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"Our approach understands boundary as a space of communication rather than 2. line of sharp division."

- Linda Pollak. "City- Architecture· Landscape; Strategies for Building City Landscoo:"

;irnen" as thresholds .', "Rituals carry participants across limens, transforming them mto different persons.

. "b hi" d h gh the ceremony of marrraze he

r~or example a young man IS a ac e or an t rou - . _ <::

becomes a "husband." His status during that ceremony. but only then. IS ,chat of "groom." Groom is the liminal role he plays while transforming from bachelor (Q

husband." I

__ Richard Sci"!c:chner, "Towards a Poetics of Performance", p / 7

.. merely providing multiple occupations anparaeuses for different groups does not ensure that interactions will occur. Boundaries often. rather than becoming a place for' interaction, become a means by which one occupation apparatus withdraws from the other __ . [In Copley Square] various apparatuses allow different publics to possess a part of the space ... The ~cloif.{ of these apparatuses are clearly defined and do not overlap, thereby insulating publics from one another,"

- Christina Marsh. "An architecture of multipliCity"

" ... the boundary is often used to contain acj~ity .. , (in a playground] the equipment is placed at the center of the playground. tU~~ing the aot of playing inward, away from the boundary. The boundary is just-the final limit of the act of playing. The boundary serves to insulate the occupation apparatus frop-l-its surroundings ... [The playground "boundary objects" ] seek to bring the act of 'playing to and across the boundary. thereby overlapping with and engaging the space and publics outside of the play area ... By' bringing both publics to the boundary, the boundary has become a thickened aone of interaction. rather than the inscribed Ii ne of the typical chain link fence ." ·

_! Christina Marsh; "An architecture of multipliCity" "

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"The overlap of different spaces, and thereby ~fi~ mteraction between different spaces, can be created by the physical rnanipulauon of the boundary ... (In traditional Japanese architecture] the functions of the exterior boundary (controlling view, ve,ml'dtlon. rain, etc.) are pulled apart into separate layers. allowing some relationships to be one-directional while others remain two-directional ... The separation of function of the boundary also creates a transitional space which can be claimed by either' the .nterior or' the exterior ... These examples of traditional Japanese architecture demonstrate the potential of redefining space by layering the boundary. By creanng such ambiguity of the boundary. multiple interpretations of the spaces to either side are possible."

_ Christina Marsh. "An architecture of multipliCity"

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boundary sites often "". reflect the failure of a traditional planning approach [Q recognize its spatial differences, that is, the site's position in between diff~rem scales of use and activity."

_ Lindo Pol/ak .. "City - Architecture - Landscape; Strategies for Building City Landscape"

determining the site's limits

o static misassumption of set perimeter -- when site viewed as a discrete piece of land it becomes objeEtified

o rather, the urban is porous and shiftimg : SHIFTING BOUNDARIES:

"Questioning the assumption that all site aspects conform to a. Single bounding condition, site construction posits that site boundaries shift in relation to the position -- the physical location and ideological stance -- or their beholder."

- Andrea Kahn, "From the Ground Up: Programming the Urban/site", p 59

there is a desire to created bounded places: David Harvey:

"The land market sorts spaces to functions on the basis of land price and does $0 only on the basis of ability to pay, which though clearly differentiated, is by no means differentiated enough to etch clear class and social distinctions into the social spaces of the city. The response is for each and every stratum in society to use whatever powers of domination it can command (money, political influence, even violence) to try to seal itself off (or to seal off other judged undesirable) in fragments of space within which processes of reproduction of secial distinctions can be jealously protected."

these bounded places-are anti-uFbaf.1 : "Found within city limits are protected, specially zoned, or hyper regulateu tracts that remain outside the realm of urban experience because of their intolerance for the unplanned and the uninvited."

- Andrea Kahn, "From the Ground Up: Programming the Urban/site", p 60 .

problematic relationship between architecture and Terrain Vague

"In this Situation the role of the architect is inevitably problematic. Architecture's destiny has always been colonization, the imposing of limits, order, and form, the introduction Into strange space of the elements of identity necessary to make it recognizable. identical, universal. In essence, architecture acts as an Instrument of organization, of rationalization, and of productive efficiency capable of transforming the uncivilized into the cultivated, the fallow into the productive, the void into the built."

-Ignasi de Solo-Morales Rubio, "Terrain Vogue"

the urban as MULTIPLE: "The urban site produces multiple spaces (political cultural economic, domestic) in the same physical place accommodating and inviting tolerance of concurrent yet often conflicting experiences. Its GGRresem spaces and programs fun(tion at many scales Simultaneously, thereby eSfablis"hi ng varied and shifting connectives that can never be wholly predetermined."

