Ludiville : a City of Play

RIZAL AMBOTANG_641233_2018 design thesis 2018

LUDIVILLE

L

udiville

is

a

critical

The project investigates the role of

characterised

by

non-hierarchical

interpretation

of

the

architecture in the futile pursuits of

composition using interstitial spaces. True

work

Constant

play and the production of space that

to Constant Niewwenhuys’s New Babylon

encourages ludic urges.

utopia, Ludiville are loosely arrange into

of

Nieuwenhuys’s New Babylon (Constant and Stamps 2016) and the Situationist

sectors that correspond to the French

Movement (Stracey 2014) to establish a

Chambord as a hunting lodge for the

philosopher, Roger Caillois four ludic

city of play .

bourgeois and Domain de Chambord

archetypes : Agon, Mimicry, Ilinx and

as the Ludic landscape plays parallel to

Alea.

The Situationist anti-capitalist ideas set

Ludiville labyrinth of spaces.

the scene for an architecture of desire

Ludiville is elevated above the changing

built to realize the utopian society of

The project explore the ideas of Carl

water level. The spaces work with the

“Homo Luden” (Constant and Wigley

Theodore Sorensen’s of terrain vagues

changing water level changing its functions

1998). Château de Chambord in Loire

and junk playground as a ludic space

at various time of the year.

Valley, the site for this project, is a

that encourages child-like adventure.

reminder of a nostalgic utopia and a

Its generative form, Ludiville creates

symbol of bourgeois society, the project

parallel to Aldo Van Eyck’ city

is responding to.

playground where public space are

of

Sir Thomas More’s

UTOPIA

Utopians are convinced that people are much happier in their next state of life than in this one.

More, Thomas (1516/1967), “Utopia”, trans. John P. Dolan, in James J. Greene and John P. Dolan, edd., The Essential Thomas More, New York: New American Library.

T H E S I T U AT I O N I S T

The Spectacle as Loss

37 The world at once present and absent that the spectacle holds up to view is the world of the commodity dominating all living experience. The world of the commodity is thus shown for what it is, because its development is identical to people’s estrangement from each other and from everything they produce.

Guy Debord

Debord, Guy, Guy Debord, and Ken Knabb. 2014. The society of the spectacle (Berkeley, CA Bureau of Public Secrets, 2014.).

NEW BABYLON

The Precedence

“If we situate all known forms of society under a single common denominator, ‘utilitarianism,’ the model to be invented will be that of a ‘ludic’ society—this term designating the activities that, relieved of all utility as well as all function, are pure products of the creative imagination” Constant Nieuwenhuys

Constant, “New Babylon: Outline of a Culture,” trans. Paul Hammond, in Constant’s New Babylon: The Hyper-Architecture of Desire, ed. Mark Wigley (Rotterdam: Witte de With, 1998), 160.

HOMO LUDEN The Utopian Society

Huizinga identifies 5 characteristics that play must have: Play is free, is in fact freedom.

Play is not “ordinary” or “real” life.

Play is distinct from “ordinary” life both as to locality and duration.

Play creates order, is order. Play demands order absolute and supreme.

Play is connected with no material interest, and no profit can be gained from it.

Huizinga, Johan (1955). Homo ludens; a study of the play-element in culture. Boston: Beacon Press

C O N T E X T R E L AT I O N S H I P

LUDIVILLE

CHAMBORD

DOMAIN DE CHAMBORD

DERIVE MAP

PROJECT DEVELOPMENT

Ma volor santoribusda comnis eratesto blamus moluptat. Il ernatur.

Udant moles templam volut et optae nonem dolorum sus, non porest magnihit es dus. Excerionecto beatum laut ex explique templam volut et optae nonem aut earia volorro ea volupta tquaere cum vidus susdae dolupta templam volut et optae nonem sequianditam auta.

