House of the Myth: Inhabiting the distance
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House of the Myth: Inhabiting the distance Copyright Š 2013 Nazli Ergani All rights reserved
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House of the Myth: Inhabiting the distance
Presented in partial fulfillment of the requirements for the degree of Bachelor of Architecture in the Department of Architecture at the Rhode Island School of Design. Nazli Ergani Rhode Island School of Design 2013
Bachelor’s Examination Committee Approved by:
_____________________________________ David Gersten Professor, Department of Architecture, Primary Advisor
_____________________________________ Chris Rose Professor, Department of Furniture, Secondary Advisor
_____________________________________ Pari Riahi Professor, Department of Architecture, Degree Project Coordinator Date Confirmed: June 2013 5
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EPILOGUE
Sing to me now, you Muses who hold the halls of Olympus! You are goddesses, you are everywhere, you know all thingsall we hear is the distant ring of glory, we know nothingwho were the captains of Achaea? Who were the kings? The mass troops I could never tally, never name, not even if I had ten tongues and ten mouths, a tireless voice and the heart inside me bronze, never unless you Muses of Olympus, daughters of Zeus whose shield is rolling thunder, sing, sing in memory all who gathered under Troy. The Iliad, Book Two, page 136
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09 Foreword 11 Abstract 13 Prelude 27 Act 1 Muses
101 Act 2 House of the Muses
139 Finale 140 List of Illustrations 142 Bibliography
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“bodies in urban spaces� by choreographer Willi Dorner 10
FOREWORD We perceive the outside world through proximity, thus the built world around us shrinks and expands accordingly. We consciously locate ourselves physically and mentally in a three dimensional boundary, which we call our personal space. The interactions of different senses within this space come together in the framework of physical coordinates, movement and the posture of the body. Feelings are social and so is the spatiality of the human body; thus social properties of body image within architecture is formed by people, encounters and social events. How do we measure the world beyond us, how do we project to the world as beings [objects] and objects as [beings]. I am interested in performance, how the movement constructs the space and how space dictates movement. My interest lies in the relationship of the juxtapostition of space and movement with the greater intent to architecturalizesuch relation, thus making spaces through the understanding of [movement]. I investigate this association with a series of full scale operations, that studies the perceptual in relation to the understanding of space on the move. starting with the body, [looking at the dynamic approach in movement], further elaborating the idea that movement is a stable element.
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PRELUDE [Degree Project Board] The board acts as a tool to record the interaction of the body within the space, through capturing the movement and participation of an exterior element. It becomes an instrument in which implements the coordinates of the viewer/ performer. The board implements with the participation element of the existence in the space, as the dance of the lines layers on the canvas. The movement is imprinted as a mark that corresponds to the performers location within the performance.
Drawing acts as an instrument in this manner that could start to implement space, or even create space. By looking at the different ways in which drawing could represent movement. It is a scene of struggle within oneself. The board acts as a canvas that represents the presence of the body in space, through its relation to the insturment. The instrument becomes a registration of the relation between the force one expresses and the vertical domain. 15
Immaterial [material]
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line form space 17
ULAY & Marina Abramovich,Action and a-coupling
So how do we reflect the scale of the body in the built environment? Or in a way could the body become a place for programs to happen. When one thinks about “the body� it could as well be the body of the work, the centrality and the heart. It not only corresponds to the question of being surrounded but also what is it immersed in. body-- as an object body-- as a site body-- on the site
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2012 Venice Biennale: hands have no tears to flow / Austrian Pavilion
Scale not only shows itself in figurations of the body but also through the action. Action requires expression and an intent, which transforms one to the other whether it is an object or a space.
action is figuration. it is a form of disposition.
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20 Bruno Munari. Search for comfort in an uncomfortable chair,1950
Action [reaction] [activation [interaction] When I think of action, or involve in an action, there is always a consequence that it reveals. It does not necessarily show it self as a complete transformation but the action acts as a factor. It is an approach form the unstability, shift, yet it is not a mechanical behavior, it is a response. It relies on the environment and the ephemeral nature of the human.
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Saburo Murakami, Passage, October 1956
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Act implies a dynamic nature. that allows to accelerate/ activate which puts into action that creats activity [through an operation] which generates actual, that adopts the attitude.
