A Few Years Too Old

7W2X0 WALKSCAPES

Mila Kovacev

1322680

Literature Review Introduction Noisy Instrument Discomfort Exploration Power of Imgination Conclusion Comparative Conclusion References

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People have a need to move. Hessian argues this need to move by showing how ‘our minds interpret a single frame by looking at space in the frame and beyond the frame’ (Hessian, 2013). She argues that we must wander, allowing ourselves to get lost, in order to ‘perceive an introspective reality of ourselves’ (Hessian, 2013). Architecture should therefore reflect our need to move and help us become participants instead of voyeurs of life.

Throughout the essay, Hessian discusses the elements that make a photograph, painting, film, and finally architecture, more than stories to look at. Perhaps deconstructing their forms, in other words, encouraging confusion in their order and structure creates ‘platforms for selfreflection’. Thus, rather than looking at a story, a subject can become the author of their own story and therefore become part of it.

In life, ‘events and actions occur that have causes from the past, and which will have effects in the future’ (Hessian, 2013). These events from the past and effects in the future are a narrative of time. As Walter Benjamin said: “to live is to leave traces” (Colomina, 1992, 100 as cited by Hessian, 2013). Meaning that all traces, whether it is a scratch on a bike or an invisible mark in people’s minds, one day become a story.

Bernard Tschumi believes that space does not exist without the event of a person traveling through it (Hessian, 2013), or at least traces left by people. In Le Corbusier’s photographs, the objects are traces of life, creating a story about the space. Therefore, a space without people is only a scene, however, when people, or signifiers of people are involved, it becomes a story.

No space without event Humans have a natural desire to impose narrative on events, to find coherence in life (Hessian, 2013). This kind of coherence gives people the feeling of meaning, that there is eventually an order behind the confusion of appearances and phenomena that surround us (Graf, 2002, 2 as cited by Hessian, 2003). Le Corbusier applied this idea of the imposing of events in architecture through carefully composed photographs of his Villa Savoye. The photographs display objects such as a hat and a pair of sunglasses. These objects become hints of life, making the home appear lived-in. Thus, creating a narrative.

Both Wenders and Tschumi believe that narratives are evoked by events in time. However, Tschumi is against the idea that something needs a beginning or an end. For example, when looking at a sequence of pictures, we create a story in our minds. When the same pictures are placed in a different order, we are still able to create a story. This shows that a defined beginning or end isn’t needed to create a story, thus, opposes the idea that we need coherence objects or space in order to understand them (Hessian, 2013) – we construct coherence in our minds despite the stimuli given to us.

As Tschumi’ s famous reply to when asked

by Jean Luc Godard: ‘” Surely you agree, Mr Architect, that buildings should have a base, a middle and a top?” [The Architect replies] “Yes, but not necessarily in that order”’ (Tschumi, 1996, 166 as cited by Hessian, 2013).

When looking beyond the frame, we are trying to discover a new perception of reality. This supports the idea that we have an instinct to move and suggests the importance of architectural promenade. Framing draws the attention to the absence of things, by providing signifiers of absence (Hessian, 2013). Therefore, movement Framing & Inherent desire for movement of the eyes assembles new opinions based on the observation that we form sequences when As discussed earlier, all sequences are looking at a single frame. cumulative because we create our own narrative in our minds. This suggests that the movement Voyeurism through architecture is more important than the architecture itself (Cresswell, 2012, 51 as In the essay, Hessian refers to voyeurism as cited by Hessian, 2003). Similarly, we can find the idea that ‘the inside is always definitely coherence, or see things that are not there, by somebody’s territory, whereas the outside is making sense of what we see, e.g. Completing anonymous’ (Palassmaa, 2001, 169 as cited by lines that are not visible. For instance, the lines Hessian, 2013). of Mondrian’s paintings that are meeting outside the painting, make the viewer aware of the space Thus, looking into a single frame – into the beyond the frame (Pallasmaa, 2001, 35 as cited interior from the exterior, is voyeuristic, making

by Hessian, 2003). the desire to look beyond a single frame not. In the painting Eleven A.M by Edward Hopper, the naked woman challenges the idea of voyeurism, as she is ‘yearning to travel into the exterior space beyond the boundaries of the painting’ (Hessian, 2013), this yearning to extend into the exterior of the painting makes her an active subject. Rather than looking at the painting as a single frame, her gaze towards the outside forces us to consider another frame that is not visible to us – thus striping away the voyeuristic intentions of the painting.

