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A Critical Analysis of the representation of the project T-Knot designed by Lebbeus Woods

Considered by many to be the first and only built project of the late visionary Architect Lebbeus Woods; the project T-Knot (Technological-Knot; also referred to as Light Pavilion) (Kumpusch, 2013) is a project by Lebbeus Woods working alongside Christoph A. Kumpusch and Steven Holl. It is positioned as an experimental space within Steven Holl Architects project Sliced Porosity Block located in Chengdu, China. (Woods, 2011)

T-Knot has been represented in a multitude of media throughout its lifespan; and not only by Woods. The project has been represented through sketches, technical drawings, photographs, sketch models, 1:1 scale models, rendered images, text, presentations and exhibitions to name but a few media.

Figure 1: Sliced Porosity Block by Steven Holl Architects. Photograph by Hufton + Crow (2012)

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The project was represented in an exhibition by the MAK center running between 17th June and 6th August in 2011 (MAK Center, 2011). The project has also featured in publications; both in the Architectural Review (Williams, 2013) and the LOG magazine series (Morris, 2013).

Analysis of the Representation of the Project

This section of the paper will analyse the representation of the project; focusing predominantly on the hand drawn pre-construction drawings from Woods website and blog.

The experimental nature of the project makes the representation techniques hard to position. Amongst the architectural profession Woods was considered a visionary, famous for his dystopian hand drawings depicting the future (Frearson, 2012). Reflecting upon Woods death, Peter Eisenmann said:

Lebbeus was one of the last of a generation of visionaries who dedicated a life in architecture to drawing an alternative world, one important for the present and the future. (Wainwright, 2012, citing Eisenmann, n.d.)

Yet the project was to be realised as a physical object; a space within a building. This struggle between dreams and reality is ever present within Woods initial sketches of the project. The early sketch elevation seen in figure 3 clearly depicts a desire by Woods to rebel against the structured grid of the building, and the space he has been given to work within. However, the drawing is clearly grounded in reality via the use of finished floor levels on the right hand side. I

Figure 2: Light Pavilion Exhibition at the MAK center. Photograph by Joshua White (2011)

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would argue that this is a conscious decision by Woods to develop a clear juxtaposition between the two schemes. The drawings purpose is to display the scheme as being unconstrained by the limitations of the larger project.

Woods describes the space as a freespace; in that anyone choosing to inhabit it has to invent the reason and ways to do so, working with the spatial conditions it creates. (Woods, n.d.). However, this type of space is difficult to portray and describe in drawings. The initial sketches of the scheme seen in Figure 4 do not portray a freespace in the drawings; and do even less to provide an answer to the question, what is a freespace? It is for this reason that Woods appropriates large quantities of hyper-descriptive text with each of his projects, and T-Knot is no different.

Lebbeus Woods kept a blog and a website in which several of the posts and pages reflect upon, describe or reference the T-Knot project (Woods, n.d.) (Woods, 2011). This text is as much a partof the representation of the project as the drawings are; and both are required if the audience are to fully understand Woods scheme. In this way, the representation of T-Knot is an analogy ofa Student Architectural Critique; the student will pin-up drawings, but no matter how descriptive and articulated the drawings are, the student will still require the verbal presentation to fully explain their ideas.

Figure 3: Early Sketch Elevation (cdusk1day) by Lebbeus Woods

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Woods however seems sympathetic to the idea that drawings and text go hand-in-hand when representing a project. For an architect who is famous for his drawings, Woods once stated that he only drew to express ideas (Bernstein, 2012); and it could be argued that he views text in the same manner. In the manifesto of the project on Woods (2011) website he describes the project as such:

Set within a more known three-dimensional geometry and framed by it, the Light Pavilion exerts its differences. Most apparently, the elements defining it do not follow the known, rectilinear geometry of its architectural setting. (...) Their deviation from the rectilinear gridreleases its spaces from static stability and sets them in motion, encouraging visitors to explore. (Woods, 2011)

Figure 4: Early project sketches (cdusk0-2) by Lebbeus Woods

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The text on itself is difficult to both read and understand, but when positioned alongside Woods drawings then the project awakens. Both the early sketched perspective in figure 5 and the blackand white render in figure 6 clearly correlate with the text above. The planer elements of the pavilion clearly disobey the grid set out by Steven Holl. Woods use of light and shadow depict movement and the inclusion of people references back to the idea of exploration.

