Dennis Prior
Melbourne School of Design Master of Architecture Design Thesis
Architecture After Art
Urban Labyrinthine Dreamscape: Experiments about Repetition / Dimension / City
JUNHONG HUANG
Remaking is a re-turning, Dappling the present with the futurity of memory. Dreaming is a truth, an incomplete truth. Shards of time circulate tiny clues ready for the taking. A sleeping body Presents a constellation of reverberating sensation, soaked with imaginative cues space is saturated. Remaking the World I Adrian Parr 1
architecture after art
Contents
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urban labyrinthine dreamscape
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ideas of interest
preliminary project
repetition / city sou fujimoto / yayoi kusama le贸n ferrari / pushwagner
julie rrap remaking the world: artists dreaming elevated dreams
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project explorations
final thesis project
distorted cloud / string filter natural textures labyrinth / maze
fiber city urban labyrinthine dreamscape
piranesi's prison / walking city
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Repetition n. 1. the action of repeating something that has already been said or written 2. the recurrence of an action or event
City n. 1. a center of population, commerce, and culture; a town of significant size and importance 2. the inhabitants of a city considered as a group
1. a thing made to be similar or identical to another 2. make a similar or identical version of; reproduce
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Copy v.
etition Repetitio
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Repetition Repetition on Repetition R
petition Repet Repetition
epetition
Repe
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Copying Copying Copying Copying Copying Copying Copying Copying Copying Copying Copying
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ideas of interest
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serpentine gallery pavilion I sou fujimoto, london, 2013
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serpentine gallery Pavilion I sou fujimoto, london, 2013 What the team proposed here is a building like landscape similar to cloud, where people can diversely occupy the place, or a transparent spatial topography. The pavilion is composed of delicate 3-dimensional lattices of 400 mm cubes and 800 mm cubes. The whole building is in the shape of a deformed ring, which can be entered inside from two entrances. In addition, they become a topographical form, which offers a step where people can sit, climb and listen to lecture. It is not just a building and also not mere greenery, and it is something intermediate between nature and artifacts.
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flame I yayoi kusama, 1992
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the obliteration room I yayoi kusama, 2011 This is the collaboration installation by the Japanese female artist Yayoi Kusuma who is famous for her dotted paintings. The installation, which is called the Obliteration Room, within the interior, an all-white, domestic setting containing familiar household objects such as a kitchen counter, couch, and teapot, are all painted the same shade. As visitors enter inside the dwelling, they are handed a set of stickers, each a different brightly colored dot of a varying size. These participants are asked to leave their mark wherever they choose, placing the sticky circles anywhere and everywhere. THe space gradually transforms as a result of the interaction and the mass accumulation of the dots ultimately changes the white interior until it becomes an unrecognizable blur of colors.
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wave I junhong Huang
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The repetitive line drawing explores the overlaying effect of lines. The repetition enhance the diversity of patterns, with each difference of the sketching details the final outcome produces a wide range of variety.
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stay on target I peter stewart, 2015
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Images of the high density urban fabric demonstrate the repetitive tectile properties of growing cities. The increasing trend of modular components sometimes confuses the identification of a citizen or an inhabitant. The copying of modules to some extend lead to losing the sense of belonging.
the trench run II peter stewart, 2014
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the architecture of madness I le贸n ferrari
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León Ferrari (1920-2013) was an Argentinian conceptual artist who worked with a series of extremely different medias through the years. Trained as an engineer, he gained notoriety in the 1960s thanks to his polemical works on religion and politics. Exiled in 1976 in Brazil, he started a series of plans using heliography, the technique traditionally employed by architects,until the advent of the computers, in order to reproduce their drawings. Combining letraset icons to hand sketches, he invented labyrintic worlds which became part of a series called “The architecture of Madness”. From a far point of view, the large images look as chaotic patterns of walls, people, furnitures and cars. At a closer look it is possible to realize that the symbols stage paradoxical situations in which, i.e., people line up to enter empty spaces or are confined in a series of small cubicles. The paradoxes can be read as metaphors of contemporary cities where alienated individuals wander – without any apparent logic – through irrational urban patterns.The works turn the technical drawings into a narrative and symbolic device filled with sarcasm.
