The Anonymous and the Specific in Architecture Haoming Wu The final project submitted for the degree of M.S. AAD May 2019 Copyright 2019 Haoming Wu ALL RIGHTS RESERVED ABSTRACT The definition of the anonymous and the specific is an issue of personal choice and only when it becomes a personal choice can it be a controllable switching mechanism of observation and a practical methodology of design. But what are the values of an anon- ymous subject? To answer this question, I adopted Rawls’s concept of Comprehensive Doctrines. I applied a similar concept that is practical in architectural field, namely, the anonymous and the specific. The definition of the theory is that an anonymous subject is a set of beliefs affirmed by precedents concerning a range of values as well as beliefs about architectural virtues and philosophical beliefs about the way architecture ought to be arranged. Multiple values are organized and compatible in an anonymous subject. In addition, the anonymous subject gives us a view of what is a good architecture that is understandable and practical. In order to enable different anonymous subject to coex- ist, a freestanding and inclusive specific frame should be designed. It should focus on articulating and defending a clear frame instead of testifying the anonymous subjects. I explored the concept in three courses. Two of them narrowed down the concept into the anonymous structure and specific environment. And the other one narrowed down the concept into the anonymous techniques and the specific policies. In this cases, I tried to explain the values behind the anonymous subjects and the process of designing or recognizing a specific frame so that plurality of anonymous subjects can coexist in it. CONTENTS Critical Text — The Anonymous and The Specific 1 18 Fall Option Studio Material Matters 7 19 Spring Option Studio Design to Build 16 18 Fall Elective Cities Dark and Light 23 18 Fall Elective Rethinking Timber System 27 19 Spring Elective Canajoharie Workshop 30 19 Spring Elective Advanced Topics in Computer Game Architecture 34 THE ANONYMOUS AND THE SPECIFIC IN ARCHITECTURE The contradiction between the anonymous and the specific is something that I discov- ered in this year. The first question would be defining his concept. The definition of the anonymous and the specific is not unchangeable, which means there are no absolute anonymous or absolute specific subjects. Someone might argue that the quantity mat- ters, when there is only one version of the object, it must be special and specific; some might insist that quality matters, the best one of a mass should be the specific one; some might also relate it to people’s experience, obviously when something is common for someone, it will easily be anonymous, which means the definition varies among differ- ent people and by different criteria. For me, I admit that if there is any definition that can tell them apart, it will be subjective. However, people can choose a specific one from an anonymous mass or take something special as anonymous. It is an issue of personal choice and only when it becomes a personal choice can it be a controllable switching mechanism of observation and a practical methodology of design. But what are the val- ues of an anonymous subject? To answer this question, it is helpful to look at a philosophical term in Rawls’s theory in political field, namely, the comprehensive doctrine. A comprehensive doctrine is a set of beliefs affirmed by citizens concerning a range of values, including moral, metaphys- ical, and religious commitments, as well as beliefs about personal virtues, and political beliefs about the way society ought to be arranged. There are several components to this 1 concept, according to Rawls. First, multiple values are organized and compatible with each other in a single comprehensive doctrine. Second, for ordinary people, a compre- hensive doctrine conveys a view of world that is understandable and practical. Although most people cannot come up with a perfect answer for the question about what is good, or what is of value in life, each comprehensive doctrine gives one or more than one answers to people as reference. Furthermore, for some people, they are answers per se. Third, the fact that citizens affirm different and incompatible comprehensive doctrines presents a problem for a theory of justice, because it suggests that citizens will fail to agree on principles of justice to govern their institutions if they rely exclusively on their separate and incompatible comprehensive doctrines. Rawls addresses this problem by