Professional Documents
Culture Documents
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The copyright of this thesis vests in the author. No
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quotation from it or information derived from it is to be
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published without full acknowledgement of the source.
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The thesis is to be used for private study or non-
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commercial research purposes only.
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055 - 073 SITE - RUPTURE
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057 - 059 SITE - RUPTURE, Discourse on the terrain vague
082 - 097 SITE - RUPTURE - PROGRAMME, Development of the site rupture after programme
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is introduced
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106 - 109 SITE - RUPTURE - PROGRAMME - MATERIALITY AND MAKING, Silence, Bang, Echo /
Reflection
Environment
114-115 CONCLUSION
116-117 BIBLIOGRAPHY
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"We can try to locate a kind of
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situations; we can evaluate completely
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random elements and declare that we're
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of
different wa'f.'
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This thesis started with the above statement made by Jean architecture as a means to structure and integrate all of human
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Nouvel in conversation with Jean Baudrillard on the experience, where the body is the locus of perception, thought
metamorphosis of architecture. This project set out as both a and consciousness (Pallasmaa 2006:28).
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manifestation of the above philosophy, using it as an approach
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This inquiry was focused in the urban environment. The project
towards making architecture, and as an exploration to test
studies the urban terrain vague, a term first used by architect
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which are internal to the city but exist outside the effective
of existing in space and in a built world which exists with
circuits and productive structures of that urban system. These
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which formed as a 'leftover' urban space in the development vague. The second is a surface rupture which is explored in the
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process of the Foreshore and the highway infrastructure but design development, where the intention is that the interven-
interven
is a site with extra-ordinary spatial and experiential qualities. tion engages with the terrain vague without destroying it.
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Possibility and expectation are contained in the distinctive
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It is the intention of this document to illustrate the experimen-
experimen
qualities of the site and its blurred limits in relation to the
tal nature of the design process in this project. It set out with
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productive city.
an urban situation or geography and no clear intention of how
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'And it rained all night and washed the filth away
Down New York air-conditioned
air-conditiolled drains
Oh , the click click clack of the heavy black trains
Oh,
Amillion
A million engines illileutral
in neutral
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The tick tock tick of a
aticking
ticking time bomb
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Fifty feet of concrete underground
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ittle leak becomes a
alake
lake
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Says the tiny voice in my earpiece
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The click
cl ick click
cl ick clack
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Thom Yorke
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Site
And It Rained All Night
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This introduction was first written for the theory an augmented rhythm progresses. Then the drums will
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document generated earlier in the year. It is a view into stop - and perhaps pick up later, offset slightly from the
an early attempt at representing and understanding the layering of vocals. But the nuances exposed in these
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site..
site subtle changes, in the juxtaposition of rhythms, are a
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subliminal and powerful quality of both this song and the
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The title And It Rained All Night references a song by terrain vague.
Thom Yorke. In music and lyrics, it reflects the space
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of the terrain vague. It also embodies the character of Lyrically, words are carefully constructed - with
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a specific site of the terrain vague which is the site of consideration for their sound and their relation to
investigation for this thesis, located along a periphery of neighbouring words - to compose another, different
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Both the structure of the music and the lyrical the use of words which refer to sounds, but also have a
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composition build up a rhythm. The music is layered. distinct, even hard, sound themselves when said out
These layers do not build up into a linear narrative of loud. Like sites of terrain vague, this is a textured
climaxes and plateaus. Rather it seems to form a language.
continuous, changing body which articulates the
non-hierarchical rhythm of the terrain vague. It is an The phrase 'I can see you / But I can never reach you',
assemblage of multiplicities. Rhythms conjoin. The line speaks of the marginality of terrain vague. It locates
of the drums will meet with that of the bass and together the space of the terrain vague outside of the flows and
rhythms of the everyday, easily accessible and ordered,
city.
