-2-
ARCHITECTUE PROJECTS 01 ARCHITECTURE INDETERMINACY
Academic Project - Re-questioning of the limits of the precise meaning of the object in which it is inscribed Msc 3&4 _Public Building_Borders&Territories|2018.09-2019.07
02 LOW-INCOME COMPOUND HOUSING
Academic Project - Prototypes for local urban housing neighbourhoods in Ghana MSc 2_Global Housing Studio Treasures & Transfomations |2018.02-2018.07_Tema|Ghana (Group Work)
03 CITY STAGES IN VENICE |CAMPO SAN POLO Academic Project - Architecture as modest landscapes Msc 1_Interiors Builidngs Cities|2017.09-2018.02
04 SHIFTING PERSPECTIVES IN THE URBAN THEATRE Academic Project - A fun palace of constant shifting perspectives Level 3 [21 weeks] - Y4 Final Year Project|2016.10-2017.06 PRIZE: 'Outstanding Design Studio Coursework Award' in the 2017 National Architectural Education Annual Symposium in Shenzhen, China
05 REVERSE CITY
Academic Project - A re-programmed social experiences of migrants Level 3 [14 weeks] - Y4 Semester 1_Neighbourhood Fiction|2016.09-2016.12
06 REBIRTH THROUGH BALLOONS |CEMETERY UIA-HYP Cup Competition - Architecture in transformation [6 weeks] - 2016.07-2016.08 Group Work
07 CREATIVE HUB
Academic Project - An exploration of lively working scenarios Level 2 [14 weeks] - Y3 Semester 2_Coworking Space |2016.02-2016.05 PRIZE: 'Outstanding Design Studio Coursework Award' in the 2016 National Architectural Education Annual Symposium in Hefei, China
08 HIGH DENSITY HOUSING
Academic Project - A fun life of residential scenario Level 2 [14 weeks] - Y3Semester 1_Relocating housings|2015.09-2015.12
09 PAVILION FOR STREET ARTIST
Y4 Semester 1|2016.09-2016.12 Group and Individual Work1
10 EARTHQUAKE SAFETY DESIGN
2015.06-2015.9 - Group works _ PRIZE - a first prize for structural engineering design, the audiencevoted based Public Choice Award, an Earthquake Safety Certificate, and a nomination (top six)
-3-
-4-DOUBLE SECTIONAL RENDERING
01
ARCHITECTURE
INDETERMINACY
RE-QUESTIONING OF THE LIMITS OF THE PRECISE MEANING OF THE OBJECT IN WHICH IT IS INSCRIBED Tutor: Marc Schoonderbeek - M.G.H.Schoonderbeek@tudelft.nl Oscar Rommens - antokki@telenet.be Pierre Jennen - P.H.M.Jennen@tudelft.nl Blurry, Uncertainty, Flatten, Soften, Multiplied, Changeable, Independent, Terrain Vague… There are limitless words that showed their similarities in relation to the understanding of Indeterminacy. In reality, education is often to shape us into people who are in line with reality. Students are sent in, streamlined and sent out, and entered the factory to work for others to make money. All this is to teach us how to get used to being transformed by the world. It’s not important to be happy, because the group only needs you to provide value. “We should, then, understand ‘indeterminacy’ as a certain state of suspension of the precise meaning of the object, resulting from the re-questioning of the limits in which this is inscribed.” Allowing indeterminacy into the design process provides possibilities for the self-determination of the occupants and enables a less mediated and more direct relationships with the different qualities. Also, the spaces no longer require complete understandings any more, but as fragments that interpreted by different perceptions of individuals. They can compose their own stories within an indeterminate architecture. In elaborating with Barthes understandings towards the indeterminacy, this term can be recognized as a media in reducing the hierarchy in the realm of facts. In indeterminacy, it does not try to presuppose a world which is constructed, elaborated, self-sufficient, but stretches the linear understands of the temporality and causality into a thick, dense, spread unknowns which can never be captured within a certain moment of time. It is the indeterminacy to the unexpected world.
Individual Work Tbilisi|Georgia Academic Project Msc 3&4Public Building_Borders&Territories|2018.09-2019.07 -5-
-6-
FRAMED INDETERMINACY
If a built architecture is doomed to be carved into the ground, shaped with a certain form, how could it go beyond the constraints in which it is inscribed? How could the architecture become enlightenments of its users while remain meaningless in its programs. How could the architecture become indeterminate?
-7-
FILTER OUT CONTEXTUAL MEANINGS
URBAN VILLAGE IN TBILISI INDUSTRIAL ZONE
INDETERMINATE NOTATION SYSTEM -8-
round dot distracting and positive
black hole absorbing and passive
cross dot projecting and breaking
-Straight solid line, directionality, determinacy, frames, limited, resistances among each other -Straight dash line, directionality, blurry, uncertain, infinity, less resistances, suggestive meanings -Curvy solid line, unpredictable, freedom, partly indeterminate, disordered -Curvy dash line, indeterminacy, vague terrain, spontaneity, dissolve, subjective-less -Different thickness and opacities, intensity variations, multiplied
MAPPING OF INDETERMINACY
A time-based mapping across the derive in an urban village of Tbilisi industrial zone. It tries to further dissolve the compositions and orders of the place, to raise constant questioning and instability, to erase the programmatic practices and spatial conditions, to get rid of the visual constructions or materiality and to examine the internal forces of indeterminacy fragmentarily. -9-
GENERAL PROCESS OF PLAY
-10-
-11-
REMAPPING AN INDEPENDENT URBAN GESTURE Projecting the mapping onto an unrelated site near Tbilisi Railway Station
-12-
INDETERMINATE URBAN GESTURES
It introduces earlier dynamic walkings of the industrial village into the site near railway station. It suggests an indeterminate urban gesture and alienation which detach itself from the context and opens for new possibilities for further interpretations. -13-
CHALLENGING PREDEFINED STANDARDS The freedom of drawings
As an architect, we are educated to read a drawing as plans, sections, or elevations. The various line thicknesses or types give an immediate reflection of concrete walls, columns or projections etc. However, the inherent qualities of lines as lines themselves suggesting a force, tendency or another very original meanings are filtered out in architecture contexts. Just like languages become a tool of communication rather than just a graphical sign that invites further interpretations. Therefore, the pure 2D drawing is set free as the indeterminate potentials of lines, under no predefined standards. They can be read as a concrete pad on plans, a translucent plastic on sections, a triangular surface on perspectives, or even indicates a tendency of movement etc. It is always under constant shifts of readings.
BASE DRAWING OF INDETERMINATE ARCHITECTURE -14-
It does not pretend to create any consistent systems. Everything functions dispersedly, scatteredly and passively across the vague terrain. Different meanings (compatible/incompatible) are being superimposed with each other in the process of play. SUPERIMPOSED ARCHITECTURE PLAN OF INDETERMINACY -15-
SECTION AA’
By juxtaposing nuanced dislocations, incomplete thoughts, appropriate movemen fixation of the ground programs with limitless possi
-16-
SECTION BB’
nts, and constant shift in scales, the drawing tries to operate as a resistance to the ibilities and indeterminacies into a thickened space.
