Colliding

OF WHAT YOU SEE IN ARCHITECTURE ARE WATERED-DOWN IDEAS OF SCULPTORS WHO HAVE COME BEFORE.”

—— RICHARD

RESEARCH + ANALYSIS

of Curiosities

Research on museums with different topics Group work with Zhang Haowei 2 weeks Feb-Mar, 2022

PROTOTYPING + TRANSLATING

translation / Prototype Design

Research on Richard Serra and translate his ideas Individual work 5 weeks Mar-Apr, 2022

SITUATING + PROGRAMMING

of Curiosities

Research on museums with different topics Group work with Zhang Haowei 2 weeks Feb-Mar, 2022

ANALYSIS

Research on museums with different topics Group work with Zhang Haowei 2 weeks Feb-Mar, 2022

this semester will start with an examination of the historical development of art museums. students will be asked to research the evolution of contemporary art through precedent studies to the impact on the exhibition formats. interdisciplinary, cross-cultural and international perspectives and empirical investigation are brought to bear on the exploration of art museums’ relationships with the art displays (and analysis of the ways in which museums shape -and are shaped bysuch interactions).

based on the research, each pair of students will select an artist and delve into his/her works, beliefs, and ways of presentation, which relates to a different spatial conceptualization manifested through a systematically contrasting way of talking about space.

Marchese

Cabinet of Curiosities

Cabinet of Curiosities

Domenico

Musei Wormiani, 1655. Not a museum of worms, but Ole Worm’s museum. (From Wikipedia.)

Domenico Remps, Cabinet of Curiosities, 1690s, Opificio delle Pietre Dure, Florence

Marchese

Cospi (1606-

Bolognese nobleman  who acquired

collection

donated for the

Its order is oddly both  aesthetic and natural Like most  wunderkammer, it had  no labels Instead, it was handson, interactive: look at  the visitors opening  the cases, removing  the objects, discussing  what they see and feel  and touch.

Phase 2 Enlightment

History museums turned to chronology. Natural history museums organized things by taxonomically, but  genus and species, according to the Linnaean system, and, by the  late 19th century, to show Darwinian evolution. Art museums organized according to place and school.

Its eight cabinets contained, among other things: 600 phials of animal cadavers in spirits

288 boxes of indigenous and exotic insects 32 drawers of shells and crustaceans 14 drawers of minerals and fossils, and a cabinet with a woodland-like scene created from different kinds of corals and sponges.

Wonder Theater of Nature Louvre

1706

Levinus Vincent

1790

Jean-Baptiste-Pierre Lebrun

Everything is in order.

Portraits of American heroes are neatly arranged  above a rectilinear grid of natural specimens,  arranged in Linnaean order.

Everything is in cases. Everything is organized to tell a story.

Artist in his Museum

1822

Charles Wilson Peale

Levinus Vincent the Younger, (1658 in Amsterdam – 8  November 1727 in Haarlem) was a rich Dutch designer  of patterns and merchant of luxurious textiles, such as  damask, silk and brocade.[1][2] (From Wikipedia.)

Jean-Baptiste-Pierre Le Brun (1748 - 7 August 1813)  was a French painter, art collector and art dealer.  Simon Denis was his pupil. (From Wikipedia.)

Louvre 1790 (From wikimedia) A picture collection not arranged by school and artist is as  ridiculous as a natural history cabinet arranged without regard to  genus, class, or family.

Charles Willson Peale (April 15, 1741 – February 22, 1827) was an American painter,  soldier, scientist, inventor, politician and naturalist. He is best remembered for his  portrait paintings of leading figures of the American Revolution, and for establishing  one of the first museums in the United States (FromWikipedia)

Charles Wilson Peale‘s’ Artist in his Museum (1822) From  Pennsylvania Academy of Fine Arts.

Levinus Vincent’s 1706 “wonder Theater of Nature.” (From Bert van de Roemer)

The museum, as opposed to the  cabinet of curiosities, is orderly,  public, designed for teaching,  not exploration.

Natural history museums used phylogenetic arrangement to reveal the order of the  natural world. At the Smithsonian at the turn of the 20th century, technology was  arranged in “synoptic series” to show progress.

Just as early modern cabinets of curiosity reflected a  philosophical understanding of the world, so too did  the modern museum. Greenblatt’s wonder and  resonance was reinterpreted.

Art objects evoked wonder.