the architecture of madness I león ferrari
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where is the mind, when the body is here? I pushwagner’s soft city, 1970
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The cyclical story of Soft City, artist Pushwagner‘s 1970’s graphic novel and magnum opus, is rooted in classic dystopian sci-fi. Although echoing Fritz Lang’s Metropolis, the social polarization of Blade Runner and the imagery of Hilberseimer’s Großstadt, the true source of Terje Brofos (the original name of 1940-born Norwegian artist) was the dystopian visions of novelist Axel Jensen, whose books he contributed illustrations. Life in Soft City follows some simple rules: everyone’s happy, everyone drives, everything is regulated by the same rhythm (you’re late, you’re fired), the same routine and the same lifestyle. The innerscape is as much a prison as the outerscape. Such a technocratic society is regulated by the figure of “The Boss”, a bureaucrat who sits behind a massive desk of levers and switches and controls the world via a giant screen. Much more than the themes, which appear a little clichéd, and the critique of power and greed, a bit naïve at its best, what intrigues us is the artist’s obsessive creation of an hyper-detailed world of factories, military death camps, square-shapedwindows-uniform architectures, and a general disenchanting view of modern life in the city through pop-art symbolism and Magrittian surrealism. Discovered after years of oblivion, Soft City was one of the standout works in the 2008 Berlin Biennale, while a Norwegian film (trailer here) released in 2011 documented the artist’s turbulent life.
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The interest of repetition starts from my perso good example of high density and complexity. C has a great number of population in limited display how people react to the fact that com psycological and physical health. Some residen for decades of years, the modules are repea which kill people's spirits and eliminate their ind with the attention to city and citizens, the popu the repetition in urban lives. However, repetitio trying to explore a suitable definition of a corre
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onal experience: where I grow up indicates a China and some asian countries such as Japan land. Social housing especially in Hongkong mpressing living spaces' have impact inhabitants' nts have to squeeze in a cage like living room ated and stacked to create the 'urban prisons' dentifications to the place. The intention begins ulation bomb can be regarded as the trigger of on should not be a crime. The thesis is also ect way to represent repetition.
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preliminary design project I elevated dreams
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Dream n. 1. a series of thoughts, images, and sensations occurring in a person's mind during sleep 2. a cherished aspiration, ambition, or ideal
Dimension n. 1. a measurable extent of a particular kind, such as length, breadth, depth, or height 2. an aspect or feature of a situation preliminary design project
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Firstly, Julie used 20 screens showing the videos of 30 artists sleeping in the same setting: all in white. The repetition here took away all the distractions of the useless context and the viewers can have strong focus on the artists. This technique shares some similar thoughts with my interest, even though everyone is situated in the same setting, by doing so, I can easily compare and define each individual, eg. there is one artist turning over his body to sleep with his back facing the camera and another one using the sheet to cover her whole body except the head while she is sleeping; or you can tell quickly one of the artists moves a lot during his sleep, etc. As a result, repetition brings a clear sense of variations which can be easily indicated. Even though the representation is simple, the repetition generates the power of this art piece. Secondly, the installation breaks the normal art display method, which is that the work is usually put at or near people’s horizontal eye level. Julie was informed that the exhibition space was about two typical floors high, which makes her decide to hang the screens above. This altered the way people usually see the artwork and demonstrates the hierarchy between the sleepers and the viewers. The spatial relations emphasize the experience since there is a sense of projection of the artists’ thinking over my own thinking. The almost steady human figures provide time for me to reflect this visit, and this is the reason why I created several collages to present my reflections. The collages are the outcomes of the artists’ dreams projecting on my mind. The idea of overlaying dreams guides me to this design proposal as ‘dream’ was once said to be the projection of the reality including people you interact with. The design is also trying to show this idea in some way.
