Wednesday 17 February 2016

Visiting Primary, Nottingham




Friday 20 November 2015




                                                                            Fig.1

‘Primary is an artist-led space that supports creative research through artist studios and residencies, public exhibitions and events. Primary officially opened in March 2012, as has been transformed from a disused school building into a new cultural resource’ (Primary 2016). Architecturally, Primary is interesting as the original image of the school still influences the space.
During the visit, my colleagues and I had the chance to meet the artist, Craig Fisher. He is particularly interested in playing with boundaries, mixing techniques of art and craft, and creating large sculptural installations using fabrics.
It was interesting to see the artist’s atelier in comparison to an architect’s working space. There were several differences; for example, there were no computers evident, which is very rare in an architect’s working space. The space was also much colourful due to the fabrics that the artist used for his sculptures and drawings on the wall. Another comparison regarding the space is that the artist shares the atelier with another artist. Is interesting to see how each of the two define their space and put their own identity to their space, according to their personality and their work. It is interesting to see how the people influence the space and give character to the space.







                                                                  Fig 2,3 









­Artist (Craig Fisher) website: http://www.craig-fisher.com/index.htm


Reference:
Boningtongallery.co.uk, 2016 Bonington Gallery [online] Google Available at: http://www.boningtongallery.co.uk/ [Accessed 30.1.2016]
Weareprimary.org, 2016 We Are Primary | About [online] Google Available at: http://www.weareprimary.org/about/ [Accessed 30.1.2016]­


Figures:

Fig.1 Michael S , 2015
Fig 2,3 Michael S, 2015


Symposium: In Place of Architecture

Friday 6 November 2015

Bonington Gallery at Nottingham Trent University


Friday 6 November 2015 
Symposium: In Place of Architecture

My colleagues and I had the chance to visit the Symposium in the Bonington Gallery at Nottingham Trent University. The Bonington Gallery is a contemporary gallery space. Artists are invited to spend a period of time in the Gallery to create lines, marks and tones that explore and respond to the space through different processes (Bonington Gallery, 2016). 

After my BA, it was the first combine teacher/ student exhibition I visited and I was curious about what I was going to see. At the beginning, we saw the exhibition in the Main Hall of the Gallery and then the Photography Dialogue: Constructing a space for remembrance. The presented work was very meaningful as it was ‘touching’ sensitive events of our era. The BA Architecture students, as part of their research visited the National Memorial Arboretum. Most of the images in the exhibition responded to commemorative architecture.





                                                                           Fig1

The images where very meaningful giving a powerful massage to the viewers. I a map of Nottingham very interesting as it showed, key buildings and locations as memory points, some of them invisible now as have rebuild and other points with statues as remembrances.  The poster with map of Nottingham navigated me through my own memory of buildings and I was able to see how these buildings have been transformed throughout the history and into the present. I wondered about the extent to which these buildings influence people and how their existence always reminds people of events in history. There was a comment on the black wall which attracted my attention that stated ‘Always remember’, and personally, I do believe that people do remember the past, whatever happens.


















                                                                  Fig. 2, 3 and 4

The idea of exhibiting the work above a black wall was very inspirational and meaningful. At the black wall everybody was invited to write their thoughts and feelings. This gave visitors the opportunity to interact and express themselves along with the artists in the exhibition.






Figures:

Fig. 1  Michael S, 2015 
Fig 2,3 and 4 Michael S, 2015






Thursday 4 February 2016

Gillespie, Kidd & Coia: Architecture 1956-1987


29 January 2016

Gillespie, Kidd & Coia: Architecture 1956-1987

The editor of the book Johnny Rodger is a writer, critic, and Professor of Urban Literature at the 

Glasgow School of Art. His research focuses on two primary aspects:
1                     Literary and Critical writing
2                     Architecture and Urbanism

Gillespie, Kidd & Coia were a Scottish architectural firm. The origins of the firm lie with the architect James Salmon. John Gaff Gillespie was hired in 1891 when the firm known as James Salmon & Son. In 1903 the firm changed its name to James Salmon & Son & Gillespie. William Alexander Kidd joined the firm in 1898 and become a partner in 1918.  Kidd became a sole partner after Gillespie’s death in 1926. In 1915 Giacomo Antonio Coia joined the firm.


Example of their work is the St Bride’s East Kilbride 1963

St Bride’s was the largest church built by the firm and could house 800 seated worshippers. It is well known of the load bearing brick walls of the main structure support a steel framed roof with patent glazing and timber slatted ceiling. Moreover, copper clad tight light cannons, visible on the exterior roofscape, focus on light down on the sanctuary and more diffuse light also filters down through the long shafts in the eastern wall.




