Citation
Architecture as a Temporal Collage

Material Information

Title:
Architecture as a Temporal Collage
Creator:
Albandoz Jimenez, Amy Gabriela
Publisher:
University of Florida
Publication Date:
Language:
English

Subjects

Subjects / Keywords:
Undergraduate Honors Thesis/Project

Notes

Abstract:
Occupational use can be predicted but never defined. Architects design for a general use in mind, creating a harmony of different spaces which all work to support it. However, there is always room for interpretive use due to the limitations of prediction. This interpretation of use by occupants leads to a collaging of space, in the sense that the genius loci is manipulated as a direct response to the inhabitation of place. Thus, the designed realm exists as a temporal collage; the idea that there are multiple stories being created at the same time, and that there is a development of a shifting spatial identity which stands removed from the original architectural intention. ( en )
General Note:
Awarded Bachelor of Design, summa cum laude, on May 6, 2023. Major: Architecture
General Note:
College or School: Design, Construction and Plan
General Note:
Advisor: Michael A. Montoya. Advisor Department or School: Architecture.

Record Information

Source Institution:
University of Florida
Holding Location:
University of Florida
Rights Management:
Copyright Amy Gabriela Albandoz Jimenez. Permission granted to the University of Florida to digitize, archive and distribute this item for non-profit research and educational purposes. Any reuse of this item in excess of fair use or other copyright exemptions requires permission of the copyright holder.

Downloads

This item is only available as the following downloads:


Full Text

PAGE 1

Architecture as a Temporal Collage Amy Albandoz Jimenez The designed realm exists as a temporal collage; there are multiple stories being created at the same time and a development of a shifting spatial identity which stands removed from the original architectural intention. is given back to the residents of the city. Taking it a step further, when the age of the building is being considered, there is an appreciation for the shifting of cultures throughout the centuries. The use we see now is foreign to the original intended use of the space. The limitations of prediction could not communicate how that space would be inhabited over a thousand years later. As a result, the Pantheon stands as a palimpsest of a changing genius loci. Designers inherently recognize that usage changes over time. However, the challenge comes from how to address it– or even Occupational use can be predicted but never defined. Architects design for a general use in mind, creating a harmony of dierent spaces which all work to support it. However, there is always room for interpretive use due to the limitations of prediction. This interpretation of use by occupants leads to a collaging of space, in the sense that the genius loci is manipulated as a direct response to the inhabitation of place. Thus, the designed realm exists as a temporal collage; the idea that there are multiple stories being created at the same time, and that there is a development of a shifting spatial identity which stands removed from the original architectural intention. In Study The idea of space as a temporal collage was first explored in the form of a project sited in Rome. In this setting, the presence of a shifting spatial identity was very apparent. Due to the distinct population groups of transient visitors and permanent residents, depending on the time of day, the built environment took on completely dierent atmospheric qualities. For example, the Pantheon exists as a popular tourist destination during the day; there are constantly crowds of temporary visitors surrounding the building. Once the sun sets, however, the ownership of that place if to address it. In the Rome project, the decision was made to design with individualism in mind; instead of attempting to prescribe a set of uses that would inevitably have to be changed, we started en media res. The project is born from a dynamic culture which ebbs and flows, thus it embraces the diversity of expression and incorporates it into the heart of the design. Gone is the idea of confinement in box-constructions which are foreign to the principles of humanity and limit the ability of expression. 1 Occupants are encouraged to leave their mark on the project, 1 Figure 1. Ground plan. Rome, Italy. Drawing by Amy Albandoz Jimenez, 2022.

