can lisa case study in four parts by Khalid OmkanyeEVDA 621 - Design Theories

fo r m - b o d y - t e c h n i q u e - s p a c e

Jørn Utzorn’s

formcan lis

Khalid

Omoka

nye EV

DA 621

Case S

tudy A

nalysi

s; CAN

LIS

p02 p03

diagram F-02 Form From Nature

diagram F-01 Differentiation as a function of scale

Nature as Material

New Scale - New Form

Debate on Form vs Function seems almost as useful as a debate on religion, serving predominantly to convince only the weak willed. Both strategies have been adopted for the derivation of Architecture, and would forever be adopted to different ends. Debating the validity of one over the other thus becomes much like an inquiry into the validity of day over night or vice versa. Frankly to suggest that either one MUST follow the other is pointless to the level of asininity. However this debate remains as eternal as the strategies themselves, though one might suggest, as with most inquiries into epistemology, the aim of such an inquiry should be towards the understanding, tandem development, and subsequent deployment of both stratagems. With Can Lis, this debate takes an interesting turn as the form comes about from a deliberate attempt to emphasize the existing while simultaneously not existing.

Conceptually, Can Lis strives to be formless. To exist as force rather than matter, going by D’Arcy’s explanation that “force, unlike matter has no independent objective existence.”1 It is autographic in that sense, as its authenticity is derived from direct contact2, albeit with the context and not the author. Though in the sense that the building bears none of its authenticity on the author specifically, with a strategy that can theoretically be adopted ad infinitum without any real dilution or the possibility of delusion so to speak (more on technique later on). The Language applied to formal strategies in Can Lis is entirely based on looking out and

Form vs Function

Form F

rom Wi

thout

F o r m a l F u n c t i o nF u n c t i o n a l F o r m

An abstract machine in itself is not physical or corporeal, any more than it is semiotic; it is diagrammatic [it knows nothing of the distinctions between the artificial and the natural either]. It operates by matter, not by substance; by function, not by form. . . The abstract machine is

pure Matter-Function — a diagram independent of the forms and substances, expressions and contents it will distribute...the diagrammatic or abstract machine does not function to represent, even something real, but rather constructs a real that is yet to come, a new type of reality.5

”“

away from the building itself. Even on approach, the building gives nothing to the observer, presenting them with a blank limestone wall. Essentially there really is no “view of the exterior,” no façade to speak of. Thus the building is forever spoken about in terms of context; “set among myrtle and pine trees, with an extraordinary view to the sea. Integrating with the colours in the landscape,”3

rarely about its formal content. This is fact is further emphasized that the building was constructed without any actual complete working drawings4, allowing for a form-finding exercise that placed views and light as priority for form determination. A

form of sui genris Architecture is thus created, given the exactitude of site. In this sense the building remains as form Gestalt inseparable from all that surrounds it, essentially the abstract machine as defined by Deleuze & Guattari.

c i t e d1. D’Arcy Thompson, Prologue to On Growth and Form, 1961, p. 10-14.2. Stan Allen, “Notations + Diagrams: Mapping the Intangible,” in S. Allen and D.Agrest, eds., Practice: Architecture, Technique and Representation, 2000, ISBN 0415776252, (288 pages), pp. 41-61.

Allen defines as autographic “those arts, like painting and sculpture which depend for their authenticity upon the direct contact with the author”3. Arnardóttir, Halldóra and Javier Sánchez Merina. Can Lis and Can Feliz in Mallorca, by Jørn Utzon. July 2005. 13 October 2011 <http://storiesofhouses.blogspot.com/2005/07/can-lis-and-can-feliz-in-

mallorca-by.html>.4. Utzon Architects. CAN LIS (1973). 13 October 2011 <http://www.dac.dk/visKanonVaerk.asp?artikelID=2725>.5. Deleuze, Gilles and Félix Guattari. A thousand plateaus: capitalism and schizophrenia. New York: Continuum Publishing Company, 2004. p152

