live performance

live performance cooperative ownership and responsibility iurii goncharenko

live performance cooperative ownership and responsibility iurii goncharenko

Master’s Thesis Book to obtain the degree “Master of Science in Architecture” Design Studio Staub | Böckle collective transparency WS 17 | 18

Fürst-Franz-Josef-Strasse, 9490 Vaduz, Liechtenstein

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I dedicate this research to my father Eduard Goncharenko (space engineer, philosopher, journalist) as well as all my family members, who were always by my side supporting my professional and personal ambitions. .............................................................................................. Я посвящаю это иследование моему отцу Эдуарду Гончаренко (космическому инженеру, философу, журналисту), а также всем членам моей семи, которые всегда были на моей стороне, поддерживая мои профессиональные и личные амбиции.

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ABSTRACT

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How can global community reach profit from establishing local communities with high values? How might social engineering, in the meaning of architecture, can change individual behavior patterns and a system of values towards “sustainable relationship”? What mechanisms might we need to make a positive transformation in human consciousness?

How specific visual identity and atmospheres could programme a space and what influence it could have on the user experience?

Findings of this research, together with the idea of importance to create a healthy and responsible relationship in a constantly changing community reveal a hidden potential of architecture to encourage individual human behavior in the scale of individuality and community to shape connections between users. This statement resulted in the research question for the thesis project: How can architecture initiate “sustainable relationships” in a community by encouraging interaction between users within the context of temporary living and high human mobility?

The thesis work “live performance” aims to develop a new type of collective living for emerging “global nomad” community based on principles of sharing goods as well as healthy and responsible interpersonal relationships. The structure of the work consists of the theoretical part including the analysis of findings, case studies, and an empirical part.

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CONTENT

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ABSTRACT

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1. INTRODUCTION 1.1 | general Introduction

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1.2 | experience economy

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1.3 | research gap

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1.4 | definitions

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2. THE CONTEXT 2.1 | global nomads

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2.2 | in the middle of nowhere

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2.3 | courtyard

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3. CASE STUDIES 3.1 | light and shadow

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3.2 | materiality

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3.3 | “sustainable relationship”

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3.4 | reuse and share

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3.5 |sense of belonging

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3.6 | spatial patterns

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4. METHODOLOGY

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5. “THE HIVE” AS A MODEL OF “SUSTAINABLE COMMUNITY” 5.1 | FIRST phase

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5.2 | SECOND phase

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5.3 | THIRD phase

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5.4 | DISCUSSION

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6. CONCLUSION

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LIST OF REFERENCES

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1. INTRODUCTION 1.1 | GENERAL INTRODUCTION 1.2 | EXPERIENCE ECONOMY 1.3 | RESEARCH GAP 1.4 | DEFINITIONS

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1.1 | GENERAL INTRODUCTION

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INTRODUCTION

XXI century characterized by constant increasing of human mobility around the globe. People freely change their location for different purposes such as traveling in search of new experiences, inter-cultural exchange, international education, temporary or permanent employment.

Figure 1. Diagram.

International migration flows between 2010-2015 retrieved from: https://interactive. swissinfo.ch/2016_09_07_

According to the research led by Guy J. Abel from Vienna Institute of Demography (Nguyen, 2018), about 244 million ( 3.3% of world population) people were living outside their country of birth in 2015. More than 1.1 Billion (15%) and 630 Million, (9%) people with a desire to migrate temporarily or permanently respectively. In total, more than quarter of world population is opened to join international lifestyle. During the last 100 years, qualities of traveling were radically changed.

Nowadays, travels are faster, cheaper and more comfortable.

According to the data released by World Travel Organization in July 2017 (“2017 International Tourism Results: the highest in seven years | World Tourism Organization UNWTO�, 2018), the number of international tourist arrivals in 2016 reached 1.235 billion with half of them in Europe. The tourism became a significant part of the global economy and a shaping force of global communication.

migrationFlows/chordDiagram_EN.png

Another turning point in the history of technological revolution happened in 1844 when the first telegraph line where sated up by Samuel Morse. This event has radically changed our society in the next two centuries. Today, communication technologies allow being in touch in real time on a long distance and provide fast information exchange.

Human mobility and communication technologies 13

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INTRODUCTION

together, tide the world into the single network of the global community to bring our performance to a new level.

Production of goods becomes more efficient and the global market more accessible. However, new technologies are shaping not only our physical world. They shape our lifestyle, social behavior and the way of thinking. For instance, during last few decades, we can observe some emerging trends in the global labor market such as co-working.

In the context of this trend, the global labor market reacting by emerging new niche, of mobile workers (global nomads), such as consulting experts and freelancers. According to the report called “Future Working: The Rise of Europe’s Independent Professionals,” (“2017 International Tourism Results: the highest in seven years | World Tourism Organization UNWTO”, 2018) the fastest growing group in the EU labor market is freelance. In 2013 it reached 8.9 million people with annual growth of 45%. This independent or remote model of working encourages people to join a global community called “global nomads.” At the same time, the real-estate market is reacting slower on the emerging demand of temporary living. For instance, services like Airbnb is becoming more popular. However, they also cannot fulfill the rapidly growing demand. It leaves only a few options to live in an expensive hotel, overcrowded hostel or rent an apartment that hard to get even for the half year.

In order to link the trend of emerging “global nomads” community with the demand of temporary living, the background of the research has been outlined in further chapters [1.2; 3.3; 3.4; 3.5] as well as research gap in [1.3].

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1.2 | EXPERIENCE ECONOMY

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INTRODUCTION

Experience economy. Today we are shifting more towards experiences rather than products. It makes little sense to invest in objects that have a smaller lifetime that ages ago.

Today the words consumerism forced big companies to design products for the shorter period because consumers always need an update/upgrade/new thing to own. We’re continually googling and checking in. Each action we take, whether we do it digitally or physically is so much routed in the desirability niche. That is very the Experience Economy is coming into the place. Consumers want to associate themselves with the place or a brand and feel like they have been taken care of. AI and technologically advancement would never erase the importance of the physical space. The desirability of belonging will increase more and more.

Figure 2. Amtrak train (USA) retrieved from: www.flickr.com/ photos/65694420@N00/758165540

The feeling of participation and connection with the place becoming very immersive. Not only physical but also a mental connectivity outline the user experience in the place. Mentally participate in culture, history is so desirable by any users. It also tells about the expertise of the place. It has been there forever, and my grandmother was experiencing the same place. We need that story to be a part of and to share with our friends. Memorable experiences create a more extended connection with places.

Today we own less, share more, move fast and ready to change the set up outside of the window for the sake of the new experience and more of curiosity. The world is not stable, new jobs opportunities are opening, and maybe tomorrow you will be less relevant to your expertise, but the experience will stay forever.

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1.3 | RESEARCH GAP

“I think spaces that awaken strong emotions are those that are closest to excellence” (“Ricardo Bofill: Beyond Brutalism”, 2018) There are two levels of architectural purpose. First is a physical necessity of shelter that formed by function and programmatic features. Second is a psychological level that can offer a higher quality of life with the possibility to engage and stimulate perceptual experience. A number of researches have been made to explore and define essential aspects of practical and experiential approaches in architecture.

On the one hand, Christopher Alexander and his colleagues from Berkeley University who in 1977 introduced the concept of design language, which is composed of numerous interrelated templates or “patterns”. More than 250 patterns are structured in sequential order from a regional design tool to more specific scope like the type of a window and its positioning. Every pattern has a conventional structure and contains a problem, statement, discussion with supportive materials and solution. It is important to notice that all patterns could be considered as a separated unit as well as a combination of them for more varieties of design solutions.

Such approach allows outlining problems and relationships with other fields in a very generic way so one can adapt it to any specific location or context.