PAGE 2

together again by those who inhabit it. 5 Each time that this happens, the spirit of the place changes slightly; the palimpsest is built upon by new experiences and new inhabitants who each have their own fragmented experience of the space living on inside them. through the collaging of their own methods of expression. The embracing of this idea meant giving the project the ability to breathe– there was a conscious decision made to design a “suggestion”, or the scaolding to something greater that allows for the contributions of users to become part of the design. The feeling of place was given a blank sidewalk, in a sense, while the culture and the inhabitation of people were to be the chalk. Their contributions exist temporarily, able to be exhibited until the time comes for it to be added on to. People are allowed to establish their mark on the project, moving towards the idea of freedom of expression in architecture by the hands of the occupant. As 3 2 Figure 3. Elevation. Rome, Italy. Drawing by Amy Albandoz Jimenez and Alejandra Velasquez, 2022. Figure 2. Entry perspective collage. Rome, Italy. Drawing by Amy Albandoz Jimenez and Alejandra Velasquez, 2022. Figure 4. Typical floor plan. Drawing by Amy Albandoz Jimenez, 2022. Figures 5. Elevations. Drawing by Amy Albandoz Jimenez and Alejandra Velasquez, 2022. next to them may be a set of students. This diversity manifests in the vitality of space, and in this rests freedom of place. 3 The sharing of knowledge and traditions between residents allow for the growth of individuals and their community, while also contributing to the richness of built space. Thus, the design exhibits a spread of accommodations wherein community is encouraged. There is none of the uniformity that results from the method of “technological, functional architecture” wherein architecture loses its expression and form becomes interchangeable regardless of use. 4 The design complements its inhabitants with its organization, and relies on them to form the genius loci of place. It becomes a collage of not only structure and form, but also of experiences. Additionally, we were not under the impression that the place would be inhabited constantly. In the same way that culture ebbs and flows, the space of the project can exist uninhabited. When it is uninhabited, it takes on a completely dierent atmospheric quality and the focus then shifts to the manifestation of form. The project becomes desolate, a shell of expression. The ghosts of people lingering in posters, the lone visitor, the echoes of cars passing by. But even so, the spatial identity is not any less than what it was before. As a shell of expression, the project is a collage of individuality-a dream. It becomes a composition of remnants, fragments of memories. Bit by bit, it becomes lost in shadow until it is collaged Hudertwasser was advocating in his “Mould Manifesto against rationalism in architecture”, people must be able to explore their own individuality in the spaces which they inhabit. 2 It must be apparent that someone who resides in one unit is dierent from their neighbors, and those neighbors must be dierent from the next. Keeping this in mind, the residencies were designed for a variety of user groups. The project does not cater towards one kind of inhabitant, instead celebrating the concept of generational living and cooperative inhabitation. A senior may be living in a single unit while next door there may be a young family, and Figure 4. Figures 5a, 5b.