distinguishing between two points of view, one the comprehensive doctrines mentioned above, the other a freestanding political view, in which does not affirm or deny any particular comprehensive doctrines. It provides an inclusive frame for a plurality of comprehensive doctrines to coexist. A reasonable social system should focus on articu- late and defend a clear freestanding political view instead of testifying comprehensive doctrines. When we use the anonymous to replace the comprehensive doctrines and use the spe- cific to replace the freestanding political view, the political concept can be perfectly translated into architecture and even other fields. I explored this concept in two option studios, along with some of the electives of last two semesters. Anonymous Structure and Specific Environment Material Matters is the Option Studio I took in 18 Fall, the instructor of which is Alejan- 2 dro Beals and Loreto Lyon. It is an Ithaca-based studio. The studio included three sec- tions. The first section was to identify a specific environment in the city of Ithaca, which was celebrated. The second section was to find and study an anonymous structure that is common in Ithaca. The last section was to use the anonymous structure as a media to represent the specific environment. For the first section, we identified a specific environment that could be celebrated. Through this process a freestanding frame as the final goal was articulated. I identified a spot in the Wildflower Garden, which was full of tall trees that blocked the sun. How- ever, one of the biggest trees was cut down, creating a hole in the canopy and allow the light to cast down on the stump. Its trunks were surrounding the stump. The scene gave me a sacred sense. The second section, finding and studying an anonymous object, was the process of iden- tifying the comprehensive doctrine. I chose utility poles as my subject. The height of the column, the angle of the fixing cables and the arrangement of the position of the poles are all internal to the structure, and ensures it works. This reflects the first fact of my theory; each value and elements are compatible inside the anonymous structure. In addi- tion, the structure is understandable, both verbally and practically. Verbally, this means when we talk about utility poles, we conceptualize the whole structure, without needing to name each part. Practically, this means we can directly apply this structure without having a deep and entire understanding of how it works. The utility pole is common in Ithaca which is subject to provide a reference for us about what is a good and valuable answer in this specific environment, heavy snow and strong wind during the winter. 3 The third section, translating the natural environment into an architecture by using the anonymous structure. In this process we needed to articulate and defend a specific en- vironment and program as a freestanding frame that allow the anonymous structure to fit in without damaging its core value. In this project, I tried to preserve the elements like the columns and cables and the relationship between elements, the tension and the configuration of poles. The next opportunity to explore the anonymous and specific concept is the Design-to- Build Option Studio in 19 Spring, instructed by Mark Cruvellier, Dagur Eggertsson and Sami Rintala. This project was located in the Treman Center, Ithaca, a manor with a big red barn. We were asked to identify a specific place inside our clients’ manor and discuss with them to decide the program of the structure. We used wood and stone construc- tions, which are the existing language in the manor. In this project, the barn here is wood structure based on stone foundation. In addition, there are many stone walls located here because the client is one of the best stonemasons in Ithaca. In both the stone construc- tion and wood construction, all the construction details along with the logic of building embed are compatible. These existing constructions also provided us with a practical approach to this site, which have been tested here. Furthermore, the existing construc- tions are understandable but there are also potential values behind them. For example, the stone wall construction conveyed the facts that the clients were familiar with stone, that kind of stone is common in New York state, that stone is good material for resisting snow water and moisture etc. The wood construction we learn from the barn also had a story behind it. In fact, the barn was not brand new, but an old structure from another 4 site that was