On the other hand, researchers and practicing architects such as Juhani Pallasmaa and Steven Holl who wrote the impassive amount of publications and research on the topic

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INTRODUCTION

of phenomenology in architecture. Phenomenology in architecture can be understood as a research method that is based on phenomenology, as a philosophical movement, that aims to study the relationship between human and build environment by analysis of physical properties and experiential qualities of space. Phenomenology, as a science, provides the holistic basis for creating meaningful spaces and producing distinctive, memorable design. The key term of a phenomenological approach in architecture is ‘sense of place’ [1.6] that characterized by the emotional relationship between human and place. This relationship called ‘atmosphere’ [1.6] and shaped by personal experience, memories, culture background, knowledge, beliefs, etc. In the current project, the principles of the phenomenological approach in architecture will serve as an evaluation tool for physical properties and experiential qualities of the designed proposal. The key points of the evaluation process will be aspects of materiality, light, visual connections, spatial composition, etc.

The framework of the research addresses the power of architecture as a mediator between physical and experiential qualities of space. The thesis book aims to create a comprehensive statement about the personal approach in the field of architecture, by combining essential aspects of practical and experiential approaches in design.

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1.4 | DEFINITIONS

PHENOMENOLOGY in architecture can be understood as a research method or approach based on phenomenology, as a philosophical movement, that aims to study the relationship between human and build environment by analysis of physical properties and experiential qualities of space.

“SUSTAINABLE RELATIONSHIPS” is a balanced system of personal and group priorities where satisfaction of common needs is considered as a crucial contribution to common goals.

CONFORMITY “is a psychological term that describes an act of changing one’s actions, attitudes, or behaviors to match norms of other people or community.” (“Conformity”, 2018) COMMUNITY “is a small or large social unit (a group of living things) who have something in common, such as norms, religion, values, or identity. Communities often share a sense of place that is situated in a given geographical area (e.g. a country, village, town, or neighborhood) or in virtual space through communication platforms.” (“Community”, 2018) BELONGINGNESS “is the human emotional need to be an accepted member of a group. Whether it is family, friends, co-workers, a religion, or something else, people tend to have an ‘inherent’ desire to belong and be an important part of something greater than themselves.” (“Belongingness”, 2018)

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SENSE OF COMMUNITY is “the perception of similarity to others, an acknowledged interdependence with others, a willingness to maintain this interdependence by giving to or doing for others what one expects from them, and the feeling that one is part of a larger dependable and stable structure.”

(Sarason, 1974, p. 157) GLOBAL COMMUNITY is: “people or nations of the world, considered as being closely connected by modern telecommunications and as being economical, socially, and politically interdependent.” (“Global community definition and meaning | Collins English Dictionary”, 2018) DIVERSITY “is the condition of having or being composed of differing elements: variety; especially: the inclusion of different types of people (such as people of different races or cultures) in a group or organization.” (“Definition of DIVERSITY”, 2018) EXPERIENCE “ is the knowledge or mastery of an event or subject gained through involvement in or exposure to it.” (“Experience”, n.d.) (“Experience”, 2018) PERCEPTION (from the Latin perceptio) is the organization, identification, and interpretation of sensory information in order to represent and understand the presented information, or the environment (“Perception”, 2018)

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2. THE CONTEXT 2.1 | GLOBAL NOMADS 2.2 | IN THE MIDDLE OF NOWHERE 2.3 | COURTYARD

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1.1 | GLOBAL NOMADS

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INTRODUCTION

Globalization processes and rapid increase of human mobility encourage emerging of new social class so-called “global nomads.” Global nomads are characterized by high mobility level and are keeping international lifestyle. They are changing locations according to their personal needs or professional opportunities. “global nomads” travel between countries without a permanent place of stay or job and practice minimalistic approach regarding own staff to support their frequent moves. Such people are often searching for temporary employment and work remotely with clients from different countries. Mostly, they have location-independent jobs such as coaching, journalism, IT, consultancy, etc. that allows them to be more flexible in choosing working spaces: coffee shops, public libraries, co-working spaces, etc. Money and social status is not their target. Instead, they are aiming to enrich their life experiences focusing on happiness and wellbeing.

Figure 3. Carolina airport retrieved from: www.carolinacoastt. tumblr.com/post/119760164751

This lifestyle challenges some main principles and norms of Western civilization. For instance, the concept of home ownership, accumulation of wealth, family, and the idea of being rooted in one place. Such lifestyle is resulting in losing ties to a country of origin as well as a feeling of home. Constant relocations, reintegration and losing the sense of belonging is culminating by anxiousness and even depression.

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2.1 | IN THE MIDDLE OF NOWHERE

HOUSE OF WATER LAUNDARY

LIBRARY

DAYCARE CINEMA

CATERING

KITCHEN

FOOD MARKET

TRANSIT

PHARMACY

SUPPORTED LIVING

ELDERLY HOUSING

CO-WORKING

WORKSHOP

GEST HOUS & BIKE PERFORMANCE EXHIBITION

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THE CONTEXT

Rectangular perimeter block with a courtyard inside is divided into 18 residential parts distributed between students. By the studio task, the perimeter block is a multistory development for approximately 500 inhabitants. Every building has its specific function, concept, and program that were defined to satisfy programmatic needs of the urban neighborhood. As a prototype for the perimeter block, while studio discussion, we choose the project “Neustart Schweiz”.

Figure 4. axonometric drawing of perimeter block program distribution

To investigate the topic of the contemporary concept of communal living and its history of development our studio group went to Zürich, Switzerland. We visited few recently developed residential neighborhoods and had discussions with three experts in the fields of architecture and urban design.

Claudia Thiesen, architect ( interview September 2017 ) How can we create a solid structure out of all these individual buildings and how do they develop a sense of community?

“The aim was to have a diverse architecture with a range of various people living and working here. There are different cultures, different ages, and also various forms of living on the site and I think that the buildings are allowed to express this. It reflects in a variety of buildings typology, which is connected by design elements, for example, the ground floor spaces, which have same heights and of similar materials. This creates a connection between the buildings, despite how different the expressions are perceived and how diverse they are. It is possible that identity is created through the house in which one lives, or the form of living, or the expression.

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Each house on the site got a distinctive character from the planners, and the cooperative is the connecting element.

All the people on the site, or in the communal house (Gemeinschaftshaus), are members of the cooperative.

Many projects are organized throughout the development, so groups are not formed per house, but in the whole neighborhood, and I think that through the cooperative and the neighborhood, identity is created.� (Thiesen, 2017) According to the studio program, the project has no specific geographical or cultural context. It brings a degree of uncertainty in the meaning of the local regulation code, climate condition, positioning in an urban fabric and demographic situation. However, the context is focusing more on the neighborhood scale. After studio brainstorm session during seminar week, we specified some criteria and conditions that were crucially important for the perimeterblock program designation, distribution between students and program mapping. Among them the most important are: - the perimeter block locates in the average European city - the perimeter block is not a self-sufficient unit and depends on undefined surrounding services and programs - the common courtyard 60x80m. is a semi-public space that serves as the common ground of the transparent commune WS 17/18 | LIVE PERFORMANCE | THESIS BOOK

THE CONTEXT

- surroundings neighborhoods have a similar structure - on the south-west, south-east, north-west sides, of the perimeter block, streets have busy traffic (pedestrians, bicycles, public and private transportations). The northeast side is a slow traffic street with only pedestrian and bicycle access.

- the positioning of individual public programs in the perimeter block depends on north-south orientation As a result of series workshops and group discussions that took place during seminar week, the common ground was found. All public programs were mapped in accordance mentioned above criteria. The sequence of programs is following the order (starting from the south corner and following clockwise direction) : food market, pharmacy, elderly housing, bicycle shop, restaurant, exhibition, workshop, co-working space, supporting living, transit space, communal kitchen, cinema, daycare, laundry, bathhouse, second-hand furniture store, library, catering.

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2.2 | COURTYARD

The heart of the perimeter block is a rectangular 60x80m courtyard that binds all programs and neighbors of the community and serves as a common space where the extension of individual programs could occur. In the middle of the courtyard, an abstract recreational zone filled by trees and greenery, which breaks flatness of the square and divides it into passive “urban forest” and active “interaction perimeter” recreation zones. The courtyard is a semi-private area with public entrances from Eastern and Western corners of the perimeter block.