Although they are a single image, photos and paintings can activate the passive spaces beyond the scene using signifiers (Hessian, 2013). This is because Photos and paintings give us a single snapshot of life, in which there are automatically things that are absent in the space that exist outside the frame. We yearn to discover the thing that is absent, which activates the space outside the frame.

Our individual movement in an architectural sequence, such as an architectural promenade, determines how we establish our memory. Again, with the attempt to understand events and to place them in a whole, the idea of coherence is evident (Hessian, 2013).

In Le Corbusier’s Villa Savoye, the ramp provides views from the interior to the exterior, constantly changing the frame. This makes the subject walking along the ramp active, and therefore not a voyeur. This design can deconstruct itself from the generic form and allow one to ‘see the exterior as always an interior’ (Hessian, 2013).

In this way, architecture is argued to have the power to activate the users rather than make them spectators and thus, not voyeurs.

Passive Space ‘Architecture can make us nostalgic voyeurs of past experiences’ (Hessian, 2013). Rather than looking at a space for the first time with a fresh perspective and an open mind, our head is filled with experiences of previous spaces that impact our thoughts. This essay, as previously mentioned, goes against this notion of voyeurism.

Like Situationists, Bernard Tschumi believes that space has an impact on people. However, he also believes that people have an impact on space. This is what he meant when he said: ‘to see architecture as eternal, …, is to ignore the impact people and their movement have on space’. He therefore thinks that a city cannot be defined, as it keeps changing its meaning.

Hessian takes this on to say that: if an active subject, actively searching for coherence in space, cannot find coherence, ‘we need to use a new language: a language in which we are passive subjects’ (Hessian, 2013). In other words, embrace our ‘inability to impose form on something’ (Hessian, 2013).

Park consists of unexpected paths, crossings, and objects. This ‘lack of a linear story’ (Hessian, 2013) allows the participants to get lost and wander. The follies in the park, are also designed to lack any symbolic or functional meaning. The Park therefore succeeds to remain an unfinished story, where the subjects walking through it are on a constant journey. ‘La Villette is setting a stage for event to happen, rather than imposing a single narrative like Le Corbusier’s photographs of Villa Savoye’ (Hessian, 2013), where you are given indicators of an event/story.

Conclusion

Hessian succeeds to unravel how space and architecture (but also other art forms) can aid us into becoming ‘participants, rather than spectators of life’ (Hessian, 2013). The appearance of people or signifiers of life, using framing as a tool to look beyond the frame, and of design that does not impose meaning on a subject but rather lets the subject decide for Examples of such subjects are characters in themselves, all aids in allowing people to take Wim Wenders’ films. They do not go anywhere part in life. in particular. The importance of discoveries lies in the journey – it is the travelling that Finally, Hessian raises an unanswered question, results in discovery rather than the arriving. a potential argument against her hypothesis of It is therefore the in-between spaces, that by ‘architecture without a clearly defined program’ changing themselves, change the subject too. to be the most sought-after type (at least in order Hessian therefore argues that architecture is to participate in it). What if this type of architecture best when it constantly changes, spontaneous results in shallowness and deterioration of life, and unexpected – unstable. much like television has become ‘the optical toxin’ (Hoffman, 1992, 22 as cited by Hessian, In the essay, Parc de la Villette is used as an 2013) according to Wenders? example of a successful passive space, that encourages passive journeys through it. The

Drawing 1 from The Little Prince (Saint-Exupery, 1943)

By walking towards a playground and feeling intrigued, to leaving it disappointed, this essay walks through this journey of an adult in a playground – a location that is surprisingly no longer familiar at all.

Four themes are extracted from this walk.

The first being ‘noisy instrument’ where the playground is observed from the outside. The objects inside the playground make loud, rather unpleasant sounds. These sounds are very machine-like due to their repetitive movements.

The second theme is ‘discomfort’. This feeling is very present once walking into the bounded gates of the playground. The awkwardness is strongly felt due to weird looks and fear of judgment; what is this adult doing in a playground alone?

