Landscapes of Transformation
by
Emily Ambs
B.A. Design in Architecture
University of Florida, 2004
SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF ARCHITECTURE
AT THE
MASSACHUSETTS INSTITUTE OF TECHNOLOGY
FEBRUARY 2007
@2007 Emily Ambs. All Rights Reserved
The author hereby grants to MIT permission
to reproduce and to distribute publicly paper and electronic
copies of the thesis document in whole or in part
in any medium now known or hereafter created.
M
AC
HUSMTS TTE-TI
OF TECHLCGV
I UBRARIES~O
FB 2N R2007ROTCH
AuthorEmily Ambs
Department of Architecture
January 18th, 2007
Certified by:
Mark Goulthorpe
Associate Professor of Architecture
Thesis Supervisor
Accepted by: -
Yung Ho Chang
Professor of Architecture
Chair, Department Committee on Graduate Students
Committee of Advisors
Mark Gouthorpe
Associate Professor
Meejin Yoon
Associate Professor
Saeed Arida
PhD Candidate: Design and Computation
Neri Oxman
PhD Candidate: Design and Computation
4
Landscapes of Transformation
Emily Ambs
Submitted To The Department of Architecture
on January 18, 2007 In Partial Fulfillment of The Requirements
For The Degree of Master of Architecture
ABSTRACT
This thesis aims to examine the cultural effect of transformation through the lens of procedural
techniques applied to the human body and architecture. The body and architecture both operate as
landscapes of transformation. Technological advancement has increasingly enabled cosmetic surgery and contemporary architectural techniques to encourage a cultural aesthetic of transformation.
Inboth the human body and architecture, transformation offers a physical and psychological effect.
As a cultural enterprise, how can architecture both benefit and contribute by engaging the cultural
caprice of transformation?
How can architectural procedural techniques define an urban project which engages the consumption
of transformation?
This thesis proposes a response to the cultural effect of transformation and is developed through the
architectural process of testing procedural techniques. The thesis also responds to the notion of gradient as a residual witness of transformation, revealing the techniques by which the transformation
was brought about. The first part of this thesis engages the idea that the human body isa landscape
of transformation as cosmetic procedures continue to redefine the operation of its interiority. The
second part of the thesis presents Central Park as amechanical artifice and an operative site for the
procedural techniques of transformation.
Thesis Supervisor: Mark Goulthorpe
Associate Professor of Architecture
6
Acknowledgements
Thank you:
Mark Goulthorpe, for the unrestrained intensity of your intellect. Meejin Yoon, for the acutely
incisive critique. Saeed Arida, for your patience for precision and your generosity. Neri Oxman, for your wildly enthusiastic creativity. Jeff Anderson. Becca Edson, and Louie Paparella
for the continuous support and advice. Suzan Ambs, to whom I dedicate my every accomplishment, for the opportunity.
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1.DEGREES
OF INTERIORITY
Background
11
Deconstructing Cosmetic Procedure
14
Site
25
Formal Studies
27
2. FINDING TECHNIQUE
Fields of Absorb ti on: Procedural Studies
33
Project Images
46
Conclusions
59
10
Background: Transformation as Commodity
Consumerist society and the evolution of the city seem to have emerged hand-in-hand sometime
around the 16th century: the city and consumer ethic acting as catalysts for each other. As the 18th
century world of goods expanded, social competition increased and generated a hierarchical society
structured upon the power to consume. Consumers became targets and commodities were positioned to influence their desires and define their preferences. Consequent products of this period
such as new building forms and home furnishings began to transform social interaction, resulting in
anew sense of privacy. By the mid-19th century new material goods, technology, and mass production further increased the proliferation of objects. At the Paris Exposition of 1900 merchandising
sought to appeal to the fantasies of the consumer. Modernity saw the shift incommodity consumption from use value to exchange value.
Modes of commodity consumption are implicitly infrastructural components of desire and of the city.
Glamorization of capitalism inthe city celebrates and encourages consumer culture inits space and
surfaces. Architecture has become a device for considering the glamorization of consumption, as a
means of satisfying desire. Cities encourage the buying of an ideology of consumption not just commodities themselves, arguing for consumption as something refined and fashionable.