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Bart Kosko, Fuzzy Thinker, Wired 3.02, 1995
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“We describe the action of “constructing” a map: to attempt to have a the building speak not only of what it contains, or preferably, that speaking of the latter it should propose the intended summart of what happens outside, in the city..” Jose Morales
Then what is the relation between the space and the architecture, what gives it a character is the city and its events. Action is time related.It could refer to an event or a happening, in which the architecture could be formed around form. Events are what makes architecture an artifact. It is what makes them temporary that allows one to be a part of since it could only remain its position for certain amount of time. It is generally an idea that is formed into materiality that shapes the architecture through its social and formal standing. Yet this allows for temporal appreciation., which both sets an emphasis on the subject and architecture at the same time.
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Étienne-Jules Marey, Chrono photographie,1911
We relate to the poetics of space to find new relationships. 27
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ACT 1
MUSES
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encounter
to come upon or experience especially unexpectedly
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empathy
imaginative projection of a subjective state into an object so that the object appears to be infused with it 31
in-between
common action of: jointly engaging 32
space
a boundless three dimensional extent in which objects and events occur and have relative position and direction 33
chora
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space place interval cosmic abstract space of action
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Space of encounter and boundaries that expands beyond, bring the bodies [in+together] through movement creating a change in dimension/ direction/ scale. thus I deem the notion that architecture must take a position. Whether this position becomes a narrative or a physical take, it becomes a ground for conversation, and also a conversation for the ground.
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position of the [In-between] formulates questions on [contained] [boundary] [conversation] [center place] the atrium is what becomes a place for space and light and also a open central place. the atrium becomes a space of encounter and also a cultural well. Place forms from its inception, social, cultural and linguistics , making architecture the signifier and the anticipator.
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Conversation bench
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[bench] The bench explores the in between space, the notion of the void in between. The void is not the empty space but it is an anticipation to be activated. It is the relation of the inhabitant to the physical attributes of the body in space. The human dimension and the body is what determines certain acts. Nature of interaction allows the inbetween to be activated and being spoken. Thinking about the silence, the design and the form is conducted through the relation of the body. The new set of relation is also an occupation of the third dimension and even may be the fourth that corresponds to time. the middle is the hidden element, the inactivated space in between. The bench, conducts the questions in the full scale, in a conversational manner depending on the approach of the users. When the user are facing outwards the bench can hold up to three people, but also in the case there are two people, it is encouraged to face inward to activate the middle space. In the case of the bench it is activated by a game.
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temporal dimension series
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[occupying the void] “Architecture thus occupies the liminal position in-between darkness and light, revealing the true place of human existence.” Alberto Perez Gomez and Stephen Parcell ,Chora 1: Intervals in the Philosophy of Architecture
This makes the temporal dimension of the work, the other dimension,is hidden in the work. The in-between does not necessarily be the physical aspect but also the temporal existance of the work. The transition and the movement also becomes a stable element in the work, allowing me to explore the act. Aristoian Physics explains this process with, “objects change their being as they move, an ontological difference between rest and movement, and topos was the locus of becoming”
“An embodied memory has an essential role on the basis of remembering a space or a place Our home and domicile are integrated with our selfidentity, they become part of our own body and being.” -Juhani Pallasmaa, Questions of perception
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What is void- space? What is inhabitable? or supposed to be empty, but is it?
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Nature is a dynamic interaction between void and full, an ongoing dialogue that formulates spatial arrangements through activity.
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Everything comes from nothing, hollow open void blank cut
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Space is created through human order and disorder, space is where we perceive the condensation of the physical and the un-physical worlds.
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Yet it becomes place through a movement, a mode of activation, through the participatory nature of architecture.
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A place signifies memories, through events; and event through place.
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The continuum of event-place sequence could be understood as a way of directing perception. This, not only unifies and activates senses of the being, but also creates a multi dimensional relation to the other beings. Overall it fosters communal cohesion.
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Void is the silence, inactivated space. Silence is in constant anticipation.
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Anticipation is to be broken and to be disturbed to create a new conversation,
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it speaks about the void inactive indetermined
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The center becomes the silent piece in constant anticipation to regain its new life and new entity.
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Silence is the activator.
