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University of Cincinnati UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Sequence as Structure: Ordering the Body, Space & Architecture A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Architecture in the Department of Architecture and Interior Design of the College of Design, Architecture, Art and Planning 2006 by Cynthia L. Bubb B.S., Miami University, 1998 Committee: First Chair: Michael McInturf Second Chair: Arati Kanekar Architectural sequences have often taken the form of linear spatial progressions. In the twentieth century the naissance of cinema, wherein linear progressions are interrupted and manipulated according to the elastic properties of the medium, suggested new forms for architectural sequence. As a result Modern and Postmodern architects appropriated cinematic concepts to architectural theory and design. In particular, Le Corbusier and Bernard Tschumi explored the implications of the frame, an intrinsic component of cinema, as a viewing device and structure to order architectural sequences. The methodology adopted for the design of a ferry terminal in Boston, Massachusetts reflects the influence of Bernard Tschumi’s theoretical exercise, The Manhattan Transcripts, particularly “MT 4: The Block.” Represented in diagram, the interaction of space, movement, event and an additional factor, time, conveys the concurrent development and influence of four spatial sequences on the design of the terminal. ABSTRACT I would like to thank my family and friends, in particular Mom, Dad, Julie, Terry and Jileen, for their love and support this year and the past five years. Thanks also to Aarati Kanekar, Michael McInturf and Gordon Simmons for their advice and patience throughout the thesis process. ACKNOWLEDGEMENTS Table of Contents List of Illustrations Illustration Credits Introduction Chapter 1: Structural Analysis of Sequence narrative sequence the manhattan transcripts maninpulation of the frame in slow house Chapter 2: Linear Progressions to Montage Collisions linear progressions cinematic sequence: the changing point of view of the spectator from cinema to architecture architect as director: villa savoye Chapter 3: Sequence and Uncertainty the situationist international constant’s new babylon CONTENTS yokohama port terminal Chapter 4: Conclusion and Design Methodology Chapter 5: Design Site Program Appendix | i Introduction Figure 0.1 Photograph of Barcelona Pavilion Figure 0.2 Photograph of Barcelona Pavilion Chapter 1: Structural Analysis of Sequence Figure 1.1 [Notes by Cynthia Bubb] Second Floor Plan of Slow House Figure 1.2 Model of Slow House Figure 1.3 [Notes by Cynthia Bubb] Slow House Plan and Section Drawing Figure 1.4 Slow House Section Model Chapter 2: Linear Progressions to Montage Collisions Figure 2.1 Poster for Berlin, the Symphony of a Great Figure 2.2 LIST OF ILLUSTRATIONS The Carceri: An Immense Interior with Numerous Wooden Galleries and a Drawbridge in the Center by Giovanni Piranesi Figure 2.3 The Acropolis, First Sight of the Platform by Auguste Choisy Figure 2.4 Diagrams of the Acropolis by Sergei Eisenstein Figure 2.5 [Notes by Cynthia Bubb] Ground Floor Plan of Villa Savoye Figure 2.6 [Notes by Cynthia Bubb] | ii First Floor Plan of Villa Savoye Figure 2.7 [Notes by Cynthia Bubb] Second Floor Plan of Villa Savoye Figure 2.8 [Notes by Cynthia Bubb] Section of Villa Savoye Figure 2.9 [Notes by Cynthia Bubb] Photograph of Villa Savoye Figure 2.10 Photograph of Villa Savoye Figure 2.11 Photograph of Villa Savoye Figure 2.12 Photograph of Villa Savoye Figure 2.13 Photograph of Villa Savoye Figure 2.14 Photograph of Villa Savoye Figure 2.15 [Notes by Cynthia Bubb] Photograph of Villa Savoye Figure 2.16 [Notes by Cynthia Bubb] Photograph of Villa Savoye Chapter 3: Sequence and Uncertainty Figure 3.1 The Naked City by Guy Debord Figure 3.2 Memoires by Asger Jorn and Guy Debord Figure 3.3 Psychogeographic Map of Venice by Ralph Rumney Figure 3.4 Photograph of Yokohama Port Terminal List of Illustrations | iii Figure 3.5 Photograph of Yokohama Port Terminal Figure 3.6 Photograph of Yokohama Port Terminal Figure 3.7 Photograph of Yokohama Port Terminal Figure 3.8 Photograph of Yokohama Port Terminal Conclusion Design Project Figure 5.1 [Diagram by Cynthia Bubb] Program, Sequence & Time Figure 5.2 [Diagram by Cynthia Bubb] Commuter Boat Routes Figure 5.3 [Diagram by Cynthia Bubb] Proposed Inner Harbor and Commuter Routes from Fan Pier Figure 5.4 [Diagram by Cynthia Bubb] Fan Pier List of Illustrations | iv Betsky, Aaron. Scanning the Aberrant Architecture of Diller + Scofidio. New