Ryan Fung Portfolio

Design Portfolio SEMESTER 2

HO HANG RYAN FUNG | ARC 8052 | 160027444 STUDIO: ARCHITECTURE AND ITS EDUCATION REDUX: REMAPPING THE NEO-AVANT-GARDE

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Content

Thesis Statement (3) Project Preview (4) The Linear beginning Linearity and Rhythms on site (7) Searching for the cyclical (12) The “playful” intervene “Free time” & “Play” (15) Playing DIY (18) Breaking the isolation A search through context (28) Translating rhythms (39) A cyclical end?

(48) Critical Reflection (61) ARB Criteria (62) Bibliography (63)

Each chapter within this portfolio has been referenced the relevant ARB criteria.

New and Amended Work since the final review has been demarcated at the bottom of the page

Sem. 1 Original Work

Sem. 1 Amended Work

Sem. 2 Amended Work

Sem. 2 New Work

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Thesis Statement

After the failed promise of delivering the promise of Utopia by architectural and urban Modernism has resulted architects to be alienated and entrapped in the reproduction of capitalist spatial practices and mode of production; beating a retreat, sulked into a corner, happy working in a Fallen World being the prisoners of the building industry (Coleman and Boyd, 2020). The myth of autonomous architecture has led content, form and structure to be separated.

Dedicated to Lefebvre’s Rhythmanalysis, this project is an architectural experiement that desires the Cyclical in hopes to combat the Linearity that is currently poisoning architectural education and the architectural industry. This portfolio is a document that demonstrate my own journey and struggle on re-mapping the linearity that was once deeply embed in my architectural thinking and my site Via Dei Fori Imperali. By using what might be labelled as ‘primitive’ in this digital age, this project argues that it is necessary revert back to the “hand” that is purely cognitive and rhythmic in order to de-linear conventional reproduction of space.

Building on Constant’s New Babylon, the idea of “play” has allowed the project to be freed from the rational capitalistic modes of reproduction that emphasizes on consumption rather than production, the project does not necessary provide a definite answer on how to re-map the Neo-Avant-Garde and the Linear. However through the relentless iterations and translations, my very own way of striving the cyclical is realised. Even though at the end the cyclical may never be achievable like Utopia, but the desire of doing so and the desire to keep striving forward is what I think makes this project crucial.

A short video is included in the OR code below to show the production process of the project notation, demonstrating the modes of producion that I have developed throughout this project

These last rhythms (schoolchildren, shoppers, tourists) would be more cyclical, of large and simple intervals, at the heart of the livelier, alternating rhythms, at brief intervals, cars, regulars, employees, bistro clients. The interaction of diverse, repetitive and different rhythms animates, as one says, the street and the neighborhood. The linear, which is to say, in short, succesions, consists of journeys to and fro: it combines with the cyclical, the movement of long intervals. The cyclical is social organisation manifesting itself. The linear is the daily grind, the routine, therefore the perpetual, made up of chance and encounters.

Lefebvre (2004)

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Project Preview: Linear Plan

At the very beginning of this project, I was struggling on resisting drawing that ‘perfect’ drawing which has that ‘slick’ final image vibe in it. Always drawing plan and axonometirc drawing trying to understand the site, which looks down on the site almost as if it were an object. Little did I know that this mode of production would only lend itself to only creating the same linear architecture that I tried to resist.

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Project Preview: Cyclical Section

Only through sections would the architecture become more close to the “subjective”, the cyclical and rhythmic. Through section, we started looking things more on a bodily level, which also shows the gravity, structure, materiality, context, content and a lot more.

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Project Preview: Translation

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This project is an architectural experiment, an experiment that strive for the Cyclical through the constant combat on re-mapping the Linear.

At the end, the Cyclical may never be achieved just as Linear may never be completely eliminated, as the Cyclical and Linear are intrinsically connected.

Now let’s begin this journey, my journey on endeavoring the Cyclical.