dismantled and rebuilt here. Before knowing these facts, there construc- tions were simple anonymous structures, but this didn’t prevent us to use it. Presented in front of us as anonymous structures were the subjects could be studied and applied, demonstrating the meaning and value of the concept of “understandable.” Anonymous Techniques and Specific Policies I also got to explore this concept in one of the electives I took in 19 Spring, Sustainable Building, instructed by Jonathan Ochshorn. This class interested me because it helped me to switch my ideas about sustainability from techniques to policies and revalue the criteria set by LEED. In this class, we needed to carefully think about the existing LEED code, how it needs to be rearticulated so that it can provide a clear frame in which anon- ymous techniques can be applied without damaging the value or original intention of these techniques. One of the big problem in the existing LEED is that the assessment is still based on checking the applications of the existing techniques. This assessment cri- teria are problematic because it discourages the adoption of new techniques, In addition, the LEED assessment need to be updated frequently to ensure they are up to date. What is more, how to weight the performances of different techniques has already aroused severe criticism. Reasonable criteria should be performance based, which means we only need to exam the final result. It can provide fair platform and freestanding frame for those anonymous techniques to work. On the other hand, the criteria should cancel the weighting process, because according to Rawls’s theory, a freestanding and separate frame should not tes- tify the value of each technique. 5 Reference Paul Voice. (2014). The Cambridge Rawls Lexicon (pp. 126-129). Cambridge Univer- sity Press 6 18 Fall Option Studio Material Matters Instructor: Alejandro Beals, Loreto Lyon 7 Environment Plan 8 Environment Section 9 Utility Pole Plan 10 Utility Pole Section 11 Site Plan 12 Ground Plan 13 Section 14 Detail Section 15 19 Spring Option Studio Design to Build Instructor: Mark Cruvellier, Dagur Eggertsson, Sami Rintala 16 Perspective Section 17 From the Barn Parking Court Perspective 18 Phasing Plan 19 Zoom-in Plan 20 Zoom-in Plan 21 Drip Edge Flashing Fascia Wooden Roof Covering Waterproofing Layer Tongue and Groove Roof Decking Waterproofing Layer Drip Edge Flashing Fascia SIP Roof Panel Wooden Ceiling 1/2” Rebar SIP Wall Panel Wooden Facing Breathable Membrane Perimeter Edge Insolation Sand/Cement Screed floor Finish Thermal Insolation Board DPM Blockwork Beam and Block Construction Floor Concrete Treated Hold Down Cleats Concrete Pad Unit Detail Section 1:4 Detail Section 22 18 Fall Elective Cities Dark and Light Instructor: Mary Woods 23 Reception Day 24 Works 25 “It often seems to me that the night is much more alive and richly colored than the day.” Vincent Van Charles Baskerville Gogh, 1888 American, 1896-1994 Party invitation This exhibition explores the pleasures of the night facili- Watercolor on wove paper tated by different kinds of electric light. From colorfully Gift of the artist, Class of 191995.027.022 lit night clubs to dimly lit restaurants, the activities of the night, staged with the city as its backdrop, call for everyone to participate, unpacking diverse social dy- namisms. The pleasures of the night suggest themes of romanticism, promiscuity, and modernity. Although all are invited to participate, roles and agency at night are heavily determined by gender: the sensibilities of wom- en are revealed through illumination of street lamps and the eyes of spectators. While some participate, some perform, and some run away from a fearful night, others prepare for its dangers and wonders. “A great city never sleeps.” Gérard de Nerval, 1852 Night-time pleasures reside in technological advance- Pleasures of the Night ments of electricity, in consumption of mass media and pop culture, and in the sensorial spaces of nightclubs, theaters and cinemas. The accompanying costs of plea- sures disclose themselves on a quiet night ride at a gas station stop or a sudden loneliness by the closed door of a restaurant. You are invited to participate in these sensorial experiences, engaging with the pleasures of the night through this exhibition. The exhibition follows the chronology of night from dusk to dawn. It highlights ini- tial preparations for the night, climaxing at chaotic and vivid gatherings, and finally winding down to moments of isolated intimacy and reflection. Thanks especially to Professor Mary N. Woods for