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VIEWPOINTS Narratives in the Promenade Architecturale

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VIEWPOINTS Narratives in the Promenade Architecturale Megan Elizabeth Jenkins B.A., Italian Studies, Theatre University of California, San Diego March 2005 VisualVIEWPOINTS Narratives in the Promenade Architecturale 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 School of Architecture and Interior Design at the College of Design, Art, Architecture and Planning August 2013 00-00 Abstract s society shifts towards an understanding correlated to the Santa Fe Train Depot, the Aof the environment through the visual trolley station, and the MCASD in downtown San mediation of images, it has become increasingly Diego will make an inquiry into the possibilities important to define the architectural relationship of spatial sequence and the primacy of the between movement and view. The promenade interrelated visual experience in architecture. architecturale strings interrelated spaces along This paper weighs architecture as a type of ‘site- a series of progressive views. Because this type specific theatricality’ because of its potential to of observation requires movement, there follows combine the elements of context and view with a relationship between the performance piece movement and sequence. that can be formed through architecture, and the site-specific theatricality of the promenade architecturale, each bringing the action of architecture into site, space, and time. This thesis will examine the role of spatial manipulation through the progressive view in the promenade architectural, and theatricality’s ability to reorient the occupant to their surroundings. Analysis of key works, in particular Le Corbusier’s Villa Savoye and Villa La Roche, among other works, demonstrate movement’s role in sequential progression, and re-introduce the idea of multiple viewpoints in performative architecture. The Barcelona Pavilion in particular suggests that the constantly shifting view is at the foundation of an experience of movement. Through these investigations, a proposed architectural design will use site-specificity in combination with progressive movement to bring the action of the site into space, time, and motion. A design for a public promenade 01-02 Preface he following work represents some of the ideas in Tarchitecture that have been of special interest to me following a background in professional costume design. As a dramatic designer, my concern has been with how figures move through space; theatricality in architecture has more to do with the spatial manipulation that is activated by the players themselves, rather than by the simple presence of the architecture. I see the cross-disciplinary conversation in design as a way of augmenting the experience of our urban (and rural) settings; as an emerging architect, designing the enclosure only furthers to enhance the environment. f. 0.1 Costume design from All My Sons I owe many thanks to the professionals and the educators from both the University of California at San Diego and the University of Cincinnati that I have collaborated with over the years. I will make particular mention of Patricia Kucker for being a constant support and guide throughout my graduate studies, and also to Victoria Petrovich for acting as a sounding board to my professional and educational ideas in theatre and design, among others without whose collaboration I would not have been able to develop as a designer. 03-04 Contents Contents 00 Abstract 01 Preface 03 Contents 05 List of Illustrations 10 Introduction 11 Part One: Site Specific Theatricality Material Production of Immaterial The Architectural Interpretation of Reality Barcelona Pavilion: Pilgrimage to a Site Through Images 37 Part Two: Visual Perception in the Promenade Architectural The Promenade Architectural Narrative and Sequence Through Processional Movement The Interior Circuit 69 Part Three: Lines of Sight The Deceit of Perspective The View is the Destination 101 Part Four: Leading Movement Through Views The Viewpoints The Public Promenade 134 Conclusions: Unusual Experiences in Space 139 Bibliography Viewpoints 05-06 List of Illustrations f. 0.0 Cover Photo by Author f. 2.6 The Parthenon of Athens. Image from Wikimedia Commons. (http://commons.wiki f. 0.1 Photo by Author. From “All My Sons”, UCSD, 2004. media.org/wiki/File%3AThe_Parthenon_in_Athens.jpg) f. 0.2 Via Roma, Turin, Italy. Photo by Author. f. 2.7 Views Villa La Roche. Image by Author. Adapted from Le Corbusier, Paco, 2003. f. 1.0 “Dancing on the San Diego Trolley” from The World is Raw. (http:// f. 2.8 Interior of entry at Villa Savoye, from Raumplan Versus Plan Libre: Adolf Loos and Le www.theworldisraw.com/san-diego-trolley-dancing/) Corbusier, 1919-1930, Colomina, et al., 1991. 