Translation as an architectural tool and spatial experience

Translation: An architectural tool and spatial experience

Thank you to my friends, house mates & family for their endless patience and help throughout this year . A special thanks to my parents for their support throughout college.

B. Arch - 2017

Jack Worrall

Translation: an architectural tool and spatial experience

Content INTRODUCTION 1 SPECULATIVE DUBLIN 3

St. Ann’s Church

Leinster House

King’s Inn

SITE 11

Georges Street

Entrance Gate

Chapel Royal

Dublin Castle

DESIGN DEVELOPMENT 26

Dublin Castle Translation

Chapel Royal Translation

Georges Street Translation

Entrance Gate Translation

Interior Translation

FINAL PRESENTATION 48

CONCLUSION 49 APPENDICES 51

Project 1: Translation of Context

Project 2: Translation of Process

Project 3: Translation of Type

LOST IN TRANSLATION 68

INTRODUCTION

The aim of the thesis was to explore the ways in which architects use translation in the process of designing and the resulting spatial experience of that process.

Translation was explored under three categories: translation of context, translation of process and translation of typology.

Inherent in the process of translation is the changing of something from one medium to another. In this changing of medium certain characteristics are lost or gained. The intention of the thesis was to explore how this loss or gain of characteristics can be used to both design a new architecture as well as creating inherent links with the typologies, context and processes which were translated.

To allow for a meaningful translation the architect must identify and analyse the object which is to be translated. As Johann Wolfgang von Goethe stated that, “when you translate you should go as far as the untranslatable; then you catch sight of the foreign language and the foreign nation for the first time� (Akcan, 2012)

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Translation: an architectural tool and spatial experience

“The definition of translation includes any act of changing from one place, position, condition, medium or language.

As etymologists point out, using the word [translation] commonly to mean a conversion between languages is only a modern phenomenon. Despite the paucity of working theories, translation has been an integral part of architectural design. Translations in architecture can be discussed in relation to converting from drawing to building, from diagram to project from one place to another, from different discipline to architecture, and from text to visual image.� (Akcan, 2012)

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Speculative Dublin

SPECULATIVE DUBLIN

At the beginning of the second semester there were investigations into different aspects of the overall theme of Building Cultures The Speculative Dublin unit examined the development of Dublin as a Georgian city, specifically the large speculative developments of landlords during the 18th century.

Dublin was built around two focal nodes; the old medieval city and Trinity College Dublin.

The speculative system consisted of private land owners buying and developing land around these nodes with a certain vision in mind to shape their estate.

Although these Landowners would often have required builders to build in a homogeneous style, there lacked an overall vision for the city as a whole. This meant that certain estates developed in an organic fashion, leading to alterations having to be made to create a more cohesive urban fabric. Buildings such as St. Ann’s Church, Leinster House and King’s Inn are examples of how landowners aimed to unify the city through its built environment. It was not uncommon for buildings to be destroyed to allow these projects to happen. This attitude coupled with the expansive infrastructural developments of the times (The expansion of the quays and the Wide Streets Commission) led to a building culture of rapid development and redevelopment to create a cohesive city.

Exploded Plan of Dublin Medieval center Georgian Estates

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Translation: an architectural tool and spatial experience

Map of Georgian Dublin John Rocque - 1756

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Speculative Dublin

S t . A n n’s C h u r c h -

Molesworth Estate

St. Ann’ Church View from South Anne Street

St. Ann’s church was designed after The Dawson Estate and Molesworth estate were already established. The aim of building St. Anns church was to create a vista at the end of South Anne Street. The Dawson and Molesworth family worked together to create a more cohesive urban fabric between the two estates.

Leinster House -

Fitzgerald Estate

Similarly to St. Ann’s church, Leinster house was built after the road which is perpendicular to it was built (Molesworth street). Molesworth street was built in 1745 and created the main vista for what was to become Leinster House. Once again, as the city grew, landlords used the existing streets as way of creating a sense of hierarchy on approach to a new important building i.e. The Fitzgerald family’s new residence.

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Leinster House View From Molesworth Street

Translation: an architectural tool and spatial experience

Plan of Molesworth & Dawson Estate St. Ann’s Church & Leinster House

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Speculative Dublin

K i n g ’s I n n -

Henrietta Street

King’s Inn View from Henrietta Street

King’s Inn is perhaps the most relevant precedent study in relation to the thesis. Much like the previous two examples, King’s Inn was originally designed to create a destination at the end of Henrietta Street. However, contrary to St. Ann’s and Leinster House, King’s in has a public route which brings people through an external courtyard and onto constitution hill.

There is an approach, a transition and a destination. For this to be achieved a full terrace of houses were demolished, all in the name of linking the city together and creating certain views.

King’s Inn does not simply bring people from one part of the city to another, it is the mechanism that ties the two places together. The Henrietta street entrance is used to turn the user, whereas there is a more formal facade facing constitution hill.

This idea of using architecture as a mechanism for stitching the city together both in the formal relationship and the movement of people was an important aspect of Georgian Dublin.

Furthermore, this attitude of the building culture at the time allowed a full terrace of houses to be demolished for the greater good of the urban fabric.

King’s Inn View from Constitution Hill

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Translation: an architectural tool and spatial experience

Henrietta Street 1756

Henrietta Street 1913

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Speculative Dublin

Wide Street Commission -

Dublin Castle

The Wide Street commission was set up in the 18th century to reinterpret the urban fabric of Dublin. One of their unbuilt projects of 1760 was a plan to create a royal parade that would connect the Georges Street area with Dublin Castle. This was in an aim to connect Dublin Castle the then place of government with St. Andrew’s church.

These grand projects were typical for the time as Dublin was considered a malleable city and a test bed for urban development.

Chapel Royal 1898

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Translation: an architectural tool and spatial experience

Speculative Dublin Castle Project Wide Street Commission - 1790

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Site

SITE

Dublin Castle

What is now considered the Dublin Castle complex was built over a long period of time, starting in 1230 with the Upper Castle Yard, and most recently the addition of the international conference center in 1989.

The Dublin Castle complex revolves around three main areas: The Upper Castle Yard, The Lower Castle Yard and The Dubh Linn Gardens. The buildings that are in th Dublin Castle complex include: The Chapel Royal (church), The Treasury Building (offices, cafe, gift shop, The Undercroft, Castle Hall (Bedford Tower), The Conference Centre, The State Apartments (prestigious functions), The Chester Beatty Library, The Garda Carriage and Traffic Offices, Ship street Barracks (revenue commission offices) and The Coach House (conference and dining). This large collection of Irish architectural history is a great touchstone for my thesis in terms of the translation of context and the translation typology.

