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Contents

00000.001 - Introduction 3-9 [pause]

3-5

beyond reach

6-9

00000.002 - I_Marina 11-23 an introduction to Marina Abramovic & performance art

11-15

‘cleaning the house’ - the Abramovic method [O]

16-23

00000.003 - An Institute for Tokyo

25-30

architectural drawings

00000.004 - Technology 31-44 structural & environmental

31-35

materiality & construction investigation

36-41

seam[less] 42-44

45-55

00000.006 - Conclusion + Exhibition

56-59

00000.005 - Public + Participant + Performance

Δ

slow-motion walking

45-46

re-evaluating the ‘stage’

47

‘present-ness’ 48-55

00000.007 - Appendix 61-77 i. an interview with the Self

61-67

ii. an interview with Marina

68-77

1


2


[ pause ]

3


4


MAR

[ I ]

Project; The Marina Abramovic Institute (II)

The Shinjuku Institute ‘for the preservation of performance art and long durational work’. MAI(I) Client; Marina Abramovic Location; 思い出横町 [Piss alley], Shinjuku, Tokyo, Japan

5

NA


00000.001 - Introduction

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Introduction; The Shinjuku Institute is dedicated to the preservation of performance art and long durational work. The works of Marina Abramovic are gaining increasing exposure - due to a fascination and willingness to engage emerging within modern culture. Her impact is beyond mere commerce - it aims to shape contemporary culture. Her activities and performances are beginning to infect and influence the daily lives of an increasing number. As such the first Marina Abramovic Institute has been proposed; located in the peaceful town of Hudson, New York. Naturally Abramovic reaches out. With the ambition to spread the philosophy of the Abramovic Method, a second institute is proposed for Tokyo. MAI(I) is located within the district of Shinjuku, in the heart of the city - where needed. The following report explores the proposal for an Institute for Tokyo. Marina Abramovic and the notion of performance art and long durational work are introduced, followed by the Abramovic Method itself. Subsequently the architectural response is presented - encompassing structural, environmental, and procurement strategies.

Interviewer: Stefan Dopierala

view from 都道414号線

Subject: Photographic Essay;

Shinjuku

01:- Architectural [self]Analysis 02:- Japan

03:- Piss Alley

Tokyo 6


00000.001 - Beyond Reach

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Beyond Reach Within the overwhelming density of the modern megalopolis our daily existence is relentlessly intensified. Time is continuously condensed. Through this intensification, a paradox emerges regarding our habitative attitudes and experience. Through the introduction of time-saving devices and procedures – we have less time. And through increasing density, we become ever more isolated and private. Anonymity has become ubiquitous within the megalopolis of the modern world. A conscious commitment to reclaiming time is challenged. Above the urban beacon of Shinjuku’s Piss Alley, a proposal is made for an appropriate monument – or [anti] monument. Through demanding presence, the Institute stands as a counterpoint to the multi-tasking and ever shortening attention span of modern habitation. Architecture acts as mediation between the city and the self. The Institute offers a needed Faraday Zone; a zone of retreat and re-centring. Re-interpreting the notion of a Faraday Zone from a ‘dead zone’ (impenetrable by electrical signals), these zones become the craved moments of the self. These spaces are alive. Engaging the philosophy of proclaimed long durational performance artist Marina Abramovic, the Institute is dedicated to the presentation and preservation of long durational works. Involving participants in the Abramovic Method; a series of exercises and chambers are accommodated to increase a self-awareness of physical and mental experience in the moment.

An Edokko Portrait Shinjuku_Tokyo Stefan Dopierala 7


00000.001 - Beyond Reach

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Critical Interrogation:

[extract]

An interview with Marina; Interrogation. 01 :_ Due to the flexibility of Performance art, and its perceived boundlessness, how does architecture strive to inhabit its ambition towards event? In ancient times, the artist would climb silently to the top of the mountain to allow for their mind to focus to one point of concentration. I imagine an architecture which captures this notion; an architecture which allows for a distinction and separation. Such place is evermore rare and consequently cherished in the modern city.

view from 1 Chome-3-3 Nishishinjuku

Interview with Marina

Shinjuku

http://www.reddit.com/r/IAmA/comments/1jctbp/

Tokyo 8


00000.001 - Beyond Reach

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Critical Interrogation:

[extract]

An interview with Marina; Interrogation. 02 :_ Is consciousness always confined to time and space? Can we ever experience life outside of these two coordinates that usually influence our existence? Of course. There are so many different dimensions. Ancient rituals and ceremonies explore these possibilities; we can understand that time doesn’t exist that it is only an invention. My understanding is that if you are fully in the present, time does not exist. Time only exists in measuring the past and the future.

location view

Interview with Marina

Shinjuku

http://www.reddit.com/r/IAmA/comments/1jctbp/

Tokyo 9


10


00000.002 - I_Marina

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

I_Marina

‘An introduction to Marina Abramovic & Performance Art’

‘Cleaning the House’ The Abramovic Method

11


00000.002 - I_Marina

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Performance Art Performance art often actively attempts to subvert or resist its own definitions. At its core are typically four variables: time, space, the performer’s body, and a relationship between performer and audience. These variables are inherently extremely flexible, and do not adhere to rigid controls. Performance art can occur without a direct audience – it can be viewed live or by proxy, or performed and documented. It’s location is boundless, and its time infinite. Whilst performance art is often interdisciplinary – incorporating elements of painting, sculpture, dance, theatre, music and other visual and performative arts – it is distinguished through its ambition towards an event, rather than an object. Its primary medium is the body.

