architecture, affect and architectural practice by akari kidd

237 Pages·2015·2.71 MB·English

ARCHITECTURE, AFFECT AND ARCHITECTURAL PRACTICE

BY

AKARI KIDD (NAKAI)

A thesis
submitted to the Victoria University of Wellington
in fulfilment of the requirements for the degree of
Doctor of Philosophy

Victoria University of Wellington

2015
i.
Abstract:

This thesis builds on and contributes to work in theories of affect that has risen within diverse
fields, including geography, cultural studies, media studies and feminist writings, challenging the
nature of textual and representational-based research. Although numerous studies have examined
how affect emerges in- and through- the occupation of architectural spaces, little analytical
attention has been paid to the creative process of design and the role that affect plays in the many
contingencies and uncertainties that arise in the process. In this context, the question that this
thesis explores is what architectural and theoretical relations can be drawn out when architectural
practices are viewed through the lens of affect. Such inquiry is critical to allow practices of
architecture to be seen not through defined patterns or contained agenda’s but rather through
intensities and forces between bodies (both human and non-human); it is to discover practice as
sites of potential - and in doing so to address the usefulness of affect to be applied to more
grounded empirical fields. In order to explore the above question, the study is based on a
qualitative research methodology, including interviewing; writing of observational notes; visiting
the architectural offices as well as the projects, where possible/appropriate; and collection of key
documents, architectural drawings, and images relating to the design project discussed. This
thesis begins with a review of current critical thinking of affect. Its focus is upon how these
renderings present particular links between affect, body and space. Further, the thesis considers a
range of ideas from architectural scholars and geographers attempting to identify connections
between architecture, affect and architectural practice, through notions of affective mediation,
tinkering, and stuttering. The thesis then moves forward to present an in-depth case study of
three architectural practices, RUR Architecture PC, Kerstin Thompson Architects and Shigeru
Ban Architects, with specific architectural projects, in order to evaluate how affect is a significant
element in the design process for emergent practices of architecture. Ultimately, this thesis argues
how architectural practice may extend theories of affect, particularly broadening Sara Ahmed’s
notion of ‘sticky affects’ within the context of architecture, through sticky images, sticky
processes and sticky objects, respectively to each case study. Importantly, the thesis engages with
the often mundane but highly creative aspect of design processes, not so much in terms of the
results, or impact, of affect in the final architectural space, but in terms of how design processes
consist of stuttering’s where affect can bring bodies together through affective stickiness. The
thesis offers an alternative and extended model for the study of how affect plays itself out in the
dynamic relationships between different bodies, happenings and relations in practices of
architecture.
ii.
Preface:

This Ph.D. thesis contains the result of research undertaken at the School of Architecture of the
Victoria University of Wellington, New Zealand. However, this thesis also represents a
culmination of learning that has taken place from the start of my architectural studies at The
Cooper Union in New York from 2001-2006, continuing on to working as an architectural
designer in the architectural practice of Kengo Kuma and Associates in Japan from 2006-2008,
and finally, moving to New Zealand to pursue further architectural studies in 2009.

The thesis has its origin in my personal struggle with the gap I experienced between architecture
in school (theory-orientated) and architecture in practice. As a result of my studies at The
Cooper Union School of Architecture, I was heavily impacted by Modernists such as Le
Corbusier and those associated with the Bauhaus movement- including but not limited to Mies
van der Rohe’s work, and the interactions that occurred between architecture and music,
architecture and art, and most strongly, architecture and theory.

Upon graduating from the Cooper Union in 2006, I began working as an architectural designer
under architect Kengo Kuma in Japan. This allowed me to experience the real life context in
which architecture was practiced, but also raised the question of the role of theory in current
practices of architecture. This generated an interest in the affective inter-relationships between
architectural theory and architectural practice. This thesis seeks to propose how theory is indeed
crucial to architectural practices by examining instances in actual and current practice where we
may reconsider the role of theory, specifically affect theory, in architecture.
iii.
Acknowledgements:

I would have never reached the point of finishing my dissertation without the help and support
of others. I am grateful for the Victoria University of Wellington Faculty of Graduate Research
for awarding me with the Ph.D. Scholarship as well as the Ph.D. Submission Scholarship,
providing me with the financial assistance to undergo my research.