Khalid

Omoka

nye EV

DA 621

Case S

tudy A

nalysi

s; CAN

LIS

p04 p05

diagram F-05 Habitation Deconstructed

diagram F-03 Form looing out

diagram F-04 Form through Function

House as Diagram

Form from without

Form as Function

Sight

Form

Sun

Tran

smission Int

ermiss

ion

Observation

Though this inextricable link with regards to Can Lis stays predominantly in the realm of physicality and materiality, there remains in Can Lis a certain aspect of the Derridian attempt to subvert the “binary oppositions” of Natural and Artificial, Form and Function, though to go as far as to suggest that the building takes into consideration all that exists in its unbounded socioeconomic surrounds, might be a bit far fetched. Simultaneously, one might read the deconstructionist’ mantra “il n’y a pas de hors-texte”6 (there’s nothing outside context) to mean that all that should be considered for design is the context, in its immediate, tangible, form, manifested as the physical site. Form in this sense can be seen as encapsulating a specific state of existence. Indeed “the concept of form has been defined as the state of a system at a particular point in time.”7 One might even go as far as to say “states and forms...are exactly the same thing...”8 Utzon adds an extra dimension to this assertion, by not only attempting to meld the form with its surrounds, but by simultaneously creating a form that reads its surrounding, or rather presents the environment to its occupant, complete with markers.

Fragm

ented

Form

Form as ReaderThe flow of energy through the system ensures [that] information from outside the system will pass to the inside.9 ”“c i t e d

6. Derrida (1967) Of Grammatology, Part II Intriduction to the “Age of Rousseau,” section 2 “...That Dangerous Supplement...”, title The Exorbitant. Question of Method, pp. 158–59, 1637. Sanford Kwinter, “Landscapes of Change: Boccioni’s “Stati d’animo” as a General Theory of Models,” in Assemblage, No 19, MIT Press, Dec. 1992, ISSN: 08893012, p. 598. ibid.8. ibid.

Certainly the suggestion that Deridda’s statement implies only the immediate surrounds would quite simply be a misinterpretation of his intent, but one might argue that the misinterpretation in the guise of reinterpretation is one of the fundamental principles of Deconstructivism.

Khalid

Omoka

nye EV

DA 621

Case S

tudy A

nalysi

s; CAN

LIS

p06 p07

Ф

time

diagram F-06 Form as readerMapping through form

Can Lis & The Six Determinants of Architectural Form 10.

1Relational EnvironmentCan Lis blends into the Natural environment within which it is situated. However one might argue that the problem of the relational environment of Can Lis has been subverted by Jørn Utzon in his choice of an isolated location, away from the trouble of “render[ing] eloquent its role of the whole city scheme.”

2FunctionUtzon’s view of human habitation is that of a sequence of independent activities. This somewhat fragmented nature of human existence linked only by the passage of the individuals between events, becomes a driving force for Can Lis created in the form of a “sequence of pavilions linked by a wall, and arranged so as to respond to the various functions within the dwelling.”

3Natural EnvironmentAs mentioned earlier, Can Lis Blends into its Natural environment, with the orientation of the individual pavilions framing specific views of the Mediterranean. Simultaneously the orientation of the pavilions, coupled with their location with reference to each other, serve to track the sun as it traverses the sky. It is in materiality, fenestration, planning and orientation, designed to suit the mediterranean climate.

4MaterialCan Lis was constructed using a hard local limestone called marés stone, obtained within 10km of the actual building site, and with the expertise of local mason’s skilled at the use of the material. The material is left unfinished both internally and externally and is further used for the creation of furnishings in the interior. Essentially the building speaks towards the use of a material to “its own potential...seek[ing] the most eloquent expression possible.”

5Psychology of SpaceInside Can Lis, Care is taken in each space to provide the occupant with the program appropriate comfort as well as well as delight, perpetuated by the warming sun, appropriate shading, and the great view to the exterior.