An introduction to Marina Abramovic & Performance Art

Interview with Marina http://www.reddit.com/r/IAmA/comments/1jctbp/

12


00000.002 - I_Marina

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Interview with Marina Interrogation. 03 :_ The MAI is proclaimed as an institute for the preservation of performance art and long durational work. What is the connection between these two themes and indeed the differences?

Art must be beautiful Artist must be beautiful

Performance art is the melding of time-based,

1975

experiential aspects of performance with the philosophical, personal, spiritual, and social concerns of contemporary and modern art. The most important element of long durational work is inherently time. Exploring how the performer and audience experience time, often by stretching out or slowing down actions commonly performed quickly or never scrutinised at all. By taking long periods of time to perform, every single moment of a work may become individualised. Through this radical change of perception and perspective, both performer and audience may effectively step outside of time, allowing both to consider the most profound and

Rhythm 0

universal questions.

1974

An introduction to Marina Abramovic & Performance Art

Interview with Marina http://www.reddit.com/r/IAmA/comments/1jctbp/

13


00000.002 - I_Marina

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Interrogation. 04 :_ The tranquillity of performance bodies such as ‘The Artist is Present’, and the Abramovic method itself, is similar to that experienced in a number of traditional Japanese rituals and cultural actions; specifically Japanese temple gardens for example. The association of ritual with performance art is very intriguing. I am fascinated with Japanese culture; even to the rituals of everyday life. I like how Japanese houses have very few objects on display. Most Japanese families have a storage place full of objects. In the spring, for example, they take out the spring vases and put them around the house. In the winter, they return the spring vases and take out the winter ones. I do this with my books. My cupboards are full of books, but the only visible book is the one I am reading. When books are always accessible, you become so used to them you don’t see them anymore.

An introduction to Marina Abramovic & Performance Art

Interview with Marina http://www.reddit.com/r/IAmA/comments/1jctbp/

14


00000.002 - I_Marina

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Rock Garden Ryoanji Temple Kyoto Japan;

“Seventeen year old Tadaichi Iwahashi, apprentice monk, rakes the zen garden at Ryoanji, a Zen temple in Kyoto. The rock and sand garden embodies Japanese aesthetics-nature at its simplest, art at its most refined.”2

Photographic Essay; 02:- Japan

2

15

http://eastep.photoshelter.com/image/I0000qIckFqqlTeI


00000.002 - I_Marina

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Cleaning the House The Marina Abramovic Method The method helps participants to develop skills for observing long durational performance through ritualising every day actions. A series of exercises and environments are designed to increase awareness of

_sound

physical and mental experience in the moment.

Cleaning the House workshop Atlas de Ulla

The Institute embodies the Japanese notion of Kaizen

Spain

- the continuous improvement of every aspect of

2002

life. The five components of the Kaizen framework include: 1. Seiri – tidiness 2. Seiton – orderliness 3. Seiso – cleanliness 4. Seiketsu – standardised clean-up anonymity within the collective

5. Shitsuke – discipline-standardisation

ceremonial crossing Shinjuku

These points are equally reflected in the Abramovic

Photographic Essay .02 :- Japan

Method and the Shinjuku Institute.

55 Images

Cleaning the House_The Abramovic Method

16


00000.002 - I_Marina

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

ラジオ体操 Rajio taiso;

Rajio taiso (radio calisthenics) has been popular practice in Japan since the 1930s. Stemming from the belief that exercise improves mental efficiency and well-being, exercise routines are carried out at the beginning of each day, often in whatever location one happens to be. The exercises are actively by companies across Japan in a bid to improve workers motivation and productivity. displaced inhabitants participate in radio calisthenics following earthquake of 2011

The Institute stands as a commitment to such self well-being - physical and psychological. Piss Alley has a tradition of attracting businessmen (referred to as ‘salary men’ in Japan) - traditionally drinking into the early hours of the morning. It is encouraged these businessmen will be regular visitors to the institute during the day. radio calisthenics in 1930s

Cleaning the House_The Abramovic Method

17


00000.002 - I_Marina

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

From the morning till the evening, move as slowly as possible, doing everyday actions: getting up, dressing, washing, drinking water, sitting, walking, lying.

Cleaning the House_The Abramovic Method

18


00000.002 - I_Marina

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Stepping on the Ground

In the early morning between 6 and 7,

_morning Kerguehennec

naked, regardless of weather conditions,

France

go outside onto the land, stepping on the

1997

ground and checking the body.