-17-
MINIMIZED ARCHITECTURE PROGRAMMING BY FREE WALKS
Carved into the terrain, large steel hole panel, reflected ambient environment, shifting of systems.
Framed and stretched views, intersective elements, growing moisture
Different temperatures and shadow, change of levels, nature blended into manmade surfaces
Different textures of planes aligned with different angles
Suspended ‘columns’ attached to a steel hollow panel, blurred
Sunk surfaces, dialogue between different edges
Offensive gap and sharp edges, overwhelming scales
Open roof, new alternatives into upper space
Forced inclined perspectives
Shallow shadow created by open roof, interactive scales, vanish point
Jumping into, view being redirected by the suspended horizonal panel
Layers of frames
Sudden fall from the plane into an inclined, undulated surfaces
‘Beam’ intersecting with ‘columns’, contrast of transparency, illusion of reflectio and refraction
Horizontal elements overhead
on
Sound transferred through the hole on the ‘floor’
A tendency to break away from the control of the spatial frame
Exposed, reflective, inclined
Different levels of surface aligned along the wide walkway
Fragmented compositions, hybrid textures, heavy pressure above
Walking down along the terrain, searching for other entrances
Large open space elevated from the terrain, reflective strips blur the senses
Large reflective glass panels not trying to divide any space, introduce a rude and terrified gap
Large reflective surface merges the front and back
Narrow walkway blended into the terrain, shifting shadow guides the walk
Thin ridge created by folded surface, suspended ‘column’, multiplied layers through glass panels
Hole on the edge covered with ‘beam’ above, tired, dizzy
Different undulated elements being intersected by linear strips, Heavy structure suspended around the height of a person
Over extruded ‘walls’ become a seating space, ‘columns’ sticking out from the ‘floor’, ‘beams’ supports nothing
Looking through the gaps by vertical elements, stretched views
Architecture indeterminacy is an approach to think architecture freely. It tries to expand the perspectives on architectur environment. As architects, we need be humble and careful to the needs of inhabitants. But perhaps it is also necessary rethink the inherent roles of architecture formed in the conventions. Architecture indeterminacy tries its best to locate u -20-
SECTION CC’
re as fragments and improvising instruments. The fulfils the ever-growing demands on self-proposition of our own living to reconsider architecture afresh, not necessaries creating any unprecedented forms, representations, but being able to upon its users, while tests a new state of existence that suspend itself from the limits in which it is inscribed. -21-
-22-
NORTH-EAST ELEVATION
-23-
TECTONIC DETAIL OF INDETERMINACY DD’
architecture remains as a neutral ground, or terrain vague in this case, rendered with the rough concretes, corten steel plates, invites further interpretations.
-24-
STRETCHED WALKINGS
-25-
-26-
02
TREASURES & TRANSFORMATIONS
LOW-INCOME COMPOUND HOUSING PROTOTYPES FOR LOCAL URBAN HOUSING NEIGHBORHOODS IN GHANA
Tutor: Nelson Mota - N.J.A.Mota@tudelft.nl Harald Mooij - H.A.F.Mooij@tudelft.nl
The growing tendency of city structure is a map of daily activities, the pattern of the habitants reshape their living space and the how the living space reshape the pattern of living displays the trajectory of the scenarios.
MASTER PLAN PROPOSAL
Group Work | Fuwei Shao & Na Hu Tema|Ghana Academic Project MSc 2 Global Housing Studio|2018.02-2018.07 -27-
SITE CONDITION - community 21 LEBANON
SITE
SITE
917 m
3.5KM ASHAIMAN Heavy Industrial 7.5KM 940 m
ASHAIMAN 10.5KM
TEMA Metropolis
Site Area: 1050HA
School
732m
The New Town Hospital
Downtown
Harbour
Ashaiman central market
police sta�o 848 m
Ch
GULF OF GUINEA
Research - local compound house
0
20
50m
Design Process 736m 172
m
7
Low
Low
9
8
Mid Low
Mid
School
Comm
Mid
5
6
Low
4
926m
713m
Low
1
2
3
Low
Mid
O
M
7
Site
8
5
6 1
2
Mid
Mid
Low
OďŹƒce Market
9 4 3
Surroundings
This proposal tries to adapt the qualities which are inherent in the local traditional compound houses into the contemporary highly dense the spatial and social qualities, in which they provide the progression of space in terms of privacy and public; the enclosed space surrounde central courtyard with a semi-sheltered porch in between; extended families with tight relationships shared facilities; increased social secu -28-
Interna�onal school Interna�onal Hospital
e m id d le in co m Gas Sta�on Hotel Gas Sta�on Hardware Shop Medical Center
on
hurch
in d u st ri a l ch u rc h
Ridge school
l
Business Interna�onal school Workshop
co m m e rc ia l ce n tr a l p a rk lo w in co m e
o ff ic e
Low
sc h o o l
m a rke t
Factory
Mid
mercial
Low
Church
School Low Low O
O M
community. It employ both ed with living units, a shared urity; affordable.
SOUTH ELEVATION -29-
TYPICAL ARCHITECTURE PLAN OF LOW INCOME HOUSE
FIRST FLOOR PLAN -30N
a
b
13.00
d’
0
20.5
4.90
d’
6.50
2.00
0
13.0
0
32.0
0
29.0
6.05 8.81
6.19
c’
13.38
5.00
c’
3.00
7.50
14.0
0
a’
b’
GROUND FLOOR PLAN
5.00
7.56
6.28
1.48 3.48
13.00 3.28 6.09
6.00
9.19
2.79
6.05
2.91
-31-
N
-32-
03 CAMPO SAN POLO
THEATRE IN VENICE
ARCHITECTURE AS MODESTY LANDSCAPES Tutor: Sereh Mandias
The Urban Theatre sets itself into a stage, bridges a dialogue between the campo and the architecture, it stands out about its position, its wiliness of addressing the relationships of the people on campo and on the ‘stage’. Its layered gesture evokes the multi-layer images presented naturally in the city. It propose a natural theatre for both the locals and tourists. It blurs the differences of identities, each of them plays their own roles either as an audience or performer. The layered images of the building makes this performance possible which never stops. Dynamics of stage layers presents each a different story, its different distances to the campo, presents different images and contacts. Arches as the typical elements of Venice architecture as well as the openings of the building frames the images of stages, presents different performances. Generally, the architecture as a theatre for the locals positions himself in such a classical context, recall the clarity and unity of the historic context, but also with the relevant today, and have the potential to become a lasting and significant landmark.
Individual Work Venice|Italy Academic Project Msc 1|2017.09-2018.02 -33-
-34-
ARCHITECTURE PLAN
FIRST FLOOR PLAN
GROUND FLOOR PLAN -35-
COLLAGED MATERIALS MULTI-LAYERED FRAMES
south elevation / 1:100-Shao Fuwei
-36-
-37-
-38-
FINAL A
ARCHITECTURAL MODEL (1:100) STREET VIEW
04
IN THE URBAN THEATRE
SHIFTING PERSPECTIVES A PROPOSAL FOR AN ARCHITECTURE OF INDETERMINACY
The Fun Palace was not a building in any conventional sense, but was instead a socially interactive machine, highly adaptable to the shifting cultural and social conditions of its time and place.
