0520_Thesis Book 6x9_non interactive

Ihwa Choi

Blind Spots

& The Language of Ambiguity

Advisors +

Aleksandr Mergold

Andrea Simitch

B.Arch Thesis

May 2020

Cornell University

Thank You

To Andrea and Aleks

for all the trust, knowledge, and unwavering patience

To Luben

for the constant inspiration

To My Brother, Ruth, and Hallie

for swimming alongside with me

To My Parents

for everything

& for pretending to know what I was talking about

To the B.Arch Class of 2020

for the most unforgettable five years

Contents

Peripheral Visions

I.

Parcel 408

II.

Gas & Light

III.

Explorations

IV.

Vignettes

V.

PERIPHERAL VISIONS I.

ABSTRACT

RECALL

DISAPPEARANCE

MEMORY

GAPS & ILLUSIONS

Ihwa Choi

Blind Spots : The Language of Ambiguity

001

I. Peripheral Visions

Facade blur

002

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ABSTRACT

128 Esty Street

003


“There are eyes everywhere. No

blind spot left. What shall we dream

of when everything becomes visible?

We’ll dream of being blind”

- Paul Virilio

This thesis investigates what unexpected ways indirect,

blurred, and fragmented language places architecture

into an exchange of modes of memory that destabilizes

an absolute image or remembrance of events or sites.

The project strives to foster thresholds and spaces

that fail to fall into clear definitions of classification,

thereby blurring hard boundaries, liberating illusions

of stasis, and making room for personal interpretations,

misreadings, unpredictability, and fantasy.

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Introduction

In the Administration of Fear, Paul Virilio describes the

loss of the horizontal visual field as a symptom of the

disorienting and dehumanizing effect of technological

acceleration. Even further relevant today, simulated

worlds are projected onto hyper-rendered screens that

reject surprise and unpredictability, and instead, bias

anticipation through overly pronounced states. In order

to reclaim the loss of lateral vision, the thesis aims to

explore the potential outcomes of drawing attention

to the peripheral image. The peripheral is partial,

destabilized, and contrary and is never absolute or

affirmative. It is dialectic to the context and is subjected

to the dichotomies of loose narratives. By representing

optical confluence as an architectural tool, the project

aims to learn from misreadings of paradoxical

manifestations. Through the resultant concept of the

uncanny, the project aims to destabilize and question

hierarchical particularities, which could encourage a

means for dealing with sites of complex and conflicting

remembrances that simultaneously conjure and negate

history.

The interest in the potential outcomes of destabilization

and partiality is derived from the conceptual operations

of peripheral vision which values perceptual analysis

over visual accuracy.

Partial and complete versions of a nine-component object (an airplane)

/ Source: ‘Recognition-by-components: a theory of human image

understanding.’ by Irving Biederman

005

Distribution of rods and cones in the human retina. Cones are


RODS AND CONES

Responsible for analyzing coarse

The loss in detail allows the

present at low density throughout the retina with a peak of

information through light and shadow

representation of a distinguishable

density in the fovea. The foveola, the area of the central vision,

qualities, the periphal field of vision

image to be productively misread. The

is rod-free. Cones are responsible for high visual acuity and

color. Rods are responsible for light levels and coarse analysis.

50°

communicates atmosphere and

removes definite categories of space.

penumbra of qualities liberates

normative distinctions and borders.

15°

2°

70°

CONFLUENCE

The human eyes views three

dimensionality through “binocular

summation” where both eyes

simultaneously layer and converge

information to create an image.

MYSTERIOUS SMILE

According to a neurobiological study

from Harvard University, the blurring of

Da Vinci’s Mona Lisa can reveal the

famous smile by using “coarse

information”. The study concludes that

the deliberate reliance of peripheral

vision’s indeterminancy reveals new

ways to view hidden information .

I.

110°

II.

60 °

I. Mona Lisa viewed through Foveal

Vision, responsible for precise details.

5 °

18 °

30 °

The monocular/binocular visual field is the lateral

visual field of each eye, where there is not input from

the other eye. The visual field in different animals vary

to host accurate spatial localization to spot prey and

II. Mona Lisa viewed through the

blurred lens of the outer limits of vision.

predators. The breadth of peripheral fields and blind

spots correlate to survival necessities for each animal.

