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COLLECTIVE DESIGN FOR COMMUNE

COMMON ARCHIVE.

VEERIS VANICHTANTIKUL MSAAD | GSAPP | COLUMBIA UNIVERSITY 1

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01 Academy of Healing and Resolution

Sanctuary of Waikiki Ahupua’a Advanced Design Studio V | Leong Leong + Sean Connelly

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02 Transscalar Justice 30

Memorial of the Future Transscalarities | Andres Jague + Oskar Orn Arnorsson

03 Unbuilding Site, Remaking Place

As Little As Possible Intervention Advanced Design Studio VI | Hilary Sample

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04 In Praise of Shadow 66

Graphic Narrative of Light & Shadow Graphic Architecture Project I: Design & Typography | Yunjai Choi

05 Trans-species Hospitality 80

A 10-Point Manifesto for Lina Bo Bardi’s Collection Towards a Trans-species Architecture | Mark Wigley

06 Post Nuclear Waste 84

Narrative Making Through Diorama Summer Workshop | Josh Jordan

07 Beach Lab x Leisure 92

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Prototypes of Floating Leisure Entangled Studio | Tei Carpenter

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Fall 2020 Advanced Design Studio V Instructor | Leong Leong + Sean Connelly Team | Lu Liu

ACADEMY OF HEALING AND RESOLUTION SANCTUARY OF WAIKIKI AHUPUA’A

Over Kalia Loko I’a - the largest aquaculture system of the fishpond in Waikiki, the reclamation of Waikiki began here when the U.S. Army Corps of Engineers acquired this land and started draining it to build Fort DeRussy in 1909. While it acted as a significant shore battery of the Oahu island, Fort Derussy became a symbol of colonization and militarization, leaving native Hawaiian people with the scars of environmental alterations, historical trauma, and cultural wounding. Accordingly, ‘the Academy of Healing and Resolution’ is established as the sanctuary of Waikiki ahupua’a with an intention to recover the native land and people from all those traumas. In parallel, it will become a pedagogical site where visitors can learn the native Hawaiian practices of healing.

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Fall 2020 Transscalarities Instructor | Andres Jague + Oskar Orn Arnorsson

“For the hang and beaten. For the shot, drowned, and burned. For the tortured, torment, and terrorized. For those abandoned by the rule of laws. We will remember” This phrase is inscribed on the wall of The National Memorial for Peace and Justice, the US nation’s first memorial consecrated to slaves who were terrorized by lynching and dehumanized by ethnocentrism. With more than 4,000 racial terror lynchings in the American South between the Civil War and World War II, the MASS Design Group turned this six-acre memorial square into a platform to recognize the need for recollecting this truth. In accordance with Andres Jaque’s claim that architecture itself is political, this memorial exists as proof of being a political tool to heal historical trauma and establish restorative justice through the transscalarity of time. Despite being a memorial, this project does not only represent the past but also stands for the present and future.

Intentionally, this memorial speaks the truth of history. Through the representation of 800 hanging steel monumental slabs inscribed with the names of the victims from each locality, this architectural medium unfolds the story of lynched casualties occurring in 800 American counties within the last century. Considering the fact that those slabs are made of corten steel, a material that will rust ultimately, it restates the concept of time. The more color of slabs changes, the more stories of victims will be told. In this respect, this architecture becomes a living agent to revitalize the undercovered memories of the dead.

In another time scale, this project carried the past to the present with a time-traveling element as soil. MASS Designed group and the Equal Justice Initiative collaborated with the local community to collect the soil samples from each site where the lynching was held.

Enclosing the space, jars of those soil samples are displayed as a reminiscence of racial terrorism and as a means to honor every individual sacrificer. This process allows the local community to commemorate the history of lives unjustly taken, bringing the rare discussion of the past to our time. This remembrance action illustrates how architecture can be a political instrument to speak for human rights, representing those victims’ disregarded voices.

In parallel, the memorial space is designed to expand across time, evolving from the present to the future. Located in the memorial courtyard, another 800 duplicate county-name-inscribed pillars are placed, waiting to be adopted by their respective counties.

