Sufyan Muzaffar Thesis Book

IF PAULA REGO WAS AN ARCHITECT

W E C R E A T E M O M E N T S T H A T C A N R E C A L L

A T T I M E S W H E N M O S T U N E X P E C T E D. F R A G

M E N T S O F M Y L I F E A R E R I S I N G, O N L Y T H R O

U G H T I M E C A N W E T E L L I F A F R A G M E N T E D

S P A C E C A N B E V I S U A L I S E D A G A I N. W H A T Y

O U A R E A B O U T T O E X P E R I E N C E I S A

J O U R N E Y T H A T S T A R T E D F R O M F I L M

A N A L Y S I S T O I N F U S I N G M Y P A S T I N T O A S

C E N E O F I T S O W N. I R E V E A L H O W E X P E R I E N

C E C L A S H E S W I T H M E M O R Y A N D S T A R T S

T O I N F O R M N E W S P A C E S, S P A C E S T H A T

C A N R E C R E A T E O V E R A N D O V E R A G A I N W I

T H N O B O U N D A R I E S. O U R B R A I N C A N

R E C A L L M A N Y P A S T S T O R I E S B U T W H A T

1K I N D O F M A C H I N E C A N R E C A L L ,

R E C R E A T E , R E D E S I G N A N D R E I N V E N T ?

S O M E T I M E S Y O U W I L L N E V E R U N D E R S T A N D T H E V A L U E O F T H E P A S T

U N T I L I T B E C O M E S A M E M O R Y.

S U F Y A N M U Z A F F A R

F L O R E S & P R A T S

B U I L D I N G 1 1 1 F I L M

A FILM BASED IN SPAIN, THE ARCHITECTS REVIST THE SITE

TO SEE HOW THE COMMUNITY LIVING THERE INTERACTS

WITH THE ARCHITECTURE. WE TEND TO USE SPACES DIF-

FERENT TO WHAT THEY ARE ORIGINALLY

DESIGNED FOR,THATS THE BEAUTY.

J A Q U E S T A T I - M O N O N C L E

M O V I E 1 9 5 8

VERBALLY A VERY QUITE FILM BUT THAT GOES TO A LOT OF

THE JAQUES TATI FILMS. THE SCENES ARE FOCUSED MORE

ON THE GESTURES AND VISUALLITY OF THE FILM

CREATING AN UNIQUE ATMOSPHERE. THE FILM

COMMUNICATES THE TWO DIFFERENT AREAS OF THE CITY

AS HULOT SISTER MOVES TO THE SUBURBS. THE HOUSE IS

REPERSENTED TO BE A ULTRA-MODERN NIGHTMARE.

THE BALCONY

THE DOOR

T H E A L L E G O R Y

O F J O U R N E Y

DIAGRAMS REPERSENT THE JOURNEY

SEQUENCE IN THE FILM MON ONCLE

AND THE BUILDING 111. ABSTRACT ARCHI-

TECTURAL DETAILS AND SPACES THAT THE

THE VOID

CHARACTHERS INTERACT WITH ALONG

SIDE THE MEMORIES IT STARTS TO ACTIVATE

SEQUENCES FROM MY OWN PERSONAL

CHILDHOOD.

STAIRSCASE

ENTERENCE

MOVEMENT

MEMORY BUILDING 111

JOURNEY

R E P L A Y I N G M E M O R Y

T H E M A C H I N E

P R E F R O N T A L

C O R T E X

(SHORT TERM & LONG TERM MEMORY

PROCESS)

A M Y G D A L A

EMOTIONAL

CONDITIONING/WEIGHT

H I P P O C A M P U S

LONG TERM MEMORY STORAGE

SEQUENCE 1 SEQUENCE 2 SEQUENCE 3

THE BRAIN HAS A COMPLETE PROCESS OF HOW IT RE- THE BRAIN ALSO HAS ANOTHER PART

CORDS AND STORES MEMORY. WE HAVE SHORT TERM CALLED THE LIMBIC SYSTEM WHICH IF

MEMORY AND LONG TERM MEMORY WHICH CAN BE DAMAGED CAN CAUSE AMNESIA (MEM-

CONTROLLED BY THE AMYGDALA. THIS IS THE EMO-

TIONAL CONDITIONING OF THE BRAIN WHICH ALLOWS

SHORT TERM EXPERIENCES TO BECOME ALL TERM MEM-

ORIES DUE TO A EMOTIONAL WEIGHT BEING ADDED.

SEQUENCES THEN ARE STORED IN OUR HIPOCAMPUS

WHICH ALLOWS US TO RECALL THEM WHEN REQUIRED.

ORY LOSS). FADED MEMORIES CAN BE

LOST, RESTORED, REUNITED OR COM-

BINED. THIS CAN CAUSE A HYBRID INFU-

SION. MEMORIES THAT ARE LOST CAN

HAVE A EFFECT OF FADING AWAY AS

WE HAVE NOT REVISTED THEM OFTEN.

D I S T O R T I O N

F A D I N G A W A Y

REVISTING LAMBETH CONSISTENTLY STARTS TO GIVE THE BLURRED FOAMS

MORE OF A STRUCTURE. IT STARTS TO FOAM LITTLE DETAILS IN A MUCH MORE

CONCISE WAY WHICH BECOME EASIER TO REMEMBER. THE LONGER TIME

SPENT IN A SPACE THE MORE IDENTITY IT DISPLAYS BUT AS WE BECOME IN-

CONSISTENT WE START TO DAMAGE OUR MEMORY, CREATING A DISTORTION

IN THE FRAGMENTS. WHEN A SPACE IS NOT VISTED OVER A PERIOD OF TIME

I BELIEVE ABOVE ALL THAT I WANTED TO

ITS NATURE BECOMES UNFAMILIAR.

BUILD THE PALACE OF MY MEMORY,

BECAUSE MY MEMORY IS MY ONLY

HOMELAND.

T H E P A R A L L E L

R E F L E C T I O N

C I N E M A T R I C

A N I M A T I O N

CRAFTED. REARRANGEABLE. TOWER. HYBRID.

T H E U N S P O K E N

L A M B E T H F I L M

A V I S I O N

W I T H I N A I S I O N

V

SHOT IN LAMBETH, THE VIDEO PLAYS A THE ROLE BETWEEN PRECEPTION AND

MEMORY. IT ALLOWS THE VIEWERS TO CONNECT WITH THE SCENE BY COLOUR

ADJUSTMENT, CLOTHING, ENVIROMENT, BODY LANGUAGE AND EVEN GESTURES

FROM THE ACTORS. THE ROLE OF MEMORY IS THE SWITCH BETWEEN THE SCENE

ALLOWING US TO UNDERSTAND THAT WHAT IS BEING SHOWN IS WHAT IT USE TO

BE LIKE BEFORE. THE VIDEO USES TRAVERSAL SCENE WHICH SHOW THE JOURNEY

THROUGH THE SITE AND RESEMBLES TO THE IDEA OF THE CINEMATRICS, SHOW-

ING THE SPACE WITH MOVEMENT AND THE CONNECTION THE ACTORS ARE MAK-

ING WITH IT. THE OUTRO OF THE VIDEO IS DESIGNED TO CREATE QUESTIONS FOR

THE VIEWERS TO WONDER THE “OUT OF PLACE” SCENE. IT CREATES THE CONCEPT

OF ITS NOT ALWAYS AS IT SEEMS.

P A U L A R E G O

THE HUMANITY AND TRUTH OF THESE IMAGES HAS IMMENSE POWER. IT IS GENERALLY BELIEVED THAT SHOW-

ING HER WORK IN PORTUGAL INFLUENCED A FURTHER REFERENDUM IN 2007, A REFERENDUM THAT REVERSED

THE RESULTS OF 1998 AND LED TO THE LIBERALISATION OF ABORTION IN CATHOLIC PORTUGAL. WHEN A

REFERENDUM TO LEGALISE ABORTION IN PORTUGAL FAILED, SHE MADE A SERIES OF PASTELS, UNTITLED 1998.

