su11 tahiti field guide

1LA MAISON TROPICALE << REDUX

TAHITI STUDIOSUMMER 2011FIELD GUIDE

A studio to design a zero carbon footprint house inspired by jean prouvé • biomimesis • atolls • lagoons • reefs • artificial islands • paradise lost • joseph banks • chronometers and other measuring devices • navigational stick charts • skins • polynesia • r&sie • material stuff • centre des métiers d’art • craft • responsiveness to climate and place • mutineers •

2 3

F I E L D G U I D E : :TA H I T I / R A I AT E A / H U A H I N E / M O O R E A

p. 3 Introduction

p. 7 Studio Syl labus

p. 26 I t inerary

p. 30 Appendix A: Miscel laneous Maps and Drawings

p. 50 Appendix B: Engl ish / French / Tahit ian phrases

p. 54 Appendix C: Emergency Numbers

p. 57 Appendix D: General Information / Cinema

p. 59 Appendix E: Contact Lis t

p. 60 Appendix F: Prouvé / Instal lat ions

p. 62 Appendix F: Bibl iography

CONTENTS INTRODUCTION

Archipelago Construct :: La Maison Tropicale Redux

Authors: Randy Stauffer Ingalill Wahlroos-Ritter

Collaborators: 1. Germane Barnes 2. Silvia Castaneda 3. Norella Carboni 4. Billy Chiriboga 5. Matthew Chymbor 6. Alejandro Diaz 7. Victor Monge 8. Thanomphol Phaisinchainaree 9. Steven Steven 10. Andrew Rahhal 11. Jose de Jesus Urciaga 12. Kara Valdez 13. Joseph Veliz 14. Megan Weintraub 15. Kevin Wild 16. Damiana Zinn

Tectonic Volcanic Rock • Trees • Shell • Coral • Sand Surface Pandanus • Banana tree • Vanilla Bean • Hair • Tree Bark • Coconut • Feather • Palm FrondEphemera Flower • Grass • Ocean Water • Fresh Water • Wind • Shade • Light

View of Moorea from Tahiti

4 5

“We don’t want sitting architects, but walking architects.”-Winy Mass from Five Minute City. Architecture and (Im)mobility Forum & Workshop

“The Life of the land is the life of the people.” - Tahitian proverb

“What strikes me is the fact that in our society, art has become something which is only related to objects, and not to individuals, or to life.”

Michel Foucault

Woodbury University Summer 2011ARCH 4752 -- Foreign Study Studio: Tahiti 6 unitsEquivalent to:ARCH 489, Design Studio 4BARCH 491, Design Studio 5AINAR 282 Design Studio 4, or INAR 382 Design Studio 5Instructors: Randy Stauffer and Ingalill Wahlroos-Ritter

Matavai Bay, Tahiti by Wm. Hodges. Pen, ink and watercolor on paper. 1773 - 1774

Historical Fare


The primary goal of this studio is for students to learn about architectural space in the fi eld. It seeks to interrogate a non-western culture and mine it through its matter in order to enrich the current academic and professional discourse by bringing place to the fore. This studio is a continuation and development of the work began in the summer of 2010. While the fi rst year’s investigation sought to explore ideas of public space in the form of a virtual and hypothetically real museum, this year’s investigation will explore the realm of private space through the design of a zero-carbon footprint home.

The precedents and starting point from which the studio investigation will begin is Jean Prouvé’s Maison Tropicale. Though Prouvé’s homes started from a point of colonization, the experiments in both Maison Tropicale and Maison Coloniale developed designs that responded to particular climatic conditions as well as ideas about pre-fabricated design. Transforming the colonial implications by utilizing and adhering to the local conditions of building and living, this studio will further develop ideas explored by Prouv.

The building envelope, or skin, is traditionally defi ned as the layer that separates the interior of a building from its exterior environment as well as a layer that sep-arates increasingly private living conditions from more public living conditions. In a location with a climate as temperate as that in Polynesia, with building con-ditions radically divergent from western notions of architecture, and with living patterns that emerged from both western and Polynesian ways of living, the static concepts of enclosure, threshold, boundary, separation, and differentiation may be questioned in ways that contain more fl uid ideas of continuity and dynamic lines of demarcation. The traditional Tahitian concept of transitory habitat is

INTRODUCTION INTRODUCTION

6 7largely derived from this tropical environment, one that causes structures, even the traditional stone marae to rapidly decompose, and suggests a temporary, perhaps even ephemerally dissolving architecture.

The fi rst four weeks of the studio will be spent exploring the Society Islands in French Polynesia. Specifi cally we will be exploring Tahiti, Raiatea, Huahine, and Moorea. The remaining six weeks of the studio is spent in Los Angeles. A sequence of assignments - fi eld work, research, data collection, measuring, map-ping, interviewing, drawing and design work allows each student to develop specifi c skill sets of observation, transformation, and synthesis.

By investigating the stuff from which architecture is made and the actions through which people live, this studio encourages students to translate physical reality of an unfamiliar non-western culture into a unique site specifi city. The studio will produce a hyper-local architecture using indigenous materials, deployed and transformed through traditional and digital processes. Students interrogate, describe and synthesize new understandings of private and public territories through material aggregation and programmatic assemblages.