Synoptic Series of Textiles

Objects became metonyms, that is, representatives of a larger world.

There was no room for the randomness and  messiness and open-ended connections of a  cabinet of curiosities in the modern museum.

1900

US National Museum

Levinus

1920

US National Museum

The cylindrical building, wider  at the top than at the  bottom, was conceived as a  "temple of the spirit". Its  unique ramp gallery extends  up from ground level in a  long, continuous spiral along  the outer edges of the  building to end just under  the ceiling skylight.

place the sculpture in the place with the richest  layers of time and use the natural height  difference to set the moving line. the interior  creates a stroll-away experience through the use  of old structures and openings, and accentuates  the exhibits with new materials such as polished  plasters, concrete, terracotta bricks, etc.

among them, the second phase is  the most critical, using the precise  movement line organization and  local space shaping like a scalpel,  forming a win-win relationship  between modern exhibition and  historical relics.

In 1959, the museum  moved from rented space to  its current building, a  landmark work of 20thcentury architecture  designed by Frank Lloyd  Wright. The cylindrical  building, wider at the top  than at the bottom, was  conceived as a "temple of  the spirit".

the castle project was launched in  1957 and was not fully completed  until 1974. lasting 18 years, it can  be clearly divided into three  phases

1959

New York Guggenheim Museum

The museum's collection has grown over eight decades and  is founded upon several important private collections,  beginning with that of Solomon R. Guggenheim.

1974 Castelvecchio Museum

Castelvecchio Museum (Italian: Museo Civico di  Castelvecchio) is a museum in Verona, northern Italy,  located in the eponymous medieval castle. Restoration by  the architect Carlo Scarpa between 1959 and 1973 has  enhanced the appearance of the building and exhibits.

The interior design of the museum  is extremely wonderful, especially  the atrium design at the entrance,  which gehry called "a cheer to  throw the hat into the air" frank gehry's architecture has  always been known for its avantgarde and boldness, and its  rebellious design style not only  subverts almost all of the classical  architectural aesthetic principles,  but also sweeps away the rules  and clichés of modern  architecture, especially  "international" architecture.

The museum is located on the  edge of the old town, on the south  bank of the nevelon river, the  gateway to the city, with the  adjacent art gallery, the university  of deusto and arriaga together, the  opera house forms the cultural  center of the city of bilbao.

1997

Bilbao Guggenheim Museum

The Museo Guggenheim Bilbao is an art museum dedicated  to contemporary art in Bilbao Spain. Founded in 1997 by  the Guggenheim Foundation, it is one of several  Guggenheim museums located around the world.

Mark Dion was one of the first artists to explicitly reinvent  the ancient cabinet of curiosities. Some of his projects  brought together new collections in a way that recalled  the old cabinets. Some rearranged museum collections to  suggest how organization could provide new insight. He  explained why he found the model so valuable: “I want to  direct viewers. I want to give them clues as to what I’m  thinking about, because the work also plays with a  sophisticated reading and contradictions — one piece  might say something and the other piece might seem to  argue the opposite. I want to give viewers a lot of power  and control over discovering their own position in  relationship to the works, which are suppositions, not  declarative statements.”

The current museum building was designed by worldrenowned architect Frank Gehry with MSR Design as  architect of record and completed in November 1993. It is  one of the major landmarks on the University of Minnesota  campus, situated on a bluff overlooking the Mississippi  River at the east end of the Washington Avenue Bridge. The  abstract structure is considered highly significant because it  was built prior to the widespread use of computer aided  design in architecture.

Chicana artist Amalia Mesa-Bains  worked with the Fowler Museum’s  collections to create New World  Wunderkammer, three cabinets of  curiosity representing Africa, the  indigenous Americas, and mestizaje.

The artist/curator’s cabinet of curiosities is a species  of institutional critique, a way of exploring (and  sometimes undermining) the roots and rules of the  museum. It is also, as Areti Adamopoulou and Esther  Solomon note in their essay on cabinets of  curiosities, a way “not only to get rid of strict  taxonomies, but also to try to reconnect the human  to the natural” — to replace museum rules with  values that seem “engaging, intriguing and  appropriate for today’s audiences.”

Weisman Art Museum

The Frederick R. Weisman Art Museum is an  art museum at the University of Minnesota in  Minneapolis, Minnesota. Founded in 1934 as  University Gallery, the museum was originally  housed in an upper floor of the University's  Northrop Auditorium. In 1993, the museum  moved to its current building, designed by the  Canadian-born American architect Frank  Gehry, and renamed in honor of art collector  and philanthropist Frederick R. Weisman.