Jump

With eyes closed, wait for the call, jump and use the entire energy of the body, lifting both legs at the same time, jump as high as possible and at the same time release the scream. Repeat three times. _morning Kerguehennec France 1997

Cleaning the House_The Abramovic Method

19


00000.002 - I_Marina

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

1 time in 1 time out 2 times in 2 times out 3 times in 3 times out 4 times in 4 times out 5 times in 5 times out 6 times in 6 times out 7 times in 7 times out 8 times in 8 times out 9 times in 9 times out 10 times in 10 times out

_breathing

Cleaning the House_The Abramovic Method

20


00000.002 - I_Marina

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Colour _colour

Looking at the colours;

Como Italy

Sitting on a chair, look at one of the primary

2001

colours: yellow, red or blue. Motionless. 1 hour (each colour)

Energy

With eyes closed, extend palms 20-30 centimetres away from another. Never touching, move hands around their body; feeling the energy. _energy

1 hour

Paris France 1995

Cleaning the House_The Abramovic Method

21


00000.002 - I_Marina

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Sound _sound

As a person reaches the point of exhaustion,

Atlas de Ulla Spain

the mind becomes very sensitive, and is more

2002

open than usual to sound and music. 3 hours.

Remember

Try to remember the very moment between being awake and falling asleep.

_remember Sache France 2001

Cleaning the House_The Abramovic Method

22


00000.002 - I_Marina

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

harvard

_tokyo

The Marina Abramovic Institute for the

“I like to think the participants cannot

“I want every person in Hudson to experience

preservation of performance art and long

relate to their new environment. Their own

the chambers because if I can change that

durational work

environment is connected to certain habits

community consciousness, then I can create a

and fixed ways of thinking, so being out

model society. And that would be special.”

Location: Hudson, New York

of this environment, confronting different Hudson - Tokyo;

languages and cultures is much Population: 6,500 (approx) [expanding at 5.8%

better. Situating the new Institute within the heart

over last decade] Number of shops: 70 (circa)

The best locations are those in nature, far

of Tokyo is a powerful step in challenging

from villages and even from other houses.”

the city. The ambition to embed a regainedconsciosuness within the city is much

Building initial construction: 1929 manhattan

Abramovic, Marina et al. Marina Abramovic, Student Body. Milan: Ed. Charta, 2003.

stronger - where it is needed. Allowing for a place in which the conscious of a city could be changed - even more special.

Area: 3, 900-square-metres

From New York to Tokyo

23


24


00000.003 - An Institute for Tokyo

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

An Institute for Tokyo

‘for the preservation of performance art and long durational work’

25


00000.003 - An Institute for Tokyo

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

The existing narrow junction passage (east to west), currently a particularly unpleasant and inhabitable zone, is expanded. Thus a ‘temple garden’ is granted beneath the Institute; generating the public entrance. The Zen garden is brought into the city (such as the Rock Garden at Ryoanji Temple exhibited within Photographic Essay; 02:- Japan); the simplicity of this space a powerful move in the context of Tokyo. This move brings a number of benefits to the site. In expanding the space the commercial edge is increased. Corner restaurants are [re]constructed, with greater accessibility, allowing improved circulation into the narrow alley. This moment of pause, within the length of the alley, also acts as a fire gap. Historically the site has been prone to fire breakouts, which spread easily through the structural network. This air-gap restricts potential fire growth. The designation of re-claimed space is further justified by the expansive construction above.

Ground floor plan scale_1/400

26


00000.003 - An Institute for Tokyo

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

The relationship of street width/building height ratio is explored in the Photographic Essay; 03:Piss Alley, and compared with the immediate context of Shinjuku. The density of Piss Alley is inherent to its spatial quality. At the point of the Institute, this density is re-orientated - while expanding the area of the ground plane, compression is applied vertically. This re-appropriation of tension strengthens the sense of the other applying a direct juxtaposition. Beyond Canopy first scale_1/400 27


00000.003 - An Institute for Tokyo

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

The public are primarily accommodated at the second level, accessed by the main stair [slowmotion]. A tension is established between the audience-as-audience/participant-as-audience and audience-as-performer/participant-as-performer - three levels being visually connected by the central performance void.

‘Hidden discovery’ staircases allow for public movement throughout the main body of the Institute, generating varying degrees of integration between public + participants + performer. These stair cases are also fundamental to the fire escape strategy, allowing for a number of exit routes. Beyond Canopy second scale_1/400 28


00000.003 - An Institute for Tokyo

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Beyond Canopy third scale_1/400 29


00000.003 - An Institute for Tokyo

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Beyond Canopy roof + retreat scale_1/400 30


00000.004 - Technology

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

a

1/600

a

section [a - a] west perspective 31


00000.004 - Technology

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

scale_1/400 structural & environmental

32


00000.004 - Technology

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Structural analysis;

Fire strategy;

Displacement Ventilation;

A primary structure of pre-stressed concrete columns and

Exits are located at first and third level. In

Displacement ventilation is appropriate for the interior

floor plates generates a large scale of freedom regarding

addition to the primary public stair, three

of the ‘suspended curtain’. With ceilings higher than the

the interior layout of the building. Such potential flexibility

additional staircases allow circulation between

minimum suggestion of 9ft appropriate for displacement

improves the integrity of the economic investment in the

the rest of the main body, thus offering

ventilation, effective diffusion of air can successfully take

project. Columns are the primary load bearing structure

different circulation routes to the nearest exit.

place. Due to the air quality of the site and the potential

and as such, site investigations into the ground strata are required to determine the suitability for foundations. The

for contaminants, displacement ventilation is a viable Building dimensions; 35 x 18 metres

solution in offering cleaner air supply.

