Masque of Sacred Space: Metamorphosis Venezia

Masque of Sacred Space: Metamorphosis Venezia Ritual Capriccio Folly City

S

A P

C E Design Journal

Capriccio, Folly, City Design Journal

By Tat Hang Chung

TABLE

O

Prologue

The City

P. 4 - 9

P. 10 -33

OF CONTENT

Epilogue Appendix 1 P. 34 - 51

Epilogue Appendix 2 P. 52 -186

01 Prologue

01 The New City

Preface: The New City: Cannaerigo

The new city is situated in Cannaregio, the city located in the Northw itself sits away from the spotlight of tourists, as labyrinth buildings ar with intricate architectural volumes. The chaotic nature is presented a appears to deviate away from the typical Venice that pursuit the histor trigued to explore this land to create a new city within this city. For no the vernacular ritualistic elements and the site itself to speculate a diff

west corner of Venice facing the grand canal and Cannaerigo canal. The site re not organized through the street, but the street is bounded by the building as a norm in Cannaerigo under the layer of Venetian front facade, Cannaerigo ric destiny. Upon that, throughout the last few decades, architects were inow, the project aims to renew the interest to explore the relationship between ferent kind of Venice.

01 The Site Project The Thirteen Watchtowers of Cannaregio

By John Hejduk

02 City

Reflection - Metamorphosis Venzia To Hejduk, a city is a theatre, a theatre that must create a masque of our era that manifests meaning and tells the life of inhabitants. Indeed, the iconography of Venice has always implied that Venice is a tourist city. As the victim of its own success, the city of Venice has long suffered in the perpetual crisis of myth. The act of myth created by the Venetian government in order to sustain the city’s permanency, architecture has inevitably been mythologized for the purpose of ritualistic events of tourists, the city has nothing more than a romantic inscrutable labyrinth. Venetian architecture is long-imprisoned with the process of conservation and restoration. Venice needs no more grand gestures, there are specific qualities that must be identified. Therefore, the project “Metamorphosis Venezia” is a personal reinterpretation and understanding through deriving of the site and reflection on both Venice and Hejduk, interrogating the myth itself, the new Cannaregio can be seen as an opportunity of exploring architecture through the transformation of vernacular elements to a space, to evoke Venice by urban event and free Venice from an urban museum.

By establishing “the walls” as a threshold among strips, the new system collides with the existing masses which does not interfere with the ground movement.

Through wandering in the new city, the transformation of the existing familiar Venetian begins to transform into an architectural figure but remains its original programmatic uses of space, from the middle part of the city celebrates the rituals of tourist that is overwatched by the 14 watchtowers within the skin of St Mark’s Campanile glazing though the new city, from that the transformation gradually spread across both sides to the periphery. As Hejduk believes that operation prior than function, a city therefore should be capable to evoke movement by providing certain experiences. The walls and all architectural figures aimed to allow inhabitants experience Venice from its tourist city to a new metamorphosis city, cooped with the existing plannings of Cannaregio, though the movement the city becomes a mutable state vs the city of constant preservation

Amnesia?

Venice as the “city of culture” ought to project a collective memory, however, as a victim of the myth, the sacredness of Venice has long secularized, as Gregotti suggested the last century of Venice cling to the myth of its ever renascent unity has engendered an ambiguity in aim and method. Hence, the city’s intrinsic value has been coated by the myth, collective memory is never the case in Venice, but amnesia.

The idea of amnesia has been employed as a methodology of the transformation process, four types of basic symptoms are given to each found object/architecture/ sculpture for its own transformations. Reflect upon Hejduk that form making must be closely related to life, the formation of this project is a closer study and dissect on a macro level of the Venetian vernacular artifacts, to explore a typology of architecture that can still be identifiable, in totality the city appears to be familiar but experience differently, the existing and the new city challenges eternal Venice and allows new architectural thinking

New City: Axometric

New City: Master Plan

New City: M

Master Plan

Amnesia

Memory loss

Confusion

Inability to Recognize Place

Split

Revolve

Displacement

Subtraction

Extrusion

Repitition

No Memory of Eposide of Amnesia Connection

Deviation Rotation Mirrior

Inability to Recognize Place

Saffa Housing

Repitition

Displacement

Inability to recongize the existing & new Saffa

Articulation Form

Memory loss

Split

Subtraction

Memory lost of Altana

Altana

Articulation Form

Memory loss

Split

Fire Hydrant

Subtraction

Memory lost of Fire Hydrant on the street

Articulation Form

Memory loss

Ferovia

Connection

Deviation

No memory during travel in space

Amnesia

Inability to Recognize Place

Deviation

Mirrior & Connection

No memory during change of scenes

Venetian Lineway

No Memory of Eposide of Amnesia Deviation

Mirrior & Connection

No memory of walking through the entrance

Entrance Arch

Confusion

Extrusion

Well

Confusion

Confustion with Direction in Tubes

Well

Campanile 13 Watch Tower of Cannaregio

Rotation

Venetain Lineway Entrance Arch Revolve

Rotation

Confustion with Icongraphy of Venzeia

Overview

View From Saffa Housing

Venetian Lineways

Saffa Housing

Entry Sequence

Entry Sequence 2

03 Epilogue: Appendi

ix 1 Capriccio, Folly

Metropolis - Ground is not simply enough Rem Koolhaas

Capriccio 1

Observer & Observed Revealing The Masques John Hedijuk

Capriccio 2

Glamorous Venzia

“Look at their eyes, they’re all sparkling, they love this shit, they love BLOOD, they love ACTION not this talky depressing PHILSOPHICAL BULL SHIT” - Birdman - Alejandro Gonzalez Inarritu

Folly 1 - Axonometric

Folly 1 - Perspective

SCALE 1:200 0

20

40

60

80

120

200

4

40

60

120

5

10

15

30

SCALE 1:1000

N

SCALE 1:250

30

200

100

60

0

120

Folly 1 - Plan

SCALE 1:100 0

10

20

30

40

60

10

20

30

30

60

100

SCALE 1:500

N

30 20

60 40

SCALE 1:500

10

SCALE 1:100

10

20

30

N 180

0

5 SCALE 1:250

0

4 SCALE 1:1000

15 90

0

60 40 20

SCALE 1:200

0

10

40

80

SCALE 1:1500 0

60

60

120

0

0

0

SCALE 1:200 0

20

40

60

80

120

200

4

40

60

120

5

10

15

30

40

60

20

30

SCALE 1:1000 0

SCALE 1:250

Folly 1 - Section

0

SCALE 1:100 0

10

20

30

100

SCALE 1:500 0

N 10

60

Folly 1 - Fragment Details

Folly 1 The form is inspired by the threshold of Hejduk’s wall house, whenever a movement involves, requires moving back and forth with the wall. The wall simply isolated the dump land from the Venetian objects in which the object will floats when an aqua alta occurs. The idea is driven by the vernacular elements that visitors come and go has formed a ritual of a part of this city, questioning what is actually constituted the Venice we sees today? What are the people coming to Venice for? Is that the church, culture? Or these Venetian elements.

