The Relationship between

Tectonic Technologies
and Temporality in
Architecture

A conversation between the

Poetics of Tectonics and
Time

THE BLUR BUILDING

– DILLER + SCOFIDIO

ALEXANDRA CHOLOKH (CHLALE004)

ADVANCED BUILDING TECHNOLOGY

BUILDING CASE STUDY REPORT

LECTURER: FRANCIS CARTER

APG4041S
 CONTENT

INTRODUCTION ….3 - 5

THEMATIC INTEREST….4

MATERIAL SELECTION….5

CASE STUDY SELECTION….6

CONEXT….7 - 8

ARCHITECTS’ APPROACH….9

THE NARRATIVE… 10 - 22

THE EXPO PARK

THE MEDIA CUT

THE FIRST GLIMPS

APPROACH

MEDIA PLATFORM

ANGEL DECK

CONCLUSION….23

BIBLIOGRAPHY….24

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 THE PRIMITIVE HUT

“Primitive Hut” by Marc-Antoine Laugier is a well-known

INTRODUCTION symbol of tectonic architecture. The illustration speaks

about the innate human nature towards a more

‘primitive’ state (Nolan, 2018). The painting/drawing

emphasizes the idea of going back to simplicity, raw

materials, and nature. Laugier's concept of tectonic

architecture has since been developed and modernized

in multiple dimensions and lenses. Laugier's concept of

going back requires an awareness/acknowledgement of

time. The consciousness of time, where evolution has

been ever present and consistent with architecture due

to the phenomenological nature of architecture

constantly changing. There is an architectural

embeddedness of time, where time is seen as part of its

origins for architecture (Stefanovic, 1994).The notion of

tectonic technologies as part of architecture proves as

an exhibition of time. Whereby, the evolution of tectonic

Figure 1: Primitive Hut ( Laugier, 1755 ) technologies into the 21st century has extended into a

blurring of the boundaries between the man-made and

natural technologies towards a post humanism approach

(Soper, 2012). Academics by the likes of Neri

Oxman, experiment with organic matter in the form of

creating structure and materials. Oxmans hybrid

approach looks at including nature within spatial

frameworks. This approach references the notion of

going back to nature as a source and catalyst. This idea

is similar to Laugier’s illustration but reimagined in the

21st century.

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T H E M AT I C I N T E R E S T

T E M P O R A L I T Y

The material influence on the temporal nature on a structure

is an element to be considered deeply within in the

research. The investigation of relationship between tectonic

technologies and temporality of space can border on the

ephemeral quality. Where the scales of temporality are

looked at and how the technologies of execution create

such scales. The poetics of tectonics and time are intimately

connected, as the physical technology of tectonic

architecture plays a critical role in shaping the temporal

nature of space. The materials used in construction can

have a significant impact on the lifespan and durability of a

building, as well as its ability to adapt and evolve over time.

Temporality can be seen in architecture such as pavilions or

Kumbh Mela, known as the largest temporary city in the

world housing between 50 – 60 million people. The

relationship between the tectonic technologies can mediate

the intersection between architecture and time.

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 M AT E R I A L S E L E C T I O N

With the rising pressures of environmental consciousness, it becomes evident that the reimagining of

materiality is necessary. Methods of prototyping with various materials, as well as the installation

methods thus becomes a vastly valuable tool. It seems that human exceptionalism has allowed

humanity to detach from nature thus prototyping with natural materials allows for a pull towards the

appreciations of ecology. This brings me to ask the following question:

What opportunities lie within the use of natural materials, in terms of spatial qualities, as well as
the relationship humans could have with a natural material?

In order to start answering this question, I will focus on one material specifically, namely water. Water

will serve as a precedent or an example to answer the question I have raised. It is important to note

there are many materials and many forms in which to explore materiality and this will only be one thread

of many possibilities to answer these questions.

W AT E R

There has been many written words in literature and poetry about water, however in this research I will

be focusing on water through the perspective of philosopher and poet Gaston Bachelard. Bachelard's

Book Water and Dreams explores the relationship one could have with water in all various forms.

