Master final report

VESSEL A phenomenological exploration of architectural space and the perception of space with the notion of “vessel” Yi Lin Vincent Afgang E13,Aarhus School of Architecture Academic Supervisor:Anne Elisabeth Toft

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Content: 9 11 15 17 73 131 164 165

Foreword Introduction - project description Process Brief Archive#1 Case Study Archive#2 Bullberg Archive#3 The passage Literature Resume

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To my mother, whose voice I first did hear.

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Architecture is basically a container of something. I hope they will enjoy not so much the teacup,but the tea.

Yoshio Taniquchi

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Forword Space is the most luxurious thing anybody can give anybody in the name of architecture.

Sir enys Lasdun Every architect talks about space. Space is one of the most utilized words in the architectural vocabulary. It is a term which has been associated with the very essence of architecture. My thesis subject was born from the questions: What exactly is space?What defines architectural space, and furthermore how do we perceive space?

In the end of summer, I discovered the concept called vessel. My thesis work is seeking to embark on an understanding of space, I try to explore the perception of space under the notion of “vessel”.

The vessel acts as a container. This is the same principal as how our body house our soul…

The word vessel is a suggestive word of embodiment, enshrinement and containment. It carries associations with circulation of space.I began on my project without a site or a defined function, which is a new experence for me.My work has been method-and -process oriented.

Space is ontological, it is bordered but invisible. It is empty, so how do we understand the emptiness, the immaterial and the absence of the object? Whether it is your place of seating at the dining table, the experience of walking through the arcades of Greece, we occupy the space through our senses and we measure it with our bodies and movements. We project our body scheme, personal memories and meanings into the space; The space extends the experience of our bodies beyond our skin. And the physical space and our mental spaces fuse with each other.

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Architecture comes from the making of a Room Louis Kahn

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Introduction - project description Iconic and monumental buildings seem to become increasingly popular in cities all around the world. This is a fairly recent phenomenon, which, in my opinion, is closely connected to both globalization and the digitalization of the architectural design process. In my opinion, however, many of these kinds of buildings are lacking a sense of relationship and quality of space.

But, what exactly is space and what defines architectural space? Furthermore, what defines the quality of architectural space? I I have kept a focus on this discussion through my entire final project.

In my previous semester studies at Studio Constructing an Archive, I aimed at obtaining a specific knowledge of production, design methods and media and their existing or applied representation in architecture. I did so by focusing on my artistic development through both architectural experiments and theoretical readings. In addition, I critically reflected on my use of graphic design, presentation media and publishing format. I have continued working with this method/technique in my final project.

In my semester of “1:1 installation” at Studio Constructing an Archive, I was attracted to the painting called “Still Life “(1921) by Le Corbusier. In this painting Le Corbusier is investigating the relationship between the interior space and the “vessel“. I used it to examine and describe the relationship between room and skylight in my installation project.

Space constitutes the inhabited realm wherein elements, objects, relationships and memories exist. Given the interpretation of the concepts of “vessel”, it is possible to relate the idea of space to the representation of architecture. By studying the painting by Le Corbusier in relationship to my site-specific 1:1 installation work, I found out that this is a very interesting discussion for me, and I therefore wanted to continue it in my diploma work (afgangssemester) at the Aarhus School of Architecture.

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Laozi was a philosopher in ancient China. In his Tao Te Ching from the 6th century B.C. he wrote: “ 埏埴以为器，当其无，有器之用，凿户牖以为室，当其无，有室之用，故有之以为，无之以为用 ” Which is translated into English: ”We shape Clay into a vessel, but it is the emptiness inside that holds whatever we want. We pierce doors and windows to make a house; but it is the inner space that makes it livable. Therefore, just as we take advantage of what is, we should recognize the utility of what is not.”1 The emptiness inside the vessel becomes the main interpretative entry point here; the emptiness becomes the stage for a new set of potential relationships and spatial compositions. As an act that creates a void, the aims might be to violate or reveal specific spatial qualities of matter, but the void - free of any previous definition - and thus unable to be defined, is also capable of telling something different or new about its surroundings. Chinese Yin-Yan philosophy considers that in all things on earth contrary forces of nature opposite each other yet also complement each other. Without black, white could not be identified, without solidness, the voids would become meaningless.