Diagram of peripheral vision operations

006

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Mistakes

Methods of blurring, fragmenting, and destabilizing sites were explored through an

early series of acetone drawings where the process encouraged accidents and mistakes

throughout the act of collage.

007


Post-industrial imaginary

008

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Collages exploring maniuplations of rhythm through superimposition and

the act of revealing.

009


Collage of multiple maps of Ithaca

010

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011


Fragmenting geological findings

012

PARCEL 408

II.

SITE CONDITIONS

LANDSCAPE

COURT STREET

DOCUMENTATION

TERRAIN VAGUE

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015

II. Parcel 408

Site in Ithaca, New York

016

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TERRAIN VAGUE

Southwest corner of Parcel 408 at the intersection of Plain and Court

street

017

II. Parcel 408

COURT X PLAIN

The lot in Ithaca on the intersection of Plain Street

and Court Street is nameless and emerged as

an intermediate zone after toxic carcinogens, a

consequence of the city’s early petrochemical industrial

era, were found in the soil. It is an example of many

intermediate zones, that punctuate the landscape

of Ithaca, and exists as a ghost that has embedded

previous life cycles that have shaped the contextual

fabric surrounding the void. The plot of land, defined by

indeterminacy, reflects Sola Morales’s “Terrain Vague”,

where it’s physical manifestation challenges efficacy

and order. The site is a productive case study to explore

how residual, unofficial spaces can hold multiple, and

often conflicting, memories and perceptions from the

public. A deeper investigation at the history of the site

reveals seemingly hidden stories that provide clues to

the history of the landscape.

018

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019

II. Parcel 408

North elevation of lot / Esty Street

West elevation of lot / Plain Street

South elevation of lot / Court Street

020

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Dilapidated wooden walkway Dilapidated wooden walkway Vacant lot against the Inlet Railroad that runs parallel to

Route 13

021

II. Parcel 408

Empty parking lot facing

Route 13

Ghost bike at the corner of

Washington Park

GIAC playground

Southern elevation of Parcel 408

022

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1888

1893

1910 1919

1995 2006

2008 2009

1866

023

II. Parcel 408

1898 1904

1924

1929

2006

2007

2011

2013

2016

024

GAS & LIGHT

III.

ITHACA GAS & LIGHT

INDUSTRIES

MARKLE’S FLATS

ALEX HALEY & GIAC

TERRAIN VAGUE

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027

III. Gas & Light

1882 etching of Court Street

028

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GAS & LIGHT

029

III. Gas & Light

A Brief, Brief History

The region of interest is located in western, central New

York at the southern tip of Cayuga Lake and is centered

around the

city of Ithaca.

During most

of its ancient

geologic time,

the Ithaca region was the bottom of a shallow interior

sea. During these early geologic ages, this interior sea,

at times, connected with the open ocean. At others,

it converted into a desert basin. where salts were

precipitated into thick horizontal layers. The sea

bottom progressively sank while clay, sand, salt, and

lime layers layered on top of each other. Through

immense pressure,

these layers were

converted into shales

and sandstones.

Glacial ice invaded

* The following essay experiments with storytelling through multiplicity

and simultaneity. If you are viewing this in its digital format, click around

to discover further relevant sources. *

(left) The Ithaca Journal clipping / Monday, December 10 1979

The Ithaca Journal clipping / Saturday, November 22 1924

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the northern region of Ithaca and carved channels of

ice movement southward. These routes, transporting

the most rapidly moving ice currents, caused an erosive

effect that over-deepened valleys. These valleys joined

with the northern and southern drainage to create the

Cayuga Inlet and the Six Mile Creek valleys.

In 1656, back when Cayuga Lake was originally named

“Tiohero” or the

“lake of flags

and rushes” by

the indigenous

population and

extensive swamps were present at the water partings,

two white men, who were Jesuit missionaries,

intruded the Ithaca region and lived among the

indigenous population for nine months, before

leaving due to rising tensions. In September 1779,

detachments from General Sullivan’s army, sent by

Washington to

The Ithaca Journal clipping / Friday, May 13 1983

031

III. Gas & Light

“chastise and humble the Six Nations”, destroyed the

indigenous villages along Cayuga Lake. The Tutelos,

Saponis, and Haudenosaunee people, who were settled

into the valleys of

Ithaca, were driven

north towards

Niagra. Although

much of their land

was ceded to the

state in 1789, there

is a substantial number of indigenous people in the

Cayuga county today.