The Fowler is generally home to three  to six art exhibitions and also acts as a  venue for lectures on cultural topics,  musical performances, art workshops,  family programs, festivals and more.

2013 Fowler Museum

The Fowler Museum at UCLA, commonly known as The Fowler, and  formerly Museum of Cultural History and Fowler Museum of Cultural  History, is a museum on the campus of the University of California, Los  Angeles (UCLA) which explores art and material culture primarily from  Africa, Asia and the Pacific, and the Americas, past and present.

This collection of  extraordinary natural and  manmade objects,  displayed in cabinets with  many compartments, are  filled with “treasures”  reflecting  humankind’s curious  nature and innate desire to  collect. The Cabinet of  Curiosities is a unique,  interactive backdrop for  cocktail parties

Lady Betty collected a vast array of nautical apparel from the Dublin markets  where merchants and sailors would sell such shells, coral, sponges, mother  of pearl and other exotica to the wealthy elite fascinated by these objects.  Over the years successive generations of the Cobbe family have greatly  expanded the collection to the wealth of material seen on display today.

‘Cabinets of Curiosity’ or wunderkammers were early modern treasure troves  within palaces and private houses dedicated to the display of the material  world. These rooms attempted to showcase the wonders of the natural  world. While often idiosyncratic to the collector’s taste, objects within were  usually categorised into the three historic divisions of the natural world;  animal, vegetable and mineral. Today the few remaining cabinets reflect  historic attempts to interpret the materiality of the world in a nuanced  humanistic manner. They also reflect the growing appetite for collecting and  a universal fascination with the natural world.

Houston Museum of Natural Science

The Houston Museum of Natural Science is a natural history museum located on the  northern border of Hermann Park in Houston, Texas, United States. The museum was  established by the Houston Museum and Scientific Society, an organization whose goals  were to provide a free institution for the people of Houston focusing on education and  science.

2021

Newbridge House Family Museum

The Museum or Cobbe Cabinet of Curiosities at Newbridge was  originally referred to as “Ye Ark”. It was started by Lady Betty  Cobbe (1733-1806) as a room initially exhibiting her collection of  shells, exotica, and curios.

Phase 1 - Wunderkammer

The 16th and 17th centuries were an era of discovery, humanism, and science, but also an era permeated by older ideas of magic and sympathy.

Wunderkammer were the common way to display collections from about 1550 to about 1750.

Phase 2 - Wunderkammer to Museum

In the late 18th century, the cabinet of curiosity went out of fashion, to be replaced by the modern  museum.

The magical worldview was replaced with the new ideas of the Enlightenment, and the old rules of  magic and sympathy were replaced by new rules: reason, orderliness, system, science.

There was no room for the randomness and messiness and open-ended connections of a cabinet of  curiosities in the modern museum.

Phase 3- Museum

Museums began to consider the visitor as part of the equation.

Artists and curators reinvented the cabinet of curiosity to address modern concerns.

The Wunderkammer seems more fitting to an age of hybridity and critique.

Dell'Historia Naturale

Research Show owner's tasteRome/Greece Europe

House Single

/

Wonder Theatre of Nature Collection Reservation

FranceLouvre Museodi Castelveccio

Worldwide/West

Collection

space

Bilbao's Guggenheim

Worldwide

Iconic

DENMARK

LEVINUS VINCENT (1658 IN AMSTERDAM – 8 NOVEMBER 1727 IN HAARLEM)

LEVINUS VINCENT (a rich Dutch Designer of patterns anD merchant of luxurious textiles, such as Damask, silk anD brocaDe)

• Its eight cabinets contained, among other things:600 phials of animal cadavers in spirits; 288 boxes of indigenous and exotic insects; 32 drawers of shells and crustaceans; 14 drawers of minerals and fossils, and a cabinet with a woodland-like scene created from different kinds of corals and sponges.

• Like most wunderkammer, it had no labels.

• Instead, it was hands-on, interactive: look at the visitors opening the cases, removing the objects, discussing what they see and feel and touch.

References: 1.The Trustees of

Roemer, B.

University. (n.d.).

de. (n.d.).