These four years have been a challenging but equally rewarding journey, with surprises and
‘stuttering’s’. Fortunately, I was not alone on this road, but accompanied by an always willing
supervisor, Dr. Jan Smitheram, who helped and motivated me. I express my deep gratitude for
the inspiring collaboration, and for providing stimulating discussions to further improve this
research. For all this, I would like to kindly thank her. I also thank my second and third
supervisors, Simon Twose and Dr. Joanna Merwood-Salisbury for their invaluable remarks and
advice. I am grateful for the architects as well as others involved in the architectural projects
discussed in this thesis that volunteered their time and gave insightful comments for this
research. I wish to mention architects Jesse Reiser, Kerstin Thompson, and Shigeru Ban.
Looking further back, special thanks must go to Dr. Anthony Vidler, Prof. Lebbeus Woods, Prof.
Diane Lewis, amongst others in the faculty of The Cooper Union’s School of Architecture, for
introducing me to the joy of architecture, its potentials, criticalities, and affects.

Lastly, but most importantly, throughout these years, my best encourager was my husband, Alan.
Without his love and support this work would never have been completed. I also thank Taieri
Israel, our son, who was born at the beginning of this research, and encouraged me to keep
moving on, with his contagious smiles and infectious giggles. I dedicate this thesis to both Alan
and Taieri.

Wellington, New Zealand, 2015
iv.
Table of Contents:

i. Abstract
ii. Preface
iii. Acknowledgements
iv. Table of Contents
v. List of Figures

Chapters
1. Introduction and Methodology
1.1 Introduction 1
1.2 Identifying Key Issues 2
1.3 Researching Affect through Practices of Architecture 4
1.4 Overview of Thesis 14

2. Literature Review: Contemporary Affect
2.1 Introduction 19
2.2 Historical Lineage and General Approaches to Affect 20
2.3 Abstracting Affect 29
2.4 Localizing Affect: Towards Emotional Affects 41
2.5 Concluding Discussion 51

3. Theory: Architecture, Affect and Architectural Practice
3.1 Introduction 53
3.2 Perspectives from Architecture: Affective Mediations 55
3.3 Perspectives from Geography: Affective Tinkering’s 64
3.4 Concluding Discussion 75

4. Theory: Affect, Architectural Practice and Time
4.1 Introduction 79
4.2 Background on Affect, Architectural Practice and Time 80
4.3 Affect, Architectural Practice, Extended Present: Stilled Stutters 86
4.4 Affect, Architectural Practice, Future: Quickened Stutters 89
4.5 Concluding Discussion: Affective Oscillations 92
5. Case Study 1 - RUR Architecture PC
5.1 Introduction 95
5.2 Towards Sticky Images: Intersections between Architecture, Image, Affect 96
5.3 Case Study and Methodology 102
5.4 Affective Charge of Sticky Images 105
5.5 Concluding Discussion 124

6. Case Study 2 - Kerstin Thompson Architects
6.1 Introduction 127
6.2 Towards Sticky Processes: Intersections between Architecture, Process, 129
Affect
6.3 Case Study and Methodology 134
6.4 Affective Interplay between Sticky Processes 139
6.5 Concluding Discussion 150

7. Case Study 3 - Shigeru Ban Architects
7.1 Introduction 155
7.2 Towards Sticky Objects: Intersections between Affect and Matter 156
7.3 Case Study and Methodology 163
7.4 Affective Restlessness of Sticky Objects 168
7.5 Concluding Discussion 180

8. Final Considerations
8.1 Introduction 185
8.2 Overview of Thesis 186
8.3 The Thesis in Context: Making a Contribution 190
8.4 Critical Reflections and Suggestions for Further Research 197
8.5 Drawing Affective Conclusions 200

vi. References 203
v.
List of Figures:

Fig.1 RUR Architecture PC, Interior Visualization of Kaohsiung Port Terminal, 2013,
digital render. © Image and courtesy of RUR Architecture PC.

Fig.2 RUR Architecture PC, Exterior Visualization of Kaohsiung Port Terminal,
2013, digital render. © Image and courtesy of RUR Architecture PC.

Fig.3 RUR Architecture PC, Exterior Visualization of Kaohsiung Port Terminal,
2013, digital render. © Image and courtesy of RUR Architecture PC.

Fig.4 Andrew Wyeth, Christina’s World, 1948, oil painting, The Museum of
Modern Art, New York, (purchased 1949). Illustration from Thomas
Hoving, Two Worlds of Andrew Wyeth: A Conversation with Andrew Wyeth
(Boston: Houghton Mifflin Company, 1978), 118-119.

Fig.5 RUR Architecture PC, Exterior Visualization of Kaohsiung Port Terminal,
2013, digital render. © Image and courtesy of RUR Architecture PC.

Fig.6 Kerstin Thompson, Crates, 2013, sketch drawing. © Image and courtesy
of Kerstin Thompson Architects.

