Thesis Booklet

THE MEANING OF GLITCH IN ARCHITECTURE DIRECTED RESEARCH BOOKLET

McGill School of Architecture | 2017

Wilkin CHAN, Wai Kan

“The medium is the message” Marshall McLuhan

CONTENT 0. INTRODUCTION i. Thesis Statement ii. Abstract I. GLITCH AS A NEW PARADIGM

What is Glitch?

Exploration Study 00: Imagining the Architectural Equivalence of Glitch Study 01: Sound Poem Study 02: Glitchy Column Study 03: Glitchy Pavilion Interlude: Fabrication Studies Study 04: Farnsworth House Summary

05 06

07-12 13-14 15-16 17-20 21-22 23-24 25-37 38

II. TRACING GLITCH THROUGH HISTORY The Trace Synopsis

38-43 44

III. SITE ANALYSIS Cross-border Agglomerations Case Study 1: Detroit-Windsor Region Case Study 2: Basel-Huningue-Weil am Rhein Metropolitan Area Understanding the Lok Ma Chau Loop between Shenzhen and Hong Kong Site Issues

45-46 47-54 55-60 61-68 69-73

IV. GLITCH ARCHITECTURE Masterplanning Proposal Massing Scheme On Imitation Design Concept & Design Progress Glitch Operations Conclusion Epilogue

74 75-80 81-82 83-84 85-92 93-102 102

V. BIBLIOGRAPHY AND REFERENCES Bibliography

103-106 4

0. INTRODUCTION 5

Thesis Statement

As a critical turn towards appropriating technology, this research explores how glitch in media culture can be translated into a new design paradigm in architecture through designing the museum of imitation and its surroundings in the cross-border agglomeration between Hong Kong and Shenzhen.

Objective & Background: The objective of this research booklet is to examine how glitch in media culture can be translated into a new design paradigm in architecture, through designing cross-border agglomerations. Although people enjoy the benefits of digitalization, such as convenience, increased efficiency and capacity of production, glitch is almost inevitable in daily life. For example, Facebook glitches when we translate our thought physically through html code in keyboard to the digital realm (Fig. 0.1). In also happened in the opposite way, where 3D print glitches is a example when digital translation to the physical realm fail (Fig. 0.2).It is important to point out that glitch is not merely an error, instead it has always been an interesting phenomenon to study with. It becomes critical currently, as the new aesthetic movement emerged in the beginning of 21st century. It is as a critique to digitalization in the post-digital age and dismiss the idea of digital processing as the sole universal all-purpose form of information processing (Berry, Deiter, 2014). It is also a new expression that focuses its inner logic, revealing the grain of computation as well as identifying the complexity, processual nature and the standardization (Contreras, Koterbay 2011).

Abstract

Abstract

Fig. 0.1 Facebook Glitches

Fig. 0.2 3D Printing Glitch

Hypothesis and Approach: As Menkman, an art theorist states, glitch not only contextualizes information and provides relationship to the material bodies, representations and spaces connected together, but also encompasses interpretation or reflection on a phenomenon of social or cultural context and the technology that is malfunctioning (2011). Ultimately, glitch reinvents the computational materiality, mediate in-between the physical and digital realms and represents the condition of our era. Parallel in architecture, the advancement of digital and fabrication techniques allow highly fluid space to be created easily. Nevertheless, the tectonic process has remained stagnant, as the majority is still focusing on designing surfaces wrapping around various modernist functional spaces. The aspects of glitch has given a opportunity as an alternative design process that reflects the condition of our era as a global village, where multi-directional interaction is crucial. In practice, glitch techniques will be explored in Lok Ma Chau Loop, a cross-border agglomeration located between Hong Kong and Shenzhen that aim at creating a neutral surface for suiting the duality of the culture.

Methodology: The research start with a series of experimental studies in exploring glitch as a technique in various media. In parallel, the research will review various aspects of glitch stated by media theorists. Then, a close cross-analysis on history of media and architecture will be given so that the meaning and characteristics of glitch in architecture can be defined. After, the research will focus on investigating different cross-border agglomerations across the world as a mean of finding a site to put glitch techniques in to application. Then, a site analysis will be done on the proposed cross-border agglomeration: Lok Ma Chau Loop. Lastly, it is anticipated that through designing a cross-border agglomeration project in the Lok Ma Chau Loop, the meaning of glitch in architecture can be fully evaluated.

6

I. GLITCH AS A NEW PARADIGM

Fig. 1.1 Glitch Art by Various Artists

7

The following chapter aims at summarizing various aspects of glitch noted by media theorists and experimenting the potential of the architectural equivalence of glitch through various studies.

What is Glitch?

I. GLITCH AS A NEW PARADIGM

Glitch in Media Culture The advancement of media has created multi-directional information exchange, the difference between digital world and physical world has been narrowed down since then. However, the disjuncture of medium has yet remained significant. The gap between the digital and physical worlds has created digital crisis. Koolhaas is concerned about the homogeneity of the digital interface. Meanwhile, Flusser is concerned about the authorship and aura of art in the age of production. Recently, the aspects of these issues are being reconsidered as post-digital era. Though the incompatibility of medium creates error, it also produces an unexpected by-product - glitch. Nevertheless, from the perspective of media culture, glitch can be perceived as more than a by-product, it is also a cultural artifact; as glitch has provided a new angle in viewing the digital world. It dismisses the idea of digital processing as the sole universal all-purpose form of information processing (Berry and Deiter, 2014). As a consequence, it remediates media and computational transfer of the digital assets to the material world through technological inventions, such as manipulate, remix, mash up, hack or misuse digitally found footage (game hacks, data-moshes) (Kwastek, 2016). Glitch, as a physical-digital artefact has given new representation through perception and understanding the image/object.

Define Glitch in media culture Glitch is not a well-defined term, as the new aesthetic movement approaches glitch as a phenomenon rather than a technical error. Two journalism scholars, Malcolm Levy and Christiane Paul state that “glitch ... refer to images and objects that have been tampered with; their creations relate to the core of the media apparatuses used to store, produce and relay information”(2015). Meanwhile, Rosa Menkman, a glitch artist and theorist, defines glitch as an “(actual and/or simulated) break from an expected or conventional flow of information or meaning within (digital) communication systems that results in a perceived accident or error” (2011). Meanwhile, Iman Moradi, has an early attempt to define glitch as “a set of digital aesthetic characteristics”(2004).

The next four pages is a quick summary to the characteristics of glitch in various form and media:

8

I. GLITCH AS A NEW PARADIGM

ARTIST Sample Work

Artist

Media

Software

Style

Atelier Olschinsky

Visual Art

Illustrator, Photoshop, Processing

Algorithmic

Remark

S

https://www.youtu

https://www.youtu

https://www.youtu

Rosa Menkman

Visual Art, Video

Monglot Premiere

Multi-style

https://www.youtub

Ferruccio Laviani

Trained as an Architect

Blender & CNC

Sound Altering

https://www.youtube.c

Furniture + Interior Design Faig Ahmed

Furniture

Handrawn?!

Handmade Carpet

Datamoshing Pixelization

https://www.youtu

https://www.youtu

Mark Klink

Visual Art

Blender (Can replicate in maya)

Datamoshing, Remapping

https://www.yout

Frieder Nake

Trained as an Mathematician Viusal Art

Michael Noll

Trained as an Engineer

Ad hoc program, part of the COMPART ER56 package Visualization: Graphomat

Algorithmic

Not glitch

IBM 7094 Computer + CMD

Algorithmic

Not glitch

Pixel formed by Quicktime Movie accessing RAM after movie finished

Procedural

Blurred Image of artwork in Google Art Project

Procedural

Viusal Art

Cory Arcangel

João Enxuto & Erica Love

Visual Art

Viusal Art can be view by stereoscope

Ed Grant

Method: Word Pad effect Sound as image data bend Hex Edit Data Mosh 3D Glitch Circuit bending

9

Visual Art

Feedback

anti-art Dada?

Pixel sorting photography

Algorithmic

Software: Z-Brush Maya Blender Fox Grasshoppe

MUSICIAN Remark

ithmic

Sample Work

Composer

Media

Software

Style

Location

Remark

https://www.youtube.com/watch?v=dlq-Mw299IM

Alva Noto

Visual+ Sound

Oscillator MAX / MSP TouchDesigner Live: Maximus P

Algorithmic Laser Visualization Live-altering Cymatics

Hall / Installation

Ernst Chladni

MAX/MSP PD

Algorithmic Matrix Phaser Granular synthesis

Hall / Installation / Dance

Leibnitz, Cantor, Godel, Grothendieck

MAX / MSP Ableton

Sound Altering

Hall

Ableton

Sound Altering

Hall / Outdoor

MAX / MSP Oval Process

Algorithmic Early piece use analog process like damaging CD

Hall

Ableton

Sound Altering Computer controlled prepared piano

Hall / Outdoor

Ableton

Voice Reprocessing

Hall / Outdoor

https://www.youtube.com/watch?v=EeEqXnBlHOo

Work with electronic and classical media Sometime Visual used to display the Sound data

https://www.youtube.com/watch?v=jPGkJabeib0

Ryoji Ikeda

Visual + Sound

Visual: Quartz Composer.

Visual displaying the Sound data

-style https://www.youtube.com/watch?v=sGXJMrvMGUM

Autechre

Mainly Sound

Environment

What is Glitch?

yle

Visual connected with Music, no structural meaning

Altering

https://www.youtube.com/watch?v=tVqPx5mUj0g&t=482s

The Glitch Mob

Visual + Sound Visual connected with Music, no structural meaning

oshing zation

https://www.youtube.com/watch?v=gSqieB7Pvwc

Oval

Visual + Sound Visual displaying the Sound data

https://www.youtube.com/watch?v=s4ghznC4GU4

Aphrex Twins

Mainly Sound Visual connected with Music, no structural meaning

oshing, pping https://www.youtube.com/watch?v=tf87Ts7yAjg

Moderat

Visual + Sound Visual connected with Music, no structural meaning

ithmic

Not glitch

ithmic

Not glitch

ARCHITECT Sample Work

Architect

Website

Software

Style

Remark

ZHA Patrik Schumacher & Zaha Hadid

/

Unknown, probably early prototype of algorithmic Softwares

Deleuzian Diagrams

Not glitch

X|Atelier Erick Cรกrcamo and Nefeli Chatzimina

http://www.allblackform. com/

Autodesk Maya Grasshopper

Digital Decay

Casey Rehm

http://www.kinch-d.com/

Autodesk Maya Grasshopper Processing

Generative Morphologies

edural

back

Kitsch Prosthesis

edural

i-art

da?

ithmic

Software: Z-Brush Maya Blender Fox Grasshopper Plugin

10

I. GLITCH AS A NEW PARADIGM

Glitch can be categorized according to their medium: 2-dimensional Glitch Art (Fig.1.2), which focuses on the decomposition of digital image.

3-dimensional Glitch Art (Fig.1.3), which focuses on the decomposition of surface into point and line and recompose it.

Glitch Music (Fig.1.4), which focuses on the manipulating of sound units and forms rhythm and melody.

Fig. 1.2 2D Glitch: A Vernacular of

File Formats by Rosa Menkman (Far Left) Fig. 1.3 3D Glitch Art: Blender

Model by Mark Klink (Middle) Fig. 1.4 Glitch Music: Alvo Noto

Performing(Right

Glitch can also be classified according to its operation: Extrinsic (Fig.1.5), in which glitch produced by an external human intervention (circuit-bending).

Intrinsic (Fig.1.6), in which glitch produced by a pre-rationized algorithmic process.

Top-down approach Lenient but Arbitrary Rougher approach to form Result more unpredictable Possible of breakage

Glitch

Out of System

Extrinsic Glitch

Example Techniques: Datamosh, Hex edit, Circuit bend, Sound databend, Feedback

Bottom-up approach Volatile but Systematic Allow more precise control on form Result more controllable

Within the System

11

Intrinsic Glitch

Fig.1.5

Example Techniques: Algorithmic Glitch, Pixelization / Voxelization

Fig.1.6

Algorithm as additive process + Glitch as subtractive process = Fully Malleable Digital Architecture

Physical Component

Similar to Collage / Montage

Digital Component

Interaction between human & digital (The Unexpected Component)

What is Glitch?

