Cities and Urbanism, Ideologies and Future

CITIES AND URBANISM Ideologies and Future Lucie Linderova MA A+U 2017/2018

Larry Busbea, Topologies: The Urban Utopia in France 1960-1970 (2007) Floating cities 9th Caribbean WinterSchool in Havana 19th February – 11th March 2018 Havana’s underground

1. INTRODUCTION 2. LARRY BUSBEA, TOPOLOGIES: THE URBAN UTOPIA IN FRANCE 1960-1970 (2007) Context Theory Topology

Research methods

CONTENT

Conclusion

3. DISSCUSION OF THE TEXT IN RELATION TO MY THESIS PROJECT IN HAVANA

Content Context Havana

9th Caribbean WinterSchool

Havana Underground Methodology Conclusion

4. CONCLUSION 5. LITERATURE

INTRODUCTION

The following essay is presenting a selective critical reflection on MSA course Cities and Urbanism: Ideologies and Future. The course consists of readings from selected books covering the identification of cities and their evolution through the history of urbanism. The summarized issues of cities regarding urban design and architecture is helping in understanding present and future urban conditions and the urban form. The presented research and design methods can be applied in personal development in urban design practice.

I have chosen from readings a book by Larry Busbea; Topologies: The Urban Utopia in France 1960-1970 published in 2007 and apart from review on this book which you can find below I will compare it with my thesis project based in Havana, Cuba which started at 9th Caribbean WinterSchool on 19th February – 11th March 2018 hosted by local university Instituto Superior Politècnico José Antonio Echeverría CUJAE in collaboration with Münster School of Architecture, Escola Tècnica Superior d‘Arquitectura de Barcelona and Universitat Politècnica de Catalunya. I will discuss the text relation to my thesis project and compare its methodologies and content.

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LARRY BUSBEA, TOPOLOGIES: THE URBAN UTOPIA IN FRANCE 1960-1970 (2007)1

Larry Busbea is an assistant Professor in the Department of Art History at the University of Arizona and this text is the first study of French avant-garde tendency known as spatial urbanism. The study is following two parts story about formation and development of avant-garde and their tendency towards the spatial city, and the change of society influenced by avant-garde practice.

He is using possible future city as object of the study to be able to stabilize ideological, aesthetic and historical existence of the idea of spatial urbanism. In imagining the future city, the topology is used as a model of synthesis of aesthetic and science for artists and architects as the way to express diversity in rational infrastructure.

FIGURE 2.1 ‘Larry Busbea’ Topologies: the urban utopia in France, 1960-1970 1

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Busbea, L. (2007). Topologies: the urban utopia in France, 1960-1970. London: Cambridge.

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CONTEXT

France in its sixties was after war period influenced by rapid development of technologies and automation. It appeared to be life changing developments which brought massive population increase, shifts to the city, transformation in production from industrial to post-industrial and increase of leisure time.

It led many architects, artists, theoretics, writers and philosophers to deal with an impact of technology in everyday circumstances. The movement was called avant-garde and was specific in rejecting everything already known, discovering freedom by provoking and experimental architecture trying to reveal all current social issues and finding solution in composing the ideal spatial city.

The decade is also known as decade of movement, inventions like car, electricity and telephone lines have changed the way of communication ever since and the city needed to adapt to the new lifestyle, accommodate new volume of resources and evolve its infrastructure for new mobility.

THEORY

Larry Busbea has based his research in theory and followed the ideas of new formation in society by theorists like Lefebvre who analysed the technological discourse in the city or Armand who saw the new social structure in more flexible administrative and economic organisation which could have followed better the constant evolution. As the avant-garde movement was popular among different professions Busbea naturally followed different sources. Between people who formed his opinion to avant-garde was writer Simondon who described culture transformations more spatially. He recognised the world like one big network where person is an integral part not the controlling element and his location is more important than his function what became an indication for new model of humanism. Another influential character was philosopher Van Lier and his ‘Median reality’ describing the fundamental structure of contemporary society, new culture of flexible structures in the open network. The technology extended into space and time and formed not only landscape but horizon. The ‘Median reality’ is this synergy between nature and city characterised for the new environment. The sociologist Abraham Moles developed this theory and introduced the median reality in which nature is fully integrated into structure but doesn’t exist itself no longer in urban society that reconstruct all of its parts from its own environment.