What is the core of the myth

Are you a brick in the wall?

“If you don’t eat your meat, you can’t have any pudding. We don’t need no thoughts control. All in all you just another brick in the wall” - Pink Floyd Another Brick In The Wall Pt 2

Folly 2- Axonometric

Folly 2 - Perspective

SCALE 1:200 0

40

60

80

120

4

40

60

5

10

15

40

60

200

N

SCALE 1:1000 120 30

200

100

60

0

120

Folly 2 - Plan

20

SCALE 1:250 0

30

100

30

60

30

15

20

60

10

120

SCALE 1:100 0

60

10 SCALE 1:500

180

N 0

10

SCALE 1:100

0

5 0

90

SCALE 1:250

4 SCALE 1:1000

60

0

30

20

60 40 20

SCALE 1:200

0

SCALE 1:1500 0

20

40

30

30

20

10

N 10

40

80

SCALE 1:500 0

SCALE 1:200 0

20

40

60

80

120

200

4

40

60

120

5

10

15

30

40

60

20

30

SCALE 1:1000 0

Folly 2 - Section

SCALE 1:250 0

SCALE 1:100 0

10

20

30

100

SCALE 1:500 0

SCALE 1:1500

N 10

60

N

Folly 2 - Fragment Details

Folly 2 The project is proposing a new system on the existing Venetian street, the existing system has a chaotic nature, which is a norm in Venice. Building never define by the street, but the street is define by the left over space of building. Proposing a new grid system intersect with the existing, like the modern cities, has lost the free will to find its own characteristic. As a “brick on the wall”.

The grid are two similar, four follies has been placed in the new system to negivate, and Hejduk’s project has been hidden accrodingly in the journey allows the exploration among Hejduk’s language of architecture, from the nine square grid to something else, as a way of rethinking architecture.

The 14 & 15 Watch Tower

“D: A boy he shows you his butterfly collection plus the killer jar R: I take him to the doctor” - Ridley Scott Blade Runner 1982

Folly 3 - Axonometric

Folly 3- Perspective

N

SCALE 1:200 20

40

60

80

120 30

200 60

0

120

Folly 3 - Plan

200

100

SCALE 1:1000 0

4

40

60

120

5

10

15

30

30

40

30 100

10 SCALE 1:500

N

SCALE 1:1500 0

N

60 0

10

SCALE 1:100

0

30

0

5 SCALE 1:250

4 SCALE 1:1000

20 0

0

10

20

60 40 20

SCALE 1:200

SCALE 1:500

0

20

60

60 30

20

40

40

80

10

15

60

120 SCALE 1:100 0

10

SCALE 1:250 0

30

60

90

180

SCALE 1:200 0

20

40

60

80

120

200

4

40

60

120

5

10

15

30

40

60

SCALE 1:1000 0

Folly 3 - Section

SCALE 1:250 0

SCALE 1:100 0

10

SCALE 1:500

20

30

100

N

Folly 3 - Fragment Details

Folly 3 What constitute real? Is it what you see?

The folly project has inspired by the blade runner and it sense of an eye. An eye can see eveything but never the eye itself, therefore the 14 & 15 watchtower exist, the tower consist two layering of facade, the inner layer with Hedjuk’s 13 watchtower and the outer layer is Palazzo Labia as one of the venetian elements. To create an image of what people see vs what it actually is.

The interior of tower is a stairs from bottom to top and entirely enclosed to three sides of tower the only opening is toward the 13 watchtower. The inner tower of campanile is only visible when the view stand in front of the entrance, otherwise he/she will just only sees the Palazzo Labia’s facade.

04 Epilogue: Appendix

2 Diary

Capriccios 54

55

Delirious New York Chapter Extraction & Thoughts

Skyscraper." In Delirious New York: a retroactive manifesto for Manhattan, edited by Rem Koolhaas, 9-11-81-108. New York: Monacelli Press.

Manhattan - Urbanistic ideology - Hyper density -without losing faith in it as the basis for desirable modern culture - Paradigm for the exploitation of congestion - Blueprint describes an ideal state that can only be approximated Abt Manhattan Skyscraper Skyscraper represent the meeting of three distinct urbanistic breakthroughs that after relatively independent lives, converge to form a single mechanism(architectural mutations): 1. The reproduction of the World: 2. The annexation of the tower 3. The Block alone -The reproduction of the World: -

-

The invention of elevator: recovers the uncounted planes that have been floating in the thin air of speculation and reveals their superiority in a metropolitan paradox: the greater distance from earth the closer the communication with what remains of nature The more it goes up the more undesirable the circumstances it leaves behind.

Establish a private realm, a stack of individual privacy In terms of urbanism, skyscraper has indeterminacy, that particular site can no longer be matched with any predetermined purpose Is a great metropolitan destabilizer, it promise perpetual programmatic instability; instrument of a new form of unknowable urbanism Skyscraper offers wide open sky space for a man made wild west, to discover the frontier in the sky.

Pragmatic tech (fantastic tech) like air con, electricity, tubes, telegraphs, elevators become artificial paradise? Being used for office suites Create alternative realities on any level The higher the building, the harder it becomes to suppress its latent revolutionary ambition At the end the only space not occupied by skyscrapers is the street. The process is unstoppable If 39 floors constitute a city, 100 storey is a Metropolis on its own?

Skyscraper can “made to order” climate, ideal construction, perfect control of atmosphere(weather) Each compartment is equipped to pursue its private existential journey: the building has become a lab, the ultimate vehicle of emotional and intellectual adventure.

57

-

-

-

-

-

Madison Square, Hippodrome are equipped with those tech paraphernalia can manipulate, distort existing conditions beyond recognition, ideology with all the other blocks, replacing all natural reality Identical, emphatically of Manhattan blocks are in the unstated philosophy of grid; theoretically each block can now turn into a self contained enclave of the irresistible synthetic. Become a dry archipelago of blocks Post card: picture a triple impasse, has no future, freeze time in the picture, has no provoking new tendencies for those three tendencies, Talking about how postcard framed ppl image of Manhattan?