Hypothesis:

Glitch

Perception Glitch

Representation & Interpretation Unconscious All-know Author

Fuzzy Know-nothing

Glitch

Audience

Indeterminacy Determinacy Partial-determinacy

Know-nothing: Unexpected / Surprise

Exploration In order to define and understand the architectural equivalence of glitch, a series of studies has been done.

Study 00: Imagining the Architectural Equivalence of Glitch Study 01: Sound Poem Study 02: Glitchy Column Study 03: Glitchy Pavilion Interlude: Fabrication Study Study 04: Farnsworth House

12

I. GLITCH AS A NEW PARADIGM

Study 00: Imagining the Architectural Equivalence of Glitch In 1949, Shannon & Weaver’s proposed a universal communication model (Fig.2.1) that acknowledges noise is inevitable in receiving transmitted signal (Shannon & Weaver 1949). Meanwhile, noise is a general term that discribes unwanted information, glitch is a specific term for noise in digital medium. The model is the inspiration for this study to imagine the architectural equivalence of Glitch (Fig.2.2, 2.3).

Shannon & Weaver’s Communication Model

Noise Type 2: Within System Compression glitch As a manifestation of structure, hierarchy etc.?

Information Source

Transmitter

Message

Receiver

Signal

Received Signal

Destination

Message

Noise Type 1: In Environment Feedback glitch As a manifestation of landscape, space, light, sound etc.?

Noise Source Feedback

13

Exploration

Fig.2.1 Fig.2.2 Fig.2.3

Shannon & Weaver’s Communication Model Physical Model of the visualizes the surplus of information while transmitting data Imagining the Architectural Equivalence of Glitch

14

I. GLITCH AS A NEW PARADIGM

Study 01: Sound Poem This study aim at discovering the temporal dimension that glitch music had, but not dominant in visual glitches. It is clear that by acknowledging glitch as noise in digital media, one can understand glitch aesthetics, as “the artistic potentials of error and noise, going to the unintended sound - from John Cage’s experiments with environmental noise to more recent glitch music - has provided a basis for what Kim Cascone called the aesthetics of failure�

(Nunes et al., 2016). This method resembles the sound poem 1, where the sound samples are being remixed in a certain order. The mismatch of the sound sample (lyric)and music creates new meaning and experience. Similarly, program can alter the narrative of space as lyric and music(Reiser & Umemoto, 2006).

Nevertheless, in the example above, the relationship of the lyric and music is clear and the lyric and music is in a different hierarchy. The could be a higher level of defamilarization. Recently, Alva Noto and Ryoji Ikeda have provided new insight to the new aesthetic movement re-defining the smallest tectonic unit of music. As a visual artist and composer, they were conscious in using sound at its raw state; the sound generated by the computer rather than sound sample as most of the glitch composers do. As a consequence, sound has become the fundamental unit of the music that mutually forms a rhythm and melody. The juxtaposition of sound forms a precise interrelationship as a micro-montage. Their performance is often incorporated with visual display and set design, so that the audience can experience the mathematical precision and temporal quality of the music. The manipulation and fragmentation of micro unit of sound also create surplus of information which the glitched sound marks a sense of loss as a tangible manifestation of temporal duration between their current condition and the original state. In this example, relationship of lyric and music become integrated and indistinguishable. This unique way to manipulate sound creates a new micro-temporality that prescribes the structural as well as the narrative quality of space. This method resembles the sound poem 2, where the sound unit are being rearranged in a algorithmic sequence (Fig.2.4).

15

Sound Poem 2

Exploration

Sound Poem 1

• Made by Traditional mixing software: Ableton Live • Made by Algorithmic-based composing software: MAX/MSP • Sound sample as the smallest architectural element.

• Sound byte as the smallest architectural element. (point or line in architectural sense) • Figure/ground condition is still clear but fragmented.

• The sound has its structure, but has no original context.

• They are considered as a sound montage than a glitch. In the author point of view, only a few • Subject becomes ambiguous, sound becomes a moments can be considered as a glitch. field condition • ‘Media becomes the message’

Fig.2.4

Sound Poem 1 & 2 Comparison

16

17

I. GLITCH AS A NEW PARADIGM

This study aim at exploring the glitch tech-

Exploration

Study 02: Glitchy Column

niques in different softwares. Doric column is used as a subject. ZBrush and Grasshopper are used in generating these columns. At the end, five unqiue glitchy columns are 3d Printed for comparison.

18

I. GLITCH AS A NEW PARADIGM

Study 02: Glitchy Column Column 2-4 • Made by Algorithmic-based software: Grasshopper in Rhinoceros Column 2 - Pixelization / Voxelization Column 3 - Digital Decay Column 4 - Contour turned into Slabs Column 5-8 • Made by digital sculpting software: Z-Brush Column 5 - Tessellation & Displacement Column 6 - Noise Column 7 - Data-moshing Column 8 - Mixed Sculpting Strategy

Analysis The study successfully explores the potentials of the software and identified that glitch can be classified as two categories: Extrinsic Glitch and Intrinsic Glitch. Column 5-8 can be identified as extrinsic glitch. They uses Z-Brush, a digital sculpting software to create those expressive surface. Column 2-4 can be identified as intrinsic glitch. They use grasshopper in rhinoceros to generate algorithmic pattern with arbitrary decay. This method is more precise and developable. However, the script is not refine enough to create ‘actual’ glitch.

19

Exploration

1

5

3

5

6

1

Fig.2.5 Fig.2.6

7

7

8

8

2

3

4

3D Print Model of Glitchy Column 1,5,3,7,8 Render of all Glitchy Column

20

I. GLITCH AS A NEW PARADIGM

Study 03: Glitchy Pavilion This study aim at understand and replicate various glitch technique used by artist (e.g. Datamoshing, Mesh Resolution Reduction, Hex Edit, Voxelization and digital decay) into 3D. The script logic has been refined and identified that the misuse of data create glitch. For instance, the script extracts arbitrary points from the surface and recreate the surface using the points. Nevertheless, the glitch is only an random process that had no particular meaning, a more well-defined, precise process has yet to be developed.

The glitch techniques are categorized on the right (Fig.2.7).

Script Logic

Input

Data Misuse / Deviation

Glitched Output

Parameter: (e.g. point, shape, gravity)

1

2

3

4

5 6 7 8

21

Original

Fig.2.7

E1

I1

I2

I3

I4

Datamtosh

Delaunay Triangulation

Hex-Edit

Voxelization

Decay

Data Deviation

Misuse of Data Structure

Data Deviation

Misuse of Data Structure

Data Deviation

Caused by Natural decay and human intervention

Insufficient input point caused this low resolution mesh

Input point are being rearranged to produce this glitchy mesh

Insufficient input point caused this low resolution mesh

Caused by Natural decay and human intervention

Exploration

0

Categorize Different Glitch Techniques

22

I. GLITCH AS A NEW PARADIGM

Interlude: Fabrication Studies This fabrication study aim at finding the potential and limit of the turning digital objects into physical world.

Several printing trials has be carried out: (see fig. 2.8-2.13). They create an interesting aesthetic of failure, where the surplus of information (e.g. support unit in fig. 2.11 , pipe blending in fig. 2.12) create these unique artifacts. It is also interesting to point out that, in fig. 2.10 and fig. 2.13 reveals physical-digital incompatiability: the filament shown its heaviness as small thread of the filament unable to mix and be part of the model due to gravity. This interesting phenomenon, to re-compose the glitched (decomposed) object, could be explored in the later studies.

23

Exploration

Fig. 2.8 Fig. 2.9 Fig. 2.10 Fig. 2.11 Fig. 2.12 Fig. 2.13

Glitch caused by printing model with wrong material preset Glitch caused by movement Glitch caused by printing model no support unit Glitch caused by model support unit blended with actual model Glitch caused by pipe blended with Octree Cube Glitch caused by printing hex-edited model with no support unit

24

I. GLITCH AS A NEW PARADIGM

Study 04: Farnsworth House This study aim at finding the architectural quality of glitches. glitch techniques which are fruitful will applied to the facade and fabricated using 3D Printer / CNC Router (Fig.2.14-2.16).

0

Original

25

E1

Datamtosh

I1

I2

I3

I4

Delaunay Triangulation

Hex-Edit

Voxelization

Decay

Exploration

1. Original Form & Image ou

rth H

wo Farns

iew

ver V

ox Ri se, F

3D D to ts 2 : s oin rplu al Su h input p n o i t ug ma Infor : Not eno n tio enta

2. Delaunay triangulation, Low Resolution Mesh s

repre

Mis-

3D 2D to nts : s u l i Surp ut po onal ugh inp i t a m Infor : Not eno n o i ntat

3. Mesh Reformed from Points se

repre

Mis-

4. Exploded Mesh, Repaired through Reparameterization

to 3D : 2D tion s u l p ndi l Sur tiona urface Co back a m r o S ed Inf matic curate Fe e l b o Pr Inac

5. Exploded Mesh, Repaired through Reparameterization, (different uv definition)

3D 2D to n : s u l Surp nditio onal rface Co back i t a m Infor matic Su ate Feed le ur Prob Inacc

6. Octree with Arbitrary Line

3D 2D to te : s u l ccura l Surp tiona ation. Ina back a m r Info present Feed e Mis-r

Fig. 2.14 Categorize Different Glitch Techniques (1) Fig. 2.15 Categorize Different Glitch Techniques (2)

26

I. GLITCH AS A NEW PARADIGM

2. Delaunay triangulation, Low Resolution Mesh

3. Mesh Reformed from Points

4. Exploded Mesh, Repaired through Reparameterization

5. Exploded Mesh, Repaired through Reparameterization, (different uv definition)

27

Exploration

Fig.2.16 Categorize Different Glitch Techniques (3)

28

I. GLITCH AS A NEW PARADIGM

This is final design of Farnsworth House that explores the potentials and limits of glitch. Not only the facade is being glitched, the structural I-column also becomes arbitrary and disintegrated into three pieces connected by arbitrary segments of the non-incensious network. By minimizing the magnitude and arbitrariness of exploded mesh, the facade of Farnsworth House can be turned into a interesting form that blurs the boundary of indoor/outdoor, while reserving its function for different activities. The script logic has refined that the fuzziness created by glitch existed in a certain domain of the glitched output.

Script Logic Input

Glitched Output Data Misuse / Deviation Parameter: (e.g. point, shape, gravity)

Fig.2.17 Render of the Farnsworth House Final Design

29

Domain

Exploration

30

I. GLITCH AS A NEW PARADIGM Fig.2.18 Interior of the Farnsworth House Final Design

31

Exploration

32

33

I. GLITCH AS A NEW PARADIGM

Exploration

Fig.2.19 Fig.2.20 Fig.2.21 Fig.2.22

Interior of the Farnsworth House (Method 2) Interior of the Farnsworth House (Method 5) View 1 of Farnsworth House (Method 4), 1:750 Model View 2 of Farnsworth House (Method 4), 1:750 Model

34

35

I. GLITCH AS A NEW PARADIGM

Exploration

Fig.2.23 Fig.2.24 Fig.2.25 Fig.2.26 Fig.2.27

Top View of the Farnsworth House Final Design Glitchy I-Column 7 Glitchy I-Column 8 Side View 1 of the Farnsworth House Final Design Side View 2 of the Farnsworth House Final Design

36

I. GLITCH AS A NEW PARADIGM Fig.2.28 Farnsworth House Facade (Method 6) Fig.2.29 Glitchy I-Column 8 to 1 (magnitude of fuzziness decrease in order)

37

Summary From the study above, most 3-dimensional glitches are result of mis-interpretation of surface, and surface is

The Trace

being disintegrated into line and point. The object is in a state with loose or no hierarchy because of the indeterminstic operations. This condition is the result of superimposing two (or more) superimposed systems that contain incoherent and fragmefnted parts. It is an in-between object that has properties of duality, both the original state and glitched state. By transcoding glitch from digital to the physical realm through various operation, the disjuncture of the physical and digital realm can be (re)mediated. Through fabricating the physical representation of the digital glitch, the digital object gain properties of materiality such as transparency and heaviness. However, further study on the history of media and architecture should be done so that the characteristics of glitch in architecture can be defined concisely and accurately.

II. TRACING GLITCH THROUGH HISTORY Though glitch and the post-digital phenomenon are widely discussed in the field of media, art and music, no clear classification or reference can be drawn to movement. Only through creating and generalizing glitch through design process, a new design approach could then be realized. The following chapter will aim at citing existing architectural as well as media theories to make connections and draw a summary.