PRODUCED BY AN AUTODESK STUDENT VERSION

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The Linear beginning

The long linear road, Via Dei Fori Imperali is an empty road, how the cyclical intervene this linear road is explored in this chapter

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The Linear Cut N

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Fig.1 Base Image: Google Map

It all began with the site, Via Dei Fori Imperali, a road that is linear in terms of its geometry as well as its origin. Being the road that was built by the Fascist, it is a symbol of appropriation, appropriating the medieval neighbourhood into an isolated parade ground. The linear road also cut right through the Imperial Forum, which kind of contradicts what the Fascists were trying to excavate.

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Linearity and Rhythms on site

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The site was once inhabitated, full of life. But now it is only an isolated road that is lost, an open scar in Rome.

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Fig.2 Picture of Alessandrina neighbourhood before and after Fascist demolition

Linearity and Rhythms on site

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After reading Rhythmanalysis in the middle of semester 1, I immediately began my rhythmanalysis on the site which shows the appropriation of the site in modern time, turning the roman ruins into a live-museum, dead, isolated and objects that tourists would only look at.

This drawing also shows the beginning of a change in my architectural modes of production and representation, which is much more emotional and non-objective.

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Linearity and Rhythms on site

A Rhythmic history

1924-1932 The excavation Imperial Roman

9 April 1932 Opening Medival

2013 Car ban 15th-19th century

Current

The cyclical was once there in the site: the forum that held social, political and economical activities and even prostitution.

The medieval built upon the ruins of the Romans, used it as farmland where crops and animal dies and decay, the plant that populate the ruins comes in seasons. The alessandrina neighbourhood that provide lived-spaces for the people. Then comes the introduction of the linear, the short interval, the perpetual. The excavation, the march of the soldiers and stream of cars.

But now, the site has fell silent, the Rhythms, both linear and the cyclical, lost.

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Linearity and Rhythms on site

Campo de’ Fiori N

Fig.3 Campo de’ Fiori

Campo de’ Fiori has been refered as a cyclical space, with the market that comes and go everyday surrounded by the busy residential neighbourhood, it has been studied and always kept in mind while I design my intervention.

The colour, the smell and the noise, even though I did not have the chance to be there this year due to Covid, I can already imagine how cyclical that space might be.

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Searching for the Cyclical

Market Intervention N

Fig.4 Base Image: Google Map

At the end of semester 1, I have decided to build a market, which was identified through Campo de’ Fiori as a cyclical place. In order to revive the lost rhythms in the site.

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Searching for the Cyclical

Linear Section

However, the cyclical place is still far far away, as the linear still dominates this section and market alone is not going to achieve the cyclical.

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Searching for the Cyclical

The “Playful” Intervene

This chapter further develops the cyclical manifestation of the market in the site and start looking at ways to translate the concept of 'free time' taken from Constant's New Babylon into the market with a focus on the technical aspect on the other hand to create this cyclical place of wandering.

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Constant’s New Babylon

Fig. 5-6 Constant’s New Babylon

Constant’s New Babylon was introduced to this project at the beginning of semester 2, where Constant talks about this idea of ‘free time’ and ‘play’. A society of wonder that people one day is freed from ‘work’ and have the time to invest on ‘play’. Even though the project was scrapped at the end and it may seems that our society is moving further and further away from this ideal dream and all hope is lost; Constant’s project has taught me that every project or even our mode of production is essentially ‘free’, it is only bounded to our very own imagination on what we can do, and in this project to strive for the cyclical.

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“Free time “ and “Play”

Constant’s idea of a ‘free time’ and ‘work’ also resonates with Lefebvre’s idea on the linear, which is the appropriation of time by the authority, simply organizing society according to ‘work time’.

So to strive for the cyclical, we must free the site from this appropriation and also free our modes of production from this appropriation in architectural education.

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“Free time “ and “Play”

The start of a DIY process

Freeing myself in the modes of production and with keeping the strucutre in mind, I started to explore physical model and its translation.

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Playing DIY

The physical model has helped me to explore inhabitating the site with the structural model and also started to break free from the 2-dimentional plan.

