Midnight City and Other Urban Mythologies

Syracuse University Syracuse University

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Fall 2012

Midnight City and Other Urban Mythologies Midnight City and Other Urban Mythologies

Mark Eichler Syracuse University

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CITYAND OTHER URBAN MYTHOLOGIES

[ Midnight City and Other Urban Mythologies ]

Mark EichlerAdvisors: Brendan Moran and Martin Hättasch

Bachelor of ArchitectureSyracuse University

December, 2012

1

Figure 1: Dreamland Entrance. N.d. Photograph. Coney Island, NY. Exciting NY. Web. 12 Oct. 2012.

“Fantasy is escapist, and that is its glory. If a soldier is imprisoned by the enemy, don't we consider it his duty to escape?. . .If we value the freedom of mind and soul, if we're partisans of liberty, then it's our plain duty to escape, and to take as many people with us as we can!” J.R.R. Tolkein

“Fantasy is escapist, and that is its glory. If a soldier is imprisoned by the enemy, don't we consider it his duty to escape?. . .If we value the freedom of mind and soul, if we're partisans of liberty, then it's our plain duty to escape, and to take as many people with us as we can!” J.R.R. Tolkein

2

If a resort is a space of escape from the city, a space of refuge in the hinterlands of the metropolis, then

how might we escape to the city?

Midnight City explores the physical and representational framework of fantastic architecture as a productive mode for architectural and urban design, specifically focusing on the nocturnalized city as a space of exaggerated fantasy and escape

from the mundane of the diurnal.

Figure 2: Moon for London. 2011. Collage. By Thomas Greenall. Web. 12 Nov. 2012.

Contents

Dusk

ContemplationIntroductionDistilling the Image of the Fantastic

Terminology

Midnight

Illumination

Defining the Fantastic

Dawn

Contention

DUSK

Introduction

The fantastic, here in this author generated image (see Figure 1), presents itself both in the iconic ferris wheel and in the elephants, two elements that remind us of nostalgic pilgrimages to the heterotopic hinterlands of circuses and carnivals. On the other hand, it may be that the fantasitc is represented by the suburban American Dream, our fantasy to be both autonomous and subordinate, and the grand wheel and the elephants are simply mundane theatrics. Perhaps this could be, but what if the fantastic presents itself to us in the overall image: the dramatic sky, the scale of the suburban landscape among the displaced elephants; the grandeur and whimsy of elements at odds. Is the fantastic simply a scale issue, or is it something more? Is the fantastic unreal or is it something that can be real? And most importantly, what is the fantastic? Is there a more appropriate term? These are the questions this book attempts to answer.

Figure 3: Author. Untitled. 2012.

Architecture is the realization of fantasy, the fantasy of defining a specifically human space from that of the “natural” and the “untamed.” Utopian visions of architecture and urbanism aim to tame mankind, to generate societies of perfection. These visions are often infinitely homogeneous, idyllic and at odds with real-ity. On the other hand, there is dystopia—decadent and heterogeneous. For a utopia or dystopia to be believable, or successful, there must exist a level of reality. We must be able to understand that the vision could exist some-where, somehow.

The fantastic is not limited, however, to utopia and dystopia. The fantastic, in fact, only exists as an element or quality of these visions. Mi-chel Foucault once proposed perhaps another level to our interpretations of utopia, dysto-pia and reality, offering a conception of a real utopia in which the utopian vision is physical, or there exists a physical, parallel space to the space of the utopia that allows for that utopia to exist. Foucault calls this a heterotopia, and it is something that happens, it is a space of otherness. It can neither be created nor pre-scribed by architects. A heterotoia embodies the real and the fantastic simultaneously.

“Things need not have happened to be true. Tales and dreams are the shadow-truths that will endure when mere facts are dust and ashes, and forgot.”