                                                                            Fig. 1 


From the presentation of a colleague (Tu), the major aspect of personal appeal was St Peter Church. This is because my current project ‘Intervening the City’. One of the main design themes of the church is the journey within a building as noted by Kidd and Coia. Kidd and Coia used a ramp as a main element to connect the vertical and horizontal circulation of the church. The hierarchic or narrative organization of experience to facilitate the navigation also reinforces a sense of identity within the building.





                                                                         Fig 2


Macmillan and Metzstein would agree that architecture is ‘experiential’ and can be truly evaluated by inhabitation and experience it with all the senses and the mind.


For my ‘Intervening the City’ project I considered using a ramp as a main element of the micro-museum to connect the floors. This was because I had researched the Danish Pavilion at Shanghai Expo 2010 by BIG and the Reichstag building in Berlin (dome).  Through so doing I had come to appreciate the circular form.  Is important to analyse each of these buildings and find how the space functions and is used by the visitors so I can apply those principles to my design.




                                                                                   Fig3





Fig 4



For my ‘Intervening the City’ project I considered using a ramp as a main element of the micro-museum to connect the floors. This was because I had researched the Danish Pavilion at Shanghai Expo 2010 by BIG and the Reichstag building in Berlin (dome).  Through so doing I had come to appreciate the circular form.  Is important to analyse each of these buildings and find how the space functions and is used by the visitors so I can apply those principles to my design.




 Reference:
Rodger, Johnny (ed.) (2007) Gillespie, Kidd & Coia: Architecture 1956 – 1987

Figures:

Fig.1http://www.gsaarchives.net/archon/packages/digitallibrary/files/2939/pl_GKC_CEK_2_2_21.jpg
Fig.2 photograph taken from the book by Michael ,S
Fig.3 https://tessandrews.files.wordpress.com/2013/03/denmark-pavillion.jpg
Fig.4 http://www.german-way.com/imagesGW/Berlin-Reichst-spiralvw890.jpg











Monday 1 February 2016

The location of culture by Homi Bhabha




Friday 29 January 2016

Reading: The location of culture by Homi Bhabha





                                                                            Fig.1


Homi K. Bhabha is a Professor of English and American Literature and Language and Director of the Humanities Center at Harvard University.
He is important thinker of post-colonial studies and his key concepts are hybridity, mimicry, difference and ambivalence.
The location of culture by Homi Bhabha was presented to my colleagues by me and a colleague (Arvin).
The presentation started with the question ‘What is National identity’? According to Oxford dictionary National Identity is a sense of a nation as a cohesive whole, as represented by distinctive traditions, culture, and language. Subsequently, we present the key concepts of the book.

What is colonisation?
Colonisation: is an ongoing process of control by which a central system of power dominates the surrounding land and its components (people, animals etc.). The term is derived from the Latin word colere, which means "to inhabit".

What is post-colonialism?
Postcolonialism is the study of the legacy of the era of European, and sometimes American, direct global domination, which ended roughly in the mid-20th century, and the residual political, socio-economic, and psychological effects of that colonial history. For Homi Bhabha the focus is on the politics, emotions and values that exist in the space between the colonizer and the colonized (Bhabha 1994)

What is hybridity?
The word hybrid meaning composed of mixed elements, to describe post- colonial people and experiences. He focus on the collective effects of colonization on peoples and cultures.
According to the book Bhabha for architects, 2010, to understand hybridity is important because it explains the interaction between different groups. Moreover, is a result caused by colonialism and contemporary globalization. It is also a process in which cultural elements change in relation to themselves and to one another.(rearticulation).
Bhabha 2010 believes that neither languages, nor cultures, nor identities are static or homogeneous and mention that cultures, identities and languages can never be full mix but are fragment.

Mimicry- Ambivalence
‘Almost the same but not quite’ Bhabha 1994
Mimicry is based on the Lacanian vision of mimicry as camouflage resulting in colonial ambivalence. Is not question of harmonizing of repression of difference but a form of resemblance that is differs from. Mimicry appears when members of a colonized society imitate and take on the culture of the colonizers.
Bhabha said that mimicry is the metonym of presence.