The most basic expression of spatial design is perhaps the tension between inside and outside, between center and edge, between container and being contained. The container metaphor (= the vessel) is an important and deeply ingrained metaphor in the human cognitive toolkit. Spatial experiences are perceptions of the body through its movement through space. When I went on a recent study trip to Barcelona, I had an encounter with the German Pavilion of Barcelona designed

by Mies van der Rohe in1929. With its open plan and transparency (materials), this building works, in my opinion, as a spatial void. It breaks out of the restricting image of closed volume, symmetry, and formality towards the idea of continuous space experienced through movement and minimizing the differentiation of outside and inside. The centre of the pavilion is empty. In fact, most of the field in the pavilion reads as empty: This is the feeling I had when I walked through the building.

Containment in space and perception of architecture has been two foci in my project.

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Beginning with a series of case studies of projects which challenge our understanding of container and being contained in space - including Le Corbusier’s “Still Life” and Mies van der Rohe’s German Pavilion of Barcelona. I have attempted to capture the essence of the notion of “vessel”: My analytical tools have included drawing, mapping, models and film. I have explored the quality of vessel towards a definition which have allowed me to construct architectural space by absence and movement.

Based on the material produced in the initial stages of the assignment, I have synthesized the sketching phase work of investigation and experimentation parallel in drawing and model with development of a proposal of an architectural structure in a smaller scale in Bullberg, Thy, Denmark.

My site is situated in the dunes by the west coast of Denmark. I have considered the site in regard to human activity, landscape and topography in order to approach the notion of “vessel”.

The function of my architectural structure is based on among other things my readings of the site.I have relyed on architectural experiments... on non-stop architectural experiments and phenomenological readings and let these readings become my driving force in my process of my project. The result of my investigations is interpreted in drawings, models, text and other suitable types of representations.

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Process Brief Phase I The Archive - Case Study Case Study # 1: Installation, Between Silence and Light by Yi Lin Vincent Case Study # 2: The Barcelona Pavillon by Mies van der Rohe Case Study # 3: The Trenton Bath House by Louis Kahn Case Study # 4: The Ronchamp Chapel by Le Corbusier Phase II The Archive - Bullberg Historical investigation Mapping at site Interpretations Phase III The Archive - The Passage Experiments Synthesize Design

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Phase I The Archive - Case Study

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"If we remember the innumerable perfume bottles that exist and we imagine them as buildings,their spaces would have the shape of the bottles with their reliefs,and the fantastic stopper would be the Lantens through with Light would enter inter the interior.It can be observd that the objects and figures in his paintings(Le Corbusier) are similar to the bodies of this buildings,some are vessels for zenithal light."2

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Painting Still Life (1920)

By Le Corbusier

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Between silence and light Meeting of measurable and immeasurable Installation by Yi Lin Vincent, Sonnesgade 11, Aarhus, June 2013

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"Contrast serves to give an immediate and unambiguous identity to fwo formal systems.

The interdependence of the elements is archived by tension resulting from their opposing characteristics.There can be many expressions of opposition like:Solid/Void,Convex/Concave,Curved/Straight,Light/Dark,light/shade,reflective/absorbent Large/Small,Wide/Narrow,High/Low,Horizontal/Vertical,Natural/Artificial,Vegetable/Mineral ect..."3

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太极 Tai Ji Photo resource :http:// www.daoinfo.org/w/index. php?title=File:Taiji.png&variant=zh-

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The weather project(2003) by Olafur Eliasson How can we make space more tangible?

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"Louis Kahn saw architecture as the meeting of the measureable and the unmensurable. Inspiration is the feeling of beginning at the beginning at the threshold where Silence and Light meet."4

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Site:Sonnesgade 11, Aarhus

I made a site specific installtation called Between Silence and Light, Meeting of Measurable and Immeasurable during my 9th semester in Studio Constructing an Archive. I got my inspiration from the painting “Still Life “(1921) by Le Corbusier after I chose a room with two large skylights, which connect interior with exterior.

Architecture presents the drama of construction silenced into matter and space. Everybody experiences space through five classical senses: Sight, Hearing, Tasting, Smelling, and Touching.