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Playing DIY

I started to overlay drawings onto the photograph of the model, desperately trying to figure out the form of this cyclical place.

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Playing DIY

One thing that I have developed during my translations process is deriving drawings out of the model, to better understand the space and explore potential structural column support etc.

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Playing DIY

The linear montage

However as I tried my techniques of overlaying and montages, the actual space still seems to be far too uniform and linear.

Almost like a commercialised shopping mall, which is something that I would never want to build.

At that moment in the project, I still wasn’t playing enough to break through that linear wall

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Playing DIY

Subway turning point

It was one night that I had my Subway and kept reflecting on what is wrong with the linear space that I’ve made and thinking about our studio ethics, the principles that we use such as DIY, and punk, almost like ‘free-styling’ architecture.

Then I immidiately started decomposing the subway box infront of me with an urge that grows inside my heart shouting the needs to be ‘freed’.

At that moment my architectural thinking has started to be re-mapped from the appropriation of architectural education that emphasized heavily on ‘crits’ and that ‘final image’ and it really doesn’t matter wether is ‘presentable’ or not, my architecture is ‘free’; models and drawings are not just gallery object that mounted on a white wall at the end, rather model has that ability allowing us to ‘play’, through the playing we keep on exploring the endless potentials and keep striving forward until we get to our architecture.

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Playing DIY

Then I start deploying the modes of production that I have developped previously, deriving drawings from the physical model.

But the plan doesn’t tell much, does it?

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Playing DIY

I think the section tells a bit more on how this architecture might go, but we must keep moving forward.

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Playing DIY

However the subway model is just cardboard slot into each other that somehow resemble the ‘house of cards’ by Eames, but beyond form, what structure could compose such architecture?

I think as I built on top my subway model principle with Eames house of card in mind, the second balsa wood model that I have made reminds me of a realatively new construction material, cross liminated timber, which I think has got that potential to be the ‘playful’ structural material.

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Playing DIY

Linear computational drawing

One thing about computational model is that no matter how hard I tried, there is still a strong degree of linearity within the illustration. From a conversation with my studio tutor, it is suggested that the computer drawing is purely extrution of planes where a hand drawing is much more rhythmics because of its lines.

This also brings the problem with using CLT (Cross Laminated Timber) in my design, being that it is a product and plane, nevertheless CLT does provides enclosure which is essential for responding the tasks set in this semester. The project will keep on trying to breakthrough that linearity inherit by computational drawing and CLT.

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Playing DIY

Breaking the isolation

Constant and Lefebvre provide the basis on developing a cyclical space and visualize the way on building the place of wandering, free from the appropriation of time. However, the Neo-Avant Garde modes of production of using isolated models and drawings will only worsen the linearity of the project, therefore we must confront the context of the site, breaking out the isolation and autonomy of the self-sustain model and explore on the specificity of the site, materiality, technicality, history and the wandering experience on a bodily level.

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Another problem that was raised in the studio brief is re-mapping the Neo-Avant Garde. When Peter Eisenmen says ‘the architecture only exists within the drawings and the building is something else’ a question on autonomy in architecture is raised.

All structural material and physical form explorations in the previous chapter so far has informed the design up to a certain degree, however the architecture without a site and context is autonomous and could be build anywhere in the world, hence we must jump right in the site to see how that cyclical place could be manifested in the context.

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A search through context

Fig.7 Base Image: Google Map

Lets start with the material in the site, which mainly varies from stones and marble that were used in the Roman forum or the stucco plaster wall that is painted on the residential neightbourhood next the site.

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A search through context

Building on the DIY modes of production, I cut up the material painting on the previous page and start populating the site with the cut up pieces, informed by the subway model previously mentioned and assembled in its manner.

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A search through context

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The cyclical starts to spread out from one to another, cutting the linear site.

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A search through context

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RUINS OF ALESSANDRINO = 54930

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At the iterim review of semester 2, I began to construct my structure onto the site.

PRODUCED BY AN AUTODESK STUDENT VERSION

PROPOSED BUILDING HEIGHT = 31000

Via Dei Fori Imperali

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A search through context

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However, the limits with CAD or SketchUp or any other drafting software is that the drawing they produce still possessed that linearity and lack of the inner life or the rhythmics.

