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Collaborative Modes of Practice: Incomplete Trajectories of Thinking Guiding a Practice

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Collaborative Modes of Practice: Incomplete Trajectories of Thinking Guiding a Practice Collaborative Modes of Practice: Incomplete trajectories of thinking guiding a practice. Ephraim Joris Master of Architecture 2008 Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submit- ted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; and, any editorial work, paid or unpaid, carried out by a third party is acknowledged. Ephraim Joris 22-08-2008 Collaborative Modes of Practice: Incomplete trajectories of thinking guiding a practice. A catalogue submitted in fulfillment of the requirements for the degree of Master of Architecture Ephraim Joris School of Architecture and Design RMIT University October 2008 Contents Introduction; Mode, Nature and Tools The importance of history in the design of place The importance of climate in the design of place The importance of cognition in the design of place The importance of the collaborative practice Conclusion; The offset of a trajectory In short about myself; Bibliography Introduction; Mode, Nature and Tools Through the course of this research I looked at the mode of my practice considering the collaborative as an important instrument in the way I work as well as the nature of the work produced through this practice driven by contextual concerns and negotiated by a variety of design tools informing both my practice and my teaching. In my practice, this collaborative mode concerns the notion of the embedded practice as part of a wider interactive network of practices. In my teaching, this concerns the notion of the social learner, investigating modes of interactive learning communities. In both practice and teaching the contextual is explored in terms of emplacement or place making referring to ideas described by Marc Auge. As I will address in the writing of this catalogue, the parameters used in the negotiation of contextual designs changed as the actual location of my practice changed resulting in the production of different tools by which the design is explored. Project of architecture Project; manoel Theatre Roof Design With this research, exploring the mode, nature and tools of my practice I aimed to develop an understanding of my practice in order to further develop the organizational principles governing this practice to accommodate possible overlaps between practice and teaching. As a conclusion to this research I will present InsideOpen, a webtool I developed, complementing my current practice and teaching to offset a trajectory where I can substantiate the idea of collaborative modes of practice in both practice and teaching. What follows in this catalogue is a commentary on a selection of projects established and developed during the past eight years of my practice. This commentary follows a semi chronological course of action moving through the different places and cultures I worked and lived in with the aim to identify a number of shifts along the trajectory of my practice that led to the current state of my practice substantiating ‘the collaborative’. Through the reading/observing of these shifts, three important strata in my practice are commented on; Mode of practice; evolved from being an embedded practitioner, as part of an office in collaboration with other practitioners and builders in Malta - to starting an independent practice in Kuala Lumpur, after working for Dr. Ken Yeang - to being an embedded practitioner again as Partner of Architecture Project with a network of prac- tices, combining this with teaching. Nature of practice; with an emphasis on the negotiation of emplacement as a critical contextual design strategy starting with an interest in the historical context, complementing this later with the climatic to eventually combine these extensive/ob- jective parameters with instrument to measure more sensual qualities of place (as described by Auge M. 1995). Tools by which I design seem to meander between modes of authoritative representations following a professional (architectural) code and more perceptive representations using different media from different disciplines. Where authoritative representations are used to notate ‘extensive’ spatial qualities, the perceptive repre- sentations notate ‘intensive’ spatial qualities, drawing on Gilles Deleuze’s distinction between intensive and extensive space (Gilles Deleuze and Felix Guattari, 1987). With these strata, I seem to delineate performative areas in my work appropriating an implicit vocabulary to describe concepts. Even though the concepts seem to follow a chronological order, in now way do they replace or supersede previous concepts. Different modes and different tools are now simultaneously present in my practice. As such the strata and concepts described above are certainly not used to categorize proj- ects, yet aim to identify ‘in-between’ zones of conceptual denotation where my projects seem to drift… Areal view of Valletta, Malta, a UNESCO heritage site and the location of my practice from 2000 to 2003 Image; Fort St John opposite Valletta, Malta and volumetric studies for the apartment units The importance of history in the design of place Three year before the start of ‘the research’ Seemingly “Dwelling in the world” (Heidegger, 1952) as the ultimate existential experience. Mode of practice; embedded practitioner as an employee in Architecture Project (AP) collaborating with AP Partners, peers and builders in Malta Nature of practice; an emphasis on the negotiation of emplacement through the negotiation of a historical con- text Tools; authoritative drawings exploring architectonic compositions of elements notating ‘extensive’ spatial quali- ties (Gilles Deleuze and Felix Guattari, 1987) The practical application of place and place perception started with the emotional invest- ment of myself as an architect in the historical context of Malta. Surrounded by its legacy I aimed to work with the importance of memories in the manipulation of spaces (with their implicit memories) through the restoration and re-instigation of some essence of a sig- nificant past. With this conceptualization of place whereby place implies strong cognitive relationships between a person and a physical location with its embedded history, this early work with Architecture Project nurtured specific ‘distant’ connections between the designed object and its surrounding context. With the design of seven pre-fabricated apartment-units to be placed in a series of vaults in St Johns Fort for the Sovereign Military Order of Malta this ‘distance’ was triggered by considering the restoration of the historic vaults. An important part of the design was the reinstatement of the vaults by taking away all the interior clutter, accumulated over the years. To maintain the open space each apartment unit was conceived as a ‘super- furniture’ conceived by the stacking of furniture components and placed freestanding in juxtaposition with the 18th century vault. The ‘super-furniture’ defined routes to ‘climb’ the inner space of the vault, sometimes in close proximity to the stone walls when going up the staircase, sometimes floating under the centre of the vault, looking out the high windows with views over the Grand Harbor of Valletta. Casa Perellos - Location: Zejtung, Malta - Project dates: 2000 - 2001 - Project value: n.a. With the renovation/refurbishment of Casa Perellos, a similar strategy was used. Set within the historic centre of the southern town of Zejtun, “Citta Rohan”, this country re- treat, built by the Grand Master of the Knights of St John, Ramon Perellos y Roccaful, in the first half of the 18th Century, was refurbished and fully restored. The more recent accretions were removed and replaced by twin glazed wings on either side of the court- yard to house the necessary service spaces (kitchen, bathrooms, guest bedroom). As such infrastructural works in the old palace could be prevented minimising the impact of the renovation. The new structures exist as ‘plug-inns’ to the old house with a dens composition of functional components inside. The spatial investigations drift in modes of a ‘functionalist’ canon exploring architectonic composition in ‘respect’ of a historical context by taking on ephemeral qualities sug- gesting all new interventions could be taken away again and thus restore the historical context in its ‘original’ state. Architectural drawings and models play an important role in the exploration of these compositions. They adopt professional codes of notation in the representation of architectonic space. PINTO COLD STORE BUILDINGS - Client: Pinto Coldstore - Location: Valletta, Malta - Project date: 2002 - Project value: n.a. The importance of climate in the design of place Start of ‘the research’ – first GRC presentation 2004 Exploring “Place attachment” as the affective positive bond between a person and a place; or more specifically a strong tendency of that person to maintain closeness to such a place (Hidalgo & Hernandez, 1992) Mode of practice; embedded practitioner working with Dr. Ken Yeang. At the same time developing speculative work independently. (Projects shown in the following paragraph are taken from a personal body of work, including a winning competition entry) Nature of practice; an emphasis on the negotiation of emplacement through the negotiation of a climatic context, complementing the historical Tools; away from authoritative representations
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