There is however, people who argue the opposite and Woods use of over zealous text to describe his projects has come under criticism in recent years. Austin Williams (2013) in a recentArchitectural Review writes:

The sculpture lights up at 6pm to create what Woods suggested would be 'one that gives us the opportunity to experience a type of space we haven't experienced before'. Having experienced the sculpture several times, there is something arrogantly fatuous and, at the same time, incontrovertible in that statement. (Williams, 2013).

Although Williams makes a clear point, even within his statement there is elements of uncertainty. The word incontrovertible shows that even Williams understands the need for such text even if at times it may seem rather fatuous in the manner it is written and constructed.

Various statements from Kristoph A. Kumpusch argue for the case of Woods; Kumpusch uses a similar style of writing to describe the project (Frearson, 2013, citing Kumpusch, n.d.). In a statement released after Woods death Kumpusch described Light Pavilion in the following way:

This project, from my perspective, was an extension of drawing, a condensation of thoughts as a material manifestation. (Frearson, 2013, citing Kumpusch, n.d.).

Figure 5: Early sketchedperspective by Lebbeus Woods

Figure 6: Early project render (Light-Pavilion-460) by LebbeusWoods

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Two sentences within this statement relate closely to the analysis within this section of the paper.Firstly, the ideal that the project manifests itself as an extension of drawing is both poetic in its description yet readable within the drawings discussed within this paper, most notably in Figure 8when compared to Figure 9. Secondly, Kumpuschs use of language in the whole statement is similar to that of Woods; in that it not only describes the project, but furthers the project as a whole. (Frearson, 2013, citing Kumpusch, n.d.).

Throughout this section of the paper, the focus has been on Lebbeus Woods sketches from the project T-Knot. The final aspect of the projects representation to be analysed ties together the key arguments within this section of the paper. Figure 9 shows various methods of representation used throughout the project.

The structural columns articulating the Pavilions interior spaces are illuminated from within and in the twilight and night hours visibly glow, creating a luminous space into which the solid architectural elements appear to merge. This quality is amplified by the mirrored surfaces enclosing the Pavilion, which visually extend its spaces infinitely. We might speculate that this new type of space stands somewhere between traditional architecture and the virtual environments of cyberspace. (Woods, 2011)

When viewed alongside the text above then Figure 9 helps to further articulate the relationships between various representations throughout the whole design process. Displaying the representations side-by-side clearly shows a progression in the design for the space, and it is clear to see that the early sketches of the scheme have had a large influence on the final design.

This triptych-esque display of various representations shows a compelling argument that sketching and sketch model making where of the utmost importance throughout the project and the initial ideas are highly valued even as the project progresses through construction.

Figure 7: Internal sketched perspective by LebbeusWoods

Figure 8: Photograph by Iwan Baan

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Figure 9 as a whole alongside the text by Woods and the description of the project as an extension of drawing helps to argue for the importance of sketching and model making within the design process; this argument is extremely poignant, especially within a project which grounds itself in the deepest of modern theory.

Figure 9: Collage of images representing the progression of early ideas through sketching andmodel making.

From Top-Bottom; Left-Right: Early project sketches (cdusk0-2) by Lebbeus Woods, Sketch Model(ltpav-modst-12) by Lebbeus Woods, Original concept drawing of the illuminated column by

Lebbeus Woods, Polycarbonate Typ. Plan (Anon), Polycarbonate mockup (ltpav-mockup-131)(Anon)

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Conclusion

This paper has discussed and argued various positions around the representation of Lebbeus Woodss project Technological-Knot. Although several positions have been analysed, the paper has predominantly focused on the discussion of 3 key points. They are as follows:

1. Each drawing should have a purpose which is easily identifiable within the method of representation. A drawing should position itself in such a way as not to confuse the reader, and any information within the drawing should have a clear purpose.