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Overlaying and translation is an iterative tool that enable me to break free from that linear cage and start constructing the cyclical.

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A search through context

a enezi V a z Piaz & e Hill n i l o t Capi

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o ourho b t h g i ial Ne t n e d Resi

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Rom an For um

The context also informed the design, and there are certain boundaries that divide the site to the surroundings. It is only possible to explore those existing threshold in order to break free the boundary and that linear road.

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A search through context

On the left is a hillside from Capitoline Hill stretching down to the forum, where it provides a natural terrain that overlooks the entire site.

On the right comes the residential area that all the wonders take place between those medieval narrow streets and alleyways that is special to the Mediterranean typography.

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Translating Rhythms

The road Via Dei Fori Imperali is a 20m wide road filled with emptyness that urge a re-map.

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Translating Rhythms

The cyclical intervention desperately try to filled the road with life, but what space possessed the cyclical?

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Translating Rhythms

The answer is actually hinted in rhythmanalysis, where this project began. Why are the mediterrianean cities so good at resisting the linearity and appropriation from the modern?

I think the answer lies in the experience on walking and wondering up and down the narrow street in the medival neightbourhood is highly different to walking in a shopping streets

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Translating Rhythms

Through constant overlaying and translation, as we zoomed in on the larger scale drawing, the resolution became much clearer each time I start re-drawing it.

The drawing then is transformed from the ‘abstract’ to more ‘concrete’

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Translating Rhythms

This place is a wondrous city that was derived from Lefebvre’s rhythmanalysis on the mediterianian city that also inherits the spirits of Constant’s idea of ‘Play’, with the slopes and stairs that goes up and down, left and right, alleyways that twists and turn, where the playful intervention sits inbetween.

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A cyclical end?

This wanderous city populates this once long linear road, Via Dei Fori Imperali.

Now arriving at this stage, I think it’s safe to say the linearity is fading away.

But it isn’t the end of this project yet, much more is still yet to be explored.

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A cyclical end?

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Now let’s explore a different perspective, diving right in on the neightbourhood

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A cyclical end?

I still want to explore more on the residential neightbourhood

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A cyclical end?

Let’s create the rhythms to start populate the site again.

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A cyclical end?

But wait the appropriation of time by the insitution is catching up, hurry!

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A cyclical end?

The wondrous city that inherits the aspect of cityblock from the surrounding context, creating once again the stairs and slopes that goes up and down, left and right, alleyways that twists and turn,

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A cyclical end?

It is unfortunate to say that the linear appropriation of time by the institution caught up with me and this project is reaching its end, nevertheless the end does not mean it’s a full stop, it might be a comma meaning the process in constructing the wondrous cyclical is still waiting to be further explored.

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A cyclical end?

Critical Reflection

First of all, being in this year of pandemic, lots of people might think it is a challenging task, however I would argue this is the exactly the golden opportunity to explore the society that Constant’s refers to. Since learning has been shifted to Online, I have much more ‘free time’ to play with this project, which at the end I would say it’s worth the pain.

The crisis of the Neo-Avant-Garde pessimism has always intrigued me ever since I was studying my undergraduate course in Newcastle University; this feeling was reinforced even more during my Part 1 placement year in Hong Kong, where architecture is really nothing more than just cash machines. I am very glad to be part of the remapping studio, which really has re-mapped and enlighten my architectural thinking! Now I have much more confident to take on this battle to re-map contemporary architecture.

I think this project has always felt a bit of a mess to me, constantly going back and forth trying to reflect on the linearity alongside making sense of this idea of the cyclical, free time and play, while re-mapping the Neo-Avant-Garde by thinking in terms of tectonics and breaking through the isolation and autonomy at the same time. And the project might feel a bit left as an open-quest, the quest on striving the cyclical. I would still strongly argue we shouldn’t be bound to the ‘final image’ convention of architectural education.