The design team hopes that each county will claim these pillars and display them in public areas across the nation. Regarding this, the absence of the present promises the presence of the future. This time-transscalar space will become a political material to forward the memorial’s testimony throughout the country and to our posterity.

According to Andres Jaque’s Politics Do Not Happen in Square, “architecture does not simply provide a space where political action takes place, nor a channel through which human political speech can be reproduced.” The National Memorial for Peace and Justice evidences how architecture itself is political. This project is not just a square where people can perform politics, but the architecture itself is an actor that raises a powerful voice for humanity. Through the dynamics of time, this project stands as a symbolic reminder of the historical trauma, speaks for inequality during the current — and, with hope, meaningfully carries justice to the future.

TRANSSCALAR JUSTICE MEMORIAL OF THE FUTURE

[1] Andres Jaque, Politics Do Not Happen In Squares: Superpowers of Scale SOCIAL JUSTICE

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Spring 2021 Advanced Design Studio VI Instructor | Hilary Sample Team | Renee Gao + Eleanor Yuan Liu

UNBUILDING SITE, REMAKING PLACE AS LITTLE AS POSSIBLE INTERVENTION

In the 1980s, landscape architect Lee Weintraub was commissioned by the NYC HPD to redesign McKenna Square Park. At that time, he said “parks were vacations for those of us who couldn’t afford them. They were safety valves, escapes from hot asphalt, real breaths of fresh air.”

We agree with Mr. Weintraub but also believe that the park is due for an update. The methodology of our redesign is the Manual Guidebook to McKenna Square Park: to produce a comprehensive understanding of what aspects of the park should be removed, repurposed, or left alone entirely. The implications of the pandemic have reminded us that comfortable outdoor space is precious and essential to the city.

Our proposal reimagines the park through the idea of the outdoor living room, extending the programmatic needs of the existing community into the spaces of the park. We redesigned the site through the multiple lenses of landscape design, material circulability, community-specific programming, and seasonal changes. Our approach suggests a more expansive, thoughtful, and creative outlook about how architects can think about design; about the significance of small open spaces and what to do with as little as possible.

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Spring 2021 Graphic Architecture Project I : Design & Typography Instructor | Yunjai Choi

IN PRAISE OF SHADOW GRAPHIC NARRATIVE OF LIGHT & SHADOW

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Spring 2021 Towards a Trans-species Architecture, Rethinking Lina Bo Bardi Instructor | Mark Wigley

Rethinking of Lina Bo Bardi’s projects, this manifesto will be narrated based on 2 of her important projects: SESC Pompeia(1977-1986) and Teatro Oficina(1984). It will also be successively built up on 3 interwoven assumptions: If architecture is not a building, is not for a present, and is not for a human.

1. If architecture is not a building but it’s a water feature. According to Fernandaz’s claim, SESC Pompeia really comes to life when it’s raining. Since it rains a lot in Sao Paulo, Lina Bo Bardi’s project can turn into a water cascade where the water actually moves through all the pathways. Perhaps, Lina Bo imagines this architecture not just as a building, but a piece of art that is nicest to see when it’s alive.

2. Addition to the argument, when it’s raining, the staff will give a visitor an umbrella so they can walk on the street from one part of the building to another without having to go through the rain. That’s a very humble yet beautiful moment that Lina Bo adds to the architecture.

Thus, the building itself can be extended and transformed into the form of a small portable architecture, which is as simple as an umbrella.

3. Continuing to the Teatro Oficina project, the idea of water hospitality is reintroduced through the interior that can be entirely opened to the outside. Typically, it’s mostly intolerable for humans when we think of having rain in the interior. But for the plants, water is very welcome. This project, as a consequence, may illustrate Lina Bo’s gesture that she really cares about creating ecosystems for water, air, light, and plants. Maybe, in her projects, we have to rethink our labeled privilege as humans.

TRANS-SPECIES HOSPITALITY A 10 POINT MANIFESTO FOR LINA BO BARDI’S COLLECTION

4. If architecture is not for a human, but it’s hospitable for other species. Most of Lina Bo’s drawings always show a lot of her effort in representing different types of plant species. In the section drawing of SESC Pompeia, the construction of landscape, instead of human, is illustrated. According to the scale of plants that is over human, this drawing portrays a strong sense that plants are hosting the warehouse, while humans are just the visitors who are moving in and out of the space — like the insects in the tree trunks.