Almost the same but not quite- “colonial mimicry is the desire for a reformed, recognizable ‘Other’, as a subject of difference that is almost the same, but not quite” Bhabha, 1994

Bhabha explains ambivalence as a discourse of colonialism that is contradict between the colonisers’ desire itself  repeated in the colonised and the rejection of that repeated other (the translation or the copy) in order to keep their authority. To what extent, the colonisers are also internally in conflict between their wish to repeat themselves in the colonsed and the anxiety of their disappearance as a result of repetition because if the ‘Other’ turns into the same difference is eliminated as are the grounds to claim superiority over it.

Third Space
First space: all forms of direct spatial experience that can be measured and represented (home)
Second space: cognitive processes as well as modes of construction which gives birth of geographical imagination (virtual)
Third space: In this increasingly globalised world, cultures from opposite sides of the globe are crashing and collided with each other and this is creating the third space where people must continuously navigate and articulate their own identities. It is a space in which colonial authority is challenge and hybrid identities are created. Bhabha stresses that it is a site of tension of competing powers and of insurmountable differences.  In this “in-between” space, new cultural identities are formed, reformed, and constantly in a state of becoming. Artists work in “the third space”

The colleague of me (Arvin) chose to show a video of his city Teheran, Iran in order to give as an example of how a city can lose its initial architectural identity due to colonasation and globalization. Link: https://vimeo.com/143320922




Reference:
Bhabha, Homi K. The Location Of Culture. London: Routledge, 1994

Hernández, Felipe. Bhabha For Architects. London: Routledge, 2010

Figures:

Fig1.  http://english.fas.harvard.edu/wp-content/uploads/2013/06/homi-bhabha-the-location-of-culture.jpg







Monday 25 January 2016

Of Other Spaces: Utopia and Heterotopias by Michel Foucault



Friday 22 January 2016

Of Other Spaces: Utopia and Heterotopias by Michel Foucault 

I found the seminar was extremely interesting and enthusiastic. Foucault is a philosopher who it is worth to read further as his work has been highly influential. In my opinion, the points he raises makes me wonder and raise questions.
Foucault is a French philosopher inspired by Nietzsche and is one of the dominant contemporary social theorists.

The presenter (Petros) of the seminar analyse the key aspects of Foucault’s theories
Structuralism by Foucault: effort to establish, between elements that could have been connected on the temporal axis an ensemble of relations that makes them appear as juxtaposed and set off against one another, implicated by each other that makes them appear, in short, as a sort of configuration. 

In the Middle Ages in West the hierarchic ensemble of space form as sacred places and profane places, protected places and open, exposed places: urban places and rural places. Moreover, there were places where things had been put because they had been violently displaced, and then on the contrary, places where things found their natural ground and stability. The complete hierarchy as explained above can also be called a medieval space: the space of emplacement.

 Galileo introduce and dissolved the idea of emplacement.

Foucault first explored and used the term heterotopia in his book The Order of Things (1966). He used the word ‘topos’ in English ‘space’ as a metaphor in language.
Utopia, according to the Oxford Dictionary,2016 is an imagined place or state of things in which everything is perfect.
Utopia and heterotopia are linked to other spaces. However, these spaces contradict to those other spaces which are link to.  


Utopia ? Heterotopia
Mirror Utopia? or Heterotopia?        
Mirror acts like a utopian object. It is a place without a place and we see ourselves where we do not exist.
A mirror is at the same time utopia and heterotopia. On the one hand is a place without place, and on the other it is a real space. As Foucault notes, in the mirror we find ourselves missing in the place that we are.

Edward Relph is a Canadian geographer known for his book place and placelessness. In that book the definition of utopia and heterotopia is flipped.

What is heterotopology? Heterotopology is simultaneously a mythic and real contestation of the space in which we live and it is defined with four principles.

Fist principle
Heterotopias of crisis: Sacred, forbidden

Examples
For people in crisis: boarding school, pregnant women, the elderly, the honeymoon, military service.
Foucault suggests that the heterotopias of crisis are replaced by the heterotopias of deviation: rest homes, psychiatric hospitals, prisons and perhaps retirement homes.
In the case of the pregnant woman her own body is creating a space for the baby.

Second principle
A society, as its history unfolds, can make an existing heterotopia function in a very different fashion. Each heterotopia has a precise and determined function within a society and the same heterotopia can, according to the synchrony of the culture in which it occurs, have one function or another.

Examples
The cemetery: it is a place, connected with all the sites of the city, state, society or village, and in Western culture has always existed.

Third principle 
The heterotopia is capable of juxtaposing in a single real place, several spaces: several sites that are in themselves incompatible.

