SD4562 CAPSTONE RESEARCH: ENVIRONMENT & INTERIOR DESIGN
Dissolving as a spatial quality: How to make a dissolving space resulting in an ambiguous boundary
| checkpoint | interim report | final report
Student Name Student No. CPTutor
July He Xue 13103076D Kuo Jze Yi
RESEAERCH STATEMENT (before interim)
Topics Strategies Schedule
Research Interest:
spatial artists/architects or in different situation.
Dissolving as a spatial quality: How dissolving defines time in the space through materiality
To research relationship or the difference of the construction method between various dissolving materials.
Research Strategies:
Research plan:
Experimental:
Case studies:
To experiment the combination of materials: materials with construction potential and reference (materials that people used to build before, test them with dissolvable materials)
Olafur Eliasson’s related projects
So far I have done some testing that showed the result and consequence of dissolve. I am looking for a combination of materials and techniques that shows the process of dissolving.
On the table, Ai Weiwei Backside of the moon Spiral jetty, Robert Smithson WALLPIECE I-III, Jonas Etter
To master the technique to control the speed and extent of dissolving Experiment: Case studies: Spatial Artwork: to study what kinds of materials/objects were dissolved, how long they last, the reason why he/she chose these material, what the meaning of dissolving were in these artwork, what the relationship were between artwork and the spectator, what social and historical issues were aroused by these projects, what theories they are influenced by, what the impact of these projects are, etc. Construction Testing: to study what kinds of material they dissolved, in which stage dissolving happened (during construction that people would see the result and trace of dissolving or people can see the process when the space is under use), which element of the building dissolved, what spatial quality dissolving influenced (e.g. light, ventilation, texture, etc.) whether the dissolving is permanent, how long the dissolving last, what methods they use to achieve that, etc. Correlational: To research the difference or relationship of cultural and social influence between the same dissolving material applied by different
testing constructive materials + dissolving Output content and format: make conclusion and illustration of each part of research Schedule Week 6-7 Have 3 Wall testing and 2 case studies Week 8-9 Have 1-2 Wall testing and organize the data, make conclusion Week 10 Mid-term, clarify the direction of the next stage, make adjustment Week 11-12 Have testing on 3 different materials, record and make conclusion Week 13-14 Start making the final report and presentation panel. Make one concluded model carefully for two weeks Week 15 Submission of final report
MIND MAPPING
Topics Relationship Demostrate Possibility
WHAT MAKE A SPACE FRAGILE?
FRAGILITY OF LITERATURE MATERIALS REVIEW Reading Materials:
Type of Materials sand
Advantage
Disadvantage
limestone glass brick
Ceramics
enduring
brittle
cement
hard
heavy
gypsum
rigid
plaster mortar
Metals
mineral wool insulation
ductility dimensioal stability
oxidation
wood
Organics
paper bitumens (synthetic material) asphalts plastics rubbers
susceptibility to corrosion light flexibility
soft
Reason of Deterionation
Climate and Environment
Trace of events
WEATHERING
EFFECTS OF OCCUPANCY
“But all materials deteriorate through time, alghough at varying rates.”
Fragility Result in Different Variables
Temperature
Organics
Metals
Ceramics
Difference in coefficient of expansion will cause thermal movements and deformation.
“The similar thermal expansions of steel and concrete must be noted. This makes it possible to reinforce conrete with steel rods. Aluminum-reinforced concrete would be possible only if temperature variation were insignificant and of course if concrete did not corrode aluminum.�
Movement
Wood
Metals
Bricks and Concrete
“It is the strongest and until recently the cheapest of the cellular construction materials.”
“If steel should rust, the rust in a porous material that readily takes up moisture. Expansion is due both to the increased volume of the rust and its absorbed water. ”
“A brick or monolithic concrete structure will be less tolerant of such building movements.”
“A timber building may tolerate formidable movements and still stand.”
“Clay swells and shrinks remarkably with variations of moisture content.”
Moisture
Absorbent Materials “Clay, wood, nylon, or some types of plaster.” “Concrete shrinks and wood swells or contracts as its moisture content changes.” “Worse damage may occur if water collects in cracks or openings and then freezes. The expansion of water on freezing is a volume of almost 10 percent.”
Metals
“The corrosion of steel results in harmful expansion effects. If steel should rust, the rust in a porous material that readily takes up moisture. Expansion is due both to the increased volume of the rust and its absorbed water. If the steel is buried in other materials, these maybe cracked or spalled off.”
Synthietic Materials
Oxidation
Fe2O3 and hematite
Ceramics
Plastic
“Ceramic materials do not corrode in the atmospheric conditions to which buildings are exposed;”
“Paints, varnishes rubbers, sealants, asphalts, and many (but not all) plastic materials will oxidize slowly with time. Oxidation makes the material harder and more brittle, with the final result that the material may develop cracks, crazing, or deep dissures.”
Metals
“Metals are extracted from natural ores.” “The corrosion process returns the metal to its original state as mineral.”
Creep
Steel and Aluminum
Concrete
Wood
Plastic
Creep is the slow but constant increase in deformation under a oermanent load, and is a plastic deformation. Provided that stresses are held below a certain limit, creep will be negligible.
“Creep is not a characteristic of stells or aluminums as used in construction.”
“In the case of concrete, this creep limit is higher than the stresses allowed in concrete construction codes.”
“The effects of creep may be found in wood construction occasionally.”
“They are a very basic consideration in plastics.” “This creep limit may be 40 percent of the rupture stress in the more durable construction plastics.”
CONCLUSION FragilityCorrelational of Materials
SMELLS
PERFUME
HEATED MATERIALS
FOG/HAZE/SMOKE
FOG
SMOKE
SOLUTION
DYE
DRINK POWEDER
SALT
MELTING
SYRUP
ICE
WAX
ASPHALT
MUD
CRACK
BRICK
CONCRETE
STONE
GLASS
PLASTIC
ROT
PLANTS
PLASTER
WOOD
DETERIONATION
METAL
STONE
STONE
GAS
DIFFUSION
LIQUID
SOLID
HIGH FRAGILITY
CONCRETE
LOW FRAGILITY
WHAT IS THE QUALITY OF DISSOLVING?
WHAT DOES DISSOLVING SPACE MEAN?
OLAFUR LITERATURE ELIASSON REVIEW
I have found several reference by different artist and I found Olafur Eliasson have done many project related to ice and dissolving. I decided to start the case study from his works. I tried to understand his methodology and perception of space making and found out the impact of his works. I listed out his related artworks first and research them by reading his articles, art reviews, interviews and TEDs talk. There are terms that I cannot understand which part he would like to address and I found the answer in other sources. For the terms repeated many times, I listed them out to catch his ideas and concept of making dissolving spatial experiments.
Installation Art Spatial Studies Phenomenology Relational Art Gestalt Psychology
“I would claim that art and culture, and this is why art and culture are so incredibly interesting in the times we’re living in now, have proven that one can create a kind of a space which is both sensitive to individuality and to collectivity. It’s very much about this causality, consequences. It’s very much about the way we link thinking and doing. So what is between thinking and doing? And right in-between thinking and doing, I would say, there is experience. And experience is not just a kind of entertainment in a non-casual way. Experience is about responsibility. Having an experience is taking part in the world.Taking part in the world is really about sharing responsibility. So art, in that sense, I think holds an incredible relevance in the world in which we’re moving into, particularly right now. ” – Lecture at TED
“I try to ask my children not what nature looks like; they know what everythings looks like – atrocities in Paris, in Syria, everywhere. But they don’t know what it feels like.” – The New Yorker
“It is not only our immediate experiences that are a subjective matter; our memories and expectations also have a highly individual impact on our perceptions.” – Your Engagement Has Consequences
“The fields of waves are connected to my fundamental interest in exploring the relationship that arises between visitor and artwork. The experience of space – walking down the street, for instance – is a negotiation in which a co-creation takes place. What I am aiming at is to try to isolate the negotiation or engagement; that is, I am neither looking at the person nor the street, but instead at the in-between.” – Your Engagement Has Consequences
“The value system suggested by society at large unfortunately tends to favour fixed identities and few voices, and is based on limited concepts of what is good and bad, acceptable and non-acceptable. In the face of the entertainment industry’s commodification of experience by excluding relativity through the suspension of time, the questions about self-reflection and identity have to be seriously reconsidered. We should avoid what we might call a Disneyfication of experience in order to leave room for individual evaluation, feelings, and thoughts. ” – Your Engagement Has Consequences
Confusion about the terms
Find demostration in his lecture & interview
List out the keyword and exact his ideas
Find direction and ideas about experiment
My comments on the article changed after going through his works
Trying to applied his philosophy to one of his works and compare to the art review
HIS ART STATEMENT
Reference:
guage=en#t-490180
Grynsztejn, M., EliĚ asson, O., Birnbaum, D., & Speaks, M. (2002). Olafur Eliasson. London: Phaidon Press.
http://www.newyorker.com/culture/culturedesk/theartistwhoisbringingicebergstoparis
Obrist, H. U., & EliĚ asson, O. (2009). Experiment Marathon. Reykjavik: Reykjavik Art Museum. https://www.ted.com/talks/olafur_eliasson_playing_with_space_and_light/transcript?lan-
http://icewatchparis.com/ http://olafureliasson.net/
CONCLUSION Keywords
What material he used to dissolve?