Dublin Castle was chosen as the site as the historical significance of the surrounding context allowed for a complex test bed for how translation can be used to knit together a disconnected urban fabric.

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Dublin Castle Labeled Axonometric

Translation: an architectural tool and spatial experience

Dublin Castle 1847

Dublin Map Medieval Map -1210

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Site

Analysis

Dublin Castle is an idiosyncratic collection of buildings built over the space of hundreds of years. The urban form developed due to the growth of the city and the needs of the individual governments who occupied the complex.

To fully understand Dublin Castle and the Georges street area, the main buildings and urban forms that defined the urban context were identified and analysed.

Dublin Castle itself is a series of enclosed spaces which include the upper and lower courtyards as well as the dubh linn gardens. The Stamping building and three shops on the Ground floor of Dublin business school were demolished to allow for movement from Georges Street to Dublin Castle. The projects intention is to create further enclosed spaces as well as pedestrian routes leading through Dublin Castle.

Dublin Castle Enclosed Spaces

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Translation: an architectural tool and spatial experience

Dublin Castle Demolish

Dublin Castle New street & enclosed spaces

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Site

Georges Street

The character of Georges street is defined by two main buildings; Georges Street Arcade, which is a purpose built Victorian shopping center and Dublin business School, 1960’s concrete frame building. As one of the main commercial streets in Dublin, both buildings have individual shop fronts on the ground floor.

The formal composition of Georges Street arcade, a victorian shopping center, is broken down into three part: the center piece, the corner piece and the repetitive element, when combined, create a horizontal reading which is typical of Georges street . Dublin Business School on the other hand is a 1960’s abstracted version of Georges Street Arcade, where the horizontal reading is expressed through the concrete facade elements.

Georges Street Arcade 1881

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Translation: an architectural tool and spatial experience

Georges Street Arcade Three pieces: corner piece, center piece, repetative element

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Site

Dublin Business School View from Exchequer Street

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Dublin Business School View from South Anne Street

Translation: an architectural tool and spatial experience

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Site

Entrance Gate

The Ship street and Dame street gates are the main entrances into the Dublin Castle complex.

In both cases there is a minor order and a major order. The Major order is the main entrance gate, which is flanked by two smaller public entrances. The major order breaks the datums defined by the minor orders.

Entrance Gate Dame Street Elevation

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Entrance Gate Ship Street Elevation

Translation: an architectural tool and spatial experience

Entrance Gate View from Dame Street

Entrance Gate View from Ship Street

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Site

Chapel Royal Analysis

Chapel Royal is a Gothic church built in 1814. It’s most distinctive feature is the expression of the buttresses on the long elevations. Although the church faces on to the lower courtyard, it is also the end piece to the idiosyncratic south elevation of Dublin Castle.

Chapel Royal Rendered Elevation

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Translation: an architectural tool and spatial experience

Chapel Royal Front

Chapel Royal View from Ship Street

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Site

Dublin Castle Analysis

The main facade of the lower courtyard is a red brick building, which houses the state apartments for prestigious visitors. A stone archway is the center piece which leads the user into the upper courtyard. This center piece is flanked by vertically expressed brick piers and windows. This vertical expression is broken by the horizontal stone datums, which tie the facade into the record tower to the south.

Dublin Castle Rendered Elevation

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Translation: an architectural tool and spatial experience

Chapel Royal View from Lower Courtyard

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Design Development

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Translation: an architectural tool and spatial experience

DESIGN DEVELOPMENT

Dame Street The Brief for the project is to design a new music school and concert hall for Dublin castle.

This brief allows for a concert hall to stand against the grandeur of Dublin castle as well as creating footfall through the day to day use of the music school.

Georges Street

As the project’s focal point is the movement of people from one area of the city to another, the design of each facade is defined by the views along the urban routes. The facades are designed through translating the existing context that exists on the three main approaches from Ship street (west), Dame street (north) and Georges street (east) . The process of translating the context therefore creates a cohesive sequence of spaces as the user travels from one urban space to another.

Exchequer Street

Ship

et

Stre

Site Plan Main routes and views

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Design Development

Dublin Castle Site Isometric

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Translation: an architectural tool and spatial experience

D u b l i n C a s t l e Tra n s l a t i o n

The brick piers windows and stone datums are abstracted to define a new architectural language for the facade which encloses the lower courtyard. This abstracted language can then be adapted to suit the needs of program, which sits behind it.

The “points of translation�, where the translation is most discernible are: as you arrive at the Dame street entrance and as you pass through the main Dublin Castle facade

This facade gives the lower courtyard a sense of completeness by translating the facade opposite it as well as enclosing a clear urban space.

Dublin Castle Translation of Facade

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Design Development

Dublin Castle Translation View from Dame Street Entrance

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Dublin Castle Translation View from main Upper Courtyard

Translation: an architectural tool and spatial experience

Planevation New western facade enclosing lower courtyard

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Chapel Royal Translation

The Chapel Royal facade is also abstracted in the aim of expressing the stepped back structure and the distinct separation of individual bays.

It is clear when approaching from Ship Street or Exchequer Street that the new southern facade is in dialogue with chapel royal.

However, rather than having a uniform materiality like chapel royal, the southern faced consists of both concrete and brick. The southern facade therefore acts as a mediator between the The Georges Street area, which is predominantly brick, and Dublin Castle.

Chapel Royal Translation of facade

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Translation: an architectural tool and spatial experience

Chapel Royal Translation View from Ship Street

Chapel Royal Translation View from Exhequer Street Entrance

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Design Development

Chapel Royal Structure Structural model

South Elevation Music school addition to Dublin Castle facade

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Translation: an architectural tool and spatial experience

Georges Street Translation

Georges Street Rendered Elevation

The Eastern facade of the music school is a translation of the formal language of Georges Street Arcade. There are three main elements: The corner piece, the center piece and the repetitive element. The corner pieces house the circulation, whereas the center piece breaks the horizontal datums to define a main entrance into the school.