6ZeitgeistInside Can Lis, Care is taken in each space to provide the occupant with the program appropriate comfort as well as well as delight, perpetuated by the warming sun, appropriate shading, and the great view to the exterior.

c i t e d10. All quotations in this section are obtained from “The Six Determinants of Architectural Form” as determined by Paul Rudolph in his 1956 Manifestos.

can lis body

Khalid

Omoka

nye EV

DA 621

Case S

tudy A

nalysi

s; CAN

LIS

p10 p11

diagram B-02 Building as body

diagram B-01 Building as bodybuilding on body

the impregnated building

The Body in Architecture

Embodying Architecture

Archite

cture

as Bod

y

Living room

circulation spine Living room

The body in architecture is a subject that has taken countless of forms, and likely would take countless more, from “architectural monument as embodiment,”1 to architectural function personification. Certainly this makes sense as most architecture is conceived with the human being in mind, and considering the inescapability of the physicality of the human “bodily spatiality”2, the human body by extension thus becomes target of most architecture; be it monumental or inconsequential it remains so in relation to the human body. This subject of the body can be summarized in three-fold as suggested by Antony Vidler3:1. “The building as body”2. “The building epitomizing bodily states or, more importantly, states of mind based on bodily

sensation”3. “The environment as a whole endowed with bodily, or at least organic characteristics”This section of the case study explores Can Lis through these different pedagogical approaches to architecture and the body.

There is in architecture a particular brand that sees architecture as a physical manifestation of the the human body. Architecture in this sense reaches perfection or some “truth” when it is closest in proportions to the human body. In this sense we see the Vitruvian Man, Vitruvius’s orders and Le Corbusier’s Modulor as attempts to attain architectural perfection. Certainly, as Anthony Vidler posits “We judge every object by analogy with our own bodies,”4 as such it stands to reason that the closer one ties an object to the human body the more palatable it becomes. That said the human body in all its proportionality remains extremely adaptable. Indeed it takes very little for one to imagine a face, or a body for that matter, in almost anything; as the proliferation of overly reduced emoticons, and the countless tales of figures appearing in white noise would attest to. This begs the question of the validity of the mode of thinking with regards to architectural

form. Does the fact that one can imagine Can Lis as countless Human forms justify it in any sense architecturally speaking? Certainly the Vitruvian man serves to show that the human body fits wonderfully in a perfectly constructed square and circle, but countless instances of the human body existing in billions of different shapes goes to show the arbitrary nature of this connection. Admittedly, even Le Corbusier accepts that one can derive architecture that is “displeasing, badly put together” or “horrors,”5 using his human scaled Modulor, accepting that the “Modulor does not confer talent, still less genius.”6

Putting the Modulor aside, Can Lis can be seen as a physical manifestation of the fragmented body, “a body which seems to be fragmented, if not contorted, deliberately torn apart and mutilated almost beyond recognition.”7 Such an argument being supported by

Utzon fragmentation of the traditional house plan into individual pavilions. Though considering these separations were already inherent in the “typical” house plan with programatic divisions, one might concede that Can Lis was merely segmented, rather than fragmented, and in so doing realize the house more whole in truth, by emphasizing each individual part.

the body as a kind of house...the house of the human body

”“ 8

Khalid

Omoka

nye EV

DA 621

Case S

tudy A

nalysi

s; CAN

LIS

p12 p13diagram B-03 Body in Space

comfort zones - duration

walkin

gact

iveDur

ation -

short

gaze -

intern

al

sedent

ryDur

ation -

long

gaze -

intern

al

sedent

rygaz

e - ex

ternal

duratio

n - sh

ort to

mid

loungi

ng

watch

ing

diagram B-04 Comfortable Spaces

diagram B-05 Regimented Body

Hierarchy of space

Body Programmed

walking loungi

ng

watching

Architecture For BodyArchitecture “epitomizing bodily states”9, begins to look at architectural “projection [of the human body] in terms of attributes rather than parts, an amplification rather than a simple replication of the bodily experience.”10

Such thinking is perhaps more readily apparent than the representational in Can Lis, as Utzon makes several architectural moves in plan and section that strive to create a specific environment for the body.