Through Gaston’s explorations, it is evident that different forms of water awaken varieties of

physiological explanations (Bachelard, 1983). To further explore the different relationships, there shall

be one experience I will be looking at, The Blur, by Diller and Scofidio.

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 CASE STUDY

The Blur sits gently on Lake Neuchâtel, as a cloud created by water vapor. In the year of 2002,

Switzerland held a national exhibition where artists and architects all over the world submitted

proposals for the various exhibitions. Diller and Scofidios' proposal was invited into Expo 02. The

proposal saw many changed throughout the process of design and resulted in The Blur, a cloud

created 35 000 nozzles and a steel tensegrity structure. I will be looking at the Blur and the

predecessors which led to the Blur, in terms of prototyping. It is important in this research to point out

that I am looking at The Blur as being a prototype to further explorations and possibilities and not just a

summation.

Figure 2: Night Blur ( Aepli, 2002 )

LITERATURE

For this research building report, I will be looking at The Blur: The making of nothing by Diller +

Scofidio as my main source of Literature review(Elizabeth Diller, 2002). This book was written and

edited by the architects. The entirety of the book contains essay, emails, faxs, new papers arcticles,

drawings and images of the thoroughly documenting the process from the Architects’ perspective.

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 C O N T E X T
Expo 02 took place in Switzerland during the year

2002. Initially the Expo was intended to take place in

EXPO 02
2000 but was postponed due to catastrophic result

from the financial audit. The Expo 02 was not the first

of its kind, Switzerland has hosted national exhibitions

regularly in the twentieth century (Soderstrom, 2001).

The first national exhibition was held in the Swiss

economical capital, Zurich in 1883. The expos were

seen to exhibit the image of Swiss identity, as well as a

celebration of economic progress. The 1964, the

exhibitions were brough to a turning point, in

Soderstroms words:

“The 1964 exhibition saw the

intrusion of self – criticism and
irony into well-
well-oiled mechanism
of Swiss national Exhibitions’ –
Soderstrom,
Soderstrom, 2001

The continuation of criticism and irony of the Swiss

identity from the 1964 exhibition was used in the 2002

exhibition by the first promotors. Expo 02 sought to,

instead of promoting unquestioning patriotism and the

showcasing of commodities, there is now a focus on

Figure 3: Expo 02 timeline (Author, 2022 )
introspection and questioning the present and future

identity and society of Switzerland. Amidst the

dissolution of nation-states and the prevalence of

advancing telecommunications technology in the 20th

century, a decision had been made to prioritize art and

culture.

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 EXPO 02
THEME
The overarching theme of the

Expo 02 was the decentralized

concept of time. This

deconstruction of the notion of

time presented the opportunity for

the theme to be developed into

the multifaceted framework, to

support the irony and criticism of

current Swiss identity conditions.

Thus, the further development led

to the following key statements in

the brief shown on the figure on 8

the below.

Figure 4: The Blur (Diller,Scofidio, 2002 )

 ARCHITECTS’ APPROACH

Diller and Scofidio looked towards

creating a reaction against the overly

stimulated visual, which emerges

from the rise of technology making

spaces forgettable. The architect's

comment on the high-definition

visuals which have created a

spectacle out of architecture and

art(Talk, 2007). The spectacle has

created an architecture falling prey to

being forgotten and becoming

universal. The Architects then react

by the creation of the anti –

spectacle(Elizabeth Diller, 2002). The

materiality of the cloud is for the Blur

Figure 5: The Blur (Diller,Scofidio, 2002 )
is be a “non – building”. The Blur is

intended to act as a media pavilion,

where the deprivation of visual

enables the focus on key moments

that the architects have orchestrated.

The Blur serves as an immersive

experience where the anti -

spectacles is created through the

narrative of the site.

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T H E N A R R AT I V E

T H E E X P O PA R K

THE MEDIA CUT

FIRST GLIMPSE

THE APPROACH

M E D I A P L AT F O R M

ANGEL DECK

COMING BACK

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T H E E X P O PA R K

The Expo park at Lake Neuchâtel was

designed by WEST 9, a team which initially

worked with Diller + Scofidio in Team

Extasia. Team Extasia saw design conflict

in the initial design development phases

MEDIA PAVILION
which led to the team parting ways. WEST

9 lead the design for the Expo park and

D+S to design the Media Pavilion. Despite

the dissolution of Team Extasia, the Expo

Park and Media Pavilion continued to

MEDIA CUT
maintain a relationship with one another.

