or urban area with lines of notches driven by connecting two sequential movement of devices or two historical architectures whose forms echo each other as counterparts.

A sheltered semi-open space for living or production spaces in the form of canopy of wood or mesh that is folded, compressed, assembled by architectural fragments that describe the dynamics of rivers and tides.

Fold The act or process of bending, projecting and twisting the landscape or urban configurations as an abstract origami so that one part covers another part, resulting a multilayered contextual image.

Drift The movement of architectural elements to be carried along by currents of river water or sea tide.

Sedimentation The fragments and materials of architectural elements that are carried and deposited by water force to the bank of river or the bay of sea.

Depolderisation Reopening polders to the sea via tidal gates, creating breaches in the dykes or dismantling them, as a possible response to rising sea levels. Managing flooding risk through depolderisation leads to ecosystemic benefits, such as a more flexible sea defence through the restoration of saltmarshes, biodiversity enhancement and nature-based recreation.

Aquaculture The controlled cultivation of aquatic organisms such as fish, oyster and other organisms of value.

Dwell To live or stay as a resident, caretaker or staff member by inhabit the architectural space consisting of fundamental living facilities or programmed spaces with certain productive purpose.

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Fraying the Sea Dyke - depolderisation through aquaculture

SCRIPT [Fold]

fold

[Shadowscape]

cast

drench

scribe

sedimentate

dredge

[Articulate]

sedimentate

dredge

fold

drift

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(stranger)

score

[Cloud-drifts]

sediment

[Fraying the Sea Dyke]

score

dismantle

compress

fray

extrude

depolderise

drift

sediment

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Fraying the Sea Dyke - depolderisation through aquaculture

[FRAY]ING THE SEA DYKE depolderisation through aquaculture

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Fraying the Sea Dyke - depolderisation through aquaculture

Fold, Drift and Sediment From the dam to Mont Saint-Michel, the shadowscape, derived from Córdoba, as strangers, drives the outline of the whole landscape along the Couesnon river. After several stages such as scoring and compressing, shadowscape is compressed into a delicate, complex, organic and mysterious landscape construct. This large landscape has been dismantled by the impact of the sea and the acting forces of sedimentation, and has drifted to dykes on the edge of saltmarsh.

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[Fray] the Sea Dyke 17

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Fraying the Sea Dyke - depolderisation through aquaculture

Depolderisation The dyke fragments would evolved into a series of narrow stone fjords and ditches, as transitional gates, guiding the mud and sand to corrode towards the field in the future, creating a unique silt landscape prior to secondary dykes. By fraying the sea dyke, it develops in relation to current thinking towards the depolderisation of certain areas of the north French coastline as a possible response to rising sea levels.

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I

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Fraying the Sea Dyke - depolderisation through aquaculture

Dykes as Seams The fraying process explores new form of aquaculture that intervenes into the expansive fabric of the nineteenth century polder landscape of the Bay of Mont-Saint-Michel in the form of a series of constructed landscape seams.

Each of these seams act as transitional gates and breach the outer sea dyke to choreograph the ingress of the tides.

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Fraying the Sea Dyke - depolderisation through aquaculture

Pools Series The landscaped walkways extend the dam and sea dykes, connecting a series of oyster pools that expand the local rich economy of aquaculture – specifically the cultivation of oysters for which the region is renowned.

This series of pools and their associated laboratories and storehouses, the architectural forms of which reinforce the seams, provide the sequence of nursery beds and desalination pools, provide the sequence of nursery beds and desalination pools required prior to and following the four year exposure of the oysters to the deeper tidal zones through elevated baskets arrayed out beyond the marsh.

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MOVE 4 The Grow-out Farms

MOVE 1 The Hatchery

MOVE 2 The Micro-nursery

MOVE 3 The Nursery

MOVE 5 The Screening

f n w otivatio o fl l rk u wo ters c s y o

LIVE FOOD Natural Phytoplankton

CHAMBER 2 Equipment

POOL 1 Research POOL 2.1 Hachery

CHAMBER 5 Decant, Sort & Calibrate

CHAMBER 3 Micro Nursery

CHAMBER 1 Laboratory

POOL 2.2 Hachery POOL A Phytoplankton

CHAMBER 4 Clean & Screen

POOL 3.1 Nursery POOL B Phytoplankton

POOL C Phytoplankton POOL 3.2 Nursery

POOL 4 Finishing Pool

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Exploded Isometric 29

cultivation pools & phytoplankton pools

wooden shadowscape

steel supports

timber walkways

timber platforms

gabion sea dykes

grow-out farms

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Plan 31

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Plan Level 0 - Laboratory 33

Plan Level 0 - Nursery 34

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Table Field 36

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The Laboratory The pools and their associated laboratories and storehouses, the architectural forms of which reinforce the seam, provide the sequence of nursery beds and desalination pools. The wooden registral devices, which describes the tidal dynamics of the river and sea tide, eventually breaks, deforms, and compresses to form a canopy of shadowscape that provides shelter for the pool.