East Elevation Corner piece, center piece, repetitive element

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Design Development

Entrance Gate Translation

Entrance Gate Ship Street elevation

The new entrance gate aims to create a new destination point at the end of Exchequer Street.

In translating the existing gates a minor order for pedestrians and a major order for vehicular access were defined. To fit into the context of Georges Street the widths of these orders are based on the rhythm of Dublin business school, thus creating a more horizontal entrance gate.

Entrance Gate Dame Street Elevation

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Translation: an architectural tool and spatial experience

New Entrance Gate View from Exchequer Street

New Entrance Gate Plastercast model

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Design Development

Interior Translation

To design the interior space each facade was abstracted to determine the main characteristics. The plaster cast models give the facades more depth and allow the hierarchy of different element to be read more clearly.

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Dublin Castle Translation Plaster cast model abstracting vertical elements

Translation: an architectural tool and spatial experience

Chapel Royal Translation Plaster cast model abstracting stepping elements

Georges Street Translation plaster cast model abstracting horizontal expression

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Design Development

Dublin Castle Translation Brick piers translated in to concrete columns

The western elevation’s main characteristic was the expression of the vertical structural brick piers. These were translated to become vertical concrete columns.

The southern facade translates the stepping back of the structure to become stepped floor plates.

And finally the eastern facade’s horizontal articulation is translated to become concrete balustrades.

These translated elements become the palate with which the interior is designed.

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Translation: an architectural tool and spatial experience

Chapel Royal Translation Stepping structure translated into stepping floor plates

Georges Street Translation Horizontal brick translated into concrete balustrade

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Design Development

The Columns, the stepped back floor plates and balustrades are combined,to create the main auditorium, which sits in the center of the music school. The auditorium is a distilled manifestation of contextual and internal translations.

Moving through the building, the user is brought through different layers, where at certain points the translations become clear. The classrooms and corridors are caught in between these layers and are a combination of both the main auditorium elements as well as the external facades.

Exploded Axon Translated facades define elements of auditorium

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Translation: an architectural tool and spatial experience

Cut axonometric plan Ground floor

Cut axonometric plan First floor

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Design Development

Classroom Layering Elevation of translated layers

Foyer Layering Axon of translated layers

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Translation: an architectural tool and spatial experience

Ground floor Plan

First Floor Plan

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Design Development

Foyer View from main entrance

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Translation: an architectural tool and spatial experience

Classroom Hallway Caught in between layers

Hallway All translations visible

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Design Development

The ultimate culmination of the movement through Dublin castle is into the main auditorium, where the final translations are all visible. The concrete columns are expressed on the walls, the stepped back floor plates provide the seating on the upper floors and the horizontal beams and balustrades are expressed.

Auditorium Distilled spatial experience of translation

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Translation: an architectural tool and spatial experience

FINAL PRESENTATION

Critics: Ger Carty (GC), Willie Carey (WC), Simon Chessex (SC), Kieran O’Brien (K O’B), Brian Ward (BW), Ryan Kennehan (RK), Kevin Donovan (KD)

WC: Opening up of the ground floor plan under DBS needs to be more explicit in the site plan.

GC: Is your new building changing the axis on which the stamping building was on ?

GC:Really enjoy the presentation and the research. Could there be more of a difference between the two parts of the building? Different qualities? Look at Giorgio Munari paintings.

Not sure about DBS feeling like the back of the building

RK: Potential for the backs is amazing

GC: The George gets a veranda and colonizes the space to create a focus. Too much structure inside. Could the main auditorium be pushed to the extremity of the building?

WC: Very enjoyable development of the facade and facade having consequences to the interior.

Final presentation Board layout

SC: Your project is extremely strong in parts and weak in others. Facade to the south and west are both strong whereas the facade facing DBS is weak. The backstage is as important as the front of house. Would be great to see the project progress to where the back of the building is further developed.

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Conclusion

CONCLUSION

Although working through an analogy such as “translation” can often be perceived as interchangeable with other words such as “dialogue” or “resonance”, the process of consciously working through the analogy fundamentally changes the way in which we design.

By refining the definition of the analogy/concept the methodology of design is defined, and therefore the architecture that is produced.

The thesis explored the translation of context in most detail, perhaps as it is the most accessible and widely used method of translation. The translation of the context of Dublin Castle and Georges street generated an architecture that could be spatially and intellectually understood as a translation. The translation of process became clear by the reinterpretation of the wide street commissions plans for Dublin castle. However, The method of translating typology could be further developed as the program of the building becomes more refined.

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Translation: an architectural tool and spatial experience

Models Models used in design process

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Appendices

APPENDICES

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Translation: an architectural tool and spatial experience

Project 1 - Pheonix Park

Tempio Malatestiano Translation of Gothic to Classical

Translation of Context

The project began with studying syntactic architecture in relation to the facade. Syntax is a set of rules and processes that govern word order to create a cohesive sentence. Syntactic architecture is a set of rules or a way of reading architectural elements to create cohesive architecture.

The aim was to design public toilets in Phoenix park that identified important characteristics of the existing context and added to the syntax. Buildings like Alberti’s Tempio malatestiano, and even the Magazine fort in Phoenix park are examples of buildings that have a syntactic relationship within the building.

The original elements of the magazine fort were broken down into three parts; the original fort built in 1801, the extension built in 1734 and the point of translation where these two parts meet.

The public toilets consisted of five cinder block bays, each of which had a window facing towards the magazine fort. The bays mirrored the magazine fort both in terms of monolithic materiality and window openings. Each of these bays had three timber joist which supported the roof of the buildings. Each Joist spanned over the building and landed on another layer of timber columns.

These different layers of the building were experience as a user approached and entered the building. Points of translation were moments along this promenade at which an element in this syntactic relationship is framed.

The first project was extremely helpful in defining more appropriate language and direction for the thesis. It defined a methodology of identifying, analysing and translating architectural elements to create something new which was directly linked to the existing.

Site Plan Public Toilets

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Appendices

Translation of Context Magazine fort original, addition and point of translation

Translation of Context Magazine fort original, Public toilets and new translation

Site plan Magazine Fort old and new

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Translation: an architectural tool and spatial experience

Framing the Magazine Fort Bathroom window frames origin of translation

Framing the Magazine Fort Translations of Magazine Fort Frame the origin of the translation

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Appendices

Site Section

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Translation: an architectural tool and spatial experience

Project 2 - Art Gallery

House II Card Model explaining layering

Translation of Process

For the second project we were required to investigate a precedent study, which in this case was House II by Peter Eisenmann that would inform a brief of our choice. The house is designed by offsetting two, nine square grids from one another. The architectural process of offsetting is the driving force for the design. Each element is defined by one of the grids.