The productive steps of the studio will result in a lexical index of materials, pro-cesses of building and living conditions indigenous to the Society Islands. From these indexes students will propose a domestic architecture that responds to the needs of the local culture and environmental concerns of the Islands.

aerial view of Moorea

Studio Outline


Week 1 Tahiti Design and build measuring device

Week 2 Raiatea Test measuring device at Taputapuatea Huahine Test measuring device at Maeva

Week 3 Moorea Site measuring and mapping

Week 4 Analysis of Bioclimatic Kit home

Week 5 Los Angeles Sustainability research

Week 6 Design Material Connection/Measuring Surface Week 7 Site, orientation, sun and wind

Week 8 Ritual habitation - water, food, waste

Week 9 Interior Details

Week 10 Exterior Details

Week 11 Final Presentation

Men in outrigger canoe in Tahiti , Photo by Dana Edmunds

INTRODUCTION STUDIO

8 9

PART 1.1 :: MEASURING DEVICE

Measure: Prescribed or limited extent, capacity or quantity, the capacity of something, an extent which ought not to be exceeded, limit :--: moderation, temperance or restraint in conduct; modesty, discretion :--: prudence; compromise, the use of a conciliatory approach :--: proportion, due propor-tion, symmetry, balance; a quantity or portion of something, especially as granted or meted out to a person or thing :--: the actions results or means of measuring something :--: an instrument for measur-ing something :--: a means of measuring :--: a standard, rule of judgment against which something may be gauged, determined, or regulated :--: a criterion, test :--: a quantity which may be used to calculate or gauge a correlative quantity :--: (also) a value computed as a gauge or quantifi cation of something :--: any of various specifi c units of capacity and the quantity of a substance represented by such a unit; a unit or denomination of measurement :--: in descriptions of mixture or composition :--: each of a number of equal volumes of constituent material of arbitrary quantity, used to indicate proportions (2 measures of gin to 4 measures of tonic) :--: the duration of time for music.

all defi nitions from OED

The course begins by undertaking a series of related investigative exercises based on the assumption that materials carry implications of potential form, function, meaning, program and appropriation. We intend to focus on materials associ-ated with the Pacifi c Islands, not typically included in the architectural lexicon, assess them from both non-western and western perspectives, and thereby open up design possibilities and broaden our architectural discourse.

A methodological research of the properties, characteristics, and distinctive fea-tures of the selected materials will follow. Operating under the assumption that each material is laden with implications of memory, emotional response and visceral reactions, (as well as clichés, stereotypes, and preconceptions), each student will develop a method for measuring these properties in their assigned

ASSIGNMENT 1 :: MEASURING MATTER4 weeks

Heath Robinson, Pancake-making machine Heath Robinson, Training Frame for Cat Burglars

Ernst Haeckel, shells

STUDIO STUDIO

10 11

Archigram, Cushicle, 1966 (speculative design for a personal, individual and portable dwelling unit which may be ‘worn’ for transport and unpacked for occupation)

materials. Through these measuring methods each material begins to reveal complex links between the mnemonic and the temporal, the western and the non-western, the historical and the contemporary. The assembled entries will produce an apocryphal encyclopedia, with descriptions and defi nitions of each material using written text, illustrations, contextual photographs, and analytical drawings.

By taking measure of the materials and environment around us, this exer-cise reveals the way the environment is manipulated to accommodate lo-cal conditions. This fi rst assignment will ask the student to measure a partic-ular material in hopes of discovering its abundance and uses. Awareness of limits of any given resource is the starting point for preserving the resource.

Tectonic Volcanic Rock • Trees • Shell • Coral • Sand Surface Pandanus • Banana tree • Vanilla Bean • Hair• Tree Bark • Coconut • Feather • Palm FrondEphemera Flower • Grass • Ocean Water • Fresh Water • Wind • Shade Light

What to measure (this list is not conclusive):1. Sensory characteristics: light, shade, humidity, temperature, wind move-

ment, water movement, sound, friction (tactility), metabolic rates, color2. Physical characteristics: distance, volume, mass, weight, wealth, popula-

tions, energy, heat, temperature, humidity, age, friction, deformation, move-ment

3. Tolerance: deformation, elasticity, balance4. Environment: clouds, stars, sun, ecosystems5. Social: demographics, cultural, economic, aesthetic, political

Specifi cations for design of Measuring DeviceDesign a device for measuring different characteristics of your chosen material. Begin with an existing measuring device (for example, ruler, thermometer, tape measure, barometer, or color wheel) and modify it to respond to the characteris-

Leonardo Da Vinci’s Hygrometer: a device for measuring the amount of moisture in the air

tics of your specifi c material. Include the following parameters:• you must be able to carry the measuring device with you to the different

islands and then back to Los Angeles (recommended weight not to exceed 10 lbs., and combined dimensions, in it’s collapsed condition, not to exceed 37”

• the device must be able to measure more than one thing• units of measure must be incorporated into the device (see “establish units

of measure” below)• each measuring device must come with fi eld note templates and survey

3 May - Provide hard-line plans and elevations of your device in its most col-lapsed and most open position. Be prepared to change your material based on the diversity of materials chosen by your classmates.

Drawings of Measuring DeviceProvide sketches of the device as you develop the design. Students will be sharing their measuring devices on each island. The more diverse the type and number of measuring devices developed in the class, the greater the different types of data.

Building and Testing Measuring DeviceEach student will construct their measuring device while on the Island of Tahiti.While in Tahiti, document one trial use of the measuring device and then adjust the design as needed to accommodate expectations.

Establishing Unit of Measure + Instruction GuideSince units of measure are arbitrarily set by society, you need to establish units of measure for the supplementary element of your measuring device. These standards must be documented so that when someone else uses the measuring device, they can use a consistent measuring and naming convention. Students should develop an instruction guide, in diagram form, for deploying the measur-ing device.

STUDIO STUDIO

12 13

PART 1.2 :: SITING MATERIALITY

“For instance, Aristotle’s famous four elements, fi re, earth, water and air, may be said to refl ect a sen-sual awareness of what today we know as energy and the three main states of aggregation of matter, the solid, liquid and gas states.”

-- Manuel De Landa, ‘Uniformity and Variability: An Essay in the Philosophy of Matter.’

Upon completion of the measuring devices, students will continue the material investigation and documentation for the remaining three weeks abroad. The material investigation will revolve around the way the student’s selected material works and can work in the built environment. To this end there are three cat-egories of use each material investigation explores. In addition to the ways these materials are used for making space, the measuring will continue developing the cultural and social implications of materiality explored last summer.

Material as Maker of SpaceThe material explorations will explore three different types of building catego-ries: tectonic, enveloping and ephemeral. Each material will lend itself more readily to one of these categories, though some may work equally well in more than one category. It is up to the student to understand which characteristics their material works best in, and how the material needs to be manipulated in order to be used.