‘wonder

University Library. Princeton Uni-

https://library.princeton.edu/news/general/2021-03-16/wonder-theatre-nature-marquand-library

During this period, many ‘museum‘ like wonder theatre of nature become a transition part of modern because its order is oddly both aesthetic and natural.

References:

The Trustees of Princeton University. (n.d.). A ‘wonder theatre of nature’ in Marquand Library Princeton University Library. Princeton University. Retrieved February 12, 2022, from https://library.princeton.edu/news/general/2021-03-16/wonder-theatre-nature-marquand-library

Drawin by author

LOCATION:

• Paris,

ARCHITECT:

• Pierre Lescot

• Claude Perrault (east façade

• Louis Le Vau (rebuild

OWNER:

•

DESCRIPTION:

• World’s

• type

• why

Interior

Galerie d’Apollon

GALERIE

1682, Louis XIV moved the royal residence to Versailles. During the reign of Louis XVI, the comte d’Angiviller promoted the use of the Grande Galerie as a public museum.

References: 1.Louvre Museum Official Website. Le Louvre. (n.d.). Retrieved February 12, 2022, from https://www.louvre.fr/en

2. Wikimedia Foundation. (2022, January 31). Grande Galerie. Wikipedia. Retrieved February 12, 2022, from https://en.wikipedia.org/wiki/Grande_Galerie

3. Wikimedia Foundation. (2022, February 8). Louvre Palace. Wikipedia. Retrieved February 12, 2022, from https://en.wikipedia.org/wiki/Louvre_Palace

Grande Galerie Bird’s

Grande Galerie Interior view painting [2]

Plan of Grande Galerie [3]

References: 1.Wikimedia Foundation. (2022, February 8). Louvre Palace. Wikipedia. Retrieved February 12, 2022, from https://en.wikipedia.org/wiki/Louvre_Palace

Grande Galerie new plan [1]

Grande Galerie Axonmetric [1]

LOCATION:

VERNOA ITALY

ARCHITECT: CARLO SCARPA

OWNER: LICISCO MAGAGNATO

DESCRIPTION:

• RESTORATION BY THE ARCHITECT CARLO SCARPA BETWEEN 1959 AND 1973 HAS ENHANCED THE APPEARANCE OF THE BUILDING AND EXHIBITS. SCARPA’S ARCHITECTURAL STYLE IS VISIBLE IN THE DETAILS FOR DOORWAYS, STAIRCASES, FURNISHINGS, AND EVEN FIXTURES DESIGNED TO HOLD A SPECIFIC PIECE OF ARTWORK. THE RENOVATION CAREFULLY BALANCED NEW AND OLD, REVEALING THE HISTORY OF THE ORIGINAL BUILDING WHERE APPROPRIATE. UNUSUAL AT THE TIME, THIS APPROACH HAS NOW BECOME A COMMON APPROACH TO RENOVATION.

• SCARPA MOVED THE MAIN ENTRANCE TO THE EAST CORNER OF THE GARDEN, AND USED TWO PARALLEL YEW HEDGES THAT RUN FROM EAST TO WEST OF THE GARDEN TO BREAK THE SYMMETRY OF THE GARDEN IN LINE OF SIGHT AND ON THE STREAMLINE. PLACE THE SCULPTURE IN THE PLACE WITH THE RICHEST LAYERS OF TIME AND USE THE NATURAL HEIGHT DIFFERENCE TO SET THE MOVING LINE. THE INTERIOR CREATES A STROLL-AWAY EXPERIENCE THROUGH THE USE OF OLD STRUCTURES AND OPENINGS, AND ACCENTUATES THE EXHIBITS WITH NEW MATERIALS SUCH AS POLISHED PLASTERS, CONCRETE, TERRACOTTA BRICKS, ETC.

REFERENCES : WIKIPEDIA

WWW.ARCHDAILY.COM

LOCATION:

BILBAO SPAIN

ARCHITECT:

FRANK GEHRY

OWNER:

SOLOMON R. GUGGENHEIM FOUNDATION

DESCRIPTION:

• THE MUSEUM WAS INAUGURATED ON 18 OCTOBER 1997 BY KING JUAN CARLOS I OF SPAIN, WITH AN EXHIBITION OF 250 CONTEMPORARY WORKS OF ART. BUILT ALONGSIDE THE NERVION RIVER, WHICH RUNS THROUGH THE CITY OF BILBAO TO THE CANTABRIAN SEA, IT IS ONE OF SEVERAL MUSEUMS BELONGING TO THE SOLOMON R. GUGGENHEIM FOUNDATION AND FEATURES PERMANENT AND VISITING EXHIBITS OF WORKS BY SPANISH AND INTERNATIONAL ARTISTS. IT IS ONE OF THE LARGEST MUSEUMS IN SPAIN.