When Three Tendencies put tgt weakness become strengths, tower meaning to multiplication, it pays for the metaphors on the ground, and the conquest of the block assures the tower isolation as sole occupant of its island. True skyscraper is a product of this triple fusion.

Woolworth Building: none of the programmatic promises of the new type are exploited Tower subdivided into office suites with discrete deco themes, lower accommodate modern administrative operation; interior is business only, exterior is pure spirituality The building work miracles through the emanation of physical presence; a larger mass than ever constructed before Automonument: the structure become a monuments automatically, koolhaas critics it does not deserve a monumental expression

- Physical manifestation doesn’t represent an abstract ideal, cuz it mass it cannot be avoid being a symbol - A symbol of an empty one, like an available for meaning as a billboard is for advertisement.

- It is solipsism celebrating only the fact of its disproportionate existence, a shameful of its own process of creation.

-

-

-

58

Lobotomy: western architecture assumes that it is desirable to establish a moral relationship between ext/int.

Separating ext/int like a surgery ending the connection between the frontal lobes with the brain(through processes from emotions.

Experiment: Dreamstreet experiment of its interior, artificial way to achieve some villa resemble roman luxury stuff, harvesting the past for the borrowing and manipulation of memory To reassemble Egypt/Greece, the combination blurs the sense of time and space, periods that were one sequential have biome simultaneous.

The experiment represents a true modernity, the creation of a situation that never existed before but is made to look as if they have. A second chance for the past, a retroactive utopia.

Provide a chance for an experiment of utopia by an artificial modern or modernized art method?

HOUSE: it scattered episodes can never be more than a series of bloated private enclaves that admit houseguests Pride: after separating int/ext pride is that if a successful surgeon

-

The wealth of artistic elaboration and the profusion of gorgeous decor, revealed in this unique establishment, were grated onto a building of essentially plain and formal character, being utilized today, a superb exemplification of modern taste and skill.

- Lobotomy satisfies two incompatible demands on the automonument by generating 2 separated architectures 1. Architecture of metropolitan exteriors whose responsibility is to the city as sculptural experience 2. A mutant branch of int design that using the most modern tech, receles, coverts, fabricates memories and supportive iconographies that register and manipulate shifts in metropolitan culture - Allows urbanistic revolution in installments. EX: Roman Garden - emotional shelters for metropolitan masses that represents ideal worlds while removed in time and space. ; Corrosion of reality - the fantastic supplants the utilitarian in Manhattan.

- These subutopain fragments are seductive, cuz no territorial ambitious beyond filing their interior allotments with a hyper density of private meanings. By leaving intact the illusion of a traditional urban landscape outside.

- CAVE : Gaudi design of grand hotel. Gaudi synthesizes a premonition of the ture skyscraper that applies both the lobotomy and the mutant branch of interior design not only on the g/f but in layer throughout the interior.

- Conquest of gravity?

- SCHISM : Planning the interior of skyscrapers has become autonomous through the lobotomy, vertical schism, a systematic exploration of the deliberate disconnection between stories.

- Essential strategy for development of skyscrapers, accepts the instability of skyscraper’s definitive composition beyond single floor, while counteracting it by housing each know designation with maximum specificity, if not overdetermination - SHADOW : when skyscrapers lose its credibility through the grim deterioration ,both financial and environmental, it inflicts on its surroundings. So some form of restriction must be adopted.

- Zoning law restricts Manhattan’s skyscrapers ,max allowable construction, also limiting 3D parameters of the law suggest a new idea of Metropolis.

- So no restrictions to certain restrictions for skyscrapers, pull back “The more it goes up the more undesirable the circumstances it leaves behind.”

- The 1916 zoning law define Manhattan collection of 2028 colossal phantom houses( skyscrapers) - The city’s scale explosion is controlled through the drastic assertion of the most primitive model of human cohabitation.

- Skyscraper offers a secret formula allow infinite growth without corresponding loss of legibility, intimacy or coherence

59

Bigness - Fueled initially by the thoughtless ener nearly a century, a condition almost witho

rgy of the purely quantitative,Bigness has been, for out thinkers, a revolution without program.

62

63

64

65

68

Idea Framing through a hierarchy with the elevated ground on top of skyscraper, the idea comes from Delirious New York, Koolhaas suggested the invention of skyscrapers and elevator like lobotomy, each floor can construct their man-made utopia in each floor, can this idea comes from landscape, since Maison a Bordeaux movement through the house consider the deviation of landscape

69

70

Afterthoughts

-The playfulness of building placement, can be further enhance Against the Manhattan Grid Ground? If the ground and house become a skyscraper Hyper dense Manhattan Library can be connected to Spinx hotel The idea of ground is interesting But visually needs more compelling to signify the elevated ground Artificial ground vs Actual ground

71

John Hejduk - Plan, Elevation & Masque “Architecture is the only art where you are in a volumetric situation that is all-encompassing.

I could be a block away from this house on a hill and the only part that I could see is that thing as an object. Suppose you’re moving around, coming closer, and as you approach the object it is coming in on you, no matter whatever perspective you’re in, there is a moment, physically and mentally, where you go over the threshold and you’re no longer outside the object. You are in it.”

72

13 Watch Tower

73

74

Plan to Elevation

From Grid to Wall, Hejduk begins with the 9 square grid as a starting point of architecture, from Texas house, as the design strategy Hejduk start turn the house plan 45 degrees to become the diamond house, even more, new answer through his discovery of architecture, until the wall house project, he explores through the idea of thresholds like wall and colorful object, the 9 square grid is less prominent, but if compare his career, we can see the trajectory from grid to something fades and the wall starts to become important for him, study through his career actually offering some revolve of ideas for find new possibility, that might benefit my later projects

75

76

Color and Wall House

Figure 37

This content downloaded from 58.84.173.110 on Sun, 18 Jul 2021 21:47:15 UTC All use subject to https://about.jstor.org/terms POINT_Eisenman_FINAL pages_3.13.indd 90

3/13/20 2:02 PM

Wall is the threshold of Hejduk’s wall house, the program revolve around this wall, Hejduk separates the work space, living space, service space by the wall, every time the occupants needs to walk through the wall to other space, the act of moving is the central idea of this project

Color - Hejduk thinks colors is built in to everyone, a person see something in early life will become a part of a person’s organism, psychology Hejduk interested in using vibrant colour instead of white, he said its related to his 17 years old illustration plate for Aesop’s Fables his color prejudges remain constant

77

78

79

80

81

82

A pure compositional capriccio, by separating the venetian elements, and Hejduk’s buildings situated inside the Texas house to project the high contrast with the modern square column, also the strategy of layering with architecture.