Examples
Theatre, cinema, gardens.
The cinema is a rectangular space that has a two dimensional screen that projects a three dimensional space.

Fourth principle
Heterotopias are most often linked to slices in time which is to say that they open onto what might be termed heterochronies. Generally in a society like ours heterotopias and heterochronies are structured and distributed in a relatively complex fashion.

Examples
Libraries, museums: the expression of an individual choice, timeless, an archive that enclose in one place all times in all epochs, all forms and all testes constituting a place of all times that is itself outside of the time.

Opposite of these heterotopias: linked to the accumulation of time, the time is flowing, transitory such as celebrations and festivals. These heterotopias are temporary. According to Foucault new kind of temporal heterotopias has been invented such as vacation villages
If a movie seen more than three times then, each time it is viewed something different is derived from the viewer. For example perhaps you have seen a movie in a different place, with different people.

The presentation brought an interesting debated for music festivals. Such an example is the Glastonbury festival. People from the surrounding area go to this festival every year. The experience gained on each occasion would be different from the previous as the conditions could be different due, perhaps, to changes in weather, people and music etc.  The festival can thus suggests, be considered as heterotopias as is in the town only for a period of time unlike for example visiting Venice for a week which even after your departure the city will remain the same.

How this case of a temporary festival-event different from a pregnant woman?? The body of the pregnant woman will temporary creates a space for the baby. After the birth the body will recover and transform to its previous shape.

Fifth principle
According to Foucault heterotopias always presuppose a system of opening and closing that both isolates them and makes them penetrable. It follows, as Foucault suggests that the site is not freely accessible in the manner of a public space. An example of this, as Foucault notes, is the entry to a barracks or a prison. This is because a person needs certain permission to enter such places.

Sixth principle
The last trait of heterotopias is that they have a function in relation to all the space that remains. This function unfolds between two extreme poles as Foucault further notes. Either their role is to create a space of illusion that exposes every real space, all the site inside of which human life its partitioned as still more illusory or it is role to create a space that is other, another real space, as perfect, as meticulous, as well arranged as ours is messy, ill constructed and jumbled. 

Examples
Colonies, brothels and boat.

At the end of the presentation the conversation focused on persons present as peoples ‘being in this world’. This gave me the opportunity to express my point of view upon a topic that I have my self debated and explained to my colleagues why I believe that. What I was explained is that we only experience the now and if you thing about it, each minute that it passing it belongs to the pass and to what extend the future it is unknown. My thoughts have been influenced by the book The Power of Now by Eckhart Tolle 2005, which stresses the importance of living in the present and avoiding placing thoughts of the past or the future above them. The conversation was led to the conclusion of whether or not people are living now in heterotopia as everything around us will one day be demolish and destroyed.


Reference:
Foucault, Michel, Architecture/ Mouvement/ Continuite translated by Jay Miskowiec. “Of Other Spaces”. 1967 Web

Tolle, Eckhart. The Power Of Now. London: Hodder Mobius, 2005


Sunday 17 January 2016

Authoring Robotic Processes by Fabio Gramazio and Matthias Kohler Architects




Friday 15 January 2016

Authoring Robotic Processes by Fabio Gramazio and Matthias Kohler Architects



                    
                                                                           Fig.1


‘Our projects combine the physio of built architecture with digital logics. Therefore, we do not design architecture solely by drawing, but conceive spatial relationships and contextual behavior through programming. In doing so, we use the potentials of the computer and of digital fabrication complementary to traditional design, construction and building methods. The sensual quality of this design cultural manifests itself in the novel expression of a Digital Materiality’ Gramazio and Kohler

‘Architecture using robotics to take command of all aspects of construction’ Gramazio and Kohler vision

According to Gramazio and Kohler with the help of robots it is now possible to radially enrich the physical natural of architecture.
After this statement a question raised by the presenter (David) ‘Do we think the use of robots in architecture will enhance architectural design and creature freedom or restrict it?’ It is truth, that robots help us to do a step further in innovation, explore traditional materials and transform them into new materials.  This can be shown in the construction industry as all the construction process  comes from robots. For example, pre casting, in case of manufacturing a column or a façade take less time with this innovation and definitely is more accurate. 