SHE DID SO TO HIGHLIGHT THE “FEAR AND PAIN AND DANGER OF AN ILLEGAL ABORTION, WHICH IS WHAT

DESPERATE WOMEN HAVE ALWAYS RESORTED TO. IT’S VERY WRONG TO CRIMINALISE WOMEN ON TOP OF

EVERYTHING ELSE

T A T E

1 1 R O O M S

THIS EXHIBITION TELLS THE STORY OF THIS ARTIST’S EX-

TRAORDINARY LIFE, HIGHLIGHTING THE PERSONAL NA-

TURE OF MUCH OF HER WORK AND THE SOCIO-POLITI-

CAL CONTEXT IN WHICH IT IS ROOTED. IT ALSO REVEALS

THE ARTIST’S BROAD RANGE OF REFERENCES, FROM

COMIC STRIPS TO HISTORY PAINTING. IT FEATURES

OVER 100 WORKS, INCLUDING COLLAGE, PAINTINGS,

LARGE-SCALE

PASTELS, INK AND PENCIL DRAWINGS

AND ETCHINGS. THESE INCLUDE EARLY WORKS FROM

THE 1950S IN WHICH REGO FIRST EXPLORED PERSONAL

AS WELL AS SOCIAL STRUGGLE, HER LARGE PASTELS OF

SINGLE FIGURES FROM THE ACCLAIMED DOG WOM-

EN AND ABORTION SERIES AND HER RICHLY LAYERED,

STAGED SCENES FROM THE 2000-10S.

HISTORY - TIMELINE - FEMINISM

SITE - ENVIRONMENT - CONTEXT

T I M E L I N E

F E M I N I S M

S I T E M AP

L O C A T I O N

THE LOCATION FOR PAULA REGO’S ORIGINAL

A TIMELINE THAT TALKS ABOUT EVENTS

HOUSE LAYS IN A AREA CALLED ERICEIRA. THE AREA

THAT HAVE TOOK PLACE THROUGHOUT

IS ON THE OUTSKIRTS AWAY FROM THE CITY. THE

HISTORY IN PORTUGAL TAKING ACTION

HOUSE ITSELF IS QUITE TRADITIONAL BUILDING AS

UPON FEMINISM. FROM 1933 TO ALL

IT IS FROM THE 1900S. THE HOUSE IS A STAND-

THE WAY UP TO 2007 EVENTS SUCH AS

LONE STRUCTURE WITH LANDSCAPING AROUND IT

CONFERENCES TO CONSERVATIVE

ALLOWS IT TO STAND OUT WITHIN THE AREA. THIS

CHANGES AND EVEN A VOTING SYS-

HOUSE WAS THE SAME HOUSE SHE GREW UP WITH

TEM FOR WOMAN TO HAVE A RIGHT

HER HUSBAND BUT NOW CURRENTLY THE HOUSE

TO VOTE.

CURRENTLY NOW IS TURNED INTO A AIRBNB FOR

GUESTS TO SPEND THE NIGHT IN.

LOCATION - HOUSE - MEMORIAL - MEMORY - FAMILY

C A S A B R A N C A

1 9 T H C E N T U R Y

C A S A B R A N C A

A R C H I T E C T U R A L D E T A I L

19TH CENTURY VILLA IN ERICEIRA THAT PAULA REGO

A REMARKABLE TRADITIONAL STUCTURE BUILT FROM

SPENT HER EARLY YEARS IN WITH HER HUSBAND,

STONE WITH VENACULAR PATTERNS , MATERIALS AND

SITTING ON THE PORCH DECUSSING ABOUT A

DETAILS. THE HOUSE RESEMBLES A TRADITIONAL POR-

WAY OF FINANCIAL INCOME IS WHAT STARTED THE

TUGESE ARCHITECTURAL STYLE, FROM THE ROOF TILES

JOURNEY OF HER ARTWORK.

TO THE FACADE DETAIL. TAKING SOME OF THESE DETAILS

TO INSPIRE A PROPOSAL FOR PAULA REGO WILL BE KEY

AS IT WILL CREATE A MORE CONNECTED DESIGN NOT

JUST WITH HER MEMORIES BUT WITH THE CULTURE OF

P O R T U G A L

E R I C E I R A

P O R T U G A L

E R I C E I R A

THE CITY.

P A U L A R E G O ‘ S H O U S E

P A U L A R E G O ‘ S H O U S E

一

九

八

八

年

十

月

十

日

古

松

图

一

九

八

八

年

十

月

十

日

黑

竹

迎

风

一

九

八

八

年

十

月

十

日

15:18

梅

C A S A B R A N C A

W I T H I N

THE EXISTING HOUSE HAS MANY FRAGMENTS AND

TRADITIONAL DETAILS THAT WILL BE INSPIRING THE PRO-

POSAL FOR REGO. THE HOUSE CONTAINS THINGS LIKE

COLUMNS , WINDOW DETAILS AND EVEN BRICK DETAILS

THAT CAN BE EXPANDED INTO THE NEW PROPOSAL.

BRICK WALL DETAIL PORTUGUESE TILE WORK WINDOW AND ROOF DETAIL TRADITIONAL FURNITURE

HER. BRUSHES. PAINT. MEMORY. FACADE.

P I E C E S O F L I F E

R E G O ’S H O U S E F R A G M E N T

CLOTH - PANEL - ARTWORK - LIFE - BREAKDOWN

T H E H A N G I N G C A N V A S E S

T H E F I R S T L A Y E R O F P A I N T

CREATING AN ALLEGORY FOR PAULA REGO’S LIFE PERIOD AND HER ARTWORK THROUGHOUT HER LIFE. IT ALLOWS US TO BREAK DOWN

EACH ARTWORK AND THE TIME PERIOD IT WAS MADE IN ALONSIDE HER AGE.

HER - ART - OVERPOWERING - HOUSE

REGO

MEMORIAL

A P E R I O D O F L I F E

S P I L L I N G P A I N T

HER PAINTINGS CARRYING A STRONG LANGUAGE OF POWER AND PRESENTATION. TAKING KEY ELEMENTS FROM PAULA REGOS PAINT-

ING ALLOWS US TO OVERLAY THEM ON TO HER HOUSE IN PORTUGAL. THIS STARTS TO CREATE AN IDEA FOR SCALE AND LAYOUT IN A

SURREAL PRESPECTIVE.

ART - TO - ARCHITECTURE - CONCEPT - CONSTRUCTION

E X T R A T I O N F R O M A R T

S P I L L I N G P A I N T

ONCE THE PAINTINGS HAVE GIVEN US A UNDERSTAND OF FORM AND LAYOUT WE START TO ADD ARCHIETCTURAL DETAIL TO SEE

POSSIBLE OUTCOMES.

S T O R Y O F A W O M A N

I S O

1 : 500

T A T E

R O O M 1

A S U B V E R S I V E

V E R S I O N

I N T E R O G A T I O N

1 9 5 0

B R U T A L I T Y - D I C T A T O R S H I P - A B U S E O F P O W E R - A B S T R A C T B O D Y F O R M S

D E S I G N L A Y E R S

A U D I T O R I U M

1 : 200

P L A N

A U D I T O R I U M

1 : 500

AUDITORIUM

THEATRE

THE AUDITORIUM GOES THROUGH FAZES OF INSTALLATIONS

TO ALLOWS PAULA REGO’S ARTWORK TO BE EXHIBITED. THE

DESIGN TAKES DEVELOPMENT IN ADDING MORE CONCRETE

PRE-CAST SLABS TO CREATE A EXHIBITION WALL WITH

SEATING UNDERNEATH. THE DESIGN THEN INTRODUCES A

STAIRCASE SYSTEM FOR CIRCULATION REASONS BUT LATER

DOWN IT IS REMOVED AS THE AUDITORIUM WAS

RELOCATED.

STORIES OF OTHERS

P L A N N I N G S T A G E S

A VARITY OF LAYOUT CHANGES THAT TAKE CONSIDERATION OF SPACE USABILITY AND APPERENCE ALLOWING PEOPLE TO TAKE PART

IN THE SPEECH AREA TO DISCUSS MATTERS OUT LOUD.

STAGE 1 STAGE 2 STAGE 3

A U D I T O R I U M

S T A T U E O F R E G O

A U D I T O R I U M

O P E N V O I C E

1 : 200

T A T E

R O O M 2

F R A G M E N T E D

R E A L I T Y

M I L I T A R Y

M A N O E U V R E S

1 9 7 5

R A G E - I N J U S T I C E - P O R T U G E S E F O L K T A L E S - A R C H E T Y P A L C H A R A C T E R S

A R T F R A G M E N T S & P O P U L A R C U L T U R E

P L A N

W O R K S H O P


W O R K S H O P

WORKSHOP

THE CONTAINER

1 : 500

1 : 200

THE WORKSHOP, BUILT FOR CRAFTMENSHIP OF NOT

BARN

EXISTING HOUSE

JUST FURNITURE BUT ALSO CREATIONS OF REGOS

“CREATURES”. THE WORKSHOP ALLOWS US TO REFUR-

BISH OLD FUNITURE AND REUSE ELEMENTS OF THE

HOUSE. CONSTRUCTED BY A STONE SHELL STRUCTURE

WITH LOAD BEARING WALLS ALLOWING EXTRA SUPPORT

OBSERVATORY

WITH STEEL BEAMS SPANING ACROSS THE CURVED

ROOF. IT USES TRADITIONAL ARCHITECTURAL DESIGN

METHODS TO BECOME A PART OF REGOS MEMORIES.