The third theme is ‘exploration’ where despite feeling uncomfortable, there is hope that perhaps by using the playground as a child might, the remembered feelings of joy may be recovered.

Finally, the fourth theme is ‘power of imagination’.

Here, after leaving the playground with nothing, turning back to look at it and realizing that what adults see is not the same as what a child might.

Each theme is presented with a verse of an original poem. This poem serves as the main narrative to this journey through a playground.

And each of the four complimentary models aids in the understanding of each theme through interaction.

Creak, crack, clatter, clap Thump, thud, what is that?

Bolts, nuts, screws and rings A fenced off world, Full of strange things.

What’s their function, why all the joy?

To this great big machine-like toy.

This model aims to imitate the sounds and movements of the playground.

Spinning, plucking, pulling, pressing... each element moves independently and therefore makes it’s own noise. However, once played together, this model stands as a metaphor to the playground as an odd instrument full of weird machines that don’t have an obvious purpose.

Perhaps to remember, one must invade This territory in which one once played.

Puzzled looks and spaces small, Playgrounds don’t seem fun at all.

The second model allows the user to play with it and try to fit all the marbles in a hole. However, to their surprise, one marble is too large to fit in. This again stands as a metaphor for feeling awkward and as a misfit once inside he grounds, but also physically being too large to use the playground smoothly and comfortably.

To understand this weird stuff, Just standing inside is not enough.

One must squeeze in and peer out like a child, climb up the ladder and slide down the slide

The third model reflects the claustraphobic feeling that emerges when stuffed inside the small spaces. However, it also reveals the different perspective children see in the playground. They look through small gaps and holes. This allows them to focus their vsion on details. Something which adults forget to do.

Still, one does not see what they see, And thus leaves the playground disappointedly.

But once one sits to wonder and reflect, To a child’s mind they begin to connect.

What they see is not a hut with windows round, Nor a random object that makes an odd sound.

A different world begins to unfold, One in which one is not so old.

Here, the hut is a stilt house in the middle of the pacific, Surrounded by storms heavy, strong, and horrific.

Once one becomes a pirate without a ship, One begins to get a grip.

The final model shows how somehing meaningless to an adult’s eye can be so much more. The torch represents a child’s lens and through it, a child sees an aquarium full of fish.

Drawing 2 from The Little Prince (Saint-Exupery, 1943)

Homo Ludens (Huizinga, 1949) got me thinking about play. Huizinga talks about how play is embedded in culture. Law, war, philosophy, and art are all argued to come from play. Huizinga seems to easily prove how these cultural fields root from play in archaic culture, but he struggles to find such clear examples of play in the modern society. The book ends with a melancholy tone, as he says:

Thinking of where I can find raw play even today, I thought of the playground. Imagining myself as a child, playing in a playground, it completely related to Huizinga’s definition of play being ‘a voluntary activity or occupation executed within certain fixed limits of time and place, according to rules freely accepted but absolutely binding, having its aim in itself and accompanied by a feeling of tension, joy, and the consciousness that it is “different” from “ordinary life”. (Huizinga, 1949).

‘More and more the sad conclusion forces itself upon us that the playelement in culture has been on the wane ever since the 18th century when it was in full flower. Civilization today is no longer played, and even where it still seems to play it is false play – I had almost said, it plays false, so that it becomes increasingly difficult to tell where play ends and non-play begins’ (Huizinga, 1949).

It seemed like the playground was a great space to explore this playsphere in. Initially, there was an expectation of the playground perhaps still being a fun place to be. Maybe I would easily feel like a child again. However, that did not happen, and I agreed with Huizinga that true play is hard to find, but Huizinga does not focus on child’s play, as he dismisses it as obvious and an inevitable action that just is. Children will just always play.

Nonetheless, perhaps returning to childhood will help in finding this play-mindset that to Huizinga was getting lost. As Huizinga’s book was not inspiring me to jump into this mindset in order to understand the playground, I read a children’s book, The Little Prince (Saint-Exupery, 1943).

Saint-Exupery ‘implies that children are granted a clarity of vision, unhindered by the sophisticated logic, practical parameters and commercial concerns of adulthood, and therefore they see the world in all its magical wonderment’ (Davies, 2010). Compared to an adult, whose imagination, or rather a lack of, can take them no further than the obvious.