Through the module Vertical Studio I had the opportunity to investigate in more depth their work and explore the possibilities of sand casting but humanly control. The project was a collaboration between March Year 1 and Year 2. Together several models were produced using and exploring the sand casting with three types of sand and used nine different mixtures in total. During those weeks we explore the behavior of the sand with different type of combs and tools to create surfaces and patterns. At the beginning the shapes were free form patterns, with the use of combs. The result was not effective as there was luck of accuracy in the forms created because hands are uncontrollable. Then we tried to use a grid firstly in the box where we were casting and then with the creation of tools that have a grid on them, in order to have some control over the pattern. To conclude humans cannot really control the sand casting without the help of the machines or other mechanisms that can carry out the casting in more precise manner.


                                     
                                  Fig 2,3 Models produce by Vertical Studio Group




                                Fig. 4 Model with grid produce by Vertical Studio Group





                                       Fig. 5, 6 



During the last hour of the session we talk about our manifesto as an architect’s and how we are going to apply it in our new design project Intervening in the City.  One of the project task is to create an innovative hybrid material system. This material system can be a structural element, a load bearing wall or a fixing.  




Reference:

Gramazio, Fabio et al. Made By Robots. Print. 2014.

Fabio Grmazio and Mathias Kohler Architects Authoring Robotic Processess [online] Google Available at:
 http://gramaziokohler.arch.ethz.ch/web/e/lehre/211.html [Accessed 14.1.16]

Fabio Grmazio and Mathias Kohler Architects Authoring Robotic Processess [online] Google Available at:

Fabio Grmazio and Mathias Kohler Architects Authoring Robotic Processess [online] Google Available at:


Figures

Fig.1 http://media.wiley.com/product_data/coverImage300/80/11185354/1118535480.jpg
Fig.2,3 photographs taken by Vertical Studio Group
Fig.4  photographs taken by Vertical Studio Group
Fig. 5,6 http://gramaziokohler.arch.ethz.ch/web/e/lehre/128.html









Thursday 14 January 2016

‘The eyes of the skin: Architecture and the senses’ by Juhani Pallasmaa


Friday 22 January 2016

‘The eyes of the skin: Architecture and the senses’ by Juhani Pallasmaa



                                                                          Fig.1





Juhani Pallasmaa is a Finnish architect and former professor of architecture at the Helsinki University of Technology. He is one of Finland’s most distinguished architects and architectural theorist. He has written numerous articles on cultural philosophy, environmental psychology and theories of architecture and the arts (Australian Institute of Architects).

I found this book as most interesting reading as my manifesto as an architect is to create feelings and emotions about buildings. This topic will be further discussed and analysed in the second assignment of this module which is a visual essay. I want to discover how buildings make individuals feel and propose some ideas regarding how architects evoke feelings in the users of the buildings they design.

Pallasmaa (2012) discusses the feelings that buildings and design generates:
“Architecture should make us see the majesty of the mountain, the patience and persistence of the tree, and the passing smile on a stranger’s face. In today’s world of growing alienation and detachment, we need an architecture that can re-mythologize, re-sensualize and re-eroticize the world and fuse us with our very lived reality,”

His book Eyes of the skin: architectures and the senses 2012 expresses the significance of the tactile sense for our experience and understanding of the world. It is also intended, however, to ‘create a conceptual short circuit between the dominant sense of vision and the suppressed sense modality of touch’ (Pallasmaa 2012).

Pallasmaa’s assumption of the role of the body as the locus of perception, thought and consciousness, as well as the significance of the senses in articulating storing and processing sensory responses and thoughts, has been proven right through philosophical investigations on human embodiment and recent neurological research.

"As architect we do not primarily design buildings as physical objects, but the images and feelings of the people who live in them.". Pallasmaa statement is also supported by his statement that ‘a wise architect works with his/hers self image’. It is very true that first we need to know who we are, what is unique about us and identifies us an architect. These elements are also be part of the design as a signature and identification.

The key points of the book discuss identity, sensorial experience and tactility.  

             
It is also worth reading Pallasmaa essay The Geometry of Feeling: A look at the phenomenology of architecture.  
Emotional architecture is a topic in architecture that I was always interested me. When I think of a new design idea for a project I think of the different feelings I want to create and the reason behind them. Pallasmaa describe how the mind encourage through feelings and how is related to the building experience.



Reference:
Australian Institute of Architects, Juhani Pallasmma [online] Google Available at: http://wp.architecture.com.au/emagn/wp-content/uploads/sites/2/2014/02/Juhanii-Palassmaa.pdf [Accessed 14.1.16]

Pallasmaa, Juhani. The Eyes Of The Skin. Chichester: Wiley:Academy, 2005


Figure:

Fig.1 http://ecx.images-amazon.com/images/I/41iUBRQBapL._SY344_BO1,204,203,200_.jpg