Postcard City : Travelling as Form of Collection 110519_Final Jury Presentation Naoki Kotaka
Project Title: Architecture of Personal Enterprise
1.Introduction
1.1 Foreword
Architecture of Personal Enterprise: A Passage from Physical Entry to Optical Departure
1.2 Personal Enterprise Archive
1.2.1 Cabinet of Curiosities
1.2.2 Slow House, New York, Diller and Scofidio
1.2.3 White U, Tokyo, Toyo Ito
2. Re-con: Piranesi's House
2.1 Introduction
The City, My Own: Artificial Cartography of Rome in a New Geography of Time
2.2 Context
Rome in all time: Evolution of Rome through the history
2.3 Collection
Reconstructing History: Artificial Timeline for Rome
2.4 Inhabitation
Piranesi's House: Personal Collecting and Curation of the City in Domestic Realm
2.5 Documentation
2.5.1 Original Publication of Campo Marzio
2.5.2 Piranesi's Life
2.5.3 Precedent Architectural ReiInterepretation of Campo Marzio
2.5.4 Bibliography
3. Manifesto: Home/Away(Separate A5 mini booklet)
3.1 Manifesto Statement
Home/Away
3.2 Visual Essay
Away From Home: Spatial Anatomy of Hotel
3.2.1 Arrival: Entrance
3.2.2 Procession: Lift/Corridor
3.2.3 Settlement: Room
3.2.4 Encounter: Amenity
3.2.5 Departure: Lobby
3.3 Essay
Settle Anywhere Ever Temporary: Traveling as Contemporary Form of Inhabitation
3.4 Visual Essay 2
-Away From Home: Traveling as Form of Collection
3.5 Bibliography
4. Thesis Design Project: Hotel Living/Tourist's Home
4.1 Introduction
Natives and Foreigners: Perception of the City in Geography of Contemporary Tourism
4.2 Concept Development
Form of Containment within Personal Landscape
4.2.1 Lost in Translation
4.2.2 Enter the Void
4.2.3 Edward Hopper
Form of Conversation with Surrounding Context
4.2.4 Beistegui Apartment, Paris, Le Corbusier
4.2.5 High Line, New York Diller Scofidio + Renfro
4.2.6 Acropolis Museum, Athens, Bernard Tschumi
4.2.7 Le Fresnoy Art Centre, Tourcoing, Bernard Tschumi
4.3 Precedence
Existing Hotel Types and Scales
4.4 Context
Tourism and Immigration Statistics of Britain
4.5 Site
English Cityscape
4.5.1 Town House
4.5.2 Mews
4.5.3 Square
4.6 Form
Containment/Fortification of Tourist Landscape
4.7 Plan
Observatory Points
4.8 Short Section
Inside/Outside
4.9 Long Section
Minimal Footprints
4.10 Views
Actors and Spectators: Outside In/Inside Out
4.10.1 Aeroplane
4.10.2 Swimming Pool
4.10.3 Streets
4.10.4 Far Sight
4.11 Scenario
4.12 Bibliography
5. Conversation: Project and Beyond(WIP)
5.1 Interview 1: Stephan Lauf
5.2 Interview 2: Mark Cousins
5.3 Interview 3: Peter Carl
5.4 Interview 4: Shumon Basar
5.5 Bibliography
Option_03
Sorry to bore with you text... meanwhile new section is being updated by tomorrow evening, please enjoy authentically brewed Englishness (Homeness) from "Think of England" by Martin Parr!
Argument_Ver_02
There are many versions of a city that exist. While a built form of the city exists primary as a physical entity, a city dweller reserve his own vantage point that reconfigure his own perceptions of the city. It is this constant exchange of individual or cultural, social group's perception of the city that uncover true nature of the city, its shared authorship.
In the Re-con the city was reconfigured through a lens of the 18 century visionaire Piranesi.
In the 18 century Rome, its urban condition continued to fall short of its past Imperial glory. The city was historically tangled, where island of Renaissance, Counter-Reformation, and Baroque, Basilicas, palaces, and churches with contrasting styles jostled each other. In Piranesi's view, Roman's originality in urban design, the city in its organic whole, Urbs, was lost at this contemporary situation.
For Piranesi, to define Rome, or essences that makes what it is Rome, it was merely possible by any one time, however through its build-up of context, stretching across a historical timeline: The city's history that is represented by the accumulation of material and events, and its decay and transformation.