Construction materials are vital to the fire

The locating of diffusers must be considered as to not

strategy. Twaron fibre is inflammable and

generate uncomfortable environments in a directly

does not melt in fire. Correctly specified

inhabited area.

facade is constructed of Twaron fibre panels (page 36), ®

which attach to a steel frame, generating a seamless facade. Earthquake consideration;

pre-stressed concrete also has effective fire Although much of Shinjuku’s expansion and progression

resistant qualities. Fire doors are fitted on all

Supplying air at low velocity reduces pressure requirements

has historically been a consequence of its resistance to many

enclosed rooms.

and allows fans to run slower, thus consuming less energy

of Japan’s strong earthquakes, earthquake consideration

and vitally producing less noise within the institute. A more

remains important when designing any new building in

Due to the ‘open’ nature of much of the

regulated interior environment can thus be maintained.

Japan.

interior space, an appropriately extensive

The primary source of heat generated within the building

sprinkler system is required. The purpose of

will typically be of the inhabitants themselves (it is internal

The symmetrical design of the buildings structure is hugely

the sprinkler system is to control any potential

heat which drives the air diffusion). The use of concrete

beneficial in response to earthquake consideration. The

fire, thus allowing greater time for escape. The

within the structure has the benefit of its thermal capacity.

predictability of forces, and their transfer, is considerably

system is fitted within the ceiling services at

Supply units are located at the base of the building, with

simplified by such a logical structural system.

each level.

extraction units located within the roof servicing zone.

structural & environmental

33


00000.004 - Technology

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Environmental shading strategy; b

‘Enclosed curtain’ b

Mechanical shading systems installed within roof servicing allow for control of natural daylighting - allowing for a fully controlled internal performance space. The shading system

1/600

is vital in controlling solar gain within the main performance space, particularly in summer months.

1/600

Maintenance; The ‘inverted pyramid’ roof light contains a cover panel in its construction - thus controlling rain flow and the prevention of dirt entering the inverted area. Servicing within roof is accessible for maintenance.

1/600

Environmental shading strategy

Environmental & Maintenance

34


00000.004 - Technology

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

ventilation - extract units

Earthquake consideration;

ventilation - supply units

The ordered column grid provides efficient support for the structure. The shear capacity is vital to the structural integrity during an earthquake. Short columns are purposefully avoided. Connections between floor plates and columns is crucial; allowing a degree of movement in the structure and thus control of deformation, and ultimately prevention of collapse. Environmental & Maintenance

section [b - b] north scale_1/150 35


00000.004 - Technology

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Material Investigation; Case Study .01 Stedelijk Museum, Amsterdam Benthem Crouwel Architects completion date: 2012

Twaron® fibre - 271 panels of Twaron® fibre - Panels attached to steel structure by 1,100 aluminium brackets - TWARON – a synthetic fibre, is extremely lightweight (27kg per square metre) - Five times strength of steel - Maintains shape and strength in varying weather conditions and does not melt in fire. - Due to mouldability, permits creation of a smooth, seamless surface of virtually any area

Materiality & Construction Investigation

Twaron® fibre Teijin Aramid Tokyo 36


00000.004 - Technology

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

site - Piss Alley, Shinjuku, Tokyo

Material Investigation; Large aramid-and-carbon-fiber/vinyl ester sandwich panels exhibited thermal expansion small enough to provide stable building blocks for the 100m/328-ft wide seamless façade of the Stedelijk Museum’s new extension. Source: Teijin Aramid

supplier - Teijin Aramid, Kasumigaseki 3-chome, Chiyoda-ku, Tokyo Materiality & Construction Investigation

Twaron® fibre Teijin Aramid Tokyo 37


00000.004 - Technology

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Step 3: After mold release was applied, a layer of E-glass fabric Step 1: Teijin produced and

Step 2: Flat panels were produced

donated 4,850 kg/10,692 lb of

on a large flat mold constructed

Twaron high-modulus fibre,

from float glass (molten glass

which was converted into

floated on molten metal) that,

unidirectional fabrics.

when cooled, formed a truly flat surface.

was added, followed by two layers of Twaron para-aramid UD fabric with a layer of Tenax unidirectional carbon fibre fabric in between — placed perpendicular to the aramid. Fire-retardant PIR foam, shown here, forms the laminate’s core.

Materiality & Construction Investigation

Step 4: Twaron aramid and Tenax carbon fibre formed the inner and outer skins of the

Step 5: The entire layup is

laminate. Here, carbon fibre

covered with a vacuum bag.

is being placed perpendicular to the ply of aramid that was already placed. Another layer of aramid will follow, prior to resin injection.

Twaron® fibre facade construction

38


00000.004 - Technology

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Step 7: To prepare for precision

Step 6: The bagged layup is vacuum infused with fire-retardant vinyl ester resin. Demolded panels are transported to site.

installation of panels to the

Step 8: Holland Composites

museum extension’s steel

engineered and commissioned

structure, a technician at the job

the building of a vacuum-

site attaches caps that fit over

activated mounting tool for this

the façade’s welded mounting

project. Attached to a forklift,

points. Holland developed

it gripped the outer skin of the

a set of six plastic caps that

panel using vacuum clamps and

permitted minor adjustments to

then could twist and tilt panels

compensate for small deviations

into position for mounting.