The watch tower act as a voyeur in the city, no one can ever sees its full shape, it always overmatching the city, the section is just a imaginary projection of the building, no one will ever know who or what is inside the tower, but you can have a glance, the capriccio is akin to the house who refuse to participant

83

84

85

Folly & Venice

Folly 88

89

90

Rules

91

Folly 1

92

93

Folly 1

94

“Look at their eyes, they’re all sparkling, they love this shit, they love BLOOD, they love ACTION not this talky depressing PHILSOPHICAL BULL SHIT” - Birdman - Alejandro Gonzalez Inarritu

Afterthought There is more can do to reflect the city or the nature of wall Front facade of Venice vs Side facade There is no pediment on facade The idea of collective objects is interesting it can be blocked by the wall house Play around with the idea of ground, Venice Aqua Alta - 120 cm above water level Collective trash - there are thousands of trash created by tourist, or the object after exhibition, where did they go? No one cares Project can be further enhance to not just physical context, but cultural

95

Folly 2

96

97

Folly 2

98

“If you don’t eat your meat, you can’t have any pudding. We don’t needno thoughts control. All in all you just another brick in the wall” - Pink Floyd Another Brick In The Wall Pt 2

Afterthought The grid should be further intensify the new system, to further emphasis the follies New system should not be above ground Plan is distracting Need to consider the placement of tower, Hejduk’s buildings, follies Drawings is hard to read

99

Folly 3

100

101

Folly 3

102

“D: A boy he shows you his butterfly collection plus the killer jar R: I take him to the doctor” - Ridley Scott Blade Runner 1982

Afterthought Rationalize some decision, like towers The frame of view? How to find a view that suits my idea 9 square grid? Perhaps can be a invisible element 14,15 tower is not convenicing How did it related to context The two facade idea is interesting, can the occupant more through the gap?

The arrangement is odd, relationship of tower should it just on one side? and they are not align

103

04 Epilogue: Appendix

2 New City

City Within a City

Aureli, Pier Vittorio. “More and More About Less and Less: Notes toward a History of Nonfigurative Architecture

New Vitruvian tried of contemporary = structural complex, form redundancy Architecture reduces to public grammar for inhabit space Defined through reconsideration possible archaeology of modern architecture A reading unfold of history is understood no long as change style but a series of constructive denial Modernity of the rise generic condition of space Non figurative: reduction of inhabitable space -> process of rectification of city since modernity What constitute public architecture?

Archizoom: homogeneous habit condition -> the basic condition required for a city to exist now become minimum infrastructure for living A wall every 10m, bed 20m, elevator 25m Min warfare to guarantee living/production Futility of making formal, spatial figures Mies Realm of biopolitical mange Grid not a row of columns for define space but rational isotropic distribution of infrastructure define architecture reproduction Grid Derivative formal order Powerful from spatial index A visual field to complex urban layout of ancient city/modern city To geo survey, finical ledger, prefab house, computational system Krauss -> Grid = realm is antithetical to way things appears in “real” Space Renaissance paint – as frame to construct view is not consider modern grid Math management – generate new type of real space Grid – no directionality, experience, symbolic content Often used for convey ultimate essence of neutrality Nature of grid, form derive from its use a structural principle signal essential consideration at the core of project of modernity - > public truth Freedom & Equality At first is a result of formalization of universal reason

107

108

109

110

111

Trummer, Peter. “The City as an Object: Thoughts on the Form of the City.”

CITY AS AN ARCHIPELAGO -Assembled of buildings -Freed from the grid with out boundary “Architecture establishing the ground for the figurative void, then architecture slab becomes a floating figure liberated from ground” ... “ But if there is no such thing as figurative object then architectural figure can be understood as an agglomeration of inhabitable cells” Is Venice a Archipelago?

Each figures occupied a space with out boundary?

CITY AS A GRID - Grid as an object emerged in Barcelona, an endless mesh without particular

boundary - Logic: potentially equal form of circulation subdividing territory into identical space of habitation - The orchestration of the material organization of the city reduced to infrastructural mesh and inhabitable blocks - It relationship from part to whole, then the buildings placed on identical subdivided properties, block turn into aggregated enclosures separated by linear streets Venice? Proposed new system of grid superimposed on Existing?

On top of the archipelagos?

Joint with the existing city? Destroy the existing rules Existing chaotic planning = cohesive New grid planning = Disruption on the existing cohesive

112

CITY AS AN AGGREGATED OBJECT - Room can be consider as building or independent inhabitable cell connected to other rooms in order to form house 1. House only consist room 2. Each room provides the condition for next room - One room provide ground from which another room emerge CITY - Every building Provides The Ground For The Next Building - Aggregation, every building provide access, construction for the next - Ground and figure, common space and individual space, solid and void is no longer distinguished - Then architecture become figure and ground -> city became aggregate object an object unified by buildings performing as ground or figure

Conclusion - City is a product of large capital, we are witnessing the emergence of an economic model in which population as a whole behaves as company - As a society, we never invested so much money to keep Capitalism alive.

- We don’t related to territory anymore, only to buildings, the architecture that is the figure and ground of the city - The idea of aggregated city here is not an Utopian project, it is reality

Is Venice possessed all of quality?

113

ReserachCannaregio, Saffa, Altana, Ritual

Urban Artifacts - Cannaregio

Cannaregio - A typology of ex- Saffa Vittorio Gregotti 1985 A less tourist, industrial area. The housing project has a pre installed altana, the artifact was popularize in the residential area of Venice. Reflect the dense public space in Venice never on a monument Facade/ important buildings A structure where usually built after construction The willingness of Venetian? Being rejected by Gregotti?

116

History of Venice

- - - - - -

Experienced a long period of peace & thrive Since medieval, the city = famous for naval trades route to Ottomans Pre Renaissance – taking intellectual refugees/ migration of ancient Greek scholar and roman territory, giving a link to Persian and Arabic Help the Birth enlightenment Venetian embrace the values of the republic = build the city attainment of the art, architecture = city of culture we see now Pre Renaissance – taking intellectual refugees from former Roman Empire Architecture = Byzantine roots, Venice is an experimentation field with modified Gothic design and neoclassicism of adoption of Baroque -> stagging becomes the Venice we see

Venetian <-> city benefit each other ? ideas  Cemetery – Cannaregio  The entrance of Venice of cars and train - > periphery from the outside  Ppl must experience the cemetery before entering the city

117

This content downloaded from 114.77.114.67 on Thu, 09 Sep 2021 12:52:18 UTC All use subject to https://about.jstor.org/terms