Industry

In September of 1789, three white families (around

19 individuals) traveled from Kingston, New York, to

Ithaca. Guided by geographic conditions, the settlers

built their first dwellings along

Cascadilla Gorge where the

first waterpower structures

and mills were created.

This early settlement was

named “Maricle’s Flats” or

“The Flats” due to the surrounding plateau terrain.

The first merchant to pass through Ithaca brought a

small boat of goods to Cayuga Lake and traded tea,

The Ithaca Journal clipping / Friday, August 27 1982

032

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coffee, earthenware,

drygoods, gunpowder,

and liquor, for Ithacan

fur and maple sugar.

In the early 1800s,

water transportation

was the main source of passage. Then, railroads were

primarily used to port between water routes. Because

Ithaca was situated at the intersection of the shortest

route to the Susquehanna and the lake-head terminal,

it was anticipated to become a great commercial

center.

The early industries of Ithaca were nearly all founded

along the waterpowers situated by Fall, Cascadilla, and

Six Mile Creek. In 1791, a grist mill was established along

Cascadilla Creek by John Yaples, becoming Ithaca’s

first industry. After grist mills, plaster mills followed,

then chair, sash, and

door factories, then

sawmills, boatyards,

distilleries, tanneries,

oil mills, and paper

mills. A factory

making a patented

chain drive, a shotgun

works, a calendar

The Ithaca Journal clipping / Wednesday, September 22 1926

033

III. Gas & Light

clock company, a paper mill specializing in wax paper,

an advertising sign plant, and an airplane company

became significant presences in the town by the early

1900s. One prominent character of

Ithaca’s industrial past was the Ithaca Gas Light

Company.

Manufactured Gas Plant

Along with the advent of the 20th century and

technological improvements in the manufacturing and

distribution of gas, centralized manufactured gas plants

(or MGPs) were established. In these large-scale plants,

coal was received by retort buildings where heat was

applied from the outside. Gas was then produced and

discharged through condensers,

separated from coal tar, and

combined with water to

absorb ammonia. After further

processing, the coal would be

cooled and stored in large gas

holders to later be distributed

for various purposes, which included steelmaking and

residential and commercial heat. Although these gas

plants flourished until the mid-to-late 19th century,

The Ithaca Journal clipping / Friday, October 24 2008

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the advent of electricity (which, in 1975, a Cornell

University Professor and his student aided in with their

work involving dynamo) severely decreased the need

of MGPs. By the 1950s, the majority of MGPs were

rendered obsolete due to the advent of natural gas

which offered a cleaner and richer alternative to gas

produced at MGPs.

One of the most significant

manufactured gas plant

companies in New York State

Electric & Gas Corporation’s (or

NYSEG’s) history was the Ithaca Gas Light Company.

The company was organized on October 25, 1852, at the

Clinton House, and Ithaca’s first manufactured gas plant

was constructed on Court Street in 1853.

