For the AIAS chapter at RISD, a series of blogposts exposed students’ experience visiting interesting architecture sites or working in different architecture offices. In the post below, a friend described her experience visiting Zumthor’s pavilion. Looking back at the post, I realize that i might have been subconsciously inspired by the simple, mysterious and dark allure of this project- which I remember liking upon reading her entry.
When approaching this year Serpentine Pavillion by Swiss Architect Peter Zumthor, I could not help but compare its modest appearance to last year’s luminous red social hub, designed by Jean Nouvel. Zumthor’s black box in comparison is more somber and mysterious, and gently invites people to venture inside.
Four entryways on opposing sides of the pavilion allow visitors into a dark slender enclosed corridor, with another four openings to a garden within. A rectangular bed of grasses and flowers designed by Piet Oudolf sits at the center of the inner space, mirrored directly above by an opening to the sky. The roof’s moderate pitch that ends at this open slit allows light to pour into the structure.
As I sat with other visitors to the pavilion, lining the edge of this courtyard, I felt like this stretched space with darks walls, and single opening to the sky, made us all very hypersensitive to the nature within. Interestingly, I felt as if the structure allowed me to appreciate nature far more than I had when I was completely surrounded by it in Hyde Park moments earlier.
Melanie Wavamunno, RISD B.Arch 12
Wang Shu came to visit RISD during the Fall of 2011 and made a speech about his practice in China. At the time I knew very little about Mr Shu but developed an interest in his approach to architecture. His lecture in the Fall consisted for the most part of the way traditional Chinese paintings inspired his work. This made me think about my interest for the “naive paintings” in Haiti as I approached my thesis back in the Summer of 2011. In the progression of my thesis, I decided to work on the Manoir Alexandra, and also focused on designing spaces of exhibition for the classical painting “Oath of the Ancestors”. The traditional Haitian art (mostly renown through Haitian painter Ismael Saincilus) took the back-burner. Upon critiquing my work, a teacher who had spent a year at the China Academy of Art praised Wang Shu’s campus for the many performance spaces it allowed. She encouraged me to go back to the Haitian “Naïve” paintings, two-dimensional pieces of work that reveal layers of depth. She also encouraged me to watch the movie Piña for inspiration because in designing the dance spaces of the Manoir, I always dealt with dance and movement through space.
Below are some pictures of the China Academy of Art selected via a google search. Most recently Wang Shu has been written about in this NYTimes article: An Architect’s Vision: Bare Elegance in China
Alleluia pour une femme-jardin / Hallelujah for a garden-woman
Located in Martissant, a densely populated area in the West Department of Haiti, the Habitation Leclerc is an old abandoned propriety with an expansive garden. It was built during the 19th century for Napoleon Bonaparte’s sister Pauline Bonaparte and husband General Victoire Emmanuel-Leclerc, French governor of Haiti at the time. In 1944, it was bought by the renowned late American dancer Katherine Dunham, who influenced the Alvin Ailey dance school by using Haitian Folklore dance techniques in her career. Dunham transformed Habitation Leclerc into a resort, which attracted many famous people such as Jacqueline Onassis Kennedy and Mick Jagger. When the political situation worsened in Haiti, the propriety’s garden was shut down in 1982. Ever since, it has been difficult to maintain and the beautiful residence has fallen into ruins. The cultural organization called FOKAL bought Habitation Leclerc and is now transforming it into a botanical garden. The first steps of re-appropriating this property consisted in engaging with the people of Martissant and providing a community space to not only understand the needs of the area, but also to mediate conflicts that had risen among different groups.
FOKAL has successfully inaugurated the first earthquake memorial park at l’Habitation Leclerc, just this January 12, 2012.
While working with the gardens of Le Manoir Alexandra, I am interested in issues of accessibility. Who gets to use this garden? How welcoming is it? Le Manoir, just like the Habitation Leclerc, once belonged to the aristocracy of Haiti. However its location in the city of Jacmel and its future use as a cultural center calls for social inclusion.
A study of L’Habitation Leclerc will certainly provide some answers to my questions.
It is possibly the most remarkable/sensitive urban project currently being developed in Haiti. Here is a link to an insightful film documentary covering the project.: Martissant, the Dream of a Living
Website on the project: Parc de Martissant
Below, pictures from “Geraldine” on PICASA
While strengthening my concept with an architectural intervention, I am gathering architectural elements found in Jacmel, Haiti, and the Caribbean, for inspiration. Below are some of my drawings either depicting those elements as they are, or transforming them for personal use.
I used architecture literally as a reference, using the attic, the boiler room, and the stairwell to make associations between certain binary divisions such as higher and lower and heaven and hell. The stairwell became a liminal space, a pathway between the upper and lower areas, each of which was annotated with plaques referring to blackness and whiteness.
Artist René Green cited in Location of Culture by Homi K. Bhabha
Session 3, Works
Ippolito Laparelli and James Westcott
KTH School of Architecture
“The durability of materials is of short life-term as they become more modern” James Westcott