In architectural theory, there are no clear trace of post-digital theory and glitch. In the past, Modern Architecture is based as an object. As stated

by Bruno Zevi, the work of Mies van der Rohe “takes measure of a universal, continuous, uninterrupted space, between interior and exterior” (1948). The result is space that created different perceptions through circulation. However, architecture has remained in whole as a composition.

The spatial quality is dependent on the arrangement and juxtaposition of objects and shapes in a manner. This was further suggested by Le Corbusier, by using the “five points of new architecture” as a tool to create

Fig. 3.1 Bottle of Vieux Marc, Glass, Guitar and

“Four Compositions”. However, the pursuit of a new architectural syntax

Newspaper, A cubist collage done by Pablo Picasso

in creating compositions is over simplifying the creative process (Lucan, 2012). In the fifties, collage and assemblage has become a popular way to construct architecture. Evolved from Cubism, collage has been developed to bring different protagonist from different horizons came to the fore. It also led Rowe and Koetter to publish Collage City, as a way to bring compositional harmony to urban planning. Collage technique has been able to re-appropriate material and texture, and create new dimensions to the painting. It hijacks each object’s meaning in order to awaken a new reality (Aragon, 1923). It creates an in-between plastic

Fig. 3.2 Mill Owner’s Association Building in Ahemad-

object that assembles as a composition, but counter-composed itself

new assemblage

abad, notice the juxaposition of volume in forming

38

due to the nature of the technique. Collage in Cubism has been compared to Bunelleschi’s perspective device and Albert Durer’s Camera Lutin architecture is widely experimented the Ahmedabad by Le Corbusier.The Mill Owner’s Association Building (Fig.3.2) is of the typical example where different architectural elements of the building are put together in forming a collage (Fig.3.1). Similarly, Marshall McLuhan in his book, Understanding Media: The Extensions of Man has made connection from Cubism to Media. He stated that “Cubism, by giving the inside and outside, the top, bottom, back, and front and die rest, in two dimensions, drops the illusion of perspective in favor of instant sensory awareness of the whole. Cubism, by seizing an instant total awareness, suddenly announced that the me-

II. TRACING GLITCH THROUGH HISTORY

dium is the message” (1964). The information given through various medium of communication has created new means of depth experience. The medium of the message has become quite essential in our era as we are being constantly reshaped by different forms of media and means of telecommunication. For instance, watching a news that is published through the internet and broadcasted through television can create a new conglomeration of our understanding to the news. This fundamental change has created a new way of understanding media as a social construction and architecture as a system of information.

In the mid-twentieth century, architecture has shifted again because of rapid urbanism. Inspired by McLuhan’s idea of global village, Archizoom, a design studio based in Florence, Italy, he suggested that “architecture must become an open structure, accessible to intellectual mass production as the only force symbolizing the collective landscape”(1972). They seek to represent and develop the theme of an infinite space defined by neutral surface, or even better, surfaces so neutralized that they have broken for good with any pre-existing, conditioning linguistic links. In the no-stop city, the Archizoom group has reiterated the definition of a house as a laboratory, where it would be possible to develop one’s creative faculties, without any hinder of furniture. This is the one of the earliest

Fig. 3.3 No-stop city: Residential Woods, Archizoom

examples exhibit architecture as an ‘automated’ process (The architect’s instruction in defining the building condition was considered automated, although no computer was used at that time). They suggest the house looks like a “furnished parking lot, to the extent that it would be free of all the topographical prefiguration and spatial installations of modern home in order to leave room for the spontaneous, uncontrolled figuration of the ambiance (Fig. 3.3). One member of the Archizoom Group, Andrea Branzi, claimed that modern architect, has stuck in the notion of architectural area (luogo architettonico), even though the metropolis is no longer a place but a condition (1974). The notion of architectural area has implied that our classical concerns have remained hidden under the skin of modern architecture at that time. Architecture remain inscribed in an invisible box as an object, rather than providing a platform or medium for information exchange. Branzi’s No-stop city has illustrated one of the earliest examples of architecture as a condition derived by operation, which resembles the operation-based formation of glitch.

In parallel to the Archizoom, other architects in that era have tried to rethink architecture as a framework since the size and complexity of a city have increased rapidly. In particular, Georges Candilis and part of the Team X members favors organic system, over hierarchal systems. This system is coined as rhizome and mates structure, as derived from Delueze and Guattari book, A Thousand Plateaus: Capitalism and Schizophrenia. It is characterized as 39

an “acentric, non-hierarchical system ... defined only by the transformation of states” (1976). The product is a cluster, a multicellular, multifocal structure able to develop itself by successive agglutinations. In the Toulouse-le-Mirail Masterplan Competition in 1961 (Fig. 3.4), Candilis, Josic and Woods has developed a master plan that refusing fixed form and composition, stating that no formal composition can provide an answer since it is static, precise and fixed. He suggested to develop a skeletal structure as the extensions of linear center called stem, and activities as web, a network that is able to evolve with age by its external extension and internal transformation. In the meantime, media in the mid-twentieth century, has become diversified. Radio and television ex-

Fig. 3.4 Toulouse-le-Mirail Masterplan Competition

The Trace

a flexible mesh that capable of welcoming and connecting all sorts of

isted as a newer form of media. The word ‘multimedia’ has been used to describe media that exists in a single channel, but in various forms (e.g. news broadcasted in television can be experienced audio-visually). This has reshaped life in the city to be more complex and organic. At the same point, situationist architecture gain its popular to the notion of ‘condition’, where city is a “moment of life, concretely and deliberately built by the collective organization of a unitary environment and the play of events” (Branzi, 1974). The famous examples are Cedric Price’s Fun Palace (1964), Archigram’s Plugin City (1974) and Constant’s New Babylon (1968), which favor connection and event over function and utility. However, these hypothetical infrastructural projects at some point is unreal and indeterministic, the gigantic scale of these projects has loss its humanistic quality and the technology is not mature enough to give multi-dimensional urban space a satisfactory conclusion.

Not until the end of twentieth century, the architects began to rethink formal composition in a linguistic paradigm. In particular, Peter Eisenman has approached architecture syntactically. He was concerned about modern architecture’s “latent or virtual capacity of the vertical plane to imply space” (1974). In House II (1969), it is a series of operations that would produce a set of formal relationship and inherent logic, such as duplication, transcription and translation (Fig. 3.5). However, these formal operations have been criticized to be bold and frivolous. Later, as he was designing House X (1978), he has been employed operations as well as “uncertain” procedure in order to create an unpredicted final object. He created space that is longer the one experienced in the

Fig. 3.5 House II, Peter Eisenman

gridded space of the Cartesian order, but a unified space like Piranasi’s Campo Marzio (Eisenman, 1974). Similarly, Bernard Tschumi has put his concept of architecture as a system of constructive assemblage further in his project for Parc de la Villete (1987). He created point grid system based on linear movement and system of space, in every point grid, he created object’s called folies, which is the combination of autonomous element or fragments. The result is a non-hierarchical non-center system that supposed to trigger different events (Fig. 3.6). It was conceived as a film reel where the soundtrack corresponds to the general movement of pedestrians and images to the framing of a succession of individual garden” (1974). This has dissimulated 40

the subject-object dichotomy into individual reference points. It has also broken down concrete function and program into event and space that have no semantic intentions. This has programmatically deconstructed architecture and created a new, harmony, and unify stability that resemblees quality of glitch. Nevertheless, itcreated a coherent system with little fragment, where the subject-object relationship is still clear in a stable grid field. This project marked the end of deconstructivist architecture,

II. TRACING GLITCH THROUGH HISTORY

but also marked the start of the digital era. In 1964, Michael Noll, an engineer-artist, has used algorithmic process to mimic Modrian’s famous drawing (Fig 3.7). This digital art has shown new opportunity to create field-based operation by using computer. The automated operation and semi-deterministic result create new unity as, every element, every stroke in the composition is of equal importance, different but equivalent. Early generative digital art has resembled to be an early prototypical example of glitch art as a automated operation in linkage.

With the technological advancement, architecture as a series of operation has become possible. In the late nineties, Rem Koolhaas has begun

Fig. 3.6 Parc de la Villete, Bernard Tschumi

to think architecture not as a composition, but rather a series of ‘scripted’ series of operation abide by the programs. In his Seattle Public Library and Casa du Musica in Porto (2004), he also put his genetic procedural programming into practice by making a series of ‘universal modernization patent’ that concerned about sequence of operation and procedural form of his buildings. Lately, architects is able to break down objects into even smaller disassociated parts by using computer. At the start of a new century, unitary form is not only possible through design perception of the form and achieve a coherent system with little fragmentation, but also possible through a virtually automatic process in creating form that had no emphasis on interrelations, articulations and hierarchy. Both processes are not mutually exclusive but achieve formal poise. In parallel, with

Fig. 3.7 Computer composition with lines

the invention of new media, such as the internet, media have become thoroughly and bi-directionally interchangeable, and possible of remediation: import earlier media in order to critique and refashion them (Bolter and Grusin, 2000). The term ‘transmedia’ is more appropriate to describe today’s media, as things in there could be existed in various forms (audio/visual etc.) and channels (newspaper, television, internet etc). They formed a network of information in which multiple versions of the fact are being redistributed (Fig 3.8). The boundary of architecture and space becomes blurred and placeless. Toyo Ito also agreed and stated that, “In the world dominated by electronic media, people are not obsessed with a thing that places an individual at the center of the world and then dissect the world into pieces”(1997).

Instead, he favors blurred and changing space where individuals were no longer assigned to a specific place. He also claimed that in this contemporary situation of branching out and rapid developing networks of information and 41

digital art movement

communication, architecture is the “Tarzans in the media forest”(1997).

In the book of the same title, he claims that architecture in the future to have no boundary limits of the exterior and interior, no spatial hierarchy, and a neutral surface for interaction.

This resonates with Marshall McLuhan’s idea of media as the extension of man, as in this case, architecture becomes the extension of man, and building envelopes become the extension of our skin. He has put the The Trace

concept into practice in his Sendai Mediatheque, where tubes clash with plates to create spatial fluidity and interactions among various areas (Fig 3.9). The concept of non-hierarchal space with new complexity has led us back to Deleuze, where he suggests that being in space (milleu) is a phenomenological experience. Toyo Ito has attempted to make milieu, as a continuous experience where the parts make up the whole as a network of relations. However, traditional formal compositions, such as subject-object and ensemble, are no longer sufficient to be satisfied by the condition of the present. In fact, with the development of new technology, such as 3D Scanner, 3D Printer, augmented reality and virtual reality, interchange of medium become possible. Nonetheless, the transfusion of the physical and the digital world is still problematic. The complexity, imparity and overlapping of information have created an overflow. As stated

Fig. 3.8 Media Evolution

by Wolfgang Ernst, a media theory professor, “information produced in various channels create informational surpluses” (2011). The surplus of information is considered erroneous, and therefore mankind has created a new apparatus – protocol to filter and re-appropriate technology. Nevertheless, it is certain that there is still a huge gap between the physical and the digital world. Information could not be completely translated as the transmission of data has resulted in data loss and incompatibility.

For instance, smooth mesh surface produced digitally is down sampled when being 3D printed. There is a fundamental disjuncture of medium glitch. It is inevitable and unavoidable in a complex networked societies nowadays. Though glitch creates marginal errors, it creates the possibility of remediation and reappropration, which allows conflicting elements to create a status quo equilibrium. This equilibrium is very much alike state of poise (Fig.3.10), as stated by Reiser and Umemoto in the Atlas of Novel Tectonics (2005). They favor the middle condition of structure and ornament that poses as a state of poise, than systems in both extreme, which delimits and constrains what is in-between. They also stated that this balance of structural and ornamental system of the middle condition

Fig. 3.9 Plan and Section of Sendai Mediatheque

“create ambient effects, its reciprocity to the program and its channeling 42

of movement it encloses” (2005). Similarly, the condition of

Nested Hierachy

on its way to ...