The most powerful body experience perhaps is signaled by eyes. Beginning from a door handle (Door handle normally is the first object people touch when they enter a room), I traced my first moment of my sight view drop point by connecting sticks, which makes structure linke the doorhandle, the skylight, the window, the second skylight, the hole on the floor, the hole on the ceiling, and the hole on the wall. Activating, constructing and discovering the space through repeating connecting stick work. The movements of visitors are also part of this installation.

I use this idea to explain the importance of what exists at the place .And I use it only as an instance to indicate this.

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Between silence and light Meeting of measurable and immeasurable Installation by Yi Lin Vincent, Sonnesgade 11, Aarhus, June 2013 Photo on the page 28:detail, doorhandle and stick

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Between silence and light Meeting of measurable and immeasurable Installation by Yi Lin Vincent, Sonnesgade 11, Aarhus, June 2013

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Site Plan 1:200 Between silence and light Meeting of measurable and immeasurable Sonnesgade

Instalation Room

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Plan 1:50 Between silence and light Meeting of measurable and immeasurable

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Section 1:50 Between silence and light Meeting of measurable and immeasurable

Drawing:site plan,floor plan,section,elevations Installation of Between silence and light

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To choose three external cases I choose the Barcelona Pavilion as my first external case.It challenges the classic understanding of enclosure, and acts as a special void. It is an important building in the history of modern architecture. The pavilion was designed to "block" any passage through the site; glass and marble walls not only created space, but also directed visitors' movements. People have to take continuous turnabouts, make series of decision to go through the building. The distinction between the inside and outside is hard to see. When I made a study trip to the Barcelona Pavilion, walking through the pavilion, the scale, the enclosure and the visibility was changing all the time.

In my second external case, Louis Kahn's The Trenton Bath House, I found classical language in order to contrast the modern architectural language in the Barcelona Pavillon. Kahn used simple geometrical forms (square, circle and triangle) in this project. The brick walls changing rooms that face the atrium, baffling the entrances, so that people walk around the edges of walls, gaining privacy without a need for doors. Sunlight enters from the sides through the gaps above the sidewalls and from above through the hole on the roof. "Bath house" opened in 1955 and served as the entrance and changing area for patrons of an outdoor swimming pool. It’s a very formal, processional sequence of space. With the pyramidal roofs and the impressive space, you feel like you are in Roman ruin.

I choose the Ronchamp Chapel as my third external case, because it is clearly a site-specific response, which connects to my next phase- finding a site. The structure is made mostly of concrete, enclosing space by thick walls. It has a huge roof floating above the walls, supported by concrete columns. The floor of the Chapel follows the natural slope of the hill clown towards the altar. There are only two entrances into the building and then people can either move up towards the altar or go to the back of the building.

Wikipedia6

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We wanted to show here what we are capabe of,who we are,how we feel and perceive.All we want is clarity,simplicity and honesty.

Mies Van der Rohe

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The Barcelona Pavilion The Barcelona Pavilion (Catalan: Pavelló alemany; Spanish: Pabellón alemán; "German Pavilion"), designed by Ludwig Mies van der Rohe, was the German Pavilion for the 1929 International Exposition in Barcelona, Spain. This building was used for the official opening of the German section of the exhibition.It is an important building in the history of modern architecture, known for its simple form and its spectacular use of extravagant materials, such as marble, red onyx and travertine. The same features of minimalism and spectacular can be applied to the prestigious furniture specifically designed for the building, among which the iconic Barcelona chair. It has inspired many important modernist buildings, including Michael Manser's Capel Manor House in Kent.

The pavilion was going to be bare, no trade exhibits, just the structure accompanying a single sculpture and purpose-designed furniture (the Barcelona Chair). This lack of accommodation enabled Mies to treat the Pavilion as a continuous space; blurring inside and outside. "The design was predicated on an absolute distinction between structure and enclosure—a regular grid of cruciform steel columns interspersed by freely spaced planes". However, the structure was more of a hybrid style, some of these planes also acted as supports.The floor plan is very simple. The entire building rests on a plinth of travertine. A southern U-shaped enclosure, also of travertine, helps form a service annex and a large water basin. The floor slabs of the pavilion project out and over the pool—once again connecting inside and out. Another U-shaped wall on the opposite side of the site also forms a smaller water basin. This is where the statue by Georg Kolbe sits. The roof plates, relatively small, are supported by the chrome-clad, cruciform columns. This gives the impression of a hovering roof. Robin Evans said that the reflective columns appear to be struggling to hold the "floating" roof plane down, not to be bearing its weight.