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TOPOLOGY

New spatial model expressing the conflict between the need of accommodating greater numbers in the city and individual privacy was based on the topology.

Each theory used its own topological construct, for Moles it was labyrinth as a structure allowing for organisation of space where the individual would have been surrounded by spatial acts like urban landscape, art happenings, or view of aesthetic structuralism and where infrastructure was rationally planned while the elements were changeable.

Van Lier has introduced ‘Re-architecture’, the city of vast structure that would be flexible, light and mobile where a single function was replaced with multifunctional spaces, architectural composition was replaced with a spatial combination, dwellings were replaced with freedom of movement and the local architectural form became the global urban fabric.

Lefebvre characterised city needs by creativity and social need demonstrating the open spaces with social activities separated from automobile transport and constructed in existing city.

FIGURE 2.2 ‘Labyrinth from Abraham Moles’ Topologies: the urban utopia in France, 1960-1970 2

RESEARCH METHODS

The continuum of nature-technology-humanity became definition of spatial urbanism. For avant-garde the spatial culture and temporary culture was connected, and the temporary culture was the key to new utopias. New utopias presented new way of communication between individual and global community in form of large scale industrial, military and space systems concentrated in everyday life.

There was no coherent movement of avant-garde utopians, no meetings, no manifests, no leader, just few publications. Despite this, it seemed to be interested in the structures suspended above ground, the key importance was the transportability and movement and the insistence of containing multiple functions in a single massive structure. The French project were unique in their seriousness. They were presented with total faith in technology and distrust in mass culture. All spatial projects had the same goal to create unified structure with suspended surface above or below the terrain of the existing city symbolizing the idea of escaping the constrains of traditional city.

Busbea has chosen several case studies to approach the authenticity of spatial urbanism. I will talk just about selection of four examples related to my thesis work.

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Busbea, L. (2007). Topologies: the urban utopia in France, 1960-1970. London: Cambridge.

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‘FUNNEL’ CITIES JONAS Walter Jonas was Swiss painter who based his urban conception on principal of moveable and transformable structures. His ‘funnels’ were self-contained linked cities called together the Intrapolis. These projects were not radical in social terms, they were designed for maximum density with maximum privacy for each inhabitant.

FIGURE 2.3 ‘Intrapolis project by Jonas Walter’ Topologies: the urban utopia in France, 1960-1970 3

BRIDGE CITIES FRIEDMAN Friedman was considered as leader of mobile architecture movement. He clarified core ideas for new development for individuals such as the construction has to touch a minimum surface of the ground, has to be demountable and moveable and has to be transformable at will by individual inhabitants. He believed that the current rigidity of urban life is caused by wrong technique of habitat. Largely through the use of space frame and other modular structure, he asserted the changeability of structure as integral component to freedom of choice and movement. For Friedman the city presented system of communication, possibilities of mobility. The infrastructure had to be able to change according to will of future society, this could be achieved by the rigid infrastructure with detachable devices. It was his principle of ‘bridge cities’ made from giant frames suspended over existing city with public and private functions and planned circulation between them.

FIGURE 2.4 ‘Spatial City by Friedman’ Topologies: the urban utopia in France, 1960-1970 3

Busbea, L. (2007). Topologies: the urban utopia in France, 1960-1970. London: Cambridge.

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COMPOSITE CITY RAGON Ragon was prospectivist writer who believed that utopian and visionary projects should be adopted by government in replanning the cities. He described composite city named Sylvia in his book. It was the ideal linear city composed of several layers: underground level of warehouses, tunnels for cars, trains and parking. Ground floor level was natural, free of buildings. And on the supporting pillars and traces of cables were plastic ovoid dwellings. It was controlled by computer that could observed the exterior from its great glass cage like the gigantic painted sculpture.