Cederic Price (1964)
Tutor: Claudia Westermann - Claudia.Westermann@xjtlu.edu.cn Aleksandra Raonic - Aleksandra.Raonic@xjtlu.edu.cn Spaces designed by us as architects always end up with specific forms, programs and materials. Compositional approaches to the design of architecture with a focus on function, form and material tend to determine the meaning of space. They carry the risk of depriving space of its vitality and to limit the possibilities for future development. While we could attempt to reject control in the process of designing to leave space for users to develop their own spaces, the renunciation of control in the design process is a design decision, and the result will be an arbitrariness that is essentially defined. We do not seem to be able to escape notions of control. If the rejection of control does not lead to openness, how could we design it? How could activate and promote social interaction and be able to adapt to the shifting cultural and social context? And how could we design indeterminate architecture? The proposal suggests a new approach to an architecture of indeterminacy. It creates spaces with multiple layers and hierarchies. Frames mark the possibilities for shifts of views, and at the same time they provide a stage for all the activities typically contained in the city. As we are always also on stage and ‘in play’, activities are never fully defined. The dynamics of these interactions also initiate new activities and new understandings. We might be reading in a library, or having our hair cut in a barber shop, but we might never know whether not in fact we play Romeo and Juliet with the book shelves, and the hairdresser’s chair being props in a performance. We are actors in an urban theatre that always renews itself.
Individual Work Shanghai|China Academic Project Y4 Final Year Project|2016.10-2017.06 -39-
CONCEPT DEVELOPMENT ARTWORK TRANSLATION
THE STANFORD UNIVERSITY EXPERIMENT (1971)
MARINA ABRAMOVIĆ ON RHY
-40-
EXPLORATION OF THE RELATION OF ARTWORK SCIENTIFIC EXPERIMENT
YTHM 0 (1974)
IS AN ART WORK THE ART WORK AND IS A SCIENTIFIC EXPERIMENT THE SCIENTIFIC EXPERIMENT ? CAN ARTWORK BECOME SCIENTIFIC EXPERIMENT AND SCIENTIFIC EXPERIMENT BECOME ARTWORK? Contrary to the world which we perceived with isolation between the two, could that possible that it is interdependent with each other within certain context. The living creature and matters decorate one another making an interlocking and playful world that we live in. With different purpose of the project, rather than simply doing concepts,a case study of art work to shift the perspective of different territory which could possibly offer new insights of design. When we as observer or audiences, looking into the works, it shows a strong connection or similarities in terms of the form and purpose of both works. However, they present a very distinctive classification, isolated within their own frames, lack of connection between the two. -41-
20 -42-
SHAN
17
NGHAI
-43-
-44-
SITE PLAN -45-
SECTION AA’
SECTION BB’
SOUTHWEST ELEVATION-STREET SIDE
SOUTHEAST ELEVATION
-46-
GROUND FLOOR PLAN_CUTTING HEIGHT-1.4M -47-
TECTONIC
2017 FLOOR CONSTRUCTION ready-to-lay parquet flooring-15mm screened-80mm seperating layer-1mm thermal insulation-150mm damp-proof membrane concrete ground slab-240mm lean concrete total-535mm -48-
WALL CONSTRUCTION fair-faced concrete-120mm ventilation cavity-30mm vapour barrier thermal insulation-150mm fair-faced concrete interally-200mm interior finishing-10mm total-510mm
ROOF CONSTRUCTION concrete flags-50mm gravel-40mm vapour barrier thermal insulation-150mm vapour barrier screen laid to falls-20mm concrete slab-300mm interior finishing-10mm total-565mm
SHIFTING PERSPECTIVES Spaces designed by us as architects always end up with specific forms, programs and materials. Compositional approaches to the design of architecture with a focus on function, form and material tend to determine the meaning of space. They carry the risk of depriving space of its vitality and to limit the possibilities for future development. While we could attempt to reject control in the process of designing to leave space for users to develop their own spaces, the renunciation of control in the design process is a design decision, and the result will be an arbitrariness that is essentially defined. We do not seem to be able to escape notions of control. If the rejection of control does not lead to openness, how could we design it? How could activate and promote social interaction and be able to adapt to the shifting cultural and social context? And how could we design indeterminate architecture?
-49-
NEIGHBORHOOD FICTION A RE-PROGRAMMED SOCIAL EXPERIENCE OF MIGRANTS Shanghai |China Academic Project Y4 Semester 1|2016.09-2016.12 Individual Work Tutor: Li-An Tsien-Email:Lian.Tsien@xjtlu.edu.cn -50-
REVERSE CITY 05
Rethinking of mundane issues by exploration of urban fictions via folding the space and time of urban rationality into creative neighbourhood scenarios and, as such, re-inventing the idea of the city through let out the secret ‘dreams’ of urban dwellers from the Pandora box of surprises, allowing fictional encounters of various groups and nationalities, unplanned, uncontrolled, inclusions and/or overlaps to open a world of endless possibilities while simultaneously exploring the concept of creative neighbourhood. -51-
SITE INTRO The site locates in the heritage preservation zones on the south bay of Suzhou river in Huangpu District, Shanghai with migrants habiting in aging Lilong houses on the south. Suzhou river as a series of nutrient cultivated the area on both part. The city pattern grew organically alongside the river. Shanghai Lilong house was one of the most fascinating outcome of it which used to be habitat for the local. As the rapid economic growth, these houses are being rented to the migrants with low income. At the same time, the tribal form of city is under the threat of deconstruction and reconstruction of high-rise towers, especially the northern part of the river. Although a few of Lilong House were kept at this point on the southern part, a lot of high rise towers have been growing up day by day which are expect to eat up rest of the houses. Lilong House High-Density Residential Tower Suzhou River
Li Long House high density residen�al tower Suzhou River
AN IMAGINARY WORLD FOR MIGRANTS-CONCEPTUAL M
Hi gh -d en si ty
re si de nt ia l
O ff ic e To w er
Li lo ng Ho us e He ri ta ge Pr es er va tio n -s tu di o- SI TE
Hi gh w ay
Pa rk Su zh ou Ri ve r
HIERARCHICAL AND SEPARATED CITY STRUCTURE He ri ta ge Pr es er va tio n -a rt ga lle ry
Government’s policy of preserving historical industrial buildings for artists’ creation isn't the same notion of creative city or active society. The city will only be activated when the creation emerges among the normal people. The solid brick buildings stopped this from happening. The most walkable street along the river should be accessible to those migrants. REVERSE-INTERACT AND COLLABORATE WORLD
In ‘collaborative’ society, commercial is the focus inste We still live in a reality where things are clearly deline rated from each other especially groups of people with status. The migrant is a very distinctive social group in M hai plays crucial roles in city construction while with rela cial status, isolation, lack of respect and passiveness are among them.