Structural Hierachy

Coherent, Linear Orthodox System

Coherent, non-Linear Orthodon System

Coherent, Linear Orthodox System

Infill Structure

Rod Truss

Structural Truss

poise resembles glitch as an in-between artefact that create a neutral interface. The characteristics of glitch also resonates with Stan Allen’s claim in his book, Points + Lines as a field condition (Fig.3.11). This part-to-whole relationship is also agreed by Reiser and Umemoto in the book stated above. They stated that “it allows the emergence of new

II. TRACING GLITCH THROUGH HISTORY

organizations and new architectural effects out of wholes which is not reduced to parts’’ (2005). In detail, glitch can be understood as the result of two (or more) systems super-

Fig. 3.10 Different systems mentioned in operating in the state of poise

imposing together which resembles the moire effect mentioned by Stan Allen in his book. He stated that “moire as a mathematically figural effect produced by the superposition of two regular fields ... it creates unexpected effects, exhibiting complex and apparently irregular behavior results from the combination of elements that are in and of themselves repetitive and regular” (1999). Glitch is the result of merging two fields to create a new type of balance that though the local condition differentiates from each other, it unifies as a whole. As an extension, glitch in architecture can be understood as the result of combining conflicting elements in forming a new set of field condition.

43

Fig. 3.11 Field Conditions

Synopsis As a whole, the aspects of glitch can be traced in the history of architecture and media. It is an alternative way in achieving formal and spatial balance by creating blurred space that reflects the condition of current era. Similarly, glitch is considered to be an innovative and suitable technique to apply in the cross-border agglomeration because it can incorporate the complicated differences in historical and political differences, and can tactfully act as a neutral surface for both regions to interact and target for mutual benefits.

1. as a field condition of two (or more) superimposed systems;

Synopsis

In conclusion, the Architectural Equivalence of Glitch’s Characteristics are hypothesized as follow:

2. to be made by a series of automated operations that potentially gain / loss information; 3. as a status quo equilibrium that is a unitary form as a whole, but with incoherent and fragmented parts; 4. as a continuous experience where the parts make up the whole in a network of relations; 5. as a blurred space that is in-between, non-hierarchical, programmatically indeterministic and pragmatic, and 6. as a neutral surface for interaction which is possible of remediation and reappropriation.

44

II. SITE ANALYSIS This chapter will focus on understanding the nature of cross-border agglomerations, an area between two countries. Three case studies on various cross-border agglomerations will be explored and one of the cross-border-agglomerations will be chosen as the site for investigating glitch as a new design paradigm into application.

Cross-border Agglomeration Cross-border agglomeration is an urban cluster that extends into multiple countries. Due to historical events, many border cities are being divided and separated because of the idea of nation-state. Border cities are being separated by border defining landscapes, such as river or lake. The idea of the nation-state is thought to be attached to a specific territory-culture is the glue that defines the specificity of the group, territory is by necessity the place of its anchorage in the global landscape. Territory of a nation implies the sharing of the land by a group of people with the same culture, traditions, aspirations, and practices of solidarity that sustain their interdependence and unite them for the protection of the common patrimony (Laguerre, 2016). Cross-border Agglomeration can be in different stages of relation (Sahlins, 1989; Martinez, 1994 & Reitel, 2013) (Fig.4.2). Firstly, an agglomeration can setup in the conflictual territory as a military defense area, such as the border set up by the France royal powers in history

III. SITE ANALYSIS

(Sahlins, 1989 & Nordman, 1998). Secondly, the agglomeration gradually turn into peaceful border town as the political perception of the border gradually succeeds the military vision (Reitel, 2013). Control of the borderland peace became the most prominent action to assert economic or social order. The development of exchanges is a result of the differences between the territories. Thirdly, the border of the agglomeration becomes open to both countries with filtering and regulation. Progressively, a transborder zone emerges with various dialogue and interaction. Lastly, the agglomeration enters the stage of border devaluation, where regulation has disappeared because both countries have reached a high degree of mutual trust. These agglomerations, due to globalization, social and economic mutual benefits, began to grow as a whole. The boundary condition of a nation is no longer the main concern of those border cities and the territory as a barrier has disappeared. Nevertheless, the institutional, legal and fiscal differences between the states still remain significant, but transborder space has become an interface for greater good through business activities and cultural exchanges.

Examples of Cross-border Agglomeration are Detroit-Windsor between United States of America and Canada, Basel-Huningue-Weil am Rhein between Switzerland, France and Germany, and Shenzhen-Hong Kong between Peoples Republic of China and Hong Kong Special Administrative Region (Fig.4.1). These agglomerations show some common characteristics (Fig.4.3). Firstly, the existence of a cultural demographic collectivity with transnational ties.

For example, the citizens of the divided cities speak a common language Secondly, the harmonization of the diaspora with homeland practices for mutual benefit. For example, both countries in the divided city permit visa-less entries to facilitate cross-border economic activities. Thirdly, the cities are not only linked to each other but are also active hubs for intersite migration, visitations, and communication with its larger structure is made operative by the exchange, mutual dependence, and sustained relationships between nodes. For example, the divided cities show high nodal interconnectivity with multiple border entries such as road, bridge and tunnel. Fourthly, the cities oper45

Basel-HuningueWeil am Rhein Detroit-Windsor Shenzhen-Hong Kong

Basel-Huningue-Weil am Rhein

Shenzhen-Hong Kong Fig. 4.1 Example of Cross-border Agglomerations

Cross-border Agglomeration

Detroit-Windsor

46

ates through a transnational network structure. For example, there are transnational institutions and organizations operating to bring cohesion to the system and allow full participation of social practices within the agglomeration.

These cross-border agglomerations will be further discussed and analyzed later in the following chapter.

As a way to analyse cross-border agglomeration, the level of urban fabric integration can be classified in four categories: morphological, functional, intentional, institution (Raffestin, 1986 & Martinez, 1994). These integrations also reflects the formation process of cross-border agglomerations as illustrated in Fig.4.4. In detail, morphological integration denotes the core of secondary districts and physical nodes. This also arises the general impression of a cross-border agglomeration as a built fabric extending across the border in the neighbor country, through suburbs.

The higher the connectivity of the boundary, the higher the integration of the agglomeration. Meanwhile, functional integration measures of commuting flow and cross-border employment are considered as indicators of the integration. Certain percentage of cross-border employment was defined by Dessemontet, Perlik, and Schuler to classify different agglomerations (2005). It shows the level of interaction and share of resources of those cross-border agglomerations. For intentional integration, it is setting up of business organizations to encourage interaction and integration. The level of integration for the agglomeration can be classified by formalness of the cross-border institutions. In the early stage, business charters and organizations will be setup. In the later stage, integrated urban planning implementation and trans-national expertise structure will be setup to facilitate cross-border interaction based on mutual trust. Lastly, an integration of the official / government structure could be found. In the early stage of agglomeration, platform and associations will be formed to solve management problems that arise from the

III. SITE ANALYSIS

presence of the border, such as installation disparities, territorial competition and circulation difficulties. In a later stage, high level of integration inevitably required the cooperation of local authorities, so that both border cities share a common vision of the future. Examples of the later stage of institutional integration are free border control, integrated urban planning council and common taxation system. It is important to point out that each type of urban integration is in a complex relationship with each other within the network.

Cross-border agglomeration is a good testing ground for glitch technique. As these agglomerations often have to be linked in a transnational structure, with cohesion in some social and economic practices, despite they differentiate in policy, cultural and social construct. Architecture in these areas have to facilitate interaction and collaboration in a common ground, promote transnational exchanges, while tolerate the social and cultural difference. I propose that, glitch as an cultural artifact, can not only (re)mediate disjuncture of the physical and digital realm, but also has the potential to (re)mediate the social and cultural difference of a cross-border agglomeration. By creating heterogeneity out of homogeneity, glitch creates double meanings upon viewing its representation and interpretation, and thus creates tolerance to cultural and political bias. By applying glitch technique in a macroscopic urban scale and building scale, architecture can create a common ground for the divided cities to gain mutual benefits through collaboration.

47

Fig. 4.2 Cross-border Agglomeration Formation Detroit-Windsor

Basel-Huningue-Weil am Rhein

Shenzhen-Hong Kong

Border Countries

Canada-USA

Switzerland-Germany-France

China-HKSAR

Population

5,700,000

2,400,000

19,200,000

Natural Border

Detroit River

Rhine River, Weise River

Shenzhen River

Road Connection

1 Bridge, 1 Tunnel

4 Main Road, 1 Bridge, various streets

1 Main Road, 2 Proposed Road

Train Connection

1 Tunnel

3 Rail

2 Rail

Common Language

English

German / French

Cantonese

Common Organization

v

v

v Fig. 4.3 Common Similarities in Cross-border Agglomeration

Stage 1

Stage 2

Stage 3

Stage 4

Morphological

Simple Link

Several Connections

Band

Functional

More than 5%

More than 16%

More than 30%

Intentional

Charter

Plan

Expertise Structure

Institutional

Platform

Association

Political Structure

Physical

Borderlands

Cross-border Area

Interface

Political Structure (with own taxation)

Cross-border Agglomeration

Type

Fig. 4.4 Cross-border Agglomeration Formation

48

Case Study 1: Detroit-Windsor Region Detroit-Windsor region is one of the largest border cities in North America. Although Detroit faced financial difficulty in 2013 and went bankruptcy (NRC, 2013), it still remains influential in cross-border economy. The region is located in between the Detroit River that connected to Lake St. Clair and Lake Erie. It is one of the largest border cities in North America. The node of two cities is highly connected with bridges and tunnel. Detroit and Windsor are highly tied with partnerships and agreement. For example, the cross-river tunnel was built and owned by both Detroit and Windsor cities.

Cross-border Agreement and Business Activities The cities are linked when the automobile industry started to boom in 1960s. Detroit was the center of automobile industry, car companies, such as General Motors, Ford, and Chrysler, have established international headquarters in the city. Detroit also features North America international car show in Cobo Center, one of the largest car shows of the world since 1957. In 1965, Canada and U.S. have signed the Auto Pact to boost the car industry and reduced the trade deficit due to tariffs and high production cost. The Auto Pact has rebalanced the deficit of car industry in Canada and consequentially, American car companies have established their Canadian headquarter and car plant in Windsor. Beside transportation agreements, Detroit and Windsor are linked with cross-border trade organization, such as the Detroit Regional Chamber-Windsor Detroit Chamber of Commerce. The two border cities are III. SITE ANALYSIS

enthusiastic with inter-local cooperation, but without a concrete institutional interaction. Meanwhile, interregional and international agreements are limited because they require active government involvement. With relaxed border control between United States and Canada, cross-border activities remain active. In the year 2015, there are around 2,300,000 trucks and 4,100,000 passenger vehicles passing through the Detroit-Windsor border, the busiest port among U.S. and Canada (Statistics Canada, 2015). The State of Michigan and the Ontario Province are the largest export markets among both countries with trade worth $74.6 billion and $293.5 billion respectively. The Detroit-Windsor is a prominent port for vehicle and machinery trading, auto industry is heavily relied on cross-border trades of raw materials or for the delivery of goods, such as auto parts and machinery. According to the U.S. Census Bureau, 259,000 jobs in the State of Michigan depend on trade and investment with Canada (2014). According to the National Household Survey, there are about 6,100 cross-border workers in the Detroit-Windsor region (Statistics Canada, 2011). They are benefited from the relaxed border control due to the North American Free Trade Agreement (NAFTA). These workers are mainly specialized professional in the medical, professional and industrial services sectors (Fig. 5.2, 5.3).

Tourism Beside business activities, Detroit-Windsor is also a popular destination for tourism and events. They account for 20.8 % of the total border crossings between Canada and U.S., as a frequent road trip destination. They also hold cross-border events, such as Detroit-Windsor International Freedom Festival (Fig. 5.5), Detroit-Windsor International Film Festival, Detroit-Windsor Marathon etc. Detroit-Windsor holds one of the largest gambling industries in North America with frequent day trip visitors to their casinos.

49

GM Assembly Line Chrysler Assembly Line

DETROIT

Chrysler House GM Renaissance Center

Cobo Center for North American International Auto Show

Chrysler Canada Headquarter

WINDSOR

Top U.S. export categories to Canada

Top Canada export categories to U.S.

Vehicles

$ 51.7 B

Mineral fuel and oil

$ 109.4 B

Machinery

$ 45.3 B

Vehicles

$ 55.7 B

Electronics

$ 26.8 B

Machinery

$ 19.8 B

Mineral fuel and oil

$ 24.7 B

Plastics

$ 10.6 B

Plastics

$ 13.0 B

Electronics

$ 10.2 B

Fig. 5.2 Cross-Border Employment by Industry

Fig. 5.4 Top Export Categories of Canada and U.S.