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Site
Description
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The site is located in the east Foreshore , beneath the in terms of general city traffic. The railway tracks run
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N2 eastern Boulevard highways as they cross over the site..
along Old Marine Drive, both to the south of the site
railway tracks into the Foreshore . Car dealerships are located to the West and North of
The Culemborg Goods Yard lies directly east of the site . the site , with a large portion of the site area being used
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This land is owned by Transnet and is being used to for parking .
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service the Harbour, facilitating storage and industrial There are four highway bridges over the site
site.. The two
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activities. A storage warehouse for theatre and film sets inner bridges increase in volume over the site and con-
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is also located on this land
land.. At the boundary between tinue to form the N2 Eastern Boulevarde
Bou levarde . The two outer
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formed part of a continuous built boundary or gateway crossing of Oswald Pirow Drive and Herzog Boulevard .
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opments. train station and the civic centre lie to the north west.
Old Marine Drive runs along the South of the site. This
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Site
site of terrain vague
Asite
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The theory document generated earlier in the year term terrain in English has come to signify more natural
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served as a study of urban terrain vague . The site was territory, with agricultural or geological qualities. This
then located in this body of research and explored as a is perhaps significant in making a connection between
territory of the terrain vague in Cape Town . urban territories which move and develop in a manner
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similar to the processes and qualities of natural
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An etymological dissection of the term terrain vague territories.
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Terrain is a French term with a similar meaning to the and in German. The German word wage refers to a
English land, but with a greater urban connotation. sea swell and suggests qualities of motion, fluctuation,
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It has come to denote an extension of the precisely oscillation and flow. The French word vague has two
defined ground of the constructed city. In French,
French , the latin roots, namely vacuus and vagus . The first , vacuus,
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word also refers to greater and perhaps less precisely means 'vacuum' or 'vacant' in English . This describes
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limited urban territories, connected with a physical physical qualities of emptiness, the unoccupied , but
portion of land in its potentially exploitable or buildable also refers to that which is 'free, available or unen-
unen
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state, but which already possesses some definition to gaged'. These last three attributes allude to a latent
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which we are external (Sola-Morales 1995: 119). The potentiality in this physical space,
space, an expectation of
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motion. Furthermore, the French vague is derived from The terrain vague of the contemporary city is charac-
charac
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the Latin term vagus, which in both French and English terised by forms of absence. This space lacks any form
gives 'indeterminate, imprecise, blurred, uncertain'. of scripted activity. It is space without a deterministic
Thus, the French term vague simultaneously signifies order which aligns it to the effective city. It is a space
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'wave', 'vacant' and 'indeterminate' and suggests mo-
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internal to a city yet oustide to the flows of everyday
tion, potential and ambiguity. use by the general public. Ignasi de Sola-Morales
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writes that,
In experimenting with ways of representing the site "The relationship between the absence of use, of activ-
activ
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which communicated the ambiguity and evocative ity, and the sense of freedom, of expectancy, is funda-
funda
potential of the space, I took series of photographs of mental to understanding the evocative potential of the
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the site at intervals throughout the year. The city's terrains vagues." (1995: 120)
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photographs were taken on different types of film with It is also outside of the bounds of scripted territories,
a HOLGA CFN analogue camera. The Holga is an in ambiguous space, that creative and new appropria-
appropria
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inexpensive and simple plastic camera, with two light tions of space can be generated.
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The first series of photographs was taken in March 2011 using
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Access road to the site which runs along the boundary of the Culemborg Goods
Yard and behind the motor city. The site can only be accessed from the city by
two roads . This route connects from Oswald Pirow to the site via a
aseries
series of one
way roads.
roads.
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Photograph taken from the onramp to the N2, just off Oswald
Pirow Drive. This is a view into the site from the north. It shows
people walking along the recently constructued BRT route
which runs through the site.
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This series of photographs was taken in May 2011 with
Kodak Porta medium format colour film. The fim was cross
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processed.