The active recreation zone is characterized by high level of program flexibility and variety of activities. During the workshop on the “Courtyard” each student presented personal proposals that were concluded by a common vision and following characteristics:

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THE CONTEXT

- the “urban forest” is a rectangular area (15 x 30 m.) planted with urban species of trees (6 m. high) - trees are planted in regular grid 3x3 meters to reach the effect of artificial forest - crones of trees forming rectangular green volume completely covering “walk grid” underneath - the “interaction perimeter” is an opened area where the extension of the programs can accrue - the ground of the “interaction perimeter” has integrated joints for street furniture and “spatial structures” - the “spatial structures” consist of unified elements such as a pillar, balk, roof and wall - different spatial structures could be assembled out of structural elements such as street exhibition, market, pavilion, etc.

- street furniture and “spatial structures can be playacted according to emerging needs and activities.

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3. CASE STUDIES 3.1 | LIGHT AND SHADOW 3.2 | MATERIALITY 3.3 | “SUSTAINABLE RELATIONSHIP” 3.4 | REUSE AND SHARE 3.5 |SENSE OF BELONGING 3.6 | SPATIAL PATTERNS

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3.1 | LIGHT AND SHADOW

“A plan of a building should be read like a harmony of spaces in light. Even a space intended to be dark should have just enough light from some mysterious opening to tell us how dark it really is. Each space must be defined by its structure and the character of its natural light.” (Kahn, 1993, p. 36)

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Light is an essential condition that allows visually perceive surrounding spaces. The character of light influence our mood and well-being. Light and shadows tell us about form, materials, and textures. To design buildings, it means to work with shape, light and its aperture. The character of natural light, intensity, direction, and colors influences our perception of spaces and objects. “Louis Kahn, in the book “silence and light” describes his understanding of phenomena of light and how it interacts with shape, materials and human perception.

He tells that light creates a material, and purpose of a material is to cast a shadow. Shadow is an essential element of Kahn’s design approach that reveals his vision of composition and form. The “mysteriousness” of shadow is closely linked to darkness and evokes uncertainty. Suddenly, an architect transforms into a film director to create drama, mystery or silence atmosphere. For this reason, Louis Kahn invented the constructive technique of deep internal galleries, which are located perpendicular to the facade, and light source.” (Iurii Goncharenko, 2017) It is well–known fact that people spend more and more time in artificial illuminated environments that create demand to develop new strategies to ensure that indoor environments can still positively stimulate our senses and enhance the feeling of living in connection with nature. T theatre effect During the design process of the building, were implemented few passive daylighting approaches such as tall windows to allow light to penetrate deep into interiors as well as using light-colored materials with smooth surfaces. These low-tech strategies will help to meet not only functional needs but also create an inspiring atmosphere with the positive influence of 35

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3.2 | MATERIALITY

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The issue of materiality deserves special attention. In order to bring a certain level of mysteriousness and uniqueness of the building, the set of materials were developed and applied to the project. The concept of materiality based on the fact that such perimeter block is a part of the established urban fabric. This point allows me to make an assumption that the perimeter block is placed on the plot where another building or urban development have been located. The materials that were developed for the project are based on demolition leftovers of previous buildings such as copper and aluminum pipes, wires, bricks, glass, etc. Those pieces of materials are diffused on the surface of concrete panels that are covering a raw wall. The essence of the production technology of this materials is in putting decorative pieces into a matrix before filling it with concrete. After loading and congealing of concrete, raw panels have to be polished.

Figure 5. photo of material samples

It is important to highlight that shared public staircase block [5.3] represents materiality of both buildings, residential part of “house of water” and the temporary housing [2.1]. The staircase block attaches east north adjacent facade of the “hose of water” by the long side. There is no wall from the side of “temporary housing”. It allows representing primary materials from both sides of staircase passage. The bathhouse side has a deep-blue tile (100 x 200 mm.) in the vertical direction. The opposite wall of staircase block is finished with concrete panels filled with pieces of bricks.

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3.3 | “SUSTAINABLE RELATIONSHIP”

“If we can achieve spaces that create balance between the spirit, soul and mind then we have achieved successful spaces that mirror what it is to be human.” (Clark, 2016) The “sustainable relationship” is a supreme goal of this project that probably will not be achieved completely. However, I believe that this project will contribute to forming and emerging of a new community structure with a high level of social responsibility and common values. The question is how possible to adjust a community and how far we have to think to not make a wrong impact?

Christian Zaleski, architect ( interview September 2017 ) There is a constant change of aspects and trends in architecture. How far should we think, as architects, into future of the project in the frame of those constant changes?

“Well, the first question is ‘can we plan?’. The interesting thing is no matter how much we control; we can only guess how it will result in the end. First of all, we never design from scratch; every project has a pre-history either project history or just the conditions that around. So we hop on the train, and at some point, we jump off. The questions is when we jump off, and how. By that, I think you shouldn’t be afraid not to control, but believe, we should be afraid to control too much. But actually, the art of it is to find out what you have to control. And by that, I think it is a question of the time span that depends on the project. There are projects where you have to control the

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next few months, for example, in use of public space. There are some projects where we have to protect the next hundred years by keeping it free from being built over. There’s no general rule to that.” (Zaleski, personal communication)

By Collins English Dictionary the global community is “people or nations of the world, considered as being closely connected by modern telecommunications and as being economically, socially, and politically interdependent.”(“Global community definition and meaning | Collins English Dictionary”, 2018). It is the inconceivable complex structure of human relationships inside of all range of local communities (for instance a neighborhood, a district, a region, a nationstate, a national confederation) inside of the global community. Therefore, how architecture can mediate as an adjusting tool of the global community in such complex system of relationships?

The answer is that changes must happen in the lowest levels of this hierarchy: personality and neighborhood. The global community cannot be adjusted directly. In this sense, a neighborhood is a vital tool for personal and global changes.

Nowadays global and local communities are becoming more and more interlinked. That is possible because of technical and media revolutions that happened [1.1].

The relationships between local communities inside of the global are very complex and diverse. To study them we need an interdisciplinary approach that involves all variety of disciplines within which the most important are sociology, psychology, and anthropology. Researching of 39

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those relationships is vitally important for our being and further evolution. We, humans, are smart and very adaptable creatures but still, we are far away from establishing “sustainable relationships” between us, nature and us, our performance and its consequences.

So what is “sustainable relationships” and how we can reach it? By my definition, the “sustainable relationships” is a balanced system of personal and group priorities where satisfaction of common needs is considered as a crucial contribution to common goals. If we refer to nature, we can find vivid examples of sustainable social structure among insect that are living in colonies such as bees and ants.

For instance, bees are having a definite hierarchy of their behavior pattern, responsibilities and activities that depend on the colony needs. There is only one thing that makes us, human, different from them. Humans are selfish by nature.

Our behavior comes from our personal needs and aspiration towards personal achievements.

In sociology “sustainable relationships” usually mentioned only in the sense of more meaningful and long-term relationship between individuals that characterized by the ability to overcome difficulties together through trust and open exchange of ideas. In the scale of a community, it is more complex social interaction system as far as communities include different members with different social and cultural background.

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The “sustainable relationships� inside of a community are based on four essential factors: accept, respect, trust, and care.

Conformity as a sub-objective is more achievable.

Conformity is a psychological term that describes an act of reconsideration or changing personal beliefs attitudes or behavior patterns to match norms of other people or community. The goal could be achieved by creating a welcoming atmosphere in the sense of spatial composition and introducing specific architectural language that will stimulate a sense of belonging and encourage interaction between people.

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3.4 | REUSE AND SHARING

Nowadays, a significant fraction of consumer goods is wasted that increase pressures on the environment. Sharing products and services is the most efficient way to reduce our footprint and keep more eco-friendly lifestyle. There are significant environmental and social benefits to reuse and share existing goods that reduce production of new ones. For instance, sharing infrequently used products such as a car, with your neighbors, will bring not only environmental benefit but also financial.

Sharing of spaces like a kitchen, laundry room, etc. makes even more sense in the modern overcrowded cities. The idea of collective housing and co-living appeared in the first half of 20th century and becoming popular again, especially in developed countries such as Switzerland, Germany, USA, etc.

The ”Kalkbreite” project in Zurich is a successful example of how sharing could be materialized in the built environment.

Inhabitants are sharing common facilities (living rooms, laundry, gaming rooms and roof terraces) that makes building more efficient and environmentally friendly.