In order to investigate not only the intra-relationship of these three characteristics of materiality found in individual materials, students will work in teams of three with materials that fall into the different dominant characteristics. This will allow students to also investigate inter-relationships of different materials.

Valery Goodwin, city Quilts

MATERIAL AS MAKER OF CULTUREEach material has the potential of providing a source of the narrative or program for its spatial form, its placement on Moorea, and for the physical enclosure. Understanding this narrative or programmatic potential found in the materials brings meaning to the physical form it creates.

As Manuel De Landa points out in his essay, Uniformity and Variability, “the deskilling of craftsmen that accompanied mechanization may be seen as involv-ing a loss of … knowledge, since in many cases empirical know-how is stored in the form of skills”. The narratives and skills required to transform the material are necessarily an intrinsic part of each lexical entry and will begin to suggest associated construction techniques and morphologies.

Students will collect as many maps as possible of the specifi c sites: Taputapuatea, Maeva and an as-of-yet to be determined site on Moorea from such sources as Google earth, internet searches, tourist brochures, etc. The maps you collect describe the site with particular biases in mind. Furthermore, in most cases these maps are purely planimetric.

MEASURING SITEYour task on Raiatea and Huahine is to re-measure the site through the lens of your material and using your measuring device. You also redraw the site merging aspects of both plan and section within the same representational fi eld. Depending on your project, you may want to presence the plan or section to a greater or lesser degree. At a minimum, each student must construct (1) site sec-tions and (1) plan of the site. Do not erase, and incorporate all construction lines into the representation. Do not concern yourself with contructing a ‘clear’ draw-ing. Clarity will arise through layering of each student’s line drawing. Use the lightest possible lineweight. Thickness and emphasis will arise through multiple thin lines rather than singular thick ones.

MARKING SITEDevelop a series of markings to note conditions within the site. Identify a mini-mum of fi ve conditions where your material marks the site and mark them each time they occur on your drawings, but not less than 50 times each. Carefully number each symbol with your initial followed by a number (font size not to

STUDIO STUDIO

Joseph Banks, journal entry

14 15

Macy Chadwick

exceed 10 point). This means that each student will have a total of 250 marks divided into 5 groups of 50 markings minimum and each marking will be differ-ent. Every mark must consist of a minimum of 3 lines and 2 line weights. At least one condition must be drawn as an accurate orthographic architectural drawing. The other four conditions can be identifi ed through symbols that you develop. These conditions do not have to be profound. For now, it is important to use the drawing as a means of excavating potential from the site.

For each site students will develop a composite plan that overlays the material mappings onto the site plan. For the site on Moorea, rather than developing an overlay, students will develop a composite plan adjoining individual sites with each other.

Once on Moorea students will explore the island and determine a site that can hold 14 to 16 individual parcels. We are calling this the assemblage site since it houses an assembly, or neighborhood, of all the individual sites. This will be the location for our fi nal project. Once students have selected several options for the potential site the class will determine the fi nal choice and divide it into par-cels for individual students. Each parcel on the assemblage site will be between 5,000 SF and 10,000 SF

Assignment 1.2 ScheduleDate Site Location Task5.21 Taputapuatea Initial site mapping5.23 Taputapuatea material mapping5.24 Taputapuatea composite mapping

5.26 Maeva Initial site mapping5.27 Maeva material mapping5.28 Maeva composite mapping

6.1 Moorea Explore Island for assemblage site6.2 Moorea Determine assemblage site6.3 Moorea Break up assemblage site into parcels6.6 Moorea Map individual parcel6.7 Moorea Continue mapping parcel6.8 Moorea composite mapping of assemblage

PART 1.3 :: MEASURING MATERIALITY

“Architecture makes the measurable immeasurable.”

Louis Kahn

de·tail - [French détail, from Old French detail, a piece cut off, from detaillir, to cut up : de-, de- + tailler, taillier, to cut; see tailor.]

-- OEDMaterials are the ultimate outwardly expression of an architectural idea or concept. They render transparent the thought that gave rise to the edifi ce’s existence. Materials carry the burden, literally and fi guratively, of the building’s raison d’etre. A composition of materials implies, indicates, infers, and proves the rule, the determination or the lack of consideration behind a particular architectural problem.

-- Wilfried Wang

In the spirit of sixteenth-century alchemists who, as De Landa points out, ‘re-covered a certain respect for a direct interaction with matter and energy’ in an attempt to capture ‘the complexity of physical transmutations and of the effect of physical structure on the complex properties of matter’, the manipulation of material will require rigorous adherence to performance and effi ciency. Design solutions which foreground a respect for the scarcity of resources on the island, as well as performative effi ciency in terms of material and energy usage are en-couraged.

The methodology of beginning with material interrogation produces innovative approaches to tectonic exploration. The success of the material manipulation depends on analysis and synthesis of research, materials and methods, construc-tion techniques, human comfort, environmental performance. The methodology of manipulating these apocryphal materials allows for a freedom from precon-ceptions about particular design approaches.

STUDIO STUDIO

tapa cloth samples, journals of Captain James Cook

16 17MEDIATED MATERIALFind and record 20 conditions exemplifying how the environment affects your material. You will photograph or video the different conditions and then trans-late these into a mediated series of graphic images. Think of this as a scavenger hunt where you seek, discover and record your material throughout the four islands we visit. This will heighten your understanding of the material as you develop your project.

MATERIAL CONNECTION / MEASURING SURFACEUpon completion of the material recordings students design a surface condition informed by two investigations of the project to date: the design of the measuring device and the material manipulations. Though the bulk of this investigation will take place upon our return to Los Angeles, students should begin sketching (both drawing and model) preliminary ideas while in the fi eld.

The design parameters for the material connection / measuring surface will in-clude the following:• Vertical or Horizontal surface• Measuring performance comparable to measuring requirements designed in

your measuring device• Surface should be kinetic• Surface should include selected material, or affect selected material, or mea-

sure selected material or a combination of the three• Surface should respond to human subject through scale, proportion, and

function • The surface must have a separate interior and exterior side and those sides

must be different

MEDIATED MATERIAL CATALOGUEYour catalog will include photographs of each of the 20 material translations together with a brief narrative description describing the process (50-75 words, minimum).