FIGURE 2.5 ‘Vertical city by Paul Maymont’ Topologies: the urban utopia in France, 1960-1970 4

PARIS SUR PARIS In Paris, the aerial view from Eiffel Tower allowed the casual observed to rise above the tidal wave and helped to form various structuralist conception of a space.

Paris sur Paris was about the idea of city over existing city as solution for Paris’ s urban dilemmas: the possibilities of decongestion, problem of satellite cities, public perception of grande ensembles and the necessity of demolition in the historic centre.

Several project appears like Maymont Vertical City of giant towers, Paris sous la Seine, the 14 underground layers below river consisting of lane express way, parking and public and private spaces or Friedman’s Space frame which could hold several layers and would allow the horizontal and vertical movement with separate circulation for pedestrians, automobiles and trains.

FIGURE 2.6 ‘Spatial Paris by Yona Friedman’ Topologies: the urban utopia in France, 1960-1970 4

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Busbea, L. (2007). Topologies: the urban utopia in France, 1960-1970. London: Cambridge.

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CONLUSION

This book began with suggestion that prospective architecture in France represented the last modernist attempt to decipher the spatial culture to construct the great functional space. This space was to be an infrastructure supporting universe of elements that found their meaning and function through syntax, their placement and movement within the network.

Spatialism’ s failure derived from its naive belief that the shape of the median world of networks could be isolated from the circulation of goods and the spectacular nature of post-industrial society. This failure was reflected via that most insidious enemy of all utopians: the realization. Fixation on the form of the spatial city had divested it of any real content.

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DISSCUSION OF THE TEXT IN RELATION TO MY THESIS PROJECT IN HAVANA

CONTENT Although the spatialism has failed in its exaggerated form, they have raised some important points for formation of the modern city. We are still trying to find balance between nature-technology-humanity in the city. One of still existing question is the balance between providing privacy but also public spaces within the city. The utopians’ fascination of transportability and movement we are calling mobility nowadays. The majority of population is now concentrated in cities and we cannot afford to provide supported facilities for each citizen separately. That is why the city needs to be interconnected by working infrastructure.

I have chosen to compare the selected reading with my thesis project as I have realized the linkages between my design strategies and mentioned case studies.

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CONTEXT

My thesis project is based in Havana and same as France in sixties Cuba now is changing country trying to adapt to new circumstances. Cuba has amazingly rich culture thanks to colonization which brought together the mixture of many different and sometimes contradicting customs and traditions which had formed extremely vibrant environment full of talented individuals bringing the world’s best musical, dance and sport performances. And same as Cuban culture, the Cuban streets are alike; friendly, vibrant and filled with music.

Cuba is unique place and they need as vibrant and strong environment as their lifestyle is. This was also the reason why any of the colonists could have not succeeded in development of Cuban cities. Applying architectural and urban principles from other places around the world is simply not working there.

They need to discover their own language which can be followed by local urbanism and architecture.5

HAVANA

Havana will face an economical and sociological change soon. In consequence, the population is supposed to increase in the city which means the city will need the renewal of existing built environment which is in poor condition now. You can see ruins along the streets where people are living in its parts which did not fall yet. And where all the floors are gone, they are using just the external envelope for storages. Those half-destroyed houses are common and incorporated in blocks next to normal buildings.5

FIGURE 3.1 ‘Old Havana Housing’ Photographer: Lucie Linderova5

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Linderova L. (2018). Thesis project: Havana underground.

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FIGURE 3.2 ‘WinterSchool information Photography Lucie Linderova6

9TH CARIBBEAN WINTERSCHOOL

The aim of the international WinterSchool hosted in Havana was to design urban built complex, including stable residential dwellings for Havana citizens together with cultural and business premises on significant site in the Vedado district which is the west neighbour of Old Havana. The site is located next to La Rampa street which runs across whole district linking sea side to Miramar, Vedado’s neighbourhood.

The peculiarity of the site is the terrain level which lowers into minus sixteen meters hole called la Furnia.