-52-
-ELEVATED GROUND -PENETRABILITY -SELF EDUCATION -FLEXIBILITY -VERTICAL AND HORIZONTALLY HIERARCHY
The current site area should be stretched up and becoming a exposed, transparent, penetrable and well-organized into an inverted city for migrants’ living. Hi gh -d en sit y
re sid en tia l
Lil on g Ho us e
Lil on g Ho us e
Of fic e To we r Pa rk
Hi gh wa y
He rit ag e Pr es er va tio n -s tu di o- SI TE
MAPPING
PYRAMID BUILDING STRUCTURE
REVERSE-PYRAMID STRUCTURE
REVERSE CITY
ead humanity. eated or sepavarious social Modern Shangatively low soe often found
Su zh ou Ri ve r
CONCEPT ILLUSTRATION-REVERSE CITY I wanted to think of a giant machine, a building that would tear apart the boundaries that separate migrants from approaching the life of Shanghai and orchestrate various domains allowing them to interact and collaborate. Boundaries should start to blur between the different domains, and in which collaboration and interaction becomes far more important than keeping separations. Thus it helps them set up their own position among the locals. -53-
SOCIAL BACKGROUND RESEARCH
LOW EDUCATION LEVEL
1978 1994
More and more people poured into Shanghai since 1980
CONCEPT A developed society should be able to accommodate various groups of people instead of isolation. The current site condition is an epitome of the general issues existing across the whole city. As the fundamental components in the city construction and renewal, migrants have not achieved what was deserved with regard to social status. Not only being almost the least paid group in terms of labour, but also the migrants is a group of people with non-equivalent social rights compared to the locals. Catering to the topic of creative cities, instead of preserving the existing industrial heritages serving the upper class people for ‘creative activities’, the main idea is to tear down these brick walls and bring vitality the migrants behind the wall who can really build a ‘creative life’ in urban space. At the same time, it should be capable to help them find their own space in the mega city rather than being ignored all the time.. -54-
INJUSTICE OF SOCAIL RIGHTS
1995 2004
Migrants brought great pressure in city causing unemployment of locals. Government started to restrict migrants’ activities in the city by reducing their rights.
CITY SKYLINE-INVISIBLE SITE-RAISE UP
Bu livi ing me diti
POOR LIVING CONDITION
SELF-SEALING OF THEIR OWN LIFE
2011 20--
2005 2010
uilding new and high building blocks on some of original ing sites became a major solution to high pressure of livg space for locals. Relocation and moving to new apartents became popular among locals. Low rent price of trational Lilong houses turns into the first choice of migrants.
With the limitation of migrants’ education background and unequal treatment in Shanghai, disconnection between locals and migrants become particular obvious. Huge pressure of survive in Shanghai for migrants has reached to a peak which results in the first decline of the number of migrants according to an investigation conducted at the end of 2015.
ta rg e t g ro u p -L il o n g H o u se
-55-
SECTION 1-1
The experience of home is structured by distinct activities – cooking, eating, socializing, reading, storing, sleeping, intimate acts – not by visual elements. A building is encountered; it is approached, confronted, related to one’s body, moved through. It can function as a corridor, has daylight, has ventilation. It can be glazed over and turned into a giant exhibitional performance space. -56-
EXPLODED AXONOMETRIC DIAGRAM
Different levels separated by intermediate roof gardens as parallel neighborhoods with distinctive characteristics formed by habitants. Each shares similar programs with residence, commerce, study and work. The space for migrants are the reinterpretation of their life in lilong houses maintaining its flexibility of self-development and possibilities to create lively space. -57-
SECTION 2-2 -58-
STRUCTURE ILLUSTRATION The reverse city is composed of parallel neighbourhoods on different height, and each of them shares an intermediate roof garden. To achieve that, the space frame hangs each community below allowing larger span for creative activity, afterwards, the load is redirected through the column to the ground. Bracing on the envelope are is intended to resist lateral force and torsion.
SITE PLAN
Although the current Lilong houses near site area share a very wide street which was supposed to function as a main corridor transiting the circulation, in cater to fulfil the development of economy, transportation was developed for faster speed, the corridor was connected to the road which is dominated by cars. It is no longer functioning as a human scale to the inhabitants and locals, and thus inhabitants built the walls and fences to separate themselves from bothering. No more locals are able to access the inside world and the introvert society never want to get in touch with the outside. The REVERSE CITY building bridges communities to the outside world by re-creating the transitional system in the Lilong. Locals are guided to the inner space from the proposed project and thus bring more chances of communication of migrants and locals. -59-
SECONDARY TOP FLOOR 1.toilet 2-6.team office 7.shared department 8.single unit 9.family units 10.theatre/ lecture room 11.projection room 12.bar 13.roof garden 14.storage
GROUND FLOOR - LIBRARY 1.street facing side (back) the entrance corridor 2-3, 5-6. Private study room 4,13. Rest room 7. seminar room 8. toilet 9. front side (facing to migrants’ houses), entrance hall, gathering node 10. toilet 11,12,15. Meeting room 16.library/ open study space
-60-
-61-
VIEW FROM LILONG HOUSE
VIEW FROM MAIN ROAD
ROOF GARDEN -62-
STRUCTURAL ILLUSTRATION
Typical Floor Space Frame Structure
Although the current Lilong houses near site area share a very wide street which was supposed to function as a main corridor transiting the circulation, in cater to fulfil the development of economy, transportation was developed for faster speed, the corridor was connected to the road which is dominated by cars. It is no longer functioning as a human scale to the inhabitants and locals, and thus inhabitants built the walls and fences to separate themselves from bothering. No more locals are able to access the inside world and the introvert society never want to get in touch with the outside. The REVERSE CITY building bridges communities to the outside world by re-creating the transitional system in the Lilong. Locals are guided to the inner space from the proposed project and thus bring more chances of communication of migrants and locals. -63-
06
REBIRTH THROUGH BALLOONS
CEMETERY
ARCHITECTURE IN TRANSFORMATION Shanghai |China UIA-HYP Cup Architecture International Competition
2016.07-2016.08 Group Work
Team member: Shao Fuwei, Hu Na, Li Shaokang, Qian Jianglin (XJTLU and UoL level 3 students) Instructors: Aleksandra Raonic - Aleksandra.Raonic@xjtlu.edu.cn
-64-
Christiane Margerita Herr - Christiane.Herr@xjtlu.edu.cn
Architecture in Transformation should make responses to current situation and era. What concerns us is the relationship between architecture and city, and between architecture and natural environment. As a model of the megalopolis, Shanghai is a city with more than a-hundred-year history and was affected by its unique climate characteristics, cultural environment and multicultural society. However, with the rapid development of China and the own disadvantages of Shanghai, it encounters a various range of problems as well as other cities around the world, especially the burial of the dead. Thus, it will be a typical city for us to explore a new form of cemetery, which provided the pleasant ending but newborn experience for both the dead and alive person.
IS THE DEATH AN END OR A NEW BEGINNING? -65-
HISTORICAL BACKGROUND
ANCIENT CEMETERY
C
It seems that cemetery has been a scared place for the people nowadays. It is usually arranged in the suburb area of the city. Owing to the the rest part of it. In addition, the issues that the conflict between human beings and land use become urgent thanks to the increasing num
CONCEPT ILLUSTRATION
Chapter 1
Chapter 2
<MOURNING>
<YEARNING>
Grave monument is a carrier to entrust the memory and miss to the dead. Likewise, the balloon can be depicted as a new-type of carrier. Th dead will be carried by balloon to the sky that can release their souls rather than rest underground isolated from the world. They still live wit us in the same sky and will be closer to the heaven. In the past, we get used to worship on bended knees while in the future we will walk o the city with eyes turned skywards delivering the yearning to them. Balloon that floating in the sky will use proper and sustainable gas insid and material outside solve the problem of time and region. Whenever and wherever you are, you will be with your friend and kinsfolk.