118

Venice in modernism - Venice conceived as new modernity might seem at first paradoxical - People think Venice = Ancient city -> A myth linked to that of its complexity nautal origin - > seems allow no transformation - Even those who have tourist acquaintance with Venice has been extensively manhandled, indeed extent violation, contamination stratification constitute the fabric of city - Cling to myth of ever - renascent unity - The fall of political digraph that foster Venice into romantic, inscrutable labyrinth - Last century - see things of mythical unity of city, under certain in aim, method -> open up cracks, to show respect without exactly knowing what for and how -> Number of important place in city was produced worrying examples - Inability to understand the structure, principle of structure - Only great Architect might be able to contribute richness of Venice - To understand complex rules that govern Venice 1. There has been a return to clarifying the vital relationship Venice - Lagoon, is the essential understanding of the morphological root of the city - Venice strongest point -> A veritable mimesis of the strategic principle of sea state - Emerge as a great city disparate but indivisible 2. The resistance of Venice to modernization -> first during Renaissance, second during 19th century - Left an urban narrative incomparably richer than most European Cities whose connect with ancient cities - Venice 19th century was extensively altered, especially in the island, there are remain incomplete, can be done by “micro surgery” - Venice, based on diffuse precise flexible rationality, endowed ny virtue of its discounitiunity with extensive open space - Geared to public transport, pedstrain accessibility Condition for new - Free from traffic congestion urban modernity - Blessed with potential quality of life - Livehood not effected by amount of space (tourist) - This is Venice only occupation, riches and unfortunate, unitary

119

Chapter Extraction - Venice -> Inherited a richness of morphology, complex than commer dialectic street and block - Architecture <-> typology <-> Site - The extensive terminology of urban parts, has provide variety of possible combination + rigorous rules to govern them Venice city of modernity - Modern architecture need Venice - the quintessential place a profound change occur during last 2 decades (60s -70s) First change - Unitary system go under “modern movement”, a unit of hope This fragmentation = Consequences of varying interpret modernism, give rise to distortion, but new possibilities, and new ideal of social progress - Function reduced to mannered empiricism, no possibility of a common approach not only archi discipline Other change - Modern Architecture -> Stop being avant garde, change in attitude with history/ tradition - Despite the face mass culture is toward slogen, hyper modern or maybe going opposite instance = Solution - “Final solution” - all historical contradiction will vanish + sense of logical necessity - Change attitude toward history of what exist, put an end to too abstract a notion of architecture, on the idea of universal model - Replaced by empirical approach, sensitive to situations, more limited approach - Many theory reject contextualism as dangerous point of departure - Will resurrect some of the old issue the use of characteristic/ existing environment for stylist inspiration

120

Chapter Extraction - Contextualism - often interpreted as search of spirit of place - It is essential to entangle contexturalism from prejudices with pure conservation of ideal reconstruction as an awareness of being part of it and of the need of new kind of architecture <-> Correspond to new sensitivity - Environment - composed of physical remain of history - To approach ideal center, discover its “place” is necessary to retrace the history of successive modification - Quality of architecture, dependent on the quality of description of this non correspondence with existing character of place and it existing determines the quality of its modifications Principle of modification - 1. The condition of building in Europe home changed -> main is toward alteration of existing environment -> 80’s 90’s mainly of building in already built area - Not just monuments, has assumed status of heritage - Urban periphery has become a place in search of an identity through modification - Countryside, large scale change occur as result of moderate goals, everything must be designed, every design become a model 2.These Reason linked to the wretched condition of thought in our discipline -> 80’s tend to produce not so much principle and method but as formal model to be initiated - What being initiated is behavior/style , not theoretical/ artistic necessity It is necessary to investigate the difference, seek specific solution, to distill from principle of its construction, the element will advance theoretical basis of architecture 3. Architecture must return to being a repository of collective memory - New world need - element of reference enduring relationship of building to site, the wealth its produce, the devastating effect it may bring about Architects must aware of those consequence of each one of their deeds

121

Chapter Extraction

Conclusion - He believes Venice today has a novel significance for both Architecture and the city - Venice specific qualities must be identified to develop new modern architecture are dense and complicated that trend to have a paralyzing effect -No grand gesture needed But patient, ability to read between lines - A high developed sense of quality, strong dose of intellectual independence on the part not only architect, also city institutions - Transformation, speculations, removal, technocratic opportunism have many years in Venice - Modern Venice we envisage must not subject to arrogant self -seeking mistaken for managerial decisions, unscrupulous cynicism mistaken struggle against ideology or the seizure of all power with the complete abdication of duty

122

Ritual and Walls - Pier Vittorio Aureli - History of religion - > function of city = evocation of sacred event As a totally other plated a fundamental role - Ancient cities - > Sanctuaries = Originated relationship men and god Secularization - Leviathan, essential contradiction of secularization - in order to be effective, static, civic = inherit theological power of religion - They draw religion = State Authority -> above individual will - State is nothing less a secularized theological concept Schmitt, Benjamin - political -> sacred coincides - Stoppage/ breaking normality, the movement when everything that concern human/ history comes to end Sacred - > field of tension, everything stable, familiar, suddenly reveal as unfamiliar/ distant from know condition - A limit experience of the limit - Religion = Paradox - > Refers to symbolic order that is meant to transcend, through concrete experience, involve object, place - Burket: played role reduce language potential for complexity by providing for meaning, norms, right, wrong - In community, religion = limit, ethical boundary that define what is and not acceptable Western Civilization - City were rare, sacred place are bounded by walls, normal rules are suspended no hostile, no weapon

124

Chapter Extraction Ritual - Ensure the communication/ transmission of religions context - Viberal language merge with gesture -> expressive power - Generate a collective consciousness and memory that is immediately spatial - The very essence of Sacred - A concrete experience form influence social organization of commits its power structure, hierarchy. In sacred space form follow function - Identification of a city with a specific god is fundamental, politics impotent -> becoming a central worship of a city = State of a capital - With possession of being one of the most important forms of sacred ritual -> Architecture = frame and end point, the edge upon moment is enacted - A powerful tool to define a memory of places, things, events -Other than define boundary of sacred space + orient public action in specific direction eg. Path - not just architecture scenography but object of sequence placed architectural structures, such as septizouim - tall structure of large facade framed, provide route Ritual object - Sacredness of the building was not just contained within its interior but it was expressed, above all, by it monumental presence of city Space - Sixtus’s Rome - demonstrated the fundamental datum of sacred space; - It relationship with movement, object are like gesture that foster an explicit response - Movement can only be enacted by imposing a limit, a stoppage in form of a freestanding object/ A wall Rome - Arches, Vaults, Domes -> emphasis idea of interior