The whole site is lowered and cut off the surrounded street level. It caused abandonment of the urban block for several decades. La Furnia was probably decay after excavation for one of the high-rise hotels emerging along the district in fifties. However, now the significant terrain shapes the plot and creates its character so instead of narrowing the terrain I have decided to use its potentials and create The Havana Underground.6

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9th Caribbean WinterSchool (2018), Havana, MSA WinterSchool, www.msa-caribbeanwinterschool.eu 13

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HAVANA UNDERGROUND

The proposal of Havana Underground promotes considerate and environmental friendly solution promoting the use of sustainable design to locals. The site is reintegrated again into neighbourhood society and infrastructure offering different functions to enhance lifestyle not only for its future tenants but all citizens and visitors. The site is divided into different levels thanks to the terrain specific articulation offering various usage on each of them. The core of the whole site is public place protected by existing buildings from noisy traffic and accessible by many routes in different levels through the site.

Through the design process we have come to conclusion that there needs to be a good reason to convince people going down somewhere. You need to provide them the aim to make the extra effort and change the levels. It needs to be something specific like gallery/natural museum, the best café or ice cream in the city, in my case it is secret garden adaptable from resting place, hideaway from noisy city to host of any cultural events.7 This applies not just for underground cities but floating cities as well. I had to answer the same questions as utopians were exploring in their projects like resolving the balance between maximum desired number of tenants and their privacy and privacy between tenants and other users of the site as in the Funnel cities. Designing on different levels with different usage, movement and connection of those through the project was the topic of Composite city. And the issue of prolonging lifespan of construction by using recycled or recyclable material which can be after lifespan of the building reused reassembling demountable, movable construction was discussed in the Bridge cities.

FIGURE 3.3 ‘Section of Havana underground project’ Lucie Linderova7

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Linderova L. (2018). Thesis project: Havana underground.

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FIGURE 3.4 ‘Axonometry of Design Principles’Lucie Linderova7 15

Cities and Urbanism Lucie Linderova

METHODOLOGY

I have researched more about underground architecture in developing my thesis same as Larry Busbea used his case studies to support his interpretation of spatial urbanism.

Underground places are so far a mistery representing great adventure for the freedom of its design.

SACRED UNDERGROUND Already between Indians the underground was considered as a holy place. Released from earthy environment the underground places have deep spiritural significance. They are seeked for being in touch with the origins of life. Underground provides the getaway from earthy problems which naturally helps to find peace. The underground crypts and temples afford the luxury of real tranquility presenting the perfect base for meditation and reflection.

The underground places brings the new perception to all aspects of architectural and urban design without the traditional spatial restrictions. Those spaces provoke to exploration of hidden spaces and raising the elementary questions about connection between nature and the built environment.8

FIGURE 3.5 ‘Vulcania Museum by Hans Hollein in France’ Google images FIGURE 3.6 ‘Water Temple by Tadao Ando in Japan’ Google images

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Meijenfeldt, E. and Geluk, M. (2003). Below ground level: Creating Spaces for Contemporary Architecture. Basel: Birkhäuser.

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RAFAEL MONEO CARTAGENA In Merida, one of the Empire’s greatest and best-preserved city is spreading below the current National museum of Roman Art the old city. The museum is on the top of archaeological site hiding the forgotten life below. Although most of the museum occupies the street level and above ground building architect Rafael Moneo’s renovation uncovered some of the excavations and hidden passageways and allowed the visitors to glance into the old city which the museum is trying to conserve and replicate.9

FIGURE 3.7 ‘Cartagena visit’Photographers: Jana and Pavel Linderovi FIGURE 3.8 ‘Aerial view to National museum of Roman Art in Cartagena’Archdaily article9

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ArchDaily. (2018). AD Classics: National Museum of Roman Art / Rafael Moneo. [online] Available at: https://www. archdaily.com/625552/ad-classics-national-museum-of-roman-art-rafael-moneo [Accessed 21 May 2018].

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DERINKUYU, CAPPADOCIA, TURKEY DERINKUYU The underground city of Derinkuyu is the most resembling to the regular city. Derinkuyu was secretly hidden in underground network of tunnels and rooms rediscovered just by accident in sixties. It was built to accommodate 20,000 people to survive history full of invasions. The underground city provides everything from living quarters, storage rooms, oil and wine presses, domestic animal stables, school and even the church within 18 subterranean level complex. It was planned to be completely self-sufficient and came along with over fifty ventilation shafts and system of ducts distributing the air among 70 meters deep city of rock cut tombs.10

FIGURE 3.9 ‘Underground city of Derinkuyu’ Google images

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Non-post. (2018). Derinkuyu is a whole underground city in Turkey. [online] Available at: https://www.noonpost.org/content/23257 [Accessed 10 Jun. 2018].