2. Descriptive text can be as powerful a tool in the representation of a project as drawings ormodels etc. Text can not only describe the project, but further the project as a whole. The use of text can be used to add information to individual drawings or to provide informationto the project as a whole.

3. The use of sketches and sketch models is extremely important throughout the design process. The sketch has various roles in the representation of a project, in T-Knot it is most prevalent in the representation of key information that drives the project from the early stages of the design.

The 3 points discussed above which were highlighted throughout this paper have a close relationship to the architectural design studio. I would argue that the 3rd and 1st point are already heavily grounded within the theory of architectural representation. Within studio it is encouraged that sketching and models are used to develop and represent ideas early within the project. With regards to the use of text, then it sometimes feel like a faux pas if it used rather than representing through a visual media i.e. drawing. The representation of the project T-Knot however argues against this, and shows us that text plays a pivotal role in the representation of the project; and we should not be afraid to use more of it on our own projects.

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References

Anon. (no date) Polycarbonate Typ. Plan (CAD Drawing) in: Wordpress [online] Available from: http://lebbeuswoods.wordpress.com/2012/03/25/light-pavilion-under-construction/ [Accessed 27 December 2014]

Anon. (no date) ltpav-mockup-131 (Photograph) In: Wordpress [online] Available from: http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 27 December 2014]

Baan, I. (no date) Sliced Porosity Block [Photograph] In: iwan [online] Available from: http://www.iwan.com/photo_Chengdu_Raffles_City_Steven_Holl.php [Accessed 22 December 2014]

Bernstein, F. (2012) Ever the Visionary, Lebbeus Woods Gets Real. Available from: http://archrecord.construction.com/news/2012/03/Lebbeus-Woods.asp [Accessed 20 December 2014].

Frearson, A. (2012) Lebbeus Woods dies aged 72. Available from:http://www.dezeen.com/2012/10/31/lebbeus-woods-1940-2012/ [Accessed 20 December 2014].

Frearson, A. (2013) The Light Pavilion by Lebbeus Woods with Christoph a. Kumpusch. Available from: http://www.dezeen.com/2013/01/19/light-pavilion-by-lebbeus-woods-at-sliced-porosity-block/ [Accessed 21 December 2014].

Hufton + Crow. (2012) Sliced Porosity Block [Photograph]. In: Hufton + Crow [online]. Available from: http://www.huftonandcrow.com/projects/gallery/sliced-porosity-block/ [Accessed 27 December 2014]

Kumpusch, C. (2013) The light pavilion by Lebbeus Woods and Christoph a. Kumpusch for the Sliced Porosity Block in Chengdu, China 2007-2012. Ennetbaden: Lars Muller Verlag.

MAK Center, (2011) Light Pavilion. Available from: http://makcenter.org/programming/light-pavilion/ [Accessed 27 December 2014].

Morris, M. (2013) Two Hundred and Eighty-Eight Lines. Log. (27) pp. 128-136.

Wainwright, O. (2012) Lebbeus Woods, visionary architect of imaginary worlds, dies in New York. Available from: http://www.theguardian.com/artanddesign/architecture-design-blog/2012/oct/31/lebbeus-woods [Accessed 20 December 2014].

White, J. (2011) Light Pavilion Installation View [Photograph] In: MAK Center [online]. Available from: http://makcenter.org/programming/light-pavilion/ [Accessed 27 December 2014]

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Williams, A. (2013) Chinese Chequers. The Architectural Review. (1393) pp. 50-61.

Woods, L. (2011) A Space of Light. Available from: http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 27 December 2014].