This little book made me appreciate the beauty of a child’s imagination and made me realize that with a bit of effort, and perhaps exercise, my own mind can learn to see more too. I doubt it will ever be as open as it once was but seeing the world through the lens of a child made it more beautiful.

In this comparative conclusion, the similarities and differences between Yza van Geel’s clip (Nature’s Way) and Mila Kovacev’s (An Adult in a Playground) are discussed, alongside the themes extracted from Hessian’s essay: The importance of the promenade in architecture. Apart from the themes of ‘no space without event’, ‘framing’, ‘voyeurism’, and ‘passive space’, the individual themes where unexpected similarities are found are also mentioned and compared.

Comparison with themes from Hessian’s Essay The notion of ‘no space without event’ from Hessian’s essay is evident in both clips. It is the idea that an event requires a presence of someone, and that people or signifiers of people/events can create a story. Thus, turning a scene into a space. There is a lack of people shown in both clips. However, indicators of people being present at the locations, such as cars and flowers in Nature’s way or moving objects and background sounds like the ones in An Adult in a Playground are shown intentionally.

These indicators raise questions which form a narrative, whereby the frames are not merely a scene, but a space. In this way, both clips use signifiers to create a story. The difference lies in the type of questions raised in the two clips. In Mila’s clip, there are no people shown but only movements of different playground equipment.

This Raises questions like; who is swinging on the swing? In contrast to Yza’s clip, where the beginning shows a busy parking lot but as the movie goes on, people are missing. Thus, raising the question, where have these people gone?

In Hessian’s essay, framing is seen as a tool to use to say more about something by not showing everything. In that sense, Mila’s clip uses framing intentionally, to show details of objects which are not normally observed, and to leave out the subject that is manipulating them.

This leaving out of information makes the viewer curious and shows this desire for movement that

Hessian discusses. Although Yza’s frames are vastly different to Mila’s, in the sense that they do not show the same thing but also the scales are different, Yza too uses framing to manipulate the space. Using a wide angle to show the nature aspect of the cemetery and zooming in to focus on the details that hint at its primary purpose.

Nature is a passive space. It is constantly changing, growing, and adapting. It does not impose meaning on the observer, and this is clearly shown in Yza’s video. Even when the nature has a double function, being a cemetery, its passive design does not shout: “I am a cemetery and nothing more.” The notion of passive space is also prominent in Mila’s videos and location. The playground objects do not mean anything. They are there to be spun, swung, and climbed on - not much more than that. It is up to the child how they perceive the playground.

The playground therefore is quite like Tschumis Parc de la Vilette in the way that the participant can wander and experience something different each time they visit.

Comparisons of individual themes The themes of the two locations differ considerably. For example, the theme tranquility in Yza’s location is about calmness and peace.

This is opposite to the loudness of the playground that is vividly expressed in Mila’s location, being represented as a noisy machine creating an almost industrial atmosphere. Hence, while the playground is dominated by machinery, the cemetery is dominated by nature.

A crucial similarity worth mentioning is the unexpectedness or underestimation of each location. Where the nature cemetery, rather than being spooky or unpleasant, is full of peace and quiet. Similarly, the expectation of a playground to be joyful is not met, as the adult instead feels awkward and unwanted.

Lastly, there is a similarity in the made and unmade things. Where in the nature cemetery the paths and buildings were created in contrast to the nature doing its own thing. Whereby the playground consists of ready-made artifacts to be interacted with, the fun is gained from the imagination of a child which is unique to the child. It is not a handed, ready-made thing.

Conclusion Despite the major differences in the choice of location, that resulted in different, and sometimes opposing themes, the main idea of the course was understood. Whatever the chosen location, walking for the sake of it, and being present in the space allows one to discover spectacular things. A space, once observed, always becomes more.

References Davies, D. S. (2010). Afterword. In A. d. Saint-Exupery, Le Petit Prince (pp. 123-135). London: Macmillan Collectors Library.

Hessian, S. (2013). The Importance of the Promenade in Architecture: Our Perception of Reality Beyond the Frame. London: Central Saint Martins College of Art & Design.

Huizinga, J. (1949). Homo Ludens A Study of the Play-Element in Culture. Angelico Press.

Saint-Exupery, A. D. (1943). Le Petit Prince. New York: Reynal & Hitchcock.

The End.