Generally, MGPs were erected along rivers and canals

which provided water to the plants as well as a means

for transporting coal and, eventually, a dumping

ground for waste products. Additionally, MGPs

were erected near railroads which facilitated coal

shipments to the MGPs. Ithaca’s Court Street MGP,

erected by the Ithaca Gas Light Company, was an

epitome of these qualities. Situated at the corner of

North Plain Street and West Mill Street (present-day

Court Street), the MGP supplied gas to 23 customers

and consisted of four buildings and one gas holder,

The Ithaca Journal clipping / Friday, May 3 2002

035

III. Gas & Light

according to an 1853 map of Ithaca. With

increasing competition from electric

companies, the Court Street MGP went

under a flurry of renovations, including

an installation of eight additional gas

purifiers and a new

building to house

the purifiers by 1892. By 1893, the parcel expanded and

two gas holders were built along the north perimeter of

the land. In 1899, the MGP was enlarged again with a

construction of a new retort building, now remembered

as the Markles Flats Building. In 1909, the Ithaca Gas

Light Company established the Cayuga Inlet Coal Tar

Site, which was used for receiving and distributing coal

tar by-products that were being generated at the Court

Street MGP. However, the Cayuga Inlet Coal Tar site and

the Court Street MGP faced closure as a consequence

of a new MGP, owned by the New York State Electric

and Gas Corporation, opening on First Street in Ithaca

in 1927. After five years in operation, the First Street

MGP closed due

to the prevalence

of natural gas in

1932.

The Ithaca Journal clipping / Saturday, November 12 1932

036

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Markle’s Flats

In 1964, the Court Street MGP was purchased by

the Ithaca School District from NYSEG. After the

acquisition, the old worker cottages that sat previously

on the lot during its petrochemical days were

subsequently sold and demolished. Markle’s Flats, the

retort building, was adaptively reused as an alternative

high school in the 1970s. The building was recognized

as a local landmark in 1978, attributing its designation to

the architectural

details and

association

with Ithaca’s

development as one of the earliest cities in New

York to have gas lighting. At the time of NYSEG’s

documentation of Markle’s Flats in 2012, a cornice of

corbelled brickwork decorated the red brick facades,

while the use of stone trim and heavy cornice lines

created a visually textured surface. The building hosted

emerald

green

window

frames

and

doors

and

The Ithaca Journal clipping / Thursday, October 1 2009

037

III. Gas & Light

traces of past structures were embedded within the

worn stonework. Markle’s Flats, once a place where

coal was received from the underground duct and

entered the first stages of

processing, lived on as a beloved

experimental school building

and hosted office spaces and art

studios in its later uses.

Remediation

After a 1980 investigation

conducted by NYSEG, the soil

on the Court Street site was

found to be

contaminated

with coal tar and other waste residuals. The

contamination impacted the groundwater, which moved

off-site and spread into the surrounding residential

neighborhood. To address the contamination, NYSEG

focused on two areas to remediate: the Ithaca Court

Street MGP grounds, extending to the sidewalks,

and the length of Court Street where a wooden duct

transported coal tar from the Cayuga Inlet Coal Tar

Site to the MGP on Court. The remediation process

included removing subsurface tar tanks and gas holder

foundations, removing 1-2 feet (in some places, 11 feet)

The Ithaca Journal clipping / Tuesday, December 18 2001

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of contaminated soil on the site, and excavating Court

Street up to 18 feet to remove the wooden duct and other

hazardous conduits running underneath the road. After

a long fight between the Ithaca preservation committee,

the Ithaca School District, the New York State Electric

and Gas Corporation, and the local residents, Markle’s

Flats was demolished.

039

III. Gas & Light

West elevation collage of Markle’s Flats

040

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041

III. Gas & Light

North elevation collage of Markle’s Flats

042

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01

III. Gas & Light

Design proposal collaged against 1882 etching of Court Street

02

EXPLORATIONS

IV.

EARLY STIRRINGS

DATUMS

COLLAGE

ARCHAEOLOGY

STRATEGIES

Ihwa Choi


Conceptual collage of the re-incarnated tunnel

047

IV. Explorations

The Tunnel

The tunnel lives as a reincarnation of an underground

wooden duct that received and transported coal from

the river to the plot of land starting in 1853.

The first sign of the proposal may be experienced as one

walks along Court Street. The pedestrian experience

of walking from the water to the lot is transformed

through a deep excavation that is created by subtracting

fragments of Ithaca’s history from the ground. The

resulting fossil-like traces disturb the flanking walls of

the proposed tunnel to subtly unsettle the experience of

walking through the exvacation.

048

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049

IV. Explorations

050

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Conceptual collage hinting to what occurs below

051

IV. Explorations

The Sidewalk

The excavation allows for the staging of multiple

atmospheres by introducing punctures and extrusions

into the surface above and unsettles the sidewalk

condition of Court street. Subtle manipulations of the

pedestrian experience walking from the lot to the river

perceptually provide clues to what may be occurring

underground and incites a heightened sense of

awareness to the environment.