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When the film was removed from the camera for processing,
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it was not wound tightly enough and light leaked onto some of
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later onthe spool of film were the ones least tightly wound and
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Photograph taken along the south boundary of the site facing towards the north.
It illustrates
Illustrates the opening which forms between Ihe
the outermost
oulermost highway ramp
in the east (which compresses over the site to connect with Oswatd Pirow
Pi row Dr.)
and the two major highway ramps (which continue over the site). The contrast
between light
lighl and dark is significant.
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The boundary building of the Culemborg Goods Yard which currently stands
empty.
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This image is made up of two photographs taken over each other on one frame.
They are two similar shots taken of roughly the same area - the transition from
the gap between the two main highways and the outer compressing ramp (west,
next to the motor city), to the space beneath the two main highways.
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Railway tracks which run along the south boundary 01 the site.
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Site
Site as a
ageography
geography
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'The landscape of the earth is like a skin or veil, cannot be disconnected from time, In a city, spatiality is
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wrapping the earth in its different guises, Cities are like measured in time. The fabric of the city reflects an
skins of this skin: second skins, Architecture uses the interplay of various temporal systems as manifested
skin of the earth, it makes it habitable', Urban Flotsam in the different forms of spatial presence (Benjamin
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(2001 :) 2010:40),
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Like the first skin, cities are plastic environments
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(Bunschoten 2001) which are subject to change and Terrain vague emerges from the mechanics, rhythms
motion, and undulations of a city,
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The terrain vague is something generated by a mutable "Through the collision of seemingly autonomous
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lines of development. It consists of and generates Top-down forces of urban planning, economy and
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strata and territories, and includes as much in its order act on an urban system, These have a very real
development movements that obliterate stratification and tangible effect on the built environment. The city
and territorialisation (Deleuze, Guattari 1987:3-4), The and the systems which operate with, in and through it
city is an assemblage of interdependent and in turn affect the conditions which have been imposed
overlapping entities, There are a multitude of upon it, continually creating new and evolving systems
relationships inherent in an urban system which are in or relationships,
oscillation and govern the structure of this assemblage,
Within this mutable system, spaces form which are
The city as a form of urban entropy is grounded in a foreign to the efficiency which unifies the productive
complex temporality, The reading of urban space city, These are spaces external to the planned activity
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seemingly
and everyday use of a city, seem ingly forgotten places , for further exploration and writes out paths which did
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It is residual or abandoned space, This is space found not work, once tested against a multitude of criteria, An
in unincorporated margins, oversights, voids
vo ids and example of a condition against which the design had to
ideologies, The terrain vague inhabits the space
failed ideologies, find expression at a number of scales, was that the
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beneath highways, ne xt to railways,
railways , in vacant lots and architectural intervention should not destroy the
empty buildings, delicacy of the terrain vague but enhance it. At a level
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What this means for architecture IS that intervening in of spatiality in the design process,
process , a decision was
the terrain vague is an entry into a particular scenario made that the built volume of the intervention should
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the spatial, metaphysical and socio-economic charac- of maintaining the qualities of the terrain vague, This
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teristics of this 'other' space, they have evolved out of a approach to the site and the design means that this
very particular situation, project is a scenario which has meaning and value in
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Approach
assemblage of particular elemen ts and relationships this time which would all have had a distinct influence
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has influenced the process of designing for this site, on the balance of the site situation ,
The design of an architectural intervention in this space
has developed out of testing thoughtful scenarios and
situation,, at various stages in the
intentions in the site situation
design process and across a range of scales in the
design (from siting and use to materiality and
techtonics), These scenarios do not impose an
expected result or resolution on the design , This
approach tests possibilities in space against the flows
and rhythms of the site, Each decision opens up paths
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Drawing a site scenario
(En loge) e
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Black and white photocopies transfered onto cartridge paper
using thinners, pencil drawings overlayed.
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The originall ocalily plan for the highway section under study, taken from the
original technical drawings of the highways draughted in the 1970s.