THE WORKSHOP TRIES TO BRING IN COMMUNITY THAT CAN SEE THE PROCESS BEHIND THE SCENES WHILE BEING A PRODUCTIVE

SPACE FOR REFURBISHMENT AND RECREATION OF REGOS WORK. THE LAYOUT SITS ABOVE REGOS PRIVITE HOUSE KEEPING HER

WORK CLOSE TO HER LIFESTLE.


W O R K S H O P

T O R E V I V E A N D R E C R E A T E

W O R K S H O P

S P A C E F O R C R E A T I O N

1 : 200


W O R K S H O P F R A G M E N T

T A T E

R O O M 3

F A N T A S Y A N D

R E B E L L I O N

A I D A

1 9 8 3

D A R K E M O T I O N A L A S P E C T S - R E V O L T A G A I N S T S O C I A L N O R M S

H U M A N S A N D A N I M A L S B E H A V I O U R


M U S E U M

1 : 200

P L A N

M U S E U M

1 : 500

MUSEUM

THEATRE

WHAT IS MEMORY WITHOUT ACTUAL FRAGMENTS FROM

THE PAST? WE CREATE A MUSEUM SPACE TO ALLOW REGOS

WORK TO BE DISPLAYED, ALLOWING MORE AWEARNESS TO

BE CREATED FOR WHAT SHE DID AND WHAT SHE STOOD FOR.

THIS FORM IS ANOTHER SELF SUPPORTING STONE

STRUCTURE THAT ACTS AS A SHELL STRUCTURE.


THE MUSEUM CREATES SPACE FOR ART WORK TO BE DISPLAYED, NOT JUST THE ART WORK THAT INSPIRED THE SPACE BUT ALSO THE

OTHER WORKS REGO CREATED.


M U S E U M

H A N G I N G T E A R S

M U S E U M

P U B L I S H I N G A V O I C E

1 : 200

T A T E

R O O M 4

L O V E , D E V O T I O

N A N D L U S T

T H E D A N C E

1 9 8 8

E M O T I O N A L - W O M A N I D E N T I T Y - P E R S O N A L E V E N T S - R E L A T I O N S H I P W I T H H U S B A N D

CONTAINER

WORKSHOP

BARN


O B S E R V A T O R Y

1 : 200

THE OVSERVATORY IS INSPIRED BY THE PAINTING THE DANCE.

THIS PAINTING REPERSENTS REGO IN DIFFERENT AGES AND

OBSERVATORY

P L A N


1 : 500

TIME FRAMES AND AS A SPECTATOR IT CREATES AN

OBSERVATORY FOR HER LIFE. TIMBER STAIRCASE WITH STONE

DETAILS ON THE TOP ACCOMPANIED BY A LARGE LIGHT THAT

REPERSENTS THE MOON FROM THE PAINTING.


THE SPACE WAS CREATED TO ALLOW POEPLE TO LOOK OVER THE WHOLE MEMORIAL SPACE FROM ABOVE ALLOWING PEOPLE TO TAKE

IN THE CREATIVITY AND UNIQUENESS OF REGOS MEMORIAL SPACE.



A B O V E A N D W I T H I N


L O O K O U T

1 : 200

T A T E

R O O M 5

S T O R I E S O F W

O M A N

T H E C E L L

1 9 9 7

S T R O N G W O M A N - D I F F E R E N T T E M P E R A M E N T S - S W I T C H T O P A S T E L A R T T O

A G G R E S S I V N E S S I N D R A W I N G S T Y L E


C E L L

1 : 200

CELL

P L A N

C E L L

1 : 500

BARN

THE CELL IS A PRIVATE SPACE FOR REGO TO LIVE WITHIN. THIS

SPACE IS SEEN AS A HOME FOR HER AND IS INSPIRED BY THE

CELL. THE IDEA BEHIND THE PRIVATE SPACE IS TO RECREATE

A LIVING CELL FOR REGO HAS THIS IS HOW SHE FELT IN HER

TIME. THE CELL HAS ACCESS FROM GROUND FLOOR FROM

THE EXISTING HOUSE AND THE STRUCTURE IS ALL LOAD

BEARING ABOVE IT.


THE SPACE WAS MADE FOR REGOS OWN PRIVATE USE. IT HAD SMALL WINDOWS THAT ALLOWS SPOT LIGHT TO ENTER THE BUILDING

AND A GLIMPS OF THE WORLD OUTSIDE. THIS IS SO THE SPACE CAN REALLY REPERSENT A LIVING CELL.

STAGE 1

STAGE 2 STAGE 3

C E L L

H I D D E N S E C R E T

C E L L

P R I S O N E D M Y S E L F

1 : 200

T A T E

R O O M 6

I N F I L T R A T I N G

A R T H I S T O R Y

T H E P A S T A N D

P R E S E N T

1 9 9 0

C H I L D H O O D M E M O R I E S - A W O R L D B Y M E N F O R M E N - F E M A L E C H A R A C T E R S I N T H E B A C K

BARN

ART STUDIO


A R T S T U D I O

1 : 200

AS A PAINTER REGO WOULD NEED A SPACE WHERE SHE CAN

GO AND PAINT AND THIS SPACE WOULD BE HER ART STUDIO.

THE ART STUDIO HAS BEEN EMBEDDED WITHIN HER PRIVATE

CELL AS MOST OF HER LIFE SHE WOULD JUST DRAW. KEEPING

P L A N

A R T S T U D I O

1 : 100

IT WITHIN THE CELL KEEPS IT PRIVATE AND A SPACE JUST FOR

HER.


THE ART STUDIO WAS ALWAYS A SPACE TO KEEP CLOSE AND PRIVATE TO REGO. THE SPACE IS COMBINED WITHIN THE CELL ALWAYING

REGO TIME OF HER OWN TO PAINT WHENEVER SHE NEEDS TO. THE AUDIENCE CAN SEE A GLIMPS OF THIS FROM THE OUTSIDE BUT

NOTHING REGO CANT HIDE.

T A T E

R O O M 7

C H A R A C T E R S A

T P L A Y

T H E B A R N

1 9 9 4

C H I L D R E N W I L D E R N E S S - A D U L T C R U E L T Y I N K I D S S T O R I E S

Y O U N G W O M A N B A I L I N G F E A R S / D E S I R E


B A R N


B A R N

1 : 500

1 : 500

THE BARN IS TAKES PLACE IN TWO SECTIONS OF THE DE-

SIGN. ONE RIGHT IN THEN HEART NEXT TO THE WORKSHOP

AND THE SECOND IS NEXT TO THE EXISTING HOUSE AS AN

OUTDOOR EXTENTION. THE BARN CONCEPT IS USED TO

CREATE GREEN HOUSES THAT REPERSENT ALOT OF THE PLATA-

TION REGO SHOWS IN HER PAINTINGS.

THERAPY ROOM

CELL

EXISTING HOUSE

ART STUDIO

BARN

P L A N

B A R N

1 : 100

BARN

P L A N

B A R N

1 : 100


BOTH BARNS TAKE INSPIRATION DIRECTLY FROM THE PAINTING, CREATING GREENHOUSES USING STEEL STRUCTURE AND GLASS. THE

BARN ALLOWS PEOPLE TO EXPERIENCE LANDSCAPING AND PLATATION THAT REGO INSPIRED HER ART WORK WITH.

STAGE 1

STAGE 2 STAGE 3


B A R N

G R E E N H O U S E

1 : 200

T A T E

R O O M 8

C O E R C I O N

A N D D E F I A N C E

U N T I T L E D N O . 4

1 9 9 8 - 9

S O C I A L N O R M S - M E N A B U S E P O W E R - A F T E R M A T H O F A B O R T I O N


C O N T A I N E R

1 : 200

WORKSHOP

CONTAINER

THE CONTAINER BRINGS A CINEMATRIC ELEMENT TO THE

DESIGN AS IT IS INSPIRED BY THE PORTUGESE MUSEUM

CALOUSTE GULBENKIAN. THE CONTAINER WILL DISPLAY

BARN

P L A N

C O N T A I N E R

1 : 100

FILMS TO KNOWLEDGE PEOPLE ON FEMINISM.


THE CIRCULATION STRATEGY FOR THIS SPACE IS AN REFURBISHMENT OF THE EXISTING HOUSE ATTIC. THIS ALLOWS US TO CREATE A

PATHWAY THROUGHN THE HOUSE AND ENTER THE CONTAINER ON THE BACK OF THE HOUSE.