I T E R AT I O N S

WEEK 2

I T E R AT I O N S

WEEK 3

Architecture as artifacts of art City as ART gallery

thesis statement (iteration 1)

Rethinking of Utopian Urbanism through the polemic precedence of Constant Nieuwenhuis’s New Babylon from The Situationist Movement Technological progress liberate people from work to focus on personal creativity to become “Homo Luden” (man at play) City that caters for community in flux ,nomadic liftestyle and total control of their urban environment

A

S I T U AT I O N I S T C I T Y

ANTI FORM

Anti-form is a term associated with a group of artists working in the United States in the ‘60s who embraced chance and other organic processes in the creation of their minimal sculptures. The artist had to relinquish control of the final appearance of the artwork

Beglis, Lynda. 1969. “Quartered Meteor.” In.: Victoria Sadler.

Morris, Robert. 1931. “Untitled (Pink Felt).� In. Kansas City, Missouri: Solomon R. Guggenheim Museum, .

I T E R AT I O N S

WEEK 4

CELLULAR A U T O M ATA

the Game of Life

T

he Game of Life is an algorithm ‘cellular

based

on

automaton’,

and was invented by Cambridge mathematician John Conway.

Mentioned in an article published by Scientific American in 1970. it became popular as a model for growth of living organism. Implemented in computer science, physics, biology, biochemistry, economics, mathematics, philosophy, and generative sciences. It consists of a collection of cells which, based on a few mathematical rules, can live, die or multiply. Depending on the initial conditions, the cells form various patterns throughout the course of the game.

Gardner, Martin (October 1970). “Mathematical Games – The fantastic combinations of John Conway’s new solitaire game “life””. Scientific American. 223: 120–123. ISBN 0-89454-001-7. Archived from the original on 2009-06-03. Retrieved 03/11/2018

Voxe l c i t y

MID SEMESTER

WEEK 6

The New Babylon 2.0

T

he New Babylon 2.0 is

symbol of bourgeois society, the project

Friedman’s Spatial City (Ville Spatiale)

a critical interpretation

is responding to.

(Friedman 2015) and Cedric Price’s “Fun

of the work of Constant

Palace” (Mathews 2006) to establish new

Nieuwenhuys’s New Babylon (Constant

The project investigates the role of

urbanism based on nomadic lifestyle,

and Stamps 2016) and the Situationist

architecture in liberating the artist

time-based

Movement (Stracey 2014) to establish

community from the burden of work

configurable environment.

utopian society of self-fulfilment and

and subverts the idea of architecture

Babylon 2.0 is raised from the new ground

satisfaction.

as static work. The project is resisting

plane (from flood water level), assembled,

against

Corbusier’s

urban

interventions

and

The New

functionalist

moved and rearranged continuously to

The anti-capitalist ideas set the scene

urbanism of pre-determine use of space

create a nomadic urbanity characterized by

for an architecture of desire built to

(Schrijver 2011)

spatial flux.

fulfil the needs of an artist community

spatial ambiguity and changeability.

while introducing

playing the role of Constant’s “Homo Luden” society (Constant and Wigley

The project compares the Situationist

1998). Château de Chambord in Loire

principles of dynamic environment

Valley, the site for this project, is a

(Schrijver 2011) and unitary urbanism

reminder of a nostalgic utopia and a

(Sadler 1998) with the works of Yona

“..liberating the artist community from the burden of work and subverts the idea of architecture as static work�

The New Babylon 2.0

A Situationist Colony

FORM FINDING

MORPHOGENESIS

CONTEXT

MASTER PLANNING

MASTER PLANNING

INTERIM DESIGN WEEK 8

CITY FOR HOMO LUDEN ,CLASSLESS SOCIETY WITH C R E AT I V E F R E E D O M

Bartomeu Marí, Mark Wigley, Constant Nieuwenhuys, Guy Debord. 1998.

Constant’s New Babylon (Witte de With Ceter for Contemporary Art Uit-

U N I TA R Y U R B A N I S M & S P E C TA C L E

A L DO VA N E YC K ’ s C I T Y A S P L AYG R O U N D

P

ublic space characterised by

non-hierarchical

composition

using

interstitial spaces.

Oudenampsen, Merijn. 2013. “ALDO VAN EYCK AND THE CITY AS PLAYGROUND.” In Urbanacción pp. 25-39. La Casa Encendida, Madrid: Ana Mendez de Andés (red.)