• THE OVERALL FLOW OF THE MUSEUM IS RADIAL, WHICH CAN GUIDE VISITORS TO EXHIBITION HALLS WITH DIFFERENT THEMES. THERE ARE ALSO SOME EXHIBITS INSIDE THE MUSEUM THAT ARE LARGESCALE SCULPTURES. THESE EXHIBITS PLAY THE ROLE OF WALL SEPARATION AND CREATE DIFFERENT SPACES.

MUSEUM → IM PEI’S

References: 1.Louvre Museum Official Website. Le Louvre. (n.d.). Retrieved February 12, 2022, from https://www.louvre.fr/en

2. Grand Louvre. The Cooper Union. (n.d.). Retrieved February 12, 2022, from https://cooper.edu/project/grand-louvre

Louvre palace pyramid and interior corridor [1]

Louvre palace pyramid plan diagram edited by author [2]

The

entrance

the Louvre Museum.

broader

Richard Serra is an American artist known for his large-scale sculptures made for site-specific landscape, urban, and architectural settings. Serra’s sculptures are notable for their material quality and exploration of the relationship between the viewer, the work, and the site. Since the mid-1960s, Serra has worked to radicalize and extend the definition of sculpture beginning with his early experiments with rubber, neon, and lead, to his largescale steel works.

Serra was born in San Francisco, California to Tony and Gladys Serra – the second of three sons. From a young age, he was encouraged to draw by his mother. The young Serra would carry a small notebook for his sketches and his mother would introduce her son as “Richard the artist.” His father worked as a pipe fitter for a shipyard near San Francisco. Serra recounts a memory of a visit to the shipyard to see a boat launch when he was four years old. He watched as the ship transformed from an enormous weight to a buoyant, floating structure and notes that: “All the raw material that needed is contained in the reserve of this memory.”

Serra studied English literature at the University of California, Berkeley in 1957 before transferring to the University of California, Santa Barbara and graduating in 1961 with a BA in English Literature. In Santa Barbara, Serra met the muralists, Rico Lebrun and Howard Warshaw. Both were in the Art Department and took Serra under their wing. During this time, Serra worked in steel mills to earn a living.

Serra studied painting at Yale University and graduated with both a BA in Art History and an MFA in 1964. Fellow Yale alumni include Chuck Close, Rackstraw Downs, Nancy Graves, Brice Marden, and Robert Mangold. At Yale Serra met visiting artists from the New York School such as Philip Guston, Robert Rauschenberg, Ad Reinhardt, and Frank Stella. Serra taught a color theory course during his last year at Yale and after graduating was asked to help proof Josef Albers’ notable color theory book “Interaction of Color.”

RICHARD SERRA

Career words:

Sand Dunes and

Down and Dirty Minimalism

To Lift, To Splash, To Prop . .

Sites

Prime Objects

Torqued Shapes

Passages and Intervals

Symbolic Forms

Structure, Surface, Speed

History Doesn’t Go Away

Sculpture Hadn’t Dealt with Steel

Controversies

Contradictions

• Like other minimalists of his generation, Serra steered clear of art as metaphor or symbol

• Clear operations

• Site-specificity

CLEAR OPERATION

BLOCK’

Berlin Block is the first one. The idea of condensing a mass that’s heavier by a third than anything that’s cast really appealed to me. What’s interesting about Berlin Block, other than its weight and density, is that its molecular structure is also cubic. It was very satisfying to have an internal order that’s reiterated in the external shape. Berlin Block is the largest forged block I’ve ever done; it weighs 77 tons.

REFERENCE: BERLIN BLOCK (FOR CHARLIE CHAPLIN), 1977.

FORGED STEEL, 6 FT. 3 IN. × 6 FT. 3 IN. × 6 FT. 3 IN. (1.90 × 1.9 × 1.9 M).

PERMANENT INSTALLATION AT THE NEUE NATIONALGALERIE, BERLIN. STAATLICHE MUSEEN ZU BERLIN, PREUSSISCHER KULTURBESITZ; PURCHASED BY VEREIN DER FREUNDE DER NATIONALGALERIE, 1979.