Fig. 7 RémyZaugg, Scattered Rooms, 1986, drawing, in The Art Museum of My
Dreams, or A Place for the Work and the Human Being, trans. Liz Libbrecht,
(Berlin: Sternberg Press, 2013): 48. © Image and courtesy of Mai 36
Galerie, Zurich.

Fig. 8 Kerstin Thompson, Light and Views, 2013, sketch drawing. © Image and
courtesy of Kerstin Thompson Architects.

Fig. 9 Rémy Zaugg, The Walls, 1986, drawing, in The Art Museum of My Dreams, or
A Place for the Work and the Human Being, trans. Liz Libbrecht, (Berlin:
Sternberg Press, 2013): 27. © Image and courtesy of Mai 36 Galerie,
Zurich.

Fig. 10 Kerstin Thompson, Corners, vistas, itineraries,2013, sketch drawing.
© Image and courtesy of Kerstin Thompson Architects.

Fig. 11 Rémy Zaugg, Gallery for Baron Thyssen, 1986, drawing, in The Art Museum of
My Dreams, or A Place for the Work and the Human Being, trans. Liz
Libbrecht, (Berlin: Sternberg Press, 2013): 58. © Image and courtesy of
Mai 36 Galerie, Zurich.
Fig. 12 Kerstin Thompson, Parallels, 2013, sketch drawing. © Image and courtesy
of Kerstin Thompson Architects.

Fig. 13 Kerstin Thompson, Final Plan of MUMA,2013, drawing. © Image and
courtesy of Kerstin Thompson Architects.

Fig. 14 Kerstin Thompson Architects, Interior view of MUMA, 2013, photograph.
© Image and courtesy of Kerstin Thompson Architects.

Fig. 15 Kerstin Thompson Architects, Interior view of MUMA, 2013, photograph.
© Image and courtesy of Kerstin Thompson Architects.

Fig. 16 Shigeru Ban, Christchurch Transitional Cathedral Concept Drawing, 2011,
sketch drawing. © Image and courtesy of Shigeru Ban Architects.

Fig. 17 Shigeru Ban, Christchurch Transitional Cathedral -Local Materials, 2011,
drawing. © Image and courtesy of Shigeru Ban Architects.

Fig. 18 Cardboard Paper Tube Manufacturing Company, Recycled Paper Strips,
2013, photograph.

Fig. 19 Cardboard Paper Tube Manufacturing Company, Quail Stand, 2013,
photograph.

Fig. 20 Cardboard Paper Tube Manufacturing Company, Gliue Bath, 2013,
photograph.

Fig. 21 Cardboard Paper Tube Manufacturing Company, Core Winding Machine,
2013, photograph.

Fig. 22 Damage to Cardboard Paper Tubes, 2014, photograph.

Fig. 23 Detail of Damage to Cardboard Paper Tubes, 2014, photograph.

Fig. 24 Shigeru Ban Architects, Cardboard Tubes for Fundraising, 2012, photograph.
Courtesyof Anglican Taonga News,
<http://www.anglicantaonga.org.nz/News/Common-
Life/Cardboard-tubes-in-funding-drive>, accessed 12 Aug. 2013.
1.
Introduction and Methodology:

1. 1 INTRODUCTION

The concept of affect is attracting attention in recent social and cultural scholarship. This thesis is
a critical exploration of the implications and usefulness of affect theory in architectural discourse.
Specifically, this thesis seeks to explore the ways in which affect works through- and in- practices
of architecture and its design processes. The question that confronts this thesis at the beginning
is therefore: What is affect, and how does it relate to architecture and its practice?
The term affect in its various forms - affectus, affectio, l’affect, affect - has a rich place in the
history of philosophy, from Baruch Spinoza, Friedrich Nietzsche to Gilles Deleuze and Félix
Guattari; it combines the active senses of drive, will and desire, and at times involves the more
passive sense of passion.1 Deleuze and Guattari, however, tell us that “[a]ffect is not a personal
feeling, nor is it a characteristic; it is the effectuation of a power of the pack that throws the self
into upheaval and makes it reel.”2 In the Spinozist and Deleuzian-Guattarian sense, affects
engage the body through forms of capacities and processes or becomings. Here, the body is not
exclusively the human body, but in alignment with Deleuze, it “can be anything: it can be an
animal, a body of sounds, a mind or an idea; it can be a linguistic corpus, a social body, a
collectivity.”3 Nietzsche concurs; bodies (subjects) are a multiplicity, sites of perpetual
transformation rather than a single definite entity.4 Affecting and affected bodies are hence
bodies-without-order (unstructured), always in the process of becoming other, becoming more.
In this sense, the concept of affect challenges textual and representational-based research, and
offers, as geographer Hayden Lorimer points out, exciting new ways to understanding “our self-
evidently more-than-human, more-than-textual, multisensual worlds.”5 As such, through the lens
of affect, we are able to explore the everyday embodied practices and the flows of actions that
encompass them. Particularly, this thesis seeks to find out how affect occurs through the
activities, actions and operations that constitute architectural practices. The research highlights