Audience: Responsibility Spectator / Viewer Engagement Experience
He used ice in Ice Pavilion (1998), The Very Large Icestep Experienced (1998), The Very Large Ice Floor (1998), Your Waste of Time (2006), Ice Watch (2014 & 2015) and Still River (2016). Uranine, a harmless fluorescent dye, in Green River (2002). Sugar and dry ice in the Weather Project (2003) and dry ice in Yellow Fog (1998).
Space: Context In-between Negotiation Interpenetration Time: Process Time Static Temporal Art: Nature Tangible Experience The research board I made relational mapping like this is mainly because that there are many difficult art term for me and some words repeats several times in each articles. I am wondering how the artist define them. So I connected all the passage together. I made comments and questions, and I usually can find the answer and demonstration in other books, interview or lectures. The methodology the artist use and background of the artist are also very inspiring, such as phenomenology, Gestalt psychology and relational art.
Why he use ice as a medium often? He is an Icelandic-Danish artist. There are a lot of his memory and experience about Ice. As the Greenlandic geologist he cooperated in the Ice Watch, 2015, mentioned, Ice is an important aspect of Greenlanders’ national identity. Everyone looks out of their windows and they see and feel it every day. Iceland shared the same culture background. Ice even become his personal insight of the cities in cases like Still River, 2016 that he froze water from Huangpu river into ice cubes and displayed them as a melting process in the museum. He would like to have a conversation and make the audience view the city by such “Nordic” way. Apart from his background, it takes time for ice to melt and it is a process. This quality matches the concept of his space making “temporality“ to enhance audience’s feeling and experience. This will make the space negotiable and tangible which is against the contemporary culture. He used glacial ice a lot in which there is compressed air from millions years ago to recall the awareness of climate. But also huge ice floor to discuss the interaction between people and the space. What kind of issue he would like to raise by these dissolving projects?
Generally speaking, Olafur Eliasson intents to raise the keywords in the previous context. For the audience, he addressed the responsibility, engagement and experience of spectators. I was confused about the responsibility in his articles at the first place but he demonstrated it specifically in his lecture and interview. For the space he is very interested in the urban context of the exhibition location. For example, Still River is composed by the river in Shanghai where his solo exhibition located, and Ice Watch is in the centre of Paris on the occasion of the UN Climate Conference COP21. There usually is negotiation between spectators and the space. The negotiation means the space context will change if spectators take actions. Also, the interpenetration connotation between spectators’ cognization and the space or the issues he raised, between the object and the space. Something in-between to challenge the dualism in the modernism theory. Time is another keyword of his works. He argued that contemporary culture such as the entertainment industry has a tendency to exclude relativity by suspension of time. Objects in such culture are static and timeless. However, everything is naturally in motion and situated in process. They are time itself. Time is also related to experience and memory. Eliasson are interested in creating space with temporality and set up continuous relationship between the world, art and receivers. He is also challenging the traditional definition of truth which will be shattered if an idea is in the process. This might be another reason that why he choose ice as material a lot. The temporality and fragility of the ice (and also other dissolving materials) can be a good medium for him to express his perception. He described his works as events rather than objects result from involving the participation of time and spectators.
Time is indispensable for cognition and experience. Without it, objects are just fantasies of capitalism which compresses our freedom. With these concept, Eliasson also raised some specific topic in events. Climate change, water pollution, enegry, etc. In the way of space making, he brought the issues in front of audience that with sensibility. Olafur Eliasson is influenced by Gestalt psychology. Thus, he make his most spatial experiment tangible, “Feelings are facts�, as one of the title of his previous exhibition. For example, some audience hear the crack sound inside the glacial ice in Ice Watch project, which is the sound of the air from millions years ago coming out, when they touching the freezing and moist surface of ice . This moment is quite touching that make people not only know what climate change is, but how it feels and what it means.
OLAFUR CASE ELIASSON STUDY
Ice Pavilion / 1998 / Steel, water, sprinkler / Kjanalstadir Museum, Iceland
01 DISSOLVING PROJECTS
The Very Large Ice Step Experienced / 1998 / Water, foil, wood / Musée d´Art Moderne de la Ville de Paris and Nanterre, Paris
The Very Large Ice Floor / 1998 / Water, cooling system, metal, plastic foil / XXIV Bienal de São Paulo
Your Waste of Time / 2006 / Vatnajökull ice, cooling system, styrofoam, wood / neugerriemschneider, Berlin
Ice Watch / 2014 & 2015 / 12 ice blocks / Place du Panthéon, Paris
Still River / 2016 / 5 ice blocks, stainless stell, plastic sheet, wood / Long Museum, Shanghai
Green River / 1998 – 2001 / Uranine, water / Iceland, Bremen, Moss, Los Angeles, Stockholm, Tokyo
Yellow Fog / 1998 & 2008 / Fog machine, monofrequency light / Jewish Museum, New York (1998) & Verbund headquarters, Am Hof, Vienna (2008)
The Weather Project / 2003 / Monofrequency lights, projection foil, haze machines, mirror foil, aluminium, scaffolding / Tate Morden, London
Ice
02 MATERIALS
Dry Ice
Uranine
Olafur Eliasson’s works refer to a wide range of phenomena. I selected and studied those related to the quality of dissolving, such as melting and solution. There are three materials that are used in these cases.
ICE CASE WATCH STUDY Decay Exchanging Interpenetration Transition Shaping
Climate of Two Cities
COPENHAGEN Weather in December in Copenhagen. The average temperature in Copenhagen in December is very cool at 3 °C. Afternoons can be cool with average high temperatures reaching 4 °C. Overnight temperatures are generally very cool with an average low of 1 °C.
Ice Watch / 12 ice blocks / Olafur Eliasson / 2014 / City Hall Square, Copenhagen / 2015 / Place du Panthéon, Paris
Ice weight: 100 tonnes in Copenhagen, 80 tonnes in Paris Origin: Nuup Kangerlua fjord outside Nuuk, Greenland Application: Public Art Installation
Duration: 2 weeks Aims: To enhance the cognisation of global warming, to make the fragility and decay of the Arctic visible and tangible, to bring global warming from a concept into an experience. Transport: Organised by Group Greenland / Greenland Glacier Ice, the ice was collected by divers and dockworkers from the Royal Arctic Line and then transported in six refrigerated containers from Nuuk to Aalborg, Denmark by container ship and to Paris by truck. Carbon footprint: 30 tonnes CO2e.
PARIS December is one of the coldest months in Paris, France, when the weather is cold, wet and there is a small chance of snow. During this month, the average temperature begins at 5.5°C on December 1st and drops down to 4°C by December 31st.
Ice Harvesting Fished out of the sea in the Nuuk Fjord, they had already been lost from the ice sheet before being ‘harvested’, and were rapidly melting into the ocean. The acquisition of the ice thus did not affect the Greenland ice sheet, which loses the equivalent of 1,000 such blocks of ice per second throughout the year.
Transport ‘Once Kleist and his crew lassoed the ice calves, they were dragged back into the harbor, lifted up by heavy cranes, stored in icehouses, and then transferred by container ship to Denmark before a ten-hour trip, in a truck, to Paris. (The longest trucks are the cheapest, Eliasson notes; the project was underwritten by Bloomberg Philanthropies, which also funded Eliasson’s 2008 New York waterfall project.) Ice, like glass, is both hard and fragile. Kleist laughs, “We had to be very, very careful. We didn’t want to open the container in Denmark and find a thousand ice cubes!”’ – The Artist Who Is Bringing Icebergs to Paris, The New Yorker
On the top left we can see that the ice has already broken into pieces.
2014 VS 2015
FRAGMENTS
The event in 2014 is like a mock run of 2015’s. Although in 2014 12 ice cubes were put in a circle like a compass or clock, the ice cubes were in fragments while in 2015 they were bigger one pieces in each position. It could be the improvement of transport and chose a better harvesting spot.
ONE PIECE
The sense of place was different when ice was present in fragments and one piece. It is obvious that the one pieces can present the idea of compass better.