ASSIGNMENT 1 DELIVERABLESUpon our return to Los Angeles students will present the following information to collate, analyze and synthesize the fi eld work. As specifi ed in the schedule that follows we will have a presentation the 6th week of the semester. This pre-sentation will collect all of the information completed for the fi eld work and the completion of assignments 1.1, 1.2 and 1.3. The presentation will include the following:

1.11.1.a Hard-line drawings of measuring device1.1.b Measuring device1.1.c Instructions for use of measuring device1.21.2.a Individual mapping of Taputapuatea1.2.b Group mapping of Taputapuatea1.2.c Individual mapping of Maeva1.2.d Group mapping of Maeva1.2.e Group mapping of assemblage of sites on Moorea1.2.f Individual mapping of chosen site on Moorea1.2.g 500-750 word essay describing qualitative aspects of Moorea site1.3a Documentation of 20 material translations done on the island1.4 Kit House Analysis

GradingEach student will be graded on, among other things, quality and craft of mea-suring device, representational quality and completeness of drawings, quality and craft of drawings and physical details, participation, and iterative process as represented by multiple sketches, models and drawings.

STUDIO STUDIO

Ned Kahn Studios, ‘Technorama’ facadeJean Prouvé exhibition, Gagosian Gallery, 2010

18 19

ASSIGNMENT 2 :: MEASURED ENCLOSURE

“Contemporary architecture replaces the idea of facade with that of skin: an exterior layer mediating between the building and its environment. Not a neutral elevation, but rather an active, informed membrane; communicative and in communication. Rather than walls with holes, technical, inter-active skins. Skins colonized by functional elements capable of housing installations and services; capable of receiving and transmitting energies; but also capable of supporting other incorporated layers: overlapping rather than adhesive. Manipulated and/or temporary patches, eruptions, graph-ics or engravings; but also projected images. Colorful reversible motifs and virtual -digital - fantasies aimed at transforming the building into an authentic interface between individual and environment; and the facade, into an (inter)active screen, the frictional boundary between the building and a context which changes over time.”

– Manuel Gauza

“Skin”, Metapolis Dictionary of Advanced Architecture

MATERIAL CONSIDERATIONSThe method of material transformation, both historical and contemporary, sug-gests ways in which the material can be manipulated. The program of a resi-dence appears straightforward: it is a structure to be lived in. The design of measuring devices and material translations suggest unconventional ways of ag-gregating material components.

BODY AND SURFACEOur bodies are surrounded by four layers - the fi rst being our skin, the second our clothing, the third the layer of others, and the fourth, the buildings where we reside. Why should the fourth layer not participate with our bodies in the ways that the other layers do: sweating, breathing, covered with hair, respond-ing to fear, aging, scarring, tanning, wrinkling; removable, wearable, adjustable, buttoned, stitched, zippered; interacting, participating, adapting, and providing delight.

STUDIO STUDIO

ASSIGNMENT 1.4 :: SURVEY OF BIOCLIMATIC KIT HOME

“Imprisoned by four walls (to the North, the crystal of non-knowledgea landscape to be reinventedto the South, refl ective memoryto the East, the mirrorto the West, stone and the song of silence) …”

-- Octavio Paz,“Envoi”

The Bioclimatic Kit House Gump Station is a prefabricated home designed by French Architect MadelaIne Fava. It was designed to respond to the need for housing on the islands. One of these homes is located at the Gump Station. An extensive report was done on the project by researchers at the Gump station (Ru-lifson, Walter, Valdez, Miller, 2009). As part of our fi eld work we will examine how the house is designed and inhabited. Together we will determine the best way to do this. This might include surveys, site documentations, and overnight stays.

from Bernard Rudofsky’s, ‘Architecture without Architects’

20 21SITE CONSIDERATIONSThe site of domestic investigation is located on the island of Moorea. Rather than slavish appropriation of historical precedent and clichéd architectural ste-reotype (consider the ubiquitous resort bungalow spreading fungally across the lagoons), the studio methodology and design process requires application of new techniques and methods aligned with the entrepreneurial, progressive and ‘localized’ cosmopolitan culture of French Polynesia. Each project must include as part of the design solution an understanding of the vernacular with acknowl-edgment of new tools of design optimization.

DESIGN CONSIDERATIONSThe research will require students to develop new approaches, fl uid conditions, unique material and tectonic systems, types of boundaries, and environmental strategies, far removed from the hermetically sealed enclosure of the traditional house.

STUDIO STUDIOTRADITIONAL TECTONICSTraditional Tahitian architecture consists of both heavy and light, or, to bor-row from Gottfried Semper’s architectural taxonomy, stereotomic (earthwork) and tectonic (frame and membrane), precedents. The stereotomic precedent is the marae. These open-air sacred places serve both religious and social pur-poses and consist of terraces constructed of vast stones, squared and polished and weathered over time, and existing in various states of disrepair and decay throughout the Pacifi c Islands. The tectonic precedent consists of the tradition-al fare, domestic structures built of wood beams, thatched coconut fronds and plaited bamboo. Contemporary structures on the islands can be described as a hybrid of these two precedents, often consisting of cement block buildings, with particle-board partitions and corrugated-iron roofi ng, and offering greater resis-tance to the threat of cyclones than the traditional fare

INNOVATIVE TECTONICSIn his book Studies of Tectonic Culture, Kenneth Frampton refers to the two basic modes of building, the compressive mass and the tensile frame in vernacular architecture, as intrinsically tied to spatio-temporal rhythms and a non-Western nonlinear attitude toward time. He refers to a time when space was not an inte-gral part of our thinking about architecture and seeks to ‘mediate and enrich the priority given to space by a reconsideration of the constructional and structural modes’ by which architectural form must be achieved. Frampton is less inter-ested in constructional techniques than in ‘the poetics of construction’ which is neither fi gurative not abstract. In the design studio attention must be given to both: Frampton’s ‘spatio-plastic unity of interior and exterior space’, wrapped by enclosure allowing for multiple experiences, as well as attention to the tech-niques of construction.

http://www.dezeen.com/2010/05/06/grompies-by-berndon-carlin/Renzo Piano, Noumea, New Caledonia

22 23Friday June 17Presentation on sustainable practiceshand out 1 week charrette

Material Connection/Measuring SurfaceThe fi nal design of the material connection/ measuring surface will in-clude the synthesis of information collected in the fi eld as well as infor-mation collected in the research of sustainable topics. Students should include in their designs all the different research done to date. The rela-tive success of your designed surface will be determined by how well you integrate the multiple assignments into the fi nal design.