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remaking the world: artists dreaming I julie rrap, the ian potter museum, 2015
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Although the original seeting of the installation was simple and pure, after research about each artist and their works, two collages were made using the artists's works to create the illusion of my interpretation of Julie Rrap's Remaking the World. My own reflection presents a more vivid and rich visions of the art piece
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remaking the world: artists dreaming re-editing with photoshop
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preliminary design project idea 1 I web bridge
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preliminary design project idea 2 I web bridge II
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preliminary design project idea III I web of beds
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Dreams are successions of images, ideas, involuntarily in the mind during certain stages are not definitively understood, though they ha well as a subject of philosophical and religious mainly occur in the rapid-eye movement (REM and resembles that of being awake. REM slee eyes during sleep. At times, dreams may occur dreams tend to be much less vivid or memora as a connection to the unconscious mind. Th control of the dreamer, with the exception of luc Sigmund Freud, who developed the discipline of theories and their interpretations in the early 1 of our deepest desires and anxieties, often obsessions. Carl Jung rejected many of Freud's dream content relates to the dreamer's uncons symbols or images from these dreams return w formed throughout the day also play a role in for the unconscious to deal with when the eg these glimpses of the past in the form of a dre 43
emotions, and sensations that occur usually of sleep. The content and purpose of dreams ave been a topic of scientific speculation, as s interest, throughout recorded history. Dreams M) stage of sleep—when brain activity is high ep is revealed by continuous movements of the ur during other stages of sleep. However, these able. In modern times, dreams have been seen he events in dreams are generally outside the cid dreaming, where the dreamer is self-aware. f psychoanalysis, wrote extensively about dream 1900s. He explained dreams as manifestations relating to repressed childhood memories or s theories. Jung expanded on Freud's idea that scious desires. He believed that many of the with each dream. Jung believed that memories n dreaming. These memories leave impressions go is at rest. The unconscious mind re-enacts eam. Jung called this a day residue. Jung 44
also argued that dreaming is not a purely in "one great web of psychological factors." Dream that have been ignored, rejected, or suppresse person in the dream to represent an aspect o approach to dreams. Perls expanded this point the dream may represent aspects of the dream imagine being an object in the dream and to d characteristics of the object that correspond with
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ndividual concern, that all dreams are part of ms are seen as projections of parts of the self ed. Jung argued that one could consider every of the dreamer, which he called the subjective of view to say that even inanimate objects in mer. The dreamer may, therefore, be asked to describe it, in order to bring into awareness the h the dreamer's personality. 12
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preliminary design project idea IV I elevated dreams
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preliminary design project idea IV I elevated dreams
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preliminary design project I elevated dreams Instead of the visual aspects of the installation, I’d rather put emphasis on the fact that the work is more about experience and reflection. What I proposed here is more like an architectural device or composition which re-interpret the work.
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I would use three words to describe my design: projection as the concept, repetition as the technique and ‘chaos’ as the sense. In general, the ‘Elevated Dreams’ is the collection of the repeated and stacked ‘bed’ modules to compose the ‘chaos’ of time, space and body. Visions of overlaying views of ‘sleepers’ demonstrate a further and abstract idea that to bring into awareness the characteristics of the object that correspond with the dreamer's personality. The composition consists of the repetition of one single module, with rotation, overlaying and stacking all the components are connected with stairs. Each unit is regarded as a ‘bed’ with the box skeleton made of steel and a hammock made of rope net. The contrasting material properties indicate the states of awaking and dreaming. The hammock itself is a flexible structure, the reason for using hammock is based on the fact that dreams mainly occur in the REM (rapid eye movement) stage of sleep, when brain activity is high and resembles that of being awake. So dreaming is actually an active state of mind and using the hammock enables people to experience such unstable situation. The repetition and stacking process constructs a mass or chaos of orders, the design is also trying to present the vertical relations between the sleepers and the awake as Julie Rrap did. Swiss psychiatrist Carl Jung believed that the unconscious mind re-enacts the glimpses of the past in the form of a dream, and dreaming is not a purely individual concern, that all dreams are part of one great web of psychological factors. Dreams are seen as projections of parts of the self that have been ignored, rejected, or suppressed. Jung also argued that one could consider every person in the dream to represent an aspect of the dreamer, which he called the subjective approach to dreams. Here the idea of projections of others is being discussed. When a person is lying on the ‘bed’, he can see other people laying above him while he is being watched by others laying beneath. I really want to use this spatial relation to present the concept of overlaying/ projection. By saying so, each module can be seen as one dream, the other modules can be another dream, the whole composition can be a totally different dream, this composed chaos is uncertain and yet to be explored. The rich and various definitions are all created by repetition of one simple unit. With the plethora of orders, I hope people can really think about himself as individual and his relationship with a greater unity and how can he situate himself into it.