Neil Gaiman, The Sandman, Volume 3: Dream Country

The importance of the fantastic is its in-hu-manity (as differentiated from the inhumane brutality of late modernism and the human of the renaissance humanists). If it is considered that inhuman in itself means non-human in both nature and character then an inhuman ar-chitecture may come to signify an architecture that is perhaps beyond the mundane, a char-acter within itself. The inhuman does not dis-regard human scale but rather capitalizes on the very minuteness of human scale. Perhaps best demonstrating this concept is the work of Étienne-Louis Boullée, more specifically, the Cenotaph for Newton in which the human is so vastly dwarfed by the fantastic enormity of the spherical space within. The fantastic is in-human in its grandeur, its monumentality, and its decadence. There are two inherent problems with the fan-tastic. The first is that the fantastic lacks inti-macy and smallness. The other problem with the fantastic is that it lacks dimensionality, tangibility. It is something that is ephemeral, existing only in otherness. That is, the fantastic depends on speculation, whether as a glorifi-cation of antiquity or as a projection of a per-fect or imperfect future.

Piranesi’s reimaging of ancient Roman ruins is just as fantastic and inhuman as Archizoom’s No-Stop City. Both were created in the past but one is a reflection and the other a projection. Contemporary attempts to create the fantastic often result in kitsch pastiches like Disneyland and theme restaurants.

In an attempt to define the fantastic and ex-plore the image of fantastic architecture as a productive mode of architectural genesis, a collection of images were collected and and analyzed through section, plan, and axon. It is an analysis of the image of fantastic architec-ture and the physical properties that may al-low for the image to exist (i.e. what are the ele-ments in the image that might be expressed in plan to generate a specific effect).

4

5 6

11 12 13

201918

25 26 27

31 32 33

7 8 9

10

14

15 16

17

24232221

28 29

30

34 35 36 37

Here, all the images collected are organized chronologically and cat-egorized as utopian, dystopian or heterotopian. Then, each project is cross referenced with other im-ages of the same category as to draw connections across time.

Dystopia

Heterotopia

Utopia

1784 1863 1898 1900 1904 1920 1922 1928

1939 1939 1939 1939 1956 1967 1969 1969 1969 1969 1969 1970 1970 1972 1972 1972 1975

2001

2002

2004

2

004

20

05

200

6

200

8

2

008

20

10

201

1

2012

201

2

201

2

2012

Dystopia

Heterotopia

Utopia

1784 1863 1898 1900 1904 1920 1922 1928

1939 1939 1939 1939 1956 1967 1969 1969 1969 1969 1969 1970 1970 1972 1972 1972 1975

2001

2002

2004

2

004

20

05

200

6

200

8

2

008

20

10

201

1

2012

201

2

201

2

2012

City smaller or people bigger?

15

23

14

13

33

27

16

28

26

31

UtopianFuturisticIdealized cities

UtopianGarden CityHomogeneity

Captive ArchitectureInfinityBigness

FantasticMonumentalWhimsical

EscapeProductionConsumption

DomesticityMonumentalElements at Odds

33

13

13142315

DomesticityMonumentalElements at Odds

HeterogeneityContextlessDystopian

Digital vs. AntiqueOppulanceContext at Odds

HomogeneityDystopicIdealized

TheaterWindowWorld Within a World

312628162733

13

13

“Infinite” Homogeneity

Bigness and the Fantastic

Inside at Odds with OutsideDomestic SmallnessReality and Fantasy

Altered Realities

Inside at Odds with OutsideScrutenized Captivity

Artificial Conception of Ideas

Spontaneity

Theater/Spectacle

Artificial Conception of IdeasScrutenization

ExperimentationSpectacle

CaptivationIntervention/Interruption

InterventionForeign Monument

Bastardized Gestalt Fantastical Eclecticism

Lush Fantasies and Personal ArchitectureSmallness

Constructed FantasyProjected Future

Reality Projected Future

“Infinite” Homogeneity

Bigness and the Fantastic

Inside at Odds with OutsideDomestic SmallnessReality and Fantasy

Altered Realities

Inside at Odds with OutsideScrutenized Captivity

Artificial Conception of Ideas

Spontaneity

Theater/Spectacle

Artificial Conception of IdeasScrutenization

ExperimentationSpectacle

CaptivationIntervention/Interruption

InterventionForeign Monument

Bastardized Gestalt Fantastical Eclecticism

Lush Fantasies and Personal ArchitectureSmallness

Constructed FantasyProjected Future

Reality Projected Future

The collected images are then grouped by common themes of vocabulary. Connections between images and other groupings are made to show cross relations to other vocabulary groupings.