This crucial principle has been applied to the project “live performance” in the form of sharing and reusing of goods to create a friendly environment and to build trust between users. For instance, public library and secondhand furniture shop are operated in a way to bring financial and social benefit to the community and their visitors. In the concept, the inhabitants are bringing beautiful pieces of furniture, electronics, books, etc. that citizens left on streets, to the shop. Inhabitants are free to choose and lend any item from the shop or storage room for using it in private or shared

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CASE STUDIES

areas until their checkout from the building. At the same time, visitors can buy any item in the shop to bring financial benefit to the community for covering operation cost of the building

GOODS AND SERVICES THAT COULD SHARED Goods ..............................................................................................

- Furniture - Electronics - Kitchen equipment - Food (communal garden on the roof) - Books - Transport (bicycle, kick scooter, shared car) - Working tools - Sports equipment - Computer - Clothes and accessories - Musical instruments - Pets Services ..............................................................................................

- Media ( Wi Fi, Netflix) - Skills - Activities

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3.5 | SENSE OF

My name is Christian Zalevski. I am parking off the architectural office systems are less consumer sets architects based in Zurich was standing right outside our office and we are specialized in urban design and we also do research and publications in the field. So. Our first question is urbanity is defined as public multiple uses which leads to relationships and interactions of the participants. Now a days many cities are divided into 2 districts like business just living areas chance of. How can urbanity be implemented it these known existing structures and become urban again. And is it healthy and necessary for the participants are inhabitants. Our vanity I think is a social condition sent a special condition or a function and its assertion condition that can emerge if the conditions are right. Actually I would disagree on your description that it’s multiple functions necessary I think it’s different people coming together that could be in the same function. Multiple functions are helpful to bring together different people so that’s why finer grained mix uses can be helpful. For. People to meet which is the basic core elements for vanity they more conditions that you have to have to fulfill that it can emerge. But basically people also want to do it have to want to do it if they don’t will never emerge into your faring to the old zoning.

Idea which was coined by modernism I think we left that mainly behind received. For one. A lot of uses seep into my own country districts so you suddenly you find people living on top of manufacturing buildings because there was an apartment left over or you see suddenly offices startups in housing quarters typical garage so there is a tendency to mix for mixed use which is. Emerging you can foster that. Our main problem is a thing of the problem of zoning in uses but the conflict refusing. Regulations that we have because the main issues are noise and not traffic and those are the ones that really divides. Functions from a car that isn’t from each other sorry the defense. That leads me to the next the question. It is a time of investments such as. Please do. There is the. Change in the. Plan architecture and then.And so on and so. It’s a change of. Use and also of the users. Can you give us some advice for us architects. Into which points into future we should think before project. If there is a steady change. How far is that. Well the first question is can we plan. This is the thing is no matter how much we control we can only guess how it will in the end result. First of all we never sought from scratch every project has a pre history either project history or just the conditions that abound so we hope on the train and then at some point we hope off the questions when we help off and how and. By that I think you shouldn’t be afraid. Not to control think. We should be afraid of trying to control too much. Thanks to the art of it is to find out what you have to control and by that.I think it is a question to the time span that depends on the project. The protests were you have to control the next few months for example the use of public space there are some projects we have to protect the next 0 years by keeping it free from being built over for example there’s a general to that. Our third question is so. That we agreed. And we came to an agreement that.Balance between manufacturing processes and building a life and nature can be defined as sustainable. In an economist Gail.You talk about how thinking economies are ignoring of complex context. How can these top. Procreative to skate on. Well the the the thinking economy is actually quote from from the show thing who’s an architect in the case office Casey a P. in. Rather than it was a very brilliant scorn of the problems that you face when you’re in the process because people don’t want to think complex but they also knew that not only because some are lazy that happens to but because they know the complexity leads to process difficulties and you have to bring together people and they you connect them in decision making that makes the implementation very difficult. The same time that’s what I tried to describe its the complexity that makes for very interesting. Urban situations architectural type policies on new situations that you can create. So you can force that you have to have the right consolation of people really want that and to our. Willing and able to Kobe on the standard development models be it from. Investing side or from the public side or from the design side ring from the user side. And. In the end if we’re lucky. I think everyone has to do a lot of luck. And so. Now sultans question with the. About your book Dutch new worlds. You talked about the how big scale interventions created the weirdness on how things. What makes this philosophy so unique and how did you ultimately implements dispelled. Your design. I’m I think you’re referring to to the closer to North Sea that. Reason can only follow. The past said imagination is broken that means that we can think something that we cannot imagine. That’s what he calls romanticism and it’s a priority of imagination of reason in the very deep sense I think they’re probably not a philosopher arguments that can be made about it what is important for us is that. An argument alone is not sufficient. To. To get people. To believe in a certain development. You have to work with imagination also for yourself otherwise you get stuck into what you know. The problem with the philosophy is that. Working with images can be highly subjective and very manipulative alright I mean are dissidents full of manipulation. And of course maybe we have to manipulate a certain way but we should be very responsive what we do. Any last. Last lesson and I think that’s very important. You can not control in this is in.That year publish them have their own life to be very careful of what you publish and that’s why you cannot publish sinking scenarios you should only publish of what you really want and then you can discuss that. Can help us things. And finally told us of his. Your description of the planning history of the Netherlands shows that planning is a component of. But the historical experience shows that the planning committees are difficult to combine. With the political menace and thus the development process of solutions. Large scale project and ideal society is that. What are your basic principles when developing visions for large scale projects.

Ideal society and how transparent are your methods between 6. That’s the question. And I said I don’t think the plan is a component of politics I think sending is politics because planning produces winners and losers or people that win last. Sir. But planning and design as well if they would consider this together have to take care about intended unintended consequences have to integrate them in their in their thinking. Nothing this responsibility that not only designers but also everybody on the table

BELONGING

One of the most essential and natural needs of a human is an aspiration to belong to a group of people or a community.

The feeling of belonging to a community helps us to feel less lonely and more confident. In my point of view, the concept of community is mostly based on aspects of identification and sharing (values, responsibilities, and norms). In the frame of temporary living and constantly changing social environment, the process of integration into a community becomes stressful. Adaptation to a new environment is a very personal process, which takes from one to two months that is a relatively significant fraction if we considering living during 1 - 6 month.

The central aspect of quality of life in the context of temporary living is to create welcoming atmosphere by stimulating a sense of belonging as well as encouraging interaction between users to make them feel home. Those aspects are crucially important in the way of integration into a community and establishing “sustainable relationships” between individuals inside a community. This task demands an interdisciplinary approach in the fields of architecture, interior design, psychology, sociology and anthropology bound by principles of phenomenology in architecture.

Stimulation of the sense of belonging requires programming of spatial situations that are familiar to users (sense of home) and designing “activity nodes” where users can interact (sense of belonging). By analyzing different life situations, the outcome is going to be in the form of a catalog of rules and spatial patterns [3.6], such as:

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- All interaction nodes are indicated by circled shapes that are encouraging “opened”, face-to-face interaction between users. For instance, island kitchen to create faceto-face orientation while doing the same activity, or niches on a narrow semi-private staircase that encourage users to give a favor to oncoming person by letting him pass.

- Providing a feeling of equality of all members of the community.

- Providing a high level of interiors flexibility in private units to allow users to adjust their private space according to their preferences.

- Big atrium “the hive” for the visual connection and interaction between living clusters on different levels.

- Small semi-public spaces for collaboration in small groups.

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3.2 | SPATIAL PATTERNS

“A functional building is not yet architecture.

To become architecture, the functional building needs to have both ‘atmosphere’ and ‘meaning’”. (Pallasmaa, 2006, p. 28) Referring to the theory of evolution, we can understand deeper the origin of the human sense of belonging. In the past belonging to a group was an essential principle for survival. People were gathering into groups with a purpose of hunting, protection and more efficient performance.

Nowadays dominant fraction of people no longer belongs to tribes. However, the concept of the tribe has been transformed into a community where interpersonal communication and interaction are playing an important role.

John O. Simonds in his book “landscape and architecture” declares an idea about the new concept of architectural design as the design of human emotions and experiences.