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preliminary design project I elevated dreams
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The preliminary project exercise was a source some way, it opened up my mind to think and and researches about the mentioned artists, I power of repetition. Even though the projects always communicate a much more complicate layering and dimensions somehow echo the ide thesis project have also reflected these ideas.
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e to expand my explorations in repetition, in d dream wilder. Through Julie Rrap's installation personally find myself deeply attached to the expand from a simple module, the outcome ed meaning. Spatially, the experiments about ea of repetition, the following concepts and final
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Labyrinth n.
Maze n. 1. the labyrinth is not a maze. 2. in a maze there are many paths and crossroads. They offer special challenges to the visitors, who must choose the right path and make a decision14
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1. the labyrinth is a mysterious symbol-over 5,000 years old – of self-discovery and the search for the center of life 2. in a labyrinth, there is only one path, and that always leads to the center. The path Is drawn on stony ground with chalk or paint, laid out as a mosaic, cut into a lawn, or planted with flowers. The walker in the labyrinth always has the center in view. As he moves forward, he walks along the complete path of the labyrinth; he is constantly aware that he is approaching the center and moving away from it again. After many detours, and after walking the entire length of the labyrinth, he inevitably reaches the center 13
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project explorations 1 I distorted cloud
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project explorations 2 I string filter
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project explorations 2 I string filter
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The experiments regarding repetitive combinations of architectural elements reflect the potential atmosphere that these spaces could communicate with people. The nature has rich sources of repetitive pattens and tectures.
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TEXTURE PALETTE IN T
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THE NATURAL WORLD
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diagram I maze
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diagram I labyrinth
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the imaginary prison I giovanni battista piranesi, 1749 The role he has in western architecture, inspiring the spatial possibility of the architectural imagination Combined elements, with some archeological evidence, putting together to form visual compositions, not to be taken seriously, just to make it look good The prisons, a series of 16 prints, 1749, redraw on top of them in the same graving plate, darker mentally, spatially and architecturally What becomes possible in a drawing between truth and fact and consequences Every technique has its own structure, the technique go beyond structure take the logic and push it to some emergence Extend the logic of presentation Readability of space His methodical and detailed illustrations represent real or invented structures and buildings always from different perspectives. The buildings are sometimes exploded or distorted, fragmented and reassembled. The simplicity of the black line contrasts with the richness of the compositions
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walking City I warren chalk, frank brian harvey, ron herron, 1964 Walking City imagines a future in which borders and boundaries are abandoned in favour of a nomadic lifestyle among groups of people worldwide. Inspired by NASA's towering, mobile launch pads, hovercraft, and science fiction comics, Archigram envisioned parties of itinerant buildings that travel on land and sea. Like so many of Archigram's projects, Walking City anticipated the fast-paced urban lifestyle of a technologically advanced society in which one need not be tied down to a permanent location. The structures are conceived to plug into utilities and information networks at different locations to support the needs and desires of people who work and play, travel and stay put, simultaneously. By means of this nomadic existence, different cultures and information is shared, creating a global information market that anticipates later Archigram projects, such as Instant City and Ideas Circus.