STAGE 1

STAGE 2 STAGE 3

C O N T A I N E R

A W E A R N E S S

C O N T A I N E R

C I N E M A

1 : 200

G u l b e n k i a n G a r d e n

A D D R E S S I N G I S S U E S

THE ‘LATENT ECHOES’ VIDEO CYCLE PROPOSES A RE-READING OF A SET OF

VIDEOS FROM THE CAM COLLECTION, DEVELOPING A NARRATIVE AROUND

THE PROGRESSIVE DISAPPEARANCE OF HUMAN PRESENCE AND THE CO-

EXISTENCE OF THEIR VESTIGES WITH OTHER FORMS OF LIFE, CULMINAT-

ING IN DEMATERIALISATION AND SPATIAL ABSTRACTION. AN INEVITABLE

DISAPPEARANCE THAT IS AT ONCE BOTH DEATH AND TRANSFORMATION

– LIKE THE OUROBOROS, THE DRAGON-SNAKE CONSUMING ITS OWN

TAIL AND SYMBOLISING THE ETERNAL CYCLE OF RENEWAL OF LIFE. IN THIS

NARRATIVE WE HEAR ECHOES OF THE CONSTANT PASSAGE FROM ONE

FORM TO ANOTHER, ESTABLISHING, IN THE REPETITION, FOUR PARTS WE

CALL ‘BODY BODY BODY’, ‘PRESENCE PRESENCE PRESENCE’ ‘SUSPENSION

SUSPENSION SUSPENSION’, AND ‘THROBBING THROBBING THROBBING’.

THE FIRST CYCLE IS AN ENCOUNTER BETWEEN A BODY FROM THE FRONT

WHICH, IN A SELF-IMPOSED SILENCE, CHALLENGES THE THREE-DIMENSION-

ALITY OF THE SCREEN’S MEMBRANE, AND A BODY FROM BEHIND WHICH,

RHYTHMICALLY, EMITS SOUNDS AS IT IS HIT, RELEASING WHAT REMAINS OF

A PRESENCE, NOW REDUCED TO DUST PARTICLES SUSPENDED IN THE AIR.

IN THE SECOND PART, PRESENCE PRESENCE PRESENCE, WE ABANDON THE

MATERIALITY OF THE BODY TO ENTER ABANDONED AND ALTERED SPACES, IN-

HABITED BY THE REMAINS OF A PRESENCE.

PORTUGAL, LISBON

T A T E

R O O M 9

T H E T H E A T R E O

F L I F E

W A R

2 0 0 3

R E F U G E E S - D I C T A T O R S H I P - E X P E R I E N C E S O F W A R - S C U L P T U R E S

A P P L I C A T I O N S A N D P A P E R

THEATRE

BACKSTAGE


T H E A T R E

1 : 200

THE THEATRE IS A UNIQUE PERFORMANCE SPACE. WE ALL

KNOW REGO CREATED UNIQUE CREATURES SHE USED IN

HER ARTWORK. THESE CREATURES AND HUMAN LIKE FIGURES

WOULD BE PERFORMING AND ALLOWS THE AUDIENCE TO

P L A N

T H E A T R E

1 : 100

WATCH.


THE FORM WAS MOSTLY INSPIRED BY FEMINISM AND THE SPACE LAYOUT WAS CREATED TO ACCOMADATE COSTUME CHANGIN

ROOMS AND STILL BE ATTACHED TO THE EXISTING HOUSE TO CREATE A COMFORT FEEL BEHIND THE SCENES.


T H E A T R E

D R A M A

1 : 200

OUTER LAYER OF CONCRETE

INNER LAYER OF CONCRETE

CLOTH (WATER PROOF MEMBRANE)

STEEL NETTING

SPRAYED CONCRETE

TIGHTENING CLIPS TO KEEP CLOTH IN FORM

BEFORE THE SPRAYING PROCESS

(SCREWS ON MODEL)

FINAL FORM

T H E A T R E M O D E L

C O M P O S I T I O N


T H E A T R E F R A G M E N T

T A T E

R O O M 10

P O S S E S S I O N

P O S S E S S I O N

2 0 0 4

W O M A N S E X U A L I T Y - S A I N T S I N C A T H O L I C

W O M A N W I T H H Y S T E R Y A A N D P O S E S O F D E P R E S S I O N / T H E R A P Y -

W O M A N H Y S T E R Y A ( S E E N A S D E M O N I C P O S S E S S I O N )


T H E R A P Y

THE THERAPY ROOM IS CREATED TO ALLOW PEOPLE TO HAVE

A FEELING OF LOST AND LONELYNESS AS REGO SAID SHE

FELT THIS WAY FOR MOST OF HER LIFE. THIS EXPERIENCE WILL

ALLOW PEOPLE TO RELATE WITH REGO BUT MOST IMPOR-

TANTLY WITH ALOT OF WOMEN OUT THERE.

THERAPY ROOM

P L A N

T H E R A P Y R O O M

1 : 100


THE PADDED ROOM IS TO REPERSENT ALL THE TIME REGO SPENT IN THERAPY. THIS ROOM CAN GIVE YOU THE FEEL OF CLOSURE AND

IS CONSTRUCTED FULL WITHIN THE HOUSE AS AN EXTENTION.



N E V E R E N D I N G P A I N


T A L K I N G T O M Y S E L F

1 : 200

T A T E

R O O M 11

T H E P A I N O F

O T H E R S

C I R C U M C I S I O N

2 0 0 9

T R A F F I C K I N G W O M A N - P A I N S F R O M O T H E R S T O R I E S - P R O V O C A T I O N F O R A C T I O N A R T

R E L A T I O N S H I P B E T W E E N V I C T I M S / P E R P E T R A T O R S


S T O R I E S O F O T H E R S

A OUTDOOR SPACE THAT REPERSENTS OTHER WOMENS

STORIES OF OTHERS

P L A N


1 : 100

STORIES AND MEMORIES. OTHER WOMEN THAT JOIN THE

PERSPECTIVE OF REGO OR HAVE SUFFERED IN LIFE WOULD

HAVE THERE STORY TOLD THREW THE CONCRETE COLUMNS.


THE LAYOUT OF THE OUTDOOR SPACE IS TO CREATE A GRAND ENTERENCE BUT STILL ALLOWING PEOPLE TO CIRCULATE AROUND THE

AREA. GIVING THEM MULTIPLE PATHWAYS TO ACCESS ALLOWS A SMOOTHER CIRCULATION. THE CONCRETE COLUMNS WELCOME

PEOPLE WITH THE IDEA ALREADY LOUD AND CLEAR ABOUT FEMINISM.



T A L K I N G T O M Y S E L F

1 : 200

S P A I N

B A R C A L O N A

F L O R E S & P R A T S

S A L A B E C K E T T

T H E R E F U R B I S H M E N T

S A L A B E C K E T T

2 0 1 4

A N I M A L B E H A V I O U R

J O H N H E J D U K

JOHN HEJDUK SPENT HIS LIFE DEVELOPING A SET OF CHARACTERS. THE STORIES

THEY INHABITED ARE THE ELABORATE ARCHITECTURAL DRAWINGS HE CALLED

MASQUES, AFTER THE SIXTEENTH-CENTURY EUROPEAN TRADITION OF MASKED

CEREMONIAL DANCES IN THE ROYAL COURTS. HEJDUK’S MASQUES MOVED

FROM LANCASTER TO HANOVER TO BERLIN TO RIGA AND TO VLADIVOSTOK, BUT

THE STORIES THEY EMBODIED WERE NEVER EXACTLY TOLD. RESEMBLING A CROSS

BETWEEN A PLAYGROUND AND A CONCENTRATION CAMP, EACH DESIGN MAIN-

TAINED A SILENCE. BUT YOU COULD BEGIN TO IMAGINE THE TALES BEHIND THEM

IF YOU SAW YOURSELF IN ONE OF THE CHARACTER-BUILDINGS. THE PLAY WOULD

COME TO LIFE THE MOMENT PEOPLE ENTERED THE ANIMALISTIC/ANTHROPO-

MORPHIC STRUCTURES. THE ACTION WOULD BEGIN WHEN YOU FOUND YOUR-

J O H N H E J D U K

“V I C T I M S”

S U F Y A N M U Z A F F A R

“W I T N E S S”

SELF BEHIND THE MASK, INSIDE THE BUILDING.

G R O U N D L E V E L

F I R S T L E V E L

O V E R A L L

F L O O R A B S T R A C T I O N

1 : 500

THE ABSTRACT FLOOR PLAN SHOWS US THE OVERALL DESIGN

AND HOW EACH SPACE CONNECTS TOGETHER TO CREATE

A UNIQUE DESIGN CONCEPT. THE IDEA OF REUSING THE

EXISTING SPACE WHILE CREATING NEW REFURBISHMENTS, IT

CREATES AND EXTENTION TO WHAT ALREADY EXISTS AND A

REFURBISHMENT.