Step 9: A wet lamination process was used to bond the panels into one seamless façade. PIR foam was placed in the gap and then (as shown here) covered with a prepared strip of aramid/carbon/glass laminate.

Step 10: Once bonded with vinyl ester resin, the laminate strips placed in between the larger panels created a strengthening connection, ensuring the façade acts as one large composite structure. The structure was ready for sanding and coating.

in hole accuracy.

Materiality & Construction Investigation

Twaron® fibre facade construction

39


00000.004 - Technology

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

From fibre to facade;

Site investigations + construction issues;

The panels each have up to 15 hooks fixed to inner surface. All hooks need to be placed

i. Investigation into ground strata necessary

over the plastic-capped mounting points at

to determine suitability for column pile

exactly the same instant.

foundations.

The solution was to use a remote control

ii. Investigate potential road closure of

to twist and tilt the panel until it was in

都道414号線 to allow for delivery of

the exact position, before gently lowering

materials and loading & mounting

it into place. This allows high precision in

equipment.

generating a seamless facade. iii. Disruption caused to Piss alley itself After the panels had been mounted, they are

during deconstruction phase and throughout

bonded into one single surface.

initial phases of construction. i.v. Production factory of Twaron®

Earthquake consideration;

fibre located in Tokyo, thus providing environmental benefits of reducing transport

The steel frame upon which the Twaron

costs and CO2 emissions associated.

panels are attached offer a degree of bracing between the column grid.

Mounting panels to steel construction

Materiality & Construction Investigation

Twaron® fibre facade construction

40


00000.004 - Technology

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

Krion has proven resistance against adverse weather conditions. Together with the development of advanced anchoring systems make it possible for Krion to be used in the design of ventilated facades. Whilst a seamless finish is desired for the Institute, displacement ventilation systems require the air to be drawn in from specified areas and extracted from the ‘concealed facade’. As it is unaltered by sudden temperature changes, high humidity levels or in areas Additional investigation; Case Study. 02;

with arid climates, it is an ideal covering material for any type of building. Due to the method of production thermoformed sheets - there is potential to

KRION™

create any form.

PORCELANOSA Bershka (INDITEX Group) Madrid Spain

Materiality & Construction Investigation

further investigation

Krion Porcelanosa 41


00000.004 - Technology

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

c

1/600 c

seam [less]

section [c - c] east perspective 42


00000.004 - Technology

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

seam [less]

public entrance chamber slow stair scale_1/120 43


00000.004 - Technology

MAR [I] NA 思い出横町 New Spatial Practices in Architecture (and Art)

seam [less]

within-curtain slow staircase detail scale_1/60 44


00000.005 - Public + Participant + Performance

MAR [I] NA 思い出横町

Δ

New Spatial Practices in Architecture (and Art)

Public + Participant + Performance

slow-motion walking re-evaluating the ‘stage’ ‘present-ness’ preparation tower + present-ness chambers every step

45


00000.005 - Public + Participant + Performance

MAR [I] NA 思い出横町

Δ

New Spatial Practices in Architecture (and Art)

Slow-motion walking; Circulation within the Institute is at the crux of successfully accommodating both public and participant - maintaining the tension between the two which is vital to the success of performance art. The primary public stair case [slowmotion] extends each tread to reduce the rhythm and pace of ascent. Similarly the dimensions of the connecting seam impose a sense of detachment (through perceived distance) for the participants entering the main structure from the

ii.

preparatory tower. The ambition of slowing and extending the common practice of walking within the Institute is achieved distinctly for both public and participant. i.

Hidden ‘discovery’ staircases allow for free movement of public within the main body of the Institute.

i. primary public stair case

ii. connecting seam - participant

slow-motion walking

slow-motion walking

first - to - second

tower - to - curtain 46


00000.005 - Public + Participant + Performance

MAR [I] NA 思い出横町

Δ

New Spatial Practices in Architecture (and Art)

Re-evaluating the ‘stage’ Performance art finds itself positioned in an unfamiliar location regarding the association between performer - public. The performer is not that of a theatre performance, nor are they a piece of art work like that of a gallery wall or sculpture. Thus a new stage is challenged for its exhibition. _participant

Challenging the traditional notion of a stage in front of endless rows of seating, the MAI(I) stage is viewable _public

from every angle, at every level. Thus the performance is connected to the whole space. And as a result, the participants become performers

_performance

themselves - viewed by the public similarly to the ‘performer’ of the stage. An exciting tension is thus constructed within the building as a whole.

public perspective

performance perspective

47


00000.005 - Public + Participant + Performance

MAR [I] NA 思い出横町

Δ

New Spatial Practices in Architecture (and Art)

Chamber Series

‘present-ness’

The Abramovic Method within - the - curtain 48


00000.005 - Public + Participant + Performance

MAR [I] NA 思い出横町

Δ

New Spatial Practices in Architecture (and Art)

Exercise;

Orientation;