125

Chapter Extraction - Cult of Capitalism - > everything must move according to a universal synchronism temporarily - Secular modernity -> Destroy sense of a different temporarily and replace with flat, linear, industrial time -Haussmann’s Boulevard, Crystal Palace - understood as a perversion of sacred space - “Sacred Space”- immense, totalizing apparatus -> only goal = self preservation, has reduced to a mortal god - Urbanization - A condition, sacred no longer define through limit/ movement but it is everywhere, in the incessant rituals of life under ubiquitous power of capital - Capitalism as a cult lies in its instilling of a sense of guilt - Tied to sense of indebtedness, capitalism prolongs infinitum through endless rituals projects towards a better future - Contemporary Governance = resembles cultist ritual - No power, just endless managerial administration devoid any toles (previous form of sovereignty) - Paradox of modern industrial/ post city appear to devoid of explicit of sacred space - Work as encompassing total sacred space in which a carefully choreographed rituals governs the subject from globe communication to micro scale housing - Urbanization only work if everything that existed move within an systemic logic of circulation - Western tradition of sacred space -> functioned as site of mere managerial, pastoral governance - Main goal = no solution, but maintenance of these power relationships

126

Chapter Extraction

- Politics of sacred -> allow us to realize how religion experience still at work within our secularized society + radically critic the ultimate perversion of religion within the managerial paradigm in which we live - Architecture of sacred space - A way of experiencing a different temporarily mode of limits and stoppage - The challenge for sacred space = find form within rituals can manifest themselves - Not as form of unconscious subjectivity, but as ways of politicizing - What has always attempted to be above politics

127

Afterthoughts of Ritual and Walls & Gregotti’s Position

128

129

The City Initial sketches

Venice premodernity

Venice now

130

Rossi – analogy city – City is analogy of what predominant by the existing?

-in one grid will let other to growth?

“Instead, is the possibility of an order of things that allows us to experience the present as a suspended moment in the passage from the past into the future.”

“As a fundamental question regarding the acceptance of the existing urban landscape as a theoretical plane …. That acknowledge, explains, thus retroactively justifies what already exist.”

131

132

133

Artifacts of Venice

134

135

136

137

Reserach-

Raimund Abraham - City of two folds This content downloaded from 144.82.108.120 on Fri, 11 Mar 2016 16:36:33 UTC All use subject to JSTOR Terms and Conditions

City of Two Folds Venice - City absence of mechanical of land bound transportation - Able to retain a physiological, reverse all know spatial principle of Cartesian origins Buildings are not organized along roads, squares, but intricate amorphous Architecture volumes Paradox between vision and tactility, the canal as cut through the body Piazza, harbor, pure void, release the pressure of the inner city parts, become gate, linkage Like a cardiac network of water land Project - Voluminous, voids, tactility, vision, amorphous Organizing principle of urban past/ present - Cannaregio is an ideal condition as island in island, a model reflect an urban concept OUGHT to respect the historic destiny of Venice Cope with complex, controversial change by tech interference, the absence of architectural vision -> 2.5m building module on the existing amorphous fabric -> Geometry imprint of these building remain to provide foundation of new structure Existing + New = Dialectical principle of total Architectural composition North axis - Composite 3 blocks of new city fragment A network of perpendicular linear block, passage radiates from central to periphery Interconnect each one Symmetrical pattern are interrupt by the existing canals, walls, buildings Edge of Cannaregio canal in east and grand canal in south The merge organically with existing historical building North and rail in west, terminated by definite architectural boundary Sequences of 3 squares city reveals progressive change from a fragmented composition toward an idealized geometric and spatial condition.

139

Iteration of City

140

Afterthoughts

- Major ideas: Use everyday stuff of residents (ritual) To make the residential ritual a part of the myth Ghetto facade does not help demonstrate ideas How should the existing structure collide with new structure Why do we need to be confront to boundary?

How does the middle tower helps?

If the ideas is revealing, the confronting idea does not help Better to do minimum changes with existing It will be interesting to see new vs old

141

Reserach-

John Hejduk - Masques Series

City as a theatre of Character “ To conceive it, to represent it, and finally realize it”

Origin of Masques - Private theater production for small audience( Nobles) Narrating in parallel in idealistic life of society/city Hejduk’s Masque - Masque is an allusive and extensive manner to encourage a multiplication of imagery city is a theater, both forms of representation of life or society in its own language. Hejduk suggest we must create masque for our time, just like 15th century Venice -A high rational programmatic city that create masques for its time in order to function.

Architecture masque means to find the distinctive values of our own era, translate them into language of architecture. The idea of city can realizing urban scene or action, through a set of character. The result as individual architecture has given shape to program of society, transform into character, a character one related one to each other, according to hierarchies, build the character of city as composition of society evident, then architecture has constructed with the task of manifesting the character that build the city. The fundamental problem is the identity of architecture, their role in city thus providing a fixed definition to each of them. Hejduk think operation prior to function, architect is the mediator capable of giving forms, and naturally not geometric forms - their most appropriate use. Hejduk suggest form must linked to life, they are not beautiful in themselves but only when referred to their context Masks, is a social role and state of mind of Hejduk’s character, architecture can take charge of telling the biological, psychological aspect of the inhabitants “ A piece capable of expressing and transmitting the sensation of the people who occupy the interior... Masque will be the expression of its inhabitants.”

143

City as a theatre of Character

Hejduk’s formal ideology - He suggest the relationship between architecture and human and animals are seeking to evoke particular meaning or qualities of inhabitants through architecture personification and the rhetorical figure of prosopopeia.

Compare Hejduk and Picasso, they are both elementary and familiar object with simple geometry but connected arouse the observer a reference to other world, figure.

Faction of character Hejduk Masque, architecture as character or character as architectures, it manifest the meanings and values of the city, telling the life of their inhabitant, and their possible density. Hejduk’s idea of city represent his imagination work’s to find the form of his time impelled by the desire form. Masque is to establish number of character in relation to plot, also the ultimate meaning of the reference to the mask, fixing these character in representative forms like theater’s fixed number of mask for a genre.