T H E V I S I T

T W O P O I N T P E R S P E C T I V E E L E V A T I O N

S L I C E T H R O U G H T H E C A N V A S

S E C T I O N

1 : 500

RIB-STIFFENED FUNICULAR SHELL STRUCTURE:

CONCRETE SANDWICH STRUCTURE, MADE OF

TWO THIN LAYERS OF REINFORCED CONCRETE

CONNECTED BY A GRID OF CONCRETE RIBS

AND STEEL ANCHORS.

1.

2.

3.

4.

1.

6.

5.

3.

4.

2.

1.

3.

2.

1.

5.

4.

7.

5. 6.

4.

3.

2.

1.

2.

1.Steel reinforcement

2. Steel plate botted into frame

1. Concrete reinforcement

2. Outer layer concrete - sprayed on cloth

3. Insulation - 70mm

4. Inner layer concrete - sprayed on cloth

1. Typical Portuguese Pile foundation system

2. Concrete beam cast over piles

3. 170 mm Mass slab floor

4. 200 mm Mortar cement

5. 260 mm Reinforced concrete bases

6. Fill of graded crushed aggregate

1. Stone Blockwork (with airgaps)

2. Subfloor - Concrete 150mm

3. Insulation - 100mm

4. Floor Screed - 50mm

5. Floor Finish - Tile Work 60mm

1. Gutter channel in copper

2. Terracotta tiles

3. Steel Wall Plate

4. Timber Buttons 105x80mm

5. Exposed Terracotta Tiles

6. Concrete Screed For Insulation 120mm

7. Timber Frame

Decorative metal pattern (Reference to Paula

Rego original house detailing and traditional

Portuguese balusters detailing)

40 mm Diameter

corner baluster

with detailing

C O N S T R U C T I O N

S T A I R A S S E M B L Y

1 : 100

THE ABSTRACT FLOOR PLAN SHOWS US THE OVERALL DESIGN

AND HOW EACH SPACE CONNECTS TOGETHER TO CREATE

A UNIQUE DESIGN CONCEPT. THE IDEA OF REUSING THE

EXISTING SPACE WHILE CREATING NEW REFURBISHMENTS, IT

CREATES AND EXTENTION TO WHAT ALREADY EXISTS AND A

REFURBISHMENT.

Thinset on

concrete deck

40 mm

Diameter

metal handrail

20 mm

Marble tread

30 mm

Thick screed

R.C.C.waist slab

Tread

nosing

Wrought iron

balustrade

(Reference to Paula

Rego original house

detailing and

traditional

Portuguese balusters

detailing)

Shoe Rail for

baluster/Metal cap

Structural columns for staircase

support (Design reference to

front entrance columns of Casa

Branca

Existing concrete

platform

Highly transparent single

glazing in the roof area

(ESG white glass with

anti-reflctive coating

1 : 10

Vertical I beam

Steel truss

Fixing steel plate bolted on the

primary structure


B A R N A S S E M B L Y

Structuraal glass 30 mm

Horizontal Galvanized

steel I beam 75x50mm

1 : 5

200/10mm steel flat


M U S E U M A S S E M B L Y

Air Gaps

Masonry Block Work 300mm

External Wall Finish 50mm

DPC

Internal Wall Finish 20mm

Insulation 100mm

Masonry Block Work 300mm

Barn

Internal Wall Finish 20mm

External Wall Finish 20mm


W O R K S H O P A S S E M B L Y

Tile Work - 60mm

Concrete - 300mm

T H E

P R O C E S S

B E F O R E

T H E

C A N V A S E S

T H E M O V I N G H O U S E

T H E F I R S T V I S I T

AFTER THE FILM, FOR ME A HEAVILY REALATED PART WAS THE HOUSING AND AS

MORE DISCOVERS WERE MADE THE MORE I FELT A CONNECT WITH THE SITE.

MODELING THE HOUSING AT FIRST GLANCE AND CONNECTING IT WITH PER-

SONAL MEMORIES STARTED TO REACTIVATE A NEW FRAGMENT FROM THE PAST

WITH A NEW EXPERIENCE FROM THE FUTURE. AS IT WAS THE FIRST TIME ON SITE,

REMEMBERING THE ARCHITECTURAL DETAILS IS QUITE DIFFICULT AS THE BRAIN

MOSTLY PROCESSES THE GEOMETRICAL FORMS WHICH ALLOWS YOU TO CRE-

ATE A BLURRED FIGURE, THIS IS MAINLY BECAUSE IT IS A NEW SPACE AND VERY

LESS TIME HAS BEEN SPENT WITHIN IT. THE LONGER OR MORE CONSISTENT TIME

SPENT IN A SPACE, THE MORE ACCURATELY THE BRAIN CAN PROCESS ITS MEMORY.

B U I L D I N G 1 1 1

C O N N E C T I O N

2:11 11:00 10:21 14:36 8:42 2:29

IN THE BEGINING A DETAIL ANALYSIS TAKES PLACE OF THE BUILDING 111 BY

FLORES I PRATS. A VIDEO FILMED A FEW YEARS AFTER THE CONSTRUCTION OF

THE BUILDING ALLOWS THE VIEWS TO SEE THE INTERACTION BETWEEN THE

USERS AND THERE DAILY ROUTINES. A BREAKDOWN ANALYSIS ALLOWS US TO SEE

HOW THE COMMUNITY COMMUNICATES FROM DIFFERENT LEVELS OF THE SITE.

BALCONIES THAT BECOME COMMUNICATION POINTS FOR THE USERS, WINDOWS,

HALLWAYS AND EVEN OPEN SPACE TAKE PART OF THIS PROCESS.

C O L L A G E

C O M P O S I T I O N

A COMPOSITION REPERSENTING THE COMMUNICATION POINTS

WITHIN THE BUILDING 111. MULTIPLE ACTIONS BEING TOOK IN A

SINGLE FRAME ALLOWING PEOPLE TO COMMUNICATE AND MUL-

TITASK AND A RANGE OF DIFFERENT LEVELS THROUGH OUT THE

BUILDING. THE ARCHITECTURE ALLOWS THE PEOPLE TO INTERRO-

GATE THE NEED OF HYBRID SPACES WITHIN LOCAL NEIGHBOUR-

HOOD. IT IDENTIFIES OPPORTUNITIES OF PRIVACY RESTRAINS AND

EXPENDITURE OF SOCIAL BARRIERS.

S

O F C O M M U N I T Y

P

E

C

T

R

Frame One Frame Two Frame Three

U

M

INSPIRING A PHYSICAL COLLAGE

FROM THE ARCHITECTURAL DETAILS

OF THE BUILDING 111, TAKING DE-

TAILS FROM THE BALCONY DESGIN,

WINDOWS DETAILS AND THE DIF-

FERENT LEVEL CHANGES THAT THE

USERS COMMUNICATE THROUGH.

ALLOWING TO CREATE A PERSPEEC-

TIVE THROUGH THE FRAMEWORK

TO CONNECT THE IMAGES WITH

EACH OTHER TO REPERSENT INTERE-

ACTION.

1:16 1:27 1:45 2:07 8:42

C O N N E C T I O N S

I T I N E R A R Y

LIKE MON ONCLE, A SIMILAR SEQUENCE IN THE BUILD-

ING 111 TAKES PLACE BUT THIS TIME IT IS THE JOURNEY OF

THE PLANT. A GUY BRINGS A NEW PLANT HOME FOR HIS

APARTMENT SO THE FILM CAPTURES HIS JOURNEY FROM

THE CAR ALL THE WAY TO HIS ROOM. THE BREAKDOWN

ANALYSIS CAPTURES HIS MOVEMENT THROUGH THE

BUILDING AND HOW HE GOES THROUGH THE DIFFERENT

LEVEL CHANGES THROUGH THE ARCHITECTURAL DETAIL.

B U I L D I N G 1 1 1

SUBURBS WHERE HIS SISTER MOVES TO

CAR DEALERSHIP SHOWS THE SUBURB MAN BUYING A NEW CAR FORR HIMSELF

OPEN MARKET SPACE WHERE WE GET TO SEE MOST OF THE COMMUNITY

10:49 11:01 11:07 11:17 11:26 11:33 11:43

T H E W A L K

J O U R N EY

THE FRENCH FILMMAKER JAQUES TATI CREATED A MOVIE

IN 1958 CALLED THE MON ONCLE. A MOVIE WHICH

PLAYS IN TWO DIFFERENT ENVIROMENTS THE SUBURBS

AND THE MORER GRIMY AREA OF THE CITY. AN ANALY-

SIS ON THIS MOVIE TO ABSTRACT THIS SPECIFIC SCENE,

THE GUY ACCEESS THE BUILDING AND GOING INTO

HIS APARTMENT. THIS SCENE WAS SHOT IN AN ELEVA-

TION VIEW, ALLOWING THE VIEWERS TO SEE HOW HE

JOURNEYS THROUGH THE BUILDING BY SHOWING US

GLIMPS OF HIM THROUGH THE ARCHITECTURAL DETAIL.