Mies wanted this building to become "an ideal zone of tranquillity" for the weary visitor, who should be invited into the pavilion on the way to the next attraction. Since the pavilion lacked a real exhibition space, the building itself was to become the exhibit. Visitors would enter by going up a few stairs, and due to the slightly sloped site, would leave at ground level in the direction of the "Spanish Village". The visitors were not meant to be led in a straight line through the building, but to take continuous turnabouts. The walls not only created space, but also directed visitor's movements. This was achieved by wall surfaces being displaced against each other, running past each other, and creating a space that became narrower or wider.

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The walls not only created space, but also directed the movement of visitors Photo:Barcelona Pavilion

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Walking through the pavilion, the scale, enclosure and visibility always change.

Photo:Barcelona Pavilion

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The attitude of statue make a suggestion of walk direction.

Photo:Barcelona Pavilion

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inside or outside?

Photo:Barcelona Pavilion

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I made a study trip to the Bacelona Pavlion.I filmed and later mapped in drawing Drawing:mapping of walk

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Site: Bacelona Pavilion Route: see map on page 43 Date: 2013-08-25 Time: 3pm-3:30pm Still photos from film.

Perceiving space through movement/walking

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Register Walk Site:Bacelona Pavilion Route:See map Date:2013-08-25 Time:3pm-3:30pm

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The Barcelona Pavilion 1929 Barcelona,Spain Photo took in study trip

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Site Plan 1:500 Bacelona Pavilion

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Road

Pavilion

Sandy Ground

Water Pool

Elevation East 1:200

Elevation North 1:200

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Drawing:site plan,floor plan,section,elevations The Barcelona Pavilion

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The world discovered me after I designed the Richards Medical Building, but I discovered myself after designing that little concrete block bath house in Trenton.

Louis Kahn

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The Trenton Bath House The Trenton Bath House is a pivotal, influential design by the architect Louis Kahn, with the help of his associate, renowned architect Anne Tyng, at 999 Lower Ferry Road, Ewing Township, Mercer County, New Jersey, United States. It was listed in the National Register of Historic Places in 1984.

It is neither in Trenton, New Jersey, nor is it a bath house, but the so-called "Trenton Bath House" commands attention from architectural historians around the world. Designed as part of a larger plan (never executed) for the Jewish Community Center of the Delaware Valley, the "bath house" opened in 1955 and served as the entrance and changing area for patrons of an outdoor swimming pool.

From a design perspective, the bath house actually appears as a simple cruciform—four square concrete block rooms or areas, surrounding an open atrium. Each of the rooms is topped by a simple, wooden rectangular pyramid. At the corner of each room there is a large, open rectangular column that supports the roof. However, closer inspection reveals that in addition to the pure design elegance, Kahn also clarified his thinking about the utilitarian purposes of the various spaces, and it was in this building that he first articulated his notion of spaces serving and spaces served.

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The Trenton Bath House Photo resource :http://www. revistaplot.com/es/retrospectivade-louis-kahn-en-vitra/hans

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The Trenton Bath House 1955 New Jersey, United States Photo source:http://www.brianrose.com/ blog/2010/01/trentonkahn-bath-house/

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Site Plan 1:500 The Trenton Bath House

up

Steps to Pool

Pool

Atrium

Men’s changing room

Women’s changing room

Clothes storge

Bath House

Picnic Plaza

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Floor Plan 1:200 The Trenton Bath House

Parking Lot Par

Elevation South 1:200

Elevation East 1:200

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Section 1:200 The Trenton Bath House

Drawing:site plan,floor plan,section,elevations The Trenton Bath House

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The idea was born in the brain, then wandered and grew indefinitely. I carefully drew the four cardinal points from the hill. As there are only four: to the east, Ballons d'Alsace; to the south, the cliffs; to the west, the plain of the Sa么ne and to the north, a small valley and a village ....