The terms scattered on the opposing page were those terms most commonly associated with an image, of all the images that were collected. At the moment, they exist frameless, without context and without relation to one another.

InhumanS U B L I M E

GrandeurOppulance

H E R O I C

MONUMENTAL

BIGNESS

Fantastic

Megalopolis

fragmented metropolis

Megacity

METROPOLIS

Metacity

Non-Fiction

Collage City Urban

City Archipelago

Ecological City

Garden City

Mundane

homogeneity

suburban

Realizable

Human

Dystopia

Themepark

Shopping Mall

Kitsch

Intimate

smallness

Whimsy

Heterotopia of Illusion

Real Fantasy

Surreal

Eclecticism

Fairy Tale

Decadence

Heterogeneity

Sponteneity

Bastardized Gestalt

Phantasmagoria

Idealized

Unrealizable

Futuristic

Otherness

Disneyworld

Author. Untitled. 2012.

A “word wheel” is generated using the terms from the previous page as a way to finding cross references and related terminology. For example, it can be seen that there is a linkage between “Urban” and “Fantastic.” The “Urban” is not necessarily “Fantastic,” which is why the “Urban” can exist on the mundane (everyday) hemisphere of the wheel. However, this linkage does indicate that possible urbanisms exist that are indeed fantastic.

Her

oic

Idealized

Otherness

Utopia

Futuristic

Unrealizable

Kitsch

Shopping Mall

Themepark

Sublim

e

SponteneityHeterogeneity

Bastardized Gestalt

Phantasmagorical

Realizable

Opp

ulan

ceGra

ndeu

r

Real FantasySurreal

Mon

umen

tal

Frag

men

ted

Met

ropo

lis

Met

ropo

lisM

etac

ity

Collage City

Urban

City Archipelago

EecologicalCcity

Garden City

Homogeneity

suburban Rural

Disneyworld

Dystopia

Intimate

Whim

sy


Eclecticism

Decadence

Meg

alop

olis

Meg

acity

Smallness

Mundane

Human

Inhuman

Bign

ess

Fantastic

Non-Fiction

Fairy Tales


Her

oic

Idealized

Otherness

Utopia

Futuristic

Unrealizable

Kitsch

Shopping Mall

Themepark

Sublim

e


Bastardized Gestalt

Phantasmagorical

Realizable

Opp

ulan

ceGra

ndeu

r

Real FantasySurreal

Mon

umen

tal

Frag

men

ted

Met

ropo

lis

Met

ropo

lisM

etac

ity

Collage City

Urban

City Archipelago

EecologicalCcity

Garden City

Homogeneity

suburban Rural

DisneyWorld

Dystopia

Intimate

Whim

sy


Eclecticism

Decadence

Meg

alop

olis

Meg

acity

Smallness

Mundane

Human

Inhuman

Bign

ess

Fantastic

Non-Fiction

Fairy Tales


Her

oic

Idealized

Otherness

Utopia

Futuristic

Unrealizable

Kitsch

Shopping Mall

Themepark

Sublim

e


Bastardized Gestalt

Phantasmagorical

Realizable

Opp

ulan

ceGra

ndeu

r

Real FantasySurreal

Mon

umen

tal

Frag

men

ted

Met

ropo

lis

Met

ropo

lisM

etac

ity

Collage City

Urban

City Archipelago

EecologicalCcity

Garden City

Homogeneity

suburban Rural

DisneyWorld

Dystopia

Intimate

Whim

sy


Eclecticism

Decadence

Meg

alop

olis

Meg

acity

Smallness

Mundane

Human

Inhuman

Bign

ess

Fantastic

Non-Fiction

Fairy Tales

Mundane Fantastic

Intimate

Bigness

The four primary coordinates of the word wheel were established as the regulating axi for this image spatialization. The horizontal axis is a condition of distance, the mundane being the everyday, the earthly, and the fantastic being the opposite, illusive and dream-like. The vertical axis is a condition of scale with smallness at one end and bigness at the other. The images were placed (along with their associated terminology) a certain distance from the axi terms, considering what image is “most-like” the term each approaches.

