2015-2017 // CSA // residential // cultural // political architecture
fairy tales archive_than wealden hall_ rochester riverban protest theatre_ cable street_londo house of fairy tales_ paper island_copenhage
net nk on en fairy tales archive_thanet
3311 FFuunnccttiioonnss 1133 SSeeqquueenncceess Pursuit Absentation First function of the Donor Rescue Punishment The hero’s reaction Unrecognized arrival 14.Provision of a magical agent Recognition Guidance Exposure Struggle Branding Interdiction Delivery Violation Trickery Reconnaissance Complicity Preliminary misfortune Villainy Lack Beginning counteraction Victory Mediation Departure Liquidation of Lack 20.Return Wedding Unfounded claims Solution
PROJECT BRIEF Fairy tales in this project presents itself as a loaded keyword that contains the ideas of allegory, fable and creative imagination. It is an old idea in philosophy that imagination reveals possibilities. Today, by placing the same angle of view on objects, we must take on the task of challenging the arid formalism of the design disciplines and exploring ideas that with creative imagination become attuned to the inner ingeniousness of thing. This project begins with exploration into the metaphysical nature of object. The birth of the idea of an archive of Fairytales was conceived by the proposition that an object may become ‘static residues of actions done, choices made in the past, unfolded action already on the way to becoming something else’. (The End of the Classical, Peter Eisenman). It becomes an agent with a tale to tell; one that is ever-progressing. However, as proposed by the contemporary philosopher Graham Harman; objects are partially withdrawn from human perception. One can only access a limited set of an object’s sensible qualities which does not equate to the totality of the object. Therefore the interactions become subjective. It is this principle of idiosyncratic experience that is accommodated in the proposition of this project. One’s revelation is limited only by their capacity of submission to the subject in attendance. The proposal then goes beyond philosophical analysis of object, investigating the compositional narrative elements of Fairytales. Analysis of the collection of Fairytales by Brothers Grimm reveal four key ingredient of terror, beauty, sublimity and banalness. These ingredients can also be referenced to the typologies of the architecture by Gottfried, Boullee and Soane. The curiosity is in the potential of Fairytales as archive of spatial syntheses. Using the morphological model proposed by the Russian folklorist; Vladimir Propp, Fairytales become a product of project, these functions are adopted as spatial events that are further subdivided into 13 sequences. Each sequence containing a set of functions. The landscape between these sequences become thresholds. The fundamental principle is that the visitor is obliged to descend on a journey without any prescribed expectations. During this, labyrinth is etched in their consciousness as a symbol of spatial transition. It is where one can discover, and then deposit their discovery in the format of a fairytale in the main archive for others to read upon. The relationship between the programmatic dense packages continue the drawing grammar of Piranesi, through to memory with ease. This project is concerned with the making of artefacts that are not the building themselves but the drawing that proceeds the object. The drawing proposal explores the potential of collage through the mechanics of baroque illusionism, perspective and pictorial characteristics. No sooner are expectations aroused, but they are abruptly thwarted by the visual paradox. It rejects immediate reading.
4 3 2 1 Sequence 5: Veneration Chamber Section Orginal Drawing scale 1:100
4 3 2 1 Sequence 5: Veneration Chamber A temple of no particular identity that accommodates the spirit of the extraordinary. This is by way of registration of your presence to the ring of bells that one pulls by the rope. The atmos- phere, the high reach of sublime soundings recognise this act an echo it to the sea at immediate presence. The axonometric diagram indicates the circulation between the accessible spaces of upon the Reference: Veneration Chamber section drawing
4 3 2 1 Sequence 6: Trojan horse Section Original drawing scale 1:100
4 3 2 1 Trojan Horse This composition of interiority vs exteriority of most fascination. The further inside you reach, the more one unravels. Simple passages lead to deep and dark but also high and light modules. As you reach the to, one arrives on the roof top after a long journey of darkness into the open rays of the golden sun. The axonometric diagram indicates the circulation between the accessible spaces of upon the Reference: Trojan horse section drawing
4 3 2 1 Sequence 8: Fairytales archive section Origianal drawing scale 1:100
4 3 2 1 Horizontal Sections 1:200 Fairytales archive One may arrive at this facility to acquire, read or depose a tale of their own that may have been generated within the proposed programs. This is only possible in the written form on paper. The new collection is display by tying the paper to strings that are operated on pullies. There is also a reading room for private study of tales. The axonometric diagram indicates the circulation between the accessible spaces of upon the
5 4 3 2 1 Horizontal Sections 1:200 The girl with no hand as wilderness. The wilderness that has the power to heal. The dismembered remember by their occupations here. Upon arrival via the mighty fortress entrance, one it received by visual curiosities that invite one to ascend on this journey. promise, of supplication or perhaps registration of faith or love or marriage. Reference: The girl with no hand section drawing
5 4 3 2 1 Sequence 9: The girl with no hand section Original drawing scale 1:00
4 3 2 1 Sequence 1- 4: Perspective section Original drawing scale 1:100
4 3 2 Sequence 1: The stairs well Sequence 2: The façade of palace The stairwell symbolises the idea of pilgrimage. The neurotic repetition prepares The use of classical typology is a romantic gesture. It is simply a facade that embellishes one for the journey that they are about to descend upon. Some stairs lead to beauty whilst creating the balance between the various typologies of horror are at place. discovery such as the patch through the palace faced, some lead to a dead end; a The place like appearance creates a relay between the Homunculism and giantism at The diagram indicates the circulation between the four sequences. play in the background and the more intricate at the forefront. Reference: The girl with no hands section drawing
Sequence 3: The bridge Sequence 4: Tower of many rooms The bridge provides access to sequence for of small domestic rooms that are situ- The tower sets a background of solidity mass, creating ated in a perplexing order. It also host the ground conditions; that of unstable ground, the light hitting its surface, the sea breeze. - Tower of many rooms ble via the pedestrian bridge. Though it contains volumes, it is not inhabitable.