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Site
Technical Investigation of the Foreshore Highways
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To intervene in the space beneath the highway, I Initially, I consulted with Brian Richardson from KFD
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needed to understand the highway system and its Wilkinson Consulting Engineers. KFD Wilkinson had
structure in detail and build up an accurate account of been involved with the design of a project directly
the highways as they related to the site. The highway adjacent to the N2 highway, at the site of the Cape
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system was investigated in a technical study of the Town International Convention Centre. While this was a
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site undertaken at the beginning of the year which was different section of the Foreshore Highways, it had the
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documented in a technical report same structural system as the section of highways over
the site. From the working drawings of this
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technical drawings of the Foreshore Highways. This type of foundations (and approximate depths for
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proved to be a challenging and time-consuming foundations and footing dimensions) and a description
process. of the general soil conditions of the Foreshore
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of all the technical documents pertaining to the obtained from KFD Wilkinson gave a basic
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Foreshore Freeways. The department is, however, understanding of highway construction but was not
under-staffed and unwilling to sift through the records in adequate to build up an accurate model of the
their vast archives the find the information required for highways on the site.
this project. Another factor in deciding to bypass
approaching the Municipality first is that this informa-
informa Bergstan SA Consulting and Development Engineers is
tion is caught up in 'official red-tape'. To get access to a firm which has been involved in the design and
it requires appeals to officials motivating why access construction of highway/bridge systems in South Africa
should be granted to this material, guarantees that your as well as being involved in the maintenance of the
project will align with the visions set out by the City of Foreshore Freeways. After speaking with KFD
Cape Town for the site in question, and guarantees that Wilkinson, I approached Colin Miller, an engineer from
the information will be used strictly for the purposes of Bergstan SA. for further information. Due to their
research and education. This is a drawn-out process previous involvement with The Foreshore Freeways,
which is often unsuccessful. Bergstan had printed records of the technical drawings
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for the whole of the Foreshore Freeways. These Interpreting the data - Base Drawings
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documents are kept in an off-site archive . I was not The technical drawings sourced from Bergstan were
allowed direct access to this archive facility but was analysed and used to draw up a set of base drawings
able to retrieve the documents relating to the specific (plan and section) of the site and of the highway
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portion of the Foreshore highways under investigation system (decks
(decks,, columns and foundations) as they
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(document no.Q70/26)
no.070/26) by giving a detailed description related to the site .
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The site falls on reclaimed land on the Foreshore. The angle to resist inclined forces and the effects of
dredging and land-filling for the land reclamation horizontal thrust (caused by cars travelling around
began in 1937 and was completed in 1945. The soil bends or vehicles colliding with side barriers). All
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used for the land-fill comprised mostly sandy soil. This raking piles in this highway system are specified to be
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area of land also has a very high water table. raked at 1 to 4.
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Multiple boreholes were drilled across the site to The piles used in the foundations for the highway have
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determine the exact soil profile for the earth beneath both shaft and toe resistance. They transfers loads to or
each of the four ramps in the highway system. Reading through an underlYing stratum through friction with the
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from the borehole test results, it shows that the water surface area of the shaft (friction pile) as well as
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table is at a level of 1800mm below natural ground transferring loads through the toe to a deeper, more
level. The borehole tests also show a detailed soil competent stratum (end-bearing pile). The pile capac-
capac
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profile, where hard layers of soil are generally found ity is the sum of the ultimate resistance values of both
after a level of about 12m below ground level. Above shaft and toe (Rickett et ai, 200417.52). The pile ca-
ca
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this point there are various layers of sandy soils. These pacities for the foundations of the supports are 100 L-
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soil profiles differ slightly beneath each of the ramps TONS and 40 L-TONS for the abutments of the ramps.
and an accurate reading should be taken directly from
the borehole results. The challenge with designing for this site was then that
an intervention which excavates into the ground would
The loose, sandy soil has poor bearing capacity and is have to accommodate for these soil conditions in its
inadequate in carrying structural loads. This requires foundation design and waterproofing system, as well as
the construction of deep foundations to transmit loads work with the existing substructure of the highways in
further into the earth where there is more competent a way that does not disturb or cause movement in the
sOil or rock. The N2 Foreshore highways were above highway structure.