052

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053

IV. Explorations

054

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Conceptual collage of the shroud on the lot

055

IV. Explorations

The Lot

The initial strategy onto the lot was to display the

unearthed artifacts from the tunnel to the city behind a

mask, that borrows construction scaffolding and tarps

to signify the lot as a space of transition. This type of

exhibition is referencing Villa Sovietica that was on

display at the Musee d’ethnographie by Willem Mes

where shadows of everyday objects scramble on top

of each other, filtered through white linen, creating a

collage of uncanny shadows. On the site, the absolute

state of an object is dissolved into shadows where light

and time shift the resolution and angles of the shadows,

generating a state of constant flux on the lot. The

pedestrian experience of walking down Court Street

ties the scale of the building, to the lot, and to the block

together. The blurred and fragmented traces of the

past disrupts the current elevational rhythm, placing

ambiguous ghosts in dialogue with the past and the

present.

056

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057

IV. Explorations

058

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059

IV. Explorations

060

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Historical elevations transformed to the proposed shroud

061

IV. Explorations

062

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063

IV. Explorations

064

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065

IV. Explorations

066

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067

IV. Explorations

Unrolled elevation

068

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069

IV. Explorations

1929 Sanborn map showing residential houses and the man and the MGP

070

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071

IV. Explorations

Pavement extended to create a new boundary of the lot

072

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073

IV. Explorations

Shadow effect onto the proposed perimeter

074

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075

IV. Explorations

Long section from Cayuga inlet to Parcel 408

076

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077

IV. Explorations

Inlet

The intervention is an ensemble of related moves that

spreads from a lot on the intersection of Plain and

Court street in Ithaca, down Court street, and to the

Cayuga Inlet waterfront. The historical relationship

between the waters of Ithaca and Parcel 408 is revived

by connecting the two points together while the current

inlet conditions are then pronounced to draw focus

towards an underused area.

078

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079

IV. Explorations

Utility x Museum

In addition to the tunnel system acting as an

underground living museum, the space also becomes

a vehicle to host infrastructural needs to the city, thus

hybridizing museological programs with that of utility

and maintenance. The inner workings of the city that

typically goes unnoticed are exposed while allowing the

space to pulse in a state of constant flux, everchanging

with the city’s infrastructural needs and history. With a

canal running alongside the subterranean walkway, the

tunnel makes room for water, intertwining the history

of Ithaca with a stream while preparing space to absorb

excess rainwater through the openings above. As plays

of light, water, and utility are orchestrated to create new

relationships between the city’s different layers, the

tunnel becomes inscribed into the existing datum of the

context.

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The Mediator

Markle’s Flats is reimagined as the connective entrance

point to the proposed tunnel and the lot. The procession

of the proposed tunnel echoes the wooden duct’s

historical purpose of transporting material from the

river to be received at the corner of the site where

Markle’s Flats was previously situated. When the tunnel

connects to the lot, the covering of the tunnel, or the

pavement, is expanded to create a new perimeter for

the site. The redrawn edge is informed by past building

footprints and materiality while integrating with the

existing sidewalk to blur and manipulate the current

hard boundaries of the site. Meanwhile, the height of

Markle’s Flats informs the elevational height of the

proposed floating armature on the lot.

081

IV. Explorations

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Underbellly

While the tunnel performs a type of geological

archaeology and discovery, the hovering wrapper

effectuates a type of aerial archaeology that is

manipulated downwards and inwards into the lot to

register silhouettes of past ghosts and suggest scales of

program. The floating armature follows and registers

the panoramic landscape datum of Ithaca while the

ambiguous spatial qualities formed in between

the underbelly of the ribbon and the undulating surface

of the re-informed ground allows for flexible and

versatile program use.

083

IV. Explorations

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Panorama

The route through is unscripted. It is necessary to walk

through the entire complex to assemble the parts, draw

comparisons, and structure information. The height of

the shroud is informed by Markle’s Flats and registers

the current Greater Ithaca Activities Center, which faces

the south-eastern corner of the lot. While this dialogue

between the past and present occurs, the loop-like

walkway on the shroud allows a panoramic registration

of the landscape.

