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Archipelago Construct:The Matter of Polynesia

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Archipelago Construct:The Matter of Polynesia ARCHIPELAGO CONSTRUCT 429 Archipelago Construct:The Matter of Polynesia INGALILL WAHLROOS-RITTER Woodbury University “… we are beginning to recover a certain philosophi- This paper describes a proposal for a course that cal respect for the inherent morphogenetic potential interrogates a particular non-western culture and of all materials. And we may now be in a posi- mines it through its matter in order to enrich the tion to think about the origin of form and structure, not as something imposed from the outside on an current architectural academic and professional inert matter, not as a hierarchical command from discourse by bringing place to the fore. Specifi- above as in an assembly line, but as something that cally, this studio seeks to investigate the matter of may come from within the materials, a form that Polynesia in order to initiate and develop a lexicon we tease out of those materials as we allow them to that will lead to the design of a virtual museum have their say in the structures we create.” Manuel De Landa, Uniformity and Variability: An and reconsider the conventional (Western) idea of Essay in the Philosophy of Matter. the building enclosure. The studio methodology – a paranoid investigation into the substance from In his essay Hyper-locality: On the Archaeology which architecture is made – is intended to act al- of the Here and Now In the Architecture of R&Sie, chemically to dissolve the boundaries of ‘otherness’. Andreas Ruby identifies the history of Modernism as a progressive dissolution of place. The dogma THE STUDIO of Modernism, he states, developed an architecture “emancipated from the circumstances of its Archipelago Construct is a proposal for a transdis- concrete physical surroundings.” Postmodernism, ciplinary studio undertaking the design for a mu- Ruby continues, refers to an idealized past, and seum of the Society Islands in Polynesia. The de- buries place under layers of pseudo-historic sign of the museum will take two forms: virtual projections. He describes the work of the and physical. The physical museum is located on architecture firm R&Sie as replacing “the idealistic Huahine in French Polynesia. Intensive research abstraction of history with a materialist concretion into the matter of Polynesia will result in a nascent of the present and invoking a new site specificity virtual museum collection. The matter will, it is of the territory” through their technique of using hoped, allow a translation of cultural knowledge indigenous materials. into fresh ideas about building enclosure. Ruby identifies four types of place-defining design The building envelope, or skin, is traditionally de- methodologies employed by R&Sie all of which use fined as the layer that separates the interior of a materials as their raison d’être. Two of these are building from its exterior environment. In a loca- particularly relevant to an investigation of non- tion with a climate as temperate as that in Poly- western architecture: “I. Genius Materiae: the nesia, and with a building tradition radically diver- information of architecture by the material of its gent from the western notion of architecture, the place” and “IV. Materialising Process: the spatiali- static concepts of enclosure, threshold, boundary sation of local cultural practices.” and separation must be discarded in favor of ideas of fluid continuities and dynamic lines of demar- 430 Re.Building cation. The traditional Tahitian concept of tran- The course begins by undertaking a series of sitory habitat is largely derived from this tropical related investigative exercises based on the as- environment, one that causes structures, even the sumption that materials carry implications of traditional stone marae (open-air sacred places), potential form, function, meaning, program and to rapidly decompose, and suggests a temporary, appropriation. We intend to focus on materials possibly even dissolving architecture. associated with the Pacific Islands, not typically included in the architectural lexicon, assess them The first half of the course is spent in Tahiti and from both non-western and western perspectives, Huahine. The second half of the course is spent and thereby open up design possibilities and in Los Angeles. A sequence of assignments - field broaden our architectural discourse. work, research (archaeological, anthropological, sociological, environmental, architectural), map- Only materials indigenous to the island of Hua- ping exercises, interviews, drawings and design hine will be investigated. These might include work, both virtual and physical - allows each stu- coral, wood, tapa cloth (tree bark), shells, coconut dent to develop specific skill sets of observation, leaves, bamboo, stones, whale and fish bones, as transformation and synthesis. well as linguistic materials, wind, and water … A methodological research of the properties, characteristics, and distinctive features of the selected materials will follow. Operating under the assumption that each material is laden with implications of memory, emotional response and visceral reactions, (as well as clichés, stereo- types, and preconceptions), each team will de- velop a narrative for each material through the inextricable link between the mnemonic and the temporal, the western and the non-western, the historical and the contemporary. The assembled entries will produce an apocryphal encyclopedia, with descriptions and definitions of each material Figure 1: Polynesian navigational map using written text, illustrations, contextual photo- graphs, and analytical drawings. THE MATTER The virtual museum will begin as an assemblage of the materials investigated. The course will take “Through most of history, matter has been a concern place over a number of years and each successive of metaphysics more than physics, and materials of course will build upon the research and lexical en- neither. Classical physics at its best turned matter into mass, while chemistry discovered the atom and tries of the previous year. lost interest in properties...[In both metaphysical speculation and scientific research] sensitivity to Each material entry will include the following in- the wonderful diversity of real materials was lost, formation: at first because philosophical thought despised the • Discernment – material selection senses, later because the . the new science could only deal with one thing at a time. It was atomistic, • Definition – definition of the material in writ- or at least, simplistic, in its very essence.” ten form, including a listing of its specific Cyril Stanley Smith, Matter versus Materials: A His- properties, and elusive qualities. These in- torical View. clude qualities such as texture, touch, smell, sound, color, taste, strength, acoustics, as “For instance, Aristotle’s famous four elements, fire, earth, water and air, may be said to reflect a sen- well as mnemonics, narratives, myths, and sual awareness of what today we know as energy other associations. and the three main states of aggregation of matter, • Example – illustrations using pictures, dia- the solid, liquid and gas states.” grams and descriptions that describe the ma- , Uniformity and Variability: An Manuel De Landa terial in its prototypical application. Essay in the Philosophy of Matter. ARCHIPELAGO CONSTRUCT 431 • Context – images showing the material in a The design of the physical Museum of the Society variety of situations, configurations, artifacts Islands is the program driver by which questions and documentation of how the context affects regarding material transformation and enclosure the understanding or (re)definition of the ma- are raised and tested. In the seminar portion of terial. the course which runs parallel to the design studio, • (Abstraction) Illustration – plan, section, ele- students begin by developing a philosophical vation, details, perspectives and narratives of foundation for the notions of ‘museum’ and ‘curator,’ the material, including representation of the and mounting an online exhibit as a means of qualities of the material. collecting and displaying their research. The object • Tectonic potential – design representations of this activity is, in part, to create among the indicating multiple ways that the material island’s visitors a respect for the island as well as can be used to form, organize, and structure an understanding of how they participate in its life. space and enclosure. In the end, the design process will help to answer questions about what is ultimately being collected, Each material has the potential of providing both displayed, protected and enclosed, why and how. a source of the narrative or program of the stu- dio project, and for the physical embodiment of a The student teams confront a number of curatorial building. Particular attention will be given to craft challenges: and material transformation. - How do we organize a culture and give it a visible form? As Manuel De Landa points out in his essay, Uni- - How do we represent the Polynesian identity? formity and Variability, “the deskilling of crafts- - What is being collected? men that accompanied mechanization may be seen - What is a museum? as involving a loss of … knowledge, since in many - What is a virtual museum? cases empirical know-how is stored in the form of - How can a museum be made physically and cul- skills”. The narratives and skills required to trans- turally sustainable? form the material are necessarily an intrinsic part - Can a museum keep the social systems of a com- of each lexical entry
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