Fig. 5.3 Number of Cross-Border Worker in Canada

Fig. 5.5 Freedom Festival Fireworks on Detroit River

Case Study 1: Detroit-Windsor

Fig. 5.1 Common Similarities in Cross-border Agglomeration

50

Analysis As the largest cross-border agglomeration in North America, Detroit-Windsor has a strong logistics and auto industry. However, the economy of Detroit started to decline in mid-twentieth century, mainly due to the factors of automation of car manufacturing and deindustrialization. Many plants and infrastructure were being abandoned in the 80’s. For example, the Michigan Central Station was abandoned since the passenger volume has decreased significantly in the mid-century (Fig.5.7). On the contrary, the red-light industry and illicit economy of Detroit have grown to notoriety along with high unemployment rate and crime rate (Karibo, 2017). As a solution to urban decay and infamous red-light industry, Detroit has underwent several urban renewal projects, including the option of legalize gambling. One of the rejected projects that worth to mention was the Belle Isle International Project, a proposal that would bring twelve casinos to a small island on the Detroit River. The project was originally aimed to attract 25 million tourists annually and create additional revenue to the city with struggling economy. This project eventually led to the construction of MGM Grand Detroit (Fig.5.10) and Caesar Windsor (Fig.5.11) in Detroit and Windsor cities in 1998. These casinos were popular and eager to capitalize on cross-border dollars, attract tourists to cross the countries. Nevertheless, this long history of blaming of illicit economy for much of the urban decay and crime in Detroit, has eventually become the ultimate irony as to legalized illicit industry for economic recovery (Judd, 2002).

As a result, the gambling industry does not improve the living of the middle-class. The suburban-urban divides have become even greater in the region, and a privileging of white, suburban workers at casinos and other formerly illicit businesses continue to make it difficult for city residents to profit from these large ventures (Toledo Blade, 2001).

III. SITE ANALYSIS

The bankruptcy of Detroit in 2013, seemingly affirms that legalize gambling could not solve economic or social

51

problems. Windsor, on the other hand, as a neighbor city, has gradually independent from the Detroit’s economy in mid-twentieth century. It shifted from a popular suburb for Detroit in 1930 to an industry and service based economy.

Local residents have become reluctant to go to the vice city life of Detroit as Windsor has become one of the safest cities of Canada with crime rate of 62.5, as compared to the Canadian national rate of 77.6 (Statistics Canada, 2011).

Belle Isle Detroit-Windsor Tunnel

MGM Grand Detroit

Cesar Windsor

WINDSOR Michigan Central Station (Abandoned)

Ambassador Bridge

DETROIT

Fig. 5.7 Abandoned Michigan Central Station

Fig. 5.10 MGM Detroit

Fig. 5.8 Abandoned Ford Motor Plant

Fig. 5.11 Caesars Windsor

Fig. 5.9 Abandoned Neighborhood in Detroit

Case Study 1: Detroit-Windsor

Fig. 5.6 Common Similarities in Cross-border Agglomeration

Fig. 5.12 Windsor Riverfront

52

In nowadays, Detroit and Windsor have become two rather different cities. In 1930, Windsor is considered one of the suburban towns for people living in Detroit, upon establishing its own industry and service, it gradually turns into a town. Morphologically, the integration of Detroit-Windsor is very limited. Both cities sprawl at the riverfront of Detroit River with little linkage (Fig 5.12). Functionally, the Detroit-Windsor is connected by the Ambassador Bridge, car and train tunnel with roads from secondary centers polarize towards the primary core. Nevertheless, there is a tendency of depolarization and suburbanization in North Detroit due to urban decay and shift of industry sectors.

Intentionally, Detroit-Windsor have integrated festivals, such as Detroit-Windsor International Freedom Festival, but they are rather limited to the town centers and celebration purposes. Also, Detroit-Windsor is lack of trans-border infrastructural project that act as a platform for interaction. Cross-border activities are confined to trade, business and tourist activities only. Institutionally, the city is connected with relaxed border control. Nevertheless, physical institutional integration is absent from the city. Therefore, the integration between the two cities is rather weak. Based on the agglomeration of classification system mentioned in the previous paragraph, Detroit-Windsor could only be considered as a Stage 2 Agglomeration (Fig 5.15). The Detroit-Windsor cities are considered as an averagely integrated agglomeration owing to their high similarity of context and history. For instance, the industrial sectors are rather monotonous for both cities. Further integration between the two cities is suspended as the advantage for

III. SITE ANALYSIS

competition between each other is greater than the mutual benefit of integration.

53

Fig. 5.12 Windsor overlooking to Detroit , showing beow the two car headquarters

Case Study 1: Detroit-Windsor

Fig. 5.13 GM Headquarter in Detroit

Morphological Integration N

Bor

der

Detroit Windsor

Functional Integration

Fig. 5.14 Chrysler Canada Headquarter in Windsor

Intentional Integration

Primary Core

Network Project

Secondary Center

Other Project

Urban Area

Polarisation of Flow

New Political Frame

Complementary Flow

Institutional Integration

Fig. 2.15 Integration of Detroit-Windsor

54

Case Study 2: Basel-Huningue-Weil am Rhein Metropolitan Area As a European tri-city, Basel-Huningue-Weil am Rhein exists long before the modern concept of border exists. It is located in the edge of three countries, Switzerland, France and German, it is the largest cross-border agglomeration in Europe. Though the three cities separated by River Rhine, they are connected with bridges and four historical cantons. Additionally, the metropolitan area is highly connected with bus, tram and metro lines in all direction (Fig. 6.2). Moreover, the three border-cities share a common international airport at the west of Huningue.

Cross-border Agreement and Business Activities Basel has been an urban agglomeration since the Roman Empire. It was once a city of its own, but it was separated as the territory was defined by the Treaty of Westphalia in 1648. In recent years, the agglomeration has become more and more integrated with the establishment of European Union. Though Switzerland is not part of the European Union, the country has signed many bilateral agreements that involve with European Union. For instance, Switzerland is in European Free Trade Association (EFTA) and has free-trade agreement with other members, such as France and Germany in 1973. It has also a custom and monetary union with European Union, where euro is an acceptable currency within some area of Switzerland. Switzerland, France and Germany are members of the Schengen Agreement in 2008, where all types of border control are abolished. The Tri-city Metropolitan Area has a strong pharmaceutical and bio-technology sector. Basel has one of the largest pharmaceutical and biotechnology III. SITE ANALYSIS

company clusters in Europe, with 107 companies established their firms in Basel. Big pharmaceutical companies, such as Novartis (Fig. 6.4) and Hoffmann-La Roche have set up their headquarters in Basel. Meanwhile, they have also set up their plants in Huningue (Fig. 6.5). The agglomeration has also a diverse business sector which is famous for its banking industry and trading service industry. As a cross-border agglomeration in the Schengen Area, the metropolitan area attracts nearby French and German to work. Approximately 30% of the jobs in the Swiss part of the agglomeration are held by workers from across the border (Reitel, 2013). There are around 36.2% of foreign permanent residents in Basel (Office of Statistics, 2015).

The story of success of the Basel-Huningue-Weil am Rhein Metropolitan Area is based on institutionalization started from 1960. In particular, a regional association, the Regio Basiliensis, has taken part in harmonizing the economy and infrastructure of the agglomeration. For instance, it proposed a common airport and common trading practices in the region. In the 90s, European Union has signed bilateral agreement with Switzerland which led to the formation of the Basel Trinational Eurodistrict (TEB) Association, which is a tri-national cross-border institution. It converges the common interest of the three countries by creating some new common governmental policies and harmonized urban planning of the whole agglomeration. Also, the Franco-German-Swiss Conference of the Upper Rhine (Upper Rhine Conference) has been formed in 1975, which is a cross-border regional institutional framework in the Upper Rhine region to cover the cities of Karlsruhe, Strasbourg and Basel (Fig.6.3). Various regional urban planning has been strategically planned to promote economy and cross-border employment. Employment of cross-border workers have been extended to the south of Alsace and in South Baden within a radius of 30–40 kilometres around Basel with the implementation of the TEB Association and Upper Rhine Conference (TEB Report, 2012).

55

Vitra Design Museum & Plant

EuroAirport Basel Mulhouse Freiburg

WEIL AM RHEIN

Beyeler Foundation

HUNINGUE

Novartis Biotechnology Center Novartis Campus: Research and Global Headquarter

Novartis Pharma Services

Basel Exhibition & Trade Center Featuring: Art|Basel, Baselworld Watch and Jewelery Show Hoffmann-La Roche Headquarter

BASEL Bank for International Settlements

Fig. 6.2 Metro & Tram System of Basel

Fig. 6.4 Novartis Global Headquarter

Fig. 6.5 Novartis Biotechnlogy Center

Fig. 6.3 Upper Rhine region

Fig. 6.6 Basel Exhibition & Trade Center

Fig. 6.7 Vitra Design Museum

Case Study 2: Basel-Huningue-Weil am Rhein

Fig. 6.1 Common Similarities in Cross-border Agglomeration

56

Tourism Basel-Huningue-Weil am Rhein Metropolitan Area is also a famous cultural center and tourist destination. It has a lot of world class museum, such as Kunstmuseum Basel and Beyeler Foundation, etc. The area houses the plant and museum of the well-known furniture company, Vitra (Fig. 6.7). It is a popular international event destination to hold international exhibitions, such as Art | Basel Baselworld Watch and Jewelery Show in the Basel Exhibition & Trade Center (Messe Basel)(Fig. 6.6). Cross-border shopping is popular for the locals. Study shows that 57% of Swiss households shop at least once a month abroad (MDPI , 2013). The tri-city area also holds cross-border festivals and events, such as Basel-St.Louis-Huningue Weil am Rhein Marathon and Rhine River Swimming Event.

Analysis As the largest cross-border agglomeration, Basel-Huningue-Weil am Rhein Metropolitan Area is highly integrated.

Morphologically, Basel is the primary core, while Huningue and Weil am Rhein are the logistical and industrial secondary centers of the agglomeration. Functionally, the agglomeration is highly connected with road, train, bus, tram and metro with polarization towards the primary core. Intentionally, the agglomeration aims at cross-border integration. For instance, Novartis, an international pharmaceutical company, has setup its global headquarter, research and development campus at the border of Basel, and its manufacturing plant, Novartis Biotechnlogy Center, at Huningue and Novartis Pharma at another shore of Basel. Institutionally, the tri-city area is strongly tied in forming charters and associations for promoting cross-border cooperation as well as regional governmental associations; III. SITE ANALYSIS

for example, the TEB and Upper Rhine Conference are held to extend interactions and coverages of regional benefits. Therefore, it could be concluded that the integration among Basel, Huningue and Weil am Rhein are strong as referring to the agglomeration classification system mentioned in the previous findings. The tri-city Metropolitan Area could be considered as a Stage 4 Agglomeration (Fig 6.12).

3 LAND Masterplanning Proposal In 2003, the cities of Basel, Huningue and Weil am Rhein have come-up a new vision, called 3LAND. An architectural and urban planning firm, MVRDV, has come up a new master plan for tri-city metropolitan area (Fig. 6.11). A brief discussion on the concept of the planning of 3LAND and its current state will be elaborated later for understanding the issues of implementing the scheme.

Fig. 6.13 3LAND Concept

57

WEIL AM RHEIN HUNINGUE

Novartis Biotechnlogy Center

Novartis Pharma

Novartis Campus

BASEL

Fig. 6.11 Novartis as a cross-border Business Intuition

Morphological Integration N e gu

nin

Hu

r

de Bor

We il Rheam in

Basel

Fig. 6.10 Rhine River Swimming Competition

Functional Integration

Intentional Integration

Primary Core

Network Project

Secondary Center

Other Project

Urban Area

Polarisation of Flow

New Political Frame

Complementary Flow

Fig. 6.11 3LAND Masterplan Model

Case Study 2: Basel-Huningue-Weil am Rhein

Fig. 6.9 Border between Huningue and Basel

Institutional Integration

Fig. 6.12 Integration of Basel, Huningue, Wein am Rhein

58

The main idea of the masterplanning scheme is to recreate three main belts across the River Rhine. They are Recreation & Leisure, Economy and Leisure, and Life science, the bottom of the belt is located at the edge of Basel, while the other two are located in the shore of Huningue and Weil em Rhein. Transportation across the Rhine will be enhanced by additional pier, tram and metro lines. In the Basel and Huningue side of the riverfront, new industries, such as bio-technology and robotics fabrication, are aimed to extend from the north of the current Novartis campus. At the far end of the shore is planned for the Innovation Campus of the University of Basel, sport facilities and large parks. While on the other end in Weil am Rhein’s riverfront, a mixed urban development with a

Fig. 6.14 3LAND Master Plan Axis of Expansion ace

logistic node are planned. Both sides have open space, gradually increase to connect with the park at the inner

III. SITE ANALYSIS

part of the city (Fig 6.14).