For Eisenmann “all that weaves the building together is a concept unfolded over time as we conduct our tour of inspection� (Elements of architecture, 2016). It is the concept of or process that defines the ultimate spatial experience where the architecture can be experienced and understood.

Rather than the offset being the main driving force in the design of the art gallery, it was the expression of structure and wall. The wall directed the user through the building, where as the column was a marker for a moment of translation or change.

The second project reinforced the idea that a sequence of spaces was the most convincing method of exploring translation. However in contrast to the first project these sequence were a translation of a process rather than an existing context., which proved that translation as an architectural tool was not solely dependent on a contextual dialogue.

House II - Peter Eisenmann Axonometric

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Appendices

Frontality Wall and structure expressed on facade

Art Gallery Site Plan with nine-square -Grid

Wall and Structure Wall and structure define the movement

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Translation: an architectural tool and spatial experience

Ground floor plan

First floor plan

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Appendices

Translation of process View from street

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Translation of process Entrance space

Translation of Process Gallery space

Translation: an architectural tool and spatial experience

Project 3 - Sports Hall Translation of Type

Sports Hall Site model

The focus of the third project was the translation of Type and typology. Rafael Moneo claimed that “He (The architect) is initially trapped by the type because it is the way he knows.

Later he can act on it;he can destroy it, transform it, respect it. But he starts from the type. The design process is a way of bringing elements of a typology - the idea of a formal structure- into the precise state that characterizes the single work” .

Thus, by identifying the characteristics of the type or typology, the architect can translate those characteristics to create “the single work”. One project where Aldo Rossi utilizes this method of translating elements is the Cemetery in San Catalado. The Window is the element which is reduced to its basic form - a perfect square divided into four smaller squares by mullions. The window defines both the scale of the building as a whole, as well as determining the interior organisation by translating the scale.

The aim of project three was to design a sports hall and community center, where the an architectural type, the door was translated to inform both the interior and the exterior of the building.

San Cataldo cemetery Window scale and form

San Cataldo cemetery Window scale and form

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Appendices

Translation of type Three ways in which “door“ was translated

South Elevation

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Translation: an architectural tool and spatial experience

Site Plan Route through site

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Lost in Translation

Lost in Translation:

The Architect’s role as a translator

The second definition was originally used in reference to the moving of religious artifacts1.

The literal translation (the movement of an object from one place to another), is far more

L o s t i n Tra n s l a t i o n

relevant to the world of architecture. As an example, spolia was the process of re-purposing building elements, usually the spoils of war, for a new construction and the buildings signifying symbols of victory.

Translation is a subject around which many authors, playwrights and scholars have written.

“The definition of translation includes any act of changing from one place, position, condition, medium or language. As etymologists point out, using the word [translation] commonly to mean a conversion between languages is only a modern phenomenon. Despite the paucity of working theories, translation has been an integral part of architectural design. Translations in architecture can be discussed in relation to converting from drawing to building, from diagram to project from one place to another, from different discipline to architecture, and from text to visual image.”

(Akcan, 2012)

This thesis aims to investigate the subject of translation as an architectural process. This will be pursued through defining the different types of translations that occur in architectural precedent examples. As Esra Akcan states above, translation, although not an inherently architectural term and not often written about in architectural discourse, is a conceptual tool

This tradition of translating materials from one place to another in construction has

The fascination around translation revolves around the ambiguity during the act of changing

continued into the 20th century. In the 1950’s, Dimitris Pikionis redesigned the approach

something from one place, position, medium, or language to another. During this process the

to the Acropolis by using the remnants of buildings that had been destroyed in Athens as

translator must decide how something will be translated from one medium to another and

building materials to construct a new path (Fig. 1). Although, the building elements have a

therefore what characteristics it must be lost or gained.

different use, they can still be identified as objects, which came from another place. Pikionis

In Brian Friel’s play Translations, the character of Owen acts as a mediator between English

used marble benches, doorsteps and ornamental scrolls in his new footpath. These elements

soldiers and the local Irish people, as he is the only one who speaks both languages. Owen

are still recognizable within the pavement.

tries to minimize the cultural clash between the occupied and the occupiers by translating

This concept of spolia is a form of translation, similar to the previous linguistic example

each party to sound less confrontational. Equally, in Umberto Eco’s Novel Baudolino, the

of translating “I” to “Ich”. This highlights the common misconception that translation is a

main character Baudolino, is able to speak any language fluently after only speaking a few

purely linguistic process. Unlike languages, architecture does not have a determined set of

sentences in any given language.2

rules. The meaning can therefore often change during an architectural translation. The re-

Both Friel and Eco give the translator a huge amount of control and power over the outcome

purposing of objects and translation from one place to another allows the building elements

of a given situation, as they understand the impact that the translator can have. This is

to take on a new use as well as carry meaning from the place that they once came.

similar in the translation process in architecture. Whether, it is a drawing being translated

that many architects have used in their designs throughout history. The origin of the word

into a physical object or an object being translated from one place to another, the architect as

translate comes from the Latin word translatus, meaning, “to be carried over”. However, for

the translator decides what is lost or gained in the process.

the purpose of this thesis, two additional definitions of translation in relation to architecture will be discussed:

1. The conversion of something from one medium to another

2. The process of moving something from one place to another

In 1935, the president of Turkey, Mustafa Kemal Atatürk, commissioned a presidential holiday home to be built in Florya, Turkey (Fig. 2). The new mansion was a symbol for the new Republic of Turkey and it aimed to show the difference between the former Ottoman

The first definition is the common use of the term translation. When a written text or phrase

sultans and the new progressive Turkish government. The holiday home was placed on the

is translated from one language to another, it is converted from one medium to another.

water off a public beach in Florya, to symbolise how the new president could mingle with

Yet, by translating something from one medium, there must be an inherent change to the

his people. The final mansion, designed by Seyfi Arkan, was a modernist building, influenced

object being translated. For example, the English word “I” translates into “Ich” in German.

by industrial architecture and Le Corbusier’s writings in Vers une Architecture. However,

The meaning of the signified person remains, whereas the signifier changes from one letter

although the mansion was to be a symbol of the new Turkish Republic, which was distinct and

“I”, to three letters “I, C and H”. Therefore, it can be assumed that in any translation, as a consequence of changing the medium, there will also be a change in the object, which is being translated.