114. f. 1.1 Production Image from Jet Lag, 2010, by The Builder’s f. 2.9 “Corbusian Still Life”, from The Villas of Le Corbusier and Pierre Association. (http://www.thebuildersassociation.org/imgs/prod/jetlag_2010/J Jeanneret, 1920-1930, Benton, 2007. 17. L_2010_6.jpg) f. 2.10 Plan and Perspective Sketches for Villa Savoye, from Raumplan Versus Plan Libre: f. 1.2 Production Image from Master Builder, 1994, by The Builder’s Adolf Loos and Le Corbusier, 1919-1930, Colomina, et al., 1991. 56. Association. (http://www.thebuildersassociation.org/imgs/prod/master/ f. 2.11 Analytique of Steven Holl’s Competition for the Berlin Library. Image by Author. master_01.jpg) f. 2.12 Path Through Villa La Roche. Image by Author. f. 1.3 “Fixed Skyline of Via Po”, from The Triumph of the Baroque: Architecture in Europe, f. 3.0 Signs at the Site. Photo by Author. 1600-1750, Millon, 1999. 350. f. 3.1 “The Visual Cone”, from New Principles of Linear Perspective, Taylor, 1715. (http:// f. 1.4 Side by Side Comparison between Opera Set by Juvarra and Interior Perspective of tinaliagkimaisd.blogspot.com/2011/12/theory-of-visual-cone.html) the Grand Salone of the Palazzina della Caccia di Stupinigi, from The Triumph of the f. 3.2 Villa Savoye Roof Garden, from The Villas of Le Corbusier and Pierre Baroque: Architecture in Europe, 1600-1750, Millon, 1999. 273. Jeanneret, 1920-1930, Benton, 2007. 197. f. 1.5 Interior of the Grand Salone of the Palazzina della Caccia di Stupinigi, from The f. 3.3 Stage Design by Scamozzi for Teatro Olimpico, from Andrea Palladio, Llorenç, 2002. Triumph of the Baroque: Architecture in Europe, 1600-1750, Millon, 1999. 132. 41. f. 1.6 OMA Competition Entry for Parc de la Villette, from OMA-Rem Koolhaas: f. 3.4 Sketch of Castello di Rivoli by Filippo Juvarra, from The Triumph of the Baroque: Architecture, 1970-1990, Lucan & Koolhaas, 1991. 95. Architecture in Europe, 1600-1750, Millon, 1999. 362. f. 1.7 MMA 298 Berliner Bild-Bericht Print, from Building Desire: On the Barcelona f. 3.5 Suspended Construction at Castello di Rivoli. Photo by Author. Pavilion, Dodds, 2005. Plate 11. f. 3.6 Juvarra’s Landmarks of Turin, from The Triumph of the Baroque: Architecture in f. 1.8 Image by Author. Related Spaces within Barcelona Pavilion. Adapted from Building Europe, 1600-1750, Millon, 1999. 369. Desire: On the Barcelona Pavilion, Dodds, 2005. f. 3.7 “The Corbusian View” (Named by Author), from The Villas of Le Corbusier and f. 1.9 Little Thakeham Interior Hall Looking West, from Edwin Lutyens: Country Houses: Pierre Jeanneret, 1920-1930, Benton, 2007. 12. From the Archives of Cuntry Life, Stamp, 2001. 113. f. 3.8 Threshold Views of the Soane House Museum, from Sir John Soane and London, f. 1.10 Image by Author. Threshold Spaces of Barcelona Pavilion. Adapted from Building Dean, 2006. 97. Desire: On the Barcelona Pavilion, Dodds, 2005. f. 3.9 Visual Cues for Movment in the Soane House Museum. Image by Author. f. 1.11 South-West Terracing Front of Deanery Garden, from Edwin Lutyens: Country f. 3.10 Seidman 248, Berliner Bild-Bericht Print, from Building Desire: On the Barcelona Houses: From the Archives of Cuntry Life, Stamp, 2001. 85. Pavilion, Dodds, 2005. Plate 7. f. 2.0 Arcade at One America Plaza. Photo by Author. f. 3.11 Analytique of the Slow House by Diller & Scofidio. Image by Author. Adapted from f. 2.1 Entry Hall at Villa La Roche, from The Villas of Le Corbusier and Pierre Jeanneret, Flesh: Architectural Probes, Diller et al, 1994. 1920-1930, Benton, 2007. 67. f. 3.12 Unfinished construction photo from Slow House, from Flesh: Architectural Probes, f. 2.2 Villa Savoye Viewed from the Pilotis, from The Villas of Le Corbusier and Pierre Diller et al, 1994. 82. Jeanneret, 1920-1930, Benton, 2007. 196. f. 4.0 Man Walking in Front of Transept. Photo by Author. f. 2.3 Library at Villa La Roche, from The Villas of Le Corbusier and Pierre f. 4.1 Crossing at Kettner Blvd and B St. Photo by Author. Jeanneret, 1920-1930, Benton, 2007. 68. f. 4.2 Diagram of Movement at the Site. Image by Author. f. 2.4 “AD Classics: Villa La Roche/Le Corbusier”, from Arch Daily. (http://www.archdaily. f. 4.3 Thick Drawing. Image by Author. com/151365/ad-classics-villa-roche-le-corbusier/villaroche8-roryhyde/) f. 4.4 Site Map. Image by Author. Adapted from Google Maps. Web. f. 2.5 “The Feast in the House of Simon”, from Sandro Botticelli, Gebhart, 2010. 243. f. 4.5 The Existing Programs. Photos by Author. Viewpoints 07-08 List of Illustrations f. 4.6-7 Thick Drawings of Site Conjectures. Images by Author. f. 4.8 The Departure Point of Pacific Views. Image by Author. f. 4.9 Site Drawing. Image by Author. f. 4.10 Plans. Image by Author. f. 4.11 Sketch Model, Showing Site Vews and Context. Image by Author. f. 4.12 Sequential Section Across Site. Image by Author. f. 4.13-22 Vignette Views Along the Site Promenade.
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