“I cannot do a building without a new repertoire of character of stories of languages and it’s all parallel. It is not just building per se, it is building worlds”

144

- “Ritual, traditionally the embodiment of myth as a form of collective belonging was excluded from modern town planning, these form of participation were the condition of “cosmic place” in the urban space, constituted the invisible dimensions which founded the visible order of architecture” “Hejduk’s architecture transcended the classical distinction between craftsman and architect, to recover the archaic horizon of tech-poiesis, his architect postulates a renovation of the body which is still obscure in its implications, but which discloses the fragility of the present and the possibility of a future” “Early work and late work: clarification of the scope of this renovation, the later project have emphasized their search for the figural through color, texture, language” “Hejduk’s work oscillated between silence and word, no longer predicated on the assumption of an ordered cosmos or the use of metaphor as a revelation of truth, it posits the recovery of the poetic as the origin of dwelling” “Masques - have a density and grounding compare to his early work. And through poetic naming, the word allows architect to reveal the ground of the “thing” of the products of poiesis to attain archetypal meaning” “Masques suggest their potential inhabitation, a reinvention of ritual as a primordial round-dance, addressing the necessity of universality in meaning. Through his language, the architecture is inhabited with all dreams and fear of modern man” “Hejduk’s vision: it provides existential orientation reflecting the structure of the world an d suggesting a renovated body image, while avoiding the classical illusion of assuming an objectified unitary body as the point of departure” “Hejduks’s architecture: the retrieval of the human body as the authentic place holder and metaphor of tradtion, as maker or craftsman and as poetic inhabitant, the retrieval implies break with classical traditions and renew which make contact with and continues, that which has always inhabited the most concealed inferiority of the prevailing form of tradition.”

145

Afterthoughts of Masque

The main characteristic of Hejduk’s masque interventions is tied strongly to a place that has a strong collective memory but also being abandoned at the same time, reflecting a pessimism. The character has more focused on the elevation part that inherits from the wall house series. “Masque” is originated from the rituals of carnival, then offering the base for the theatrical model to Hejduk’s work, where the buildings are identified by a character. In “Victim” there are 67 figures, they have a nomadic quality with an odd shape, that some of them are not grounded, but the typology of the masque can still be identifiable, such as the visible structure of shed, tower, bridge... That comes from different architectural typologies. The collective objects on site are like an island and it’s bounded by the walls, and each building is also an island, the project is an island within an island.

But I am fascinated by Hejduk’s drawing, in this project, there is certain type interpretation of drawing, some of them are pure line for a clear figure and the grid is very visible, in the same time sketching part have a very strong and intense with darkness but precise, is like a deliberate boundary separating something.

The “Victim” project has an influence on the build objects that he did over the years, still possess the mysterious quality, and require action in the space to activate the space like the “wall” concept in wall house. In his poetry theorem, in Kipnis’s diagram of Hejduk, the typology is like an already existing structure, objects begin to emerge out of this. Then Hejduk’s work in the city is always like a character with a persona, does not require any people to inhabit the space.

146

Jeff Kipnis’s diagram extracted from Mark lee’s lecture

Hejduk’s city is like this painting, the building a the background and the character is Hejduk’s masque concerting each other

147

Project - New City

Project: New City

Precedent: Rafael Moneo Roman museum

New museum structure overlay on the existing Roman ruin city John Hejduk - Victim Characteristic of object on site as ritual How does it helps? Can I use these items as my city?

149

Iterations of City

Afterthoughts Key questions raised in Discussions

What drive the tilting plan? (angle) What is the actual boundary, How to define where to start, to stop What actually the rule for me?

The paradigm of have a clear system like wall, column ( spacing have one rule and the object have another) Tshumi’s Parc de la villete diagram 3 layers of system Individual stuff as a layer? when it go to site it concert one another New and interesting = the old and new collide, but need to establish the attitude Is it going to be demolish? is the wall being cut off block out

150

Object Iteration

151

Afterthoughts

Object reflection How to select the reference for this individual object How this play into new system Vertical, elevation, sentry on landscape quality Think about the correlation of these stuff, does it keep the same relation/ mess up? or entirely different Victim John Hejduk Do I have to establish a character, if the project go this way need to be specific how many masques, but this approach will easy draw attack from critique Analysis through Dogma wall’s project - > 3 conditions 1. Street sit on ground 2. Existing building cut off 3. Blend into building 4. When building taller than wall - > It cut of the wall My 4 x objective 1. Setup the boundary 2. The direction of city 3. The connection 4. Rules of building

152

Research on Examples 佐野勇太 : Mutation Design Philosophy

Generating a mutations by changing found object based on his memory in Melbourne, the thesis project to keep his memory and bring back to Japan after his graduation

153

Iterations of City

154

New Objects

155

Joints of Walls

156

Afterthoughts of Discussion

Need to research on the site what specific object is being translate A method memory eg. Control of rotate? Subtract? Repetition?

A rules that can applied universally If the rules is develop the project is more convincing 9 Square grid? How to represent my idea?

The grid need to be more promising Thin lines, dots, fields Venice is already complex city Applied a black field can help contrast to distinguish my project To identify more objects How to mutate them, based on the site research

157

Research on Example Drawings

Going back to the basis, to simplify the project into different layers of planes Coloring might help to represent ideas Color in Hejduk project is also prominent, expressing the personality of project?

158

City of Collective Amnesia

City City of Collective Amnesia Memory loss

Confusion

Inability to Recognize Place

No Memory of Eposide of Amnesia

Split Subtraction

Rotation Revolve Extrusion

Displacement Repitition

Connection Deviation Mirior

Split

Subtraction

Altana - Memory loss

Saffa - Inability to Recognize place

Displacement

Repitition

Connection

Deviation

Ferovia - No Memory of Eposide

Entrance Arch - No Memory of Eposide

Well - Confusion

Deviation

Connection & Mirrior

Extrusion Rotation

160

161

Afterthoughts of Discussion

Functional aspect of the objects? Does it maintain any function?

Does it change at all?

Arch -> It can be still a entrance Example Carlo Scapa’s Entrance How does it connect with the old?

Or it does not collide with old at all Eg. Altana: Voygue, sentry, on top of something Arch entrance -> still an entrance

162

Planning Entrance -> Through deviating and mirrior particular qualities on this entrance to create a simliar kind of experience but deviated from the existing, one threshold is the normal entrance and the other one is mutated Fervoia -> Like entrance it also connects the land and entry point to the canal, deviating the bridge for the passenger and they will finally arrived to a normal ferry terminal, to create a confusion of previous episode Well -> Through extrusion of this well in plaza space and rotate around the central axis of well located in this plaza to create a sense of lost inside the enlarged well

Altana -> Maintain its sentry value, but instead through the split and subtracting the negative space to create a one way glaze in each space to outside, through constant moving inside the threshold, the view is constantly shifting to piece up the entire image, then some might be missing Saffa Housing - To mutate the distinctive value of saffa housing and through the displacement to create experience of a familiar place but look bizzare, the qualities, function aspect has remains. When viewer travel from the existing to new Saffa, it becomes a sympton of inability of recongize place

163

In Progress

164

165

Drawings

The placement need a more critical way Can the rules applies on the object being applied to the strip as well?