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separate from the preceding Ottoman Empire, the holiday home also had strong typological Figure 1.

Path leading to Acropolis.

Dimtris Pokionis

links to traditional Ottoman Baths (Fig. 4). After losing out on the mansion’s commission, Otto Koloman Wagner criticized the building in a letter to Walter Gropius, claiming that

Translation: an architectural tool and spatial experience

Arkan had simply designed a “mishmash of Le Corbusier and Mies” (Akcan, 2012).

The example shows how meaning can be lost or gained during the act of translation. In designing for the Florya Holiday home, Seyfi Arkan, was without a doubt influenced by the modern movement. Nonetheless the formal modern expression, which was usually associated with simplicity and functionalism, took on a new meaning by being placed in a Turkish context. It stood as a symbol for a new brighter and more modern future for the Turkish people. Arkan additionally translated the Ottoman baths’ typology into the design by fusing it with modernist architecture. In doing so, he translated the meaning of the modern architectural language of central Europe as well as the traditional architecture of Turkey, by allowing the typologies to lose certain characteristics.

Figure 3.

Holiday home in Florya, view from bridge.

Wagner was lost in this translation as he failed to see anything other than a copy of a modernist style, when in fact it was a Turkish translation of that style. Turkey’s desire as a nation on the periphery of Europe to modernize and adapt to the 20th century, forced them to translate modernist architecture into a distinctly modern Turkish vernacular.

Something will always be lost in the act of translating, as the translator has the authority to determine what he holds more important. Johann Wolfgang von Goethe stated that, “when you translate you should go as far as the untranslatable; then you catch sight of the foreign language and the foreign nation for the first time” (Akcan, 2012). The untranslatable language Goethe speaks of is the specific nuances that come about in language directly linked to a specific culture. It is the untranslatable that a translator must reconcile with3. This dilemma is the struggle of translation: How does one translate the untranslatable that Goethe mentions? If something is always lost in translation, what exactly is lost? It is through the translation of the untranslatable that something is lost. In architecture, the ultimate authority on the translation process is the architect himself.

Figure 2.

Mustafa Kemal Atatürk at his holiday home in Florya.

Figure 4.

Typical Ottoman bathhouse.

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Lost in Translation

Translation of Context

Paul Ricoeur, in his book “History and Truth” (1965) claims that there is a paradoxical struggle between universalization and cultural/national identities. Modernism promoted a stripping back of culture to allow architecture to be a scientific endeavor for improving people’s lives. Ricoeur states that, “every culture cannot sustain and absorb the shock of modern civilization…. There is the paradox: how to become modern and return to sources; how to revive an old dormant civilization and take part in a universal civilization” (Ricoeur, 1965). Kenneth

Translation of context is perhaps the most easily accessible form of translation in relation to

Frampton was greatly influenced by Ricoeur’s work and claimed that the way to address the

architecture. It is not a revolutionary or new concept to allow the context in which a building

shock of modern civilization was “to mediate the impact of universal civilization with elements

is placed to help define the new architecture that is being created.

derived indirectly from peculiarities of a particular place” (Frampton, 1983).

However, there are different contexts, which the architect can translate: the cultural tradition and the direct physical context (site). Both are inextricably linked to one another,

There is a distinct difference between the reproduction of vernacular architecture and critical

as they influence and define one another.

regionalism. Critical regionalism asks for the designer to be exactly that, critical of the regional tradition and geographical conditions in which architecture is designed. This allows

Tradition

the architect to accept traditions and the forces of globalization as a given and for tradition to be translated and adapted, creating a new custom suited for a modern society. “This new regionalism [critical regionalism] shares with the entire tradition of regionalism since its earliest inception, a commitment to “placeness” and a use of regional design elements as a means of Figure 5.

The Grand Shrine of Ise

confronting a universalist order of architecture” (Tzonis & Lefaivre, 1996) Architects then, through their study of tradition and built cultural context, aim to design

Tradition is the act of handing over of information in the form of facts, beliefs and customs

buildings, which are a reflection of that cultural context. However, in doing so, they must

and often it is these traditions that define a culture. For example, the Grand Shrine of Ise in

also aim to bring those cultural traditions into the 21st century and allow for translations to

Japan (Fig. 5) is rebuilt every twenty years with different timber, in a different location but to

occur.

the exact specifications as the temple before it. The rebuilding of the shrine is the passing on of traditional Japanese building techniques from one generation to another and reinforces the cultural belief system as well as the traditional building culture.

It further represents a cyclical process, where the knowledge of building that is passed on never changes and endures through time due to the passing on of the tradition from one generation to the next. Nevertheless, a different school of thought concerning architectural tradition centers on the architect’s willingness to adjust the information that he inherits.

This more directional approach allows the traditions that define a culture to be translated and changed to be relevant to the new generation.

65

Translation: an architectural tool and spatial experience

(Fig. 8) gives the allusion that the project consists of a series of buildings. But, the façade was

Site

simply split up to replicate the historic division of land in Berlin. Finally, The Haas Haus (Fig. 7) is situated directly opposite St. Stephens’s church in Vienna. On either side of the glass façade, the rhythm of window openings and front façade react to the neighboring buildings, while the curved glass façade itself gives the viewer a distorted image of the historic cathedral.

In each case these architects translate an aspect of their site (whether it is a neoclassical plan

“Always design a thing by considering it in its larger context: a chair in a room, a room in a house,

of an adjacent building, the reflection of an iconic church, or the historical division of a city)

a house in an environment, an environment in a city plan”. (Saarinen, 1956)

to create a new architecture that not only reflects its context, but also distorts its meaning.

Once again the architect acts as the translator of the site by deciding what is important about

The translation of site is directly linked to the translation of tradition, as often the site will

the site and what is to be translated and in what way.

be influenced by the traditions of a society or vice versa. Yet, translation of site could also be

The following buildings, Gunnar Asplund’s Woodland Chapel and Tony Fretton’s Tietgen

considered the influence of the immediate physical surroundings on the architecture being

Aerglese, further exemplify how architects translate the natural context, built environment

designed. If the architect decides to allow these surroundings to influence the design process,

Figure 6.

and traditions to create architecture.

then the surrounding and the traditions of that place are being translated.