Piranesi thus explored his own version of Rome through the ichonographic drawing of Campo Marzio as well as series of vedute, as means to reorganize and recreate historical essences that constituted Rome. In the drawing of Campo Marzio, Piranesi includes only what he considers as truly original Roman architecture and excludes what is other, beyond its present time frame. Piranesi thus affectively fabricated a fictional/artificial context of time as microcosm of Rome in all time existed within the drawing, in which fiction of historical order can be reread and reordered.
It is very form of the drawing, as it is manifested through the strata of time contained within, reveals oncealed/unseen layers of the the city's past, present and future. Each layer embody different kind of inclusion contrasting...
Piranesi relocates preceding monuments of 1st and 2nd century in his new framework of time, as recreation of a monumental environment of Imperial Rome. His exquisite vision of nostalgia was enhanced in the form of spectral ruin as if the intervening years had passed without the occupation of medieval town scape.
The city's present condition was partly continued as a marker for an entry point of history. Every day reality of the city in which
From collected antiquity and the present environment which Piranesi's lived reality exists, he fabricates the city's condition of future. His romanticied projection of Rome, took form of ideal buildings, built upon basis of inherently distinct geometrical forms of Roman and its combination.
It is this newly fabricated context through selective addition and erasure of history that reveals Piranesi's deepest motivation to reconfigure a vision of Rome. It was itself a form of a propaganda, to declare Roman's authorship of their own city. In relation to Pan-Grecian theories, rooted in the understanding of civilization as linear process that succeeded world empires, Roman antiquity was labelled as a successor of Greek as well as anticlimax and decline of human civilization. As counterpart to the argument Piranesi affectively rewrote his own historical origin of the city that Roman as home-culture of the city and Greek as foreign.
For Piranesi totality of his possessions reflects the totality of his city as his home. By choosing his constitutes of the city and by ordering them in his way, his vision of Rome as home synthesize in the choice of the city's being. And yet the city is on one side exists as res publica - commonly shared entity of public that exist as reference point to its physical reality, every individual city dweller reserves his very lens to frame the city and contain himself within world of his own making.
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In our lived reality of 21st century, we are confronted with a recurrent statistic in newspaper that tells us that for first time in hisotory over 50 per cent of the world's popuilation now lives in cities, within which tourists, immigrants are major figure of urban population. In contempory urban context, where "natives" and "foreigners" are indistinguishably mixed, how does one, on either side, enters/cross over their own world contained within their particular perception of the city?
Foreigner re-iterates connections between cultural, social, and spatial qualities of the city. They curves out the heart of the city, creating their very own tourist landscape contained within its self-sufficient environment. From the first encounter with the city, to eventual immigration, it's this constant conversation between foreigner and the city that reveals its a unseen layer that exists outside a built reality of the city.
By fossilizing tourist landscape as physical entity of the hotel, within which the quality of its home culture/original context is intensely aggregated, one finds his transformation in
TBC
-Home: English culture
-Away: Japanese culture
-Registeration of Original Context: Nostalgic/Real/Romantic Vision of Home
-Motivation(Why?)
There is many version of city that exist.
In my project I explore the city, not as static finite object, but re-configurable entity through lens of its users.
In my Re-con the city was reconfigured through a lens of 18 century visionaire Piranesi.
Piranesi denied contemporary situation of Rome that presented chaotic unformless mess, lacked any relation to its origin, thus he created his own version as means to return to its grand past through drawing.
The drawing became a container of ultimate familarity that are consisted to set standard which include only, truly, original Roman architecture and exclude what is other.
Thus everything Piranesi experience is what is "Home" to Rome, which is the mixture of real and artificial that contested within strata of the drawing.
Each layer manifesto different extent of Home-ness,
Romanticised view through layers of Piranesi's own invention
Day to day reality through layers of Present condition of 18th century Rome
In my project, the city was reconfigured through a lens of tourist.
Travelling re-iterate connections between cultural, social, and spatial properties of the city, or rather traveller curve out heart of the city through their specific tourist iteneary so that they are creating tourist landscape which is contained within thier self-sufficient city so that they never enter the day to day life of the city.
Through their first encounter with the city, over various visits, as well as possible eventual immigration(move) to the city, view of tourist/foreigner constantly change in relation to time that they spend.
So it's conversation between these people and the city that introduces hidden/concealed layer of the city that exist.
TBC