Decay People’s interaction changed according to the various scales of the ice.
LISTENING
LICKING
TOUCHING
WITNESS
Tangible Eliasson was waiting in Copenhagen. “I thought, I know what ice looks like—I’ve seen ice frequently, these days! But when I opened the truck, it was shivering and shining in the warm air of Copenhagen. The ice had gotten a shock! I put my hand to it and suddenly I drew my hand back! I said to myself, The ice is really cold! Cold ice on your hand is very different than reading about how it is melting.” He paused. “From the perspective of the ice, humans look really warm.” “You know, my kids are more elaborately agile in the digital mode than I am.
My generation experienced a time of innocence, but children now have never known a time without the challenge of climate change. I try to ask my children not what nature looks like; they know what everything looks like—atrocities in Paris, in Syria, everywhere. But they don’t know what it feels like. Public space in which things happen is vitally important now, and especially in Paris, where space is generated by civic consciousness.”
His Treatment on Ice Case Studies Your Waste of Time / 2006 / Vatnajökull ice, cooling system, styrofoam, wood / neugerriemschneider, Berlin
REFRIDGIRATED SPACE
Origin: Iceland’s largest glacier, Vatnajökull Application: Art Installation in Museum
Aims: To being not perfect for the society, to waste our sensitivity to the temporality, to meet up with history, to exDuration: 4 time months perience the vast of deep cosmology by touching and melting it
COOL SYSTEM POWERED BY SOLAR ENERGY
Temperature: Below 0°
“if there are too many people in the room, the ice starts to melt. If I stay in the room alone, for 25 min I will faint, 45 min I will freeze to death.” Reference: https://vimeo.com/116118034
– Olafur Eliasson
ICE HARVEST
TRANSPORT
CLEANING
HIS TREATMENT ON WATER
Melting water went to...
CONTAINER MADE OF WOOD + PVC FABRIC
The Very Large Ice Step Experienced / 1998 / Water, foil, wood / Musée d´Art Moderne de la Ville de Paris and Nanterre, Paris
BASE MADE OF STAINLESS STEEL + PLASTIC SHEET + WOOD
Still River / 2016 / 5 ice blocks, stainless steel, plastic sheet, wood / Long Museum, Shanghai
DRAINAGE SYSTEM OF THE CITY
Ice Watch / 2014 & 2015 / 12 ice blocks / Place du Panthéon, Paris
FLOOR OF THE MUSEUM
Your Waste of Time / 2006 / Vatnajökull ice, cooling system, styrofoam, wood / neugerriemschneider, Berlin
DISSOLVING EXPERI& CASTING MENT
01 TEXTURE
I used dissolving as one of casting method to make different texture on plaster and concrete. I have used salt, sugar and ice. I found that sugar actually is used as retarder during cast. That explain why it takes long to solidify a sugar-plaster. It is also the first time for me to cast concrete. I casted beautiful texture.
01 Salt + Plaster
02 Sugar + Plaster
03 Even Salt + Plaster
04 Salt + Sand + Plaster
05 Sugar Cube + Plaster
06 Salt filled in the the plaster
07 Even Salt + Gauze + Plaster
08 Ice + Concrete
Dissolving Time: 15 min 1. Salt dissolved very fast where it is in high density on the surface 2. You cannot have a section full of salt which would be fragile. Salt will not be melt and stick to each other after absorb the water in the plaster. 3. Many bubbles came out from the place where there is much salt at the beginning of dissolving.
01 Salt + Plaster
02 PROCESS
I was trying to build a plaster wall with salt inside and put it outdoor when raining. But I did not go this direction somehow. I casted concrete with ice instead. The casting process is interesting though.
Dissolving Time: 15 min 1. Sugar dissolved very fast where it is in high density on the surface 2. Sugar takes longer to dry up when casting. Water comes out when sugar meet think liquid of plaster. 3. I used fine sugar so that the hole on the dissolving surface is smaller and the “fabric� is thinner.
02 Sugar + Plaster
Dissolving Time: 15 min 1. I thought it would dissolve very fast since I add a lot of salt than before. 2. Dissolving is much more slower than before. Salt was mixed with plaster and distributed relatively even in the plaster. Plaster prevent salt from dissolving. 3. The salt dissolves slower when there is less salt exploded on the surface. 4. Thin salt crytalised on the surface.
03 Even Salt + Plaster
Dissolving Time: 15 min 1. Still, the salt exploded on the surface will be dissolved. 2. Plaster mixed with sand is quite solid 3. The sand that did not mix evenly with plaster will be washed away.
04 Salt + Sand + Plaster
Dissolving Time: 15 min 1. It takes more than three days to dry up. They water keeps coming out. 2. There are ig hollow inside.
05 Sugar Cube + Plaster
Dissolving Time: approx. 1 day 1. The salt is crytalised on the surface as expectation which means plaster cannot be a filter that isolate salt from water. 2. When pouring water, salt dissolved very fast but the water came slowly. 3. The mold is a bit difficult to make which may damage plaster when being taken out.
06 Salt filled in the the plaster
Dissolving Time: 30 min 1. I would like to see if fabric can help with dissolving the salt inside the plaster. But I broke the plaster accidentially when take out the mold. 2. Gauze cannot absorb water into the plaster. 3. Only when the salt on the surface dissolving happens. 4. The gauze freezed after drying up. 5. No crylization on the bottom on pure plaster.
07 Even Salt + Gauze + Plaster
08 Ice + Concrete
It was the first time I played with concrete. I made this piece for more than a week. Everytime the ratio of sand and cement could be different because I read the weigh ratio online and adjust it according to classmate’s experience. Once even a construction worker helped me to mix concrete which is a very interesting experience. It result in a beauriful layering on the surface. Also the surface is different where the concrete pouring out.
EXPERIMENT DESIGN SKETCHES
TIMELINE OF PRODUCTION
MAKING MOULD
TAKE ICE OUT FROM FRIDGE
MIXING CONCRETE
PLACE ICE
PEELING OFF THE MOULD OF ICE
FLATTEN THE SURFACE
POURING CONCRETE TO THE HEIGHT OF NEXT HOLLOW
ICE DISAPPEARING
CONCRETE DRYING UP
DISMANTLE MOULD
SHAPING THE ICE
Pealing off the mould
Striking the ice – hard to shape
Drilling is workable on ice
Ice melt fast by using heat gun
WHEN ICE IS MORE THAN CONCRETE
Dissolving Time: more than 2 weekss I tried to cast some concrete on the wasted ice. I thought the concrete will be solid fast but I am wrong. The concrete is diluted by water with no shape. I will test when there is much more ice
ICE, HOLLOW AND TEXTURE
THE TEXTURE - BEFORE & AFTER
ICE CASTING THE GROUND
When I mixing and pouring the concrete, I just put the ice on the ground. The ground was heated by the day light. After a while, I found that the ice cast the texture of the land – I was doing it on ground filled with tough rocks.
MOSQUITOES There were many mosquitoes once when I was making the concrete. They flew around the water melt from the ice and eagered to lay eggs there I guess. This kind of interaction with the nature was something I never expected for.
My Definition of the Quality of Dissolving 1. Shaping: Dissolving is a process of shaping the boundary. 2. Invading & Losing: Dissolving is like war, trading or pas de deux. One medium come into another medium, they both get something and cost something, and they would be in one in the end. 3. Adjusting, Exchanging & Interpenetration: When two media meet, there are ambiguities in between. They adjust themselves to each other, react to each other, exchange the features and heading for a certain direction. 4. Transition: It is the transition of two stable situation. Every shot, every moment is just a point on the spectrum. There is an end for dissolving if the variable is leading to a stable status. When the stable happen, dissolving stops until the next time the variable leads to the unstable again (e.g. When the ice melts down, or the salt becomes solution, they look like they’re gone but actually dissolving is gone). 5. Exposure/Disclosure: Dissolving may expose some factors regarded as common that people might can’t feel. Like temperature and humidity. Or like ice, when it is dissolving, it keeps expose the inner of itself. 6. Decay: Dissolving happens alongside the time. It also could be an event that involves time, behaviour and memories. + Critical aspect: Dissolving is a transition with interpenetration.
My Definition of the Quality of Dissolving Previously, I really found the beauty of dissolving based on the case studies – mostly artworks. After interim, when I trying to build the system of dissolving, I decided to divide dissolving to two parts – the motion and the ambiguous boundaries.
1. Decay - Time - Aging 2. Deformation - Distortion - Diffusion - Dismiss 3. Disappear - Melting - Erode
1. Sensation The motion of Dissolving
Ambiguous Boundaries
2. Spatial 3. Conceptual
HOW TO CONTROL A FRAGILE MATERIAL – ICE?