-66-
CONTEMPORARY CEMETERY
PROSPECT OF FUTURE CEMETERY
e geographic position of the Shanghai where the east is facing the sea, all of the cemeteries in suburb area of Shanghai tend to encompass mbers of the population in Shanghai.
Chapter 2 <RELEASING>
he th on de
-67-
CREATIVE HUB. Suzhou |China Academic Project Y3 Semester 2 |2016.02-2016.05 Individual Work -68-
07
PRIZE: 'Outstanding Design Studio Coursework Award' in the 2016 National Architectural Education Annual Symposium in Hefei, China Tutor: Ganna Andrianova-Email:aandrianova@list.ru
CO-WORKING SPACE AN EXPLORATION OF LIVELY WORKING SCENARIOS The brief for â&#x20AC;&#x153;Co-working spaceâ&#x20AC;? design was to solve the contradictions between workers and their current working condition of isolation, distrust and tediousness and provide a collective and collaborative space in Suzhou ancient town. Meanwhile, creating a space that is capable of carrying out related social activities for clients with specified characteristics.
-69-
SITE CONDITION TRANSFORMATION
site
Demol ancient town
Wedding dress manufacturing SITE LOACTION
Tiger Hill
Shantang Street
2009-03-15
FIGURE GROUND
Site location
The site lies in north-west ancient town embraced by traditional wedding ufacturers and many dilapidated bungalows constructed by red brick.
The diagrams reveal the intensive layout composed by shabby public, resi industrial buildings and its regular orientations paralleling or perpendic main stream or street. -70-
BLOCK ANALYSIS
lished area
g dress man-
idential and cular to the
SITE ANALYSIS Although embraced with rich culture connotation, areas around the site keep changing over the years and showed a tendency of improvement.
RESIDENTIAL
Relocating housing
Factories for dimolition
The site which seems to be a bit lame actually contains a latent vigour and vitality. Considering the working condition of most people, concrete walls and glass panels create a perfect cell constraining the nature of creativity. This site offered a great possibility of creating a dynamic and organic scenario for contemporary workers in Suzhou.
INDUSTRIAL
PUBLIC
2012-12-11
2015-12-18
WAY TO DECONSTRUCTION
Site location Prosperous wedding dress industry and historical and cultural spots help this area gain more popularity in such poor condition full of factories and construction waste. WORKING CONDITION -71-
SITE PLAN PROPOSAL The co-working space is more than a working space with wellequipped facilities, but a habitable scenario capable of accommodating various activities. The existing physical conditions of site embraced by poor industrial buildings need to be challenged for a better context.
LOSING ALL HOPE WAS FR
The concept model shows a heavy and light contrast between the envelope and interior, together with the oblique rock faรงade. By this mea who just dropped out from the original working space is expected to have a sense of depression of reminding him of the past and when rea space being inspired again.
-72-
up
up
Cafe
Phon Call e
LIGHT
上
Read ing
HEAVY
Rece
Lecture Room
Staff Offic e
ption
Toile t
2.000
up
up
space truss
f co work ing space
o
so u th side
-
historica buildings l on the
ramp
ldind affiliated bui
up
e facad
ans, everyone aching into the
up
up
qu e o b li
REEDOM
up
up
The central courtyard and ramp create a smooth circulation of interior activities. The alternatively change of openness and closeness enabled a better contact with the nature. Via the movement in the space, everyone shall find the diverse possibilities that produced by the space.
-73-
-74-
INTERACTION AMONG CO-WORKERS ON THIRD FLOOR. -75-
2F
ARCHITECTURE PLAN 0m
2.5m
5m
10m
A
8530
W-Bathroom
N
Cafe
Reading
3310
Toilet
Le Ro ctur om e
8530
Kitchen
F
6727
2310
UP
up
2000
6727
M-Bathroom
Phone Call
F
2.000
E
21000
4568
4568
E
D
up
4568
4568
14000
D
C
C
4568
Staff Office
up
3000
up
up
A
3000
up 6000
2508
8000
3983
2508
8000
6000
12118
8000
8000
A’
1
2
3
4
5
4568
3000
3000
B
GROUND FLOOR
4568
up
4568
Reception
up up
B
-76-
Sauna
up
A
3000
6000
2508
8000
1
3983
2
8000
2
3
NORTH-EAST ELEVATION
DOWN
Dark Room
N
N
Toilet
7069
Permanent and Hot Desk
6310
UP
UP
F
6727
5731
Reading
E
21000
4568
Conference
up
18200
4568
D
Private Oï¬&#x192;ce
Reading C up
4568
Hot Desk
up
6000
8120
8000
8000
4
5
up
3000
1800
up
A
3000
up 6000
2508
8000
1
3983
2508
8000
2
6000
8120
8000
3
8000
4
5
SECOND FLOOR
4568
B
FIRST FLOOR
2508
8530
3040
DOWN Toilet
-77-
Inclined wall and façade construction - Undulate stone layer 100mm - Supporting fixing - Ventilation cavity 50mm - Waterproofing insulation - Mineral wool 80mm - Reinforced concrete 300 mm - Plaster board 12.5 mm load bearing wall Total 542.5mm
Inte - St -M - Sc - Se - Im - Co - Co Tot
Roof construction - Stone flags 15mm - waterproofing layer - motar beds 15mm - Impact sound insulation 80mm - Concrete slab 200 mm - Concrete beam 250*150 mm Total 310mm
transparent seperation between rooms for the good of sound spread, reduce the side effect of room height F and ventilation 6727
E
D 4568
5000
15.000
15000 5000
10.000
SECTION AA'
5000 5000
5.000
±0.000
TECTONIC DETAILS
-78-
4568
EXPLODED VIEW
ermediate floor construction tone flags 15 mm Mortar bed 15 mm creed with underfloor heating (floating) 80 mm eparating layer (1 mm plastic sheet) mpact sound insulation 40 mm oncrete slab 200 mm oncrete beam 250*150 mm tal 600mm
Ground floor construction - Stone flags 15 mm - Mortar bed 15 mm - Screed with underfloor heating (floating) 80 mm - Separating layer (1 mm plastic sheet) - Impact sound insulation 40 mm - Concrete slab 200 mm - Pad foundation 400*800 mm Total 600mm
non-loadbearing partition walls dividing exterior and interior without using closed walls
ramp
B
small office for 2-4 people
4568
5000
lifts
5000 15000
4568
A
5000 5000
C
passenger way connecting the small office to the main building
pad foundation
-79-
RELOCATION PROJECT
HIGH DENSITY HOUSING
A FUN LIFE OF RESIDENTIAL SCENARIO Suzhou|China Academic Project Y3Semester 1|2015.09-2015.12 Individual Work Tutor: Austin Rhys Williams - Email:Austin.Williams@xjtlu.edu.cn
-80-
This project aims to proposing a high density relocation housing project that is able to challenging the Chinese context where demolition happens intensively and tower-like repetitive buildings spring up everyday. It is required the project ensuring basic standards of living to maintain satisfaction among urban populations regarding their quality of life which should allow easy socialization.
