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




Wednesday 13 January 2016

The architecture of the City by Aldo Rossi




Friday 16 October 2015

The architecture of the city by Aldo Rossi

The Author: Aldo Rossi (1931-1997) He was an Italian architect and theoretician. He is primarily known for four distinct areas:, theory, drawing, architecture and product design.

To begin with What’s a City?
The definition of a city according to Cambridge Dictionary, 2016 is:
                            1.a large city 
                            2. any town in the UK  that has a cathedral (large important church)
                            3. in  the US (UK usually city council) the government of a city

The presenter (David) of the book The Architecture of the city raised the question ‘What is your favourite city?’ My colleague’s answers were either cities that they had visited or a city in their country. I answered that I don’t have a particular favourite city as from each city I had gained different experiences. Each city was unique with its own identity.

Regarding the book and the presentation
History and Collective Memory
It is the history the memory of the city which ultimately defines it
Cities tend to remain on their historical axes of development. The city grows in the direction and meaning of the older artefacts (Aldo Rossi 1982).
History expresses itself through monuments

Monuments- There are two types of monuments, propelling and pathological.
Propelling: It is a form from the past that can still be experienced, whereby the monument’s function has been altered over time but the form remains largely untouched.
Pathological: This sort of monument stands virtually isolated in the city and remains purely on form and history. They are essential and cannot be modified or destroyed.
Monuments represent the persistence of a city.
Monuments absorb events and feelings and every new event contains within it a memory of the past but also a potential memory of the future.
They are catalysts of urban growth, bringing the past into the present.

Primary elements- are most notably monuments and are usually the nucleus of a city or an area (for example Eiffel Tower). They have a symbolic function and are related to time. Moreover, they can play a permanent role towards the physical structure of the city.

The main argument in the seminar was ‘Do you change a building monument that is somehow important into some sort of building with function and use or you live it there as ruins?’ .
It was very interesting to hear other point of views from my colleagues as we all come from different backgrounds. Most of the people thought that monuments are an important part of a city its history and identity. There is no denying that people tend to visit other cities for their monuments and then for their culture.
Monuments can be part of the city structure as can be seen in Vienna or Rome where important boulevards lead to monuments or important historical locations. Some historical monuments have been renovated and their function subsequently changed. I believe that this kind of transformation is appropriate for some buildings, particularly if a building of historical significant is likely to be demolished. In these cases, changing the function of the building could help preserve it. However, it would not be appropriate to change the function of iconic monuments, for example the Colosseum in Rome or the Acropolis in Athens. The above examples of monuments are not only part of the history but connect to city identity and culture. Iconic monuments such as the previous examples should not have their function changed because to do so would mean not only changing the identity of the monument, but also that of the city of which it is a part. According to Rossi, monuments are fixed points in the urban dynamic.
A remarkable example of restoration in Nottingham City is the building of the Pitcher & Piano public house that was previously was the High Pavement Church. Visitors can still admire the original architecture of the church even if its function has been changed.




Fig. Pitcher and Piano, Nottingham







Reference:
Encyclopedia Britannica, 2016 Aldo Rossi | Italian architect http://www.britannica.com/biography/Aldo-Rossi [Accessed 14.10.15]
Rossi, Aldo (1982) The architecture of the City (London: MIT Press).
Fig.