The most challenging part of this project would be the constant reflection on the linear, in terms of the project and also my modes of production.

Since this year, everything is virtual, which requires a well integration between the digital (linear) and hand-drawings (rhythmics), the downside would be no matter how hard I tried escaping the linear, it stills catch up on me, at the end everything in presented in front of a screen.

If I had more free time, I would definitely keep exploring this wondrous cyclical and I am very much looking forward to what Stage 6 architecture in the Remapping Studio would be like.

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ARB Criteria

GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements.

GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

GC3 Knowledge of the fine arts as an influence on the quality of architectural design.

GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process.

GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings

and the spaces between them to human needs and scale.

GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of

social factors.

GC7 Understanding of the methods of investigation and preparation of the brief for a design project.

GC8 Understanding of the structural design, constructional and engineering problems associated with building design.

GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of

comfort and protection against the climate.

GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.

GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and

integrating plans into overall planning.

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Reference List:

Image Reference List:

Coleman, N. and Boyd, D., 2020. Architecture And Its Education Redux: Remapping The Neo-Avant-Garde.

Fig.1 Google Maps (2021) Via dei fori imperiali, 1:3000. Available at: https://www.google.com/maps/@41.8934412,12.4879256,1 794a,35y,356.62h/data=!3m1!1e3(Accessed: 10 January 2021).

Eisenman, P., 2013. Interview: Peter Eisenman.

Fig.2 II Nuovo Corriere, 2013. New Look For Via Alessandrina, The Road Of The Emperors. [image] Available at: http://www. online-news.it/2013/10/29/nuovo-look-per-strada-degli-imperatori/#.YAVIXuj7SUl (Accessed 17 January 2021).

Lefebvre, H., 2004. Rythmanalysis. London: Continuum.

Fig.3 Google Maps (2021) Campo de’ Fiori, 1:3000. Available at: https://www.google.com/maps/place/Campo+de’+Fiori/@41.894 802,12.4724032,127a,35y,355.88h,35.41t/data=!3m1!1e3!4m5!3m4!1s0x132f6055a903cf7d:0x1808fc7ca708f2c4!8m2!3d4 1.8955904!4d12.4721829 Fig.4 Google Maps (2021) Via dei fori imperiali, 1:3000. Available at: https://www.google.com/maps/@41.8820118,12.4901562,1 255a,35y,351.73h,45.66t/data=!3m1!1e33(Accessed: 17 January 2021).

Fig.5 Nieuwenhuys (1963) Mural. Available at: https://www.versobooks.com/blogs/1879-new-babylon Fig.6 Nieuwenhuys (1963) Mural. Available at: https://ivc.lib.rochester.edu/the-utopian-failure-of-constants-new-babylon/ Fig.7 Google Maps (2021) Via dei fori imperiali, 1:3000. Available at: https://www.google.com/maps/place/Via+dei+Fori+Imperiali,+Roma+RM,+Italy/@41.8885678,12.487127,703a,35y,0.75h,36.6t/data=!3m1!1e3!4m5!3m4!1s0x132f61b3f0a39c4f:0x42f40ce9df3b57c7!8m2!3d41.8933542!4d12.4869537 Fig.8 Google Maps (2021) Via dei fori imperiali, 1:3000. Available at: https://www.google.com/maps/place/Via+dei+Fori+Imperiali,+Roma+RM,+Italy/@41.8932383,12.4852006,75a,35y,355.88h,55.19t/data=!3m1!1e3!4m5!3m4!1s0x132f61b3f0a39c4f:0x42f40ce9df3b57c7!8m2!3d41.8933542!4d12.4869537 Fig.9 Google Maps (2021) Via dei fori imperiali, 1:3000. Available at: https://www.google.com/maps/place/Via+dei+Fori+Imperiali,+Roma+RM,+Italy/@41.8943096,12.486336,57a,35y,302.62h,51.98t/data=!3m1!1e3!4m5!3m4!1s0x132f61b3f0a39c4f:0x42f40ce9df3b57c7!8m2!3d41.8933542!4d12.4869537

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