Implementation of 3LAND Masterplan To further improve the development of the agglomeration, a 3LAND masterplan is implemented currently with some fruitful progress. Basic infrastructures, such as transport network, has been expanded. Tram and metro line has also been expanded over the border to France and Germany in 2014.

Though no major construction project has yet been started, some companies has established new factories and plants in the surrounding area. The plan of building a new innovation campus (Campus Volta) to house a national nanoscience institute is in the planning process. Private-public partnership facili-

Fig. 6.15 Campus Plus Project

ties, such as the Campus Plus Project, has been pulled off and revised to be closer to the canton of Basel (Fig. 6.15). As based on the 3LAND masterplan, one of the cross-border cooperation-based buildings, the Volta Center, has been built. Located in the Saint Johann district near the Swiss-French border is a mixed-used building with living and business space. (3LAND Progress Report, 2017). The agglomeration in this area has successfully integrate people from three different countries to enjoy mutual benefits.

59

Fig. 6.16 Volta Center

Urban Development University of Basel Innovation Campus ‘Campus Volta’

Rhine Park Urban Development

WEIL AM RHEIN

West Corridor Open space

‘Campus Plus’

HUNINGUE

BASEL

New Industries

Urban Park Case Study 2: Basel-Huningue-Weil am Rhein

Fig. 6.12 3LAND Vision

Fig. 6.13 3LAND Master Plan

60

Understanding Lok Ma Chau Loop between Shenzhen and Hong Kong Shenzhen and Hong Kong have a unique relationship as an urban agglomeration. They have a population of 19,200,000 in total, the largest cross-border agglomeration in the world. Nevertheless, it is morphologically not connected due to historical reasons. Before the return of Hong Kong to China, Hong Kong Island and Kowloon areas had been a permanent United Kingdom’s colony since 1846 and 1860, while the New Territories was under lease for 99 years from 1898 (Fig.7.2). Under this condition, Hong Kong and Kowloon were mostly well developed with care (Fig. 7.3), where most of the Hong Kong’s business and financial sectors were clustered. Meanwhile, the New Territories remain underdeveloped, where government-planned new town developments are concentrated in a few locations (Fig. 7.5), the rest are disperse rural settlements (Fig. 7.4). Moreover, around 35% of the New Territories are country parks (HKSAR AFCD, 2010). Shenzhen on the other hand, has been the Special Economic Zone (SEZ), under the ‘reform and opening’ policy of China in 1978. The city has grown rapidly with the boost of foreign investment. As shown in Fig. 3.1, Shenzhen has been totally urbanized till the edge of boundary, while the areas along the border of the Hong Kong side are still underdeveloped, in where mainly rural settlements and farmland are found. The cities of Hong Kong and Shenzhen are connected through the six ports in total, among which, both Lo Wu and Lok Ma Chau border control points are accessible through train-metro. As Hong Kong was returned to China in 1997, cross-border development is being re-considered. In particular, the Lok Ma Chau Loop Innovation and Technology Park (Lok Ma Chau Loop) has been chosen as a cross-border agglomeration. The loop is planned III. SITE ANALYSIS

to specialize in education, high-technology and innovation industry. In 2017, the two cities have signed the Memorandum of Understanding on Jointly Developing the Lok Ma Chau Loop by Hong Kong & Shenzhen and launched the project (HKSAR ISD, 2017). Under the ‘one country two systems’ policy, Hong Kong has retained high degree of autonomy. Hong Kong has remained the British common law legal system with the Basic Law as the additional constitutional framework, which is distinctly different from the civil law in China. In addition, Hong Kong has adapted British standards and international standards as basics of trading activities. The law and trading systems in Hong Kong enhances its role to act as an international bridge to start off business in China; and the Lok Ma Chau Loop is anticipated to agglomerate the advantages of both cities, and to attract international investors and job opportunities to the area.

Cross-border Agreement and Business Activities Hong Kong is a well-known international financial center and Shenzhen is a financial city with strong industry background. Though Hong Kong and Shenzhen do not have a physical cross-border town, the cross-border activities are highly active. According to the Hong Kong Immigration Department, there are a total of 222,640,000 passengers and 14,850,000 drivers crossing the Shenzhen-Hong Kong borders in 2015 (HKSAR ID, 2015). In detail, there are 19,501 private cars, 3,871 shuttle buses and 19,070 trucks passing the border in 2015 (HKSAR TD, 2015). Shenzhen is a popular destination for Hong Kong to setup business due to its low labor cost and market potential. Hong Kong residents can travel to China indefinitely with the issuance of Home Return Permit. Also, as Hong Kong and China have signed off the Mainland and Hong Kong Closer Economic Partnership Arrangement (CEPA) in 2013, tariffs between Hong Kong and China have been reduced or eliminated, and joint-business policy has created. In 2003, 238,200 out of 6,700,000 people worked in mainland China, this is only around 3.5% of the total population 61

International Center of Commerce

SHENZHEN Lok Ma Chau Loop

Lo Wu Border Control

Lok Ma Chau Border Control

HONG KONG

SHENZHEN

NEW TERRITORIES

KOWLOON HONG KONG ISLAND

Fig. 7.2 Historical Colonial Border of Hong Kong

Fig. 7.3 Hong Kong Island overlooking to Kowloon

Fig. 7.4 Rural Settlements in New Territories

Fig. 7.5 Fanling, one of the new town developments in New Territories

Understanding the Hong Kong- Shenzhen / LMC Loop

Fig. 7.1 Common Similarities in Cross-border Agglomeration

62

of Hong Kong. Nevertheless, more than 85% of the cross-border workers work in the nearby locations, such as Shenzhen and Dongguan (HKSAR SD, 2003).

Tourism Both Hong Kong and Shenzhen are popular destinations for cross-border travel and shopping. Mainland Chinese come to Hong Kong to purchase high quality commodities, while Hong Kong people wish to purchase cheaper goods in counterpart. The two cities are closely related that they hold joint events, such as Hong Kong-Shenzhen International Jewelry Show and Hong Kong Shenzhen Bi-city Biennale of Urbanism and Architecture, etc.

Analysis Though Hong Kong and Shenzhen can be considered as the largest agglomeration in the world, they have little physical integration. Morphologically, Hong Kong and Shenzhen are two different entities with only logistical linkages. Functionally, though the cities are highly connected with road, train and metro, the polarization is much divided because there are two primary cores. Intentionally, the Hong Kong-Shenzhen Western Corridor and the proposed Lok Ma Chau Loop are planned to connect Hong Kong with Shenzhen. Institutionally, Lok Ma Chau Loop will be a visa-less cross-border agglomeration according to the new agreement (HKSAR ISD, 2017). Due to the physical nature of the agglomeration, the integration between Hong Kong and Shenzhen is moderately based on the ag-

III. SITE ANALYSIS

glomeration classification system mentioned in the previous findings. The area could only be considered as a Stage 2 Agglomeration (Fig 3.10). Nevertheless, as a cross-border agglomeration, Hong Kong and Shenzhen has the potential to integrate further when considering the population and flow of people of both areas.

Lok Ma Chau Loop Proposal Occupying a total area of 87.03 hectares, the Lok Ma Chau Loop is a visionary masterplanning project jointly participated by the governments of Hong Kong and Shenzhen. The site was a former disposal site of mud extracted from the Shenzhen River re-channeling work.

It was once within the Shenzhen administrative boundary, but has N

become part of Hong Kong in 1997. As a special administrative zone, the loop is proposed to be visa-free to promote cross-border activities. It is expected that Shenzhen headquartered Chinese tech-company, such as Tencent, ZTE, Huawei and BYD, will be benefited from Hong Kong’s open market policy to attract international

Fig. 7.11 LMC Loop Zoning Plan

Proposed Border Control

investors; on the other hand, Hong Kong will be benefited financially from the Chinese companies as a hub of innovation and creativity.

The loop is divided into five main zones: Education Zone, Innovation Zone, Interaction Zone, Riverside Promenade Zone, Ecological Zone, with connections to Lok Ma Chau Border Controland a new proposed border control point (Fig.7.12).

63

Lok Ma Chau Border Control

Ventilation Corridor Fig. 7.12 LMC Loop Flow Framework

Lok Ma Chau Loop Mai Po Wetland Nature Reserve Currently rural settlements Proposed new town development

Fig. 7.7 Cross-border Traffic in one of the border

Morphological Integration Shenzhen

Border

N Hong Kong

Fig. 7.8 Cross-border Shoppers in train station

Functional Integration

Fig. 7.9 Proposed New Town Development

Intentional Integration

Primary Core

Network Project

Secondary Center

Other Project

Urban Area

Polarisation of Flow

New Political Frame

Complementary Flow

Understanding the Hong Kong- Shenzhen / LMC Loop

Fig. 7.6 Proposed Master plan for the border area of Hong Kong

Institutional Integration

Fig. 7.10 Integration of Shenzhen and Hong Kong

64

III. SITE ANALYSIS

Fig. 7.13 Shenzhen overlooking Lok Ma Chau Loop

As learning from the case studies of Detroit-Windsor and Basel-Huningue-Weil am Rhein, cross-border institutional space is essential to encourage high level of integration and multi-directional interaction. For the LMC loop, 26% of the land in the center of the loop planned to be the Education Zone. Currently, the center is planned to be a research institute and satellite campus for Hong Kong universities. It will house research facilities, library, offices and other ancillary facilities (LMC Loop Report, 2017). It is estimated that the area will hold 24,000 students (LMC Loop Report, 2017). Meanwhile, the Innovation Zone located along northeastern and southwestern waterfront of the loop will be a hub for new industries. It occupies around 12% of the area and house new industries’ offices, research, lecture and exhibition facilities, etc. It is estimated that the area will provide 29,000 employment opportunities in different sectors, such as education, commerce industry (LMC Loop Report, 2017). As discussed in the Detroit-Windsor case study, specialization in one particular industry is not a good practice for cross-border agglomerations as Detroit-Windsor has faced internal competition due to the overlapping of specialization in auto and gambling industry.

Therefore, it is important that consideration should be taken to diversify the type of industries in order to create a sustainable business environment. The current scheme allows the balance of labor force by supplying university graduates to the industries. The loop also has four axes of open space in the center as the Interaction Zone. It is expected to provide a platform for exchange of ideas and cultural activities through organization of various activities.

The Riverside Promenade Zone along the northwest of the riverside is a mixed used area facing towards Shenzhen and the Ecological Zone along the southeast of the zone is a buffer zone to compensate the natural environment affected by the development. The loop is aimed at becoming a low-carbon and green community, where the current masterplan development will achieve a greening ratio of at least 30% to reduce the heat island effect (LMZ Loop

65

Understanding the Hong Kong- Shenzhen / LMC Loop

66

Fig. 7.14 Outline Development Plan (Statutory Zoning Plan)

III. SITE ANALYSIS

Fig. 7.16 Landscape Framework

Report, 2017). In comparison to the high density development located at Shenzhen and the proposed new town development in Kwu Tung / Fanling North (Fig. 7.6 & 7.9) with average building height of 100m, the Lok Ma Chau Loop is a low density development. It has the maximum building height of 54m and minimum building height of 14m. As a whole, the Lok Ma Chau Loop area has the potential to become the primary core to draw population to the area. Again, as learning from the case studies, single primary core is more preferred as a cross-border agglomeration, since in Detroit-Windsor, the two primary cores in opposite riverfront have created competition to thin out the workforce and resources of both countries. In Detroit-Windsor, new industries tend to grow in suburban area rather in the urban area (Blatter, 2004). Meanwhile, Basel in Basel-Huningue-Weil am Rhein Metropolitan Area as a primary core provides manpower and resources to be specialized in research and development. On the other hand, Huningue and Weil am Rhein act as a secondary center of the agglomeration for manufacturing and logistics. It enables the polarization of flows from secondary center towards the primary core. In the case of Lok Ma Chau Loop, Shenzhen city and the Loop can be conceived as the primary core of the cross-border agglomeration to provide most resources and workforce. Meanwhile in the Hong Kong side, the proposed new town development in Kwu Tung / Fanling North estimating to house 176,900 people, will create polarization of flow towards the loop. In overall, with the emphasis of ‘Production, Education and Research’as a cycle, Lok Ma Chau Loop has a potential to grow as a cross-border agglomeration.