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In between is a growing sequence of the center. It starts as a thin slit between the two masses and at each sequence the center moves out. The movement is conducted with the eye. Motion of performance/perception Path/space/void is what brings a place through memory and the layering. The layering is drawn/ lives on the print block. The memory of the relief is on the block, its physicality. The series started through the idea of spatializing the void, looking for questions of temporal space/subject/object/space relationship.
simultaneity discontinuity superimposition “We don not only exist in a spatial and mental reality, we also inhabit cultural, mental and temporal realities.� -Juhani Pallasmaa, Spatial Recall p. 17
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[figure/figure] Background is constantly inter-changable, the interactions reveals another’s presence beyond their surfaces. Thus the figure-ground relation seems to be inverses, allowing the work to become double sided. I do not only see the surface, but I try to see the beyond the surface, allowing to bring a tactile relation between the work and the viewer. Whether it becomes literal physical act, the pieces need the viewer to wander around. It reveals the back-side but the at the same time gives the back side a frontal image. In the sequence, the in between speaks the language of light. It reveals itself through cuts, shifts and folds. The depression and extension has a continuos dialogue that revokes the light. It catches, transmits and reveals.
In- between is the space of event, place of spacing generated by movements. place of dissonance consonance resonance
figure/figure becomes interstitial space
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The body like any other boundary between two realms, finds an ambiguous role: it belongs to both spheres of public and private.
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[ground ll ground ] The interchangability allows an exchange of both sides, which results in the presence of the figure on both sides. These series are a way in which a negative/postive aspect of materiality is expressed in the prints that camhe out of the linoleum prints. The figure that is carved on one side appears in inverse on the other side, allowing the mind to create spatiality within or the outside. Overlaying the figures on top of eachother activates a layer of being leaving the residue of the in-between.
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[interval] “Merleau Ponty’s “in-between reality” is then perhaps, analogous to the moment in which individual elements begin to lose their clarity, the moment in which objects merge with the field” -Juhani Pallasmaa, Questions of perception p 45 foreground middle ground distant
“In order to grasp the reality of space it is important to include in what one sees surrounding areas and hidden effects as well. This requires a different attitude toward seeing than sharpness of focus, since what is involved here is out-of-focus fuzziness as well, shifted focuses, overlapping perspectives that do not run through a central axis and do not coincide” - Markus Jatsch, Debordered Space p. 9
Space becomes perceptible through the things that are situated in it , it becomes surrounding so\pace and interstice.
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The question of the inhabitant comes into place, when I look at the model of transparency. It is a model that tries to define depth through defining the space in between, The model consists of the 12 prints in a transparent form that allows for the light to travel through. Yet the question of the in-between could be asked in three dimensions, making the hand the inhabitant and the activator in the piece. The following pages are some artists that influence me to think about concepts of light, perception and distance in different ways.
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Through the use of the hand. the volumetric expression of the print series find their life in a stop motion video, that responds to the notion of time. The layered experience of the prints activates the series of the excavation that adds another layer. The interval becomes the activator, that animates the space as the prints build up a three dimensional experience of the move.
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[screens] I came across the word “deborder” while reading Markus Jatsch’s book, Debordered Space. The act of de bordering questions of the limitation or the expansion of space started to occur. The limitation lies in the movement of the inhabitant, thus the perception changes as we move along/within the space. This exploration is conducted through studies of screens that allow to block the visual field of the moving inhabitant, exploring the limitations of what is seen through and what is allowed to be seen.
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The screens experiements with the idea of a fixated persepectival point of view and an active performer which meanders in space, thus in this case moves along a line of action. The line of action is the received and the line of stability is the referenced.
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[fore/mid/distant ground] transparency panorama letting the eye go beyond the surface and recording the movement as the body oscillates through the space. Letting the body become the inhabitants in the space. The seires takes the inhabitant as the first person point of view and represents an activated procession. The planes are located apart from eachoter that questions the relation of fore,mid and the distant view. Between the ideas of long and short perspective brings an immediate change which eye adjusts as it moves along, differenciating between the intimate and distant relation to the planes.
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As the body moves along, there is an embodied memory that builds up the space. The difference among the first and the last states allow an undulating surface to capture the experience within.
