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as Experiential Memorials: Explorations on Form Generation

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as Experiential Memorials: Explorations on Form Generation

SITE PLAN
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as Experiential Memorials: Explorations on Form Generation
SISA / IBARRA-SIMOUN / MARIA CLARA / PADRE SLAVI / DON RAFAEL / DOÑA VICTORINA / CRISPIN

Homage to Juli is pavilion with an elevated platform within the mangrove ecosystem. Additionally, it has toilets at ground level. However, in approaching the pavilion one will be intrigued by the twin stairs, which are both deliberately distorted to render a punishing accent. The aim is to afford the occupier a ritual re-enactment of Juli's hesitation in going up the stairs leading to the parish priest's residence, where in the novel “El Filibusterismo”, she was sexually molested by the priest.

PROLOGUE EXCERPTS BACKGROUND OF THE CONCEPT THE CONCEPT CONCEPTUAL STUDIES FORM DEVELOPMENT THE PROPOSAL PERSPECTIVE EPILOGUE
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PROLOGUE

Juli was a beautiful peasant girl, whose fiancé- Basilio- was jailed by the authorities. Upon the advice of an elderly woman, Julî then acceded to solicit the help of the influential town priest- Father Camorra- for him to intercede for the freedom of her boyfriend. It was because of her love for Basilio that she took this only way she knew so that her lover could be freed. Instead of helping Julî, however, the priest, who has kept a long-hidden lust for Julî, tried to rape her (or he could have succeeded in raping her) for rather than submit to the will of the priest, (or perhaps after the rape) she jumped over the wide second floor window to her death. Juli was not naïve though in going to the residence of the priest and for many days she has postponed on pursuing it for she knew something sinister might happen or that she might be raped. Even with her sister Bali prodding her to go and coming along as well she could not overcome her resident fear for the priest. Such was her extreme anxiety that she turned pale at the sight of the parish house and literally agonized in entering it and in going up the stairs. Then, on that particular night, the 'cryptic' and whispered news spread into the whole town: that a girl has jumped over the window of the parish house killing herself and that a moment later a second girl has run out of the door screaming and shrieking like mad. The character of Juli appeared only in the “El Filibusterismo” novel.

PROLOGUE
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EXCERPTS: Chapter 30 – Juli 1
1. Jose Rizal, El Filibusterismo, trans. Leon Ma. Guerrero (Manila: Guerrero Publishing, 1995) pp. 200 – 207. Copyright © 2011 All Rights Reserved FREDINEL FAMATIGAN BANAAG

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BACKGROUND OF THE CONCEPT - Violence Through Architecture
“There is no architecture without action, no architecture without events, no architecture without programs. By extension, there is no architecture without violence”.1 - Bernard Tschumi Spaces and actions are inherently inter-related. Spaces become alive because of the myriad inter-actions performed within the space. Hence, to design architectural spaces is to preconceive in a deliberate way the interactions that may be afforded within the designed spatial boundaries. However, it can be argued that in the above statements, Tschumi is referring to the occupation of man of the pure architecture; that man's act of intrusion into the ordered space is in itself the metaphorical “body” 'violating', by its mere presence the spatially ordered system. On the other hand, the opposite has always been planer to understandthe spatial violence of the body in many brutal ways: narrow corridor, insufficient air and light, steep ramp, colors that blind and the numerous settings that torture the body, to provoke anxiety and make one recoil in his senses. The list is too long. The spatial violence has been interpolated and represented in the production (or destruction) of architecture. Architecture indeed can destroy man such that it is very much possible to 'murder by architecture'. Needless to say, there are existing architecture that inadvertently continue to hinder the pursuit of life in its many nuances: be it in an indefinite exposure to the architecture or in a lifetime of use. In a sweeping generalization, Churchill aptly stated that “We shape our buildings, thereafter our buildings shape us”; even in a negative way. But what if architecture is conceived to represent violence or destruction? The design of war memorials for instance, too often approaches the issue by NOT representing the literal destruction in a vivid way. Instead, the poetry is revealed in the hidden meanings and embodiment that memorialize the significant event; more complicated so if what is being remembered is a debacle, defeat or death. How then can sexual violence be reflected in architecture? How can the unspeakable heinuos crime or injustice be imbued in architecture that has always been pursued to promote the finer things in life, the profoundly magnificent and the beautiful? Can it be employed to depict an aberration, an injustice, or a crime? This is the main design issue in the Homage to Juli- the theme of violence through architecture. 1. Bernard Tschumi, Architecture and Disjunction (Cambridge: MIT Press) 1996, p. 121. 1. Bernard Tschumi, Architecture and Disjunction (Cambridge: MIT Press) 1996, p. 121. (also in “Violence in Architecture” ,1982; an essay by the same author in (also in “Violence in Architecture” ,1982; an essay by the same author in www.scribd.com/doc/49789786-46450163www.scribd.com/doc/49789786-46450163-Tschumi-Violence-of-Architecture [Accessed: July 11, 2011]. Tschumi-Violence-of-Architecture [Accessed: July 11, 2011].
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murder-byarchitecture