man- ifold guidance and instruction; to Leah Sweet, Andrea Inselmann, B. J. Woodams, Andrea Potochniak, Wil Millard and David E. Ryan at the Johnson Museum for assistance and support; to guest speakers Dr. Brinda Somaya, Professor Sandy Isenstadt, Professor Iftikhar Dadi, Jeffrey L. Lapar, and Dr. Annie Schentag for Herbert F. Johnson bringing professional perspectives to the class. Museum of Art Cornell University Poster/invitation: Sarah Bujnowski 114 Central Avenue Installation design: Xiaoxue (Iris) Ma December 11 – 23, 2018 Brochure: Su Yeon Chi and Haoming Wu Ithaca, New York 14853 Checklist: Jeannette Pang and Caitlin Zhang 607 255-6464 Exhibition, Primary panel: Kamsy Anyachebelu, Thanh Thi Nguyen, and Jiayi Yi museum.cornell.edu Johnson Museum Study Gallery, Floor 2L Follow us @HFJMuseum Kamsy Anyachebelu, Sarah Bujnowski, Su Yeon Chi, Xiaoxue ARCH 6819: Cities Dark and Light (Iris) Ma, Thanh Thi Nguyen, Jeannette Pang, Haoming Wu, Jiayi Yi, and Caitlin Zhang, Student curators Professor Mary N. Woods 9 10 14 18 19 20 21 22 24 222344 * 1 3 4 6 7 8 13 2 5 11 12 17 15 16 ** CHECKLIST 6. 11. 16. 20. Related Works on Display Georges Meunier Jacques Lowe Nam June Paik Robert Doisneau Elsewhere in the Museum French, 1869-1942 American, born Germany, Korean, 1932–2006 French, 1912–1994 * Papier à Cigarettes Job (Ciga- 1930–2001 Global Groove, 1973 Le muguet du métro, from the Matthew McCaslin Primary Text rette advertisement), 1894 Manager of El Morocco night- Single-channel digitized video portfolio Robert Doisneau, 1953 American, born 1957 Color lithograph club flirting with performer from Beta tape (color, sound) (negative), 1979 Butterfly, 1994 1. Gift of Harry A. Starr wearing a fur stole, 1958 Originally acquired with funds Gelatin silver print, Edition 13/100 Electric cables and fluorescent Charles Baskerville 76.093.067 Gelatin silver print provided by the New York State Gift of Frederick J. Myerson lights American, 1896–1994 Gift of Claudia Schwartz, Class Council on the Arts 82.091.014 Gift of Nicholas Patti, Sr. Party invitation 7. of 1983, and Steven L. Schwartz, Digitally remastered video acquired 2003.073.004 Watercolor on wove paper Cindy Sherman Class of 1981 through the Jarett F. Wait, Class 21. Lobby Gift of the artist, Class of 1919 American, born 1954 2016.069.012 of 1980, and Younghee Kim-Wait Max Yavno 95.027.022 Untitled (Queen of Hearts), 1988 Endowment for Korean Arts, 2011 American, 1911–1985 After Albin Müller (negative); 1994 (print) 12. 74.046.005 a Untitled, from the Los Angeles German, 1871-1941 2. Chromogenic print Jacques Lowe Documentary Project, 1979-80 Cigarette Lighter, 20th century Claes Oldenburg Gift of Andy Grundberg, Class of American, born Germany, 17. Gelatin silver print Brass American, born 1929 1969, and Merry Foresta, MA 1981 1930–2001 Berenice Abbott Gift of Albert A. Dorskind, Class of Gift of Isabel and William Berley, Tilting Neon Cocktail 2007.102.004 Manager of El Morocco night- American, 1898-1991 1943, JD 1948 Classes of 1947 and 1945 Mixed media club laughing with performer [Evening window shoppers on 82.099.008.001 99.078.142 Gift of Isabel and William Berley, 8. wearing a fur stole, 1958 8th Street], 1935-54 (negative); ca. Visible storage gallery, Floor 2L Classes of 1947 and 1945 Henri Cartier-Bresson Gelatin silver print 1980 (print) 22. 99.078.019 French, 1908–2004 Gift of Claudia Schwartz, Class Gelatin silver print Mary Ross Sarah Brayer American businessmen at the bar of 1983, and Steven L. Schwartz, Gift of Arthur Penn, Class of 1956, American, 1950–2012 American, born 1957; lives and 3. of the American Club, Shanghai, Class of 1981 and Marilyn Penn Runaway, Las Vegas, 1979 works in Japan Auguste Louis Lepère 1949 2017.050.009 85.068.377 Silver dye bleach print (video Oceanic Moon French, 1849-1918 Gelatin silver print generated) 2011 Le Palais de Justice Gift of Gary Davis, Class of 1976 13. 18. Acquired through the Membership Five panel washi paper work with Color woodcut 2012.046.004 William Klein Yoshida Hiroshi Purchase Fund luminescent pigment and aquatint Bequest of William P. Chapman, American, born 1928 Japanese, 1876 - 1950 80.053.001 Acquired through the generosity of Jr., Class of 1895 9. Model and street lamp, 1957 A Restaurant at Night, 1933 Judith Stoikov, Class of 1963 62.0341 Jacques Lowe (negative); 1981 (print) Color woodblock print ** 2012.058. a-e American, born Germany, Gelatin silver print Gift of Mr. and Mrs. C. Arthur Robert Frost Moon Exhibition, Floor 2L 4. 