HOW LONG WILL A PIECE OF ICE MELT?
TIME EXPERIMENT 30 °C, Sunny 13:30 – 13:42
26 °C, Sunny 15:30 – 15:52
19 °C, Cloudy
INTERFACE MATERIAL iron coated with black paint
19 °C, Night 21:30 - 22:06
SIZE OF ICE BLOCK 0.3L (50*40*150mm)
VARIABLE
16 °C, Rainy 17:40 – 18:20
TEMPERATURE WEATHER TIME
MINUTE(S)
0
2
4
6
8
10
12
14
16
18
20
22
24
26
28
30
32
34
36
38
CONCLUSION
The melting speed is relevant to temperature, sunlight, and rainfall. The duration is between 12 min to 40 min when temperature is from 16 degrees to 30 degrees.
HOW TO CONTROL THE TRANSPARENCY OF THE ICE?
VARIABLES LIGHTING AMBIENT TEMPERATURE If the ambient temperature is far above 0 degree, an ice block is easily cracked due to the temperature difference between core and skin.
The stronger and more focus the light is, the more details of the texture you can see.
WATER QUALITY When there is too much particle such as air, salt and mineral in the water, it is hard to get a perfect ice. Because they are trapped and excluded by ice during solidification if it solidifies from surface to the core.
AIR There is impurity when air gather in the ice. But it is almost impossible to exclude air from water directly by domestic tools. But the air can be excluded from the water natrually if the temperature drops slow enough.
FREEZING SPEED Due to Brownian motion, the solidfication of a material require time long enough to keep it stable. And the volumn of ice will expand during solidification. When the temperature drops too fast, the outside will solidify first and restrict the expansion of the core, the core easily cracks. Constantly changing the ambient temperature around zero degree or adding insulation in the mould could be two kinds of solution.
LIGHTING EXPERICONDITION MENT
30 °C, Sunny
26 °C, Cloudy
19 °C, Drizzle
MELTING EXPERITIME MENT
0 min
5 min
20 min
SMOOTHNESS EXPERIOF SURFACE MENT
Before spraying water
After spraying water
THE FIRST EXPERIMOULD MENT
I tried using hot glue to get this done but it leaks.
I used plastic sheets to wrapped around and the ice formed out of the mould which brough difficulty to dismantle the mould.
It still leaks and I used salt to defroze it.
The bubble is distributed even in this way.
AIR IN THE ICE
Diagram of Freezing Water Water
Ice
Air
Materials with high thermal conductivity
Pictures of Freezing Water
01 COMMON METHOD
Due to Brownian motion, the solidfication of a material require time long enough to keep it stable. Since when we put the ice directly from ambient temperature to the fridge, water cannot be frozen from the core evenly as being frozen gradually. Water will be frozen from the outside while the inside is still liquid and there is no way for air to escape. Bubbles are locked in the ice.
Directions of coldness
Reference: https://www.studioneat.com/blogs/main/18098872-how-to-make-clear-ice
MOULD EXPERIMAKING MENT
WATER MOULD WRAPPED BY PLASTIC SHEETS PAPER TOWEL in case of leaking
PLASTIC SHEETS
TAPE
for covering, prevent the moisture frozen in the fridge
SCISSORS
When I testing the speed of melting, I used this method. It is fast but less transparency. But the motion of bubble is beautiful when it is escaping from the ice during melting.
>=10mm
When filling the water, the water cannot be too close to the edge. Its volumn will expand when freezing.
After filled with water, the mould would be covered with a plastic sheet. It can prevent adding frost in the fridge
After being frozen, the ice can be pull out from the mould. But it needs several minutes to melt for being taken out easier.
The edge of the ice wouldn’t be that sharp anymore but at least it wouldn’t leak. The cloud it so obvious under the flash light.
Diagram of Freezing Water
Waterproof Materials
Materials with low thermal conductivity
Pictures of Freezing Water
02 GATHERING BUBBLES
This method control the direction of coldnessby adding materials with low thermal conductivity like foam so that one can control the position of bubbles in the volumn.
Directions of coldness
The impurity can be split up
Reference: https://www.studioneat.com/blogs/main/18098872-how-to-make-clear-ice
MOULD EXPERMAKING IMENT
FOAM insulation
PLASTIC SHEETS
WATER
water proof layers, also prevent the moisture frozen in the fridge
MOULD MADE BY PLASTIC SHEETS
SCISSORS TAPE
The method is similar but it requires longer time for solidification.
The method is similar to the last method. Add a water proof layer between the mould and water. But it need improving because the layer were too loose that it insert into ice.
After filled with water, the mould would be covered with a plastic sheet. It can prevent adding frost in the fridge
CLEAR CLOUD
When it is initially pulled out of the mould, it is hard to see the condition of the ice.
After spraying water, it is clear to see the condition inside. The air were compressed to the bottom. But still a lot of impurity.
Water circulating pumbing
Refridgerating system at the bottom
Diagram of Freezing Water
Pictures of Freezing Water
03 CIRCULATING WATER
The reason why to use the pumping system is to prevent the impurity in ice like air and particles not to gather and deposit in the middle of the water. And the running water usually have similar temperature that the ice would not crack. Thus, the ice would be transparent.
Water is vaccumed
Directions of coldness and circular system
ICE FACTORY
Put ice modules in. The ice is refridgerated by the refridgerated liquid around the ice modules.
01 CLEAR ICE MACHINE
Spread waterproof membrane
The clear ice machine use circular water system and refridgerate the ice by refridgerating the liquid around the mould. And vaccum the water on the surface. For higher quality ice blocks, they may cut it by bandsaw in a refridgerated room.
Place hanger for clipping the ice later and add water
AT LEAST 24 HOURS LATER
Put water circulating pump in
Some machine can make ice in open air while others need closed cabinets
ALTERATIVE MACHINE
3 DAYS LATER
The stick is used to test the condition of ice
Take out the pump The surface has to be level.
Extra water can be taken away by vaccum or siphon
Lift it up Dismantle the module or lifted the ice directly
Check and make sure the ice is perfect.
The ice was put on ice gel which is not easy to melt and can be reused.
The top of ice is cut by bandsaws in a refridgerated room.
The room is about -10 degrees.
Some other machine for ice sculpture making
CONCLUSION
1. The easiest way to achieve the transparency for me is to add insulation out of the mould. 2. Ice making does not has to be produced in refridgerated room. 3. I may need to study how to control the translucency of the ice as well in the future.
Reference: https://www.youtube.com/watch?v=kl8VcL0DNio&index=3&list=PLI2zIrcWpX0_eJNvokmhU69PpQ3Bzr812 https://www.youtube.com/watch?v=s5OB-qbFJXw&list=PLI2zIrcWpX0_eJNvokmhU69PpQ3Bzr812&index=8
WHAT IS THE SOUND OF ICE?
THE FIRST DROP 30 °C, Sunny 13:30 – 13:42
26 °C, Sunny 15:30 – 15:52
19 °C, Cloudy
19 °C, Night 21:30 - 22:06
16 °C, Rainy 17:40 – 18:20
2 min
5 min
12 min
20 min
N/A
When recording the melting of the ice, I found something surprising about the sound of the first drop. It was stunning during a long period of slience. Dissolving is not only about change of shape but also about the presence of ice.
DROPPING ON MATERIALS
WOOD
AT THE HEIGHT OF 2 METRE
GLASS
The sound of dropping could differ when the interfaces are made of different materials. I recorded them and tried to visualize them in some ways. The wave above might not be the best way to connect one’s experience to the sound, but it tells the difference of volume and vibration. The design could refer to a space of rhythm by hearing.
FOAM
FABRIC
PVC
ALUMINUM
HOW TO CONSTRUCT BY ICE?
IGLOO CASE STUDY
TYPE Vernacular Housing MATERIALS Ice blocks ETHNIC GROUP Inuit PURPOSES Shelter for hunting, Dwelling, Special Occasions BUILDING TIME Winter LOCATION Canada’s Central Arctic and Greenland’s Thule area CONSTRUCTION DURATION 40min - Days
CONSTRUCTION METHOD
1. Build a circle by snow blocks first.
2. Cut the part of the ice block to create a slope as foundation of the igloo.
3. The igloo will be built in spiral.
4. Finish
CONSTRUCTION PROCESS
d
Inuit people use special stick to measure the hardness of snow to judge whether it is suitable for construct. They use special steel knife to cut snow to make the block on the spot. They used to use ivory when there is no steel.
01 ICE HARVESTING
Inuit people will harvest the ice at the site where they hunt. Knife and stick are enough for them to build an igloo. The smallest igloo can be built in 40 min.
Before construction, they draw a circle on the ground by foot. It should be circular enough, otherwise igloo would collapse.