protest theatre_cable street_london
The Veils of \"Mothers only embrace sorrow; Sad orphans bow their heads low; Fearful civilians flee with the crow; Starving children no longer grow; Can anyone save Aleppo\"? \"It hurts to see his bloodied face, the grey-blue skin, the smile killed for keeps, the doll-like eyes with Munch-esqe scream inside, doesn't it\"? If you up periscope in Aleppo, streets are red, a carnage of the dying & the dead. The sheets that are strung between buildings are meant to obscure a sharpshooter’s line of sight, providing a small measure of protection from an assassin lurking in the shadows of the abandoned and devastated neighbourhoods. These are quotidian realities that have been stripped of their mundane origins. Today, they their original roles. The curtains that once blocked the rays of harsh sunlight or a neighbour’s prying eyes, now act as bullets shield.
On the 4th October 1936, Cable Street in East London became ‘The police called every modern device a pivotal loci in the cultural consciousness of the United into action to help them in their Kingdom. A planned march by Oswald Mosley’s British Union activities. Dozens of wireless vans of Fascists (in part facilitated by the London Met. Police) was were stationed at strategic points. East End. Shouting the Spanish civil war slogan “No pasaran” - Two planes were maintaining an aerial “They shall not pass” - over 200,000 local ‘eastenders’, jews, reconnaissance, whilst from every irish dockers, trade unionist labourers, and communists policebox plain-clothed men, who were turned back an army of Blackshirts. as conspicuous as they would be inconspicuous, were keeping in touch with headquarters.’ The Daily Worker, October 5th 1936 The site of the barricades provides a temporal-spatial fulcrum in our shared conscience. In the acts of 1936 we can read an expression of the solidarity of British opposition in the face of rising tides of right wing extremism. From such movements emerged the social and cultural contexts for the future establishment of the welfare state, the nhs, council housing, free education and much more in the post war period. In 2017, Cable Street is again a location with deep cultural resonance. It provides a societal cross section in a rapidly changing East London, and an echo chamber for a resurgence of many of the issues encapsulated in the intensity of the public actions eighty years ago. As our government dismantles many of our societal fail-safes and common institutions, others fail under an excoriating austerity. From Brexit to Trump to Syria, dark clouds of extremism are spreading again. Are the echo chambers of our technologically networked, algorithmically fed, ‘social’ medias dialogue? Will all acts simply become lost and forgotten in the social public? How do we as architects and citizens concatenate micro actions into coherent material changes for a future society?
43 50 44 49 PROTEST50 1 48 15 43 THEATRE 42 45 16 Primary structure 40 27 39 Floor 4. Structural plywood encased with in steel frame 41 14 section 5. Steel section 38 36 6. Hydraulic Footings 7. Speaker panel retaining cable steel in PVC 34 8. Telescope Lamp 35 9. Brushed aluminium 10. Replaceable light bulb 30 Device 33 11. Multiple speakers encased with brushed steel 4 metal petals 32 12. Welded steel structure and CPU Deposition of misery 14. Tear collection reservoir stl casing 15. Tear collection pipe 16. Cushioned MDF 30mm 17. Work Desk 18. Laminated MDF 30mm 19. Steel Square hallow section 30mm x 30mm 20. Quay brothers inspired miniature live animation stage sets, mixed material 21. Live video cam and separators 23. Totems, together with blank templates ready future protest events 24. Laptop/central processing unit for all media at use 25. Blank/custom printed fabric tapestries to be hung to the gantry as per protest event. The structure is purposely completely open for public show-case. During adverse weather condi- tions the tapestries are overlaid upon the structure 27. Main distribution board; attaining power from 37 31 the street lamp and distributing it to the devices. 28. Electricity transformer 29. Project with 360 degrees mobility bracket 30. Motion gear assembly for unit containing 31. Handle 29 32. Activation gear 33. Pinion A 34. Pinion B 35. Pinion C 36. Controlled gate 37. Gear system assembly support 38. Deliver tube 39. Stirring wheel 40. Clear PVC reservoir unit 41. Steel bracket support 42. Filling mouth 43. Multiple curtain pulley system 44. Existing street lamp Solitary performance protest inspired by ‘cut piece’ staged in 1964. The audience were invited to come started politely but became more and more threat- ening as her clothes were reduced to rags and she kneeled in her underwear. 45. Hanging waste belt 46 46. Shoulder belt to supplement the body weight 47. Foot brace as symbol of imprisonment. Also controls the pulley rope with movement of feet 48. Hanging belt pulley system attached to main structure SECTION SCALE 1:5