Neue Staatsgallerie, Stuttgart There are many different approaches in relation to this contextual architecture or contextualism. Some would call for an urban environment, where there is a harmony between a building and its surroundings. (Clough William–Ellis, 1929, quoted by Johnson, 1994).

Others would claim that the architect as an artist should have free reign to design without constraints of context. (Juan Pablo Bonta, 1979 quoted by Johnson, 1994). Ultimately, if there is a reaction to the physical environment, which there invariably has to be, then there is some translation of site occurring. Charles Jencks in his essay Contextual Counterpoint in Architecture claims that “fitting into an urban context meant something more for architects like James Stirling in Stuttgart, Aldo Rossi working for IBA in Berlin, and Hans Hollein at the Haas House in Vienna. It meant acknowledging change and difference while accepting memory, it meant playing with memory as a game of re-remembering” (Jencks, 2012).

Architects do not simply react to one aspect of their context, but rather allow the greater urban context to inform their designs. James Stirling’s Staatsgallerie (Fig. 6) for example is a combination of stone, steel and glass elements inspired by many different eras and artistic movements. Yet, the building as a whole is reminiscent of the neighbouring neoclassical Alte Staatgallerie. The façade of Aldo Rossi’s Schutzenstrasse project

Figure 8.

Schutzenstrasse Project, Aldo Rossi

Figure 7.

Haas House, Vienna

66

Lost in Translation

Woodland Chapel - Gunnar Asplund

The Chapel designed Gunnar Asplund (Fig. 9) was created through the translation of site, Nordic construction and symbolic translation. The chapel/crematorium was designed in an area surrounded by trees where the columns and roof of the building are an abstraction of those trees (Fig. 10). This is a form of medium translation where trunks are translated into columns and foliage into roof.

The combination of the roof and the columns are also an example of Nordic classicism. The columns set up a formal language for the chapel, whereas the roof is built using traditional Nordic construction methods. Asplund is thus translating Nordic tradition by fusing it with

Figure 9.

more classical expression.

Woodland Chapel, Gunnar Asplund.

The dome then, throughout architectural history, has been a symbol for heaven. The square

Figure 11.

Dome representing the deceased moving on to heaven.

represents earth, the circle represents heaven and the octagon represents mediation between the two. As the user enters the building, they enter through a square, gridded porch, which could be considered the symbol for the physical world known and understood (Fig. 12). The ceremony taking place inside is an interpretation of the deceased moving from the earthly world, to the underworld (the crematorium below) and finally on to heaven (the chimney) (Fig. 11). The narrative of the building is therefore a series of translations, which starts with the real and tangible context of the chapel and moving to the spiritual and symbolic context of the ceremony.

67

Figure 10.

Figure 12.

Abstraction of tree to column and roof.

Symbolic representation of spiritual journey.

Translation: an architectural tool and spatial experience

T i e t g e n A e r g l e s e - To n y F r e t t o n

Tietgen Aerglese is a mixed use building in Copenhagen, designed by Tony Fretton. Fretton translates the opposing building on Friedriksgade. The new building reacts to its context by framing the view of Friedrichskirke (Fig. 16). If the project’s ultimate aim is to be contextual, in framing the view of the church, then it would be a consistent conceptual approach to translate the other building, which is framing the view.

Fretton achieves this through the abstraction of form and replication of rhythm. The rhythm is replicated both on the short and long side. On the short side the three bays of windows

Figure 16.

(Fig. 14, blue) are replicated and on the long side the five bays (Fig. 13, red) are replicated

View of Friedrikskirke with Tietgen Aerglese on the right

with the middle three protruding out. Although the proportions of the bays and openings are not the exact same size, they follow the same rhythm of A-B-A on the short façade (Fig. 14) and A-B-C-B-A on the long façade (Fig. 13). Additionally, the building is replicated in the vertical build up. There are three parts: the base, the middle and the roof (Fig 14, red), which are all translated through abstraction.

Figure 14.

Vertical build up & short elevation A-B-A

Figure 15.

Figure 13.

Model made by Tony Fretton Architects

Five bays- A-B-C-B-A

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Lost in Translation

Translation of Context

The translation of process in architecture is the physical manifestation of intellectual and theoretical ideas. The idea’s medium is changed from abstract thought to a physical object.

In many cases architects create strict rules that allow them to design. Due to the manner in which buildings are drawn, these rules often manifest themselves in two-dimensional

Figure 19.

drawings, such as plans, sections and elevations. These abstract drawings are then used to Line of Fire

create three-dimensional objects. Although the rules may not always be directly visible in

An additional example of indexical architecture is Daniel Libeskind’s Jewish Museum (Fig.22)

the three-dimensional objects, the objects themselves are in fact a translation of the two dimensional rules.

Figure 17.

Network Stoppages

In an essay written in 1977, Rosalind Krauss discusses the index, which was defined as a trace

in Berlin. Peter Eisenman claims that there is an indexical link between the Jewish Museum and one of Libeskind’s previous works, Line of Fire4.

Line of Fire (Fig. 19) was an installation placed in a corridor of Le Corbusier’s Unite D’habitation. It was a critique of Cartesian axiality that is inherent in our perception of

or record of a process. Krauss makes a clear distinction between a symbol and an index. “As

space. Le Corbusier’s corridor is designed along an axis that defines where the user should

distinct from symbols, indexes establish their meaning along the axis of a physical relationship to

walk. The installation disrupts the axial corridor space, forcing the user to vary from the path

their referents” (Krauss, 1977). The index therefore, is not simply a symbol that represents an

Le Corbusier defined. By forcing the user to deviate from the prescribed path they become

object or person, but rather a physical symbol of a process that occurred.

more aware of its axiality.

The Jewish Museum is an index of Line of Fire, as it is the mirrored image of the installations

During the early 20th century Marcel Duchamp had a series of art pieces that explored the

plan. Similarly to Line of Fire, the Jewish Museum questions the axial nature of architecture.

index. Two pieces in particular link directly to one another, 3 Standard Stoppages (1913-

Libeskind seemingly uses the same plan as Line of Fire, however, as the axiality created

1914) (Fig. 18) and Network of Stoppages (1914)(Fig. 17). 3 Standard Stoppages is a piece

by the corridor in Unite D’habitation does not exist on the site of Berlin, Libeskind creates

made of three one meter long forms, whereas Network of Stoppages is a painting made using

his own axial corridor that runs throughout the building on every floor (Fig. 20 & Fig. 21).

these shapes. Therefore, the painting Network of Stoppages is a physical trace, or index, of the process of using the forms from 3 Network Stoppages, to create a painting. The translation

Similarly to Line of Fire, the user cannot walk along the axial route. The Museum as a whole is Figure 18.

of three one-meter long elements into a painting creates an explanatory link between the objects, where the use and process of the making the object is explained. It is through this translation that a greater depth and understanding of the art is created.