The Expo park created an intersection

between nature and artifice woven into a

landscape of speakers, grass, flowers and

sensors. As visitors roam around the man-

made mounds, they are lured by various EXPO PARK

stimuli such as alluring sounds, intoxicating

aromas, lush visuals, and tantalizing

textures. In Figure X, you can see a plan for

the park with a proposed movement of the

visitors, guided through the media cut Figure 6: Plan of expo park illustration (Author, 2023 )

leading towards the media pavilion.

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THE MEDIA CUT

While traversing the Expo park, specifically

within this designated area, the emanating

sound from the hill leads the visitors

towards an empty space within the mound.

This removed sliver of the mound would

go by the name ‘media cut’, where the

visitor would be engulfed in a private

conversation with the sounds and images.

It is important to highlight that during the

early 2000s, specifically in this expo, it was

important to push the boundaries of

emersion through artificial devices. The

elevation of this technology is a testament

to the growth and progress of not only the

Swiss identity but humanity altogether.

Thus, many elements from this Expo 02 are

Figure 7: Plan of media cut illustration (Author, 2023 )
a showcase of exceptionalism of media, as

well as highlighting the dangers which

leads to the next part of the visitor's

journey, the Blur.

12
 THE FIRST GLIMPSE

Varieties of spectacles have stimulated the mind of the visitor with intrusive colour and sound. Further, the

visitor stumbles upon the first glimpse of the next part of the journey from the undulating landscape of the

expo park. As the visitor approaches the shoreline, a seemingly cloud-like form floats above Lake Neuchâtel .

THE CLOUD AND THE LAKE

Figure 8: drawing of the cloud-like form (Author, 2023 )

THE CLOUD THE LAKE

A cloud is part of the transformation process of Bachelard writes how lakes are often seen as

water, where water transcends its vapor state and places of purity and contemplation, where the

becomes something new. Bachelard wrote about calm surface of the water reflects the sky above

how he sees clouds as ethereal formations which and invites introspection (Bachelard, 1983). Lake

are elements of constant change, inviting our Neuchâtel serves as the canvas for the visitors’

minds to imaginative contemplation. The Blur reflection upon the journey of Expo park and The

enables the visitor's experience of the cloud from Blur. There is a duality to lakes for not only being

a new perspective. Usually, we look at clouds from places of introspection, however further as

the grounds where they appear as distant symbols of depth and mystery, as their vast

connections to the sky. D + S rather instead depths serve as phycological reminders of the

invited the spectator inside the sky. Experience unknown(Bachelard, 1983). In the case for the

the ever-changing forms of water from within as a Blur, the Lake assists in giving the visitor the

witness usually only experiences from the outside . nudge into imagining the highly – visual sense

driven future. 13
 THE APPROACH

The visitor is met by a log-in station, which acts as the entrance to the Blur, which further then continues

onto a bridge. The bridge to the blur gentles ramps upwards at a 2-degree slope towards the cloud

creating the sensation of walking into the sky. This gentle ramps acts a threshold for the visitor from

land into space.

Figure 9: drawing showing ramp up to cloud (Author, 2023 )

THE LOG-IN

Later in the project's evolution, the introduction of "smart" raincoats or "brain coats“ would be given

to visitors to the cloud. The “brain coats” would indicate, through both sound and color, affinity or

antipathy to other visitors based on a preferences questionnaire filled out upon entry to the cloud (Blur:

The making of nothing, 2002).

ENTRANCE
EXIT

14
Figure 10: movement to and from cloud (Author, 2023 )
 B R I D G E D E TA I L S

The ascending ramp towards the cloud

functions not only as a bridge for visitors

but for services to the Blur. The

structure carries the water to the building

as well as the carrying of electrical

conduits. The materiality of the bridge

largely consists of FVK, which is a German

translation for Fiber Reinforced Plastic.

Many of the members structural and non –

structural were made from FVK, which has

enabled the use of the curvilinear profiles.