Le Corbusier

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The Ronchamp chapel Ronchamp is a commune in the Haute-Saône department in the region of Franche-Comté in eastern France.

It is located between the Vosges and the Jura mountains.Mining began in Ronchamp in the mid-18th century and had developed into a full industry by the late 19th century, employing 1500 people. The museum looks back at the miners' work, the techniques and tools they used, and their social life. A collection of miners' lamps is also on display.

The chapel of Notre Dame du Haut, designed by Le Corbusier, is located in Ronchamp. The Chapelle Notre-Dame-du-Haut, a shrine for the Catholic Church at Ronchamp was built for a reformist Church looking to continue its relevancy. Warning against decadence, reformers within the Church looked to renew its spirit by embracing modern art and architecture as representative concepts.

Father Couturier, who would also sponsor Le Corbusier for the La Tourette commission, steered the unorthodox project to completion in 1954.

This work, like several others in Le Corbusier’s late oeuvre, departs from his principles of standardization and the machine aesthetic outlined in Vers une architecture. It is interesting to note though, that even in this project, the structural design of the roof was inspired by the engineering of airfoils.

The chapel is clearly a site-specific response. By Le Corbusier’s own admission, it was the site that provided an irresistible genius loci for the response, with the horizon visible on all four sides of the hill and its historical legacy for centuries as a place of worship.

Wikipedia6

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Ronchamp Chapel Photo resource :http://indigos. tistory.com/category/?page=22

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Ronchamp Chapel 1954 Ronchamp, France Photo source :http://teysha.smugmug.com/Architecture /Architecture/i-qKW2TxV

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Site Plan 1:500 Ronchamp Chapel

pyramid

church

Outdoor worship place

Chape

Chape

Main Altar Outdoor Altar

administration Chape

Housing for palmer

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Floor Plan 1:200 Ronchamp Chapel

Elevation South 1:200

Elevation East 1:200

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Drawing:site plan,floor plan,section,elevations The Ronchamp Chapel

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Case anysis It is the enclosure that endows the space with tangible properties. Therefore the enclosure can be regarded as servant of space on the one hand, on the other hand, man’s sensation of a space is inseparable from its enclosure.

In order to understand the vessel in these four cases. I drew the site plans, floor plans, sections, elevations of the master work. My aim is to understand the spatial exchange and circulation by highlighting their enclosure like wall, roof and openings.I made the series "light-box" with circulation diagrams of the four cases depicted.

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Light box of Installation: Between Silence and Light

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Light box of The Barcelona Pavilion

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Light box of the Trenton Bath House

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Light Box of Chapel in Ronchamp

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Phase II The Archive - Bullberg

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"No matter where you are in Denmark, you’ll never be more than 50km from the sea. And with over 7,000km of coastline, it’s hardly surprising that beach-life is an important part of Danish culture and a popular holiday escape throughout the year."5

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To choose Bulbjerg I always found my interest in places where opposites meet. I see the context site as a meeting point of different issues. I found several different places along the Danish coastlinewhere the meeting between land and sea is articulated in remarkable ways.

I choose the Bulbjerg, which is a place at the west coast of Jutland of Denmark, not only because I was quite interested in the natural wonder of Bulbjerg, but also in the cultural and historical background.

Bulbjerg is a forty-seven metre high limestone cliff, and Denmarks only bird cliff. Kittiwakes, a North Atlantic seabird, nest here on the exposed cliff ledges. There is a magnificent view from the top, and a hundred-and-thirty meters out to sea from the foot of the cliff the remains of Skarreklit, which collapsed during a storm in 1978, can be seen.The sea birds arrive in Denmark in April, pair up and build their nests with seaweed.

Bulbjerg lies in the traditional district of Hanherred, close to Thy. Bulbjerg is part of a National Park for people, plants and animals, which also is a bird protection area. At the same time, the National Park is an important piece of Danish history. The area covers numerous grave mounds from the Bronze Age, and the German bunkers along the coast are a reminder of a time when Denmark was in the frontline of an expected attack from Allied forces during the Second World War. The harsh wind and the drift of the sand on land are visible by the abandoned farmlands which today are dune, heaths or plantations. All of this is a testimony of a time not too long ago, when life on the west coast was tough on the locals.