CONVERSATIONS ABOUT SCULPTURE BY RICHARD SERRA, HAL FOSTER

Serra eventually turned to steel as his medium of choice, selecting it, he has said, for its “tectonic potential, its weight, its compression, its mass, its stasis” and its abil ity to stand supported by gravity alone.Sharply dividing the room into four triangular quadrants, Circuit belies its title, inhibiting easy circulation.

CIRCUIT, 1972.

HOT-ROLLED STEEL, FOUR PLATES, EACH 8 FT. × 24 FT. × 1 IN. (2.4 M × 7.3 M × 2.5 CM).

THE MUSEUM OF MODERN ART, NEW YORK. GIFT OF THE ARTIST IN HONOR OF HARALD SZEEMANN.

• Like other minimalists of his generation, Serra steered clear of art as metaphor or symbol

• Clear operations

• Site-specificity

SITE-SPECIFICITY

TUHIRANGI CONTOUR

Berlin Block is the first one. The idea of condensing a mass that’s heavier by a third than anything that’s cast really appealed to me. What’s interesting about Berlin Block, other than its weight and density, is that its molecular structure is also cubic. It was very satisfying to have an internal order that’s reiterated in the external shape. Berlin Block is the largest forged block I’ve ever done; it weighs 77 tons.

A SPACE ODYSSEY

PROMENADE

the most straightforward example of site-specificity in a closed environment as the steel plates of sculpture are meaningless before their careful installation and positioning in the exhibition space.

The site was very suggestive. The Grand Palais has a powerful central axis, and I wanted to use it to contain the space, to declare the entire space in its measure.

Axis & Sequences

TE TUHIRANGI CONTOUR, 2000-2002.

WEATHERPROOF STEEL, OVERALL: 6M X 257M X 5.1 CM. THE FARM, KAIPARA, NORTH ISLAND, NEW ZEALAND.

PROMENADE, 2008.

WEATHERPROOF STEEL, FIVE PLATES, EACH 55 FT. 9 1/4 IN. × 13 FT. 1 1/2 IN. × 5 IN. (17 M × 4 M × 13 CM). TEMPORARY INSTALLATION IN THE GRAND PALAIS, PARIS, 2008.

EAST-WEST/WEST-EAST

•

GRAVITY

THE

AND

Its two right angles abut and support one another, prop one another up, which leads me to read it as a figure of how survivors can sustain victims, or, conversely, how the dead can support the living.

THE DROWNED AND THE SAVED, 1992. FORGED STEEL, TWO RIGHT ANGLES, EACH 56 3/4 × 61 × 13 3/4 IN. (144 × 155 × 35 CM), AS INSTALLED AT SYNAGOGE STOMMELN, PULHEIM, GERMANY. DIÖZESANMUSEUM, COLOGNE.

GRAVITY

The gravity in Gravity produces gravitas

Probably very few people see it that way, but I agree it evokes a ritual response that might bring death to mind. Am playing on the edge of those readings? Not consciously, but I accept those accounts.

Axis & Sequences

GRAVITY, 1993.

WEATHERPROOF STEEL, 12 FT. × 12 FT. × 10 IN. (3.7 M × 3.7 M × 25.4 CM). U.S. HOLOCAUST MEMORIAL MUSEUM, WASHINGTON, D.C.

•

•

•

CLOSED SPACES: MUSEUMS/GALLERIES

OPEN SPACES: SCULPTURES AS RURAL LANDSCAPE WORKS

OPEN SPACES: SCULPTURES IN URBAN PUBLIC SPACES

SERRA HAS DESCRIBED PUBLIC SCULPTURE AS A CHALLENGE THAT COMES WITH A CERTAIN RESISTANCE AND QUESTIONING FROM THE PUBLIC.

SERRA IS NO EXCEPTION

OF LOOKING OR VIEWING

PIECE OF

AN

THEREFORE, HIS SCULPTURES ARE AIMED AT ACTIVATING VIEWERS AND MAKING THEM

SUBJECT MATTER OF THE

LANDSCAPE

CONVENTIONALLY

AS A

REPRESENTATION OF

NATURAL WORLD, SELECTED AND REDUCED TO PRESENT A MEMENTO OF A STUN-

OR PLEASING EXPERIENCE OF RURAL SCENERY

MATTER

The Matter of Time consists of eight separate sculptures – seven newly built pieces for this site and the middle piece Snake (1994 – 97) that had been in museum’s collection before being incorporated into the installation.this work should be seen ascoherent whole that together forms the viewer’s impression and experience of the work.The title of this piece is telling and can be interpreted, firstly, as a reference to the time that viewers spend exploring these sculptures by walking through the installation from start to finish. Secondly, it refers to the broader, historical experience of time referring to the physical and visual impressions of this work that are kept in our minds and memories.

clarity extends to how the volumes sit on the site

Equal (2015) suggests a ritual space even more; its eight blocks evoke a kind of sacred court.