Electricity;

Levitation;

Participant audience;

Upon entering the ‘suspended

Tower Chambers -

Participants experience electric

Luminosity Chamber - In the

current. By holding a neon tube

Upon completion of the Abramovic

luminosity chamber, visitors lie on

method, participants are welcome

curtain’, the first chamber is the ‘exercise chamber’. Here

Participants stand under copper

illuminated through the electricity

beds made of wood in the presence

towers that emit a strong, focused

from a tesla coil in the middle of

to remain as long as they wish to

participants perform a series of

of quartz crystals. They are asked

magnetic field.

the room, the participant becomes

view the current performance - free

routines to regain awareness of the

to focus on breathing and to enter a

a transmitter and conductor of that

to rest and sleep.

timeless state of mind.

body.

energy.

Chamber Series

‘present-ness’

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New Spatial Practices in Architecture (and Art)

_levitation

_artist retreat

_crystal cave chamber

_mutual gaze chamber

_colour chamber

_washing chamber

_counting the rice chamber

_water drinking chamber

_entrance reception

preparation tower + present-ness chambers

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‘Every Step’ Ascent/Descent Duration: 1 hour A Performance by the author The process of pilgrimage, intrinsic to the experience of the participatory tower, was explored through the performance of ‘Every Step’. The act of ascent, from chamber to chamber, is an act of separation - detachment [reattachment]. The repetition of this act, extended of a period of time, allows for a meditative engagement.

Ascent/Descent

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development of ‘suspended curtain’ proposal

within - the curtain

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tension between forms [re-appropriated tension]

tension between forms

altered compression

‘suspended curtain’ + preparatory tower

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[1]

cube - as - cube

[2]

cube - as - extraction

development of proposal

[3]

extraction - within - cube Photographic Essay_02:- Japan Anonymity Cube

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development of proposal

Photographic Essay_02:- Japan

interrogated

Anonymity Cube

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Procurement Strategy

Conclusion

Whilst Abramovic initially purchased the

In proposing an Institute for the city, the demand

Hudson building for conversion with private

and indeed success of the ambition is truly

funds, the remaining money for the project

tested. The MAI(II) for Shinjuku is the first

was to be fund-raised.

purposefully built project for the Abramovic Method [Hudson being a conversion project].

The notion of fund-raising is fundamental to

Thus it has the potential to stand as a beacon

Abramovic’s beliefs regarding ‘ownership’ of

within an expanding global network.

the building. People must ‘need’ this building. Through integrating the public within the The fund-raising goal for Hudson was

Institute, the activities are celebrated and

successfully reached in August of 2013.

exposed - whilst maintained within the protected whole-ness of the ‘suspended-curtain’. The

As fund-raising will likely be required

presence of the building in context is fascinating;

for the construction of MAI(I)-Shinjuku,

challenging the notion of monumentality. Whilst

the construction process lends itself to a

inevitably responding to its immediate context

traditional procurement route. By de-risking

in orientation and scale, the Institute strengthens

the design with this method, greater certainty

the inherent identity of Piss Alley.

can be given to the client regarding costing of the project. Successful fund-raising also

A number of tensions emerge, and are indeed

confirms communal desire for such a building.

provoked by the architecture; tensions in form, materiality, function, and scale. Creating such

Subsequently good use can be expected - thus

juxtapositions is necessary of such a building. By

justifying the economic investment in the

doing so, the potency of each is strengthened.

project.

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Exhibition Drawing

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Exhibition Drawing Construction Diagram

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Appendix

i. an interview with the Self ii. an interview with Marina

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Interrogation. 01 :- How does the monumental fit within the topography of Shinjuku? Monumental is not necessarily synonymous with scale. In fact, Piss Alley itself is monumental – that which embodies the spirit of a place and stands as a beacon within the urban fabric. Not a beacon in its vertical assertion above the city, but in its attraction to tourists and inhabitants within the urban. Thus the perception of monumentality is challenged, and indeed the need for monumentality must be questioned. Not everything is monumental. Monumentality must be reserved accordingly, in order to retain its essence. And of course, monumentality relates directly to community. Through awareness of monumentality, we appreciate the significance of community – important considerations for the proposal. The Pando Forest, ‘The Trembling Giant’, Fishlake National Forest, Utah. Approximately 47,000 genetically identical Quaken Aspen trees sharing a single root system and thus being a single organism. Spanning 107 acres and weighing 6,615 tonnes, Pando is one of the world’s largest single organisms.

Where is monumentality reserved within the interconnected forest?

Critical Interrogation: An interview with the Self

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Interrogation. 02 : - What is the significance of Jack Vettriano’s studio in relation to architecture at the urban scale?

The analysis of Jack Vettriano’s studio/living space explores the direct relation of the body to immediate space; space adapted to a necessary scale of ritual and habitation, set within the context of a grander scale [in this case the grand room of his London apartment but equally applicable to the urban and indeed the world (universe)]. This theme of exploration can be entitled ‘ratios of living’, and indeed are investigated further at the urban scale in the model series produced in response to Photographic Essay .03: Piss Alley. The proposal for Piss Alley assumes a responsibility in scale to its context, however equally if not more importantly, a responsibility to the scale of ‘living within’.