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The body, as the active element as the viewer is present, yet the activation occurs when the viewer rotates around the piece to activate the visually constructed path. The inhabitant is the viewer as well as the light. The changing openings allows the patterning of the illuminated path which brings the viewer in and out of the piece as well as rotating around defining ““parallax�
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The experience through the vertical, horizontal and oblique creates new arrangements and spaces. The angles of perception forms basic connections between the mind and architecture multiplying the personal perception through the sequential experience. The flatness of depth and the depth of flatness is brought by the studies of Ad Reinharts No. 18, monochromatic paintings. They remove connotations of color and form thus the varying shades read as three dimensional through the eye’s adjustment of light. It is a geometric abstraction which is non objective and timeless,spaceless and changeless through the reination of the surfaces. the focus and depth is the element that forms the optical definition, allowing the viewer to question the surfaces defined by light. The background is brought to the foreground blurring the edges and the horizon line that is defined by the varying shades. The adjustment to the horizon line and the depth is the understanding of a compressed space in which the eye is in constant search for the horizon to register oneself.
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[The flatness of depth and the depth of flatness]
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The cinematic experience is constantly battling with proximity. how do we maintain the intimacy at distance. The in-between is an accumulation of mass and void / density and darknes. Thus the architecture that comes out is in search of the collapse of times and the collapse of the horizon to allow the phenomenal research to come to life. Rewriting a story. a myth with, with real questions. How to bridge the gap/ the distance / in between in the land of Troia. both a factual and legendary city that is built in succession.
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ACT 2
House of the Muses
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conceptual site map
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Being of the UNESCO heritage sites, Troia, is an archeological and architectural graveyard. A site that bears 5000 years of history, myth and speculations. It is a site of layers and the collapse of time and layers. When we look at the history. we should be asking where do we stand in Troia. I has been a place that has been alienated from itself, the question should be how do we represent Troia through its own story and the place itself.
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conceptual site map
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Light and archeology interferes with, along with the movement. The geology of the site consist of nine layers of civilizations that are built and destroyed on top of each other. Light joins everything together, curating the present tense experience of the myth, including the Homeric Troia. The layered understanding of the ground brings the sense of rootedness, anchoring the past into its place, a reenactment of the telling. The act of architecture conntains the telling.
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In search for the find of the self in the present telling, there has been a lot of changes in scale, accomodating the scales of telling and the scale of the ground. Thus the project suffered from vastness in the beginning ,scaling down through finding the intimacy in the project.
process plan and section
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“…..you Muses of Olympus, daughters of Zeus whose shield is rolling thunder, sing, sing in memory all who gathered under Troy.” The Iliad , 2.580-582 Thinking about Homer, and the scale of literature and the myth, his story is purity of telling. As a blind poet, the “muses” he mentiones in Iliad are the eyewitnesses and the figures which create the absolute tale. The muses know it all, since they have always been there, they have lived, experienced the mythh and they are the ones that do the telling.
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process site plan and section
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pause realization reconfiguration
exclamation of senses
the site projects the composed human experience through movement, bringing one down into the ground to experience the field/ground/history and myth that is embedded within the ground. An excavated cut of the ground activates the conversation between the layers of the ground, by moving down in time through successions. What is distant becomes the intimate by introducing the present and the light.
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process site plan and section
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By introducing the first person view the history, the place becomes grounded, revealing the interconnected story of Troia. A continuous flow brings an experiential procession that literally digs through layer and re-stitches. The light also becomes the inhabitant, a protagonist in the story that follows the self. It leads the continuous procession, by illumnating and framing the points of entry and points of disengagement. The excavated path lies next to the road that takes the visitor from the Tevfikiye Village, which is considered as the tenth layer of Troia, to the architectural site. it is a procession from literal present to the past and from timed past to present.
light studies
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process axonometric
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One disengages from the present by going down the ground, which introduces the multiple presents to the viewer, thus re-engineering the telling process of the literal history. The subtle gradiations in perspective reveals the depression that activates the other dimension. Without the third dimension, the ground rematins flat,. The changing point of view rearticulates the seeing of the distant and the seeing of the distance, and creates a phenomnal experience of the movement with the changing horizon line that corresponds to ground. The distant, mid and foreground collapses, enabling the inanimate to become alive.