The Building in plan is laid out in a manner to suit the individual going through their daily corporeal reality; waking, bathing, eating, lounging, dining, etc. While simultaneously striving to enhance the mood of the individual by keeping the sun ever present through these functions, heeding the fact that the “psyche cannot be separated from the body”11 in trying to provide for both simultaneously. Essentially Utzon creates, through programatic arrangement, a continuous

source of sunlight for the occupant as they go through their day, going by the long lived mantra of much of modernism that hailed sunlight as the cure for all things.

plan

section

Sectionally one sees the building producing a form of spacial hierarchy based on the configuration and duration of the body within. These sectional variations are derived from the basic concept that a body in motion (especially one in a linear trajectory) perceives surrounding space as less intrusive than a sedentary body inhabiting the same space for prolonged periods of time. As such spaces are reduced for hallways and increased for lounging areas.

Can Lis house perhaps belongs to that school of modernism spoken of by Colomina to be “unproblematically understood as a kind of medical equipment, a mechanism for protecting and enhancing the body.”13 However Utzon averts most criticism to the sterility associated with the white walls of modernism in the materiality of the house; the warm limestone used to construct the bulk of the house (including furniture and shelving) being far from austere.

The house is first and foremost a machine for health, a form of therapy.”“ 12

Morning6:00

10:00

12:00

18:00

22:00

Noon

Night

c i t e d9 A. Vidler, p 410 ibid11 B. Colomina, p 23712 ibid, p 23213 ibid, p 23014 ibid, p 236

the house is the product of “the erotic and creative instinct” and our experiences of it is erotic ”“ 14

Khalid

Omoka

nye EV

DA 621

Case S

tudy A

nalysi

s; CAN

LIS

p14 p15

C1

C8T1

T4

T6

T10

T12L1

Cervical spinal nerve roots C1-C7 corresponds with upper aspects of vertebral bodies

Sensation of C7 nerve is for middle finger.

C8 and lower spinal nerve roots leave below the corresponding vertebral body.

Sensation of T4 spinal nerve is aproxiamtely level with nipple line.

Sensation of T6 spinal nerve root is aproxiamtely level with the bottom of the sternum.

Bone notch at the back of the neck is C7

The spinal cord ends approximately between L1 & L2

Sacral cord segments (S1-S5 “Caude Equina”) are level with T12-L1 Vertebrae.

The sacral vertebrae are fused to make up the sacrum.

The coccygeal vertebrae are fused to make the coccyx or “tail bone”

Sensation of T12 spinal nerve root is aproxiamtely level with the pubic bone.

The sensation of the lumbar nerves are over the legs

Sensation of S3, S4 & S5 nerves is the perineal (genital ) area

Sensation of T10 spinal nerve root is aproxiamtely level with the abdomen.

L5S1S3S5

diagram B-05 The Spine diagram B-05 Conceived buidlingspine as conduit - life flow building as nurturing womb

s e c u r i t y

Living space

Nourishment

Support

skyscrapers and obelisks are substitutes for the penis, and dwelling-places and shelters are

substitute for the womb.”“Bodily Architecture

Finally, in considering the endowment of buildings with bodily system, with reference to Can Lis, two different modes of approach seem readily apparent. The first being the formal pattern of the building ; the circulation spine. And the second the nurturing aspect of the building (The Womb).

The Circulation spine is classified by Alexander Purves as a linear space, with secondary spaces that draws energy away from the center, reducing it to the role of servant. “The spine is often the primary expression of the building, but it exists to facilitate circulation.”15 In this sense, the spine becomes much like the actual spine or specifically the spinal chord of the human body; as the spine, with all its importance for circulation and connectivity, remains backgrounded, behind the spaces which it serves. This Backgrounding of the circulation spine is a language adopted in Can Lis by Jorn Utzon, not only by keeping the spine narrow, and squat sectionally, but also by denying the circulation spine the ample views to the exterior afforded in other spaces.