08 -81-
-82-
SECTIONAL RENDER
ARCHITECTURE PLAN -83-
STREET ARTISTS
09 PAVILION PARAMETRIC DESIGN Suzhou |China
Y4 Semester 1|2016.09-2016.12
Instructors: Theodoros Dounas Starting with two defined curves as the performing space boundaries, the whole pavilion can be customized in terms of size and shape with the parametric system. It helps covert all the elements in the pavilion into easily prefabricable and assemble segments which can be broadly applied to most circumstances. The overlapping timber panels prevent rain water coming into the pavilion. The use of ductile bamboos simplifies the process of assembly by plugging into the tube foundations and naturally form the vault shapes. The idea of separating the structural elements and cover materials helps set a clear tone of internal surface of pavilion.
-84-
10 DESIGN COMPETITION EARTHQUAKE SAFETY INTERNATIONAL COMPETITION Du Hanxi, Li Jiaxu,Li Shaokang, Qian Shiyu, Shao Fuwei, Shen Xiaoya, Yang Shihao, Zhang Xu Instructors: Christiane M. Herr - Christiane.Herr@xjtlu.edu.cn Thomas Fischer - Thomas.Fischer@xjtlu.edu.cn The annual IDEERS (Introducing and Demonstrating Earthquake Engineering Research in Schools) earthquake engineering design competition held in Taipei between 17 and 20 September. The project is designed to construct multi-storey model towers made by specified slender MDF battens, papers and glues that are loaded with steel weights and subjected to increasing earthquake stresses on a large earthquake simulation shake table at Taiwanâ&#x20AC;&#x2122;s National Centre for Research on Earthquake Engineering (NCREE) research facility Complying with a strict set of rules including material and tool restrictions. The whole process covers designing, testing and improving the tower performance started at the middle of June and last until the beginning of September, 2015. PRIZE - a first prize for structural engineering design, the audience-voted based Public Choice Award, an Earthquake Safety Certificate, and a nomination (top six) for an Architectural (Art) Design Award amongst 42 international teams competing in the undergraduate category.
Taibei |China 2015.06-2015.9 Group Work -85-
THESIS PAPER 11 MASTER FRAMING INDETERMINACY
Msc 3&4Public Building_Borders&Territories|2018.09-2019.07
Part 1_Framing A. Introduction of indeterminacy Architecture is an ever-developing body of knowledge concerned with space: how the inhabitants dwell and occupy, establishing meaningful places and giving form to the world around us. How the architects build is informed by how they understand the world, and how inhabitants understand the world is framed by what they have built there. There is a constant shift in the role of architects and inhabitants who both have intimate contacts with the built environment. Architects creativities and imaginations are confined within the given role and limited with operabilities. Given the roles of designers, architects keep outputting active forms for specific functions under the established rules. Programs, dimensions, functions and circulations are introduced into the design, not necessary for the needs of inhabitants, but the demands for well-functioned and convenient purposes. Similarly, taking the writers as an example, the readers’ understandings of the articles are articulated by how the texts are organised. The languages signify a creation that proclaims and imposes its meaning onto the readers. The narrative of the novels, verbs formulate a well-defined, substantival act, closed effects. They become the rules and justifications that writers constructed with a serene reality to the society. The reality becomes slighter and more familiar, it fits within a style, it does not outrun language. Literature remains the currency in use in a society, apprised by the very form of words, of the meaning of what it consumes. Architects play the role of the ‘creator’ and create so-called orders such as the production lines and particular working modes to fulfil their desires of productivity. Meanwhile, they are like those politicians or educators who assume that people are numb and servile. Architecture designers have been continuously guided by how they as architects can manipulate the space. They try to read the cities and architectural space as a collective context. They tend to rationalise the thoughts through the understanding of totality. They calculate the space to be workable with the standard dimension of wall thicknesses, ceiling
-86-
heights or circulation routes. They seem to be accustomed to these approaches. They sometimes expect the future inhabitants to use the space as their speculations or sometimes do not care at all. They as architects are dictators of the space. No matter what techniques or concepts are adopted, architecture that started from the first sketch until it was finally put into use is inevitably determined. Architects are unable to do anything else in introducing violent transformations once they are assigned to a vacant space. They contaminant the territories into a fully functional space of productivities. While the other group which takes the majority of the population in the world are the inhabitants, in contrast to the role of architects, the inhabitants normally are the passive receivers of the world speculated by those politicians, educators, and architects, etc. The inhabitants perceptions and sensations are constrained within the frameworks set up by the architects. Their understandings of determinacy in space are always structured under the existing systems. Even though, there remains a certain extent of indeterminacy in these spaces which is hardly controllable by the ‘dictators.’ That is also the reason why ‘form follows function’ rather than the other way around. Spaces are continuously shaped by us, and in turn, their perceptions are further shaped by the spaces. However, the meanings ‘functions’ are essentially not the same thing as opposing to the principle of modernist architects on ‘form follows function.’ It purposes itself as an efficient and productive architecture for defined functions. Instead, the functions are not given by the designers or contractors but constantly shifting by the indeterminate interpretation of its inhabitants. The inhabitants never sense the spaces or cities around them from the panoptic view. They construct their understanding of the environments by composing fragmented pieces that they encountered by chance. In Questions of Perception, Steven Holl illustrates our perceptions on the nature of the cities and architectures, ‘A city is never seen as a totality, but as an aggregate of experiences, animated by use, by overlapping perspectives, changing light, sounds, and smells. Similarly, a single work of architecture is
rarely experienced in its totality (except in graphic or model form) but as a series of partial views and synthesized experiences.’ Space never functions in a determined template by the architects’ constructions. It is full of indeterminacy with unexpected incidences which offers possibilities to go beyond the constraint forces of desiners’ constructions. It is time-based and composed of a series of events, and it is never predictable. Gage critiqued that ‘Once we consider architecture to be time-based and enmeshed with the way that people perceive and use it, we find ourselves short of reliable conceptual tools that can be used to understand our craft.’ The call for ‘timeless’ architecture is a vain one when designers propose a temporarily functional architecture or only for a limited period. Instead, ‘for growth and change continuously occur, and to engage with them, architecture must be a social product, involving complicity with the inhabitants and feedback from use into building.’ There is a necessity in reflecting upon the contradictory relation between the architects and the inhabitants. Architects should start questioning the meanings lying between the generating ideas, forms as architects and the nature and quality of perception as inhabitants.’ Even if buildings have significantly been distanced from social life through technical and bureaucratic processes, architecture still reflects society. The fast rate of social and technological change and an increasingly autonomous building process led in the same period to a widespread belief in loose-fit between buildings and their contents, and a romantic desire for open-ended flexibility. Therefore, looking back to the conflicting role between architects and inhabitants. Architects should now rethink the ‘indeterminacy’ of architecture, in which it questions the determination in the architecture design process, and the flexibility or uncertainty demanded in using process. In the Cambridge Dictionary, the term of indeterminacy is defined as the conditions or qualities of not being determined or established. Not given with comprehensive explanations, but terms that share similar concepts like ‘uncertainty, blurred, unclear, vague’ etc. are suggested as the definitions of indeterminacy. The way how indeterminacy was explained in the dictionary points out the unclearly definable property and potentiality of relating to other similar terms. Any attempt intends to define what indeterminacy is, is a departure of the idea itself. Therefore, this essay tries to present the understanding of indeterminacy by elaborating with other assistant terms which have