Mundane Fantastic

Mundane Fantastic

distancesc

ale

illumination

Big

Intimate

Mundane Fantastic

Big

Intimate


Mundane Fantastic

Intimate

Bigness

MIDNIGHT





Mundane

38

Fantastic

39

Biggness

Intimacy

Mundane Fantastic

Big and Distant

Small and DistantSmall and Near

Big and Near

Minato Mirai, Yokohama, Japan Minato Mirai, Yokohama, Japan

Masdar City, Foster and Partners

AMO Real Fantasies, PradaSuburbia

Winsor McCay, Little Nemo in Slumberland

Boullee, Cenotaph for Newton

Distance/Knowability

Scal

e

Mundane Fantastic

Mundane Fantastic

distance

scal

e

illumination

Big

Intimate

Mundane Fantastic

Big

Intimate

In order to further understand the fantastic, there must be an additional layer added to the image spatialization. In addition to the two axi of scale and distance, it may be pertinent to overlay illumination. That is, the fantastic, as evidenced in the two contrasting images on the previous page, cannot be discussed without exploring the importance of illumination. We are typically diurnal, it is the everyday. We work in the light, we live in the light. It is now that the spatialization can be read as temporal and cosmological; time based. The fantastic hemisphere is nocturnal and the mundane hemisphere is diurnal (but not strictly so). The night has always been the time for dreams and bedtime stories. Perifenalia of the fantastic, at the most intimate scale. It is only natural that the nocturnal and the illuminated be fantastic.


Biggness

Intimacy

Mundane Fantastic

Big and Distant

Small and DistantSmall and Near

Big and Near

Minato Mirai, Yokohama, Japan Minato Mirai, Yokohama, Japan

Masdar City, Foster and Partners

AMO Real Fantasies, PradaSuburbia

Winsor McCay, Little Nemo in Slumberland

Boullee, Cenotaph for Newton

Distance/Knowability

Scal

e

Interior illumination is expressed in the darkness of the nocturnal context. The top two diagrams depict the condition of total interior illumination (left) and partial illumination (right) and its relation to the dark context. The two lower diagrams show the reverse condition at day, no interior illumination but the light fromt the day intrudes on the exterior space. It is as though the day invades the shaddowed interior of the diurnal city and the building’s illuminated interior invades the nocturnal city; an overlap of interior and exterior.

Figure : Author generated.

Interior illumination, nocturnal exterior Interior illumination and interior darkness, nocturnal exterior

No illumination, diurnal exterior No illumination and interior illumination, diurnal exterior


Fantastic

Her

oic

Idealized

Otherness

Utopia

Futuristic

Unrealizable

Kitsch

Shopping Mall

Themepark

Sublim

e


Bastardized Gestalt

Phantasmagorical

Realizable

Opp

ulan

ceGra

ndeu

r

Real FantasySurreal

Mon

umen

tal

Frag

men

ted

Met

ropo

lis

Met

ropo

lisM

etac

ity

Collage City

Urban

City Archipelago

EecologicalCcity

Garden City

Homogeneity

suburban City of Faith

City as a Machine

Dystopia

Intimate

Whim

sy


Eclecticism

Decadence

Meg

alop

olis

Meg

acity

Smallness

MundaneHum

anInhum

an

Bign

ess

?

?

The Fantastic

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Figure 3: The Entrance of Dreamland, Coney Island.

The entrance to Creation at Dreamland in the night could not better illustrate the fantastic in its entirety. The image (opposite) captures the primary elements of illumination, exaggerated scale, and distance from the known.


Dreamland Entrance. N.d. Photograph. Coney Island, NY. Exciting NY. Web. 12 Oct. 2012.

The fantastic can therefore be defined as a combination of drammatic exterior illumination (and potentially resulting shaddows), exaggerated scale, and an element of distance from the known. That is, the fantastic is beyond reality, or at least generates the illusion of being beyond reality. This is not to say that the fantastic is necessarily unreal, or unbuildable.

The nocturnalized city is escapist, it is a space of exaggerated fantasy expressed physically through dramatic illumination, exag-gerated scale and an illusory distance from believability. The night provides an escape from the mundane of the diurnal.