They are cutting the slope for foundation.
They harvest the ice directly on the site. The floor of igloo therefore will be lower than the ground.
02 BUILDING STRUCTURE
The structure of igloo is in spiral. Some people will put one of the ice block a bit higher as anchor point. But inuit way is the fastest. They are very familiar to build igloos.
The last block is layered. The details: the interface should be flat enough to combine two blocks together.
Put some loose snow in the gap between blocks to ensure the heat will not escape.
Cut another piece of ice as a door.
Open the door by cutting the blocks.
03 FINISHING
Before they settle down, they have to make an opening and have a better finishing on the surface first. Doors are made from another piece of ice. Reference: Wilkinson, D. (Director). (1949). How to build an igloo [Motion picture on laser disc]. New York: National Film Board of Canada ; Sterling Educational Films.
ICED CASE TIME TUNNEL STUDY
TYPE Site specific installation MATERIALS Plastic coated waterproof Light Emitting Diode, IC, Electric wire, Ice block DIMENSION Half-Ice tunnel, 15 m diameter x 2m height ARTIST & ARCHITECT Tatsuo Miyajima & Tadao Ando TIME 12 Feb - 31 Mar 2004 LOCATION Rovaniemi, Finland CONSTRUCTION DURATION Approx. 2 months
CONSTRUCTION PROCESS
The ice blocks floating on the river, are put on a transfer place, waiting for transport. The ice blocks are cut by electrical saw which is used to cut woods.
01 ICE HARVESTING
Large ice blocks are cut out on a local lake and transported to the building site. The size is 1m x 2m and 50-60 in thinkness.
Large ice blocks are lifted by a crane from the river carefully.
Ice blocks are placed in layers but separated by wood sticks as a damping during transporting, also in case that they stick to each other. Large ice blocks are going to be put on a lorry.
The ice are transported to the site directly. The ice structure is built again the scaffolding made of wood and metal.
02 BUILDING IN ICE
The large ice block is cut in two by chainsaws. The large ice blocks are unloaded from the crane lorry.
Each block is cut in the right size and angle. The tools are standard forests equipement.
Workers unload the cut ice block from the production line carefully.
The ice blocks are cut by circular-blade on site saw in certain specific angels.
They cut the edge of ice into more specific angle that fit in the structure.
The working condition varied from minus 10 to around minus 30 degrees in a climate where the sun has no heating power.
The ice was lifted and placed by the crane. There were workers holding the ice on the ground, ensure that the ice was put in right position and protect it from being broken.
03 THE ASSEMBLY
Each block is laid against the scaffolding and water is used to freeze the blocks together.
The workers would cut the ice block again when it was placed against the scaffolding. They even used very small tools to cut the interface between two blocks, to make them be stacked firmly.
Workers were preparing for placing the key “stone” – the final stone. They were adjusting the interface by chainsaws.
The final stone was lifted by crane again.
The fin by the Worker as well.
nal stone was inserted force from the crane. rs pulled it in by rope .
The scale bewteen human, water and the structure. Water is prayed over the structure in order tofreeze the large building blocks together before the scaffolding is removed.
Workers were demolishing the scaffolding by prizing the joints. The dismantled the verticle struture first, then it is horizontal layers.
04 CLEANING & FINISHING
The scaffolding is removed and the structure stand on its own. The final smoothening of the surface is made by special made carving tools.
The pre-layed cables for the LED lights is exposed now. The blue sky can be seen through the ice.
This is the look after scaffolding removed. The ice is transparent. However, the artist were trying to make it perfect. They smoothened the surface after. The waste was shoveled by a loader out of the tunnel directly.
Another worker worked on the inside surface. The day was very short in arctic circle that they need to have additional lighting when working.
The worker was shaving the ice bit by bit on the outside surface.
The tool was specially designed. The smoother the surface is, the more transparent it is.
The lighting effect of LED through the ice. The final look of the ice. There were lights casting from the outside.
05 EXHIBITING & MELTING
The exhibition lasted about 1.5 months. ‘I had no experience of the materiality of ice so it was a very difficult proposal for me.’ ‘The ice is amazing but very difficult to get a good finish and maintain the transparency.Finally I am very satisfied.’ said the artist.
Spring has arrived to Rovaniemi in April 2004 and the “Iced Time Tunnel� is disappearing...... The ice was opaque and dirty again.
Reference: https://www.youtube.com/watch?v=VL8CMouuyXM
CONCLUSION
The ice construct is not a new method and Inuit can build an igloo in 40 min. But it is very difficult to control its quality as Tatsuo Miyajima said. This case study is very supportive to my research, it provide various methods of building an ice construct and controlling its transparency, such as using scaffolding to make the arch support, using water as adhensive and smoothening the surface by striking off the skin layer.
PENAL CASE COLONY STUDY
TYPE Site specific installation MATERIALS Ice block and snow ARTIST & ARCHITECT Yoko Ono & Arata Isozaki TIME 12 Feb - 31 Mar 2004 LOCATION Rovaniemi, Finland
The Snow Show is an ephemeral construction festival intending to create a bridge between the world of contemporary art and architecture. 17 works have been constructed since 2000, when the Art Show was originally conceived by curator Lance Fung.
In 2004, a partnership was established by Yoko Ono and Arata Isozaki, and a work was conceived and built using ephemeral materials such as snow and ice.
Their pavillion used harvested ice from a frozen lake in the Sestriere. The blocks came from a lower layer of the lake, where the ice is blueish or turquoise depending on the minerals contained in the water. Once cut with a chainsaw, each block, measuring 1 metre in length by 0.6 metres in height by 0.6 metres in width was lifted by a logging crane and transported to the site. The blocks were then positioned in order to fit together. Once each block was put into place, water was poured to fuse the ice together. Finally the material was finished using setaline torch and smoothing the surfaces, giving a translucent tone to the construction.
CONSTRUCTION PROCESS
MELTING PROCESS
Reference: http://socks-studio.com/2012/09/24/penal-colony-by-yoko-ono-arata-isozaki-2004/
COMPARISON
TYPE
ICE HARVESTING
BUILDING METHOD
IGLOO
Vernacular House
Snow
Stacking ice blocks
ICED TIME TUNNEL
Installation / pavillion
Ice in river
Stacking ice blocks against scaffolding
PENAL COLONY
Installation / pavillion
Snow & Ice in river
Casting the snow
TOOLS
CONSTRUCTION TIME
ADHENSIVE
REBUILDED
Stick and knife
1hr 45min
Loose snow
Yes
Crane, circular-blade saw, chainsaw, chisel, scaffolding, water spraying, loader
Approx. 2 months
Water spraying
No
Crane, mould, loader, chainsaw
N/A
N/A
No
ALTERNATIVE LITERATURE CONSTRUTION REVIEW
I found that the traditional methods of laying ice in ice cellar is similar to building bricks. I put some contemporary brick building method here for reference and it may help experiment following.
WHAT IS THE BACKGROUND OF ICE?
TYPE OF ICE Type Nature Sea Ice
Glacial Ice
Sea ice forms in the winter, when the ocean freezes over. The ice cover on the polar ocean comes and goes with the passing of the seasons. This does not influence sea level, since the same amount of water remains, whether as ice or as water. However, when sea ice melts it is replaced by dark ocean, which does not reflect sunlight but absorbs it, converting it into heat. This is probably the major reason why temperatures have increased twice as fast in the Arctic as in the Northern Hemisphere in general.
Glacial ice is a different matter. In Greenland we find a continent-wide ice sheet, produced by falling snow over millions of years. This glacial ice flows slowly towards the ocean, where it either melts or breaks apart to form icebergs. The amount of ice lost at the edges used to equal to the accumulation of new snow every year, but the warmer climate has thrown the Greenland ice sheet out of balance. Currently, the amount lost each year is 200–300 billion tonnes, a rate that is expected to increase dramatically.
And what happens in the Arctic doesn’t stay in the Arctic – Arctic warming also affects the climate at lower latitudes. Extreme weather events at lower latitudes are among the consequences of the loss of sea ice from the Arctic Ocean.
Unlike melting sea ice, melting glacial ice does affect global sea levels. Water that evaporated from the ocean in the past has been stored for millennia as ice. When it returns to the ocean, this water causes the sea level to rise.