- Andrea Kahn, "From the Ground Up: Programming the Urban/site", p 64

"Our culture detests the monument when the monument represents the public memory of powerv-the presence of the one and the same. Only an architecture of dualism, of the difference of discontinuity installed within the continuity of time, can stand up against the anguished aggression of technological reason, telernatic uiiversalism, cybernetic totalitarianism, and egalitarian and homogenizing terror."

- Ignasi de Sofa-Morales Rubio, "Terrain Vogue"

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photographers captunng the terrain vague (vacant potential spaces) of the City; "Why does the discriminating photographer's eye no longer incline toward the apotheosis of the object, the formal accomplishment of the built volume, or the geometric layout of the great infrastructures that constitutes the fabric of the metropolis? Why is this landscape sensibility, potentially unlimited with regard to this artificial nature populated by surprises, devoid of strong forms representing power?« (my underline)

_. Ignasi de Sola-Morales Ruoio, "Terrain Vague"

~errain Vague = THE MARGIN, the freedom to form one's own identity;

Film makers, sculptors of instantaneous performances, and photographers seek refuge In the margins of the city precisely when the city offers them an abusive identity, a crushing homogeneity, a freedom under control."

- lgnasi de Sola-Morales Rubio, "Terrain Vague"

"Creases are not marginal, en the edge, but liminal, in between. They run through the actual and conceptual centers of society, like faults in the Earth's crust. Creases are places to hide, but more im portantly they signal areas of instability, disturbance, and potentially radical changes in the social topography. These changes are always "changes in direction," that is, changes of something more than technique. In the urban environment, in places abandoned, or not yet reclaimed, individuals and small groups can still work. Even in large, apparently smooth operations like corporations and universities, creases exist; look for them, quite literally, in "out of the way places." Crease phenomena. do not transform existing neighborhoods instantly, as when bulldozers herald the erection of a new cultural center whose monuments rest on murdered neighborhoods, but step by step through infiltration and renovation. At the ti me when a balance/tension exists between several classes, Income levels, interest, and uses - as was the case in the 1960s and 1970s in New York's SoHo district - crease phenomena - experimental art, bars, cafes, and clubs, lively street performances, parties where artists congregate - peak. But when a threshold of visibility and "stability" is crossed, the neighborhood freezes in a new form, becomes an "attraction" (like the theater district which draws most of its life from outside its own preci net) and the crease is smoothed out. The artists - and others who need a crease environment - follow along, or create, a new fault."

-_ Richard Schechner, "Towards a Poetics of Performance", p 164

the park is at the boundary between two neighborhoods;

"The project exploits the site's uncolonized position in a gap between neighborhoods to propose a new kind of public space; an urban apparatus that aG:tivates its boundaries as th.resholds ... The four thresholds support the site's interior spaces, but also extend its sphere out-ward from its physical foot-print towards its visible and invisible boundaries."

- Lindo Pollok, "City - Architecture - Landscape; Strategies for Building City Landscape", 55

Olgo Terroso : Placo del General Moragues

"Tarraso does not attempt to overcome the site's condition of marginality by positing a new monumental presence or a powerful centralizi ng figure. Rather, she has made an architecture of seams, where each seam marks an encounter between urban orders. This strategy addresses diverse needs of function and urban identity. Each margin sets the stage for differing activities and yet, owing to the care given to the joints between them, they form a cohesive landscape."

-- Lindo Pollak and Anita B., Inside/Outside

"A project re-produces its site, Any project has the potential to function at a theoretically unlimited number of scales, dependent upon the architect's ability to represent what is happening at those scales and to eenstruct interdej:1endenc;;ies between them and the project. Since different scales imply different interpretive contexts, a project can be urbanistically rich, by virtue of its 0Rerating...it more scales, rather than by having more amenities, or being constructed out of nicer materials."

- Linda Pol/ok, "City - Architecture - Landscape: Strategies for Building City Landscape"

use of different scales to create multiplicity

"WorRing with the material scales of the different urban infrastructures that have produced and continue to affect the site made it possible to address die issue of n:ighborhood as more than a :es~onse to a limited field. The project' overlay of different scales embeds a multlplicl~ of urban orders in the site that p-I'ev!')nts any one g!OUP from being able-to exclusively appropriate it."

- Lindo Pol/ok, Yity - "Architecture - Landscape; Strategies (or Building City Landscape", 53

Rem Koolhaas ." VJlla Doll 'Ava

re-establishment of ground plane ; peol on reof invokes larger scales of the network of pools and tennis courts in the neighborhood which are visible from the roo], and of the skyline of Paris which is visi ble from this newly established ground plane

-- LIndo Pollok and Anita B., InsidefOutside

jumping scale as a way of regaining power/place; "One of the first steps that the spatially marginalized can take to counter the spatial limitations of their identity is to call attention to the fact that space is socially constructed according to specific imaginings of who may occupy it and who may not."