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THE CONCEPT

The design concept is based on the "lure", defined as: (noun) - something that tempts or attracts with the promise of pleasure or reward; and (verb) - to 'lure' - is to trap or ensnare by cunning or deception. The parish house, where Father Camorra resides, represents the power that can free up Basilio- Juli's boyfriend. This is the “lure” because the priest has no real and honest intention of helping Juli. The “lure” is also embodied on the stairs, where Juli agonized about going up, for she had an inkling that something very bad might possibly happen. The ordeal of the stair is the metaphor for Juli's fatalistic and agonizing accent. The highly disproportioned tread-riser ratio, the twisting of the direction of the treads and the gradual easing of the flight, and others are all aimed to make the hurdle of the stair register as an unforgetable and an extremely unpleas ant act.

The Stair as the “Lure” and the “Trap” In the old Spanish-era houses, the stairs can be considered as the most prominent feature. The interior stairs and almost always the exterior stairs are grand in scale and in design since this is the first element that the guests and visitors encounter. The grand main stairs usually lead to the main living room (“sala”) where the guests are entertained. Parties are normally held in this area because this is always by far the room that occupies the largest area. In the novel Juli agonized, at first, in entering the house (the door) and more so, it can be assumed that she was painfully slow in going up the stairs- her stairs into ‘perdition’. The design, thus, will aim to ritualize the agonizing accent of Juli into the stairs.

THE CONCEPT
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THE GRAND STAIRS AS BOTH THE “LURE” AND THE “TRAP”.
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THE GRAND SALA- “where” Juli might have jumped to her death. The chair could have been the “crime” scene.

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CONCEPTUAL STUDIES

CONCEPTUAL STUDIES – Painting's Legend: Juli's path: Black meandering line; Sister Bali's path: swift gray line. Orange zigzag line- Bali's flight; Yellow Orange- Juli's Plunge. Red spot: the 'crime scene'.
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CONCEPTUAL STUDIES - Painting
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CONCEPTUAL STUDIES – Painting
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CONCEPTUAL STUDIES – Painting
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BACK SIDE AS THE “PROFANE”

FRONT AS THE “SACRED”

SPATIAL NUANCES OF PROFILES ACCORDING TO Yi Fu Tuan. The old Spanish-era chair used by the priest s at that time; with the arm rest also serving as the stretched-out foot rest.

BACK – TO – BACK THE MOST PROFANE ROOT CONCEPT BASED ON THE “BUTACA” THE OLD SPANISH-ERA LOUNGING-ROCKING CHAIR.

CONCEPTUAL STUDIES
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CONCEPTUAL STUDIES
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CONCEPTUAL STUDIES – ELEVATION STUDY CONCEPTUAL STUDIES
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CONCEPTUAL STUDIES – Perspective
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CONCEPTUAL STUDIES – PLAN
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CONCEPTUAL STUDIES – SECTION
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FORM DEVELOPMENT

THE COMPOSITE PATHWAYS OF JULI IN THE STAIRS (Hypothetical directions): From the “thick” and “twisting” dense, heavy steps representing her extreme hesitation; to the light, easy steps and gradually straightening lines embodying her “surrender”.
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FORM DEVELOPMENT
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FORM DEVELOPMENT
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FORM DEVELOPMENT -SCALED MODEL
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FORM DEVELOPMENT - SCALED MODEL
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THE PROPOSAL

PLAN & GRID OVERLAY
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THE PROPOSAL - FLOOR PLANS
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PERSPECTIVE – WITH THE ALTERNATIVE ACCESS RAMPS
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PERSPECTIVE
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PERSPECTIVE
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SITE SECTION WITH 'GUNSIGHT' LINES TOWARDS THE CITY, ACCROSS THE BAY PERSPECTIVE – FRONTAL VIEW
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PERSPECTIVE

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PERSPECTIVE
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EPILOGUE
The ordeal of the stair is the metaphor for Juli's agony. The highly disproportioned tread-riser ratio, the twisting of the direction of the treads and the gradual easing of the flight, are all aimed to make the hurdle of the stair register as an unforgetable and as a very unpleasant act. It is an architectural violence deliberately inflicted on the user. However, upon reaching the top of the stair, one is rewarded by the extreme contrast in the texture of the floor, which abruptly changes from the rough, surface of the "adobe" of the stairs, to the polished surface of the marble flooring. The eye skylight, serves as the night time "lure". With the open sides, the pavilion, is also a platform to view the mangrove at close hand. The Homage to Juli also connects the Plant Nursery to the elevated “Canopy Walk Installation” within the Puerto Princesa Environmental Estate. Additionally, it has toilets at ground level.

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