It means that spatial design has a potential to influence human by adjusting physical characteristics. All physical characteristics of the built environment (materiality, light condition, the spatial arrangement of interior elements, etc.) affect our perception and subconsciously forms our performance.

Built environment and 90% of its information, as noted by the English architect Peter Smith in his work “Dynamics of urbanism”, is not entirely realized by us and remains g in the subconscious. For instance, the physical arrangement of interior elements in particular spatial composition can

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encourage or discourage interaction, impose behavior patterns and guide people in a space.

Stimulation sense of belonging as well as the interaction between people demands an interdisciplinary approach in the fields of architecture, interior design, psychology, sociology and anthropology bound by principles of phenomenology in architecture. The design method should include programming of spatial situations that are familiar to users and designing a range of spaces that can host different activities interaction scenarios could happen.

In the publication of N. A. Burdina “Subject ‘Psychology and architecture’: a section on the mental effects of space geometry” described the impact of different geometries human perception. The author demonstrates convincing arguments that rounded shapes provoke a feeling of harmony, security and higher spiritual experiences. He suggests using round shapes in places of human activity or public zones to stimulate human interaction. Basing on those facts the spatial design of this project includes the use of half circles as an indicator of “interaction nodes” that encourage “opened”, face-to-face interaction between users. For instance, island kitchen to promote face-to-face orientation while doing the same activity at the same time.

By analysis of different life situations, the outcome of the analytical phase is the catalog of rules and spatial patterns, which can stimulate the sense of belonging and encourage people to interact.

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STIMULATION SENSE OF BELONGING Design rules ..............................................................................................

- Using natural light and its properties that are changing according to daytime (morning yellow-orange, mid-day blue evening orange-red) to create a welcoming atmosphere in “the hive” [3.1].

- Using elements and spatial patterns that are familiar to users to make an emotional connection with “home” [3.5].

- Provide a feeling of equivalently of all members of the community [3.3].

- Provide a high level of interiors flexibility in private units to allow users to adjust their individual space according to their preferences [3.5].

Spatial patterns ..............................................................................................

- Few stairs before main entrances (transition from public to private) - Small semi-public “Undefined spaces” near the entrance of private living units to allow people to decide the purpose of space by their own needs.

- Representative showcase window near the entrance of private living units.

- Transformable living units

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STIMULATION OF INTERACTION Design rules ..............................................................................................

- All interaction nodes are indicated by circled shapes that are encouraging “opened”, face-to-face interaction between users [3.5].

- Create an opportunity for visual connection between users by making common living atrium in the middle part of the building and organize visual corridors between public and semi-public spaces [3.5].

- programming spaces by situations of short emotional interaction [3.5].

- providing different light conditions to create special qualities for each “interaction node” depending possible activity there [3.1].

Spatial patterns ..............................................................................................

- Big atrium “the hive” to provide visual connection and interaction between living clusters on different levels.

- Small semi-public spaces for communication in small groups.

- Kitchen Island, in order to create face-to-face orientation between users while doing the same activity.

- niches on the narrow semi-private staircase that encourage users to give a favor to oncoming person by letting him pass.

- watcher points for visual interaction with street and courtyard.

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4. METHODOLOGY

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Interdisciplinary approach (method) In the fields of architecture, interior design, psychology, sociology and anthropology bound by principles of phenomenology in architecture. | Community programming (tool) | Stimulation sense of belonging (tool) Set of design rules and spatial patterns that can encourage people to interact. | Stimulation of interaction (tool) Set of design rules and spatial patterns that can encourage the swift integration of new people into a community. | Model-making (spatial evaluation tool) | Phenomenology (spatial evaluation tool) Evaluation of physical properties and experiential qualities of the designed proposal. The key points of the evaluation process will be aspects of materiality, light, visual connections, spatial composition, etc. | Conformity (objective) “is a psychological term that describes an act of changing one’s actions, attitudes, or behaviors to match norms of other people or community.” (“Conformity”, 2018) | “Sustainable relationship” (supreme objective) A balanced system of personal and group priorities where satisfaction of common needs is considered as a crucial contribution to common goals.

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METHODOLOGY

According to the studio brief, we took bottom-up approach developing our concepts by adding complexity and depth throughout three phases. Each phase requires the development of fictional scenarios (narrative), photo capture of paper model based on our individual concepts and supported by scientific findings.

The starting point was a window that served as a literature way to formulate individual topics [5.1]. Series of site visits and lectures with contemporary researchers and architects such as Andreas Flora and Erich Strolz outlined the most important aspects and principles of perimeter block development.

During seminar week, the common framework and a draft vision of the neighborhood were established by series of workshops and brainstorming sessions concluded by mapping of spatial relationships between all programs of the perimeter block [5.2]. The second phase aims to develop individual concepts in the context of other participants and visualize the first draft of the design proposal. The third and the final stage concludes previous design processes and scientific findings by individual design proposal in the context of the “Perimeter Block Development� [5.3].

Besides the general studio approach, the personal method was applied for coherent individual concept development.

As long as individual concept focusing on the potential of architecture to influence human relationships, the topic requires an interdisciplinary approach to investigate the process of people’s integration into a new community [3.5]. The following diagram briefly describes the design methodology that was applied to the current project 53

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5.0“THE HIVE” AS A MODEL OF “SUSTAINABLE COMMUNITY” 5.1 | FIRST PHASE 5.2 | SECOND PHASE 5.3 | THIRD PHASE 5.4 | DISCUSSION

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5.1 | FIRST PHASE

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As a starting point for this project, we were free to choose a type of window and a word to explore its qualities and formulate the vision of the studio topic “collective transparency”. “The topic has quite abstract but philosophical meaning. In my interpretation, I see it as a metaphor for real sense of a thing or phenomena that consist of numerous “meaning layers” that are overlapping in our perception. It is an essential feature of any artist, to be able to identify and extract those layers to create a powerful emotional impact or experience. From an architectural point of view window as an element is a frame to crop the view and to control the opening function. It represents a variety of meaningful and emotional layers such as the transition between inside and outside, framed view of constant life performance, a light and shadow emitter, etc. Therefore, a window is not just an opening in a wall that makes possible to see outside; it is a powerful tool for atmosphere creation.” (Iurii Goncharenko, 2017)

Figure 6. axonometric drawing of the window and word

The window that was chosen has a very simple shape (banal rectangular) with an integrated shatter that typologically belongs to industrial, “economy-class” office or residential building. In the first phase of the project, I have been working on the task of creating atmospheric scene guiding by chosen type of window and the word “EXPOSE”. In this task, I focused on an iconic image of temporary living to rethink its standards and try to look beyond existing concept. The idea was to create a vivid portrait or even cliché of temporary living like a motel room, to highlight juxtaposition of the existing stereotype and my proposal in the next phase of a studio project.

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SCENE DESCRIPTION

.............................................................................

Figure7. axonometric drawing of the first scene

The first phase of the project on the topic “collective housing” aiming to develop a starting point for next steps [4.0]. While I was thinking about the co-living concept, I came to the idea that the topic is quite open-minded according to the conventional lifestyle of our urbanized (centralized) society.

That is why I focused on some strong, iconic image or even clichés of temporary living like a motel to rethink its standards and try to look beyond existing concept of temporary housing.

The initial idea of the picture was to transform the impression of the specific type of window into a shadow condition that is provoked by the window. The concept of “light and shadow performance” will go through all of the pictures as a tool of atmosphere creation.

The inspiration for the model I have got from film scenery production where the layout of a scene or space is reproduced out of fake walls, materials, and decoration. The model where made only for a shot from the one position with the significant level of flexibility and rearrangement of all elements. Production of the “scene box” was made according to the camera position that allowed reduce the number of elements and reaching a high level of detailing in the shot frame.

Light is the leading actor in this scene, which acts as an information control mechanism and a creator of atmosphere.

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ROADSIDE MOTEL

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The dark room of a roadside, one-star hotel on a forgotten rout somewhere in Texas. Nobody stopped here for a long time. Only one reminder about previous guests on the windowsill is a forgotten glass of unfinished whiskey that caramelized on the sides of the glass. Excessive darkness envelops almost the whole room. Neon light from the blinking motel sign breaks through the half-closed blinds leaving colorful stripes of light on the faded wall. Pink, blue, yellow lights are mixing and alternating in this rhythmic symphony.