CARL THEODOR S Ø R E N S E N ’ S J U N K P L AYG R O U N D

C

arl

Theodor

wrote

about

Sørensen junk

playgrounds:

“They can dream and imagine and make dreams and imagination reality, any rate a reality, which the child’s mind is completely satisfied with…It is so obvious that the children thrive here and feel well, they unfold and they live.

Of all the things, I have contributed to realize, the junk playgrounds the ugliest, for me, however, it is the most beautiful and best of my works.”

Co.Lab. 2017. ‘A history of creative playgroups’, Co.Lab. https://birminghamcolab.files.wordpress.com/2017/07/turck_62472-72dpi.jpg?w=710.

Dighton, Robert. 2017. ‘British Adventure Play’, Co.Lab. http://www.adventureplay.org.uk/carlsorenson.htm.

MOON SPACE

HEIGHTMAP

As a technique of form making, a height map of a moonscape is used to drive the terrain vague as an initial condition to Conway’s Game of Life algorithm.

HEIGHT MAP

SINUS IRIDIUM

PROMOTORIUM LAPLACE

PROMOTORIUM HERACLIDES

I T E R AT I V E FORM MAKING

Point charge attractor introduced to

D I G I TA L A N T I FORM 2.0 x 2.0 x 2.0 voxel Size of voxel influence the density /details of the terrain

1.5 x 1.5 x1.5 voxel

ACCEPTED FORM create “floorplate”/Platform floor plate

point charge

point charges introduced to influenced the terrain

MASTERPLAN

SECTOR 02

AGON - COMPETITION

ARENA THE STADIA MAIN PIER - MARINA FORMAL ENTRANCE MAIN LOBBY

SECTOR 01

ALEA - CHANCE

OUTDOOR GARDEN RESTAURANTS/BARS (5) habitation - hotel/hostel permanent installation spaces miradors

SECTOR 03

ILINX - VERTIGO

LABYRINTH GALLERIES EXPERINCE LABYRINTH - SENSORY ROOMS ART WORKSHOPS JUNK PLAYGROUNDs installation spaces indoor garden - installation spaces

SECTOR 04

MIMICRY - SIMULATION

VIRTUAL REALITY PODS HOLOGRAPHIC DECKS AUGMENTED REALITY HALLS performance hall installations

S3

S2

S4

S1

ANNUAL WATER LEVEL CHANGES @10m above sea level

WINTER

@15m above sea level

@20m above sea level

RENDERS - CHAMBORD + DEISGN

AVERAGE ANNUAL

SPRING - SUMMER

LOIRE VALLEY FLOODED

VIEW FROM PROMENADE

MARINA

ARENA

references

Constant, and Laura Stamps. 2016. Constant : New Babylon. To us, liberty: Ostfildern : Hatje Cantz ; Den Haag : Gemeentemuseum, [2016]. Bibliographies Catalogs Non-fiction.

Constant, and Mark Wigley. 1998. Constant’s New Babylon : the hyper-architecture of desire: Rotterdam, The Netherlands : Witte de With, center for contemporary art, 1998. Catalogs Non-fiction.

Friedman, Yona. 2015. Yona Friedman: the dilution of architecture. Zurich: Park Books Archizo om. Book.

Mathews, Stanley. 2006. “The Fun Palace as Virtual Architecture: Cedric Price and the Practices of Indeterminacy.” Journal of Architectural Education (1984-) 59 (3):39-48.

Sadler, Simon. 1998. The situationist city: Cambridge Mass. : MIT Press, c1998. Bibliographies Non-fiction.

Schrijver, Lara. 2011. “Utopia and/or Spectacle? Rethinking Urban Interventions Through the Legacy of Modernism and the Situationist City.” Architectural Theory Review 16 (3):245-258. doi: 10.1080/13264826.2011.621545.

Stracey, Frances. 2014. Constructed situations : a new history of the situationist international, Marxism and Culture: London, England : Pluto Press, 2014. Non-fiction Electronic document.