Generally speaking these four different assignments will inform your fi nal design of the surface.:• measuring device design, • site analysis and mapping• material studies• research on sustainable practices In addition to the physical parameters of the designed surface incor-poration of these informational fi ndings into the designed surface will propel the fi nal design and determine the overall success of the project.

The design of the Material Connection / Measuring Surface should:• be a vertical or Horizontal surface• include performance comparable to requirements designed in your

measuring device• incorporate kinetic components• include selected material, or affect selected material, or measure

selected material or a combination of the three• respond to human subject through scale, proportion, and function • have a separate interior and exterior side and those sides must be

different

STUDIO STUDIODESIGN SCHEDULEHaving surveyed and mapped individual parcels in the site assemblage students are now ready to develop strategies for enclosing habitation. The following schedule refl ects the steps necessary to complete this process.

Week 5: Tuesday June 14Each student will select and research one of the following sustainable topics:

1. Sun as energy generator2. Solar storage thermal sink3. Wind as energy generator4. Natural ventilation5. Water as energy generator6. Water collection7. Water as heat sink8. Waste disposal9. Food storage10. Food production11. Carbon negative materials 12. living systems such as green roofs and walls13. shading as cooling14. Jean Prouvé’s Maison Tropicale

Glenn Murcutt, Marika-Alderton House traditional Polynesian tapa cloth

24 25Week 6 Tuesday June 21

desk crit Friday June 24Presentation of Material Connection/Measuring Surface hand out requirements for site, orientation and wind

Identifying the conditions of the site through mapping will inform the transformation of surface into interior form. Pay special attention to how the imagined space of the poché can expand, warp, transform, and change according to site markings.

Further development of interior space will come as the projects explore ritual habitation but for this exercise it is important to keep in mind how surface transformations affect envelope form and interior space. Surface transformations should account for environmental conditions (sun, wind, water, shade, etc.) sustainable conditions, topography, rela-tionship to adjacent individual plot(s), social, and demographic condi-tions. Many of these conditions were analyzed and explored during your mapping exercises so refer to those drawings for the transformation of your surfaces.

Provide three 1/6” scale models exploring how your surface is trans-formed due to three different conditions of the site. Each model should express a unique tectonic development as identifi ed in your Mediated Material translations.

Week 7 Tuesday June 28Desk crits site, orientation, sun and wind - desk critFriday July 1pin-up of site plan at 1/16”hand out requirements for ritual habitation - water, food, waste

Incorporate research from bioclimatic house and Prouvé’s Maison Trop-icale consider ritual habitation surrounding domestic activities such as cooking, cleaning, gardening, eating, sleeping dreaming, bathing, studying, singing, coupling, working, dancing, etc. these rituals should be viewed through the lens of polynesian culture and incorporate ideas from the measuring device. The design also allows for the possibility of incorporating different measurements associated with the rituals of habitation.

Week 8 Tuesday July 5ritual habitation - water, food, wasteFriday July 8pin-up of plans and sections at 1/8”, site model at 1/8”

Week 9 Tuesday July 12detailing of interiorDevelop interior details that incorporate furniture, lighting, material, color and sustainable considerations.Friday July 15pin-up of plans and sections at 1/4”, detail model at 1/4”

Week 10 Tuesday July 19detailing of exteriorDevelop 1/4” details that mediate light, wind, and moisture. Identify material assembly, topological conditions, and sustainable consider-ations Friday July 22pin-up of plans and sections at 1/4”

Week 11 Tuesday July 26Desk critsFriday July 29Final Review, all of the above

Polynesian navigational maps (stick charts)Polynesian navigational maps (stick charts)

STUDIO STUDIO

26 27ITINERARYTAHITISunday 5.15.11 1:30pm LAX - PPT - Tahiti Faa’a Airport Quantas #6AW75F Departs at 9:00pm Arrives at 8:20am (Monday, 5/13/10)

8:20am Flight arrives Settle in at HOTEL ROYAL TAHITIEN (www.hotelroyaltahitien.com)

Monday 5.16.11 7:00am Arrive at Centre des Metier d’Art Avenue du Regent Paita - Mamao

Tuesday 5.17.11 7:00am Arrive at Centre des Metier d’Art Avenue du Regent Paita - Mamao 5:00pm Open

Wednesday 5.18.11 7:00am Continue work at Centre des Metier d’Art 2:00PM Present work completed for assignment 1.1

Thursday 5.19.11 FREE DAY

RAIATEAFriday 5.20.11 6:15am Leave for Airport 7:15am PPT to Raiatea Air Tahiti Nui #332 8:00am Arrive in Raiatea Settle in Sunset Beach Motel (www.sunset-raiatea.pf) Raiatea Lodge

Saturday 5.21.11 9:00am Free day - Group Dinner

Sunday 5.22.11 Travel to Taputapuatea

Monday 5.23.11 9:00am Site survey of Taputapuatea

Tuesday 5.24.11 9:00am Students develop site survey work 2:00pm Studio Discussion 5:00pm Group Dinner

ITINERARY

Students from the Centre des Metier d’Art Taputapuatea, Raiatea

28 29

HUAHINEWednesday 5.25.11 7:15am Leave for Airport 8:15am Raiatea to Huahine Air Tahiti Nui #VT362 8:35am Arrive in Huahine Settle in Chez Guynette (http://www.huahineisland.com/guynette/)