New spaces of consumerism, arcades, boulevards, and department stores defined the urban condition of consumer culture. People are now able to physically, literally embody the commodity by the
transformation of themselves through cosmetic procedures.
Catering to the culture of the commodity should not necessitate abandoning the greater values of
architectural practice, namely invention, innovation, space-making and material use. Optimization and
development inthe practice of architecture mandates a hyper-abundance of new ideas. This relies
on individual, original contribution. When an architectural fad emerges, acertain popular image is
established. The consequent burden on architects isto produce more dazzling spectacles to evade
inferiority. Invention isforsaken for the contrivance of similitude, to be more comparable to something to compete with it. This inferiority complex is what stimulates the popularity of images. The
consequence is amore universal, objective culture. Transformation allows conformity.
By offering the human body as an example, the thesis aims to deconstruct the cultural effect of transformation.
Flayed Man Holding a Dagger and His Skin
Jaun Valverde de Amusco, Anatomia del corpo Humano, 1560
12
Revealing the Act of the Artifice
This thesis aims to examine the cultural effect of transformation through the lens of procedural
techniques applied to the human body and architecture. The body and architecture both operate as
landscapes of transformation. Technological advancement has increasingly enabled cosmetic surgery and contemporary architectural techniques to encourage a cultural aesthetic of transformation.
Inboth the human body and architecture, transformation offers aphysical and psychological effect.
Taking inspiration from Jaun Valverde's Flayed Man, the thesis asks:
How can architecture reveal its skin and dagger? How can the artifice be experienced while revealing
itself?
The cultural enterprise of architecture is undergoing atransformation as it isincreasingly called upon
to be a social intensifier. Architecture and the human body are called upon to perform differently as
developing digital and surgical techniques permit. This isthe cultural aesthetic of seduction enabled
by transformation. There isa perversity inthe degree to which new technique enables capriciousness.
The thesis attempts to analyze strategies of transformation and develop procedural effects to generate an architecture which reveal its artifice. While a surgeon is given a condition to reconstruct, the
architect isresponsible for construction through his own process.
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The Taxonomy of Transformations
This Matrix is constructed as a means of finding relationships between
procedure types. Categorized by operative site (body part), the procedures are evaluated interms of their effect on the body, their duration, and
the spatial conditions inwhich they are performed. Most importantly, the
matrix attempts to define the degree to which each procedure affects the
interior of the body. Interiority must inherently be defined by some datum.
Inthis case the datum isthe skin. Rather than a boundary, THE SKIN ISA
RECONFIGURABLE FIELD OF TRANSFORMATION and adatum that isable to
continually able to be redefined by the procedural effect. Each procedure
is classified as follows:
0
plastic: re-forming
implantation: insertion/ embedding
excision: removal
0 superficial: non-invasive/ topical
spatial conditions
information taken from
The American Society of Plastic Surgeons
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The Matrix Mapped as Experience
Also catalogued by the matrix are procedure duration, anesthesia type, pain intensity, asepticism level,
and room type. These are mapped out over time (above) to understand the intensity of the conditions
of each procedure. Relationships between conditions begin to emerge. For example, procedures requiring more asepticism tend to be longer induration and more painful. These relationships begin to
suggest the codependencies between the experiential conditions of a procedure and the degree with
which itviolates the interiority of the body. Programmatic components can be defined by the intensity
of interiority of the procedure.
The intention of the program isto offer physical transformation as aseries of procedures. The diagram
on the right suggests hypothetical clients and asample procedure series mapped over time.
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Reorganizing Interiority
The nature of the cosmetic procedures suggests that the skin is alandscape of transformation.
Rather than operating simply as acontainer for the interior of the body, the skin isatransformable
datum that can continually redefine interiority. The diagram (above) groups the four types of procedures according to their interiority. Ineffect, these groups define three types of programmatic
elements, the procedural spaces.
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Cosmetic procedures can be conventionally distinguished as either invasive, non-invasive, or topical.