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IN HARMONY WITH NATURE Buildings are usually wanted to be seen on the exterior but building underground is more about connection with the landscape.

The moving away from nature started back in Ancient Greece, the origin of western architecture, where the man placed himself above the nature and nature automatically stoped being part of the architecture. And it took centuries to change the detached relationship between nature and architecture again.

With modernists movement the buildings were reinstated in harmony with its evironment. Le Corbusier and Frank Lloyd Wright started the revolution in open spacious design corresponding with its surroundings. This approach inspired a lot of modern underground architecture where the building does not just respond to their environment but creates part of the landscape.11

FIGURE 3.10 ‘MUSEUMPLEIN in Amsterdam’ Photograper: Lucie Linderova, 2014 FIGURE 3.11 ‘Lucille Halsell Conservatory’ Google images FIGURE 3.12 ‘Mountain villa by SeARCH’ Google images

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Meijenfeldt, E. and Geluk, M. (2003). Below ground level: Creating Spaces for Contemporary Architecture. Basel: Birkhäuser.

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CONCLUSION

Through utopian floating cities and dystopian underground cities I have come to demonstration of modern sustainable city. It is no matter how overexaggerated and contrasting the precedents are as far as they display the concerning issues and challenges for the current city. Sometimes we need the exaggeration to look above our tidal wave and see in what we are living.

Since the boost of technology has begun we are living in constantly changing environment and as the progress is so rapid and advanced the cities are struggling to catch up. The cities are trying to adapt to new circumstances but the conditions are changing continually.

As architects our tool is the space and it is no matter if we are designing spaces floating above us or hidden below the ground, the space will never change, and the same priniciples apply everywhere.

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LITERATURE

• Busbea, L. (2007). Topologies: The Urban Utopia in France, 1960-1970.

London: Cambridge.

• Meijenfeldt, E. and Geluk, M. (2003). Below ground level: Creating Spaces for Contemporary Architecture. Basel: Birkhäuser.

• 9th Caribbean WinterSchool (2018), Havana, MSA WinterSchool, www. msa-caribbeanwinterschool.eu • Linderova L. (2018). Thesis project: Havana underground. MSA MA A+U • ArchDaily. (2018). AD Classics: National Museum of Roman Art / Rafael Moneo. [online] Available at: https://www.archdaily. com/625552/ad-classics-national-museum-of-roman-art-rafael-moneo [Accessed 21 May 2018].

• Cartagena, M. (2018). Archiweb - Museum of the Roman Theater of Cartagena. [online] Archiweb.cz. Available at: https://www.archiweb.cz/en/b/muzeum-rimskeho-divadla-v-cartagene-museo-del-teatro-romano-de-cartagena [Accessed 21 May 2018].

• YouTube. (2018). Rafael Moneo: Museo del Teatro romano, Cartagena (Federico Bucci). [online] Available at: https://www.youtube.com/ watch?v=Dx-WZbtMNS4 [Accessed 21 May 2018]. Cities, 8. (2018). 8 • Mysterious Underground Cities. [online] HISTORY. Available at: https:// www.history.com/news/8-mysterious-underground-cities [Accessed 21 May 2018].

• Lin, K. (2018). Derinkuyu: The Tumultuous History of Turkey’s Underground City. [online] Historic Mysteries. Available at: https://www. historicmysteries.com/derinkuyu-underground-city-cappadocia/ [Accessed 3 Jun. 2018].

• The Telegraph. (2018). Derinkuyu, Turkey: the forgotten underground city that once housed 20,000 people. [online] Available at: https:// www.telegraph.co.uk/travel/galleries/derinkuyu-turkey-underground-city-in-pictures/ [Accessed 3 Jun. 2018].