Abstract
(Un)doing Thresholds explores the temporalities and architectonic specificities of porous conditions of Naples, where (un)doing is presented through Andrew Benjamin as a productive conception of urbanity; one in which porous architectures are (un)done, drawn through one another, in a constructive overwriting founded in the immediacy of the city. Exploring architectures of the ruin, labyrinth and theatre, be they programmatically labyrinthine or theatrical, or materially or spatially so, the thesis considers their interpenetration: each space becomes a threshold to another space. It promotes an expression of presence in the city, gathered in collectivity, that takes possession of space as a protagonist in constructing an experience of Naples that goes beyond the control of fixed political and historical representations of the city.
Aknowledgements
This body of work is part of a larger design Masters Thesis co-written and co-edited by:
- Joseph Coulter,
- Eirini Makarouni,
- Katerina Saranti and
- Katy Sidwell
3 DOORS; ‘INTO THE CITY’
‘(Un)doing Thresholds’ becomes a methodological act that defines the Animate Drawing.
With reference to those found in the Quartieri Spagnoli, it uses three doors as a foundation - a surface that immediately sets the drawing at the scale of the body, elevating the process of making to a gestural performance.
As a result, the doors make the Animate Drawing porous in scale, being layered up and overwritten by Napoli’s urban fabric and knitting together fragment(s) and gesture(s) into an improvised choreography. The values and physicalities of the doors as thresholds in their own right, transform this ‘field’ from an empty surface into a spatial field ready to receive speculation on Naples.47
The door is no longer a boundary but rather a suggested passage: a threshold that holds bodies, spaces and landscapes together, and navigates the connections between them.
The ‘Animate Drawing’ explores theinterrelation between Gilloch’s recurringterms: ruin, labyrinth, and theatre. Through it,we are to test the nature of the way that theseporous conditions exist in Naples.
As an origin for exploration, the drawing also
With reference to those found in the Quartieri Spagnoli, it uses three doors as a foundation - a surface that immediately sets the drawing at the scale of the body, elevating the process of making to a gestural performance.
As a result, the doors make the Animate Drawing porous in scale, being layered up and overwritten by Napoli’s urban fabric and knitting together fragment(s) and gesture(s) into an improvised choreography. The values and physicalities of the doors as thresholds in their own right, transform this ‘field’ from an empty surface into a spatial field ready to receive speculation on Naples.47
The door is no longer a boundary but rather a suggested passage: a threshold that holds bodies, spaces and landscapes together, and navigates the connections between them.
The ‘Animate Drawing’ explores theinterrelation between Gilloch’s recurringterms: ruin, labyrinth, and theatre. Through it,we are to test the nature of the way that theseporous conditions exist in Naples.
As an origin for exploration, the drawing also
engages with the bodily nature of its ‘making’by treating the drawing as a gestural act - anopening form - that as Jean Luc Nancy describes“evokes more the gesture of drawing than thetraced figure and indicates the figure’s essentialincompleteness, a non-closure or non-totalisingof form.” 48
The Animate Drawing presents parts of thedrawn figure; fragments that open up, recordand are in dialogue with situations across the cityas well as being able to operate independently.Fragmented ‘ruins’, ‘labyrinths’ and‘theatres’ are mapped on a new field,frequently overlapping or erasing each other,creating a new urban topography of Napoli.
In this sense we can return to the fact that webegin to record the way thresholds act out inthe city, the way boundaries blur and territoriesbleed, definitions lose their definition and termsare re-determined, and the manner in which thetheatrical, the ruinous and the labyrinthine coexistin the city.
As a methodological gesture, the drawing assigns material and colour to found conditions of porosity that have been described in Naples. These form a Methodological Index’, the basis for a ‘series’ of Animate Drawing(s). The bare plywood illustrates the municipalities, the formal
The Animate Drawing presents parts of thedrawn figure; fragments that open up, recordand are in dialogue with situations across the cityas well as being able to operate independently.Fragmented ‘ruins’, ‘labyrinths’ and‘theatres’ are mapped on a new field,frequently overlapping or erasing each other,creating a new urban topography of Napoli.
In this sense we can return to the fact that webegin to record the way thresholds act out inthe city, the way boundaries blur and territoriesbleed, definitions lose their definition and termsare re-determined, and the manner in which thetheatrical, the ruinous and the labyrinthine coexistin the city.