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The house of the muses asks to active the ability of imagination and empathy to think here and now and imagine the past. the place is sensed rather than understood, that creates the space-times, mediating betweeen the times of the past and the present. The occupation of the in between captures the present, giving the path a constructed experience.
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One descends from the ground down to the cut, slowing down the sequence by going down the stairs. An immediate drop that is regulated by the movement, leads itself inti a 2000 feet path that takes one from the present to the anteior present which is the archeological site.
tower
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tower
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The scale of movement is directly related with the depth that the current ground brings. The houses are dispersed equally among the path to reinvent the circulation and both in section and plan. The houses are grouped to register a constructed myth narrative.
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site plan and section
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There are two scales of movement, internal and external, The external takes the visitor down and up through a ramp that allows the third person view to the house of the myth. It becomes a direct path that is a translation of walking through history.
sectional perspective
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Whereas the internalized path takes one from a house to another, which are interlinked through an underground path. The secondary experience of being underground is further expressed with the stitching action of the circulation that retell
gap perspective
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path sequence
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transforming section
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transforming section
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The movement unfolds insection creating a sequence along the path. Going under and going over action allows the viewer to breathe and register with the current horizon line. As the ramp elevates the volumes of the houses shrink,their depth changes according to their standing along the path. thus creating a literal dimension with time, telling and distance.
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unfolded elevation
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plan perspective
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sequence perspectives
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FINALE
Movement is something stable, so is time and being. There is a constant conversation that keeps it going, and the only way is to inhabit it.
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LIST OF ILLUSTRATIONS
p12. Nazli Ergani,Dp Board, ink on paper p13. Nazli Ergani,Dp Board, ink on paper p16 .ULAY & Marina Abramovich,Action and a-coupling p17. 2012 Venice Biennale: hands have no tears to flow / Austrian Pavilion p18. Bruno Munari. Search for comfort in an uncomfortable chair,1950 p.20. Saburo Murakami, Passage, October 1956 p22.. Bart Kosko, Fuzzy Thinker, Wired 3.02, 1995 p24-25. Étienne-Jules Marey, Chrono photographie,1911 p35. Nazli Ergani, ink on paper p36. Nazli Ergani., Bench, wood p37. Burce Karadag, ink on paper p38. Nazli Ergani., Bench, wood p39. Nazli Ergani., Bench, wood p40. Nazli Ergani, Temporal Dimension, Linoleum prints on watercolor paper p43. Nazli Ergani, Temporal Dimension, Linoleum prints on watercolor paper p45. Nazli Ergani, Temporal Dimension, Linoleum prints on watercolor paper p47. Nazli Ergani, Temporal Dimension, Linoleum prints on watercolor paper p49. Nazli Ergani, Temporal Dimension, Linoleum prints on watercolor paper p51. Nazli Ergani, Temporal Dimension, Linoleum prints on watercolor paper p53. Nazli Ergani, Temporal Dimension, Linoleum prints on watercolor paper p55. Nazli Ergani, Temporal Dimension, Linoleum prints on watercolor paper p57. Nazli Ergani, Temporal Dimension, Linoleum prints on watercolor paper p59. Nazli Ergani, Temporal Dimension, Linoleum prints on watercolor paper p61. Nazli Ergani, Temporal Dimension, Linoleum prints on watercolor paper p63. Nazli Ergani, Temporal Dimension, Linoleum prints on watercolor paper p65. Nazli Ergani, Temporal Dimension, Linoleum prints on watercolor paper p66. Nazli Ergani, Temporal Dimension, Linoleum carving p69-80. Nazli Ergani, Temporal Dimension 3D, model,museum board p81. Nazli Ergani, figure figure, linoleum carving p82-84. Nazli Ergani, figure figure, linoleum prints on watercolor paper p86-89. Nazli Ergani, inhabitants, ink on acetate p90-93. Nazli Ergani, Screens, museum board models p91. Nazli Ergani, point of view, intaglio print on paper p92-93. Nazli Ergani, point of view, pencil on paper and ink on acetate p94. Nazli Ergani, rotating point of view, pencil on paper p94-95. Nazli Ergani, rotating point of view, ink on paper 142