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Interrogation. 03 :- What is the relevance of such artistic works as Ian Hamilton Finlay and Martin Boyce within a project which owes such responsibility to the urban scale? The works of Ian Hamilton Finlay often find much of their meaning due to the positioning within a landscape or environment. Their meaning is inherent in their location, as much as their inscription. In this sense they embody a memory, an idea beyond the place itself. This leads to an engagement of place; space with meaning. And whilst it is not the ambition to place literal inscriptions of concrete poetry within a proposal, architecture has the potential to engage similar notions arguably even more effectively. Strands of memory and familiarity were explored in the first year of M.Arch, in relation to well-being and inherited tradition. Counterpoints and contrast strengthen a notion, and the inheritance of tradition, culture and history provide an exciting antagonist to a contemporary ambition. The richness of contrast. Martin Boyce’s artwork often translates themes of memory, nature and language through a contemporary framework. Ultimately, perception, tension and discovery can

From somewhere to anywhere

be translated equally through architecture as art.

Tamás Féner 2014

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Interrogation. 04 :- And Marina Abramovic? The performance art of Abramovic explores many tensions, primarily between people [The Magic of Mutual Gaze]. However, at the heart of much of her work is an opposition to the drowning trends of modern living. The popularity of her The Artist is Present performance, and indeed her generally increasing acceptance and indeed popularity in recent times, is testament to people’s desire to experience the present and appreciation for moments of meaningful engagement. These ambitions are particularly appropriate to the megalopolis of Tokyo. Indeed Marina Abramovic, in partnership with OMA, is working on the Marina Abramovic Institute; an institute that would be dedicated to long-durational work – mainly performance art but also dance, theatre, film, music, opera etc. “With residencies at the Institute, artists will have a space to develop and to present this kind of work. It’s a form that needs an audience, and therefore a community.” “Multitasking and shortened attention spans have been common subjects of lamentation in the age of the Internet and smart-phones. We are equipped with time-saving technologies, but somehow we have less and less time. But I believe our society is primed for a counterpoint […]”

Marina Abramovic on the MAI

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Interrogation. 05 :- Is ritual and tradition not an empty notion in modern daily existence? Whilst much of ceremony and ritual is associated with inherited tradition, many ceremonies are emerging through the control and process of daily life, particularly in such a densely populated city as Tokyo. The Ceremonial Crossing of Yasukuni Dori (靖国通り), immediately adjacent to Piss Alley, explored in response to the Photographic Essay .02: Japan is an example of such observance within daily existence. The exploration of these processes is becoming increasingly important to generate an awareness and understanding of the modern act of habitation within the urbane. Many traditional rituals still remain within Japanese culture but are often reserved for instances of pause and social engagement; observed during the communal moments when time and occasion permits. However the aura of respect and politeness synonymous with Japanese culture stems from the foundation of its tradition. The notion of inherited tradition threaded within the contemporary again emerges. Modern interventions within traditional Japanese contexts of Temple grounds was observed and recorded in the second Photographic Essay. Often they indicate the difficulty of successfully regarding the two notions synonymously and modern interventions appear somewhat uncomfortably from necessity. Whilst a proposal respectful of these values is favoured, the value of that which is inherited must be justified, otherwise it is meaningless and futile. The notion of Kaizen is a Japanese method of continuous incremental improvement – a belief that every aspect of life deserves to be constantly improved. The five components to this framework include: 1.

Seiri – tidiness

2.

Seiton – orderliness

3.

Seiso – cleanliness

4.

Seiketsu – standardised clean-up

5.

Shitsuke – discipline-standardisation

The process of improvement and regeneration forces one to appreciate what is truly valuable.

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Interrogation. 06 :-

What if the Cable canopy [space diagram] becomes inhabited?

The cable canopy; “They grow, rather organically, where required; integral to the interrelation, connection and life of the site […] These cables are nevertheless regarded as the veins and arteries of the site – the activities of the people the pulse.”

Photographic Essay .03 :- Piss Alley 55 Images Piss Alley {Omoide Yokocho} Shinjuku, Tokyo Japan

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Interrogation. 01 :_ The MAI is proclaimed as an institute for the preservation of performance art and long durational work. What is the connection between these two themes and indeed the differences? Performance art is the melding of time-based, experiential aspects of performance with the philosophical, personal, spiritual, and social concerns of contemporary and modern art. The most important element of long durational work is inherently time. Exploring how the performer and audience experience time, often by stretching out or slowing down actions commonly performed quickly or never scrutinised at all. By taking long periods of time to perform, every single moment of a work may become individualised. Through A hypothetical interview with Marina based upon previous interview responses, the online interview documented at http://www.reddit. com/r/IAmA/comments/1jctbp/ and an understanding of her ambition.

Drinking the Water

this radical change of perception and perspective, both performer and audience may effectively step outside of time, allowing both to consider the most profound and universal questions.