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Interpreting the data - Superstructure
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The superstructure of the highway was studied as a
series of basic components (supports, decks) which
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(1) Deck sections
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Site Cross-Section
CAD drawing, pencil, transfer by thinners
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Discourse on the terrain vague
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When discussing the terrain vague as material
material,, two applied to the site as a rational ising principle.
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significant arguments emerge.
In the article Terrain Vague , Ignasi de Sola-Morales
In the first. vacant and indeterminate urban space
Rubidio describes the transformations introduced by
represents unacceptable socioeconomic deterioration .
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architects on these vacant sites as dissolving a sense
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These are spaces which represent the problematics of
of estrangement-
estrangement - reflected in our relationship to and
contemporary social life. It is terrain which falls outside
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are too easily abandoned as lucrative parking lots Rem Koolhaas' investigation of the relationship
2001 16) or cosmetic architectural
(Levesque 2001: between architecture and urban voids offers
oHers a
interventions. discourse with similarities to that of Sola-Morales.
Sola-Morales . In
Imagining Nothingness, Koolhaas speculates that the
On a larger scale, architecture and urban design tend grand gestures, the imposing logic - paper diagrams
to project onto these vacant spaces the logic of an far removed from the sites they are intended for -
overriding or unifying principle, which aims at applied by architects to urban space,
space , originate from a
assimilating these spaces into the productive logic of a fear of the void, a fear of nothingness. The nothingness
city.
city. Architecture acts as an organisational structure, a present in the metropolitan void unsettles the stability of
means through which transformation can be achieved the urban solid.
- from something that is unproductive into that which is
cultivated, from the disorderly to the civilised
civilised,, the void Sola-Morales describes the role of the architect as
into the built. The discomfort of disorder, indeterminacy being problematic , in that it imposes limits, order and
and inefficiency is eliminated when architecture is form;; introducing into space the elements of
form
57
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identity necessary to make it recognisable, identical
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and universal (Sola-Morales 1995: 122). A schism exists In a second , opposing view; urban void
void,, imprecision of
between architecture which operates on the side of limits and dissonance are celebrated conditions. The
forms, described by Gilles Deleuze as being distant terrain vague represents a counterpoint to the imposed
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figurative,, and the divided
and favouring the optic or figurative order of over-inscribed urban narratives and the
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individual of the contemporary city who looks for forces dominating influence of consumption on the city.
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rhizomatic instead of the figurative (Sola-Morales and artists inhabit the margins of urban space. This is
1995: 123) in their lived experience of the city.
1995123) city. space liberated from a deterministic urban identity and
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summed up when Koolhaas writes: space in its position outside of the continuity of urban
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(1995199)
( 1995 199) . "
preserva
contemporary art's reaction to fight for the preserva-
tion of these other spaces in the interior of the city
This statement recognises the latent potential of the
(1995122)
terrain vague and, while it refers to the
th e limits which
architecture impresses on space and seems to caution
This other space is not subject to the commanding
against the indiscriminate use of architectural
intervention in this type of urban terrain,
terrain , it does not influence of commerce and economic productivity on
public space in the city.
city. What exists here is the
negate the opportunity that the insertion of architecture
opportunity for spontaneity, for activity not
into an urban void could effect.