Manufacture Industrial Ice
Edible Ice
Environmental Ice
Dry Ice
TRADITIONAL ICE INDUSTRY The history of ice trade The ice trade, also known as the frozen water trade, was a 19th-century industry, centering on the east coast of the United States and Norway, involving the large-scale harvesting, transport and sale of natural ice for domestic consumption and commercial purposes. Ice was cut from the surface of ponds and streams, then stored in ice houses, before being sent on by ship, barge or railroad to its final destination around the world. Networks of ice wagons were typically used to distribute the product to the final domestic and smaller commercial customers. The ice trade revolutionized the U.S. meat, vegetable and fruit industries, enabled significant growth in the fishing industry, and encouraged the introduction of a range of new drinks and foods. At its peak at the end of the 19th century, the U.S. ice trade employed an estimated 90,000 people in an industry capitalised at $28 million ($660 million in 2010 terms), using ice houses capable of storing up to 250,000 tons (220 million kg) each; Norway exported a million tons (910 million kg) of ice a year, drawing on a network of artificial lakes. Competition had slowly been growing, however, in the form of artificially produced plant ice and mechanically chilled facilities. Unreliable and expensive at first, plant ice began to successfully compete with natural ice in Australia and India during the 1850s and 1870s respectively, until, by the outbreak of World War I in 1914, more plant ice was being produced in the U.S. each year than naturally harvested ice. Despite a temporary increase in production in the U.S. during the war, the inter-war years saw the total collapse of the ice trade around the world. Today, ice is occasionally harvested for ice carving and ice festivals, but little remains of the 19th-century industrial network of ice houses and transport facilities.
TRADITIONAL ICE TRADE Ice trade case study Source: Documentary Title: The ice of pop Hoshur Director: He Ming, Li Guanghua Release dates: March, 2013 Running time: 42 min
This documentary documented traditional ice industry in Xinjiang through the story of pop Hoshur, a ice cream stall owner in local market. Pop Hoshur sold ice water in summer time, but he prepared the ice in the beginning of the year. The film shot the whole period of ice mining and storage in a period of 6 days. Xinjiang is in the temperate zone where the summer is hot but the winter is freezing cold. River and pond will be covered with ice sheet as thick as 20-30 cm. Located in the inner land, it rains little. In the summer, people would like to buy an iced drink to relief the uncomfortable.
Reference: http://www.bilibili.com/video/av1003165/
ICE MINING
Time: mid-end janurary Duration: 6 days Labour: temporally hired Water source: frozen pond, reservoir Harvest tools: water(float the ice in the shallow pond), axe, hook
TRANSPORT
Methods: dividing the ice sheet into several squares of 30-40 sqm by axes, subdividing them into smaller sizes, moving it to the tractors by ice hooks for transportation: sled, motocycle, tractor Thickness of ice sheet: 20-30cm Transportation: sled, motocycle, tractor
Place: an open-cast ice cellar
STORAGE
Method: like building bricks 1. lay a layer ice of poor quality at in the footing to reduce friction of the place 2. lay the layers of ice pieces, enfuring they are level 3. use crushed ice to fill the risers to the height of the ice 4. repeat step 2-3 to the proper height 5. lay a 20-cm layer of ice, cover a layer of canvas, then put a thick layer of stray, the top is a layer of reed
ICE INDUSTRY IN HONG KONG
Ships or Lorries
EDIBLE ICE
LOGISTIC
CATERING INDUSTRY
CONSTRUCTION INDUSTRY
RELEVANT INDUSTRY
HONG KONG ICE
AQUACULTURE HYGIENE LICENSE
SERVICE EDIBLE ICE
ICE PRODUCTS LOGISTIC
INDUSTRIAL ICE STORAGE ICE SCULPTURE
DRY ICE
I
Refridgerated Lorry Deliver about 500 BAGS PER LORRY
INDUSTRIAL ICE ABOVE 20 DEGREES
Deliver about 200 BAGS PER LORRY
C BELOW 20 DEGREES SEASONAL
E INDUSTRY
Corruption
COMPANY Provide 90% of Edible Ice in the Market
More than $10 dollars per bags
Less than $5 per bags Provide 10% of Edible Ice in the Market
LOW BALLING
MAIN FACTORIES IN HK
HK ICE & COLD STORE
SHIU PONG GROUP
TURBO ICE CO LTD
TSIT ON ICE CO LTD
ICE COMPANIES AND THEIR FACTORIES
66%
EDIBLE ICE INDUSTRY MARKET IN 2012
There are four main ice companies in Hong Kong. Hong Kong Ice & Cold Store is the biggest one, whose factories locate all around Hong Kong.
10%
However, when it comes to the market of edible ice, it only take 10% stake in 2012. This resulted in the low balling of HK Ice & Cold Store.
HK ICE & COLD STORE
HK ICE & COLD STORE’S STAKE
SHIU PONG GROUP
THE STAKE OF OTHER COMPANIES
TURBO ICE CO LTD TSIT ON ICE CO LTD
LOCATION TO THE SEA
89%
Most of ice factories locate by the sea. Because Hong Kong’s aquaculture used to boom in mid-20th century. The fishers drove their boat to the ice factory where ice would drop by tubes. Aquaculture decayed these days and ice mainly serve to construction industry and food industry. Also, since there are smoke ventilated by the factory, it is not ideal for the factories to build somewhere else.
ICE SCULPTURE SERVICE
3 CO
Shiu Pong, Turbo and Tsit On provide ice sculpture service while HK Ice does not. Those who have these service means they can control the transparency and shape the ice by machine in refridgerated rooms.
FACTORIES BY THE SEA
COMPANIES WITH ICE SCULPTURE SERVICE
FACTORY NOT BY THE SEA
COMPANY WITHOUT ICE SCULPTURE SERVICE
Reference:
http://hk.apple.nextmedia.com/news/art/20121102/18055260
https://www.youtube.com/watch?v=FUAaaL-vKgY
分秒必爭 [送冰工人, 派報員]. 香港 : Originally released as a television broadcast on 28 July 2013.
http://orientaldaily.on.cc/cnt/news/20120329/00176_097.html
Credits: Production of Television Broadcasts Ltd. (TVB)
VISITING ENQUIRY
These are emails that I have sent to them. Others of the factory I called them directly. But they either not accept visiting or too busy to arrange it. These email never receive any reply.
CLIMATE IN HONG KONG
30
25 Avg. Highest Temp 20
15 Avg. Lowest Temp 10
5
Freezing point 0 JAN
FEB
MAR
APR
MAY
JUN
JUL
AUG
SEP
OCT
NOV
DEC
HONG KONG’S IMPRESSION OF ICE
COLD DRINK
FISH MARKET
CONSTRUCTION IN SUMMER
SATISFICATION
REFRESHMENT
RELIEF
CONCLUSION
The presence of ice is not just frozen water. It satisfied people’s need. Centuries ago, people have stored ice since winter, maybe just for a sip of the drink. Hong Kong’s ice is not about drink only, but also related to aquaculture and construction. The ice satisfies the need of industry as well. However, ice factory is somewhere not much people know about.
WHAT CAN IT REFER TO?
EPHEMERAL LITERATURAL ARCHITECTURE REVIEW seasonal structures
nomadic architecture
‘Ephemeral’, up until now, might apply to a building with the potential to move, or even just the impression of lightness, or fragility in its design.
event architecture
The graph visually displays architecture relative to its intended and actual time at a site. Architecture along the 45o line remains on a site as long as intended. Above and to the left of the 45o line lies architecture that prematurely departs a site. Below and to the right lies architecture that remains on a site past its intended departure. As the graph shows, Ephermal Architecture typically lies near the 45o line. Most Ephemeral Achitecture can be found here because actual time is relatively easy to reconcile with intended in a shorter time frame, and the examples shown often relate to an event with a predetermined end point. For example, Snow Show 2005 was schedule to last a specific number of days, but due to an early spring the buildings melted away early. Therefore, it falls to the left of the 45o line, but still close as indicated by the golden color. The golden area around the 45o expands as it moves into the future since deviations from the line become more difficult to contro over time. The darker golden area represents where most architecture will be found since a building's intended and actual time at a site is not always easy to reconcile. Therefore, buildings locate in this area generally rather than with a specific dot. Examples like Ise Shrine and Denver Airport are still aging and moving toward the 45o, while others like Paper Church and Quonset Hut have moved well past it. (Note: The graph shows certain typical groups (e.g. backpacking tents, cruise ships, yurts) and may not properly reflect specific examples within these groups. For example not all recreational vehicles will be on the 5o, there may be specific ones that become permanently rooted to a site and stetch past it intended time.)