67

Shenzhen Average Height: 100m

Lok Ma Chau Loop Max Height: 54m Min Height: 14m

Understanding the Hong Kong- Shenzhen / LMC Loop

Fig. 7.15 Urban Design Framework

Fig. 7.17 Building Height Profile

68

Site Issues Introduction To support glitch as a new design process, contemporary architectural theories and post-digital aesthetic theories will be discussed and summarized in this chapter. It is aimed that glitch can be used as an applied design process (rather than a new design methodology based on post-digital theories) for cross-border agglomeration. In particular, Lok Ma Chau Loop has been chosen as the testing ground for exploring the potentials.

Location As a cross-border agglomeration, initially, the architecture of Lok Ma Chau Loop have to overcome the cultural and political difference. As different from the other two agglomerations mentioned in the former case studies, Hong Kong and Shenzhen have an imbalance of voice in the Lok Ma Chau Loop. Instead of designing a conventional subject-object tectonic composition (Fig. 8.1) that formally implies isolation and territory, an Interaction Zone can be

Fig. 8.1 Preliminary Design of the Interaction Zone by ARUP

designed alternatively. By breaking formal hierarchy into field conIII. SITE ANALYSIS

dition through using of glitch as an operation, it is anticipated that the Interaction Zone can create a medial space between Education Zone and Innovation Zone. As a consequence, the university-based research institute in Education Zone can accelerate creativity and academic freedom, while companies can be inspired by the research and development of the university. In a broader perspective, it is aimed that glitch as a design process can create a blurred zone for Hong Kong and Shenzhen to interact and target for their mutual benefits. The final project is expected to be a mixed-used building located in the Interaction Zone, which functionally overlaps as an educational and business use building.

Context The Lok Ma Chau Loop is a former disposal site of mud extracted from the Shenzhen River re-channelling work(Fig. 8.2). Currently,

Shenzhen

it is an oxbow island on Shenzhen River, situating in-between the contrasting Shenzhen cityscape and Hong Kong rural landscape.

Shenzhen’s urban fabric is diverse, Pre ‘Open Door’ Housings (Fig. 8.3) occupy part of the older area of the town with informal sheds and stores, while the Post ‘Open Door’ Housings (Fig. 8.4) with well-

LMC Loop

Hong Kong

planned city parks and malls occupy the newer and redeveloped part of the town. The transition between different housings is apparent because of ‘planned’ urban planning policy. Old and new housings are separated by tall fences to demarcate territory and social status. Shenzhen has an urbanized border streetscape (Fig. 8.5), the roads near the border are wide with tall buildings that formed an 69

Fig. 8.2 Border Duality of Lok Ma Chou Loop

Shenzhen

Fig. 8.3 Pre-‘Open Door’ Housing

Fig. 8.4 Post-‘Open Door’ Housing

Fig. 8.5 Border Streetscape

Hong Kong

Site Issue

Fig. 8.6 Rural Settlement

Fig. 8.7 Junkyard and carpark

Fig. 8.8 Border Streetscape

urbanized landscape. In contrary, the urban fabric in Hong Kong is more repetitive, the nearby area has no urban development, the area is occupied by rural settlements that belongs to the clans of the New Territories. These settlements (Fig. 8.6) are usually 3-storey tall as abide by law, with little ornament and modern furnishings. This type of development is unique among Hong Kong. They do not resemble with any traditional Chinese architecture. These housings usually have no fences as the whole territory belongs to the same clan. Nowadays, some settlement is buyer oriented with high fences, as the clans are selling their properties to outsiders. These settlements are generally considered undesirable to the general public but remain to exist because of historical reasons. Owing to poor management, part of the areas are turned into junkyards and carparks (Fig. 8.7) to provide service to the cross-border drivers. Moreover, small shops found in the surrounding are for people from both regions to assemble as the cross-border activities are frequent. Hong Kong’s border landscape is highly vegetated, most of them are farm lands and fish ponds. Nevertheless, only a few are in operation. The border streetscape (Fig. 8.8) is rather rural, most roads are single or double-lane with vegetation or trees on both sides of the road. The landscapes between Hong Kong and Shenzhen are in high contrast which signify that the future buildings in the loop have to blend the context of the two areas subtly with low-impact development.

70

San Tin Cross-border Bus Station

Lok Ma Chau Train Station

Store as assembling place for people from both regions

Huanggang Vehicle Port

III. SITE ANALYSIS

Fig. 8.10

Fig. 8.11

Fig. 8.10 LMC Loop, Viewing from Shenzhen

71

Lok Ma Chau Police Station

LMC Loop, Close-up

Rural Landscape of the surrounding

Border fence from Shenzhen

Proposed Location

Site Issue

1

Fig. 8.13 Fig. 8.12 Fig. 8.9 Surrounding Landmarks

Fig. 8.11 LMC Loop, Viewing from Lok Ma Chau Police Station

72

Huanggang Vehicle Port

Proposed Location

Lok Ma Chau Train Station

San Tin Cross-border Bus Station Lok Ma Chau Police Station

III. SITE ANALYSIS

Fig. 8.14 LMC Loop Aerial View

Fig. 8.12 LMC Loop, Viewing from Sheling (Illegal Immigrant Hill, literally)

Fig. 8.13 LMC Loop, Viewing from Sheling (Illegal Immigrant Hill, literally)

73

IV. GLITCH ARCHITECTURE This chapter starts with a close study of the existing masterplanning proposal and a modified part of the interaction zone for cross-border interactions. The design concept of establishing a museum of imitation and a mediation and arbitration center will also be discussed; they are critical architectural devices and focal points of glitch to mediate and reappropriate conflicts and differences of the two areas. Afterward, massing creation and series of glitchy operations in generating the museum of imitation will be focused. Lastly, discussion on the result and implications of the museum of imitation will be made.

Masterplanning Proposal As an extension to apply glitch technology in design process for architecture, the preliminary scheme is to create a mixed building at the center of the Lok Ma Chau Loop, which includes the duality of both cultures. The building is expected to act as an interface to bridge the cultural differences of the two regions (Fig. 9.1). One part of the building will be occupied by a Joint-University Research Institute to focus on developing art-based and research-based media technology. Whereas another part of the building will be occupied by new starters and branch offices of technological companies. In between, there will be a zone of interaction which blurs and incorporates the differences

Freedom Of Speech

Petition

National People’s Congress Controls All

Free Media

Media are Party-owned with Censorship

党媒姓党

Trias politica governed by Common Law

Centralized Power governed by Civil Law

Hong Kong

Shenzhen

Masterplanning Proposal

Right to Elect & Vote Legislator

Fig. 9.1 Major differences between Hong Kong and Shenzhen

74

between Hong Kong and Shenzhen, and interacts for their mutual benefits. In detail, the Joint-University Research Institute in the Education Zone will be equipped with some research-based facilities for the engineering department, it is also a core extension to train local people for the companies in the surrounding area; and acts as a government-funded co-working space that allows start-up companies to share resources and interact with students. The media art school extension in the peripheral is designed to be a means to encourage cultural exchange. Hong Kong is well-known for its media and movie industry in Asia. With the establishment of the West Kowloon Cultural District and M+ Museum, Hong Kong is seeking to make a cultural statement in Asia. However, Hong Kong is lack of local educational support and facilities for the media industry because of high land rent (SCMP, 2017). The media schools in Polytechnic University of Hong Kong and City University of Hong Kong are facing lack of space for exhibition, the Lok Ma Chau loop offers an opportunity to setup a satellite campus for these media schools. Office located in the Innovation Zone is aimed at integrating mainland technology industry with Hong Kong’s open air and targets to allow the established company, like Tencent, to interact with the startup companies and increase the their business transparency to face international competitions. The Interaction Zone located in the middle of the area, consisting of a Museum of Imitation, a Mediation & Arbitration Center and some leisure facilities, are designed for mediating and re-appropriating the cultural differences.

N

Massing Scheme As such, two building mass schemes are proposed (Fig.

Scheme B Scheme A

9.2). Upon weighting the pros and cons, Scheme B is considered more preferable as it takes the advantage of linking the whole site together and allows the proposed building to be situated at the center of Interaction Zone, IV. GLITCH ARCHITECTURE

moreover, with only slight alteration of road, the Education Zone in the south and the Innovation Zone in the north are also bridged together. This connection is more favorable than the east-west connections in Scheme A as it is more responsive to the masterplan and can form a main axis with the rest of the buildings.

Museum of Imitation

In detail, the Museum of Imitation, the Mediation & Arbitration Center, the Media School and the Conference Center

M&A Center

form pocket urban spaces to facilitate interactions (Fig.

Site Se

ction

9.3). Meanwhile, the Museum of Imitation and the office building form a strong edge to pose opposition. Never-

N

theless, the landscape forms as a field condition to dissolve the two opposing zones, with start-up incubators to fill up the voids created by the landscape which pose

Innovation Zone

Interaction Zone

Education Zone

possibilities of mediation and interaction.

Fig. 9.2 Preliminary Masterplannning Scheme

75

Site S

ection

1:1300 N

Conference Center

Museum of Imitation

Media School

Recycling Market Co-working Space

Start-up Store

Conference Center

Start-up

Office

Visitor

Student, Researcher & Academics

Research Institute

Massing Scheme

Cooperate & Employee

Mediation & Arbitration Center

Media School

Fig. 9.3 Massing Scheme

76

IV. GLITCH ARCHITECTURE

Fig. 9.4 Site Model Overview

77

Start-up Incubator (3x3m)

Media School

Mediation & Arbitration Center

Fig. 9.5 Site Model Close-up

Massing Scheme

Museum of Imitation

Electronics Market

0

3

6m

78

79

IV. GLITCH ARCHITECTURE

N

SZ

Massing Scheme

80

HK

On Imitation If Hong Kong and Shenzhen want to shift from Asia’s Financial Center and Shanzhai World Factory to Cities of Innovation, imitation is a critical issue that has yet to be resolved. Both Hong Kong and Shenzhen has come across a period in creating Shanzhai (山寨) [~counterfeit knock-off / reverse-engineered] goods. The period is considered as Shanzhai economy: a business model which focuses on makes and sales imitation (Fig.

10.4); and Shanzhai culture: a culture that caricaturing literature, movies, personal images, or organizations for entertainment purposes (Lin, 2009). In Chinese cultural mentality, copying is considered “a noble art,” a “time-honored learning process” which people manifested respect for their ancestors in Chinese history (Midler, 2009). For instance, artists are encouraged to copy the work of famous artist, such as the calligraphy done by Wang Xizhi shown in the right (fig. 10.1) and the art factory

Fig. 10.1 Different imitated versions of Wang Xizhi’s calligraphy done by various artists

where people are mass-producing the same painting (fig. 10.3). Moreover, copyright is a western concept, as a socialist country, individuals are emphasized and encouraged to share their developments with society (Jiang, 2014). Furthermore, economically, imitating successful products is considered as a mode of production that has low upfront cost, multi-functional performance and possible to be customized to suit local customers. These economic activities become cultural and vice versa (Jameson, 1998).

Meanwhile, Hong Kong people has shifted its paradigm as the British has implemented the western standard and copyright to the city, Hong Kong has become an Asia’s world city, a city abridged the eastern and western IV. GLITCH ARCHITECTURE

mentality. Meanwhile, China stresses on social harmony and cooperation in explaining the social tolerance for counterfeit activities and is still learning Western cultural values of individual rights and intellectual property rights (Lai & Zaichkowsky, 1999; Swinyard, Rinne, & Kau, 1990). Noting the difference of the eastern and western mentality, there is a need to shift the paradigm for Shenzhen from totalitarian design towards distributed creativ-

ity, from a focus on speed towards holistic development, from physical to digital (Lam, 2000) (Fig. 10.2).

As a catalyst located in the epicenter of the cross-border agglomeration, the author proposes the museum of imitation as a platform for Hong Kong and Shenzhen to understand and mediate the cultural difference, the museum will feature three categories of exhibitions: the history of Shanzhai culture, the paradigm shift and the nature of imitation.

Meanwhile, the mediation and arbitration center will provide actual services in resolving conflicting issues between Hong Kong and Shenzhen.