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project explorations 3 I labyrinthine monster
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At this stage the initial project direction would is a combination of 'REPETITION', 'DREAM' a the studio. Building dreamscape is exciting to out of control and lose the sense of architectur form and space and it might not contribute so I want to do something personal, crazy and lecture talking about Giovanni Battista Piranesi fascinating drawings as they establish new arc some of the structure didn't make sense. Th architecture and extended the architectural lo works was very inspiring to me. I am also in and movies. The complicated combination of constructing an imaginary world even it is a thinking about future cityscape. The concept of patterns and imaginary world and I would like I re-organize all the above ideas and I realize Urban Labyrinth' discusses a new and exciting an imaginary labyrinth in an urban scale. Ho considered as 'city', it can also be public spac 79
be designing an imaginary urban labyrinth. It and 'CITY' based on my early examinations in me however I guess the outcome would be re since dreamscape is mainly exploring shape, omething in architectural topics. At least I knew meaningful. About one year ago I attended a and his imaginary prisons etchings. They are chitectural possibilities at that time even though hey changed the way how people understand ogic of presentation, the certain value of his nterested in the imaginary world in animations architectural elements, colors and textures is 'fake' world but it established a brand new f labyrinth demonstrates the ideas of repetitive to use it as one of my design concepts. Then e this might be my final topic. The 'Imaginary g future of spatial combination in the form of owever, the design outcome will not only be ce or a community. The focus will be spatial, 80
tactile and atmospheric rather than a practical own imagination, my architectural dream and fan
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system; it is also personal thinking from my ntasy.
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Urban Labyrinthine Dreamscape 1. the action of repeating something that has already been said or written. 2. the recurrence of an action or event.
1. the action or process of identifying someone or something or the fact of being identified 2. a person's sense of identity with someone or something 3. the association or linking of one thing with another
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Identification n.
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the streets and architecture of tokyo I norihiko dan
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People always say that there is no so-called 'avenue' in Tokyo in the vein of Paris' Avanue des Champs-Elysees, Barcelona's La Ramblas, or Beijing's Chang An Dajie. When walking on these 'avenues', you are made extremely conscious of your relation to and position within the city, and of the whole urban scale of the metropolis On the contrary, it's difficult to keep one's sense of direction in the small Tokyo alleys. However, bigger surprises await if you take a detour into the smaller roadside alleys, something repeatedly related to me by either friends from outside of Tokyo or friends who travel extensively. In other words, only thus did I learn this to be one of the major characteristics of Tokyo. During the Edo period, there were almost 200 miniatures Fuji Mountains built inside Tokyo. This was attributed to leyasu Dokugawa, who was born in the small Suruga City near Mt. Fuji and who later moved the capital to Tokyo. Considering Mt. Fuji to be a religious icon, Tokyo residents built these 'mini' versions of Mt. Fuji everywhere in the city so that they could have the leisure of appreciating the beauty of Mt. Fuji in their daily lives. Nowadays most of these artificial Mt. Fuji have been demolished, leaving behind numerous 'Fijimi-Chyo', which literally means 'places facing Mt. Fuji.' We might never know the raison d'etre for these paths curving toward the small hills, as old roads and buildings have been buried by skyscrapers and the view of Mt. Fuji has been long blocked. These place names, however, remain as clues to both history and to understanding the intricate layers of Tokyo.