-- Michael N Willard, "Seance, Tricknowlogy, Skateboarding, and the Space of Youth",332

" ... the body scale produced by skaters is not identical to that of developers and planners, whose plans may limit bodies as fixed points within static relations of architectural objects in a public plaza. SI<aters' p'rot!oction of Beay scale 0verlaps developers' and becomes a kind of knowledge that in place- specific instances of skateboarding produces a "local" community, which in turn also allows skaters to jump the local scale of place contained in the developers' narrow definitions of "the public" to produce a translocal community."

-- Michael N Willard, "Seance, Tricknowlogy, Skateboarding, and the Space of Youth", 333

skaters expose the meanings of different objects:

" ... skaters have shown us how the "uses" of space are secially constructed and accepted as self-evident, A handrail is not a toy; it is only for safety; but we aren't meant to know that it is also a mechanism of discipline and separation."

-- Michael N Willard, "Seance, Tricknowlogy, Skateboarding, and the Space of Youth", 336

layering as an operation to create spatial difference

o Dennis Dollens: 'T 0 0verlay differences rather than segment them is a way. to forrn cemplex oRen borders."

o "Conceiving of landscape as tayers rather than an unbroken surface supports the construction of an urban landscape as an overlay of scales, that is understood in seGti0n as. well as J!llan ana in time as well as spaGe."

- Linda Pollak, "City" Architecture - Landscape; Strategies for Building City Landscape"

given that nature is not a stable system, but rather a "landscape of patcnes'· ... "Fragment' provides a name for both architecture and nature that is not governed by the desire for either geometric or organic unity and that has the capacity to be part of (an always already fragmented) urban space."

- Lindo Pollak, "City - Architecture" Landscape; Strategies for Building City Landscape"

Olga Tetrose : Pia co del General Morogues

grid of trees continuing from sidewalK to raised lawn

'This doub.le o[,?er~tion uses a s~ctional strategy to separate and a pratistJ'1a1:eg;.: (of the tree gnt!) to stJtch'to.getner, in order to accommodate the differing grain, scale, and program of the exterior and interior space."

-- Lindo Pollak and Anita B., Inside/Outside

mare-thanjUSct a plan st_ra_tegy : thee Ganopy of the trees creates a conciRlJOUS Geif1ng

use IDf slJrf;a<;es -- la.yering -" 2-sidedness -- identity

"One way Koolhaas constructs identity is to develop surfaces. both horizontal and vertical, that take spatial advantage of - and represent - their layering and their two-sided ness. These surfaces hold the project together In the face of its multiple displacements. Even transparent planes register, represent, and form spaces on two sides, some of which would ordinarily be residual in this suburban context."

-- Linda Pollok ond Anito B., Inside/Outside

process ;. u's-;"Orcolla~ge ( the process is used to rei nforce the conceptual premises of the design .,

'The project uses collage as a poetic procedure that can register tensions between opposing ideas and conditions, as it introduces figures and restates fields of relationships, to shift the meaning of the site itself .. " Noching IS taken for granted as background; each surface is a figure-in-itself, that simultaneously holds fragments together and is constituted by them."

- Linda Pollok, "City - Architecture - Landscape; Strategies for Building City Landscape", 5 B

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"". indeed the very drawing of age lines and the definition of the. spaces where "

articular age groups are allowed, is part of the process of defining an age group m ~he first place. The control of spatiallry is part of the process of defining the social

category of 'youth' itself."" "

__ Doreen Mossey, "The Spatial ConstructIOns of Youth Cultures, p 127

unreflected use of spatial metaphor: perpetuates present power positions

"The central danger in an unreflective use of spatial metaphors is that It implicitly repeats the asymmetries of power inherent in traditional social theory. Foucault again gives the most vivid description: ' Space was treated as the dead. the fixed, the undialectical, the immobie. Time, on the contrary, was richness, fecundity, life, dialectic.' This asymmetrical relationship between time and space assumes history as the independent variable, the actor, and geography as the dependent -- the ground on which events 'take place', the field within which history unfolds."

- Neil Smith, "Homelesslglobal: scaling places", p 98.

definition of scale: "It is geographical scale that defines the boundaries and bounds the identities around which control is exerted and contested."

- Neil Smith, "Homelesslglobal,' scaling places", p 99

construction of a place creates architectu ral and social scales

"When real-estate developers build plazas to project an image of public space they also produce multiple scales. For example, they produce a scale of the body that organizes and limits mobility (walking vs. running), postures (sitting, leaning, standing), and appearance (the quality of one's clothing or the color of one's skin, which catches the attention of surveillance cameras)."

__ Michael Nevin Willard, "Seance, Tricknowlogy, Skateboarding, and the Space of Youth", p 332

both people and places have and produce scale

Smith: "Scale both contains social activity, and at the same time provides an already partitioned geography within which social activity takes places. Scale demarcates the sites of social contest, the object as well as the resolution of contest."

-- Michael N Willard, "Seance, Tricknow{ogy, Skateboarding, and the Space of Youth", 332

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