NAVIGATING A BUILDING CAN BECOME A DAILY RITUAL

THAT STIMULATES OUR MEMORY TO BE SHARPER, CLEARER

AND PRECISE.

M O N O N C L E

R E M I N I S C E

REMEMBER. STORE. REVISIT. CONNECT.

S

U

R

13:01 22:44 24:55 1:49:47

R

PERSONAL MEMORIES CAN BE TRIGGED BY MANY ASPECTS IN LIFE.

THE ANALYSIS OF THESE FILMS LED TO MY OWN PERSONAL MEM-

ORIES THROUGH TIME WHICH STARTED TO CREATE INFULENCE ON

THE TASKS AHEAD. A CLASH BETWEEN MEMORY AND EXPERIENCE

CAN LEAD TO CONCEPTUAL IMAGINATION, CREATING THE UNRE-

AL. SPACE CAN BE REIMAGINED OR RECREATED BY THE SHADOW

OF TIME.

THE STUDIES SHOW THAT WHILE THERE IS A MAIN JOURNEY WITHIN THESE

FILMS THERE IS ALSO A MASSIVE MULTIFUNTIONAL WORLD SURROUND-

ING THEM. IT CAN BE THE CONTEXT OF THE HIGHLIGHTED DETAIL OR IN

SOME CASES BE APART OF THE DETAIL. A LOT OF TIMES THESE DETAILS CAN

BE A BLUR BUT ITS IMPORTANT TO SEE THE SURROUNDINGS TO CREATE A

SEQUENCE IN THE MOMENT.

O

U

N

D

I

N

G

S E Q U E N C E S

ARCH ( BUILDING 111 )

UNDERPASS ELEMENTS REP-

ERSENTED IN THE BUILDING

111

ELEVATOR ( BUILDING 111 )

FACADE DETAIL OF WINDOW FRAMES CAP-

TURED ALONGSIDE FROSTED GLASS DETAIL

THAT APPEARS ON THE EXTERIOR FACADE

WITH THE STAIRCASE

MAIN STAIRCASE

( MEMORY )

FRONT MAIN ENTERENCE

STAIRCASE, SOCIALISING AND OFF TIME SPENT

BOTTOM OF THE STAIRCASE

WINDOW ( MEMORY )

FRAGMENT OF A WINDOW

FRAME FROM OWN APART-

MENT.

MIX FRAGMENT ( BUILDING 111 &

MEMORY )

COURTYARD ELEMENTS REPERSENTED IN THE BUILDING 111 &

ELEMENTS OF GROUND LEVEL SPACE FROM OWN MEMORY

ARCHWAY

( MEMORY )

A MAJOR ARCHWAY ON BOTH SIDE OF THE

BUILDING ALLOWING PEOPLE TO USE THE

PASSAGE HEADING TOWARDS THE ENTER-

ENCE.

E L E M E N T

C A S T

ELEMENTS OF THE BUILDING 111 AND MY PERSONAL EXPERIENCE FROM LIVING

IN AN APARTMENT HAVE BEEN EXTRACTED FROM MY PAST AND THE BUILDING 111

SHORT VIDEO DOCUMENTARY RECORDED BY THE ARCHITECTS. THE IDEA HAS BEEN

INSPIRED BY J A Q U E S T A T I - M O N O N C L E. A CONCEPT TO CREATE MULTIPLE

LOST FRAGMENTS

( BUILDING 111 & MEMORY )

FRAGMENTS THAT ARE LOST IN MEM-

ORY THROUGHOUT TIME

ELEVATORS ( MEMORY )

TWO ELEVATORS SIDE BY SIDE EACH OTHER ON THE OTHER

SIDE OF THE BUILDING ALLOWING A MORE USER FRENDLY

SPACIAL AREA BY GIVING MULTIPLE ACCESS POINTS.

LOST FRAGMENTS ( BUILDING 111 &

MEMORY )

FRAGMENTS THAT ARE LOST IN MEMO-

RY THROUGHOUT TIME

SENARIOS WITHIN A SHORT PERIOD OF TIME AND FRAME SEQUENCES. IT STARTS

TO GATHER A LOT OF IMFORMATION WITHIN A SINGLE FRAME SHOT. THERE ARE

ALSO ELEMENTS WITHIN THE MODELED DETAIL THAT ARE MIX FRAGMENTS WHICH

ALLOWS US TO UNDERSTAND A COMBINATION OF THE BUILDING 111 AND MY

OWN MEMORY BUT THROUGHOUT TIME THERE ARE MEMORIES THAT BECOME

UNCLEAR AND LOSES ITS INICIAL ESSENCE, REPERSENTED AS LOST FRAGMENTS.

ELEVATOR ( MEMORY )

ELEVATOR CONNECTING

16 FLOORS IN MY OWN

APARTMENT MEMORY

FLOOR PLAN ( MEMORY )

LAYOUT AND CIRCULATION

OF MY OWN APARTMENT

MIX FRAGMENT

(BUILDING 111 &

MEMORY)

A COMBINATION OF THE BUILD-

ING 111 FACADE DETAILS AND

HOLLOW CUT PIECES THROUGH-

OUT THE BUILDING ALONGSIDE

OWN MEMORY OF COURTYADS

LOST FRAGMENTS

( BUILDING 111

& MEMORY )

MIX FRAGMENT

( BUILDING 111 &

MEMORY )

FRAGMENTS THAT

ARE LOST IN MEMORY

THROUGHOUT TIME

ELEMENT OF MY OWN AND BUILD-

ING 111 MEMORY THAT REPERENTS

A KEY PIECE OF ACCESS TO BOTH.

C O N T E X T O F F R A G M E N T S

A B S T R A C T I N G

EACH FRAGMENT COMES FROM ITS OWN HERITIGE. THE BUILDING 111 FRAG-

MENTS ARE EXTRACTED FROM THE SKIN OIF THE ARCHITECTURAL COMPUSITION

WHILE THE MEMORY IS PIECES OF TISSUE FROM MY PERSONAL PAST.

V A R I A T I O N S

I N D I V I D U A L S T O R I E S

A REARANGBLE CONCEPT THAT CAN BE PUT TOGETHER DEPENDING ON A

MEMORY OF A PERSON. IF A PERSON HAS MEMORIES OF THEMSELVES IN A APART-

MENT BUILDING, THE MODELS FLEXIBILITY SHOULD ALLOW THEM TO DEMON-

STRATE THAT ARCHITECTURAL ELEMENTS FROM THERE PAST USING ALL PIECES. THIS

PROCESS CAN BE DONE QUITE FREELY AS NOT ALL PIECES MAY RELATE TO EVERY-

ONE. IF PIECES DO NOT FIT INTO A PERSONS PAST THEN IT IS NOT COMPULSORY

FOR THEM TO USE ALL PIECES. THIS ALLOWS THE CONCEPT TO NOT HAVE ONE

SPECIFIC IDENTITY AND CAN CREATE A CONNECTION WITH WHO EVER IT INTER-

ACTS WITH IT..

R R

R

IN THE PROCESS OF CREATING A VARIATION OF THE TOWER, THERE IS ALWAYS AN OP-

PORTUNITY FOR A NEW ‘CHANCE’ THAT CAN ALLOWS YOU TO SWAP A PIECE THAT YOU

MAYBE ALREADY HAVE PUT DOWN. THIS IS A POSSIBILITY MID ‘ACTION’ WHILE YOU ARE

TRYING TO CONFIGURE. LAST BUT NOT LEAST WHILE WE ARE IN THE PROCESS THERE IS

SPACE FOR ERROR AND THAT IS PLACING A PIECE WHERE IT DOES NOT FEEL LIKE IT BE-

LONGS AS SOMETIMES A SPACE CAN BE CREATED BUT DOES NOT FEEL RIGHT.

DELICATE ARCHITECTURAL DETAILS BEING

ADDED WHICH ARE THE ONES THAT ALWAYS

HOLD THE MOST EMOTIONAL CONNECTION

WITH A PERSON. THE ALLOCATION OF THESE

DETAILS CAN BE CHOSEN BY THE INDIVIDUAL.

NOT ALL PEICES HAVE TO BE USED AS

LONG AS THE INDIVIDUAL FEELS THAT

WHAT HE REMEMBERS IS WHAT

HES EXPERIENCING THROUGH THE

FRAGMENTS THE THATS WHEN YOU

KNOW YOU HAVE SOMETHING

SPECIAL.