PAGE 3

Figures 7a, 7b, 7c, and 7d. Figures 6a, 6b, 6c, and 6d. In Practice But, thinking about space as a “temporal collage” in the sandbox of a project is dierent from experiencing it in the built environment. An additional study explored this idea in public spaces in Gainesville, Florida: in the historic downtown and the Plaza of the Americas on the University of Florida’s campus. Both of these places are designed with the presence of people in mind, however their actual use varies depending on the time of day. Looking at the images of downtown, it is apparent that the environment was designed for a specific volume of people. ( 6a-d ) The buildings create a network of spaces that are codependent, oering services which build upon each other: housing, dining, lounges, and plenty of space for pedestrian traic. But, what also comes forward is the rigidity of these places. There is little to no flexibility in how the design occupies the context and handles a population of people that is dierent to what was originally intended. Thus, whenever that volume is not maintained, the atmosphere suers. If there is a lack of pedestrian inhabitation, the place feels uncanny and uncomfortable. If there is an overpopulation, the place feels inadequately designed. Patrons spill over the edges of sidewalks, movement is restricted, and a feeling of discomfort comes from the overcrowding. The set of photos documenting the Plaza of the Americas are almost a direct contrast to downtown. ( 7a-d ) There are many people during the day, and it feels almost desolate during the night. There still are a few people moving around after the sunset, but the space has taken on an almost somber feeling. It transforms from a place of gathering and exchanging of experiences during the day, to a more intimate space of reflection during the night. Plaza of the Americas is a good example of a place designed with flexibility in mind– there is enough of an identity given to it where it retains its sense of self but still allows for the adaptation of inhabitation. It can build upon the experiences there, and thus creates an environment which does not resist change. The downtown example feels rigid in its identity. Both are examples of public spaces, though one feels more subservient to the humanity of individuals than the other. Expression of inhabitants is an important factor in the making of a space which feels welcoming. To over design is to crowd; there leaves no room for someone to be able to make their own contribution. When this happens, there is an inherent sense of discomfort. In The Service of Culture Both can also be thought of as extremes, in one way or the other. A well rounded product of design cannot exist solely as an open space and neither can it be a place designed with one form of occupation in mind. There is a versatility required that addresses both, and also acknowledges the temporal nature of occupation. In doing so, the building becomes a collage of uses and therefore fully utilizes the opportunities of design: the building is successful in fulfilling its original intention and the community gains a place that can become part of the cultural identity. Limiting the identity of a space to one particular use does not contribute to the evolution of culture and risks that space becoming underutilized. It is also worth noting that a single work of architecture should not strive to be all-encompassing. There is an importance of the creation of a network throughout the building context. Design should build o of what has already been laid out, adding spaces which work in conjunction with existing infrastructure to synthesize a new sense of place. Architecture is infrastructure, and infrastructure itself is a collage of dynamic constellations of support structures. 6 When both are interwoven, the fabric of the place becomes a welcoming campus of spaces, inviting its inhabitation regardless of the time of day. Thus, the population gains an area where they can gather and make their own identity, expressing a dierent occupational use than what would have been originally intended. Architecture is reflective of the state of being and is tied to the spirit of humanity. Whenever architecture eectively addresses these qualities, the public realm gains a new cultural entity which contributes to the quality of life. It allows for the expression of the population in the built form, while also encouraging people to interact with the work itself. Architecture then belongs to the people in the purest sense, subservient to their will in its role as a backdrop to the creation of their own stories. As a temporal collage, the spirit of place is ever evolving depending on the population which architecture serves. Architecture is for the people, and people are constantly changing. References 1. Conrads, Ulrich. “Hundertwasser: Mould Manifesto against rationalism in architecture.” Programs and Manifestoes on 20th-Century Architecture, Massachusetts Institute of Technology, Cambridge, Massachusetts, 1964, pp. 157-160. 2. Conrads, Ulrich. “Hundertwasser: Mould Manifesto against rationalism in architecture.” Programs and Manifestoes on 20th-Century Architecture, Massachusetts Institute of Technology, Cambridge, Massachusetts, 1964, pp. 157-160. 3. Conrads, Ulrich. “Reinhard Gieselmann/Oswald Mathias Ungers: Towards a new architecture.” Programs and Manifestoes on 20th-Century Architecture, Massachusetts Institute of Technology, Cambridge, Massachusetts, 1964, pp. 165-166. 4. Conrads, Ulrich. “Reinhard Gieselmann/Oswald Mathias Ungers: Towards a new architecture.” Programs and Manifestoes on 20th-Century Architecture, Massachusetts Institute of Technology, Cambridge, Massachusetts, 1964, pp. 165-166. 5. Gaston Bachelard and Maria Jolas, The Poetics of Space: the Classic Look at How We Experience Intimate Places, Boston, Massachusettes: Beacon Press, 1994, pp. 57. 6. Frichot, Helene, et al. “Pedagogies for a Broken World.” Journal of Architectural Education, vol. 76, no. 2, Washington, DC, 2022, pp. 52. Figures 6 and 7. Photos of downtown and the Plaza of the Americas in Gainesville, Florida. Photography by Amy Albandoz Jimenez, 2023. Figure 8. Sketched pesperctive of residencies. Drawing by Amy Albandoz Jimenez, 2022. 4 5