Figure : Author generated

Loading

Unloading

Entrance Ramp

Exit Ramp

Car Display

Street Intersection

Auditorium

FUTURAMA, General Motors exhibit at the 1939 World’s FairAuthor. Untitled. 2012.

40

Loading

Unloading

Entrance Ramp

Exit Ramp

Car Display

Street Intersection

Auditorium

42

41

Tram

SlotsCards

Casino

Mandalay Bay Theater

Atrium Level

Casino Entrance

Events Center

LAX Nightclub

Parking Garage

Pool

To Excalibur

To Excalibur Casino and Hotel

To Bali Hai Golf Club

Las Vegas Boulevard

Las Vegas Freeway

LUXOR, Las VegasAuthor. Untitled. 2012.

Tram

SlotsCards

Casino

Mandalay Bay Theater

Atrium Level

Casino Entrance

Events Center

LAX Nightclub

Parking Garage

Pool

To Excalibur

To Excalibur Casino and Hotel

To Bali Hai Golf Club

Las Vegas Boulevard

Las Vegas Freeway

DAWN


Figure 2: Moon for London. 2011. Collage. By Thomas Greenall. Web. 12 Nov. 2012.

The night has always been a kind of escape from the day, an unregulated, anti-day for the underworld. The day was for the elite, but the night became the space of rampant adulescent youth and the underclasses. “When early modern elites, from princes and courtiers to town councils and wealthy merchants, expanded their authority into the hours after sunset they sought to secure and regulate this part of the day” by installing artificial illumination, in hopes of “[erasing] the line between human and beast.” 1 The introduction of artificial illumination generated new forms of leisure and more time to escape from day life. The nocturnalized city is escapist, it is a space of exaggerated fantasy expressed physically through dramatic illumination, exaggerated scale and an illusory distance from believability. The night provides an escape from the mundane of the diurnal.

1 Koslofsky, Craig. “Colonizing the Urban Night.” Evening’s Empire: A History of the Night in Early Modern Europe. Cambridge: Cambridge UP, 2011. N. pag. Print.

“There were nights when the Moon was full and very, very low, and the tide was so high that the Moon missed a ducking in the sea by a hair’s breadth…Climb up on the Moon? Of course we did. All you had to do was row out to it in a boat and, when you were underneath, prop a ladder against her and scramble up.”

Italo Calvino, The Distance of the Moon from Cosmicomics, 1965

Armengaud, Marc, Matthias Armengaud, and Alessandra Cianchetta. Nightscapes: Paisajes Nocturnos = Nocturnal Landscapes. Barcelona: Gustavo Gili, 2009. Print.

Baldwin, Peter C. In the Watches of the Night: Life in the Nocturnal City, 1820-1930. Chicago: University of Chicago, 2012. Print.

Benjamin, Walter. The Arcades Project. Translated by Howard Eiland and Kevin McLaughlin. Cambridge: Harvard University Press, 1999.

Bonnemaison, Sarah, and Christine Macy, eds. Festival Architecture. New York: Routledge, 2008. Print.

Coleman, Nathaniel. Utopias and Architecture. New York: Routledge, 2005.

Conrads, Ulrich. The Architecture of Fantasy: Utopian Building and Planning in Modern Times. New York: Praeger, 1962. Print.

Conrads, Ulrich. Phantastische Architektur. Stuttgart: G. Hatje, 1960. Print.

Eaton, Ruth. Ideal Cities: Utopianism and the (Un)Built Environment. London: Thames & Hudson, 2002.

Findlay, John M. Magic Lands: Western Cityscapes and American Culture after 1940. Berkeley: University of California Press, 1992. Print.

Fjellman, Stephen M. Vinyl Leaves: Walt Disney World and America. Boulder: Westview Press, 1992. Print.

Conrads, Ulrich. The Architecture of Fantasy: Utopian Building and Planning in Modern Times. New York: Praeger, 1962. Print.

Headley, Gwyn. Architectural Follies in America. New York: John Wiley & Sons, 1996. Print.

Herwig, Oliver. Dream Worlds: Architecture and Entertainment. New York: Prestel Verlag, 2006.

Kane, Elisha Kent. Gongorism and the Golden Age: A Study of Exuberance and Unrestraint in the Arts. Chapel Hill: University of North Carolina Press, 1928. Print.