Egyp ian Pyramids
New Orleans
German Reichstag
Millenium Dome Hawai i State Capital
Pruitt-Igoe
Parc de la Villette Follies
Tokyo High-Rise c. 1980's Denver Airport
Hamlet Housing Shodai Cultural Center
R nker Hall
Hoshida Common City Housing
Na Hale 'O Waiawi
Traditional Ice-Block Houses ("Igloos")
Bedouin Black Tent
Japanese Tea House
Schwazenegger's Cigar Tent (Poli ical Term, 3 years)
Quonset Hut World Expo Pavilions Swedish Ice Hotel
Mexican Fishing Hut Yurts
Tipis
Approximately the leng h of a Season
Burning Man Edgar Blazona's Modular Dwellings The Gates
Refugee Housing Shigeru Ban's Paper Church
European Festival Architecture c. 1600-1700 Ta'zia, Rath, Pandal
Nagakin Capsules
Cruise Ships
Mobile ICHIJYO/1 Covered Wagons Recrea ional Vehicles Farmer's Market Tents
Backpacking Tents
Buddhist Sand Mandalas
0
Snow Show
So-an/Mobile Chanoyu Room
Christo's Reichstag Project
Party Bouncers
para-SITES
Cushicle
Jim Denevan Sand Designs
Intended Time at a Site
Ise Shrine
A few weeks or less
Mobile Home
A day or less
Actual Time at a Site graph 1: The graph visually displays architecture relative to its intended and actual time at a site.
PHENOMENOLOGY LITERATURAL OF ARCHITECTURE REVIEW
three-dimensional geometry
perceptual field
flooring wall ceiling
“A b
architecture
Gree is
landscape
ground horizon sky
Since when I was doing the research on Olafur Eliasson and having discussion with my tutor, the term “Phenomenology” turns out so many times, I have read this book to get the knowledge of phenomenology of architecture.
centralization
concrete space being abstractions from the intuitive three-dimensional totality of everyday experience
direction
rhythm boundary
boundary is not that at which something stops but, as the eks recognized, the boundary that, from which something begins its presencing� – Heidegger
extension and enclosure
figure and ground opening
space character
landscape
PLACE
comprehensive atmosphere
settlement
orientation
concrete form andsubstance of the space-defining elements
identification
orientation
perceptuaal schemata
THE CASE RIVERWALK STUDY The Riverwalk, San Antonio, Texas.
Reference: https://www.zhihu.com/question/22012558
Space: Three-dimensional, digitizable, abstract and perception field
Architects may love to analyse the dimension, skyline, composition and scale of architecture, paths, water area and bridge in a picture like this. They also analyse the spaces of open versus closure and privacy versus public.
Place: Not referred to theory, referred to experience and sensation (five senses).
But a user may just use the space according to their sensation and experience instead of understanding of the theory. San Antonio is located in Texas where the summer is hot and humid and winter is cool and dry. The waterfront is enjoyable in this kind of climate. The place’s atmosphere and people’s sensation would even change before and after a rain.
SPATIAL ANALYSIS Bottom-left Enclosure
The bench and soft plants form a tiny enclosing platform, where only a couple of people can fit in. It provide a sense of security.
Touchable soft plants
The terrazzo flooring and tile bench also remind people of leisure experience.
People can be away from the crowd but still can enjoy the scenery of boats drifting leisurely and people drinking coffee at the other bank, and can hear sound of water and noise of passengers.
The surface of water is close to the land that can be easily accessed. People would think the river is more fun and safe when they know it is not deep. In summer when it is hot and humid, it would be very refreshing to touch or dip one’s toes into the water covered by the shades and breeze while viewing the surroundings.
Passenger on the boats
Listening to ripple of the water, they move slowly. The landscape on the bank constantly changes.
Sometimes they will next to people in the cafe who are chatting or drinking. They can touch water, plants and even people at the bank. It is a unique experience which is different from busy wide rivers in big cities.
When they go beneath an arch bridge, the light changes and the echo will enhance.
People at the cafes
Chilled terrazzo path below is connected to the atmosphere of waterfront and wooden chairs sitting on is very comfortable and chilled for an outdoor space with such climate.
If they want to be private and quiet, they can go inside the cafe by going across the terrazzo path, where there is darker and the noise is more far away. Through glass windows, sitting on soft sofa, they can still see everything outside and outdoor seats.
They feel secure and comfortable when being covered by trees and umbrellas, preventing them from sunshine.
They can either focus on chatting with friends, looking at the boats and mallards on the river or people at the other bank. People passing by from time to time. The breeze sometimes will bring the smells of food and coffee from the cafes.
Pedestrian
They feel comfortable because there is always trees above protect them from sunshine and bushes show up at suitable position.
Made in various materials, the path sometimes close to the water, sometimes go underneath a building or a dark arch, sometimes it climbs up.
Standing on the top, pedestrian can see that boats are passing through beneath them, buildings in different scale are surrounding them and tourists from all around the country are passing by. But they cannot see the whole picture in one position, the winding path always lead you to somewhere unknown.
When they are tired, they can find some pocket places for a rest.
CONCLUSION
When we travel in a space, it is not just abstract three-dimensional geometry and perception field. When we talk about the sensation and perception, they are not just about themselves but our everyday life, human need, our memory and experience. When these are located in the context like climate and topology, the sense of place exists. A place cannot be percepted without these.
AMBIGIOUS LITERATURE BOUNDARIES REVIEW
This book defined the boundary from phenomenology point of view. It does not address the physical boundary but also the character of the space. It also mentioned the position of the boundary locate in a space in phenomenology of architecture.
GESTALT PSYCHOLOGY Gestalt psychology or gestaltism is a theory of mind of the Berlin School of experimental psychology. Gestalt psychology tries to understand the laws of our ability to acquire and maintain meaningful perceptions in an apparently chaotic world. The central principle of gestalt psychology is that the mind forms a global whole with self-organizing tendencies. The key principles of gestalt systems are emergence, reification, multistability and invariance.
Reification Reification is the constructive or generative aspect of perception, by which the experienced percept contains more explicit spatial information than the sensory stimulus on which it is based. For instance, a triangle is perceived in picture A, though no triangle is there. In pictures B and D the eye recognizes disparate shapes as “belonging” to a single shape, in C a complete three-dimensional shape is seen, where in actuality no such thing is drawn. Reification can be explained by progress in the study of illusory contours, which are treated by the visual system as “real” contours.
Prägnanz The fundamental principle of gestalt perception is the law of prägnanz (in the German language, pithiness), which says that we tend to order our experience in a manner that is regular, orderly, symmetrical, and simple. Gestalt psychologists attempt to discover refinements of the law of prägnanz, and this involves writing down laws that, hypothetically, allow us to predict the interpretation of sensation, what are often called “gestalt laws”.
Law of closure The law of closure states that individuals perceive objects such as shapes, letters, pictures, etc., as being whole when they are not complete. Specifically, when parts of a whole picture are missing, our perception fills in the visual gap. Research shows that the reason the mind completes a regular figure that is not perceived through sensation is to increase the regularity of surrounding stimuli. For example, the figure that depicts the law of closure portrays what we perceive as a circle on the left side of the image and a rectangle on the right side of the image. However, gaps are present in the shapes. If the law of closure did not exist, the image would depict an assortment of different lines with different lengths, rotations, and curvatures—but with the law of closure, we perceptually combine the lines into whole shapes.
PHYSICAL BOUNDARY VISUAL
Ambiguous Case Boundaries Studies
NON-PHYSICAL BOUNDARY POLITICAL
ELIMINATING BOUNDARIES Internet gives human chances to unity regardless their background and classes. Some countries like Estonia has already embraced this tendency and find a better solution for the politics, economic development and culture fusion for their countries in the future.
Estonian e-Residency Digital society When Estonian political and technical leadership began laying the foundation for e-Estonia, it decided on certain principles: Decentralization. There’s no central database, and every stakeholder, be it a government department, a ministry or a business, gets to choose its own system in its own time. Interconnectivity. All the elements in the system have to be able to work together smoothly. Open platform. Any institution can use the public key infrastructure. Open-ended process. As a continuous project to keep growing and improving organically. Infrastructure The two key ingredients in the infrastructure are the X-Road and e-Identity or e-ID. The X-Road is a critical tool that connects all the decentralized components of the system together. It’s the environment that allows the nation’s various databases and registers, both in the public and private sector, to link up and operate in harmony no matter what platform they use. eID is the nationally standardized system for verifying a person’s identity in an online environment. It opens the door to all secure e-services while maintaining the highest level of security and trust. Other systems have since been linked, thanks to these. But the Estonian government didn’t create programming resources – it acted as a smart purchaser. The
licenses belong to the taxpayer, but the solutions were created by private companies. That way costs were reduced, while flexibility was maintained. Government Transparency and efficiency at all levels of government have been boosted by advanced e-services. Business Business has been made easy by fast interaction, lower bureaucracy and access to critical information. Citizens Integrated e-solutions have created an effective, convenient interface between citizens and government agencies. Healthcare Doctors, patients, hospitals and the government are all benefiting from the convenience, access and savings that e-services have brought.
e-Estonia means voting in elections from the comfort of your own living room. Filing your income taxreturn in just five minutes. Signing a legally-binding contract over the Internet, from anywhere in the world, via your mobile phone. These are just a few of the services that Estonians take advantage of on a regular basis. For their part, entrepreneurs can register businesses in as little 18 minutes, check vital company, property and legal records online, and even integrate their own secure services with the ones offered by the state. Interaction among government agencies, and between the government and citizens, has been completely transformed in e-Estonia, quickly making bureaucracy a thing of the past and making the running of all levels of government more efficient than ever before. The e-Estonia section of this website details the methods by which Estonia is using advanced technical solutions to create a stronger economy, a better community and a brighter future. Estonia’s e-solutions have resulted in:
Education
An unprecedented level of transparency and accessibility in government
e-school has revolutionized the way students, teachers and parents interact, creating a generation that is both better-educated and tech-savvy.