Timeless phenomenon a place of contemplation, of reverence

THE MATTER OF TIME, 2005.

WEATHERPROOF STEEL, INSTALLATION OF EIGHT SCULPTURES, VARYING DIMENSIONS. GUGGENHEIM MUSEUM BILBAO, SPAIN.

EQUAL, 2015.

FORGED STEEL, EIGHT IDENTICAL BLOCKS, EACH BLOCK, EACH STACK 11 FT. (3.4 M) HIGH. THE MUSEUM OF MODERN ART, NEW YORK.

SCALE

Firstly, he started with vulcanized rubber as it was the most flexible and formable material In his Prop series he turned to lead, as he thought that gravity is more palpable in lead than in rubber. As his pieces grew in size and he wanted to emphasize the qualities of weight and gravity, Serra needed to find tougher material than lead. The choice of steel was not arbitrary as Serra has been exposed to steel as a material from an early age – he lived near shipyards, his father was working as a pipefitter there and later as a student he worked in a steel mill, thus he was familiar with the qualities of this industrial material.

Serra’s sculptures can be divided in two large groups regarding the usage of material: the first one being steel rolled into plates, the second one – steel is used as a forged material

RUBBER, NEON,

PROTOTYPES

form, gesture, organization, scale, structure, light, material, etc

, ceiling, roof, door, wall, stair, toilet, window, facade, balcony, corridor, fireplace, ramp, escalator, lifts

Those words don’t give definition to a work; they give definition to a process. They’re not conceptual in the same way. They lead to actions, not concepts or statements, and those actions bring in the properties of materials. In Conceptual art there’s often no object, no construction, no need to make anything at all.

SUMMARY

‘It’s

LINEAR MASS&PLATE

INTERTWINING MASS&PLATE

INTERTWINING MASS&PLATE

INTERTWINING MASS&PLATE

SKETCH - 3D

Learning from serra’s verb lists and sketch each words. Just draw what you can image when meeting a word and based pn general architectural form.

It’s quick and emptional.

SKETCH - 2D

THE SKETCHES CAN BE BOTH PLANS AND SECTIONS. IT’S ABOUT SPATIAL DIAGRAMS.

ITERATION 01

NOW HAVE FOUND THE TRIGGER OF THE TRANSLATION

OF

operation

but

ITERATION 02

CONNECTION OF ACTIONS

Simple operation is combination.

kind of geometries have occured.

ITERATION

SET CIRCULATION & BOUNDARY

Boundary can differiate the inside

outside. Also,

can interact with the

Boundary

FINAL OF THIS ITERATION

SImple extruded

is not compressive

to be

SECTION EXPERIMENT

1 - Set One main axis; 2 - Mass spread in both horizontal and vertial way; 3 - Translate 2d lines into walls or slabs.

Questions:

1 - It’s become a composition game that i try to avoid 2 - trying to do experiments in plan and section at the same time but it’s too complex 3 - Free form is fine? or need to control.

ACTIONS TO DIVIDE SPACE

1 - Actions is actions; 2 - Actions to divede space; 3 - Space combinations.

RADIAL SEQUENCE

1 - Set a circle;

2 - Space units array along the circle; 3 - Create void (patios/windows/openings).

LINEAR SEQUENCE

1 - Set a axis; 2 - Space units array along the axis; 3 - Create void (patios/windows/openings).

BLOCK SEQUENCE

1 - Set a square; 2 - Space units array along multi-axis; 3 - Create void (patios/windows/openings).

ITERATION 01

SECTION CUT

A lot of layers and viods are in the section. Little moments are everywhere.

LOOKING BACK TO SERRA

SECTION GENERATION

Section is crucial to the experience inside when walking in the museum.