Klein, Norman. The Vatican to Vegas: a History of Special Effects. New York: New Press, 2004. Print.

Koslofsky, Craig. "Colonizing the Urban Night." Evening's Empire: A History of the Night in Early Modern Europe. Cambridge: Cambridge UP, 2011. N. pag. Print.

Laurence, Ray. Roman Passions: A History of Pleasure in Imperial Rome. Cornwall, Great Britain: Continuum, 2009.

Bibliography

Lonsway, Brian. Making Leisure Work: Architecture and the Experience Economy. New York: Routledge, 2009. Print.

Martin, Reinhold. Utopia's Ghost: Architecture and Postmodernism, Again. Minneapolis: University of Minnesota Press, 2010.

Pestellini Laparelli, Ippolito, and Fausto Fantinuoli, dir. Real Fantasies, Prada Fall/Winter 2012. Artwork. Jeroen Koolhaas and Lok Jansen. Web. 1 Oct. 2012.

Rem, Koolhaas. Delirious New York. New York: The Monacelli Press, 1994.

Robert, Venturi. Complexity and Contradiction in Architecture. 2nd ed. New York: The Museum of Modern Art, 1977.

Schuyl, Michael. Fantastic Architecture: Personal and Eccentric Visions. New York: H.N. Abrams, 1980. Print.

Shane, David Grahame. Urban Design since 1945: A Global Perspective. Chichester, West Sussex: Wiley, 2011. Print.

van Schaik, Martin, and Otakar Máčel, eds. Exit Utopia: Architectural Provocations 1956-76. Munich: Prestel, 2005.

Hillier, Thomas. The Origami Lungs Connected Via A Series Of Walkways. 2008. The Emperor's Castle Chapter 3, London. Thomas Hillier. Web. 26 Sept. 2012.

Hillier, Thomas. The Emperor's Castle - Triptych (1.8m x 1.0m). 2008. The Emperor's Castle Chapter 3, London. Thomas Hillier. Web. 26 Sept. 2012.

1. Author generated image from: McCay, Winsor. "Little Nemo in Slumberland." Comic Strip Library - Digital Collection of Classic Comic Strips. N.p., n.d. Web. 11 Dec. 2012.

2. Ibid.

3. Ibid.

4.The House of the Future. 1956. Photograph. Daily Mail Ideal Home Show, London. By Alison Smithson and Peter Smithson.

5. Ibid.

6. Ibid.

7 van Schaik, Martin, and Otakar Máčel, eds. Exit Utopia: Architectural Provocations 1956-76. Munich: Prestel, 2005.

8. Ibid.

9. Cremaster 3. By Matthew Barney. 2002. Art Installation.

10. van Schaik, Martin, and Otakar Máčel, eds. Exit Utopia: Architectural Provocations 1956-76. Munich: Prestel, 2005.

11. Ibid.

12. Ibid.



23. Ibid.

24. Ibid.



37. Ibid.

38. "Tokyobling's Blog." Tokyoblings Blog. N.p., n.d. Web. 11 Dec. 2012.

39. Ibid.

28. Pestellini Laparelli, Ippolito, and Fausto Fantinuoli, dir. Real Fantasies, Prada Fall/Winter 2012. Artwork. Jeroen Koolhaas and Lok Jansen. Web. 1 Oct. 2012.


33. Huntington Beach, 1928."Guess Where?" At Home In The Wasteland Travel Blog. N.p., n.d. Web. 11 Dec. 2012.

Moon for London. 2011. Photograph. Tom Greenall. By Thomas Greenall. Web. 12 Nov. 2012.

Dreamland Entrance. N.d. Photograph. Coney Island, NY. Exciting NY. Web. 12 Oct. 2012.

Hillier, Thomas. The Origami Lungs Connected Via A Series Of Walkways. 2008. The Emperor's Castle Chapter 3, London. Thomas Hillier. Web. 26 Sept. 2012.

Hillier, Thomas. The Emperor's Castle - Triptych (1.8m x 1.0m). 2008. The Emperor's Castle Chapter 3, London. Thomas Hillier. Web. 26 Sept. 2012.

Documents

Midnight City and Other Urban Mythologies