Guiseppe// Reflection

The public enter through a series of pavilions that demonstrate and teach the ancient qvevri wine production method. This is flanked by vineyards and leads to the central winery. The Winery is conceived as a continuous walkway, each angled field surrounded by a aqueduct irrigation system, these transport systems continue into the main production strip. The eastern production strip produces white wine, and the western red. These production strips feed into the central building that houses public facilities. The linear east-west building acts as a walkway in itself and facilitates views of the vineyards to the north and south. Wine is stored in the central building and exported south to the port.


Conceptual Site Plan




Conceptual Elevation




Conceptual Section




Precedents Spatial Site Plan

Guiseppe// Cross Crit

Qvevri wine making is being held up as spectacle, promoting Georgian wine culture, the Hualing Group wants to capitalise on this for mass production and export of Georgian wine. Yet, as epitomised by the new Port of Anaklia, there is a disconnect between products of global consumption and their places of production and origin.

Using the spectacle of qvevri wine making, the process as symbol is used to market mass production and export of Georgian wine. The lack of connect to context and production is exposed through the creation of a hyperreality showcasing qvevri wine production.

The Qvevri winery presents the quaint Georgian image of wine production. Upon entering the enclave you are immersed in the controlled/contrived spectacle of quaint Georgian wine production. Glorified, the Qvevri is, held up on plinth. You are taken on a journey through a controlled/orchestrated environment.




Precedent Gestures

Verb Models// Guiseppe

[orchestrate] + [immerse]

orchestrate |ˈɔːkɪstreɪt| verb [with object] plan or coordinate the elements of (a situation) to produce a desired effect, especially surreptitiously: the situation has been orchestrated by a tiny minority.

immerse |ɪˈməːs| verb1 [with object]  (immerse oneself or be immersed) involve oneself deeply in a particular activity: she immersed herself in her work | she was still immersed in her thoughts.











The Spectacle of Consumption

Magnitogorsk is identified as having three key elements, namely the living/leisure space which I will interpret as garden, the agricultural zone and the industrial zone, which sit together upon a landscape. Here the garden sits as a plinth within an infinite agricultural landscape. The industry mines the landscape to near breaking point, propping up the garden above to celebrate the wares of the hidden industry as spectacle. The garden looks out onto the landscape that has become consumed by agriculture, detached from it by industry. The ordered garden, celebrating soviet objects of desire, is contrasted to the disorder of industry below. In the distance you see the next plinth celebrating a different industry’s production.




Problem Statement

The port is seen as spectacle showcasing all that Georgia hopes to become. Yet by the very nature of a free industrial zone the port will be closed off, hidden from the outside world, functioning as its own entity. An enclosed garden, bringing in goods to and from afar, detached from both its immediate surrounds and those from once the objects came.

Project Response

Gardens are “places where nature is at once excluded and brought into view” (Aben and de Wit, 1999, p.10). It is this bringing into view that I wish to explore, exposing the spectacle of the ports agenda in Anaklia as well as the nature of the commodities that it facilitates and represents.



Use of muted colour could be used to show different types of land use


Solid black fill could be used to highlight project interventions and key elements on the smaller scale maps


Use of a grid for call outs etc give them order on the page. Concentric squares for a closer scale is potential option for highlighting certain areas or individual projects. Coloured land creates clear distinction between land and sea.


Abstracting down elements into clear forms and gestures may be useful for smaller scale maps depicting particular themes of barrier etc.


Beautiful drawing showing vegetation etc

Using colour to highlight the sea creates a clear distinction between land and water and allows contours to still be shown in the sea floor. Showing future ships and shipping channels could highlight the role of the port, similarly we could envision railway links and the proposed airport in a similar manner.


Using areas of satellite images may be a way of depicting agricultural or non built up land use.



I have identified three key elements of Leonidov’s Magnitogorsk proposal, namely the living/leisure space which I will interpret as garden (specifically walled garden), the agricultural zone and the industrial zone. 
I want to show a relationship between these three elements. The landscape/agriculture providing for the industry that in turn provides for the garden. The garden absorbing the landscape around, bringing in elements, yet mediated through industry and spectacle.
Current composition / drawing proposal
The agricultural end has become all encompassing, absorbing the landscape around. The garden sits as a strip in the landscape, distorting the land around. Absorbing the land, the garden becomes raised sitting on a plinth of landscape. Atop this plinth sits an industrialised Magnitogorsk within the garden.
Distorted by the landscape the industry sits on a plinth of it’s destruction. “As broad as the sky” (Aben and de Wit, 1999, p.10) the garden influences all that is around, while only looking in on itself, the garden manipulates and distorts the landscape as far as the eye can see. Yet the garden only looks in on itself, detached from the landscape it sees only the products of industry, the natural world mediated by spectacle.
By distorting the grid of the landscape, the drawing makes reference to the Fukasas MyZeil shopping centre and the idea of neoliberal super surface. 
To explain this concept I have sketched the proposal in a rough axo, however I think it may be interesting to develop in plan, potentially with elements projecting out of ‘the garden’ as in Leonidov’s original plans for Magnitogorsk.



Following our exploration of the relationship between utopian conceptual cities and and disurban realities we developed a framework to explore circles of societal perception. Starting with the centre one sees out to ‘the spectacle’ of society, glimpsing the ‘industrial production’ beyond. The industrial production is then facilitated by a ‘manufactured landscape’ with the surrounding ‘political landscape’ driving all before it. These are seen as inescapable ‘rings of society’, exploring the relationship between what is projected and perceived and the reality behind it.