Nurturing aspects of the building are very much as discussed earlier in this section, with the building providing continuous sunlight for its occupants, nourishing them by providing a “healthy” living environment for body and spirit.c i t e d15 Alexander Purves, “The Persistence of Formal Patterns”, in [Re]

Reading Perspecta: The First 50 years of the Yale Architectural Jounal,

MIT Press, 2004, ISBN 0-262-19506-2, (827 pages), p 44916 A. Vidler, p 4

16

can lis technique

Khalid

Omoka

nye EV

DA 621

Case S

tudy A

nalysi

s; CAN

LIS

p16 p17

Cartesian

Deleuzian

Derridian

Sydney Opera House

Can LisVariationsAlterations&

Spatial

varia

tion str

ategy Historically the issue of form genesis has resulted in several

different approaches to evoke formal variations. Looking at these formal approaches en masse (form devoid of ornament, spatial form), variations in formal strategy can be placed into three main categories; Cartesian, Deleuzian, and Derridian. Cartesian variations are made through axial modifications, stretching and scaling in X, Y, and Z directions. These variations lend themselves to standard linear and centric spaces, with a certain level of clarity of form. One understands the linear expressly as thoroughfare, and the centric as gathering space1.Deleuzian Variations follow the concepts of repetitions, fractals, fragmentations and schizophrenia explored by Deleuze in A Thousand Plateaus: Capitalism and Schizophrenia2. The building here is split into its parts, continuously segmented.Derridian Variations begin to distort form and space, by altering nodes, twisting, warping, and puckering space till it is unrecognizable.

c i t e d1. Alexander Purves writes extensively on these formal strategies in his essay The Persistence of Formal

Patterns (in ReReading Perspecta, The First 50 Years of the Yale Architectural Journal, MIT Press, 2004,

ISBN: 0-262-19506-2, p-p. 444-456)2. Gilles Deleuze and Felix Guattari, “Capitalism and Schizophrenia: A Thousand Plateaus,” 1987, ISBN:

0816614016

diagram T-01 Variation in formal strategyDistorting form

Khalid

Omoka

nye EV

DA 621

Case S

tudy A

nalysi

s; CAN

LIS

p18 p19

EntryLivingDining

Kitchen

Bedroom

Bedroom

Bedroom

Lounge

Bathcloset

Ensuite

Stairs

pdr

EntryLivingDining

Kitchen

Bedroom

Bedroom

Bedroom

Lounge

Bathcloset

Ensuite

Stairs

pdr

EntryLiving

DiningKitche

n

Bedroom

Bedroom

BedroomLoung

e

Bath

closet

EnsuiteStairs

pdrEntra

nce

Wall

Roof

façade

Fenestr

ation

EntryLiving

DiningKitche

n

Bedroom

Bedroom

BedroomLoung

e

Bath

closet

EnsuiteStairs

pdrEntra

nce

Wall

Roof

façade

Fenestr

ation

StriationPower Politics & ArchitectureAutocracy Oligarchy Democracy AnarchySegmentation Rhizome

Spatial

Haecc

eity Given that Architecture is a product of culture, it stands to reason that changes in society would effect a change in architecture and vice versa. This in mind, one might consider the move from autocracy to diplomacy (and unto self governance) as analogous to the move from the monolithic architecture to the rhizome as discussed by Gilles Deleuze and Felix Guatari. Can Lis exist amidst this shift being not of the simple striation that differentiated, or demarcates space, but segmented, physically separating spaces one from the other. Where Can Lis falls short of the rhizomatic, is in the inability (in Can Lis) for one to move from each node to any other node. Though one might see the beginnings of such seamless navigation in the linking spine of Can Lis, there remains the directionality of the circulation spine, and the inability to go between spaces without passing (or bypassing) sequential spaces.

In a book, as in all things, there are lines

of articulation or segmentality, srata and territoris; but also lines of flight, movement or deterritorialization and

destratification.