p96. Nazli Ergani, rotating point of view, paper stacked model p97. Nazli Ergani, rotating point of view, foamcore and museum board p98. Nazli Ergani,The flatness of depth and the depth of flatness, gouache on paper p98. Nazli Ergani,The flatness of depth and the depth of flatness, latex paint on wooden doors p102. Nazli Ergani, site plan, ink on mylar p104. Nazli Ergani, site plan, ink on paper and printed vellum p106. aerial view of Troy,http://picasaweb.google.com/111430238948206540343/Troja#5550301826307062482 p106. Aerial view of Troy, http://canakkale.kulturturizm.gov.tr/TR/belge/1-86356/troia.html p106-107. Nazli Ergani, plan and section, pencil and gouache on paper p108 Troy amphitheatre, http://en.wikipedia.org/wiki/File:Amphitheatre_of_Troy.jpg p108 Black figure pottery, http://agathoi.wordpress.com/tag/agathos/ p109 Troy walls, http://en.wikipedia.org/wiki/File:Troy1.jpg p109 Troy citadel, http://www.civilization.org.uk/minoans/mycenae p108-109. Nazli Ergani, plan and section, pencil on paper p110, Nazli Ergani, model, ink mixed with plaster and museum board model p111. Nazli Ergani, pencil and ink on paper p112 . Nazli Ergani, plaster and cardboard model photographed p113. Nazli Ergani, pencil and ink on paper p114.Nazli Ergani, concept model, museum board on acetate p115.Nazli Ergani, concept view, museum board and vellum and pencil p116.Nazli Ergani, sketch, ink on trace p117. Nazli Ergani, model, museum board p118-119.Nazli Ergani, model, museum board p118.Nazli Ergani, axonometric view, pencil and pen on paper and graphite p120-121.Nazli Ergani, site plan and section, pencil and pen on paper and graphite p121.Nazli Ergani, model, chipboard andmuseum board p122.Nazli Ergani, section perspective, pencil and pen on paper and graphite p123.Nazli Ergani, perspective, pencil and pen on paper and graphite p124-125.Nazli Ergani, perspective, computer model p126-127.Nazli Ergani, rotating sections, pen and ink on paper p128-129.Nazli Ergani, unfolded section, pen and ink on paper p130-131.Nazli Ergani, plan perspectives, pen and ink on paper p132-133.Nazli Ergani, interior perspectives, pen and ink on paper p134-137Nazli Ergani, perspectives, pen and ink on paper and wintergreen transfer
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BIBLIOGRAPHY
Books: Architecture and body / [editors, Scott Marble ... et al.] New York : Rizzoli, 1988. The eyes of the skin : architecture and the senses / Juhani Pallasmaa. Chichester : Wiley, 2012. Body and Building: Essays on the Changing Relation of Body and Architecture, George Dodds, Robert Tavernor, Joseph Rykwert, MIT press, 2002 Body, memory, and architecture / Kent C. Bloomer and Charles W. Moore ; with a contribution by Robert Yudell. New Haven : Yale University Press, c1977. The Metapolis dictionary of Advanced Architecture Primitive Futures, Sou Fujimoto, Inax Publishing, 2008 Questions of Space: Lectures on Architecture. Bernard Tschumi, 1995 Public and Private Spaces of the City, Ali Madanipour, 2003 Questions of Perception:Phenomology of Architecture, Steven Holl, Juhani Pallasmaa, Alberto Perez Gomez, William Stout Publishers, 2008 Architecture: Ecstasies of Space, Time, and the Human Body. David Farrell Krell, State University of New York Press, 1997 Architecture and the Human Dimension, Peter F. Smith, The Pitman Press, 1979 Spatial Recall: Memory in Architecture and Landscape , Marc Treib, Routledge Press, 2009
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People, Paths and Purposes: Notations for a Participatory Envirotecture, Philip Thiel, University of Washington Press,1997 Debordered Space: Indeterminacy within the Visual Perception of Space, Markus Jatsch,Edition Axel Menges, 2004
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Thank you for those who have supported me in this long journey. I would like to especially thank David Gersten, Pari Riahi, Chris Bardt, Olga Mesa, Gabriel Feld, Jason Wood, Silvia Acosta for their continuous support. As well as my peers whom I enjoyed sharing this journey with great discussions, laughter and good times; my parents and my roommates and Bucky whom never stopped believing me.
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House of the Myth: Inhabiting the distance