Critical Interrogation: An interview with Marina

Marina Abramovic

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Interrogation. 02 :_ Due to the flexibility of Performance art, and its perceived boundlessness, how does architecture strive to inhabit its ambition towards event? In ancient times, the artist would climb silently to the top of the mountain to allow for their mind to focus to one point of concentration. I imagine an architecture which captures this notion; an architecture which allows for a distinction and separation. Such place is evermore rare and consequently cherished in “In ancient times, the artist, poet, philosopher, builder would climb

the modern city.

silently to the top of the mountain and there, in solitude, would be confronted with what the Chinese refer to as Chi’j energy. This would condition their body and their mind to one single point of concentration. As a result of that particular state would come for the poet one line of poetry, for the philosopher new thoughts, for the builder new solutions, for the artist new work.”

Abramovic, Marina et al. Marina Abramovic, Student Body. Milan: Ed. Charta,

Time/Timeless/No Time

Critical Interrogation: An interview with Marina

Walter di Maria 2004 Chichu Art Museum

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Interrogation. 03 :_ Is consciousness always confined to time and space? Can we ever experience life outside of these two coordinates that usually influence our existence? Of course. There are so many different dimensions. Ancient rituals and ceremonies explore these possibilities; we can understand that time doesn’t exist - that it is only an invention. My understanding is that if you are fully in the present, time does not exist. Time only exists in measuring the past and the future.

The House with the Ocean View

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Interrogation. 04 :_ How important is one’s mental state and involvement in performance? Is it an attempt to achieve a blank, meditative state, or is it a concerted effort to evoke thought? Both. It is very important to come to the non-thinking state and it takes lots of effort and once you are in that state, that allows awareness through a new way of thinking.

Brancusi says: “What you’re doing is not important, what is really important is the state of mind from which you do it.”

“To do nothing is much more difficult than to do things. Tibetans have a beautiful word for nothing which means full emptiness – emptiness with meaning. To get to that kind of state requires a lot of work.”1

1

Goy, Bernard, Interview with Marina Abramovic, Journal of Contemporary Art, June 1990

preparing potatoes

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Marina Abramovic

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Interrogation. 05 :_ Space is an essential contributor to Performance art. What is your interpretation of the significance of space?

Everything depends on which context you are doing what you are doing. The intention, the context for what is made, and where it is made, defines what art is or not.

Marina + Ulay

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Interrogation. 06 :_ Why will MAI be located in Hudson, New York? The contradictory ambitions of MAI to proliferate the experience of performance art to as wide a population as possible, and yet strive for distinction from the modern surge of life, is a difficult agenda. MAI’s mission of exploration is defined by an appreciation of time and space that is inherently obstructed by the pace of the city. Hudson offers this separation. It is also perfect because it is a small city that has every problem of the big city. I want every person in Hudson to experience the chambers because if I can change that community consciousness, then I can create a model society. And that would be special.

The Artist is Present

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Interrogation. 07 :_ Does the MAI have global responsibilities or is it very much self-concerned? MAI will build a platform for international collaborations between individuals across a variety of disciplines. As the only international institute whose focus is the preservation and staging of long durational works, it will serve as a home for anyone wishing to participate in the exploration of long durational performance. My ambition for the future is for other institutes across the world - as I feel it is something the modern world needs as a collective. They will be beacons, satellites, for every individual as a ‘self’; a place for time.

Marina

Critical Interrogation: An interview with Marina

2014

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Interrogation. 08 :_ The tranquillity of performance bodies such as ‘The Artist is Present’, and the Abramovic method itself, is similar to that experienced in a number of traditional Japanese rituals and cultural experiences; specifically Japanese temple gardens for example. The association of ritual with performance art is very intriguing. I am fascinated with Japanese culture; even to the rituals of everyday life. I like how Japanese houses have very few objects on display. Most Japanese families have a storage place full of objects. In the spring, for example, they take out the spring vases and put them around the house. In the winter, they return the spring vases and take out the winter ones. I do this with my books. My cupboards are full of books, but the only visible book is the one I am reading. When books are always accessible, you become so used to them you don’t see them anymore.2 2

crystal & chair

http://www.bostonglobe.com/arts/books/2014/03/29/marina-abramovic/ A3DZjWglo2Mj8fkeIVYd5O/story.html

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Interrogation. 09 :_ How will the MAI encourage collaboration between individuals in arts, sciences, technology, and spirituality? Increasingly, these fields have become fractured into specialised branches. Historical frameworks of knowledge have not always been as specialised as they are today. Rewind the tape of culture and we see numerous overlaps in bodies of knowledge: prominent mathematicians worked out calculations to serve ritual requirements of spiritual centres, philosophers explored scientific avenues to reinvigorate the arts. MAI is an attempt to draw divergent fields back into one physical location, effectively creating the opportunity to rethink conceptual limits. MAI will act as a catalyst for innovation, culture, and knowledge while engaging other disciplines in conversation with long durational performance in an attempt to invigorate the art form, its works, and its future.

Breathing In Breathing Out

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Interrogation. 10 :_ What is the future of art? I see the future of art as more and more immaterial. I see changes of consciousness in the artist that affect changes of consciousness in other human beings to create an energy dialogue that does not need to manifest in objects, just in feelings. In short, future of art can be exchange of emotions between audience and artist. And the MAI will be the first of many buildings dedicated to these ideas.

Aaa Aaa

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Marina + Ulay 1978 77



MAI(I) Design Report