58
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accommodated for in urban structures of consumption from the, often violent and seemingly negative, forces
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and order. Unscripted space can be appropriated which have acted upon and shaped the space. It is
creatively by any city dweller. Such a freedom also Important to consider that, in reality, the forms of
translates to human behaviour in space. As a member marginality invited by this leftover space will not always
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of society, of a community, our behaviour in space has be that of liberation and creativity, but will also include
already been directed. It is physically as possible to activities which find expression in urban places of
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scream aloud in a busy public square as in an empty seclusion like crime, drug-use, inhabitation by the
church. Henri Lefebvre describes this as an adherence homeless and the collection of waste.
of
to spatial codes:
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59
Site - Rupture
Arupture
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My approach to this site of terrain vague has been a space deals with inconsistencies. Today,
Today, intervention
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simultaneous reading of both dialogues, of order and in the contemporary city should not aspire to assimilate
disorder, not only in opposition but as conditions which
disorder, residual space with the productive city or try to align it
interdependent , which manifest a latent tension
are interdependent, with a predetermined order which is inscribed onto the
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from which architecture can be generated. urban fabric. Intervention in the terrain vague should
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acknowledge the value of operating as the 'other' .
"The contrast is not between the contained and the
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open, as though the only possible response to a form Levesque exposes potential for intervening in the ter
ter-
of
of restriction or containment would be the elimination rain vague in considering interstitial space as resur
resur-
of all borders and thus the creation of the purely open. " gence of the urban wild (2002). The urban wild refers
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city's
city 's prefigured order (top down forces) and the appro-
appro
space as a means of integrating the seemingly oppos
oppos-
priations of urbanity (bottom-up motions) This wilder-
wilder
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ing notions of order and disorder which allows for the ness reflects the forceful projections of infrastructure,
infrastructure ,
extra-ordinary conceptual and experiential dimensions
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60
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If difference is to be acknowledged in the territory of to expand and change, and is able to smooth over any
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the terrain vague, as both an inevitable condition of a breaks or discontinuities. The city can be shattered
mutable urban system and as an opportunity for inten-
inten or disrupted and it will emerge again along both new
sifying the experience of urban space, the notion of and previous lines of development (Deleuze, Guattari
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rupture can be used as an entry point. 19879). In the same way, the ruptures will move and
appear elsewhere in the urban terrain.
'The break is viewed as an intrinsic principle of urban-
urban
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ity and its spatial implications investigated through When rupture is used as a strategy for creating an
of
the manipulation of the architectural form. '(Angelil intervention for this site it attempts to amplify the
2003337). inconsistencies of this territory and gives attention to
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61
Site - Rupture
The development of a
asite
site rupture
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This chapter illustrates the initial stages in the design but layers another meaning onto the site. A programme
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development of the site rupture. which draws people to the site. This would be a private
space in that it accommodated the rituals of a pro-
pro
gramme. Then, at certain points, this programme could
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Opposite is one of the first conceptual sketches made of rupture, bleeding into the space of the terrain vague,
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what the rupture might be on site. drawing private space into the public and bringing the
terrain vague into the realm of the city dweller's experi-
experi
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The space directly above the highway is occupied by ence. The rupture lengthens, prolongs, intensifies lines
of experience.
of
cars.
The space between the highways and the ground forms vention then engages more actively with the spatiality
the delicate terrain vague, a space with extra-ordinary of the terrain vague instead of shying away from it but
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spatial and experiential characteristics. is still careful to not overpower or destroy it. To remain
consistent with this idea, a decision was made that the
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- ch, r,g'ng spaU,!r1y (' ~'\1 h"' )
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Constrairrl'l sct by existings'wcturp.
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supftjslroc:lwe - column IJrid strr..dure. 93P NORTH
- com.pressedvolume
subs!rUlt!..lre - spetJlic parame1ers 1m
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Posu on imrro€ rsed in the terrainvague
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On loe main access road 10 the Slie (Old Marine OT)
RUPTURES
Hypotheses explored through scenarios
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Several basic design decisions and strategies emerged 2. Public movement and Positions A and B
from studying the site.