Figure 8. photo of the paper model 1:10 (top view, first scene)

Suddenly the whole room is filled with the bright white light of the just parked car in front of the window. The silhouette of the coming person imprinting on the back wall of the room transforms gradually from a large blurred spot to typical male outline.

Car light turns off [The machine block the light from sign] The sound of the key in the keyhole is heard. The door opens with a barely visible silhouette uncertainly trying to find how to turn light.

LIGHT

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ROADSIDE M

MOTEL

“THE HIVE” AS A MODEL OF “SUSTAINABLE COMMUNITY”

Figure 9. photo of the first scene “MOTEL ROOM”

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5.2 | SECOND PHASE

SEMI PRIVATE STREET

S T A I R C A S E

LOBBY

SHARED LOUNDARY

SHARED SPACES

FAMELY APARTMENTS

SHARED KITCHEN BATHROOM

CO-LIVING PRIVAT ROOM

SHARED SPACES

BADROOM Single rooms Shred rooms

LIVING HALL

SHARED LAVATORY PUBLIC LOUNDARY SHARED KITCHEN

RECREATION RECEPTION

EDUCATION

COLECTIVE APARTMENTS

ENTRANCE

PROGRAM MAPPING

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THERMAL BATH

“THE HIVE” AS A MODEL OF “SUSTAINABLE COMMUNITY”

The second phase of the project is aiming to establish a vision of temporary living in the neighborhood context. Through a group negotiation, we developed a framework of the neighborhood in the form of perimeter block development, which consists of 18 parts interlinked by programmatic relationships as well as principles of transparency and coexistence.

Figure 10. diagram of the program mapping

Simultaneously we were designing draft of our individual proposals, general concept, second narrative and scene for making photography. The output of phase two was presented during a midterm review in the form of presentation. Midterm presentation and the following critic where crucially important for further project development. Here are some important notes from the critic session: Hiromi Hosoya “I would advise you to think about the quality of each side of the building and each space. If the feeling is important, then communicate with me with feeling.”

Dietrich Schwarz “So we speak about global nomads. …

Here you can think further on. People are moving around.

They are not for a long time at the same place, but goods remain. People are moving, but goods remain. If you think it farther for a complete housing concept, it will drive you to the point. For me at the moment, you make things complicated that could be simple…”

Urs Meister “You could work with different options of bedrooms and their light condition.”

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library

furniture shop

postman station

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SCENE DESCRIPTION

.............................................................................

Figure 11. CAD drawing of the ground level

The idea of the second picture is to illuminate the concept of sharing goods and services as well as the friendly atmosphere in the furniture shop. There is no stranger in the shop. Every person is unique with its background and life experience. All of them are bind by nomadic lifestyle, principles of community and common values. The ground floor is a platform for interaction of the community and outer world. Furniture placement is arranged in groups for using it as sitting places where one can have coffee with friends, business meeting or a cozy place for working with a laptop. Reception desk serves as an info point; a place where people can pay for furniture and services; leave a message for inhabitants or just have a chat with the housekeeper.

Scene and paper model that was made for the second photography are visualizing only one culmination moment of the narrative. The main character is waiting for a meeting with the women whom he has never seen before. The narrative express thoughts of the main character in quite irregular and jumping manner. The culminating point of the narrative is the moment when the main character meets a glance of the women with whom he supposed to have a brunch.

The focusing point is an entering silhouette. Moreover, the moment is so intriguing that other people are disappearing out of his perception.

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WAITING (narrative)

.............................................................................

She was late; my shared table was getting too crowded. I moved to a sofa; luckily, it is empty. The sofa recently arrived, soft and cozy, I guess from 70’s. I like it. She might forget about our meeting. Her new job is assisting shared AR experiences might be so intriguing! I will send her a text.

Figure 12. photo of the paper model 1:50 second scene (top view)

The sofa is a good observation point. The entrance just in front of me, a French couple, two programmers working on a convertible oak table for navigation maps (where did they find it?), an old man having eggs next to the window and a young Spanish - he might be an art director. A couple of guys dragging a sofa into the room 27, I know their father quite long time. They live here probably from the opening of this place. I play tennis with him. “Hey Petr, Nic. Say hi to your dad!”

I went to the music machine to change to some Duke Ellington jazz. On my way I noticed a woman, (probably it is she) I have never seen her before. She was so elegant, coming somewhere from South. Her shining dark skin reflected the sunlight.

She looked at me...

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FURNITURE

E SHOP

“THE HIVE” AS A MODEL OF “SUSTAINABLE COMMUNITY”

Figure 13. photo of the second scene “FURNITURE SHOP”

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5.3 | THIRD PHASE

co-living (1-5 years) 12m2

hostel (1day -1year) 3m2

small apartment (1-5 years) 48m2

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big apartment (1-10 years) 80m2

“THE HIVE” AS A MODEL OF “SUSTAINABLE COMMUNITY”

The third phase is the concluding part of the project that reveals potential importance of the chosen topic as well as visualizes the main concept in spatial design. It consists of individual design proposal in detail, a paper model of the building with highly developed and destabilized scene for last photography as well as the photography itself.

Figure 14. axonometric drawing of living catalogue retrieved from: project “of space and time”Design Studio Staub | Papathanasiou WS 16/17made by Iurii Goncharenko and Stefan Amann

The project “live performance” is focusing on the design of shared spaces that are encouraging interaction and stimulating sense of belonging in the frame of cooperative housing where a substantial fraction of spaces is shared between tenants. Living units have secondary importance as people spending less conscious time there. The core idea of living units is basing on previously done research “of space and time” made by Stefan Amann and me during WS 16/17 in Design Studio Staub | Papathanasiou. All inhabitants have its living units that range respectively to lease term and their family status. There are four main categories of living units: - exclusive double-bed living units (for short stay up to one month) - double-bed living units (for stay up to three months) - double-bed family living units with in-suite bathroom and storage room (for a stay up to one year) - double-bed family living duplexes with in-suit bathroom, storage room, and additional room the purpose of which is identified by users (for a stay up to one year) The structure of the building divided into three blocks: - public block consists of the ground level that host the secondhand furniture shop, entrance foyer with a “postman station”, chill zones for inhabitants and guests 73

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DUPLEX APARTMENT

bath house entrance

FAMELY HOUUSING

water house apartments

apartment for rent up to 12 month x 5 apartment for rent up to 36 month x 3

water house apartments

PUBLIC STAIRCASE

water house apartments

SEMI PUBLIC STAIRCASE

THE HIVE

water house apartments

CO-LIVING room for rent up to 1 month x 4 room for rent up to 3 month x 9

bath house entrance

water house apartments

STREET FACADE

library

VERTICAL COMUNICATIONS & STRUCTURAL ELEMENTS

COURTYARD FACADE

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“THE HIVE” AS A MODEL OF “SUSTAINABLE COMMUNITY”

as well as a private and furniture storage spaces in the basement.

- co-living block in three levels united by atrium (The Hive) in the center of the building with, distributed around, individual living units, shared kitchens, bathrooms, toilets and laundry rooms.

- family apartment block in three levels with shared kitchens and common recreation areas.

Figure 15. axonometric drawing (exploded-view)

On floor plans, circled shapes that encourage people for “opened”, face-to-face interaction, indicate all interaction nodes [3.6]. Beside psychological reasons to use half-circles for guiding people have more face-to-face communication, there is architectonic sense to implement this element as a structural pillar. Due to the large sectional area (R=1500mm) and high load-bearing capacity of such structural element, three half-circle pillars and staircase block can carry the weight of all building and evenly distribute the load.

Thera two staircase (one is public, second is semi-private) and elevator. Elevator and public staircase are operating on all floors including storage level in the basement.

The entrance foyer, “postman station”, library, the public staircase, and elevator are used by neighboring residential building with integrated function of bathhouse “house of water”. The shared staircase connects residential program of both buildings every second level. The co-living block (the hive) and family apartment block are connected to the “bathhouse” by a glassed passage from the courtyard side.