3 Standard Stoppages

thus not just an index of Line of Fire in so far as it is the mirror image of the plan, but also as it is a physical object which embodies the same intellectual process of questioning Cartesian axiality in architectural experience. Much like Duchamp’s work, Libeskind seems to refer back to his previous work. In both, there is the same plan, all be it mirrored, with the same conceptual approach; the denial of an axial route. The Jewish Museum has more intellectual depth due to the translation of Line of Fire’s plan and concept.

69

Translation: an architectural tool and spatial experience

A reason for using a series of rules for designing is in many cases an intellectual exercise or an aspiration towards architecture, which does not reference its surroundings. The resulting architecture is an insular building, which is a product of a process5. Eisenmann, like Libeskind, aims to create architecture, which is a physical trace of a conceptual idea as showcased in the following work.

House II is designed using two nine square grids which are offset from one another. One nine square grid defines a structural grid for columns and the second grid defines the sheer walls Figure 20.

Figure 21.

(Fig. 23 & Fig. 24). Every detail of the building is defined by the overlapping of these two

Axonometric section of axial route

Axonometric ground floor plan of axial route

systems. In some cases the overlap determines where a window mullion is placed (Fig. 25), in other cases there are walls placed on certain planes, whose purpose are purely to allow the reading of the interdependence of the two systems. The intellectual exercise, which takes

Figure 23.

Figure 24.

House II Ground floorPlan

House II -columns and sheer walls

place in plan and elevation, is experienced as “a concept unfolded over time as we conduct our tour of inspection” (Horton, 2016).

It is also the translation or physical manifestation of Eisenmann’s “idea of the object” (Eisenman, 2013). This idea is clear in a two-dimensional plan drawing (Fig. 23). But, in a three-dimensional world, the idea of the object becomes more obscured. As the user conducts their tour of inspection the shift in plan can be registered through a spatial offset.

In the architectural design process, architects often latch on to a concept to aid in the design process. However, a concept is simply an abstract idea or an intention for a project requiring the architect to translate the architectural concept into a physical object. Similarly to the two previous examples of Duchamp and Libeskind, it is Eisenmann’s translation from abstract thought and concept into physical object that creates richness in the narrative of the design process.

Figure 22.

Figure 25.

Jewish Museum, Berlin Daniel Libeskind

Model of House II

70

Lost in Translation

The idea of type can be seen to be quite static, as there are certain characteristics belonging

Translation of Typology

to a typology that define it. However, the approach of translating or editing typology allows there to be a constant development of that type. “The type can thus be thought of as the frame within which change operates, a necessary term to the continuing dialectic required by history” (Moneo, 1978).

Aldo Rossi similarly used the translation of type as an architectural process. “Instead of set pieces, fragments, or collaged elements of the city, Rossi conceived of the city as an ensemble of

The nature of architectural production is like any evolutionary process. Throughout history

typological elements,” (Eisenman, 2008). Rossi abstracted the architectural elements to their

humans have crafted simple objects that solve problems. Primitive objects such as baskets,

simplest geometries, “removing their layers of historical accretions”(Eisenmann, 2008). He

textiles and crockery were crafted to allow humans to live with more ease, and as the tools

thereby reduces the typological elements to their basic form, reducing the meaning of the

used for crafting developed, so did the objects they helped create. Each reproduction of a

original urban artifact and its relationship with the city. The purification and translation of

crafted object aimed to make improvements on the preceding one.

an architectural type can create architecture, which ironically, although derived from the

Similarly, architecture aims to solve problems that humans face. Each building is itself a

urban fabric, appears plastic in comparison6. As the architectural translator, Rossi decides

single phenomenon, built in a certain time and place, which is unrepeatable. But, much like the crafting of primitive objects, previously designed buildings, and ideas to guide the

Figure 26.

architect in their design of new ones. Each building can be seen as a translation of an aspect

San Giorgio Maggiore, Andrea Palladio

of architectural past. Groupings of building typologies are used to define characteristics certain building types should have. Once the characteristics are defined, the architect can

what is lost in the translation, and by losing the historical accretions, the artifacts themselves lose their meaning.

One project where Rossi utilizes this method of translation of elements is the Cemetery in San Catalado (Fig. 28). The window is the element, which is reduced to its basic form - a perfect square divided into four smaller squares by mullions (Fig. 30). This basic form

translate them into his own architectural language. “He (The architect) is initially trapped

of the window is used to distort the perception of the main volume (Fig. 28). The three-

by the type because it is the way he knows. Later he can act on it; he can destroy it, transform

story building has seven rows of horizontal windows, creating a sense of scale greater

it, respect it. But he starts from the type. The design process is a way of bringing elements of a

than the actual size of the volume7. The window is also the module, defining the sizes of

typology – the idea of a formal structure- into the precise state that characterizes the single work”

the containers, which hold the urns (Fig. 29). Rossi uses different translations of the same

(Moneo, 1978).

element to determine the perception and logistical organization of the building at different scales.

The Renaissance was a period where architects explored the philosophies and ideas of

In many ways his translation of the window is similar to Palladio’s overlaying of temple

classical antiquity. To design the facade of the church of San Giorgio Maggiore (Fig. 26),

facades. Both architects use existing building forms and either accept or destroy the meaning

Andrea Palladio translated the roman pagan temple as a typology to create a catholic church.

associated with that form. The resulting building is a translation of those original building

He overlaid two typical temple facades (Fig. 27) to create a major and a minor order and used

forms. Using typology allows the architect the freedom to translate the formal features of the

the triumphal arch as a touchstone. By translating architectural typologies, the architect

type.

takes ownership of them, creating something new in the process. As the temple and church

“In this continuous process of transformation, the architect can extrapolate from the type,

both occupy a similar hierarchy in society, Palladio is translating a place of worship from one culture to another.