The diagram on the left examines 3 types of conventional program organization to determine the
spacial interiority of the procedure rooms with relationship to its support space. The plan diagrams
(from left) refer to a surgery department, a physician office, and a salon. The more invasive procedures require more space and more support function.
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M
Central Park: Illustration of the Greensward Plan, 1858
http://www.greenswardparks.org/maps/centralparknew.html
Central Park: The Mechanical Artifice
Central Park was designed to be a landscape of desire, selling an image of naturalness, cleanliness,
and escape. As the landscape of downtown Manhattan became increasingly industrialized, the
social elite migrated north. They desired the society of city life without the filth and traffic of the city.
Frederick Law Olmstead was appointed superintendent of Central Park in1850. He also entered
the design competition despite his lack of experience. His intention was to create apark that would
refresh and renew the whole person: mind, body and soul. Over the following 17 years, the natural
landscape was destroyed and recreated. Drainage systems were laid underground. The simulation
of naturalness was created above. Ultimately, Central Park operates as an artifice inthe fabric of the
city, providing only the image of naturalness (Reed, 63).
Central Park has come about through the implementation of false naturalness. Inthis zone of artifice,
mechanisms of exposure and concealment are constantly at play. Much of the park's landscape is
under the cover of trees, producing a disorientation that the grid does not. Central Park's boundary
is a harsh score between itself and the less contrived body of the city. This thesis proposes a revisiting of the implantation of artifice and the procedures that enable it.
By layering effects on the site, the thesis aims to achieve aseries of experiences inthe landscape,
allowing circulation and the spaces of transformation to coexist.
Lacerations in the Landscape
The study series (left) demonstrate the idea of layered interiorities. Circulation and programmatic
volumes are woven through the site suggesting both interaction and autonomy. Study model (above)
suggests transparency as a device to generate layered interiority. Perforated opaque material operates as a field of absorption, defining degrees of penetration of light, movement, and views.
Lacerations inthe Landscape: 2
Inan attempt to more rigorously test techniques of transformation, this digital study demonstrates a
set of procedural techniques applied uniformly to multiple components. The layered plane is divided
into uniform components (top right). Acombination of techniques is systematically applied and spacial conditions emerge.
30
Finding Technique
The process of the thesis engages parallels between architecture and surgical transformation to propose aprocedural design technique. Cosmetic surgical procedures rely upon the subtle transformation of sameness. The process here presented examines the idea of gradient as this accumulation of
relentlessness. The gradient between an original condition and its manipulation reveals this process
of layered effect. Computation offers the necessary medium to exploit this gradient as the infinite
number of subsets between two given conditions.
Whereas the surgeon employs his technique to transform the existing landscape of the body, the
architect isresponsible for establishing his own set of techniques to be deployed on a site. The
following proposal is aseries of tests to find athis set of techniques. The aim is aseries of architectural experiences that bear witness to their own process.
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Avariety of incision patterns (above) employ the effect of gradient ha surface. As fields of absorption for light, view, etc; the surface can then be manipulated to test the gradient of effects (right).
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The following process is developed through a system of parametric fields of units. A neutral field
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can be applied precisely to generate a desired intensity of porosity or absorption.
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Fields of Absorption
These fields of absorption are applied to the project to generate openings for movement, view, and
light. Programmatic volumes are organized along circulation paths and offer varying degrees of view
for the public.
46
won
-
-m- ------
4--
-
-m
O
-
Fields of Absorption
These fields of absorption are applied to the project to generate openings for movement, view, and
light. Programmatic volumes are organized along circulation paths and offer varying degrees of view
for the public. The above diagram demonstrates movement of circulation through the site and the
convergence and dispersion of circulation paths.
//
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_
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Conclusions
The project follows from earlier studies as circulation paths drawn out along the site. This last iteration isgenerated from a system of procedures performed locally and incombination with each other
to achieve an architectural experience which reveals its process. Incisions along the site designate
a striated sequence. Each striation undergoes varying degrees of folding and rotation. The result is
optimized to accommodate program: volume and circulation.
The project represents the attempt to develop a system of transforming procedural techniques and
employ them to generate an architectural experience to reveal that effect.
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