Thursday 5.26.11 6:00am Travel to Maeva

Friday 5.27.11 6:00am Travel to Maeva to do site work

Saturday 5.28.11 6:00am Students to develop site work

Sunday 5.29.11 Free Day - Group Dinner

Monday 5.30.11 Free Day - Group Dinner

MOOREATuesday 5.31.11 10:35 leave for airport 11:35 Huhaine to Moorea Air Tahiti Nui #VT267 12:10 Arrive in Moorea Settle in the Gump Station

Wednesday 6.1.11 6:00am Explore potential sites on island

Thursday 6.2.11 6:00am Decide on one location for assemblage of sites

Friday 6.3.11 6:00am Identify individual parcel on assemblage

Saturday 6.4.11 6:00am Free Day

Sunday 6.5.11 6:00am Free Day

Monday 6.6.11 6:00am First Mapping using their own measuring device

Tuesday 6.7.11 6:00am Second Mapping using their own measuring device

Wednesday 6.8.11 6:00am Joint mapping looking of site

Thursday 6.9.11 6:00am Material manipulation exercise

Friday 6.10.11 6:00am Material manipulation exercise

Saturday 6.11.11 6:00am Free Day

Sunday 6.12.11 3:35pm leave for airport 5:35pm Moorea to Papeete Air Tahiti Nui Flight #VT216 9:00pm Papeete to LAX Quantas fl ight #3827

Monday 6.13.11 8:20am Flight arrives in Los Angeles

ITINERARY ITINERARY

Huahine

30 31APPENDIX A APPENDIX A


Society Islands Huahine map prepared by Woodbury students, summer 2010


Google Earth map of Taputapuatea


base map of Taputapuatea

48 49APPENDIX A

Moorea

APPENDIX A

50 51APPENDIX B

TAHITIAN & FRENCHFrench and Tahitian are the offi cial languages in French Polynesia. But the further away from Papeete you go, the more Tahitian and less French you’ll hear spoken. Communication problems away from the hotels and other tourist industry operations may be avoided by breaking the ice with a few words in either French or Tahitian.The pronunciation of French words must be studied at great length. But the pronun-ciation of Tahitian words is comparatively simple, particularly for English-speaking people. In Tahitian all vowels and consonants are pronounced as a separate syllable. There are no silent letters. There is always a vowel between two consonants and sometimes as many as two or three vowels will run together. For example the name of Tahiti;s airport is Tahiti –Faaa International Aiport. In the word F-A-A-A, all three “a’s” are pronounced. Every syllable ends in a vowel. Most words are accented on the next to last syllable.

Tahitian vowels are pronounced the same as in Latin:a – ah, like in far o - oh, like in goe – ai, like in day u – oo, like in luluThe following are some French and Tahitian words and phrases you might try using during your visit. The traditional Tahitian greeting is “ia orana”. It is usually fol-lowed by, “how are you?”. In Tahitian, “eaha te huru?”

ENGLISH FRENCH TAHITIANafternoon après-midi avateaairplane avion manurevaAmerican américain mariteangry fâche ririask demander aniasleep endormi ta’oto

bad mauvais inobaggage bagages ota’abank banque fare monibarber barbier ta’ata pa’oti rourubeach plage tahataibeauty beauté nehe nehebed lit ro’ibeer bière piaboat bateau pahibook livre bukabread pain faraoabreadfruit fruit de l’arbre à pain urubreakfast petit déjeuner tafe poi poiBritish britannique beretanebutter beurre pataENGLISH FRENCH TAHITIAN

APPENDIX B

candy bonbon mona monacar voiture pereoocash espèces monicat chat mimichurch église fare pureclothes habit aahucoconut noix de coco ha’ari - opaacoffee café taofecold froid to’eto’e

dance danse oridarling chéri ta’u heredaughter fi lle tamahineday jour aodear cher itidentist dentiste taote nihodepart partir revadessert dessert faraoa monamonadinner repas amura’a - avateadoctor médecin taotedog chien uridrink boisson inu

eat manger amuegg œuf huero moaelectricity électricité uiraEnglish Anglais Beretaneeverybody tout le monde te taatoa raaeye œil mata

family famille fetiifarewell adieu parahifather père metua tane - papafi re feu i’afl ashlight lampe de poche mori patafl ower fl eur tiarefood nourriture maafriend ami hoa

gentleman monsieur tanegirl fi lle poti’iglass verre hapainagoodbye au-revoi r parahi oegood evening bonsoir ia orana oe i teie po

52 53

ENGLISH FRENCH TAHITIAN good morning bonjour ia orana oe

head tète upo’oheart cœur mafuatuaàuhappy heureux oaoahospital hôpital fare ma’iHow are you? Comment allez-vous ? Eaha te huru?How much? Combien ? Efea?husband mari tane faaipoipo

island île motuI’m hungry j’ai faim ua poi a vauI’m thirsty j ‘ai soif ua poiha vau

kiss baiser apa, hoi

lady dame vahineliquor liqueur avalove amour herelunch déjeuner tama’aa

man homme tanemedicine médicament ràaumidnight minuit tuiraa - pômilk lait ûmoney argent monimorning matin po’i po’imountain montagne mou’a

name nom i’oanever jamais eita roanoon midi avateanow maintenant i tei nei

passport passeport buka raterepolice police muto’ipost offi ce bureau de poste fare ratarestroom toilettes fare haumitiroom chambre piha

sick malade maisugar sucre tihotaswim nager aùstore boutique fare toa

APPENDIX B

ENGLISH FRENCH TAHITIAN teaspoon petite cuillère punu taiputhank you merci mauruuru

understand comprendre ta a papu

water eau papewelcome bienvenue maevawife épouse avawine vin uaina

yes oui e, oia

Sunday Dimanche SabatiMonday Lundi MonireTuesday Mardi Mahana PitiWednesday Mercredi Mahana ToruThursday Jeudi Mahana MahaFriday Vendredi Mahana PaeSaturday Samedi Mahana Maa

January Janvier TenuareFebruary Février FepuareMarch Mars MariApril Avril EpereraMay Mai MeJune Juin TiunuJuly Juillet TiuraiAugust Aout AteteSeptember Septembre TetepaOctober Octobre AtopaNovember Novembre NovemaDecember Décembre Titema