Diller and Scofidio had consciously placed

importance in the detailing of this bridge.

The bridges acts as a grounding element

Section through bridge detail
for the visitor through-out the narrative of Scale 1:50 on A4
Figure 11: Section of bridge (Author, 2023 )
the Blur. The curving FVK guardrail creates

a space which holds the visitor yet not

completed inclosing. The architects used a

translucent FVK hinting to the opaque

FVK sheeting
nature of the cloud. allows opaque
structure to be
seen

Exloded view of bridge detail

15
Scale 1:50 on A4
Figure 12: Section of bridge (Author, 2023 )
 T H E M E D I A P L AT F O R M

The media platform is the visitors first

interaction with the elastic atmosphere.

From the bridge, the visitor goes up a

MEDIA PLATFORM
series of steps or a lift and lands in the

heart of the massless fog, completely

immersed.

During this narrative, I will unpack the

structural and material systems used by the

architects in order to achieve the anti –

Figure 13: Drawing showing circulation routes (Author, 2023 )
spectacle, massless atmosphere.

T H E M AT E R I A L I T Y

D + S used water and steel as the primary building material for the media platform. It was intended that

the media platform would be the layer within the blur which was most frequently covered by the water,

becoming the most immersive part of the narrative. Water as a material creates a contribution

to reshaping the architectural spatial environment. Water is used as an element of form making in the

architects’ work.

16

Figure 14: view of the blur (Aepli, 2002)

T H E N A R R AT I V E O F W AT E R

At the core of the water system is a network of fine

water mist nozzles, strategically positioned throughout

the structure. These nozzles disperse a fine mist into the

air, acting as an envelope for the Blur. Where the

unconventional experience of walking through the

envelope is possible. The mist interacts with light,

Figure 15: The Blur, drawing showing water
diffusing and reflecting it in various ways, resulting in an system (Diller,Scofidio, 2002 )

ethereal atmosphere that blurs the boundaries between

the built environment and nature.

The water used in the Blur building is carefully sourced,

treated from Lake Neuchâtel. The water is recycled to

ensure sustainability and to minimize environmental

impact. It undergoes filtration and purification

processes to maintain the quality of the mist and

prevent any adverse effects on visitors or the

surrounding ecosystem.

Figure 16: The Blur, diagrams showing weather

patterns (Diller,Scofidio, 2002 )

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STRUCTURAL SYSTEM

Following on from the narrative of water, it is important

to understand the supporting structural system which

5.
enables this ephemeral immersive material to exist. The

structural support system for the mist consists of several

combinations of steel members. The Blur is comprised of

the following two primary structural systems:

4.
• A space frame

• A tensegrity system.

SPACE FRAME SYSTEM

3.

The space frame is used in the Blur

to minimize the number of columns
needed to hold up the structure.
This enables the architects' vision for
a floating cloud to be more
2.
probable, as well as the nature of
fog to hide the columns. Furthering
from the spatial benefits of this 1.
system, the practical benefits
include, quick assembly and
disassembly, cost efficiency and
reusability.

TENSEGRITY SYSTEM

Figure 17:Drawing showing exploded diagram of the blur (Author, 2023 )

The tensegrity structure is created
through the balance of the
discontinuous compression 1 – Media platform from various I-beams

elements paired with continuous 2- Media platform surface made from galvanized steel mentis grating
tensile components, resulting a 3- Steel rod members acting as tensile components.
lattice structure created by a bi-
4- Angle Deck Platform structure created using various I beams
pyramidal modules. 18
5- Addition rods and cables used partly to carry nozzles
 THE BI PYRAMIDAL

The combination of the space frame

structure along with the tensegrity
structure, has results in the structure
comprising from bi pyramidal
modules.

The figure on the left shows a typical

bi pyramidal module. The space
Figure 18: The Blur, diagrams showing bi frame system sits as a border for the
pyramidal module (Diller,Scofidio, 2002 )
pyramids created by I – beams,
usually IPE 33o unless on a primary
gridline or order. The tensegrity
system is created by the central pole
which sits in a compression balanced
by the tensile rods connected to it.