PLACEMENT OF PICES CAN START FROM DIF-

FERENT ORDERS, IN THIS ORDER I PLACE THE

BUILDING 111 FRAGMENT FIRST TO REPERSENT

THE UNDERPASS.

SURROUNDING THE BUILDING 111 WITH

THE MEMORIES FROM MY PAST STARTS

TO CREATE A FORM THROUGH TIME. THE

TWO ALMOST START TO BECOME ONE.

C H A N C E

A C T I O N

E

O

CREATING SEQUENCES THAT START TO BRING THE FRAGMENTS TO LIFE, THE

STRUCTURED FRAGMENTS START TO SHOW MOVEMENT AND EVENTS THAT OC-

CUR IN TWO DIFFERENT LIFE TIMES. ONE BEING MY MEMORY AND THE OTHER

ONE BEING THE BUILDING 111.

THE AUDIO OVERLAP FROM JAQUES TATI - MON ONCLE HELPS US TO CREATE THE ENVIROMENT OF THE SCENE TO MAKE IT FEEL LIKE HOME.

THE OVERLAYS START TO CREATE A LIVING ENVIROMENT, IT SHOWS THE INDIVIDUALITY OF THE TWO DIFFERENT TIMES BUT ALSO SHOWS A

HYBRID SPACE OF THEM COMBINED.

UNREAL. IMAGINATION. REINVENTION. NEW. ARCHITECTURE.

CREATING HYBRID PIECES THAT ALLOW US TO SEE THE

COMBINATION BETWEEN EXPERIENCE AND MEMO-

RY. IN THIS CASE THE HYBRID INVENTION IS DEMON-

STRATING THE BUILDING 111 AND MY OWN MEMORY

TOGETHER TO CREATE A NEW SPACE. THIS ALLOWS US

TO CREATE VERIOUS AND MULTI SPACES COMBINING

H Y B R I D I N F U S I O N

EXPERIENCE AND MEMORY TOGETHER, REACHING A

STAGE OF REDESIGNING TO A MUCH LARGER SCALE.

THERE ARE TWO WORLD. THE ONE EX-

ISTS AND IS NEVER TALKED ABOUT: IT

IS CALLED THE REAL WORLD BECAUSE

THERE IS NO NEED TO TALK ABOUT IT

IN ORDER TO SEE IT. THE OTHER IS THE

WORLD ART: ONE MUST TALK ABOUT

THAT BECAUSE OTHERWISE IT WOULD

NOT EXIST.

LUIS JORGE BORGES

PLAN. SET. WRITE. ACT. EXECUTE.

S

T

A SWITCH BETWEEN THE PER-

SPECTIVE TO GIVE A VIEW TO

O

THE SCENE THAT IS NOT POR-

TRAYED BY THE MEDIA. SIMUL-

A TRAVERSAL JOURNEY THAT

A COUNTINUOUS JOURNEY

WITHIN THE SITE TO CAPTURE

PASSING THROUGH KEY AR-

DARK GRIMMY ALLYWAY THAT

CAPTURES HOODIED MAN TO

STARTING SCENE ON THE

TANEOUSLY PLAYING WITH

ALLOWS US TO SHOW MOVE-

SURROUDING

ATMOSPHERE,

EAS OF THE SITE, CAPTURING

CREATE A COMMON NEGA-

R

STAIRCASE GIVING A PERSPEC-

TIVE FROM THE MEDIA POINT

MEMORY AS WE REMEMBER

SIMILAR MOMENTS FROM

MENT THROUGH THE SITE,

RECREATING CHILDHOOD IN-

ALLOWING US TO CREATE

MORE OF A FILM THEN INDI-

ARCHITECTURAL DETAILS AND

SYMBOLIC SITE ELEMENTS THAT

TIVE PERSPECTIVE SHOWN BY

THE

Y

OF VIEW.

OUR PAST

CIDENTS.

VIDUAL SHOTS.

ARE EASILY RECOGNISABLE.

MEDIA,

B

O

CINEMATIC INTRO TO SHOW

SITE CONTEXT AND

ARCHITECTURAL DETAIL.

A

TRAVERSAL SHOT THAT ALLWOS

NEGATIVE SCENE ON THE

TOP OF THE ZIG ZAG STAIRS

THE SWITHC IN BETWEEN IS

DISPLAYING HOW WE CAN

MEMORY CAN BE CONNECT-

ED WITH FRAGMENTS OF THE

AN OUTRO TO THE FILM TO

ALLOW US TO SAY OUR JUSTIFI-

R

SWITCHING THIS PERSEPC-

TIVE TO A MORE POSITIVE SIDE

US TO CAPTURE FRAGMENTS

OF MEMORY THAT WE RECALL

THAT RECALLS A PAST TIME BUT

ALSO SHOWS THE PERSPEC-

NOT JUDGE BY WHAT WE SEE

BUT IT SHOULD BE WHAT WE

PAST WITH TEMPORARY EXPE-

RIENCES THAT ARE IN THE FU-

CATION BUT TO ALSO LEAVE A

QUESTION FOR THE VIEWS TO

OF THINGS TO SHOW GREAT

TOGETHER. IT IS ALSO CAPTUR-

TIVE OF THE PEOPLE ABOUT

KNOW. IF MEDIA IS POTRAY-

TURE. WE CONNECT THE TWO

WONDER. THE QUESTION WILL

D

MOMENTS IN TIME AND ALSO

POSITIVE PERSPECTIVE THAT IS

ING MOVEMENT THROUGH

SPACE TO ALMOST REPLY THE

THE CHARACHTERS WHO ARE

SHOWN IN THIS SITE IN A

ING SOMETHING NEGATIVE

IT IS NOT ALWAYS WHAT IT

TO SHOW HOW WE RECALL

LITTLE TIME PERIODS FROM THE

CREATE MORE PERSPECTIVES

AND TAUGHTS FOR THE VIEWS

HARDLY SHOWN.

FRAGMENTS IN A NEW SPACE

GRIMMY WAY.

SEEMS.

PAST.

TO THINK ABOUT.

T R A V E R S A L

M A P P I N G

ZONE 2

ZONE 3

A BREAKDOWN OF THE JOURNEY THAT TOOK

PLACE WHEN FILMING WAS IN PRODUC-

TION. THE SCENES WERE RECORDED WITHIN

THE THREE ZONES,, EACH ZONEE PLAYS OUT

ONE BY ONE FROM ZONE 1 TO ZONE 3. THE

MIDDLE GROUND OF THOSE ZONES IS THE

TRAVERSAL SCENES THAT WERE RECORDED. THE

TRAVERSAL GOES THROUGH ALL THE ZONES

AND REACHES AN END POINT. YOU CAN ALSO

SEE THE CAMERA ANGLE AND POSITIONING

WHICH ALLOWS YOU TO UNDERSTAND THE

TYPE OF SCENE WE AS PRODUCERS WERE

TRYING TO CAPTURE FOR THE FILM.

IN (FIG.1) WE CAN SEE THE MORE CLOSE UP

MAP OF THE OUTRO SCENE WHICH WAS SET

OUTSIDE THE ORIGINAL SITE LOCATION. SHOT

IN BIRMINGHAM DIGBETH, IT CAME TO THE

CONCLUSION THAT WE NEEDED TO RAISE A

QUESTION FROM OUR OUTRO OF THE FILM.

SO WE DECIDED THAT IT SHOULD BE AWAY

FROM THE LOCATION TO CREATE A MORE OF

AN ENDING SCENE, IT GIVES THE EFFECT OF

‘LIFE AFTER THE FILM’. THIS ALLOWED US TO

CREATE A QUESTIONABLE CLIP BY SETTING

IT UP IN THE MIDDLE OF THE ROAD TO GIVE

VIEWERS THE FEEL OF ‘EMPTYNESS’.

ZONE 1

OUTRO

JOURNEY

CAMERA POSITIONS

FIG.1

CAMERA/POSTION

T H E M O V I N G H O U S E

T H E F I R S T V I S I T

AFTER THE FILM, FOR ME A HEAVILY REALATED PART WAS THE HOUSING AND AS

MORE DISCOVERS WERE MADE THE MORE I FELT A CONNECT WITH THE SITE.