Safe, convenient and flexible exchange of private, government and corporate data
Public Safety
A healthier, better educated population with easy access to social services
Estonia is safer thanks to systems that give law enforcement officers the tools they need to do their jobs more efficiently and effectively.
A prosperous environment for business and entrepreneurship
Cyber Security A unique partnership between public and private IT sectors and Institutes keeps Estonia one step ahead of cyber security threats. Utilities Innovations in the utilities and intelligent homes industries save energy and result in a cleaner environment.
Life in the Digital Society
Digital society and infrastructure The e-Estonia digital society is made possible largely due to its infrastructure. Instead of developing a single, all-encompassing central system, Estonia created an open, decentralized system that links together various services and databases. The flexibility provided by this open set-up has allowed new components of the digital society to be developed and added through the years. It’s that power to expand that has allowed Estonia to grow into one of Europe’s success stories of the last decade.
The service of e-Residency according to e-estonia.com
The factor of e-Residency in Estonia so far.
The data base and the infograph provided by the website really shows the possiblity of e-Residency.
NON-PHYSICAL BOUNDARY CLAIMED BOUNDARIES BY ONESELF
POLITICAL
A micronation, sometimes referred to as a model country or new country project, is an entity that claims to be an independent nation or state but is not recognized by world governments or major international organizations. Micronations are distinguished from imaginary countries and from other kinds of social groups (such as eco-villages, campuses, tribes, clans, sects, and residential community associations) by expressing a formal and persistent, even if unrecognized, claim of sovereignty over some physical territory. Several micronations have issued coins, flags, postage stamps, passports, medals, and other items. These items are rarely accepted outside of their own community but may be sold as novelties to help raise money or collected by enthusiasts.
The Principality of Sealand The Principality of Sealand is an unrecognised micronation that claims Roughs Tower, an offshore platform located in the North Sea approximately 12 kilometres (7.5 mi) off the coast of Suffolk, England, as its territory. Roughs Tower is a disused Maunsell Sea Fort, originally called HM Fort Roughs, built as an anti-aircraft defensive gun platform by the British during World War II. Since 1967, the decommissioned HM Fort Roughs has been occupied by family and associates of Paddy Roy Bates, who claim that it is an independent sovereign state. Bates seized it from a group of pirate radio broadcasters in 1967 with the intention of setting up his own station at the site. He attempted to establish Sealand as a nation-state in 1975 with the writing of a national constitution and establishment of other national symbols. While it has been described as the world’s smallest country or nation, Sealand is not officially recognised by any established sovereign state in spite of Sealand’s government’s claim that it has been de facto recognised by the United Kingdom and Germany. The United Nations Convention on the Law of the Sea in force since 1994 states “Artificial islands, installations and structures do not possess the status of islands. They have no territorial sea of their own, and their presence does not affect the delimitation of the territorial sea, the exclusive economic zone or the continental shelf”. Sealand was not grandfathered, and sits in British waters.
The land of The Principality of Sealand.
The law of UĹžupis Republic
You have to stick the stamp of Lithuania when you send a mail out of this micronation.
CONCLUSION Ambiguous Boundries Correlational
SENSATION
colour
SPACE DIVIDED INTO COLOURS semi-open space
temperature
PEDESTRAIN STAY IN BRIGHT SPACE
humidity
open space density FOGGY INDOOR SPACE SEE-THROUGH CHURCH
accessibility translucency
security privacy
density
spiritual
translucency
MOSQUITE NET COLONY
CONSISTENT COLUMNS
temporality accessibility
internet accessibility
opportunity
fluxion of river
legal authority E-RESIDENCY ownership
CHANGING BORDER
visual illusion
right of developing resource
border
omit nationality
change of territory
SPACE OF MIRRORS
MICRONATION accessibility
ENCLAVE
identity
solid wall territory culture
SPATIAL
TEA HOUSE OUT OF THE PLACE
activities
CONCEPTUAL
WHAT COULD IT BE?
PROJECT PROPOSAL
I have two standing points towards two key quality in my space. I made them in two short phrases: Fragility: To get a glimpse into localization of foreign spaces and Temporality: To make EPHEMERAL space as SPACE
Fragility: To get a glimpse into localization of foreign spaces What is “localization”?
What is “foreign spaces”?
According to W.J. Patton, the decay of materials is because of the climate and people’s occupation. Climate and people as atmosphere and main body of a place represent the spirit there. “Localization” in my concept refers to the process that a space integrated by them.
Foreign here could either refer to something comes from somewhere else or something doesn’t fit it. Foreign spaces/ materials means spaces/materials cannot stay stable in a place.
It would lead to a decaying and varied space which has the potential to bond people, location and the space together. The feature of the climate and people there could be visualized through the fragility and temporality of the space. For example, the oxidation of metals is actually the process of coming back to their natural status in earth. The metal is localized by the climates where it locates. Another example is Your Waste of Time by Olafur Eliasson. If there were many people in the refrigerated room, the ice pieces started to melt. The space was localized and shaped by people’s heat and moisture, breath and behavior, or, existing while people felt cold and slippery.
Why introduce the foreign to the local? Exceptions reinforce the rules. Something doesn’t fit may indicate the identity of a place. The fragility and temporality of space would a media reflecting the context of a place that we take for granted. One of the reason why we are losing our sensitivity in the place we stay is that the fragility is coated. Many urban context are the same as those in advertisements. The foreign stays foreign. And we never know how powerful our place could be. Another reason is that we get used to the climate that we are not able to be sensitive to it (Like when I in Shanghai I can’t tell the difference of humidity). I would like to peel that coat off, make the foreign meet the local, bring the sensitivity and the power into the place again, through a “foreigner”.
What’s the relationship between dissolving and localization of foreign spaces?
porality of the space. We plan the decay and make it a way of being.
The reason why I chose dissolving rather than decay as my keyword is that my design would focus on how people, location and the space exchange and adjust to each other during the unstable status through the fragility of the space.
What’s the meaning of this? This kind of space is a media to raise a question that how valuable a space can be. It’s not about the money on the maintenance and serve but time, which is too expensive to pay for. The difference between a dissolving space and others is that you can tell the space is dying, or being localized second by second by the climate and people. And this may change people’s behaviour conversely.
Temporality: To make EPHEMERAL space as SPACE What does this mean? This phrase stems in that your experience and belief influence your perception. When I doing the research on igloo, I found that the word “igloo” in Inuit languages means “house” while in English and other languages it means “ice house”. This indicates that Inuit people see no differences between ice and other building materials while foreigners found ice special. Because they have different life experience leading to different belief toward buildings. What I am trying to say by this example is the difference between architecture and ephemeral architecture. When we say the phrase “ephemeral architecture”, we actually believe in the architecture should be in stable and immortal. In short, we believe in stable and immortal. But as what I put in the very first article, I believe in dynamic balance, change and complexity. The phrase “to make ephemeral space as space” means, I want to make a space for people who share the same belief where we are not foreigners to fragility and tem-
What’s the relationship between this standing points and Hong Kong?
Although ice does not naturally exist in Hong Kong, but when we think of it according to our memories and experience, it is almost all about need and satisfication: we need ice to drinks, to preserve the seafood and to build our cities. Ice is seldom refer to damage, such as floods, cracks and deaths here. It would provide an enjoyable experience. Ice is fragile in Hong Kong, but its beauty locates in its fragility. You will listen to the crack sound when the ice suddenly meet ambient temperature. You will be chilled when you touching the dripping water. You also would see how the bubble escape from the transparent ice. It is not a space with a firm shape. It constantly changing and questioning whether a space should be stable and protective.
COLLAGE
The design could be questioning the solidification situation of a space through the phenomena of dissolving and how the spectators interact with the ice. The whole process can be translate as “localization” from how the climate change the volumn of the space to what the character of ice in people’s memory in Hong Kong. It would be a space full of pleasure and satisfication.