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The Timber Garden The new landscape provides an elevated public realm of repose and refreshment at once witnessing the extraordinary cultivation of the sea and exposing views towards the abbey island beyond.

The secondary installations, in the form of wooden furniture inlaid in gabion dyke, offers the opportunity to taste freshly produced Oysters and view Mont Saint-Michel.

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The Pool and Canopy The landscape seams act as transitional gates to choreograph the ingress of the tides. In so doing, they flood certain areas to form an extension to the salt marsh habitats and feed a series of pools.

The huge wooden shadowscape above these pools, in the form of the canopy, provides a safe and hidden breeding space for oyster seafood.

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[SCORE] To mark a landscape or urban area with lines of notches driven by connecting two sequential movement of devices or two historical architectures whose forms echo each other as counterparts.

The complex urban fabric of Córdoba prompted us to seek a unique principle to provide design support for folding, which was the first difficulty for us to advance the project and the first task we needed to prepare for creating a blueprint of the final design direction. By searching the map for binary architectural elements where similar elements exist as a counterpart end points, this provides a valuable clue for us to connect the two terminal point of the score line, with a reinterpretation of the syntax of the city of Córdoba and a reconnection after deconstruction of the city through the scoring.

Similar principles are used in the river of Couesnon in Mont Saint Michel, and we were initially racking our brains on how

to deconstruct the texture and contextual syntax of the river, and how to use scoring to deconstruct these abstract images. By introducing shadowscapes into the river and making it produce motion trajectories in the action of water flow, we tr y to examine and dissect the friction, collision and wrinkling that these motion trajectories have generated on the water texture in an abstract macro sense, and from each section of motion between the deconstructed intermediate states of the two time frames, the scoring positions that generate folding or compression contained between the two trajectories before and after are determined.

Compared to Cordova's approach, our effect on score has progressively advanced to a higher understanding of motion and spatiotemporal slices.

[Score] [Fold] [Sediment] [Drift] [Dwell]

Authors' Photo 49

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[Score] [Fold] [Sediment] [Drift] [Dwell]

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Minaret

Bell Tower

Forest of Columns

Cathedral

Mihrab

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Scoring: Film Mapping 53

Choreography of Scoring

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Authors' Photo 55

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[Score] [Fold] [Sediment] [Drift] [Dwell]

City Shadow 57

City Scoring

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Scoring the Couesnon 59

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[FOLD] The act or process of bending, projecting and twisting the landscape or urban configurations as an abstract origami so that one part covers another part, resulting a multilayered contextual image.

In the design of these two years, by folding architectural elements, urban configuration and natural textures, we try to understand our most important design proposition: seeking continuous two-dimensional projections of three-dimensional spatial situations provides an alternative between the surface and volume configuration of the design A geometric relationship, thus realizing an effective connection between the reinterpreted city and natural images, and the reconstructed multiple abstract languages. As evidenced by the usual origami practice, the folded composition has allowed us to rethink the transformation of physical form over the past two years, which includes abstract concepts and visual continuity of architectural volumes, and the dynamic role of folded surfaces.

In doing so, we began to think about what is an evolutionary form-finding process, what leads to the interconversion between a sur face and a volume wit h sp at ia l conditions, and the inherent geometric complexity and creative potential of these processes.

Through folding, we can discover new definitions of cities and natural textures from different perspectives, which run through our four main designs in two years, providing us with the most basic elements to create a new architectural design language and new architectural forms. Design ideas and principles.

[Score] [Fold] [Sediment] [Drift] [Dwell]

Folding: Film Mapping 63

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Folding: Buddha Articulation 65

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Authors' Photo 67

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Folding Tower & Bell Tower 69

Fold

Cast

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[Score] [Fold] [Sediment] [Drift] [Dwell]

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Harvest 73

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Folding 75

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Folding 77

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Authors' Photo 81

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Folding the Couesnon 83

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Folding Shadow

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[SEDIMENT] The fragments and materials of architectural elements that are carried and deposited by water force to the bank of river or the bay of sea.