As a methodological gesture, the drawing assigns material and colour to found conditions of porosity that have been described in Naples. These form a Methodological Index’, the basis for a ‘series’ of Animate Drawing(s). The bare plywood illustrates the municipalities, the formal
territories that the city is split into, where, the gesso, describes the more erratic nature of the topographical landscape that these territories occupy. The grey paint is labyrinthine, part of the streets with theatrical white blocks within them drawing attention to where performance is held. The ruins are black, typifying their historical and cultural prominence and positioning within the city’s underground realm.
The red becomes the field upon which this new conception of Naples rests: in essence, this becomes situational of a new language throughout the thesis, and here brings attention to specific sites of intervention. Etching and engraving mark points of reference, (contour lines and primary axes) that help situate the drawings, whilst the overlapping of scales allows for parts of certain, more detailed spatial porosities to impress themselves upon the urban fabric of the city.
47 ‘Field’ defined as ‘the spaces and/or sites that constitute the regions bound into territories affected by or associated with a particular threshold’.
48 Jean Luc Nancy, The Pleasure in Drawing , trans. P. Armstrong (New York: Fordham University Press, 2009), p. 1.
The red becomes the field upon which this new conception of Naples rests: in essence, this becomes situational of a new language throughout the thesis, and here brings attention to specific sites of intervention. Etching and engraving mark points of reference, (contour lines and primary axes) that help situate the drawings, whilst the overlapping of scales allows for parts of certain, more detailed spatial porosities to impress themselves upon the urban fabric of the city.
47 ‘Field’ defined as ‘the spaces and/or sites that constitute the regions bound into territories affected by or associated with a particular threshold’.
48 Jean Luc Nancy, The Pleasure in Drawing , trans. P. Armstrong (New York: Fordham University Press, 2009), p. 1.
GESTURE(S) OF ‘(UN)DOING’
“The language of gestures goes further here than anywhere else in Italy. The conversation is impenetrable to anyone from outside.”50 “The ordering of the drink, its consumption and the passage out from the cafe, all need to be understood within the rhythm of the gesture. Space is positioned - and therefore created - by one particular rhythm rather than another. What occurs within the cafe is the inter-articulation of spatial positioning and the rhythm of the body […] Time, space and the rhythms of the body work together.
If there is a way into the general sense in which porosity figures within
Benjamin’s writing on Naples, then it resides in its effects [...] Porosity, if only as a beginning, provides a way of making space and time work together to define both the urban condition and the body’s place within it. Time is integral to an understanding of urban affect.”51
The ‘act of making’ the Animate Drawing and the duality of its bodily projection became a gestural ritual: a process filled with
Benjamin’s writing on Naples, then it resides in its effects [...] Porosity, if only as a beginning, provides a way of making space and time work together to define both the urban condition and the body’s place within it. Time is integral to an understanding of urban affect.”51
The ‘act of making’ the Animate Drawing and the duality of its bodily projection became a gestural ritual: a process filled with
performance and improvisation. It is situated between spontaneity, intuition and a carefully rehearsed act of drawing. It is an elaborate choreography of methodological practice(s) and overwriting or ‘(un)doing’ of ruins, labyrinths and theatres of Naples, whilst touching upon the city’s theatrical character. It becomes a gestural drawing.
50 Benjamin. W and Lacis, “Naples”, p. 173.
51 Benjamin. A, “Porosity at the Edge”, p. 34-35.
50 Benjamin. W and Lacis, “Naples”, p. 173.
51 Benjamin. A, “Porosity at the Edge”, p. 34-35.
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French, Chris. and Maria Mitsoula. City Fragments: Neapolitan Porosities, Brief Two: Performative Constructions (Spatial Porosity), Project Brief: Vol. 2, Edinburgh School of Architecture & Landscape Architecture, October 2019.
French, Chris. and Maria Mitsoula. City Fragments: Neapolitan Porosities, Brief
Three & Four: Tectonic Assemblages
(Material Porosity) / Thesis Closure, Project Brief: Vol. 3/4, Edinburgh School of Architecture & Landscape Architecture, January 2020.
French, Chris. and Maria Mitsoula. City Fragments: Neapolitan Porosities, Guidebook, Edinburgh School of Architecture & Landscape Architecture, September 2019.