APPENDIX B

54 55APPENDIX C

EMERGENCY NUMBERS

TAHITI

Royal Tahitian Hotel Tel. 50.40.40Rue Temarii, in Pirae

Emergency contacts:

Lillemor Kin (friend of Sabrina’s) Tel. 27.49.96Sea Rescue 42.12.12SOS Doctors 42.34.56Police 17 US Consulate telephone: (679) 3314-466U.S. Embassy in Suva, Fiji, P..O. Box 218 or 31 Loftus Street, Suva, Fijifax (679) 3302-267

Inter-island fl ightsAir Tahiti 86.42.42

International FlightsAir Tahiti Nui 46.03.03

Internet Service and PrintingCybernesia, Papeete www.cybernesia.pfLa Maison de la Press, Papeete [email protected] Copy, Papeete [email protected]

APPENDIX CRAIATEA

Sunset Beach Motel 66.33.47

Raiatea Lodge 66.20.00

Anapa Perles, Tevaitoa Free pearl farm snorkeling adventure

Internet Service and PrintingITS Multimedia 60.25.25

Emergency ContactsPolice 60.03.05

Uturoa Hospital 60.08.00

Taputapuatea, RaiateaMoorea

56 57HUAHINE

Chez Guynette, Fare 68.83.75

Internet Service and PrintingUpstairs

Emergency numbers 18 (like 911)(there is a 24 hour emergency room in Fare as well as a doctor’s offi ce near the pharmacy)

MOOREA

U.C. Berkeley Gump Research StationNeil Davies, Ph.D., Executive DirectorFrancis J.Murphy, Associate DirectorOffi ce 689 56 13 74Cell 689 799 936http://moorea.berkeley.edu

Teurumereariki Hinano Teavai MurphyAssociate DirectorOffi ce 689 56 45 35Cell 689 757357

Huahine

APPENDIX C APPENDIX D

GENERAL INFORMATIONBANKS can be found on all three islands.

WATER SAFETY DO NOT DRINK THE TAP WATER.

CLIMATE Defi ned as marine tropical, French Polynesia’s climate doesn’t vary much. Temperatures range between 24°C and 30°C all year long and its high humidity (75%) is tempered by breezes.

TIDESThe Society islands, and this is one of the major distinctions of French Polyne-sia, are situated on what is called an amphidromic point, where tides are only infl uenced by the solar ocean tide (water level difference is 20 cm, or 8 inches, with high tides at noon and midnight, every day of the year).

FLIGHT INFORMATIONFor inter-island fl ights, carry-on weight is 3 kilos (6.6 lbs.), and weight limit for luggate is 20 kilos (44 lbs.)

IPHONE APPSmotion x gpsGPS kit aero weather (METAR data for current weather conditions)TAF weather forecast datafoursquare

INTERNATIONAL USE OF MOBILE PHONESThis will be enormously expensive and is not recommended. For advice re-garding using your iphone internationally (generally, don’t), http://latimesblogs.latimes.com/technology/2009/01/avoiding-big-in.html

58 59APPENDIX D APPENDIX E

CINEMASome fi lms set in Polynesia include:1. Mutiny on the Bounty 1935 Charles Laughton, Clark Gable 1962 Trevor Howard, Marlon Brando 1984 Anthony Hopkins, Mel Gibson, Liam Neeson

2. Once Were Warriors (1994)

3. The Piano (1993)

4. The Hurricane 1937 John Ford, Dorothy Lamour 1979 Dino De Laurentiis, Mia Farrow

5. South Pacifi c (1958)

And some fantastic fi lms having nothing whatsoever to do with Polynesia but which every design student should see:

6. The Five Obstructions, Lars von Trier Movie about the productive potential of impossible situations in creative work.

7. Sans Soleil, Chris MarkerA poetic collection of fi lmic sequences from around the world, driven by a nar-rative of time, space and memory.

The three ‘Mutinies’-

CONTACT LIST

Ingalill Wahlroos-Ritter [email protected] Stauffer [email protected]

Germane Barnes [email protected] Carboni [email protected] Castaneda [email protected] Chiriboga [email protected] [email protected] Diaz [email protected] Monge [email protected] Phaisinchainaree [email protected] Rahhal [email protected] Steven [email protected] Urciaga [email protected] Valdez [email protected] Veliz [email protected] Weintraub [email protected] Wild [email protected] Zinn [email protected]

EMERGENCY TELEPHONE NUMBERSIngalill 323-788-7038Randy 818-913-8115

60 61APPENDIX F APPENDIX F

Jean Prouvé Jean Prouvé

62 63

Jean Prouvé

APPENDIX F APPENDIX F

64 65

Jean Prouvé

APPENDIX F

Jean Prouvé

APPENDIX F

66 67APPENDIX F APPENDIX F

Installations by Architects: Experiments in Building and Design Installations by Architects: Experiments in Building and Design

68 69



70 71



72 73BIBLIOGRAPHYBatailles, Georges. “Architecture, Slaughterhouse, Museum,” in Rethinking Architecture, ed. Neil Leach, London/ New York: Routledge, pp. 20 – 23

Beckman, John, Ed. The Virtual Dimension: Architecture, Representation and Crash Culture. New York: Princeton Architectural Press, 1998.

Clifford, James. On Collecting Art and Culture. Ed. During, Simon. The Cultural Studies Reader. New York: Routledge, 1999.

Colquhoun, Alan. The Concept of Regionalism. Ed. G. B. Nalbantoglu and C. T. Wong. Postcolonial Spaces. New York, NY: Princeton Architectural Press, 1997.

Corrin, Lisa G. Mining the Museum: An Installation by Fred Wilson. New York, NY: The Free Press, 1994.

Crimps, Douglas. On the Museum’s Ruins. Boston: The MIT Press, 1995.

De Landa, Manuel. Uniformity and Variability. 2006. http://www.t0.or.at/delanda/mat-terdl.htm., 2009.

De Landa, Manuel. A Thousand Years of Nonlinear History. New York: Zone Books, 1997.