Collage of ‘the spectacle’ and ‘industry’ beyond

Drawing showing an extract of ‘the spectacle’ and ‘industrial’ circles



We explored the relationship between utopian conceptual cities and how these ideas manifested themselves into disurban realities (usually conflicting with original ideologies). We examined the large-scale linear plans for Leondovs Magnitogorsk, using perspective sections to explore the space between domestic, communal buildings. We used these drawings to highlight the contrast between the built ideological city and the natural landscape, discovering the power of the plinth as a hard boundary.

Examining the Broadacre City scheme (Frank Loyd Wright), we researched the evolution of the suburb, from ideology to reality, and the ultimate problems created, culminating in a dystopia of a fractured landscape where services are compartmentalised and spread over great distances. We examined how these services were contained in the form of shopping centres using the Myzeil shopping centre in Frankfurt as a precedent.

We began to consider plinths and containment from above as ways in which to represent social and political layers, exploring through sketches and collages how these layers related to one another.

Manufacturd Landscapes, Edward Burtynsky

Powers of 10, Charles and Ray Eames

Cénotaphe à Newton, Boullée  (1784)

Lauren Marsolier

“photographically without showing a speci c place, focusing instead on a mental experience. Hers is a kind of perceptual photography, exploring what is sensed rather than the immediately visible. In a composite photograph, liberated from the single point of view of indexical representation, a new visual vocabulary can emerge. A subtle combination of multiple perspectives, lighting sources, and distances is used to produce disorientation in the viewer. The landscapes are ambivalent, familiar and yet not identi able. The work probes our relationship to a globalizing world, marked by the loss of its certainties and an overall sense of placelessness.”

Six metres collage-drawing, depicting a typical day of M. in her distorted dreams, Lei Mao

“The architecture of logistics, the “ful lment centre,” is then a direct modulation of these standardized procedures, making the warehouse a highly generic environment able to cope with instability and change.”

“The exhibition takes a typical day of M., a night-shift logistic worker of Atacama, a ctional leading multinational corporation of online commerce. Following the micro- physics of M.’s operations, we attempt to reconstruct the hidden and perverse logic behind the company’s reassuring public image, tracing the mechanism in which collective desire becomes abstract, and abstraction becomes concrete once again, in the form of labour.” lment-1

Six metres collage-drawing, depicting a typical day of M. crossing the territory of Pianura Padana, Eva Le Roi


Supersurface, Superstudio

“Since, in the long run, mass production must be considered an information system, research no longer concentrates on the object itself, but that in [sec] its role as a kind of sign. This implied that the goal of design is not the object, but the link connecting someone with the environment. In this framework, the architect unavoidable becomes the designer of the consumer’s behaviour through mass-produced object design and correct ceremonial use. Superstudio’s production of images aimed, by contrast, at a world without design objects, intended to increase the consumers’ ability to design their own behaviours in an anti-cerimonial relationship with the environment through their resilient and transparent supersurface.” Quesada, F. // Superstudio 1966-73: From the World without Objects to the Universal grid

“The only activity is shopping. But why not consider shopping as temporary, provisional? It awaits better times. It is our own fault – we didn’t think of anything better to do.The same spaces inundated with other programs – libraries, baths, universities – would be terri c; we would be awed by their grandeur” (Kookhaas, p.71).

“Air conditioning freed new depths of interior space to shopping, by wrapping the consumer in comfortable environments” (Sze Tsung Leong // … And Then There Was Shopping. In Har vard Design School Guide to Shopping p.132)

“Shopping has historically preferred to do away with the outside, seeing nature as an unpredictable interference with the unfolding of commerce. Instead, it has created its own interior realms – the bazaar, the arcade, and the shopping mall all exist in a lineage of greater control and greater autonomy from exterior conditions. With the invention of air conditioning, natural light and air could nally be superseded and rendered obsolete, as “ideal” and completely arti cial shopping conditions were enthusiastically adopted by the public” (Sze Tsung Leong // Air Conditioning. In Harvard Design School Guide to Shopping p.93)


Broadacre City, Frank Lloyd Wright

Collage depicting suburban ‘reality’ of Frank Lloyd Wright’s Broadacre City Proposal

Magnitogorsk, Ivan Leonidov

Collage depicting reality of Magnitogorsk today juxtaposed with Leonidov’s utopian proposal

Photograph of Magnitogorsk as seen today

Section depicting Magnitogorsk and it’s relation to landscape and industry

Myzeil, Fuksas






Following Keller Easterling’s (2014) ideas of the declared content of the building and the ‘difficult to detect’ activity allowed by its infrastructure, I considered building as monument distracting from activity which happens around them.

Conversely, if the object (in this case building) is seen as influencing the consumers’ behaviour, then the architect can be said to influence the consumers’ behaviour through design and correct ceremonial use (Quesada, 2014). In response to this Superstudio propose a ‘supersurface’, “a world without design objects” (Quesada, 2014, p.32) in an attempt to give agency back to the consumer.

Guy Debord’s (1994) Society of the Spectacle furthers these ideas highlighting the false way in which we relate to one another, and the world around us through the spectacle.

The landscapes contrasted with industrial production and consumption shown in Manufactured Landscapes and Koyaanisqatsi sparked an interest in the relation between the spectacle based consumption and its relation to the landscape.

Going forward I would like to make work that highlights the relation between the spectacle of consumption and the hidden land impact and manufacturing process behind that consumption, with a particular emphasis on the food and meat industry. With this in mind I am unsure whether it is more appropriate to look at architecturally significant buildings, or if it may be better articulated through studies of a generic, mass consumer, building.