French, Chris. and Maria Mitsoula. City Fragments: Neapolitan Porosities, Studio Overview, Edinburgh School of
Architecture & Landscape Architecture, August 2019.
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Art Anthology edited by Sven Spieker. Whitechapel Gallery and MIT Press, 2017.
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Jackson, John. B. The Necessity for Ruins,
and Other Topics. Amherst: University of Massachusetts Press,
1980.
Jansson, Andre. ““This Is Not Ruin Tourism”: Social Media and the Quest for Authenticity in Urban Exploration” in Ruin Porn and the Obsession with Decay edited by
Siobhan Lyons, 217-234.
Cham: Palgrave Macmillan, 2018.
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(Self-Published Manifesto), 2018.
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Ruin Porn and the Obsession with Decay edited by Siobhan Lyons, 1-10.
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Wigglesworth, Sarah. and Jeremy Till. The Everyday and Architecture, Chichester: Wiley, 1998.
Wolfrum, Sophie. “Still Here while Being There–About Boundaries and Thresholds,” in Porous City: From Metaphor to Urban Agenda, edited by. Sophie Wolfrum. Basel: Birkhäuser, 2018.
Mazzeo, Giuseppe. “Naples”, Cities, 26(6), (Dec 2006), 363-376.
Nancy, Jean Luc. The Pleasure in Drawing, translated by P. Armstrong. New York: Fordham University Press, 2009.
Paetzold, Heinz. “Walter Benjamin and the Urban Labyrinth”, FilozofskiVestnik, 22(2), 2001, 111-126.
Pellet, Marcellin. Naples Contemporaine / Par Marcellin Pellet,... Paris, 1894.
Pérez Sánchez, Alfonso E., and Nicola Spinosa. Jusepe di Ribera: 1591-1652. New York: Metropolitan Museum of Art, 1992.
Racna Magazine. “Cyop & Kaf, Mostri Lunghi un Anno.” Racna Magazine, June 5, 2014. http://www.racnamagazine.it/cyopekaf-mostri-lunghi-un-anno/
Rompipalle. “I bassi”, Under the Neapolitan Son (Or, Kicked in the Shin: Naples and the Italian Experience to Tear Down your Tuscan Farmhouse Fantasy) February 15, 2007, http://undertheneapolitanson.blogspot.com/2007/02/i-bassi.html
Salter, Peter. Alvin Boyarsky, and Architectural Association. TS : Intuition & Process : [projects by Students under the Tutelage of Peter Salter]. Themes VI. London: Architectural Association, 1989.
Stavrides, Stavros. Common Space: The City as Commons. London: Zed Books, 2016.
Stavrides, Stavros. “Heterotopias and the Experience of Porous Urban Space” in Loose Space: Possibility and Diversity in Urban Life, edited by Karen A. Franck and Quentin Stevens, 174-92. New York: Routledge Taylor & Francis Group, 2006.
Stengel, Heiner. “Performativity, Sensuality, Temporary Interventions, Negotiation” in Porous City: From Metaphor to Urban Agenda edited by Sophie Wolfrum [and 6 others, 108-109. Basel: Birkhäuser, 2018.
Till, Jeremy. ‘Angels with Dirty Faces’, Scroope (University of Cambridge), 7, June 1995, 5-12.
URBACT. 2nd Chance Waking Up the Sleeping Giants: City of Naples Integrated Action Plan. Napoli: Comune di Napoli, 2018.
Waldheim, Charles. “Weak Work: Andrea Branzi’s “Weak Mtropolis” and the Projective Potential of an “Ecological Urbanism” in Ecological Urbanism, edited by Mohsen Mostafavi & Gareth Doherty.
Baden, 115-121. Switzerland: Lars Müllers Publishers, 2010. Whiteman, John. “Site Unscene – Notes on Architecture and the Concept of Fiction. Peter Eisenman: Moving Arrows, Eros and Other Errors.” AA Files, 12 (1986), 76-84.
Wigglesworth, Sarah. and Jeremy Till. The Everyday and Architecture, Chichester: Wiley, 1998.
Wolfrum, Sophie. “Still Here while Being There–About Boundaries and Thresholds,” in Porous City: From Metaphor to Urban Agenda, edited by. Sophie Wolfrum. Basel: Birkhäuser, 2018.