Woods, L. (no date) cdusk0-2 [Drawing] In: Wordpress [online] Available from: http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 20 December 2014]

Woods, L. (no date) cdusk1day [Drawing] In: Wordpress [online] Available from: http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 20 December 2014]

Woods, L. (no date) Light-Pavilion-460 [Computer Generated Image] In: cab.rs [online] Available from: http://www.cab.rs/wp-content/uploads/2012/10/LW-Light-Pavilion-460.jpg [Accessed 21 December 2014]

Woods, L. (no date) ltpav-modst-12 [Cardboard Model] In: Wordpress [online] Available from: http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 27 December 2014]

Woods, L. (no date) Original concept drawing of the illuminated column [Drawing] In: Wordpress [online] Available from: http://lebbeuswoods.wordpress.com/2012/03/25/light-pavilion-under-construction/ [Accessed 27 December 2014]

Woods, L. (n.d.) T-Knot. Available from: http://lebbeuswoods.net/ [Accessed 27 December 2014].

Woods, L. (no date) Untitled [Early sketched perspective] [Drawing] In: Lebbeuswoods.net [online] Available from: http://lebbeuswoods.net/ [Accessed 21 December 2014]

Woods, L. (no date) Untitled [Internal sketched perspective] [Drawing] In: Lebbeuswoods.net [online] Available from: http://lebbeuswoods.net/ [Accessed 21 December 2014]

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Figure List

Figure 1 - Hufton + Crow. (2012) Sliced Porosity Block [Photograph]. In: Hufton + Crow [online]. Available from: http://www.huftonandcrow.com/projects/gallery/sliced-porosity-block/ [Accessed 27 December 2014]

Figure 2 - White, J. (2011) Light Pavilion Installation View [Photograph] In: MAK Center [online]. Available from: http://makcenter.org/programming/light-pavilion/ [Accessed 27 December 2014]

Figure 3 -Woods, L. (no date) cdusk1day [Drawing] In: Wordpress [online] Available from: http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 20 December 2014]

Figure 4 - Woods, L. (no date) cdusk0-2 [Drawing] In: Wordpress [online] Available from: http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 20 December 2014]

Figure 5 -Woods, L. (no date) Untitled [Early sketched perspective] [Drawing] In: Lebbeuswoods.net [online] Available from: http://lebbeuswoods.net/ [Accessed 21 December 2014]

Figure 6 -Woods, L. (no date) Light-Pavilion-460 [Computer Generated Image] In: cab.rs [online] Available from: http://www.cab.rs/wp-content/uploads/2012/10/LW-Light-Pavilion-460.jpg [Accessed 21 December 2014]

Figure 7 -Woods, L. (no date) Untitled [Internal sketched perspective] [Drawing] In: Lebbeuswoods.net [online] Available from: http://lebbeuswoods.net/ [Accessed 21 December 2014]

Figure 8 -Baan, I. (no date) Sliced Porosity Block [Photograph] In: iwan [online] Available from: http://www.iwan.com/photo_Chengdu_Raffles_City_Steven_Holl.php [Accessed 22 December 2014]

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Figure 9 -Woods, L. (no date) cdusk0-2 [Drawing] In: Wordpress [online] Available from: http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 20 December 2014] Woods, L. (no date) ltpav-modst-12 [Cardboard Model] In: Wordpress [online] Available from: http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 27 December 2014]Woods, L. (no date) Original concept drawing of the illuminated column [Drawing] In: Wordpress [online] Available from: http://lebbeuswoods.wordpress.com/2012/03/25/light-pavilion-under-construction/ [Accessed 27 December 2014]Anon. (no date) Polycarbonate Typ. Plan (CAD Drawing) in: Wordpress [online] Available from: http://lebbeuswoods.wordpress.com/2012/03/25/light-pavilion-under-construction/ [Accessed 27 December 2014]Anon. (no date) ltpav-mockup-131 (Photograph) In: Wordpress [online] Available from: http://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/ [Accessed 27 December 2014]