THE ASSEMBLY

The bi-pyramidal modules were all

very advantageous during the
assembly of the structure. The
modules preassembled before being
connected to the rest of the
structure. The Blur faced the
challenge of being in the middle
of a body of water, thus, the
benefit of the bi-pyramidal modules
ability to preassemble part of the
structure on land before going on a
crane barge making the assembly
process more efficient.

Figure 19: The Blur, assembly process(Diller,Scofidio, 2002 ) 19

THE ANGEL DECK

Regressing back to the journey of the

visitor. I have explored some of the

structural and material systems used to

create the artificial cloud-like form the

visitor has been immersed within. The

visitor moves to the next part of the

journey, where the visitor has the option

to roam by stairs or escalator to the

next platform, the Angel Deck.

Gently, the visitor is released from the

mist, where he/she/they are exposed to

the open world. The visitor at this point

feels a sense of relief, a sense of sight

returns, their blurred vision dissolves

and a sense of being completely free

materializes. This part of the journey is

all about the ability to exist freely and

easily through this contrasting

environment juxtaposed so poetically.

Figure 20: The Blur, images(Diller,Scofidio, 2002 )

D + S facilitates this change by

changing their various methods. I will

investigate, introducing a new structural

logic, as well as the materiality change.

20
HIERACHY OF STRUCTURE

The primary structural system of this Angel deck

platform is still based off the notion of a space

frame system, but D + S introduced a radial grid

layer of this system. D + S intended for the space

to be used as a place of contemplation and

reflection, thus, the architects’ created a place

for seating in the form of an oblique function,

which seems to peel off the floor in an organic

way. For this organic peel to occur gently and

seemlessly, D + S curved the I-beams supporting

the floor of the platform.

This intentional moment so carefully curated by D

+ S, shows the hierarchy in the narrative created by

Figure 21: Explorative digrams of radial grid and curves
the architects. The importance the angel check is beams (Author, 2023 )

highlighted through carefully articulated structural

decisions, as well as material choice.

Figure 22: The Blur, radial grid of Angel Deck(Author, 2023 )

21
M AT E R I A L I T Y

D + S use the FVK from the bridge as

sheeting for the floor of the Angle

Deck. The FVK sheeting's opaque

nature exposed the curved, radial I-

beam structure from below, exposing

the architects’ favoritism towards the

moment of freedom and reflection

experience. Similarly, to the bridge

FVK sheeting creates a nod to the

primary building material of the skin

of the building, mist. D + S use the

material as a tangible and structural

substitute for mist, creating a

complementary relationship between

the two materials. Figure 23: The Blur, images(Diller,Scofidio, 2002 )

22
 CO N C LUSION

The visitor begins the journey back to the expo park,

experiencing moments of within and without the

envelope of the Blur. The descend of the stairs or the

lift provoke the notion of memory, as the visitor has

a glimpse the experience again, but the atmosphere

has changed. The winds movement has changed the

Blur, its viewable perspective is no longer the same.

The Blur set a precedent of prototype for a

methodology of tectonics, which introduces the

blurring of the boundaries between the built

environment and nature. The criticism of the Blur

occurs when looking at the expense. The expense

which was paid for by the private sector in

Switzerland. Therefore, I believe the blur should be

seen as a prototype and a catalyst future explorations

of temporal tectonic, where the psychological and

haptic nature of the project should be incorporated in

future architectural spaces.

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B I B L I O G R A P H Y

• Bachelard, G. (1983). Water and Dreams: an essay on the imagination of matter.

Dallas: Pegasus Foundation.
• Elizabeth Diller, D. S., Diana Murphy, Ricardo Scofidio. (2002). Blur: The making of
nothing (D. Murphy Ed.). New York: Harry N.Abrams.
• Nolan, G. (2018). Architecture Death Drive: The Primitive Hut Against History. Log, 42,
91-102.
• Soderstrom, O. (2001). Expo.02: Exhibiting Swiss Identity. Ecumene, 8(4), 491 - 501.
• Soper, K. (2012). The Humanism in Posthumanism. Comparative Critical Studies, 9(3),
365 - 378.
• Talk, T. (Writer). (2007). Liz Diller: Architecture is a special effects machine. In.

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