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small kitchen

terrace

loundry

water house apartments

storage room

balcony

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SCENE DESCRIPTION

.............................................................................

Figure 16. CAD drawing of the third level

The last photography aims to highlight spatial design proposal of the essential space of the building. “The Hive” is a three-floor atrium where “live performance” is happening. All ideas of the project, like transparent layers, are overlapping in the physical space of “the hive” and creating a harmonious atmosphere in the sense of spatial composition, materiality and light condition. All those meaningful layers together give the insight to the project.

The initial idea of the triptych was to create a coherent story of the project development as well as to highlight juxtaposition of the first photography, cliché image of temporary living like a motel room of the existing stereotype and the final design proposal in the last phase of the studio project. The first picture, as well as the story, include a certain level of drama that was reached by choosing specific design language, colors, materials and light condition. Firstly, to highlight the contrast of the third picture I used different light condition.

Morning sunlight with long shadows brings a fresh feeling of a new day. The light breaking through the windows is highlighting deepness of the space by diffusing on the floor of the first level. Secondly, the angle of the shot is very sharp like a bird-eye view, almost top view. This unrealistic point of view, like an x-ray, allows seeing through the floor slabs, which bring a certain level of fiction and refers to the feeling of a dream. Finally, spatial composition and materiality of “the hive” express playfulness of the space. Furniture and interior element’s position support an idea of freedom that gives a hint of lively atmosphere in the atrium.

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FIRST LIGHTS (narrative)

.............................................................................

Early-morning illumination changes the Hive into the House of the rising sun. Light is falling on the floor and reflecting upon the walls that reveal a colorful mosaic of trapped materials into the concrete. It is the calmest time of the day, and there are only a few pieces of evidence giving a hint of what could have been happening the evening before. Chess pieces around the board are telling a story about an unfinished game; furniture placement, which changes its pattern every day, reveals long, night discussions; rockets and a ball sloppily left around the table after a quick game. Many small objects scattered around.

Figure 17. photo of the paper model 1:50 (top view, third scene)

The calmness does not last long. Gradually, more sounds are coming out of different floors – whiz of the coffee machine, splashes of water in a shower, rustle of the newspaper...

The Hive is awakening.

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THE HIV

VE

“THE HIVE” AS A MODEL OF “SUSTAINABLE COMMUNITY”

Figure 18. photo of the third scene “THE HIVE”

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Figure 19. CAD drawing of the underground level

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storage room

storage room

5000

furniture storage

5000

storage room

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1

2

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Figure 20. CAD drawing of the first level

small kitchen

study room

terrace

bath house entrance

loundry

water house apartments

storage room

balcony

FIRST LEVEL

0

1

2

5m

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Figure 21. CAD drawing of the fifth level

terrace

bath house entrance

kitchen

water house apartments

balcony

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balcony

Figure 22. CAD drawing of the sixth level

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BBQ skyline viewing point

level B studio

roof terrace

level B children's room

level B

SIXTH LEVEL (duplex B)

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Figure 23. photo of the paper model 1:50 (street facade view)

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Figure 24. CAD drawing of the lengthwise section 29.3m

25.8m

21.5m

18.2m

14.9m

11.6m

8.3m

5m

LENGTHWISE SECTION 87

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Figure 25. collage of the courtyard facade 29.3m

25.8m

21.5m

18.2m

14.9m

11.6m

8.3m

5m

COURTYARD FACADEFACADE COURTYARD

scale 1:100

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Figure 26. collage of the street facade

Figure 1. first scene

STREET FACADE

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Figure 27. photo of the paper model 1:50 (street facade view)

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Figure 28. photo of the paper model 1:50 (street facade view)

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Figure 29. photo of the paper model 1:50 (courtyard facade view)

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Figure 30. photo of the paper model 1:50 (courtyard facade view)

Figure 1. first scene

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Figure 31. photo of the presentation materials

Figure 1. first scene

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5.3 | DISCUSSION

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How can architecture initiate “sustainable relationships” in a community by encouraging interaction between users within the context of temporary living and high human mobility? (research question); What mechanisms do we need to make a positive transformation in human consciousness?; How might social engineering, in the meaning of architecture change individual behavior patterns and a system of values on the way to establishing “sustainable relationships”?; How global community can get positive input from evolving local communities with high values?; How specific visual identity or intangible atmosphere could be programmed in spatial design and what influence it could have on the user experience?

Those and many other questions were emerging while researching the topics of practical and experiential approaches in architecture. The research paper was not aiming to answer all of those questions since digging deeper into the field reveal more and more unexplored horizon.

Pierre-Simon, marquis de Laplace (French scholar in the fields of mathematics, statistics, physics, and astronomy) on deathbed, with difficulty pronounced his last words “Ce que nous connaissons est peu de chose, ce que nous ignorons est immense.” (translated from French: What we know is little.

What we do not know is immense.)

Potentially, this research can serve as an analytical base for further categorization of spaces linked to emotional impact on human perception as well as discussion on the topic, “experiential approaches in architecture”.

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6. CONCLUSION

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The built environment is a part of the dynamic universe that shapes our life. It unconsciously and substantially affects humans regardless of their desire. Human-made surroundings unobtrusively, but continuously affects our performance, emotions, and behavior. We perceive environment by using all our sensations: touch, smell, see and hear.

This research aims to develop a design approach, which can improve human live performance [ABSTRACT]. The method is visualized in a new type of collective living for emerging “global nomad” community based on principles of sharing goods as well as healthy and responsible interpersonal relationships [5.3]. The structure of the work consists of the theoretical part of the analysis of findings, case studies, and an empirical part. The first phase of the investigation will examine sociological and psychological aspects of architecture [3.3; 3.5]. The next step of the investigation consists of consideration of different scenarios [3.3; 3.4].

During the research, was formulated and tested the method in architectural design that includes interdisciplinary approach between different fields such as film and scenery production, sociology, psychology to have a positive impact on humans as well as their well-being [4.0]. Regarding the chosen research topic “temporary living” in the context of high human mobility, the investigation focusing on aspects of human sensations in artificial spaces. Guiding by developed spatial patterns and design rules [3.6], that encourage interaction between users and helps to optimize period of adaptation to a new environment, the thesis project “live performance” was developed. These findings, together with WS 17/18 | LIVE PERFORMANCE | THESIS BOOK

CONCLUSION

the idea of importance to create a healthy and responsible relationship in a constantly changing community reveal a hidden potential of architecture to encourage certain human behavior in the scale of individuality and community to shape relationships between users.

Peter Zumthor, in his book “thinking architecture”, claims that beauty does not come out of the shape alone and is an abstract summary of the multiplicity of impressions, sensations, and emotions. The invention of an original shape or remarkable composition does not take to the truth. He refers to the importance of all details of which the project consists, that every part is in relation to the others and together they give a sense to a project.

Like in film production the spatial design of “the hive” tries to manipulate users attention by using a visual frame (window), narrative (sequence of spaces), movement (staircase) and live performance (everyday life), for creating a friendly atmosphere. Those elements were determined and based on case studies in the field of sociology and psychology [1.3; 1.4; 3.1; 3.2].

Results of the research can be used in spatial design as a tool that helps to create architectural objects in accordance with aspects of human perception, emotions, and experiences.

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LIST OF REFERENCES 2017 International Tourism Results: the highest in seven years | World Tourism Organization UNWTO. (2018). Media.unwto.org. Retrieved 31 January 2018, from http://media.unwto.org/press-release/201801-15/2017-international-tourism-results-highest-seven-years

Nguyen, D. (2018). Are we really facing an unprecedented migrant crisis?. SWI swissinfo.ch. Retrieved 31 January 2018, from https://www.swissinfo.ch/eng/society/migration-series-part-3-_are-we-really-facingan-unprecedented-migrant-crisis/42431210

2017 International Tourism Results: the highest in seven years | World Tourism Organization UNWTO. (2018). Media.unwto.org. Retrieved 31 January 2018, from http://media.unwto.org/press-release/201801-15/2017-international-tourism-results-highest-seven-years

Ricardo Bofill: Beyond Brutalism. (2018). ssense. Retrieved 31 January 2018, from https://www.ssense. com/en-ca/editorial/culture/ricardo-bofill-beyond-brutalism

Holl, S., Pallasmaa, J., & Pérez Gómez, A. (2006). Questions of perception: Phenomenology of architecture / Steven Holl, Juhani Pallasmaa, Alberto Pérez-Gomez ([New ed.]). San Francisco: William Stout.