71

changing its use; he can distort the type by means of a transformation of scale; he can overlap Figure 27.

different types to produce new ones... The list of different mechanisms is extensive - it is the

San Giorgio Maggiore, major and minor orders

function of the inventiveness of the architect”(Moneo, 1978).

Translation: an architectural tool and spatial experience

Translation as a spatial experience

So far, this thesis has explored the mechanics of translation as they relate to the architectural design process. However, the translations of context, process and typology are ultimately manifested in physical buildings that have certain spatial experiences due to these translations. In many of the previous precedent studies, the origin of the translation is not directly identifiable within the building. For example, one would not be able to identify Line of Fire as the origin of Libeskind’s Jewish Museum, as it is a conceptual translation rather than a physical one. The origin of Tony Fretton’s Tietgen Aerglese on the other hand Figure 28.

is directly visible as it stands across from the origin of the translation. The result is that

Figure 31.

San Cataldo Cemetery, Aldo Rossi

Tietgen Aerglese creates a spatial experience between itself and the opposing building, due to

Front of Tempio Malatestiano, Leon Battista Alberti

translation. Two additional precedent examples below explore how spatial experience can be produced through translation; The Tempio Malatestiano and Seville Train Station.

The 15th century addition to Tempio Malatestiano, which was designed originally by Leon Battista Alberti, is a translation in many different ways. Like other Renaissance buildings, Alberti was inspired by antiquity and there are direct correlations between the Tempio Malatestiano and the triumphal arch. Yet, the most interesting translation happens between the original gothic structure of the church and the classical renaissance “skin” (Fig. 31, red and blue respectively). The sides of the church show a clear distinction between the existing gothic windows and the new classical façade (Fig. 32). Once inside the church, the user is no longer aware of the classical addition to the building. Thus there exists a clear distinction Figure 29.

Figure 30.

San Cataldo Cemetery, Window with urn containers

San Cataldo Cemetery, Basic window

between the inside and outside; which is most obvious in the translation of gothic windows

Figure 32.

Figure 33.

Side of Tempio Malatestiano,

Plan of Tempio Malatestiano,

to classical openings(Fig. 33) . Although the classical arches are their own system, which is not centered on the gothic windows, they also never obstruct the existing openings. This allows the interior experience of the church to be a purely “gothic” experience, whereas the exterior has the continuous tension between the object and its translation.

72

Lost in Translation

Seville Train station is an example of progressive translation of an element throughout a building. Cruz y Ortiz designed Seville Train Station as a metaphor for arrival and movement.

The user arrives on a platform with oval concrete columns either side (Fig 34). At the top of the escalator the columns translated into square brick columns (Fig. 35). And at the main entrance the columns are translated once again into round concrete columns (Fig. 36). This progressive translation of the columns is the metaphor for movement. The spatial experience of the building is defined by the continuous translation of the column in terms of scale, form and materiality.

In both cases it is the act of translating, be it a column or an architectural style, which defines the spatial experience. Alberti created a distinct spatial atmosphere between inside and outside by translation Gothic windows into classical openings, whereas Cruz y Ortiz designed a sequence of translations that define the experience of traveling through Seville Train Station.

Figure 34.

Figure 35.

Figure 36.

Oval concrete columns at platform

Translation at top of escalator

Translation at main entrance

73

Translation: an architectural tool and spatial experience

Conclusion

Notes

The aim of this thesis has been to identify the ways in which translation is inherent to

1.

An example would be: “The translation of the Archbishop’s remains from St. Mary’s to

7.

This is similar to the technique that Rossi uses in his paintings.

the practice of architecture. Whether it is the moving of building elements from on place

St Peter’s Cathedral”

teapots, mugs and forks at the same scale as surrounding buildings as a means

to another, the adaptation of an architectural movement from one culture to another,

2.

Esra Akcan claims that Baudolino “could have been the perfect peacemaker: he

of testing and breaking down the meaning we attach to the scale and form of

the conversion of a two-dimensional drawing into a three-dimensional building or the

could have easily bridged the gaps between any two groups of dissimilar tongues,

these typological elements. However, in the San Cataldo Cemetery, rather than

reinterpretation of the natural and built environment, all these processes can be considered

resolved any misunderstandings, and enjoyed communicating with people in

the teapot being used as a point of reference for scale, it is the window. “They

architectural translation. Fundamentally, something will be lost and gained during the act of

whichever language they spoke” (Akcan, 2012).

(the drawings) are a critique of architecture that cannot be made in the medium of

translation

3.

Indeed during this time in Turkey, Nurullah Atac, who worked in the Turkish

architecture itself” (Eisenmann, 2008).

translation office in 1938, believed that people writing in a certain language

Still, contrary to the role of the linguistic translator, the architectural translator has the

should obey the conventions and norms of that language. He claimed: “Someone

freedom to decide the rules of his architectural language. And it is within this freedom that

who is translating from any language into Turkish needs to think of the Turkish

the architect decides and judges on the losses and gains of their translation; adapting it to

norms before anything, even before the ideas of the original text, and must obey

suit each individual building or project.

these norms” (Akcan, 2012). Atac called for Turkish language norms to be

adhered to above the meaning of what was being translated.

4.

Libeskind claims that the form of the Jewish Museum comes from the

fragmentation of the Star of David, or the mapping of Jewish families that lived

translations in architecture engages both the linguistic and the visual, since the reception of one

in Berlin before being sent to the internment camps. Both of these processes are

or more architects’ texts, concepts, and theories in another language is possible through linguistic

indexical, in so far as the finished building is a physical manifestation of the

translation, while the movement of images, space-making principles, and representational styles

process of fragmenting or mapping.

involves visual translation” (Akcan, 2012).

5. Peter Eisenmann designed a series of Houses (House I - House X), which were

an investigations into “cardboard architecture which neglects the architectural

Perhaps most interesting is how dependent architects are on translation, without necessarily being aware of his or hers dependence on this process. As Esra Akcan states: “Naturally,

material, scale, function, site, and all semantics associations in favor of

architecture as “syntax”: conception of form as an index, a signal or a notation. So

to me, it seems like between the object and the idea of the object, your approach

favors the latter” (Ansari, 2013).

6.

This is often a criticism of the previously mentioned Schutzenstrasse project in

Berlin designed by Aldo Rossi.

He paints

74

Lost in Translation

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