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1, Finding the points of rupture on the site in relation to the other. Position A is a point at which
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the site's evoctive qualities are most pronounced. This
From studying the site, two points with significant becomes a draw or pull space. Position B is a space
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potential were identified. through which the majority of pedestrian movement
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flows. The overhead highway ramps open up around
The diagram on the left describes the two points and position B and it can be described as an entry point
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why they are important. or origin. The space between these two pOints is al-
al
of
the site is experienced and perceived as the observer and the central city (train station) and the railways. The
moves through the space. intervention aims to integrate this movement path into
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site and into contact with the activity which has been
inserted on the site. Potential also exists to address the
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3. The Broader Context
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Site -- Rupture
a site rupture
The development of asite
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Topographical Studies
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A number of topographical studies were done to test The following three drawings illustrate a progression of
how the surface of the ground plane could be surface manipulations which overlay onto each other
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site..
manipuated to facilitate a rupture of the site forming a scenario on the site.
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programme is introduced.
75
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The criteria against which the programme was as it developed. Because those activities can exist
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tested were: there is not an indication that a programme linked to
one of these activities woud be the most suitable or
That it acts as an anchor (permanent energy powerful form of intervention for that space. Potential
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in the site situation) and generates event exists to use the space creatively and in a way that
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(changing energy) facilitates an encounter between the general city and
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The programme should be a rupture in relation the bridges. A strength of this idea was that is draws
to the broader site scenario (on a city scale) spatial practitioners to the site who are potentially more
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The approach to developing a site activity was similar qualities. It also gave a lot of freedom in designing
to the way in which the design was generated . a range of experientially driven spaces (like exhibi-
exhibi
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76
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diversity of people. A recording studio and perfor a meaningful activity which engages with the terrain
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mance space was a scenario tested through the site . vague .
A site under a highway and next to railway tracks is
the most unlikely location for a recording studio. While The programme has a hybrid nature. It combines a
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a recording studio in that space is a strong com men studio / residence for south african sound artist James
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tryon contrasting two conflicting ideas. which aligns Webb with an installation or performance space for
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with the action of rupturing; the strict sound isolation both his work and the work of other artists. James' work
requirements for a music studio completely isolates the often deals with the relationship between the city and
of
activity from the site and questions whether this is an sound where architecture is the condition in which this
activity which could happen anywhere and whether it is relationship is explored. The artist's studio is a private
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then a sufficiently influential intervention for a site of this activity which brings a permanent energy to the site.
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which is itself marginalised . It is driven through the The public realm of the intervention engages with the
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process of South African sound artist James Webb. His noise of the site. It amplifies the found site sound and
work often deals with the relationship between the city also layers the new sounds of people moving through
and sound. and interacting with the site onto the existing sound .
The artist's studio creates an environment within the
The programme selected picks up on the acoustic noise that is silent , in which completely new sounds
qualities of the site. It recognises the particular sound can be created and experimented with. The installa
scape (generated by a constant flow of cars on the tion space is a mediator between these two spaces,
highway and an intermittent rhythm of the trains pass which exists outside, in the space below the highways
ing on the railway tracks) . It also acknowledges sound but also acts as a space in which new sounds can be
as an 'other' sense and draws on this marginality to introduced through the performances and installat ions.
enhance the otherness of the site while still inserting This intervention can be described as a soundpark.
77
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Site - Rupture - Programme
James Webb
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To design the space in which James works required an
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understanding of his design and work process.
James
James'' work place is a transitional space. It is the
space in which sampled material is thought and
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79
Selected projects in colour, from left to right
OST,2009
A recording of Auferstanden aus Ruinen, the anthem of the Deutsche OMnn,:ralll~ctIB
Republik, sung a cappella by a lifelong East German resident within the hall
01 the tormer parly radio station in Nalepastrasse, Berlin, August 2009.
n
shOPPing mall designed to control Indian trade. On the 4th day 01 Ramadan, 2008, Sheikh
Mogamat Moerat 01 District Six's Zeenatullslam Majid mosque was invited !O sing Ihe
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Adhan (call to prayer) inside the empty remains of the building a few weeks prior to its
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to way for luxury aparlments.