The ecosystem and aquaculture of Guadalquivir River in Córdoba and the Couesnon River in Mont Saint Michel have been deeply researched and abstracted diagrammatically as a driving force and catalyst for the production of architectural language during the two years of our designs. We seek to define the erosion and deposition of water on architectural components through vertical, lateral and multi-dimensional accumulation and diffusion of water forces. We allow us to formulate organizational tools and inter ventions for architectural design based on these abstracted natural forces by summarizing the abstraction of the ecosystem in which river water levels fluctuate horizontally and vertically.

Changes in lateral forces on both sides of rivers, the ratio of water flow velocity to sediment deposition rate paper, shoreline retreat, wetland degradation, subsidence,

sea level rise and storms, all allow us to focus on the erosion, loss, damage to our targeted architectural components and materials, hence to create and translate a new design language through the process of re organizat ion and dep osit ion of architectural elements in sedimentation.

The final configuration of settlement of the structural components allowed us to gain inspiration for adding design interventions to this settlement site and to create wetland landscape architecture that is self-constructing and self-sustaining. By doing so, we can create habitats for nearby residents, fishermen, refugees, flora and fauna, which ultimately evoked us to think deeply on how architectural intervention can mitigating storm surges, flood, rising sea levels, and create opportunities for re c re at i on , v i e w i ng , e du c at i on , and economic production through our new aquacultural landscape design.

[Score] [Fold] [Sediment] [Drift] [Dwell]

Sedimentation Force 91

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Spring Water Garden 93

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Authors' Photo 95

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Sedimentation Force 97

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Fieldwork in Dujiangyan, China 99

Fieldworking: Sedimentation & Harvest

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Authors' Photo 101

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Shadowscape in Shipwrecks 103

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[DRIFT] The movement of architectural elements to be carried along by currents of river water or sea tide.

Henri B ergs on def ines f low as an 'irreducible flux of becoming'; a continuous force to which people and space are subject, and through which they express themselves and evolve. In our two-year design projects, the Guadalquivir River in Córdoba and the the Couesnon River in Mont Saint Michel brings us a lot of thought about the flow of water and its impact on architectural components. We try to abstract the ideological pulling force of water and the compressing and pushing of the three-dimensional space by the action of water flow. Under these conditions, we can view the created olymeric substance of architectural elements as moving spatial continuums, which are influenced by time, nature and events, engaging, changing, moving and flowing though deep time. We see architectural design being influenced by the fluidity in rivers and oceans as a force that produces internal and external changes, while site and space are presented as temporal rather than spatial conditions.

While prevailing architectural theory draws

a distinction between buildings, figures and ground, the rich aquaculture of Córdoba and Mont Saint Michel provides us with an opportunity to extract the abstraction of land and water into the fluid and changing spaces that human, animals and plants inhabit.

We embraced, evolved, and demonstrated t he s e i d e ol o g i e s t h rou g h fou r mai n designs over two years, creating different water-patterned landscape structures in the Cordoba River Bay and the Mont Saint-Michel dyke area that blend with the changing water environment. We a r e c o n s t a nt l y e x p e r i m e nt i n g w i t h liquefying the boundaries between land and w ate r, arch ite c tu re and n atu re, interior and exterior, floor and roof, so that the architecture becomes one with its surroundings: it is not a closed building, but a space in between, a fluid, discontinuous architectural form that changes with time and currents.

[Score] [Fold] [Sediment] [Drift] [Dwell]

Authors' Photo 107

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Dredge 109

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Drift to the River Bank 111

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Authors' Photo 113

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Marine Force 115

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[DWELL] To live or stay as a resident, caretaker or staff member by inhabit the architectural space consisting of fundamental living facilities or programmed spaces with certain productive purpose.

A f t e r w e c r e at e t h e n e w l a n d s c ap e topography through an abstract new language of architecture, we start a series of thinking about how to make humans inhabit, pro duce, and relax in thes e structures, integrating with new ecological microenvironment of artificial and natural Landscapes. We try not to indulge in the attitude of certainty, but to express its attitude towards space by using dwelling as a force of nature, and eventually become the basic element of all kinds of life, production, scientific research and education in complex urban systems and natural environments, rather than simply the living space confined to the paradigm. We seek to create new dwelling environments to change the scales of landscape spaces, urban and residential life, and the way we perceive them.