“intensify!” is power’s primary mutative axiom

“

“

”

”

diagram T-02 Defining TerritorySpatial Technique

c i t e d3. J. Nealon, “Once More, With Intensity,” in Foucault Beyond Foucault, Stanford University Press, 2008,

ISBN 0804757011 pg 394. Gilles Deleuze and Felix Guattari, “Capitalism and Schizophrenia: A Thousand Plateaus,” 1987, ISBN:

0816614016 pg 3

4

3

Khalid

Omoka

nye EV

DA 621

Case S

tudy A

nalysi

s; CAN

LIS

p20 p21

EntryLivingDining

Kitchen

Bedroom

Bedroom

Bedroom

Lounge

Bathcloset

Ensuite

Stairs

pdr

EntryLiving

DiningKitche

n

Bedroom

Bedroom

BedroomLoung

e

Bath

closet

EnsuiteStairs

pdrEntra

nce

Roof

façade

Fenestr

ation

Translations

solidifying measurable intangibles

Time DurationIntensity S p a t i a l i t y

Time and space are modes by which we think

and not conditions in which we live

Time and space are not things, but orders of things

6

“

“

”

”

Intangi

ble Ar

chitec

ture One of the techniques applied by Utzon in the creation

of Can Lis is one that strives to measure the intangibles that govern the human existence. Particularly interesting in Can Lis, is Utzon’s translation of one intangible to another. The transfer of time into duration, duration into intensity, and intensity into space. All things measurable, but all things intangible constructs, that one might even consider fictional.Time in this instance is measured by the passage of the sun through the building. This time translates into duration as the period of time sunlight spends in the room becomes the duration of the occupant. This duration measured translated to intensity becomes the guiding factor for spatiality. Basically in Can Lis, the longer one is in the room, the bigger the room becomes.

diagram T-03 Technique of timetime alterations

c i t e d5. Einstein, A. as quoted by A. Forsee in Albert Einstein, Theoretical Physicist, New

York: Macmillan, 1963, p. 816. Leibniz, G.W. Animadversiones ad Joh. George Wachteri libum de recondita Habraeorum Philosophia. c. 1708, unpublished. English translation in P.P. Weiner,

Leibniz Selections, Scribners, New York, 1951, p. 488

5

can lis space

Khalid

Omoka

nye EV

DA 621

Case S

tudy A

nalysi

s; CAN

LIS

p24 p25

Archite

ctural

Space Typically space is spoken about in terms that are expressly not space. In viewing

space, one looks at boundaries; surrounding walls, demarcations, divisions. Occasionally one looks at the qualitative aspects of space; lighting, mood, temperature, etc. However, of space in itself little is truly said. In this sense, space is spoken about as the stuff between, the interstitial, The In-Between, spoken about by Elizabeth Grosz3. One might see this as a fundamental issue of language, similar to the issue expressed by Marshal McLuhan that states that “the ‘content of any medium is always another medium. The content of writing is speech, just as the written word is the content of print, and print is the content of the telegraph.”4 In the same sense, space can only be communicated through demarcation, just as a wall can only be effected through, brick and mortar, or some other form of framing. In Can Lis these boundaries of space begin to bleed into the natural environment through a variety of means discussed further in this section, as we begin to look at space as more than just the physical manifestation.

diagram S-02 Dwelling Spacediagram S-01 Bleeding SpacesSequential Spacesdemarcating space

c i t e d1. M. Heidegger, “Building, Dwelling, Thinking,” in D.F. Krell, ed., Martin Heidegger Basic Writings, Harper, 1993, ISBN

0060637633 (452 pages), p. 350.2. Elizabeth Grosz, “In-Between: The Natural in Architecture and Culture,” in Architecture from the Outside: Essays on Virtual

and Real Space, MIT Press, 2001, ISBN 0262571498 (241 pages), pp. 91-105.

Grosz’ essay on the reduction of “Natural Spaces” to the stuff between our pristine controlled spaces, touches on the

nature of space itself as it is understood traditionally to exists only interstitially, forever in need of definition, by boundary and

demarcation.3. ibid.4. Marshall McLuhan, “Understanding Media”, in E. McLuhan and F. Zingrone, eds., Essential McLuhan, Anansi, 1995,

ISBN 0-88784-565-7 (408 pages), pp. 149-169.