Deleuze, Gilles. Desert Islands and Other Texts (1953-1974). Los Angeles: Semiotext(e) / Foreign Agents, 2003.

Derrida, Jacques. Archive Fever: A Freudian Impression. Chicago: University of Chi-cago Press, 1998.

Elliston, Deborah A. “Geographies of Gender and Politics: The Place of Difference in Polynesian Nationalism.” Cultural Anthropology. Vol. 15 no2 May 2000: 171-216. Pro-Quest Web. 12 Apr. 2010

Fischer, Steven Roger. A History of the Pacifi c Islands. New York, NY: Palgrave, 2002.

Frampton, Kenneth. Studies in Tectonic Culture: The Poetics of Construction in Nine-teenth and Twentieth Century Architecture. Boston: The MIT Press, 2001.

Frampton, Kenneth. “Towards a Critical Regionalism: Six Points for an Architecture of Resistance.” Labour, Work and Architecture. London: Phaidon Press, 2002.

Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. New York: Vintage Books, 1973.

Gathercole, Peter., Adrienne L. Kaeppler, and Douglas Newton. The Art of the Pacifi c Islands. Washington, DC: National Gallery of Art, 1979.

Harmon, Katherine. The Map as Art: Contemporary Artists Explore Cartography. New York: Princeton Architectural Press, 2009.

Hill, Jonathan. The Subject is Matter. London: Routledge, 2001.

BIBLIOGRAPHY

Hooper, Steven. Pacifi c Encounters: Art & Divinity in Polynesia 1760-1860. Honolulu, HI: University of Hawai’I Press, 2006.

Jolly, Margaret. “On the Edge? Deserts, Oceans, Islands.” The Contemporary Pacifi c. Fall 2001. (pp. 417-466).

Kaeppler, Adrienne L. The Pacifi c Arts of Polynesia and Micronesia. New York, NY: Oxford University Press, 2008.

Kahn, Miriam. “Tahiti Intertwined: Ancestral Land, Tourist Postcard, and Nuclear Test-ing.” American Anthropologist. Vol. 102, Iss 1: 7-25. ProQuest Web. 12 Apr. 2010

Kennedy, Sheila. Material Misuse. London: AA Publications, 2004.

Kubo, Michael. Offi ce for Metropolitan Architecture: Seattle Public Library. Barcelona: Actar, 2005.

Levy, Robert, I. Tahitians: Mind and Experience in the Society Islands. Chicago, IL: University of Chicago Press, 1973.

Lupton, Ellen. Skin – Surface, Substance + Design. London: Laurence King Publishing Ltd., 2002.

McLuhan, Marshall, and Quentin Fiore. The Medium Is the Massage. Corte Madera: Ginko Press, 1967.

Installations by Architects: Experiments in Building and Design

74 75Mercer, Koben. “Archive and Dépayesment in the Art of Renée Green.” Ed.Schweizer, Nicole. Zurich: JRP|Ringier, 2009.

Newhouse, Victoria. Towards a New Museum. New York: The Monacelli Press, 1998.

Poignant, Roslyn. Oceanic Mythology: The Myths of Polynesia, Micronesia, Melanesia, Australia. London: Paul Hamlyn, 1967.

Rendell, Jane. “Travelling the Distance/Encountering the Other.” (ed.) Blamey, David. Here, There, Elsewhere. London: Open Editions, 2002.

Ruby, Andreas. “Hyper-locality. On the Archaeology of the Here and Now in the Architecture of R&Sie.” Spoiled Climate. Basel: Birkhauser, 2004.

Rudofsky, Bernard. Architecture Without Architects: A Short Introduction to Non-Pedi-greed Architecture. Albuquerque: University of New Mexico Press, 1987.

Sadler, Simon. Archigram: Architecture Without Architecture. Boston: MIT Press, 2005.

Salmond, Anne. Aphrodite’s Island: The European Discovery of Tahiti. Berkeley, CA: University of California Press, 2009.

Semper, Gottfi red. Style in the Technical and Tectonic Arts; or Practical Aesthetics (Texts & Documents). Los Angeles: Getty Publications, 2004.

Sinoto, Yosihiko and Rick Carroll. Huahine: Island of the Lost Canoe. Honolulu: Bishop Museum Press, 2005.

Smith, Cyril Stanley. “Matter Versus Materials: A Historical View.” A Search for Struc-ture. Boston: MIT Press, 1992.

Tufte, Edward. Envisioning Information. Connecticut: Graphics Press, 1990.

Tufte, Edward. Visual Explanations: Images and Quantities, Evidence and Narrative. Connecticut: Graphics Press, 1997.

Wahlroos, Sven. English - Tahitian, Tahitian - English Dictionary. Hawaii: University of Hawai’i Press, 2002.

Wahlroos, Sven. Mutiny and Romance in the South Seas. A Companion to the Bounty Adventure. Massachusetts: Salem House Publishers, 1989.

REFERENCES

Bishop Museum, Honolulu, Hawaii. Web site: http://www.bishopmuseum.org/

British Museum, London. Explore/World Cultures, Polynesia. Web site: http://www.britishmuseum.org/explore/world_cultures/oceania/polynesia.aspx

Metropolitan Museum, New York, New York. Polynesia, 1900 A.D. – Present. Web site: http://www.metmuseum.org/toah/ht/11/ocp/ht11ocp.htm

National Gallery, Washington, D.C. Exhibition, The Art of the Pacifi c Islands (1979). Web site: http://www.nga.gov/past/data/exh443.shtm

The Seattle Public Library. Web site: http://www.spl.org/

Musée du quai Branly, Paris, France. Interactive Programmes. Web site: http://www.quaibranly.fr/en.html

Lima, Manuel. Visual Complexity. http://www.visualcomplexity.com/vc/

McClain, Anselm. Evernote, Shared. http://www.evernote.com/pub/atmcclain/poly-muse

Dance costumes from the Museum of French Polynesia

BIBLIOGRAPHY BIBLIOGRAPHY

su11 tahiti field guide

Documents

design studio

appendix e

studio investigation

appendix d

appendix f

la maison tropicale

h i n e

maison tropicale reduxauthors