MODELING THE HOUSING AT FIRST GLANCE AND CONNECTING IT WITH PER-

SONAL MEMORIES STARTED TO REACTIVATE A NEW FRAGMENT FROM THE PAST

WITH A NEW EXPERIENCE FROM THE FUTURE. AS IT WAS THE FIRST TIME ON SITE,

REMEMBERING THE ARCHITECTURAL DETAILS IS QUITE DIFFICULT AS THE BRAIN

MOSTLY PROCESSES THE GEOMETRICAL FORMS WHICH ALLOWS YOU TO CRE-

ATE A BLURRED FIGURE, THIS IS MAINLY BECAUSE IT IS A NEW SPACE AND VERY

LESS TIME HAS BEEN SPENT WITHIN IT. THE LONGER OR MORE CONSISTENT TIME

SPENT IN A SPACE, THE MORE ACCURATELY THE BRAIN CAN PROCESS ITS MEMORY.

Front Porch

(Memory)

Fragment of a front of

house area frame from

own house.

Mix Fragment

(Lambeth

& Memory)

Split between the houses

(Lambeth &

my neighbours)

Mix Fragment

(Lambeth

& Memory)

A blur of a room

layout

Layout

(Lambeth)

A blur of a

external space

Layout

(Lambeth)

Facade wall

Perimeter

Wall

(Memory)

End of porch area

Wall

(Memory)

As kids we use to

play football with

a wall

sticking out

2nd Floor

(Lambeth)

A added level to the

house

Columns

(Memory)

Brutal

concrete

columns supporting

the house

Staircase

(Lambeth)

Multiple

Staircases in the housing

state for predestrian

access

Staircase

(Lambeth

& Memory)

Housing space that sits within an

open external space

A S S E M B L Y O F M E M O R Y

F O R E V E R Y O N E S T A U G H T S

MEMORY AT FIRST VISIT CAN BE VERY FADED AND BLURRY WHEN YOU TRY TO RECREATE IT. WE

REMEMBER ELEMENTS AS GEOMATRICAL FORMS, TAKING THE HOUSING FORMS AND MY MEM-

ORY WE CREATE A MOVING HOUSE. ALLOWING US TO CREATE DIFFERNT VARIATIONS OF FORMS,

FOR SOME WE REMEMBER THE FORM OF OUR ROOM, THE OPEN SPACE OUTSIDE, THE BALCONY,

SURROUNDING CLOSED SPACES, FENCES AND TO SOME EXTENT THE LAYOUT OF OUR NEIGH-

BOURS. YOU CAN MAKE IT A ATTACHED HOUSE, SEMI DETACHED OR DETACHED DEPENDING ON

HOW YOU REMEMBER IT.

T H E A R C H I T E C T U R A L R E V I E W

W A L T E R B E N J A M I N

IN HIS THEORY OF THE AVANT-GARDE (1984), ART THEORIST PETER BÜRG-

ER DEFINES BENJAMIN’S UNDERSTANDING OF ALLEGORY AS A FOUR-PART

SCHEMA THAT INVOLVES: FIRST, THE ISOLATION AND REMOVAL OF A FRAG-

MENT FROM ITS CONTEXT; SECOND, THE COMBINATION OF FRAGMENTS

TO CREATE NEW MEANINGS; THIRD, THE INTERPRETATION OF THE ALLEGO-

RIST’S GAZE AS MELANCHOLIC – AS ONE THAT DRAWS ‘LIFE’ OUT OF THE

OBJECTS ASSEMBLED; AND FINALLY, AN UNDERSTANDING OF ALLEGORY AS

A REPRESENTATION OF HISTORY IN DECLINE RATHER THAN PROGRESS.

A R C H I T E C T U R E A ND F E M I N I S M

D E B R A C O L E M A N , E L I Z A B E T H D A N Z E

A N D C A R O L H E N D E R S O N

THE BOOK DELVES INTO THE INTERSECTION OF ARCHITECTURE AND FEMI-

NISM, EXAMINING HOW GENDER INFLUENCES THE THEORY, PRACTICE, AND

DISCOURSE OF ARCHITECTURE.

IN “ARCHITECTURE AND FEMINISM,” THE EDITORS AND CONTRIBUTORS EX-

PLORE VARIOUS ASPECTS OF FEMINIST THEORY AND ITS APPLICATION WITHIN

THE FIELD OF ARCHITECTURE. THE BOOK ADDRESSES TOPICS SUCH AS GENDER

REPRESENTATION IN ARCHITECTURAL HISTORY, THE IMPACT OF GENDER ON

DESIGN METHODOLOGIES, FEMINIST CRITIQUES OF THE BUILT ENVIRONMENT,

AND THE EXPERIENCES OF WOMEN IN ARCHITECTURE. THE BOOK FEATURES

ESSAYS AND CASE STUDIES FROM SCHOLARS, ARCHITECTS, AND CRITICS WHO

OFFER DIVERSE PERSPECTIVES ON THE RELATIONSHIP BETWEEN ARCHITECTURE

AND FEMINISM. IT EXAMINES HOW FEMINIST THEORIES AND CONCEPTS, SUCH

AS EMBODIMENT, IDENTITY, AND POWER DYNAMICS, SHAPE ARCHITECTURAL

DISCOURSE AND PRACTICE.

N E G O T I A T I N G D O M E S T I C I T Y

H I L D E H E Y N E N A N D G U L S U M B A Y D A R

THE AUTHORS ANALYZE VARIOUS CASE STUDIES AND ARCHITECTURAL EXAM-

PLES TO INVESTIGATE HOW ARCHITECTURAL DECISIONS AND SPATIAL CON-

FIGURATIONS CAN REINFORCE OR CHALLENGE TRADITIONAL NOTIONS OF

DOMESTICITY.

THE BOOK EXPLORES HOW DOMESTIC SPACES HAVE HISTORICALLY BEEN ASSO-

CIATED WITH FEMININITY AND THE PRIVATE SPHERE, AND HOW THESE ASSOCIA-

TIONS HAVE INFLUENCED THE DESIGN AND USE OF DOMESTIC ARCHITECTURE.

IT ALSO DISCUSSES THE IMPACT OF MODERNIZATION AND URBANIZATION ON

DOMESTIC SPACES AND THE WAYS IN WHICH THESE CHANGES HAVE AFFECTED

GENDER DYNAMICS. HEYNEN AND BAYDAR CRITICALLY ENGAGE WITH FEMI-

NIST THEORIES AND METHODOLOGIES TO EXPLORE HOW ARCHITECTURE CAN

CONTRIBUTE TO THE PRODUCTION AND REPRODUCTION OF GENDER NORMS.

THEY ADDRESS ISSUES OF PRIVACY, INTIMACY, POWER RELATIONS, AND SOCIAL

HIERARCHIES WITHIN THE DOMESTIC REALM.

Mon Oncle (2022) Wikipedia. Wikimedia Foundation. Available at: https://en.wikipedia.org/wiki/Mon_Oncle

(Accessed: December 5, 2022).

B I B L I O G R A P H Y

Building 111 Flores I Prats (no date) Flores i Prats. Available at: https://floresprats.com/

archive/edificio-111/ (Accessed: December 5, 2022).

Jorge Luis Borges (no date) Poetry Foundation. Poetry Foundation. Available at: https://

www.poetryfoundation.org/poets/jorge-luis-borges (Accessed: December 5, 2022).

Thinking, sensing & behaving - brainfacts (no date). Available at: https://www.brainfacts.org/Thinking-Sensing-and-Behaving

(Accessed: December 5, 2022).

Facts and figures (no date) Lambeth Council. Available at: https://beta.lambeth.gov.uk/

your-community/facts-figures (Accessed: December 5, 2022).

How are memories formed? (2018) Queensland Brain Institute - University of Queensland.

Available at: https://qbi.uq.edu.au/brain-basics/memory/how-are-memories-formed#:~:text=The%20brain%20simmers%20with%20activity,strength%20of%20

connections%20between%20neurons. (Accessed: December 5, 2022).

Concrete works (no date) David Umemoto. Available at: https://davidumemoto.com/

concrete-works (Accessed: December 5, 2022).

Zannori, J. (2013) Randy Grskovic / distortion of the past, the distortion of memories,

Social Design Magazine. Available at: https://en.socialdesignmagazine.com/mag/

visual/randy-grskovic-distortion-of-the-past-la-distorsione-delle-memorie/ (Accessed:

December 5, 2022).

Coleman, Debra, Elizabeth Danze, and Carol Henderson. Architecture

and Feminism. New York: Princeton Architectural Press, 1996. Print.

Heynen, Hilde, and Gülsüm Baydar. Negotiating Domesticity: Spatial Productions

of Gender in Modern Architecture. Florence: Routledge, 2005. Web.

Ahrentzen, Sherry. “The Space Between the Studs: Feminism and Architecture.” Signs: Journal

of Women in Culture and Society 29.1 (2003): 179–206. Web.

AN ARCHITECT DESIGNS FOR OTHERS TO LIVE, BUT

AN ARTIST PAINTS TO KEEP HERSELF ALIVE.

SUFYAN MUZAFFAR

Sufyan Muzaffar Thesis Book

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