1

2

Time of day

Space Program

Daw

nBe

droo

m S

uite

Livi

ng r

oom

Cour

tyar

d

Mid

day

Nigh

t

O c c u p a n t

S u n

Can Lis Spacewe do not dwell because we have built, but we build and have built because we dwell, that is, because we are dwellers

The space of the in-between is that which is not a space, a space which is not a space, a space without boundaries of its own, which takes on, and

receives itself, its form, from the outside, which is not its outside

(this would imply that it has form) but whose form is the outside of the identity, not just of an other ( for that would reduce the in-

between to the role of object, not of space) but of others, whose

relations of positivity define by default, the space that is constituted as in-between.

“

“

”

”

Khalid

Omoka

nye EV

DA 621

Case S

tudy A

nalysi

s; CAN

LIS

p26 p27

1

1 2

2

NavigatingSpace Situ

ationis

t Space Diagraming Can Lis, two opposing modes of spatial navigation are

readily apparent. The first being afforded by the circulation spine that traverses the building, being part of the internal logic of the building, but readily separated from the individual “habitation” spaces. The Second being a much more open system of navigation afforded by varied openings in the spatial envelope. The spine separates program from circulation, living space from passage, asking a continuous return to a ‘base’ point from which one departs elsewhere. Essentially in this reading of the plan, one gains access from space to space through a ‘pivot,’ but never with the need to traverse other space (depriving the interstitial corridor the value of space).The alternate, promotes a more situationist approach to spatial navigation, allowing the occupant to navigate the space without regard of formal juxtapositions, following sight-lines, and lines of interest.

freed from the ‘useful’ connection that ordinarily govern

their conduct, the users could experience the sudden change of atmosphere in a street, the sharp

division of a city into one od distinct psychological climates; the path of least resistance - wholly unrelated to the unevenness of the terrain

- to be followed by the casual stroller; the character, attractive

or repellant, of certain places

“ ”

diagram T-02 Defining TerritorySpatial Technique

c i t e d5. Tom McDonough, “Situationist Space”, in T.McDonough, ed., Guy Debord and the Situationist

International, 2004, ISBN: 9780262633000 (492 pages) pp 241-265.

5

Khalid

Omoka

nye EV

DA 621

Case S

tudy A

nalysi

s; CAN

LIS

p28 p29

Flows

, Netw

ork an

d Spac

e

c i t e d5. J. Taron, “On the Integrative Program,” in Integration through computation, proceedings of the

31st annual conference of the association for computer aided design in architecture (acadia)”, ISBN

9781613645956 (414 pages) p236. M. Delanda, “The Actualization of the Virtual in Space,” in Intensive Science and Virtual Philosophy,

Continuum, 2001, ISBN 0826479324 (240 pages), p. 57.7. ibid.

diagram S-01 Space between flows

diagram S-02 Network as Spacediagram S-03 Space Rendered by flows

Nested Space

Cyber SpaceProduced space

SUNLIGHT PASSAGEOCCUPANT FLOW

OCCUPANT FLOW

InformationSpaceComparing the relationship

between topological and metric spaces intensive and extensive

properties: the latter are divisible in a simple way, like lengths or volumes are, while the former, exemplified by properties like

temparature or pressure, are continuous and relatively

indivisible.

by controlling and responding to information,

building and building processes,

become information

The intensive...behind both the extensive and the qualitative

“

“ “

”

” ”

7

5

6

Looking at spacial navigation in the situationist space, one begins to see space as a negoiation between occupant and building. In Can Lis perhaps more so than the typical building, one sees this negotiation take place between the passage of the sun and the movement of the occupant from one side of the buiding to the other, with “the character, attractiveness, and repulsiveness” being governed by the passage of the sun. One sees space in this sense ‘created’ at moments where the sun passage and the flow of the occupant is in alignment.

Additionally in Can_Lis, one readily sees the building begin to read the information of the sun passage, displaying this information as markers on the interior space to solicit a response from the occupant. Certainly here we have discussed only in brief the penetration of external systems into the fold of information presented within the building, however one can clearly see how this integrative nature might be adopted to allow the penetration of other systems, subverting the boundaries of space by converting ‘boundary’ into information. Space then becomes Network.