Perhaps a rationality happening in between or just a local effect It is the matter of represent clearly The project can rip all existing out/ a mutated Venice look familiar but strange Movement - The wall - you entering the wall see one condition and traveling to other see another condition Individual strips? eg. One strip these objects combine together to control certain effect? vs No operation at all A gradual effect moving from one to another Local -> Integrated Depends on how control overarching system To dictated the project on how it come to one another.

166

Sketching on planning

167

Amnesia City The project build upon the follies, about objects, buildings, urban has become my interpretation of the new city, my site Cannaregio has an interesting composition as a land of experiment for architects, projects happens over the years, because the site looks like a labyrinth situated in Venice next to the grand canal, but it’s like being segregated from tourist. Venice itself has an interesting composition that building is not defined by the street, but the street is defined by the leftover space of buildings/ Myth and Ritual The myth has been created by the Venetian government in order to sustain the city. Through preservation of this historical landscape, architecture as an iconography is inevitably to be the ritual of tourist, Venice has long suffered from its own perpetual crisis, result in the city as become a urban museum. The project challenging the validity of the “myth”, what does it construct the myth? Is it the facade? Canal? Bridge? By using the vernacular element of mutation transformation the mythologize the vernacular, the project will present a distinctive differences to the existing To be continued...

168

Mediation Between Objects

The panels question to the Saffa housing -> why rotating is displacement to become a flat plane?

The outcome is successful, but the process should be understand further And required clarification on how each process is creating what experience and how The project is about how my interpretation certain objects and it function to make it architecture Drawing Plans & Sections should be able to demonstrates how the transformation actually happens Right now is absence, a more clear drawing could perhaps helps demonstrates ideas The rules There are some inconsistence during the transformation process, eg the clothesline, why the same awnings have given to different operations, confused to find a formal interpretation of transformation, and looks arbitrary

170

Drawings

171

The Rules

172

173

Reiterated the Rules & Figures

SCALE 1:200 0

20

40

60

80

120

200

4

40

60

120

5

10

15

30

40

60

20

30

SCALE 1:1000 0

SCALE 1:250 0

SCALE 1:100 0

10

20

30

100

SCALE 1:500

174

0

SCALE 1:1500

N 10

60

N

175

Drawings Experimentation

City Axonometric

176

177

Final Iteration for The Last Session

178

179

New City

180

Afterthoughts These drawings has offered a boarder sense of the project on how each drawings has it own functions to demonstrates the qualities of my project that I want to show the panels. Although there are bits of inconsistency on the orthographic drawings and some minor details could enhance the project.

Some of these renders, axo has provided the base for the final panel’s style of representation, and more planning is required to think about the presentation flow on what, why, how on the projects.

181

04 Bibliograph

hy

Abraham, Raimund and Brigitte Groihofer. [Un]built. 2nd, revised and enlarged ed. Wien: Springer, 2011.

Abraham, Raimund. “Raimund Abraham. City of Twofold Vision, Cannaregio West, Venice, Italy, 1978-80.” Design Quarterly, no. 113/114 (1980): 20–21. https://doi.org/10.2307/4091026.

Aureli, Pier Vittorio. “More and More About Less and Less: Notes toward a History of Nonfigurative Architecture.” Log, no. 16 (04/01/ 2009): 7-18.

Aureli, Pier Vittorio., and Maria Shéhérazade. Giudici. Rituals and Walls. The Architecture of Sacred Space. London: Architectural Association, 2015.

Archer, B. J., and Anthony Vidler. Follies : Architecture for the Late-Twentieth-Century Landscape. Rizzoli, 1983. https://search.ebscohost.com/ login.aspx?direct=true&AuthType=sso&db=cat00006a&AN=melb. b1341178&site=eds-live&scope=site.

Eisenman, Peter, Elisa Iturbe, and Sarah Whiting. 2020. Lateness. POINT: Essays on Architecture: 3. Princeton University Press. https://search.ebscohost.com/login.aspx?direct=true&AuthType=sso&db=cat00006a&AN=melb. b7786354&site=eds-live&scope=site Gregotti, Vittorio. “VENICE AND THE NEW MODERNISM.” AA Files, no. 10 (1985): 13–17. http://www.jstor.org/stable/29543469.

Hejduk, John, and Shkapich, Kim. Mask of Medusa : Works, 1947-1983. New York: Rizzoli, 1985.

Hejduk, John. Victims. Texts / AA Publications: V. 1. Architectural Association, 1986. https://search.ebscohost.com/login.aspx?direct=true&AuthType=sso&db=cat00006a&AN=melb.b1511800&site=eds-live&scope=site Investigación e Innovación en Arquitectura y Territorio. 2021, 9(2): 55-76. https:// doi.org/10.14198/10.14198/I2.17415 Jin, Richen. “Unorthodoxparadigm.” In Sti touge edited by Richen Jin, 2018.

Koolhaas, Rem. 1994. “Introduction &amp; The double life of utopia: The Skyscraper.” In Delirious New York: a retroactive manifesto for Manhattan, edited by Rem Koolhaas, 9-11-81-108. New York: Monacelli Press.

184

Lee, Mark. “ John Hejduk - Victims, islands. and Archipelagos” November, 2017.

Access date Sep 2021. https://www.youtube.com/watch?v=n6-wKVtfgt8&t=700s.

Perez-Gomez, Alberto. “THE RENOVATION OF THE BODY: JOHN HEJDUK & THE CULTURAL RELEVANCE OF THEORETICAL PROJECTS.” AA Files, no. 13 (1986): 26–29. http://www.jstor.org/stable/29543538.

Sano, Yuta. “Yuta Sano Thesis Book: Memory as Matter - Hybrid Mutation Design Mehtodology “ In Yuta Sano, edited by Paul Loh. WIX: Yuta Sano, 2015.

Steil, Lucien. The Architectural Capriccio : Memory, Fantasy and Invention. Ashgate Studies in Architecture. Ashgate Publishing Company, 2014. https://search.ebscohost.com/login.aspx?direct=true&AuthType=sso&db=cat00006a&AN=melb.b5375846&site=eds-live&scope=site.

Szacka, Léa-Catherine. “La Strategia Della Maschera: OMA in Venice.” Log, no.

38 (2016): 83–86. http://www.jstor.org/stable/26323788.

Trummer, Peter. “The City as an Object: Thoughts on the Form of the City.” Log, no. 27 (01/01/ 2013): 51-57.

The End

SPACE: Volume Six - Capriccio Folly City With Kim Vo and Richen Jin

Ritual Capriccio Folly City Design Journal

By Tat Hang Chung