WA 12003
An imaginary Japanese DJ named Wa was bOOked to perform at a large Cape Town party,
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The artist invented her profile, composed the music she would play and sourced an un
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known Korean tourist to learn basic DJ'ing skills and perform as Wa. Her original identity
was kept secret and the gig was advertised to the point where people were talking about
Wa as if they owned her {non-existent) albums. Her performance of ear-splil1ing noise
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lasted 15 minutes in front of a crowd of over 1500 people. Titled 'Yumei na wa ju go pun,'
and loosely translating as '15 minutes of fame,' the gig's highlights were broadcast on
of
national television.
SIREN, 2010
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A building is fitled with a powerful air raid siren. wired to a locked button, Only the col·
lector and artist possess keys to the device, and it rs contractually only to be used in the
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The development of the site rupture after programme is introduced
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This section illustrates points or moments in the design
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development of the site rupture after the programme
was introduced.
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The diagram opposite describes interfaces identified
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and responded to in the design. These are
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(011) The solid black lines represent movement along
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The path of the black line connects these surfaces.
surfaces .
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entering the installation space which tested alternative
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activities of the intervention were organised and read a ground plan but it represents the spatiality of the
designed, especially in relation to the public space sound on the site.
which forms the 'noisy' component of the design.
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(016) Sonic plan of ambient sound
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Again, the 'noise' of the sound park was designed by
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(018) Section along the length of the intervention
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The artist's studio is a point in the design that requires (019) Mass / Spring / Mass resonant system
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an acoustically isolated space in which sound will be
recorded, played back and edited. a a resonant system
if the first mass is set in motion, the force exerted
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space was to create two separate skins for the studio - second mass. Above the resonant frequency of
a primary structure or shell which is disconnected from
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(022) Design development drawings of the studio The studio is partly excavated into the ground. Since
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Site - Rupture - Progranlme -
Materiality and Making
Si lence, Bang, Echo / Refiecti on
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The ground topography of the public 'noise' park folds Public Space (Noise)
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to house a closed I indoor installation space under-
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neath it. The surface of this fold is programmable and (024) The space above the ground belongs to the
accommodates the services and techtonics required to public and is the space in which noise is generated by
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slide out into the installation space. Monitors, micro
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Site - Rupture - Programme
Materiality and Making
Variable Sound Environment
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highways which which manipulates reflections from the
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In Conclusion
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Rem Koolhaas offers a suggestion of what it is to
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intervene in the void,
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Bibliography
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Benjamin, A (2010). Porosity at the edge Working through Walter Benjamin's 'Naples'. In Walter Benjamin and Archi
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Bunschoten, R. (2001). Urban Flotsam Stirring the City. Rotterdam 010 Publishers.
To
Deleuze, G. & Guattari, F. (1987). A Thousand Plateaus. Minneapolis University of Minnesota Press.
e
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Franck, A & Stevens, O. (2007) Loose Space Possibility and Diversity in Urban Life. London Routledge.
of
ity
Levesque, L. (2001). Le terrain vague comme materiau. Paysages (6) 16-18, June.
rs
ve
Levesque, L. (2001) Hyperpaysages: a I'affut de territoires reticulaires et mentaux. Photo CV (54) 5-6
ni
Pallasmaa, J. (2006). Eyes of the Skin: Architecture and the Senses. Architecture, 95(3):28-29
Ponnuswamy, S (2008). Bridge Engineering. New Dehli: Tata McGraw-Hili.
Purvis, R. (2003). Bridge Deck Joint Performance: A Synthesis of Highway Practice. Washington DC: Transportation
Research Board.
Ricketts, J., Loftin, M. & Merritt, F (2004) Standard Handbook for Civil Engineeers. New York: McGraw-Hili
Tonias, D & Zha, J, (2007) Bridge Engineering: Design, Rehabilitation and Maintenance of Modern Highway Bridg
117
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