1930–2001 Gift of Arthur Penn, Class of 1956, Bratton in honor of Miss Angie American, 1874-1963 William Klein Performers on stage at El Morocco and Marilyn Penn Crew “Acquainted with the night”, American, born 1928 nightclub, 1958 90.054.029 74.047.002 1928 Selwyn, 42nd Street, New York, Gelatin silver print 1955 (negative); 1990 (print) Gift of Claudia Schwartz, Class 14. 19. 23. Gelatin silver print of 1983, and Steven L. Schwartz, Billy Apple Larry Fink Gregory Crewdson Gift of Arthur Penn, Class of 1956, Class of 1981 New Zealand, born 1935 American, born 1941 American, born 1962 and Marilyn Penn 2017.050.008 Rainbow 10, 1965 91.093.014 1. Primary Te Bxtoxing, Blue Horizon, Philadel- Untitled, from the series Beneath Neon lights and porcelain enamel phia, PA. 1 2 4 5 6 7 8 9 10 11 14 2. Charles Baskerville, Part y# I1nv2i-ta3ti3on, 95.027.022 the Roses, 2005 10. Gift of Mr. and Mrs. Charles B3.. Claes OldeJnabunrug,a Triylti n1g9 N9e0on ( Cnoecgktaatili,v 9e9).0;7 18.901999 Digital chromogenic print 5. Jacques Lowe 12 13 Rosenak 4. Auguste Lo(upisr iLnetp)ère, Le Palais de Justice, 62.0341 Edition 3/6 Thurman Rotan 3 American, born Germany, 74.023 5. William KlGeine, lSaetliwny ns,i 4lv2nedr Sptrreient, tNew York, 1955, 91.093.014 The Ames Family Collection of American, 1903–1991 1930–2001 6. Thurman RAotacnq, uFoiruer dD etvhilrso, 8u3g.1h0 4t.h00e9 generosity of Contemporary Photography Four Devils (View of Times Performers on stage at El Morocco 15. 7. Georges MEeudniwer,a Pradp iaern àd C Zigiatraet tReso Josbe,n 7t6h.0a9l3.067 2005.031 Square at night), ca. 1930 nightclub, 1958 Unidentified artist 8. Cindy Sher9m9an.0, U2n9t.it0le0d2 (Queen of Hearts), 2007.102.004 Gelatin silver print Gelatin silver print Indonesia, Java 9. Henri Cartier Bresson, American Businessmen at the Bar of the American Club, Shanghai, 2012.046.004 Gift of Jonathan Stein, Class of Gift of Claudia Schwartz, Class Shadow puppet representing1 0. Jacques Lowe, Performers on Stage at EI Morocco Nightclub, 2017.050.008 1966 of 1983, and Steven L. Schwartz, Setyaki 11. Jacques Lowe, Performers on Stage at EI Morocco Nightclub, 2017.050.007 83.104.009 Class of 1981 Bu1f5falo leather, buffalo horn, 12. Jacques Lowe, Manager of EI Morocco Nightclub Flirting with Performer, 2016.069.01213. Jacques Lowe, Manager of EI Morocco Nightclub Laughing with Performer, 2017.050.009 2017.050.007 pigments 14. William Klein, Model and Street Lamp, 90.054.029 Gift of Professor Benedict R. O15’. GBi.ll y Apple, Rainbow 10, 74.023 Anderson 16. Unidentified Artist, Shadow Puppet Representing Setyaki, 81.033.001 81.033.001 17. Nam June Paik and John J. Godfrey, Global Groove, 74.046.005 A 18. Berenice Abbott, Evening Window Shoppers on 8th Street, 85.068.377 19. Yoshido Hiroshi, A Restaurant at Night, 74.047.002 20. Larry Fink, Boxing, Blue Horizon, Philadelphia, PA #12-33, 99.029.002 21. Robert Doisneau, Le Muguet du Métro, 82.091.014 22. Max Yavno, Untitled, 82.099.008.001 23. Mary Ross, Runaway, 80.053.001 24. Robert Frost, Acquainted with the Night. 25. Gregory Crewdson, Untitled, 2005.031 Brochure 26 18 Fall Elective Rethinking Timber System Instructor: Katharina Kral 27 Material setting: Beam Cross section top to bottom: Material Timber General Name: Bamboo 1: 200mm*400mm Building Mass 1.464e+6 kg 2: 200mm*750mm E: 2000 3: 200mm*750mm Embodied Carbon 4.32e+5 kg CO2 G:1000 4: 200mm*750mm (fos)+6.0024e+5(bio) kg gamma:6 5: 200mm*1200mm CO2 fy:2.5 6: 200mm*1500mm Rendering Loading Testing Condition: These two types of columns are calculated in same loading condition as below: Material Steel:Bar & rod - UK (EU) Average Recycled Content Algorithm: Eigen ModesUniform line: 1kN/m Building Mass 1.9154e+7 kg Meshload Const Embodied Carbon 2.509173e+7 kg CO Deformation:12 This is the simplified columns modular we used in overall structure anaysis. Crossection: Trapezoid: Upper width: 300mm Lower width: 300mm Height: 300mm 60°， 120° Material Concrete General This is the actual columns modular, Building Mass 6.1e+6 kg which has better structure performance than the simplified one. Embodied Carbon 6.1e+5 kg CO2 Crossection: Trapezoid: Upper width: 100mm Lower width: 100mm Height: 100mm 60°， 120° Exploded axonometric Section diagram of columns Utilization of columns Haoming Wu & Cun Zhang Rethinking Timber Systems | 1 Haoming Wu & Cun Zhang Rethinking Timber Systems | 1 Karamba Simulaiton 28 Model 29 19 Spring Elective Canajoharie Workshop Instructor: Mitchell Glass 30 Concept Plan 31 Isometric View 32 Perspective 33 19 Spring Elective Advanced Topics in Computer Game Architecture Instructor: Mitchell Glass 34 Poster Design 35 Tileset 36 Character Design 37