TO ENCIRCLE

Surround someone or someth Spiral curves - a circle - shift - openings - simplify

VERBS TO PLAN

VERB LIST

Those words don’t give definition to a work; they give definition to a process. They’re not conceptual in the same way. They lead to actions, not concepts or statements, and those actions bring in the properties of materials. In Conceptual art there’s often no object, no construction, no need to make anything at all.

TO LIGHT

provide with light or lighting; illuminate; Light box - input&output - openings - filter

CIRCULATION

FOCUS&OPTIMIZATION

PROTOTYPE

SECTIONS

PROTOTYPE

“TIME AND MOVEMENT BECAME REALLY CRUCIAL TO HOW I DEAL WITH WHAT I DEAL WITH, NOT ONLY SIGHT AND BOUNDARY BUT HOW ONE WALKS THROUGH A PIECE AND WHAT ONE FEELS AND REGISTERS IN TERMS OF ONE’S OWN BODY IN RELATION TO ANOTHER BODY.”

—— RICHARD SERRA

SITUATING

PROJECTION

Phase2 by Zhang Haowei Phase2 by WU Changrong

LECA DA PALMEIRA 1961-1966 ALVARO SIZA

VICTORIA & ALBERT MUSEUM 2017

FUMIHIKO MAKI

LA CONGIUNTA MUSEUM

MÄRKLI

CHICHU ART MUSEUM

TADAO ANDO

SITUATING

REFERENCES

LECA DA PALMEIRA 1961-1966 ALVARO SIZA

ATMOSPHERE

keep the publicity and spirit. Further, heighten the experience

FREE SCHEME

FRRE FORM IS CREATED

At this time, we do not want to copy the way we did in phase 2. we prefer to test different scales of walls and how to maxmize the atmosphere in the site.

ITERATION

EXTENSION COLLISIONS

(PLATFORM)

RENDER

RENDER | PLATFORM

RENDER

QUESTION ON IMITATION

GO BACK TO PHASE2 PROTOTYPE. COPY THE SEQUENCE FROM PHASE2 BUT LOOKS TOO EVEN AND CHAOTIC

We are working on the plan now. we have lift the whole building above the ground and it’s a 2-stories project about 7000㎡

Another try is: Building ‘big walls’ based on the smaller walls in plan to make the overall form continous, cause the last one seems even and static. still working on it...

Btw, the hugue walls seem to dominate the project in some degree..

RETHINK THE PROTOTYPE

WHAT WE GONNA KEEP IN PHASE 3? THE EXPERIENCE? THE WALLS? WHAT’S NEW IN THIS STAGE?

RETHINK THE PROTOTYPE

BOTH TESTS ABOVE ADN EXPERIENCE IN PHASE 2 NEED TO BE KEPT.

PLATFORM

PLATFORM ENTRANCE

OPTIMIZATION

OPTIMIZATION

PLAN | PLATFORM

PLATFORM IS KEPT

OPTIMIZATION

SECTION

OPTIMIZATION

SECTION

OPTIMIZATION

RENDERS

Atmosphere is there.

Entrance to Museum

Entrance space

Entrance Mainhall

Stairs to platform

OPTIMIZATION

REDUCTION

CONTROL

CIRCULATION - EXHIBITION

REDUCTION

REDUCTION

SEQUENCE2

REDUCTION

SEQUENCE3 | MAIN HALL

REDUCTION

SEQUENCE4 | EXH SPACE

Exhibition space towards the sea

REDUCTION

SEQUENCE5

REDUCTION

REDUCTION

REDUCTION

REDUCTION

Axon

New Entrance; Block by the sea has been optimized.

New Opennings

Matrial: White plaster walls / Wood floor / Concrete Structure

Section - Space - Dialogue

RICHARD

STRONG

COLLISION MOVEMENT

MATTER OF TIME

Really

help, comments

a tough and less productive semester, but we still can have a such fruitful final work.

from

Sun Yi are really helpful, especially weijen’s five points to

inspiring, and let us know what a real museum need, and what’s important in a real project.

project.

‘Always remember maxmizing your concept!’ weijen said, ‘let people remember your museum, like Kahn’s work.’

Hua Li’s final comment about Reduction is really true in his stage. can understand, but can not control can not help doing too much. Maybe we have too much energy, and we know that :) Future, we may get into that status.

Jersey, your patience and arrangement are crucial to this studio, so we can make progress each week. Several times just wanna quit or do some normal design, but we made it following your patience and comments. Finally, we can have a push to get all this stuff in this portfolio.