In our two-year design projects, we start from the assumption that the origin, change, and reorganization of local production methods generate new social relations,

and study how these changes prompt us to construct abstract landscape language into a place with architectural space and functional significance. They include, for example, quarrying of the Guadalquivir River in Córdoba, vegetation restoration, gardens, water pattern research rooms, spaces for religious meditation, landscape walks, restoration of habitats for birds and fish; refugee shelter at Mont Saint Michel, returning farmland to the sea, oyster industry, nursey factory, elevated walkway on sea dyke, monastery viewing platform, rest, refreshment, bathing, etc. These inhabitant spaces connected with natural forces, abstract architectural interpretations of artificial landscapes inspire us to more radically reflect on the larger concept of dwelling, and encourage us to explore how the dwelling space co-evolves with natural forces to create new Issues of social lifestyle generate in-depth thinking and design reasoning.

[Score] [Fold] [Sediment] [Drift] [Dwell]

Meditation Room 119

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[Score] [Fold] [Sediment] [Drift] [Dwell]

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Observation Deck 123

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Laboratory 125

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[Score] [Fold] [Sediment] [Drift] [Dwell]

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Laboratory

Obversatory

Bedroom

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Laboratory 129

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Obversatory 131

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[Score] [Fold] [Sediment] [Drift] [Dwell]

Roof Garden 133

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[Score] [Fold] [Sediment] [Drift] [Dwell]

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[Score] [Fold] [Sediment] [Drift] [Dwell]

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Fraying the Sea Dyke - depolderisation through aquaculture

Xingyu LU Jiamin ZHONG 141

[left] [right]

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Reflection

The rich water patterns of Córdoba and Mont SaintMichel prompted us to think deeply about the fluid and volatile mode of architectures and cities under water conditions in these two years. Unpredictable fields created by storms, floods, and tides form porous, multi-layered, inter-connected, loose fields of aggregation that allow us to fold, compress, and reorganize cities and landscapes contex. The intricate and specific relationships within these fields prompt our understanding and deduction of concepts such as overall shape, gap, repetition, continuity, motion, and time slice, which evokes us to focus on the uncertainty between things rather than the form of things themselves.

Through the progressed sublimation of the four main designs, we have gradually understand the operation rhythm of the heterogeneous space formed by the transition between the water, the architecture and the environment. We tried to liberate the architecture from the homogeneous stratified space, and formed a variety of boundary architectural forms with heterogeneous spaces full of rhythm changes.

Through the nested landscape constructed by complex folding and sediment architectural elements, our design results inspired us to open up the energyconverting elements of the architectural space to the environment, creating a fluid and open architectural space. We try to realize the cyclical generation process of deterritorialization and reterritorialization of architecture and environment, and form a non-limited place where dynamic elements converge. These are reflected in the parallel, covering, interlacing, lifting, and nesting relationships between our unique giant abstract canopy and the construction dwelling spaces.

We have learned to use the architectural language of our own creation to embody the infinity, contingency, sequence, and smoothness of spaces and elements in these places.

However, in these two years of design, we still lacked an in-depth and comprehensive study of the materiality and constructability of our new architectural language. The deductive method of folding and sedimentation of spatial elements took a large amount of time, which makes us lack a multifaceted and meticulous consideration of the spatial construction strategy and material connection of the architectural itself in the later stage of the design, under the condition of complex water environment.

In addition, the online courses generated by the Covid limited our access to the real-world exploration, observation and recording of Cordoba and Mont Saint Michel in the first place. But the good thing is that we have more operating space to use the observation and analogy of things around us and registered models to abstractly describe the nature, history, and urban texture of the project site instead of being limited by the realistic picture to create multiple possibilities of our folding and sedimentation concepts. This also means that we have explored a similar deduction principle and a new architectural language that can be generalized to water patterns in various countries and regions - the ultimate goal of our two-year research. We will bring the strengths and weaknesses of the architectural language summed up by these four architectural projects into future architectural thinking and practices.

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[Fraying the Sea Dyke] https://youtu.be/resOHccrHMk

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[Les Nuages : Cloud-drifts on the Couesnon] https://youtu.be/HLXVOWNwrQo

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