1 Baruch Spinoza, The Ethics and Selected Letters, edited by Seymour Feldman and translated by Samuel Shirley (Indianapolis:
Hackett Publishing Company, 1982). Friedrich W. Nietzsche, The Will to Power: A New Translation, translated by Walter Kaufmann
and R.J. Hollingdale (New York: Vintage, 1968). Gilles Deleuze and Felix Guattari, A Thousand Plateaus, translated by Brian
Massumi (Minneapolis: University of Minnesota Press, 1987). This definition of affect is taken from the work by Christoph Cox,
Nietzsche: Naturalism and Interpretation (Berkeley: University of California Press, 1999), 127.
2 Deleuze and Guattari, A Thousand Plateaus, 240.
3 Gilles Deleuze, Spinoza: Practical Philosophy, translated by Robert Hurley (San Francisco: City Lights Books, 1988), 127.
4 Friedrich W. Nietzsche, On the Genealogy of Morals, translated by Walter Kaufmann and R.J. Hollingdale (New York: Vintage,
1967).
5 Hayden Lorimer, “Cultural Geography: The Busyness of Being ‘More Than Representational,” Progress in Human Geography 29,
no.1 (2005): 83.
1
how affect operates in architectural practices with particular focus on design process, and in
return explores how practices of architecture can add to theoretical understandings of affect.
Such exploration aims to develop the potential to extend the use of the theory of affect into more
practical and grounded practices.
This first section has served as a brief introduction to this thesis. The second section
below identifies key issues around affect and the potential place of architecture and architectural
practice in- and through- affect. This section also discusses the aims of the study. Then, in the
third section, the chapter introduces and expands on the research methodology underpinning this
thesis’ study. This methodology section discusses data collection and analysis methods as well as
explaining the stages involved in the study. Furthermore, it remarks on the limitations as well as
the expectations embedded in this research. The chapter concludes in the fourth section by
providing an overview of the thesis.

1.2 IDENTIFYING KEY ISSUES

Contemporary body theory is being rewritten by notions of affect. Recently, the attention given
within human geography, the social sciences and humanities on the emotional subject through to
work on affect, shows that there is now an emergent area questioning the barren objectified
body.6 This turn towards the affective has allowed extended discussions about culture,
subjectivity, identity and bodies and has proposed a shift in current theoretical writings to the
affective dynamisms immanent in bodily matter. Furthermore, the rise of affect theory attempts
to disrupt the constructed dualisms of subject/object, mind/body, and material/immaterial.
Thinking through affect, the material, the immaterial, the objective, the subjective, and the mind
and body are all joined (co-constituted) through contingency and spatiality; the body moves
through connections and intensities within a space of, in Nigel Thrift’s words, ‘continual
encounters.’7 As discussions on these affective encounters and definitions of the term ‘affect’ are
numerous, this thesis will use the definition first suggested by Baruch Spinoza, who saw it as a
capacity of the body to act – and be acted upon.8 In this context, our bodies and our

6 This is expanded further in Chapter 2. See for example on works from human geography: Nigel Thrift, Non-Representational
Theory: Space, Politics, Affect (London and New York: Routledge, 2007); Derek McCormack, “Engineering Affective Atmospheres
on the Moving Geographies of the 1897 Andrée Expedition,” Cultural Geographies 15 (2008): 413-430; Erin Manning, “Always
More than One: The Collectivity of a Life,” Body & Society 16, no.1 (2010): 117-128. See also, works from social sciences and
humanities: Brian Massumi, Parables of the Virtual: Movement, Affect, Sensation (Durham: Duke University Press, 2002); Mark B.N.
Hansen, “Affect as Medium, or the ‘Digital-Facial-Image,” Journal of Visual Culture 2, no.2 (2003): 205-208; Teresa Brennan, The
Transmission of Affect. New York: Cornell University Press, 2004) and Steven Pile, “Emotions and Affect in Recent Human
Geography,” Transactions of the Institute of British Geographers 35, no.1 (2010): 5-20.
7 Nigel Thrift, “The Still Point: Resistance, Embodiment and Dance,” in Geographies of Resistance, edited by Steven Pile and Michael
Keith (London: Routledge, 1997), 133.
8 Though we may never determine the extent of what our bodies can do (body’s capacity) affectively, as this lies outside out
control, we can examine how our potential to affect is diminished or enhanced, and observe what occurs to our bodies during this
2