5. In the Teatro Oficina project, trees are well taken care of. They are located in the area with more natural light and nice views, while the space for human area is enclosed with scaffolding structure, giving a sense of a cage for animals in the zoo. The wood platform also implies a temporary covering, acting like a carpet for the water. This project raises an interesting question: whether the human could perform for the plants, they may need entertainment sometimes.

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NARRATIVE

6. The idea that Lina Bo’s architecture is not for a human is also reflected in the furniture scale. SESC chairs seems not to invite users to sit on them for a long time. Perhaps, Lina Bo presents her non-human hospitality idea by making them less comfortable for humans. This idea is also shown in the drawing of Teatro Oficina where the furniture is represented as a figure, living and dancing in the space.

7. If architecture is not for the present, but it represents the idea of trans-scalar. In the SESC Pompeia project, the irregular shape of the opening can be a record of war showing the crime of violent holes in an architecture. In this sense, her works are designed as a remark of time. It also shows an incredible intervention of softness in a brutalist building when the softness is made more softer by being soft in the hardness.

8. In addition, SESC Pompeia project can also be seen as an archive of epochs. In most drawings, we have rarely seen mass. Although there are some drawings that are full of people, they are somehow disconnected. Even in some photos, people are sunbathing in front of the building but they are also all in the distance. While the whole thing is set up to be isolated, it may reflect the concept of Russian Solidarity at that time.

9. Through Lina Bo’s works, architecture can also be a promise of the future. Her design for the poster of SESC Pompeia illustrates the way she sees this architecture not as for a functional purpose, but maybe for being a hope for the future. The way she draws flowers instead of smoke may reflect a gesture of how Lina Bo imagines this cylindrical tower rising as a landmark that can be seen from afar inviting surrounding dwellers to become part of this ‘little joy in this city.’

10. Overall, these are the projects that we have seen so many things from her previous projects combined together. Hospitality for Lina Bo definitely seems to be beyond the scope of humans, but more towards the trans-species whether that be water, plants, animals, or even time. Accordingly, what Lina Bo designed is perhaps not just an architecture, but an entire ecology — where the whole hospitality can be created.

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Summer 2021 Summer Workshop | Model Fiction Instructor | Josh Jordan

POST NUCLEAR WASTE NARRATIVE-MAKING THROUGH DIORAMA

In 2040 a breakthrough in nuclear fission technology has made available an endless, renewable, cost-free, carbon-free supply of energy. Thirty years after that, society and the built environment has been shaped around it. There is no longer a need for work but people must stay engaged, civics repeat their work day by day.

This society is highly surveilled and monitored.

Also the society looks utopian with endless power and free of carbon, but it lacks vibrancy. Everything and everyone must keep in their personal position while repeating their work.And they are innocent without being exposed to the nuclear truth, they are not curious about where the energy comes from and thus they never know there is nuclear waste transported away underground.

Meanwhile, Caribbean Islands where nuclear waste has been transported, and dumped, have been thought as a suitable testing site for verifying the power of nuclear radiation. The threat of radiation remains, and their natives maintain controlled environments.

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Summer 2021 Entangled Studio Instructor | Tei Carpenter Team | Patrick Lin

BEACH LAB x LEISURE THE PROTOTYPES OF FLOATING LEISURE

Prior to 1940, Mastic beach was once a destination for leisure activities - the ocean was a playground for the kids, while the beach were a recreational space for the dwellers. But after Sandy storm, with the disappearance of the beach, and the challenging context of the flood risk, Mastic beach lost its character of being a leisure and community space. Therefore, it’s our intention to reintroduce them back to this place.

Beach Lab x Leisure will be a catalyst to raise consciousness about the 5 areas of Mastic beach restoration project. This strip of beachfront is unique and rare in long island because it’s a 6.5 miles of publicly accessible beach amidst a rich, privatized beachfront that require permitted access.

Thus, this project will not only be prototypes for leisure but also platforms to promote social justice and democratically accessible beachfront and access to the water. It updates the notions of leisure, and what it means to build on the water to address the needs of contemporary environmental challenges.

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