085

IV. Explorations

086

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087

IV. Explorations

Long section with overlaid vignettes

088

VIGNETTES V.

PERSPECTIVES

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091

V. Vignettes

Vacant lot in between 608 Court Street and 612 Court Street

092

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093

V. Vignettes

Utility tunnel and museum hybrid

094

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095

V. Vignettes

Frames of possible programs

096

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097

V. Vignettes

Interior of shroud

098

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099

V. Vignettes

Looking through Esty Street

100

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101

V. Vignettes

114 Esty Street

102

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103

V. Vignettes

114 Esty Street

104

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105

V. Vignettes

114 Esty Street

106

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107

V. Vignettes

Facing the western edge of the shroud

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109

Conclusion

Visitors to these spaces experience an open archive

of local history where the presence of superimposed

narratives in the underground canal and the imagined

lot stops moments of histories from being stable and

isolated entities and instead permeates the space by

staging atmospheres through intentional obscurity. Both

the tunnel and the lot interventions infiltrate the existing

conditions to leave subtle recallings that are informed

by underlying histories to create a path of discovery

and curiosity while the corner where the lot meets

the tunnel acts as a mediator between two physical

conditions.The site and its conflicting histories inform

the series of interventions and are ultimately maintained

as a model of ‘terrain vague’ where its informal qualities

hold a long history of palimpsestuous narratives,

evoking vivid imaginaries and possible situations within

the ordinary and banal. The conflation and revealing

of multiple temporal layers and narratives have the

potential to ultimately visualize or imply the invisible,

forgotten, and possible by intentionally creating a new

threshold that encourages interpretation and to fill in

gaps of knowledge. By representing multiple histories,

from the glaciers to the present, and to the future, onto

a single plane through fragmentation and slippages to

create a type of temporal spolia, the site is destabilized

to encourage productive ambiguity and uncertainty.

110

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Bibliography

Biederman, Irving. Recognition-bycomponents:

a theory of human image

understanding. Psychological review,

Katz, David. Psychological Atlas. The

Philosophical Library, Inc., New York,

1948.

1987.

Kentridge, William. Six Drawing

Barron, Patrick and Manuela Mariani.

Terrain Vague: Interstices at the Edge of

the Pale. Routledge, 2013.

Lessons, Harvard University Press,

2014.

Mariani, Manuela and Patrick Barron.

Terrain Vague: Interstices at the Edge of

Boym, Svetlana. The Future of

the Pale., 2014.

Nostalgia, Basic Books, 2001.

McGuire, Richard. Here., Pantheon

Chang, Michelle. Something Vague, Log

Books, 2014.

44, 2018.

Morales, Ignasi de Solà, “Terrain

Diller, Elizabeth. Pierre Chareau:

Vague,” Anyplace: MIT Press, 1955.

Modern Architecture and Design. The

Jewish Museum. 2016.

Pallasmaa, Juhani. The Eyes of the

Skin: Architecture and the Senses.

Eames, Charles and Ray. Glimpses of

Wiley-Academy, 2005.

the USA. Dir. The Eames Office, 1959.

Schussler, Alexandra. Villa Sovietica:

Hejduk, John, and Thomas Boga. John

Hejduk: Works, 1950-1983. ZuÌrich: ETH

Objects Sovietiques. Musee

d’ethnographie de Geneve, 2009.

ZuÌrich, 1983.

111

Stewart, Susan. On longing : narratives

of the miniature, the gigantic,

the souvenir, the collection. Duke

University Press Durham, 1993.

Stoler, Ann Laura. Imperial Debris: On

Ruins and Ruination. Duke University

Press, 2013.

Tarkovsky, Andrei. Stalker. Mosfilm,

1979.

Vidler, Anthony. The Architectural

Uncanny: Essays in the Modern

Unhomely. MIT Press, 1992.

Virilio, Paul, Jonathan Crary, and

Philip Beitchman. The Aesthetics of

Disappearance. SemioText , 2009.

Wenders, Wim, director. Wings of

Desire. Metro Goldwyn Mayer, 2003.

Thank you to The History Center in

Tompkins County for valuable archive

material that propelled this project

forward.

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