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Bulbjerg

Jylland

Zealand Fyn

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Bulbjerg is the only rock formation in Jutland, the only bird cliff on the Danish mainland, and as such the only breeding place of the black-legged kittiwake on the Danish mainland.

For centuries, chalk blocks were sawed out of the cliff and used as a building material in the surrounding area or burnt to quicklime. Former visitors have carved their names in the limestone, including a 19th-century king whose name can still be seen.

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There was a rock column called Skarreklit in the sea about 100 metres off Bulbjerg. It fell down in a storm in 1978, but its base can be seen at low tide and calm sea. According to a legend, the fall of the column would mean the end of the world. But today you still can see the stone column form history drawing and photography.

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Painting by J.Th. Hansen, (1899) Photo resource :http://en.wikipedia. org/wiki/File:Bulbjerg-Skarreklit_JTH.

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There was a bath hotel on top of Bulbjerg, but it has gone after Germany bombing during the Second World War. It is still availale in the memory of some locals.

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Bath house built in 1905.

Photo resource :http://www. p-lindstroem.dk/husbyhole/ buldbjerg.html

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During the World War II, the German occupation force used Bulbjerg as a lookout point and built a small concrete fortification which still exists. Nowadays you can see two bunkers made out of concrete sitting on the top of Bulbjerg.

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Photo resource: historical document,Bulbjerg

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Representation of coastline at Bulbjerg 1:1000

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Photo of detail, stone beam base and kliff

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Photo of detail, Bunker in landscape

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I want to use glass to construct landscape of Bulbjerg.I want to understand the dynamic movement and tendency of a representation/landscape through the transparence of glass.

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Photo of detail, glss model ,section of landscpae

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Photo of detail, glss model ,section of landscpae

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Two parking lots act as two entrances of Bulbjerg,which provids two different ways to approch to the Bulbjerg.

My first trip to Bulbjerg on 2013-11-04,walk journey began from parking lot on the top.

My second trip to Bulbjerg on 2013-12-05,walk journey began from parking lot below.

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Photo of Parking lot (first trip)

Photo of Parking lot (Second trip)

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Walk in the wilderness I stayed a couple days at site and through my walk, sketching, investigation, gathering of samples and documentation.I recorded and represented the place.

I walked a lot in Bulbjerg, if I stood still, the landscape didn’t necessarily tell me how grand it was.

It did not really tell me what I was looking at. The moment I started to move, the sand dune and grass started to move also. The big dune far away moves slowlier, the small dune nearby moves faster. The landscape is something unreliable, so "fake". I did not know where to begin, I did not know where to end.

I felt lost...

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Site Plan 1:1000,Bulberg Map of map 3 walks

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Register Walk Site:Bulbjerg Route:Walk # 1 Date:2013-11-04 Time:10am-10:30am

Register Walk Site:Bulbjerg Route:Walk # 2 Date:2013-11-04 Time:11am-11:30am

Register Walk Site:Bulbjerg Route:Walk # 3 Date:2013-12-05 Time:8am-8:30am

Still photos from films.

In three different films I captured my experience of space through movement/walks.

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Site: Bulbjerg Route: First trip walk#1 Date: 2013-11-04 Time: 10am-10:30am

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Register Walk Site:Bulbjerg Route:Walk # 1 Date:2013-11-04 Time:10am-10:30am

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Site: Bulbjerg Route: First trip walk#2 Date: 2013-11-04 Time: 11am-11:30am

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Register Walk Site:Bulbjerg Route:Walk # 2 Date:2013-11-04 Time:11am-11:30am

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Site: Bulbjerg Route: Second trip walk#3 Date: 2013-12-05 Time: 8am-8:30am

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Register Walk Site:Bulbjerg Route:Walk # 3 Date:2013-12-05 Time:8am-8:30am

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The horizontal line between sky and water, the stone beam is only object still in the sea.

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The first thing that caught my attention on when I arrived at the parking lot,A bunker left from 2nd world war seems to welcome me to Bulbjerg.

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The bunker siting there,watch the infinite sea day by day, year by year, it becomes a piece of landscape.

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The dune grass overlooks some of the most stunning views that Denmark has to offer. I can almost hear the wind blowing in the cool ocean breezes, inviting me to flip off my shoes to stroll past the dunes and down to the beach.