something in common and exploring its nature of being indeterminate. The explorations in indeterminacy have been continuously developed in multiple territories. The ‘uncertainty principle’ formulated by quantum-mechanics physicist Werner Heisenberg in 1927, which had stated the impossibility of determining both the position and the velocity of atomic particles simultaneously. The emergence of quantum physics states the indeterminate essence of substances. It is always unknow whether the cat in the toxic box is dead or alive until the cat is seen by the obserber. Indeterminacy can, therefore, be read as the degree of uncertainty, which in everyday experience, thought to be negligible, nonetheless, at the sub-atomic level, the principle opened up the possibility of systemic ambiguity, of a world based on probability rather than certainty. While in the realm of art, the traditional forms of large collective performance which had been deeply rooted in every performers’ and audience’ notions were also questioned by indeterminacy. The experiment in music composition and performance by John Cage questions definite meanings that the composer imposes to the audiences. His music shows the ability to dissolve the control of composer and invites different interpretation by the audiences. Similarly, interactive theatre performance like ‘Sleep No More’ deviates from the traditional form of performance under strict scripts. It is regarded as a performance as an indeterminate process which allows the audience as a part of the performance with only limited scenarios as setting up. It breaks the wall between the precise definition of performer and audience and brings occurrences into the performance. The chance operation that not limited in the hand of controllers but being intentionally left open to the participants is another display of the quality of indeterminacy in this case. Not limited to science, music, performances, the theme of indeterminacy was also first adopted as the main topic of architecture design in the Fun Palace projects. It is a complex project of various moveable entertainment facilities, which enables self-participatory and education. The indeterminacy is a process of endless discoveries and inbuilt flexibilities. The highly technological and flexible programs state its indeterminacy to the known world. Allowing indeterminacy into the design process provides possibilities for the self-determination of the occupants and enables a less mediated and more direct relationships with the different qualities. Also, the spaces no longer require complete understandings any more, but as fragments that can be interpreted by different perceptions of individuals. They can
-87-
compose their own stories within an indeterminate architecture. In elaborating with Barthes understandings towards the indeterminacy, this term can be recognized as a media in reducing the hierarchy in the realm of facts. In indeterminacy, it does not try to presuppose a world which is constructed, elaborated, self-sufficient, but stretches the linear understandings of the temporality and causality into a thick, dense, spread unknowns which can never be captured within a certain moment of time. It is the indeterminacy to the unexpected world. B. Framing architecture indeterminacy ‘Experience showed, however, that the future is always unpredictable, and flexibility could only be achieved within set limits. Buildings in practice never seemed to prove flexible enough to resist the need for change. The desired neutrality which went hand in hand with flexibility also proved elusive, for ‘neutral’ architectures have also turned out in retrospect to belong inevitably to their time, sometimes becoming overbearing in their aloof presence precisely because their order is an abstract and independent one.’ Since there is no straightforward definition on indeterminacy and impracticality of a flexible enough structure for changes, how could architects ‘design’ an indeterminate architecture? Moreover, how should architects understand indeterminacy in order to break the totality and temporality that framed inhabitants’ perceptions and creation in the architectural spaces? “We should, then, understand this ‘indeterminacy’ as a certain state of suspension of the precise meaning of the object, resulting from the re-questioning of the limits in which this is inscribed.” In the exploration of the architecture of indeterminacy, architects should not take the outcomes as the design purpose. It should not be limited to the total image which tries to construct the urban environment and architecture qualitatively and quantitatively in order to make them functional. However, in creating an architecture of indeterminate, architects shift their perspectives to the process of questioning, hypothesizing and experimenting of the given meanings and contaminating them for indeterminate understandings. It is the same as what would happen upon the inhabitants at a precarious terrain vague (or any places), in which ‘an inexhaustible fertility for new tactics of struggle, stimulating a series of illegal activities, misalignments, strategies of appropriation and use beyond the functionalist predicament of urban planning’ could always happen. Designers will engage themselves in thinking multiple viewpoints about the
-88-
indeterminacy of place, and new possibilities for creating interfaces that allow for a form of participation that turns spaces into places, and makes architects inhabitants, make inhabitants architects. In other words, the conflicting role that one as positive output and the other as a passive receiver between performers and audience, architects and inhabitants or even writers and readers can thus be dissolved, because they are fundamentally the same group in indeterminacy. By hybridizing, juxtaposing, blurring, mirroring, contradicting, fragmenting, collaging, etc., the determinate forces, rules, and narrative linearity can thus be deconstructed into vague meanings which lead to an indeterminate understanding of spaces. Then, designers and inhabitants are both flaneurs in the process of explorations without expecting anything that is familiar to happen. Everything that was encountered in the past now become the bases for the new understandings, but it goes beyond its pre-defined limits. The process of reconstructing existing into unexpectancies is more like dreaming. A dream as a mind activity usually happens involuntarily during the certain stages of sleep. It is constructed with a succession of images, ideas, emotions or sensations. Fragments that appear to be irrelevant among each other are recomposed into new scenarios. Those moments that introduce purposes of each action of daily lives by rational thoughts become fleeting clips of the abstractions. What these clips are referring to certain purposiveness instants in everyday life become less important anymore, but the process of reconstructing fragmented images fragments formulate different meanings. Thus, they go beyond any fragments themselves can tell, even if these abstractions make no sense at all. In this case, indeterminacy shares not much difference to the work of collage, in which ’A collage as a work of art consists of the assembly of various fragments of materials, combined in such a way that the composition has a new meaning, not inherent in any of the individual fragments.’ A natural ground which possesses complex, fragmented, and at times, contradictory meanings sometimes appear as leftover spaces that are difficult to categorize - from vacant lots and disused rail lines to urban wilds and a motley of interstitial public spaces. Solà-Morales described this seemingly paradoxical combinations of vacancy with freedom, of absence with possibility, and of limitlessness with mobility—central to comprehending the full range of the interstitial urban areas, ever in flux, neither clearly urban nor rural and always on the verge of disappearing as Terrain vagues. Terrains vagues provide potential outlets for unexpected