York: Harry N. Abrams, Inc., 2003. Curtis, William J.R. Modern Architecture Since 1900. New York: Phaidon Press Inc., 2003. Ferre, Albert and others, eds. The Yokohama Project: Foreign Office Architects. Barcelona: Actar, 2002. Ford, Simon. The Situationist International: A User’s Guide. London: Black Dog Publishing, 2005. Futagawa, Yukio, ed. Mies van der Rohe: German Pavilion & Tugendhat House. Tokyo: A.D.A. Edita, 1995. Katz, Lois and Jessica Berman, eds. Piranesi: Drawings and Etchings at the Avery Architectural Library. New York: Meriden Gravure Company, 1975. Penz, Francois and Maureen Thomas, eds. Cinema & Architecture: Méliès, Mallet-Stevens, Multimedia. London: British Film Institute, 1997. Sbriglio, Jacques. Le Corbusier: La Villa Savoye. Basel: Birkhäuser Publishers, 1999. Tschumi, Bernard. The Manhattan Transcripts. 2nd edition. London: Academy Editions, 1994. ILLUSTRATION CREDITS | v Introduction Sequence, as defined by literary critic Roland Barthes, is “a logical succession of nuclei bound together by a relation of solidarity: the sequence opens when one of the terms has no solidary antecedent and closes when another of its terms has no consequence.”1 Developed in response to narrative sequences, the definition translates equally to architecture and film. The thesis investigates the impact of cinematic approaches to sequence on architecture and proposes a methodology derived from theoretical and built precedents. Specifically, the methodology adopted for the design of a ferry terminal in Boston, Massachusetts reflects the influence of Bernard Tschumi’s The Manhattan Transcripts. The development of sequence through history provides a basis for understanding manifestations of sequence in modern times. Often architectural sequences took the form of linear progressions.2 However, a radical shift in the conception of space at the turn of the twentieth century, heralded by art and architecture critic Anthony Vidler as an “explosion of space,”3 conveyed the potential of nonlinear progressions. Russian film director Sergei Eisenstein compared cinematic and architectural space in his analysis of architect Auguste Choisy’s description of the Acropolis at Athens. In doing so, Eisenstein paralleled the experience of walking through the Acropolis to the Figure 0.1 Mies van der Rohe, German Pavilion, peripatetic vision of the camera. The concept of peripatetic vision, along with the spatially complex renderings International Exposition, Barcelona, of Piranesi, directly influenced Modern architects’ conception of space. In Mies van der Rohe’s iconic Barcelona Spain, 1928-29 (reconstructed 1986) Pavilion, “there is one sequence of direct vision and one for the experience of the body.”4 The idea of conflict or disconnect between body and vision also influenced the work of Le Corbusier. His development of the ramp as architectonic promenade, particularly at the Villa Savoye, embodies this concept. In the late 1950’s through the early 1970’s, the Situationist International explored concepts of space and sequence as part of a political agenda. In turn the Situationist concepts of dérive, urban wandering, and détournement, montage, manifest in their writings and social experiments influenced a generation of young architects. The concept of dérive, in which the Situationists aimlessly wandered the streets of Paris open to any event that might interrupt | 1 their journey, influenced architect Bernard Tschumi’s interest in event architecture and the relationship of events to sequence and space. The first chapter of the thesis, “Structural Analysis of Sequence” defines sequence from a structural point of view and serves as reference point for later chapters. The chapter begins with a comparison of architect Bernard Tschumi’s essay “Sequences” and Roland Barthes essay “Introduction to the Structural Analysis of Narratives” and establishes a link between Barthes four functional narrative units and Tschumi’s internal and external relations. In Tschumi’s essay “Sequences,” he identifies three relations within the architectural sequence: an internal relation that deals with the method of work, such as transformation, and two external relations, spatial and programmatic. The second part of the chapter analyzes Tschumi’s theoretical project, The Manhattan Transcripts, according to the logic of “Sequences.” The chapter concludes with the application of sequence and the frame to Slow House, an unbuilt vacation home by architects Diller + Scofidio. Slow House embodies a calculated and controlled approach to architectural
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