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This is where the rock meets water, this is where mountain against sea.

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When I arrived at the parking lot before 6 o'clock in the morning it was really dark. I feel myself within a place surrounded by the edge of dunes.

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Footprint on the beatch suddenly become a ruler to measure the distance.

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The rock column fell down in 1978 ,only the base is left sometimes visible,sometimes invisible.

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Walk in wild .by W. H. Field.

Photo source: http://l.go-for-files.com/ j5GWR2veoF1jzOB3Y8qiNnrJpmFms+R6Jf zleSr90Goo6pYiQKeEMkLp1GYT6sBFWbGc

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This tenacious and helpful dune grass-Marram grass is important in holding the dunes in place,which is almost everywhere at Bulbjerg.

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Other findings of local plants

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Some samples of stones at the site

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I recorded my walk#3 on the second trip to Bulbjerg by film.

From film sound, you can hear it was very windy.The sun was sharp.

During my second trip ,I stopped at a lying land. I do feel a bit safe and calm in the enclosure there.

It looks like a bowl and the emptiness inside the vessel, I feel that I want to build something there.

The emptiness, which is full of possibilies, a place where everything could happen.

I found a natural vessel...

That is my site!

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In order to understand my site,I tried to translate the low lying land and its enclosure within the sand dune which i found at the site into a model.

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Phase III The Archive - The Passage

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Intention I try to create a sense of place, where the landscape becomes an integral part of the work,where visitor can explore the essence of "Vessel" form previous cases study.

It is a walking passage.

An exploration passage should house a series of adaptable spaces which would archive and exhibit the transformation,history of the physical geography and local conditions (human and environmental) and culture in Bulbjerg.

It manifests the transition between land and sea. It frames the experience of landscape by movement, you can hear the sound of the distant waves, but you can not see them. You can hear the harsh wind, but you are not exposed to it.

The passage is a narrow path that runs along the contour of the dunes and serves both as a course ‘through’ the structure and an organizer of its functions.

By multiplying the interfaces between the spaces, the shape I took from the site becomes more functional, catering the needs of structure, an adaption that results in more fluid and organic shapes, in osmosis with its environment. A fluid space and unifying matrix creates links between all of the programs.

It has an open and light roof, placed on a solid foundation of space dividing concrete walls.

It becomes a place for endless exploration, of endless opportunity to see landscape under the notion of "vessel" in different way.

A vessel with the capacity to contain and project our experience at the two basic positions (outside in, inside out) by which we measure our existence in space. Our existential place founded in the vessel of our own being. In the end, architecture might be not just the form that contains space and simply dividing the line between inside and outside but an endless experience passage.

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Yet in fact in all our actions we demonstrate that we perceive accurately the position of the body in space and positions of objects in relation to the body and to one another. The perception of movement was determined mainly by change of position of objects in relation to their background.

We also relate the position of the body to the horizontal and vertical co/ordinate of space, not only through visual perception of the surroundings but also by means of certain sensations arising in the interior of the body."8

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Begin from site...

I found inspiration in rock formations, which is horizontal stripes on the chalkstone,it takes millions of years and water pattern on the sand which is evidence of the meeting between sea and land,it will disappear or change in seconds.

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Representation: Kliff

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The roof I saw the horizontal stripe on the cliff,which is a strong reference to the horizontal surface plane of the sea.I want to make a light flat roof as a significant contrast to the bumpy and hilly surrounding,it can be seen as a platform suspended above the nature.The roof allows people to get on and feel the difference in landscape.

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Representation: water patterm on the sand

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The wall I traced the water patterm by transpance paper and pencil,which provided my basic layout and form of my structure.

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"The east is based on Buddhist and Taoist philosophies that supports a balance between man and nature, in which the building open and fluid builds the link between architecture(man) and garden(nature).The western idea is built on the concept of the superiority of man over nature, in which man must subject it to rules knowledge to control it."9

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This is my first sketch based on patterms from site , contour of terrain and understanding of "vessel".

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Some earily sketchs Experiments with form and context

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Inspiration Photo Inside Out, Outside in,Passage

By RICHARD SERRA 2013 photo resource: http://www. gagosian.com/exhibitions/richardserra--october-26-2013-2

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Inspiration Photo: Stone henge as it stands today It became part of landscape ,beyond the time Salisbury,England.