Conformity - Wikipedia. (n.d.). Retrieved from https://en.wikipedia.org/wiki/Conformity

Community - Wikipedia. (n.d.). Retrieved from https://en.wikipedia.org/wiki/Community

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Sarason, Seymour B. (1974): The psychological sense of community. Prospects for a community psychology / Seymour B. Sarason. San Francisco, London: Jossey-Bass; [London] : [Distributed by Dent] (The Jossey-Bass behavioral science series).

Belongingness - Wikipedia. (n.d.). Retrieved from https://en.wikipedia.org/wiki/Belongingness

Global community definition and meaning | Collins English Dictionary. (2018). Collinsdictionary. com. Retrieved 31 January 2018, from https://www.collinsdictionary.com/dictionary/english/globalcommunity

Definition of DIVERSITY. (2018). Merriam-webster.com. Retrieved 31 January 2018, from https://www. merriam-webster.com/dictionary/diversity

Experience. (2018). En.wikipedia.org. Retrieved 31 January 2018, from https://en.wikipedia.org/wiki/ Experience

Perception. (2018). En.wikipedia.org. Retrieved 31 January 2018, from https://en.wikipedia.org/wiki/ Perception

Büttiker, Urs (1993): Louis I. Kahn. Licht und Raum = light and space / Urs Büttiker ; translation of German texts into English by David Bean. Basel: Birkhäuser.

Goncharenko, I. (2017). Collective Transparency. Unpublished manuscript, University of Liechtenstein.

Pierre-Simon Laplace - Wikiquote. (2018). En.wikiquote.org. Retrieved 31 January 2018, from https:// en.wikiquote.org/wiki/Pierre-Simon_Laplace

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BIBLIOGRAPHY Koolhaas, R., Westcott, J., & Boom, I. (Eds.). (2014). Elements of architecture: 14. International Architecture Exhibition, la Biennale di Venezia ; [a series of 15 books accompanying the exhibition Elements of Architecture at the 2014 Venice Architecture Biennale]. Venezia: Marsilio.

Moore, A. W., & Smart, A. (Eds.). (2015). Making room: Cultural production in occupied spaces (First edition). [Chicago, Los Angeles, CA]: Other Forms.

Tanizaki, J.’i., Moore, C., Harper, T. J., & Seidensticker, E. (2008). In praise of shadows. Sedgwick: Leete’s Island Books.

Luna, I., & Gould, L. A. (2010). Behaviorology: Atelier Bow-Wow, Yoshiharu Tsukamoto + Momoyo Kaijima / [editors, Ian Luna and Lauren A. Gould]. New York: Rizzoli.

Pallasmaa, J., Zumthor, P., Havik, K., Tielens, G., & Teerds, H. (2013). Sfeer bouwen. Oase : tijdschrift voor architectuur = Oase : journal for architecture, 0169-6238: #91. Rotterdam: Nai010 Publishers.

Zumthor, P., Oberli-Turner, M., & Schelbert, C. (2015). Thinking architecture (Third, expanded edition).

Boston: Birkhäuser.

Lefebvre, H. (1991). The production of space. Oxford: Basil Blackwell.

Pallasmaa, J. (2012). The eyes of the skin: Architecture and the senses / Juhani Pallasmaa (3rd ed.).

Chichester: Wiley.

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Alexander, C., Ishikawa, S., & Silverstein, M. (1977). A pattern language: Towns, buildings, construction / Christopher Alexander, Sara Ishikawa, Murray Silverstein with … [others]. [Center for Environmental Structure series]: vol.2. New York: Oxford University Press.

Cialdini, R. B., & Goldstein, N. J. (2004). Social influence: Compliance and conformity. Annual review of psychology, 55, 591–621. https://doi.org/10.1146/annurev.psych.55.090902.142015

Jacobs, J. (2000). The death and life of great American cities. Pimlico: Vol. 388. London: Pimlico.

Kahn, L. I., & Vassella, A. (2013). Silence and light: The master’s voice in the lecture for students at the Department of Architecture of the Eidgenössische Technische Hochschule (ETH) Zurich (Swiss Federal Institute of Technology) / Louis I. Kahn ; edited by Alessandro Vassella. Zurich: Park Books.

Katz, P., & Bressi, T. W. (1994). The new urbanism: Toward an architecture of community / Peter Katz ; afterword by Vincent Scully ; essays by Todd W. Bressi … [et al.]. New York, London: McGraw-Hill.

Koolhaas, R., Mau, B., Sigler, J., & Werlemann, H. (1998). S, M, L, XL: Small, medium, large, extra-large / Office for Metropolitan Architecture, Rem Koolhaas and Bruce Mau ; edited by Jennifer Sigler ; photography by Hans Werlemann (2nd ed.). New York: Monacelli Press.

Whyte, W. H. (1980). Social life of small urban spaces. Washington: Conservation Foundation.

Holl, S., Pallasmaa, J., & Pérez Gómez, A. (2006). Questions of perception: Phenomenology of architecture / Steven Holl, Juhani Pallasmaa, Alberto Pérez-Gomez ([New ed.]). San Francisco: William Stout.

Pallasmaa, J., & MacKeith, P. B. (2012). Encounters 1: Architectural essays (2nd ed.). Helsinki Finland: Rakennustieto Oy.

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IMAGE CREDITS Fig. 1 diagram. International migration flows between 2010-2015 Retrieved from: https://interactive.swissinfo.ch/2016_09_07_migrationFlows/ chordDiagram_EN.png

Fig. 2 amtrak train (USA) Retrieved from: www.flickr.com/photos/65694420@N00/758165540

Fig. 3 carolina airport Retrieved from: www.carolinacoastt.tumblr.com/post/119760164751

Fig. 4 axonometric drawing of perimeter block program distribution Fig. 5 photo of material samples

Fig. 6 axonometric drawing of the window and word Fig. 7 axonometric drawing of the first scene

Fig. 8 photo of the paper model 1:10 (top view, first scene) Fig. 9 photo of the first scene “MOTEL ROOM” Fig. 10 diagram of the program mapping

Fig. 11 CAD drawing of the ground levelt

Fig. 12 photo of the paper model 1:50 second scene (top view) Fig. 13 photo of the second scene “FURNITURE SHOP” Fig. 14 axonometric drawing of the living catalogue

Retrieved from: the project “of space and time”Design Studio Staub | Papathanasiou WS 16/17 made by Iurii Goncharenko and Stefan Amann

Fig. 15 axonometric drawing (exploded-view) Fig. 16 CAD drawing of the third level

Fig. 17 photo of the paper model 1:50 (top view, third scene) Fig. 18 photo of the third scene “THE HIVE”

Fig. 19 CAD drawing of the underground level Fig. 20 CAD drawing of the first level WS 17/18 | LIVE PERFORMANCE | THESIS BOOK

Fig. 21 CAD drawing of the fifth level

Fig. 22 CAD drawing of the sixth level

Fig. 23 photo of the paper model 1:50 (street facade view) Fig. 24 CAD drawing of the lengthwise section Fig. 25 collage of the courtyard facade Fig. 26 collage of the street facade

Fig. 27 photo of the paper model 1:50 (street facade view) Fig. 28 photo of the paper model 1:50 (street facade view)

Fig. 29 photo of the paper model 1:50 (courtyard facade view) Fig. 30 photo of the paper model 1:50 (courtyard facade view) Fig. 31 photo of the presentation materials

All of the visual materials included in the thesis book are owned and were produced by the author if not explicitly stated otherwise.

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AFFIDAVIT

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I hereby declare under penalty of perjury that the present paper has been prepared independently by myself and without unpermitted aid. Anything that has been taken verbatim or paraphrased from other writings has been identified as such. This paper has hitherto been neither submitted to an examining body in the same or similar form, nor published.

Vaduz, 26.01.2018 Iurii Goncharenko

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