or spontaneous encounters, informal events, and alternative activities outside the increasingly commodified, controlled, and privatized “open” urban spaces. They are always in flux, often in temporary suspension between former and future speculative developments. Indeterminacy in terrains vagues are inviting to a range of people to make creative, unintended, and unplanned use of them—becoming “animated ‘indeterminate spaces’” or “free-zones”. However, neither a dream nor a vacant terrain of indeterminacy can be achieved with a world full of unknown. It is important to distinguish between the notion of indeterminacy (a certain state of suspension of the precise meaning of the object, resulting from the re-questioning of the limits in which this is inscribed) to the notion of unknown. Price made a clear statement on the unknown things is completely different from indeterminacy. Unknown refers to certain facts which are not known yet, but they still exist as the essences of themselves without any extra understandings beyond its limits. Indeterminacy can only be achieved within a set of limits. Although a dream of indeterminacy is constructed freely with nonlinear narratives compare to inhabitants’ routine lives, it is still under the frameworks of what are seen, experienced and felt in real life. Similar, terrain vagues are only forms of marginality that are not always welcoming, certain forms of innovative conceptual and design participation. They do not escape from the world which is familiar to us. Although the architecture of indeterminacy is full of unexpectancies, flexibilities, or contradictories, it is still structured as the ordinary understandings of spaces. The Seattle Central Library project by OMA achieved a flexible ambiguity not purely by indeterminate definition of spaces, but by setting up five stable programmatic clusters with four unstable clusters. It allows the indeterminacy to grow within the frameworks. C. Hypothesis The upper part as a discussion on a very paradoxical theme ‘Framing Indeterminacy’ can now be summarized. Architecture indeterminacy bridge the gap between the designer and inhabitants. It enables the challenging of perception of dwellers’ lives and makes designer and inhabitants all the same, which is why I use ‘we’ in the essay referring to both architects and inhabitants. Not attempting to define the term, but the essay tries to understand indeterminacy by introducing a series of terms such as fragmentation, chance operation and flexibility which show similarities to the topic. The linear logic of the essay is supposed to be a framework for understanding indeterminacy, since there is no pure indeterminacy without
a framework, or otherwise it means nothing. It might still be confusing on what is indeterminacy and how could it work eventually. How could the dream of reconstructing can be realized in architecture? The reason is that indeterminacy cannot be really defined or described clearly through linear and logic thoughts above. Not only as an architect, but also as a writer, the very idea of indeterminacy poses its objection towards a defined meaning. The ‘Framing Indeterminacy’ can only be a frame in making it sensible. However, indeterminacy can be only understood by the inhabitants and reader themselves. I as the composer of the essay and the term of indeterminacy is the same as you as a reader. We are both keeping questioning the indeterminate nature of the essay and architecture of indeterminacy. To realize indeterminacy here comes to the second part which tries to reconstruct the ideas of the systems of languages. No matter what structures or styles being employed by the author, the texts cannot get rid of its primary function of reading. The compositions of the sentence, paragraph automatically invites the reading of the texts themselves. Each word only presents its existence as its given meanings, but nothing more. Related to the understandings of indeterminacy, I started to question if there is a way to break the frame of the text structures and not limited to its basic uses as readings. Or if it is possible to structure the sentences in a way which seems to be unstructured, the understanding of texts need to be composed by its readers? Part 2_Elaboration of Indeterminacy By hybridizing, juxtaposing, blurring, mirroring, contradicting, fragmenting, collaging, etc., I tried to elaborate the reference texts (from the notes at the end of the essay) on indeterminacy with the famous piece. ‘Treatise’ by a British music composer- Cornelius Cardew. Written between 1963 and 1967, the composition is made up of a graphic musical score of 193 pages in a visual language invented by the author and completely distant from conventional music notation. Cardew never gave instructions on how to play “Treatise” and left its symbols, abstract forms, numbers and shapes open to free interpretation by the performers. Recurring graphic elements suggest the presence of a structure, but each interpretation of the piece is unique as the performer has to set his own rules when confronted with the notation. The graphic richness of the score and its resemblance to abstract composition allow the piece to exist also as a purely visual work.
-89-
Already being an attempt of departing from the existing forms of musical notations, the assemblage of the ‘Treatise’ and the texts on Indeterminacy suspended from their existing meanings. The reading of the texts
does not rely on any preconceived skills, but by thinking and questioning of their existence, the reader can thus compose their own understandings of the work.
ENDNOTES Barthes, R. (1968). Writing degree zero ([1st American ed.]. ed.). New York: Hill and Wang. Bunschoten, R., Hoshino, T., Binet, H. l. n., & Chora. (2001). Urban flotsam : stirring the city. Rotterdam: 010. Chard, N., & Kulper, P. (2014). Fathoming the unfathomable : archival ghosts and paradoxical shadows. New York: Princeton Architectural Press. Conde, Y., Hammond, P., & Goller, B. (2000). Architecture of Indeterminacy: Actar. de Solà-Morales, I. (1995). Terrain Vague. In C. Davidson (Ed.). Anyplace (pp. 118–123). Cambridge, MA: MIT Press. ©1995 Massachusetts Institute of Technology. Permission to reprint granted by the MIT Press. Definition of “indeterminate” from the Cambridge Academic Content Dictionary © Cambridge University Press Doina, P. (2007). The Indeterminate Mapping of the Common. field, 1(1). Dougal, S. (2007). The Space of Subculture in the City: Getting Specific About Berlin’s Indeterminate Territories. field, 1(1), 23. Dream. (n.d.) American Heritage® Dictionary of the English Language, Fifth Edition. (2011). Retrieved December 31, 2018, from https://www.thefreedictionary. com/dream Fabrizi, M. (2015). The Beauty of Indeterminacy. Graphic Scores from “Treatise” by Cornelius Cardew, SOCKS, Retrieved from http://socks-studio.com/2015/10/05/ the-beauty-of-indeterminacy-graphic-scores-from-treatise-by-cornelius-cardew/ , 11 JAN,2019 Francesco, M. (2014). Productive uncertainty. Notes on Terrain Vague. lo squaderno, 9(34), 19-22. Gage, S. (2008). The Wonder of Trivial Machines. Architectural Design, 78(4), 12-21. doi:10.1002/ad.700 Heidegger, Building Dwelling Thinking.
-90-
Holl, S., Pallasmaa, J., & Pérez Gómez, A. (2006). Questions of perception : phenomenology of architecture ([New ed.]. ed.). San Francisco, CA: William Stout Publishers. Hughes, J., & Sadler, S. (2000). Non-plan : essays on freedom participation and change in modern architecture and urbanism. Oxford ;: Architectural Press. Littlewood, J.’A Laboratory of Fun,’ The New Scientist , 14 May 1964, pp. 432–3. Lucas, R. (2016). Research methods for architecture. In. Retrieved from http://search.ebscohost.com/login. aspx? Mariani, M., & Barron, P. (2014). Terrain vague : interstices at the edge of the pale. In. Retrieved from http:// www.AUT.eblib.com.au/EBLWeb/patron/?target=patron&extendedid=P_1344582_0 Mathews, J. S. (2007). From agit-prop to free space : the architecture of Cedric Price. London: Black Dog Pub. Ltd. Marullo, F. (2014). Productive uncertainty. Notes on Terrain Vague OMA, & LMN. (2009). Seattle Central Library. Retrieved from https://www.archdaily.com/11651/seattle-central-library-oma-lmn Peter, B.-J. (2007). The Meaning of Use and Use of Meaning. field, 1(1), 6. Price, C. ‘Anticipating the Unexpected.’ The Architects Journal 5 (September) (1996): 27–39. Price, C. interview with the author, 13 April 2000. Price, C., Isozaki, A., Keiller, P., Koolhaas, R., & Obrist, H. U. (2002). Re: CP. Basel: Birkhäuser. Shields, J. A. E. (2014). Collage and Architecture. In Online access with purchase: Askews (Architecture) (Single User Access). Retrieved from http://public.eblib.com/ choice/publicfullrecord.aspx?p=1588699
-91-