Photo source :http://swordfishadvertising.co.uk/

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Study of wall.

I worked with various tilting division walls.

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Photo:Wall typology as pattern understanding.

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"We create landscape and need them because every landscape is the place where we establish our own human organization of space and time. It is where the slow, natural processes of growth and maturity and decay are deliberately set aside‌ A landscape is where we speed op or retard or divert the cosmic program and impose our own."10

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Zabriskie Point (film) Directed by Michelangelo Antonioni 1970 Michelangelo Antonioni

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I made working site model (1:200) to testing the early sketch model in the landscape

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More Skech models with Roof and Wall study 1:200

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More Skech models with Roof and Wall study 1:200

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"Nature cannot be created,landsacpe,however,can be.Its development is influenced by nature right from moment of its design.Landscape is never simply a natural space,a feature of the natural environment.It is always artificial."11

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By Isamu Noguchi A endless exploration Playground for children United Nations: New York, 1952 photo resource: http://architekturfuerkinder.ch/ index.php?/pioniere/isamu-noguchi/

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Processing models 1:300

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Processing models 1:300

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Architecture is a garden with a roof.Garden is architecture without roof.

Sou Fujimoto

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Some experiments.Processing to be continued...

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Note: English translation from: Francis d.k. ChingArchitecture: Form, Space, and Order John Wiley & Sons, Incorporated(2007)P 91 Torres Tur, Elias:Zenithal light, Doctoral thesis, Barcelona(2004) Meiss,Pierre von:Elements of Architecture (1997) P15 John Lobell:Between Silence and Light(1979)P3 http://www.visitdenmark.com/denmark/ http://en.wikipedia.org/wiki/Barcelona_Pavilion,Ronchamp,Trenton_Bath_House http://en.wikipedia.org/wiki/Bulbjerg M.D.Vernon: The psychology of Perception (1962)P120 Alessio Rizzardi ,Pier :The Condition of the Chinese Architecture: Elaboration of a critical approach� (2014) Valentine Donata:Return of landscape(2010)P10 Nardin,Garfiche: Alvaro SizaViagem sem programa interview and portraits.(2012)

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Resume 2011-Present 2012 Spring 2013 July 2013 June

Aarhus architecture school in Aarhus, Denmark Internship in LUMO ARKITEKT A/S Summer workshop in Porto school of architecture in Porto, Portugal Summer workshop in university of apply art of architecture in Vienne, Austria

Semester 1(2011 autumn): Studio of Approaching sustainable architecture /Inge Vestergaard Godsbanen: Introducing a specific site in Aarhus- Godsbanen, under the sustainable architecture dialogue, transform into the old train station into a new function called mock-up space. Studies of the urban relationship, spatial and architectural interactions between building volumes.

Space sequences and transitions like outside-inside, private-public, etc. All storey plans and corresponding sections in scale 1:200. Architectural expression and Material Character. Relevant detailing of the skin/Envelope 1:50.Perspective/Spatial illustrations or sketches. Daylight distribution, models and so on.

Semester 2(2012 autumn) /Studio of constructing an Archive/ Claudia Carbone and Anne Elisabeth Toft: The context collage: Introducing a specific site in Beijing of China and stay, experiments, relating intermediate forms, fragments and other finding. Project carried out through experiments with media of representation, site mapping, reliefs and installations. Study trip to CAFA in China, particular focusing on Beijing traditional building typology called Hutong. The process included lecture series, collage, study trip and ended up with small scale of building structure. Site plan 1:200, storey plans and corresponding sections in scale 1:200. Model in scale 1:200.

Semester 3(2013 spring) /Studio of constructing an Archive/ Claudia Carbone and Anne Elisabeth Toft: Testing 1:1 space: Introducing a specific site in Sonnesgade 11, Aarhus. Project carried out through experiments with media of representation, site mapping, reliefs and installations. The process included the machine, the prototype of Arkitekton, the 1:1 installation of exhibition called between silence and light: Meeting of measurable and immeasurable and portfolio. Relevant storey plan, site plan in scale 1:100.

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