PROTEST THEATRE Primary structure Floor 13 4. Structural plywood encased with in steel frame section 26 5. Steel section 6. Hydraulic Footings 12 7. Speaker panel retaining cable steel in PVC 8. Telescope Lamp 11 9. Brushed aluminium 9 10. Replaceable light bulb Device 10 11. Multiple speakers encased with brushed steel 4 metal petals 12. Welded steel structure and CPU Deposition of misery 14. Tear collection reservoir stl casing 15. Tear collection pipe 16. Cushioned MDF 30mm 17. Work Desk 18. Laminated MDF 30mm 19. Steel Square hallow section 30mm x 30mm 20. Quay brothers inspired miniature live animation stage sets, mixed material 21. Live video cam and separators 23. Totems, together with blank templates ready future protest events 24. Laptop/central processing unit for all media at use 25. Blank/custom printed fabric tapestries to be hung to the gantry as per protest event. The structure is purposely completely open for public show-case. During adverse weather condi- tions the tapestries are overlaid upon the structure 27. Main distribution board; attaining power from 25 21 the street lamp and distributing it to the devices. 24 20 28. Electricity transformer 8 29. Project with 360 degrees mobility bracket 30. Motion gear assembly for unit containing 18 31. Handle 32. Activation gear 33. Pinion A 34. Pinion B 35. Pinion C 36. Controlled gate 37. Gear system assembly support 38. Deliver tube 39. Stirring wheel 40. Clear PVC reservoir unit 41. Steel bracket support 42. Filling mouth 43. Multiple curtain pulley system 44. Existing street lamp Solitary performance protest inspired by ‘cut piece’ staged in 1964. The audience were invited to come started politely but became more and more threat- ening as her clothes were reduced to rags and she kneeled in her underwear. 45. Hanging waste belt 46. Shoulder belt to supplement the body weight 47. Foot brace as symbol of imprisonment. Also controls the pulley rope with movement of feet 48. Hanging belt pulley system attached to main structure SECTION SCALE 1:5 17 23 19 7 5 22 28 2 3 4 6
PROTEST THEATRE Elevation Welded steel petals structure large section encasing individual speaker Welded steel petals structure large view - try that originates from the city of Aleppo. The bullet holes through the fabric portray the vulnera- - nent are the 98 individual speakers that hum the dramatic sounds of the victims of war; each speaker echoing chants and screams of the pain and The viewers and passers-by are engaged emotion- ally through the very reality of the tortures of war. The protest becomes a performance, the street a Elevation Scale: 1:10
Tear collection at reservoir b a Tear collection porotype A protest of words can be pretentious. A protest of silence may be a voluntarily forceful gesture. A running tear is nothing but expression of genuine emotion. A natural resource that every person is familiar with. Why just be silent for the fallen, let’s shed a tear! The act of perseverance of the tear within a special chamber that is exposed the viewer emphasis the - sion and sympathy for the territory that is being protested and performed. Plan Scale: 1:10 bb aa
PROTEST THEATRE The hanging tapestry
In-location view
wealden hall_ rochester riverbank
THE VERY BEST OF EVERYTHING Breathing new life into Rochester River BANK NEW WEALDEN RESIDENCES www.newwealden.co.uk/enquires BH Architects bring to you Kent’s modern domestic type par excellence; the semi- detached house. A scheme with compromised individualism, breath-taking sea views; celebrating Kent’s vernacular architecture with modern aspirations.
NE WEAL RESIDE domestic type par ex detached A symbol of middle-class a compromised individualism, it is th par excellence: Semi-Detached Ho The project narrative is to reintr once associated with England’s semi-detached house market are the people that desi class ideologies associated w traditional living desires. There is emphasis on the tradition Wealden hall typology. The key archetypal features at p the garage and the fundamental dictates the spatial organisation orientation of the floor to ceilin hidden down opposite sides, w wholeness. There are countless people who c freestanding home, and yet wis material advantages of semis over offer access to their (usually la pass through the house (this s parking or lean-to garages), and t sides. They are easily modifie satisfaction that comes from havi own.
EW LDEN ENCES xcellence; the semi- d house aspiration, conservatism and he British modern domestic type ouse. roduce the aspirations that were in a new fashion. The target ire balance between the middle with semi-detached house and nal Kent house, particularly the play are the chimney, pitch roof, principal of individuality; which n of floors, the positioning and ng windows, the front doors are whilst creating the illusion of can’t or don’t want to pay for a sh to partake of the very real r terraced houses or flats: they arger) gardens without having to space also comes in handy for they have natural light on three ed, and therefore offer the ing visibly made your house your
Kent’s modern domestic type par ex
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