81

Fig. 10.2 Shanzhai City as proposed by Tat Lam

On Imitation

Fig. 10.3 Copying master in an Art Class in Shenzhen

Fig. 10.4 Various Shanzhai Brand

82

D

Design Concept

L

From Copying Commodities to creating knock offs

H

O

3/F

Shanzhai

S

Paradigm Shift

E

Regulation, standards, Reverse-engineering and localizaion

H

E

R

2/F

T

1/F

IV. GLITCH ARCHITECTURE

G/F

Lobby Reception & Information Center

Nature of Imitation Art of Imitation, Mimesis + Activities Room & Special Exhibition

Meditation Garden Fig. 10.5 Museum of Imitation Concept

The museum is consist of three main exhibition levels: the Hall of Shanzhai, the Paradigm Shift and the nature of Imitation. The visitors take the elevator from the lobby to the top floor to the Hall of Shanzhai , the Hall exhibits the history of Shanzhai culture and commodities in creating knock-offs. Meanwhile, the paradigm shift level exhibits the need of regulation and standards, as well as reverse-engineer and localized product that are made to be more suitable for the local market. Then visitors walk down to the nature of imitation exhibition which explains the very nature of imitation, mimesis. Elaborating that it is human nature to imitate, for example, a baby will imitate what his/her mother said. This floor will also feature how nature imitates itself, the science behind imitation and the art that based on imitation, such as parody, mockery, pastriche, etc. The ground floor will feature a meditation garden, where misfitted columns tilt greater and greater from the meditation and arbitration center, which aims to state that a small deviated error is possible to turn into a big problem.

83

Design Progress

Tier 3: Array of Rooms

Tier 4: Courtyard

Tier 2: Banded Space

Tier 1: Room Decay to Partition and elements

Fig. 10.6 Preliminary Study on Local Glitch Operations in forming various spatial hierarchy

Design Concept and Design Progress

Fig. 10.7 Preliminary Study on Global Glitch Operations in forming various urban conditions

Fig. 10.8 Preliminary Massing Scheme for Media School and Conference Center

84

Glitch Operations Global and Local Operations The global operations are series of weak principles that determine urban scale design such as the landscape, building heights and start-up incubators (see Fig. 11.1). Meanwhile, the local operations (Fig. 11.3) are series of strong rules that reflect on the museum of imitation, constrained by a set of background data (Fig. 11.2). Firstly, museum of imitation based on a set of reference points (3m x 3m x 0.5m), where the integrated external form is decayed into

distorted internal structure. It forms an enclosed unified envelope but incoherent and fragmented space. The tectonic elements, such as floor slab and wall is broken into parts and form as a blurred space. Secondly, the museum is built upon two conflicting axes, the Education v.s. Innovation. Thirdly, the initial subjects are glitched and turned

into a non-hierarchical conditions.

Subjects The form of museum is mainly determined by two subjects: slab and image. The slab is a universal understandable tectonic object, where based on different parameters, it is gain / loss information and transformed into different parts. Meanwhile, the image of an imitated ancient vase is being projected, distorted and transformed into various objects that affect the wall and slab. Both subjects interplay and form the basic motifs of the internal structure of the building (see fig. 11.4 for detail).

Spatial Relation with the Glitch Operations (see fig.10.5 for location) Meditation Garden: • Tranquil, meditative, columns symbolize small deviation creates greater error

IV. GLITCH ARCHITECTURE

• Column misalignment based on Subject 1 Hall of ‘Shanzhai’ (fig. 11.7): • Blurred and indeterministic Exhibition Space that promote random flow with Voxel Fragments of Subject 1 as a part, that Shanzhai-ed into different objects • Twisted directional Sky Window based on solar envelope and ref. point / overflowing reference points Hall of Reverse-engineering (fig. 11.8): • Dismantling the understanding of the structure of voxel as if like reverse-engineering • Reducing reference points: increases formal indeterminacy, but decreases in volume / window frame as the filtered resolution of Subject 2 Atrium of the Nature (fig. 11.9): • Large volumetric space that the structure and ornament resembles the growth of nature and mimesis • Surface deforms to merge with natural landscapes Threshold (fig. 11.9): • Various glitch techniques accumulated after passing the threshold as if human attempted to imitate nature 85

Break Hierarchy, encourage interaction

Room to Blurred Space

Link and break interrelated Program

Incestenous Network

Programmatic Disorganization

Degeneration

Prioritize Circulation

Flow of People

Diffuse Programmatic Arrangement

Media Transparency Education <-> Business Hong Kong <-> Shenzhen

Environmental Optimization

Sun Path & Orientation

S

S

S

S

S

Glitch Operations

Fig. 11.1 Global Operations

86

Studio and Co-working Bottom-up v.s. Top-down space formation approach Program>Form v.s. Form>Program Free Plan v.s. Enclosed Space

Studio and Co-working Growth v.s. Culture Gentrification v.s. Spatial Justice Exploratorium Innovation v.s. Imitation

Studio and Co-working Bottom-up v.s. Top-down space formation approach Program>Form v.s. Form>Program Free Plan v.s. Enclosed Space

Mediation Center Indirect Connection > Direct Connection

Mediation Center Input < Output (Spatial Privacy v.s.Connection Censorship) Indirect > Direct Connection Traditional Elements break into discontinued parts

Global Operation

Local (Office)

Local (Institute)

Local (Office)

Global

Global

Strength <1.0

Global

Datum

300

0

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300 19500 15000 10500 6000

tor

va

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Integrated External Form G/F Garden Distorted Internal Structure

Every small deviation will create greater error.

1/F Nature of Imitation

Simple form that imitates growth.

Subject 2

Roo env

IV. GLITCH ARCHITECTURE

Image-based projection

Two Conflicting Axes Education v.s. Innovation Location

Subject 1 Utilitarian Slab with a indentation for lighting

Gallery

OperationAtrium e

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Initial Subjects / Objects Glitchiness 87

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Subject 1 Tectonic Transformation

Subject 2 Image Projection

Local Operation Glitch Operations

Interplay of Subject 1 & 2

Fig.11.2 Datum Fig.11.3 Subjects and Local Operations Fig.11.4 Detailed Explanation on the Local Operations / Elevations

88

Location

G/F Garden

1/F Nature of Imitation

Every small deviation will create greater error.

Simple form that imitates growth.

Subject 2

Roof steepness based on solar envelope and ref. point cloud

Image-based projection

Location

Subject 1

IV. GLITCH ARCHITECTURE

Utilitarian Slab with a indentation for lighting

Operation

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19500

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1/F Nature of Imitation

G/F Atrium

Overflowing ref. point as a mean of growth

Passing the threshold, various glitches aculmulated and deformed surfaces

Large spanning Glitched truss

2/F Hall of Reverse-Eng

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90

IV. GLITCH ARCHITECTURE

Gli

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Glitch Operations Fig. 11.5 Isometric Section

92

93

IV. GLITCH ARCHITECTURE

Conclusion Fig. 11.6 Exterior View

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IV. GLITCH ARCHITECTURE

Fig. 11.7 Hall of ‘Shanzhai’

Fig. 11.8 Hall of Reverse-engineering

95

Conclusion Fig. 11.9 Atrium of the Nature

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Hall of Shanzhai

Fig.11.7

Threshold Tunnel

Hall of ReverseEngineering

IV. GLITCH ARCHITECTURE

3/F

Hall of ReverseEngineering Fig.11.8

2/F

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Atrium of the Nature

Nature of Imitation Hallway

Landscape of our mind

Special Exhibition

1/F

Theatre (B/F)

Meditation Garden

Cafe

Conclusion

Isometric Section

Temporary Exhibition

Fig.11.9

N Fig.11.6

G/F Fig. 11.10 1:400 Plan

98

IV. GLITCH ARCHITECTURE Fig.11.11 Fig.11.12

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1:150 Model Overview Close-up showing Glitchy Facade and the Meditation Garden

Conclusion

Fig.11.13 Fig.11.14

Close-up showing Hall of ‘Shanzhai’ and Atrium of Nature Close-up showing Atrium of Nature

100

Conclusion With a year of exploration, trial and error, the glitch techniques have posed promising feasibility as a new design paradigm. The museum of imitation could be an acute architectural mediator in Lok Ma Chau Loop, a cross-border agglomeration between Hong Kong and Shenzhen. It also shows potential to be a device that appropriates the cultural difference of Hong Kong and Shenzhen in a gentle manner, with least socio-economical, political impact.

Epilogue Thesis project is a project that never finished, yet it embeds the vision of the future. Though the beginning of the projectâ&#x20AC;&#x2122;s year appears to be endlessly long, its end has passed all too fast. The year was fruitful and rewarding in studying glitch as a technique and phenomenon, and translated that into an architectural response, as a museum of imitation. In our era, society has been overshadowed by the technology-driven occupations such as engineer.

The role of architect in the society has been diminished and become uncertain. The whole theoretical aspect of the thesis has been bottlenecked by the fact that architecture in practice is very much technology-driven, limited by the social-economical factors in society rather than theory-driven. Nevertheless, in a thesis, there are always new opportunities to think out-of-the-box. The techniques developed in this thesis show an alternative way in digital-based design, other than optimization. It also unveils the current condition of our society: as the data structure is growing in complexity, information is overflowed. There is a dire need of a mediator. More importantly, architecture still has potential to revive its humanistic and craft aspect in the age of mass-customization. The author foresees that the next step of developing glitch as a technique could be extended into urban scale, to create a new array of cells with a â&#x20AC;&#x2DC;glitchâ&#x20AC;&#x2122; mechanism, under the city as an organism. Furthermore, the author foresees glitch as a means of mediating

IV. GLITCH ARCHITECTURE

and appropriating information in developing physical-digital interface that grows in great complexity in our society.

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Last but not least, my special thanks to Prof. Michael Jemtrud, my thesis adviser, his words are my lamp in the darkness, for illuminating my directions. Also, with lot of thanks for my beloved mother and father for their generous support.

Conclusion

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IV. BIBLIOGRAPHY

AND

REFERENCES

THE MEANING OF GLITCH IN ARCHITECTURE

In-between

Duality

Submitted in partial fulfillment of the requirements for the degree of Master of Architecture in V. BIBLIOGRAPHY AND REFERENCES

The Faculty of Graduate Studies, School of Architecture, McGill University © Dec 20, 2017

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Works Cited Work Force Windsor Essex. Windsor Essex Employment Planning Council, n.d. Web. Kwu Tung North / Fanling North New Development Areas. HKSAR, n.d. Web. 1 July 2017.

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"AFCD Country Parks." AFCD Country Parks. AFCD HKSAR, 23 Dec. 2015. Web. 1 July 2017.

Allen, Stan. Points

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"Appendix 9 - Statistics on Cross-boundary Passenger Traffic." Immigration Department.

N.p., n.d. Web. 1 July 2017.

Berry, David M. Postdigital aesthetics: art, computation and design. Basingstoke: Palgrave Macmillan, 2015. Print.

Contreras-Koterbay, Scott, and Łukasz Mirocha. The new aesthetic and art: constellations of the postdigital. Amsterdam: Institute of Network Cultures, 2016. Print.

Crane, David. "Canada-US Auto Pact." N.p., n.d. Web. 25 June 2017.

"Deal signed for HK-SZ tech park." Hong Kong's Information Services Department. N.p., 02 Jan. 2017. Web. 14 July 2017.

Deleuze, Gilles, and Félix Guattari. Anti-Oedipus: capitalism and schizophrenia.

Minneapolis: U of Minnesota Press, 1983. Print.

Baustelleföderalismus (2005): n. pag. Web.

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Reiser, Jesse, and Nanako Umemoto. Atlas of novel tectonics. New York, NY: Princeton Architectural Press, 2012. Print.

Reitel, Bernard. "Border Temporality and Space Integration in the European Transborder Agglomeration of Basel." Journal of Borderlands Studies 28.2 (2013): 239-56.

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KPMG with european association of bioindustries, 1 May 2016. Web. "United States Bankruptcy Court, Eastern District of Michigan." N.p., 18 July 2013.

Web. Wegenstein, Bernadette. Getting under the skin: the body and media theory. Cambridge, Mass.: MIT Press, 2006. Print.

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"Police-reported crime statistics, 2011." Statistics Canada. N.p., n.d. Web.

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Poole, Matthew, and Manuel Shvartzerg. The politics of parametricism: digital technologies in architecture. London ; New Delhi ; New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing Plc., 2015. Print.

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Thesis Advisor: Michael Jemtrud