xml version 1.0 encoding UTF-8 standalone no
fcla fda yes
!-- Architecture as a Temporal Collage ( Book ) --
METS:mets OBJID AA00092419_00001
xmlns:METS http:www.loc.govMETS
xmlns:xlink http:www.w3.org1999xlink
xmlns:xsi http:www.w3.org2001XMLSchema-instance
xmlns:daitss http:www.fcla.edudlsmddaitss
xmlns:mods http:www.loc.govmodsv3
xmlns:sobekcm http:digital.uflib.ufl.edumetadatasobekcm
xmlns:lom http:digital.uflib.ufl.edumetadatasobekcm_lom
xsi:schemaLocation
http:www.loc.govstandardsmetsmets.xsd
http:www.fcla.edudlsmddaitssdaitss.xsd
http:www.loc.govmodsv3mods-3-4.xsd
http:digital.uflib.ufl.edumetadatasobekcmsobekcm.xsd
METS:metsHdr CREATEDATE 2023-05-10T13:43:09Z ID LASTMODDATE 2023-05-10T11:26:23Z RECORDSTATUS COMPLETE
METS:agent ROLE CREATOR TYPE ORGANIZATION
METS:name UF,University of Florida
OTHERTYPE SOFTWARE OTHER
Go UFDC - FDA Preparation Tool
INDIVIDUAL
UFAD\renner
METS:dmdSec DMD1
METS:mdWrap MDTYPE MODS MIMETYPE textxml LABEL Metadata
METS:xmlData
mods:mods
mods:abstract displayLabel Abstract lang en Occupational use can be predicted but never defined. Architects design for a general use in mind, creating a harmony of different spaces which all work to support it. However, there is always room for interpretive use due to the limitations of prediction. This interpretation of use by occupants leads to a collaging of space, in the sense that the genius loci is manipulated as a direct response to the inhabitation of place. Thus, the designed realm exists as a temporal collage; the idea that there are multiple stories being created at the same time, and that there is a development of a shifting spatial identity which stands removed from the original architectural intention.
mods:accessCondition Copyright Amy Gabriela Albandoz Jimenez. Permission granted to the University of Florida to digitize, archive and distribute this item for non-profit research and educational purposes. Any reuse of this item in excess of fair use or other copyright exemptions requires permission of the copyright holder.
mods:language
mods:languageTerm type text English
code authority iso639-2b eng
mods:location
mods:physicalLocation University of Florida
mods:url access object in context https://original-ufdc.uflib.ufl.edu/AA00092419/00001
mods:name
mods:namePart Albandoz Jimenez, Amy Gabriela
mods:note Awarded Bachelor of Design, summa cum laude, on April 29, 2022. Major: Architecture
College or School: Design, Construction and Plan
Advisor: Michael A. Montoya. Advisor Department or School: Architecture.
mods:originInfo
mods:publisher University of Florida
mods:dateIssued 2023
mods:recordInfo
mods:recordIdentifier source sobekcm AA00092419_00001
mods:recordContentSource University of Florida
mods:relatedItem series
mods:part
mods:detail Year
mods:caption 2023
mods:subject
mods:topic Undergraduate Honors Thesis/Project
mods:titleInfo
mods:title Architecture as a Temporal Collage
mods:typeOfResource text
DMD2
OTHERMDTYPE SOBEKCM SobekCM Custom
sobekcm:procParam
sobekcm:Aggregation ALL
UFIR
IUF
UFHONORS
UNDERGRADWORKS
sobekcm:MainThumbnail Albandoz_Jimenez_Amy_Honors_Thesisthm.jpg
sobekcm:Wordmark UFIR
sobekcm:Tickler 2231_SPRING_2023_HONORS
sobekcm:bibDesc
sobekcm:BibID AA00092419
sobekcm:VID 00001
sobekcm:Publisher
sobekcm:Name University of Florida
sobekcm:Source
sobekcm:statement UF University of Florida
sobekcm:SortDate 738520
METS:amdSec
METS:digiprovMD DIGIPROV1
DAITSS Archiving Information
daitss:daitss
daitss:AGREEMENT_INFO ACCOUNT PROJECT UFDC
METS:techMD TECH1
File Technical Details
sobekcm:FileInfo
METS:fileSec
METS:fileGrp USE reference
METS:file GROUPID G1 PDF1 applicationpdf CHECKSUM 7b450b8a8a59cd7f2af8d8eeb7221a62 CHECKSUMTYPE MD5 SIZE 4033693
METS:FLocat LOCTYPE OTHERLOCTYPE SYSTEM xlink:href Albandoz_Jimenez_Amy_Honors_Thesis.pdf
G2 TXT2 textplain
Albandoz_Jimenez_Amy_Honors_Thesis_pdf.txt
G3 METS3 unknownx-mets 8272b723136a653f7efa8d2ddc8c1640 6257
AA00092419_00001.mets
METS:structMap STRUCT2 other
METS:div DMDID ADMID ORDER 0 main
ODIV1 1 Main
FILES1 Page
METS:fptr FILEID
FILES2 2
FILES3 3