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The project portrays my imaginations and fan design process I also approach to explorations design studies. At first I would like to define is a city? It is a center of population, commer importance. What is repetition? The recurrence notion to copy which means to make a thing a labyrinth? The labyrinth is a mysterious sym and the search for the center of life. In a laby leads to the center. The walker in the labyrinth forward, he walks along the complete path of is approaching the center and moving away walking the entire length of the labyrinth, he there are many paths and crossroads. They off choose the right path and make a decision. mentioned above – city, repetition and labyrinth combination possibility in the form of an ima the city design I will go through some major c the city can also be regarded as the center o direct and transfer people to their destination 87
ntasy about a dream city. Through the entire s about repetition, dimension and some urban a few very familiar terms and concepts. What rce, and culture; a town of significant size and e of an action or event but it is not the same to be similar or identical to another What is mbol-over 5,000 years old – of self-discovery yrinth, there is only one path, and that always h always has the center in view. As he moves the labyrinth; he is constantly aware that he from it again. After many detours, and after inevitably reaches the center. But in a maze fer special challenges to the visitors, who must My project fuses the three major intensions I to discuss a new and exciting future of spatial aginary labyrinth in an urban scale. To clarify components. The CORE, which is the heart of of a labyrinth, serves as a transport center to efficiently. It connects to the 4 major express 88
tunnels which is seem as the labyrinth path. In departments and attached to each side of the lives of the public. Secondly, the express tunne to confuse people but to guide people even if some similar thoughts with the urban planning in 4 parts: commercial + industrial, residential, each express tunnel belongs to a specific par will be pluged into the residential express. Whe could take the transport device which leads him of such extreme zoning method will somehow basis. My project instead, goes a little bit wild, be the restriction. All the express tunnel will tu and connecting each other with bridges. The travelling through various dimensions. The com city will be bonded more stable, solid, and com of repetition contributes to the atmosphere of factors which can emphasize the linkage betw treated as one possible method. The third c express portals. The fourth is the afforestation s 89
nside the core will be all the technical support core cube are the parks serve the recreational el. The underlying principle for a labyrinth is not they think they are lost. My city design shares ideas of modernism. I divided the city function infrastructural+educational and recreational. And rt. For example, all the residential apartments en a citizen want to travel to his residence, he m straight forward to his destination. The issue isolate the city functions in a two dimensional build upon the assumption that gravity will not urn to different orientation , crossing, overlaying purpose is to generate the illusive experience mmunication between people, buildings and the mplicated. Here, my interest and understanding this dream city. I believe one of the critical ween matters is complexity. And repetition is components are the buildings which fit in the system. It is constructed with the support of the 90
nutrition supply pipe system which runs crossing to the pipe, there will also be fishes swimm The city breaks the traditional image of our u modules distorted the formula of a city. What place with interfaces along many dimensions. upside down or perpendicular to you. It is a atmosphere of finding and exploration. My thes can evoke the lives of a city, and brings back , we were given the task to select an art pie project reflecting our own choices. Julie Rrap’s inspiring me with the power of repetition, dime seeking the different interpretations of repetition
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g the gaps within the city. Tree will be inserted ming in the pipe fed off the plants’ microbs. urban experience, the repetition of the express I design is a highly associated and activated . It is a city you will meet a friend walking city you won’t easily get lost but shares the sis is to define a new urban philosophy which k the identity as a citizen. From week 1 to 6 ece form the Ian Potter museum and design a installation remaking the world: artist dreaming ension and dream. My further experiments were with architectural languages.
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project mind map or the thesis project poetics
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tokyo 2050 fiber city I ohno hidetoshi 19 'Fiber' usually refers to to string thread-like objects, but here, in the context of urban space, we use it to describe structures that extend lengthwise like a line, or to tubular spaces. For example, transportation networks are fibers. Transportation paths run throughout Tokyo, in the air, on the ground, and underground. Moreover, communication networks are also fiber shaped. Above all, the fibers in contemporary cities can be described as spaces of speed and movement. The Fiber City makes suppositions about fluidity and speed. Fibers are also places of interaction and exchange, as represented by commercial spaces. Fashionable streets, and any number of humble shopping streets found round train stations in residential areas, many named hopefully after Ginza, the most famous shopping street in Japan, these are all fibers. The fiber is also a boundary. These include the boundaries of a housing complex, a park, or a university, a cliff, a coast, or a river.
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urban labyrinthine dreamscape I three-dimensional labyrinth plug-in buildings one tunnel one type
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urban labyrinthine dreamscape I core express device station
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my imagination I my dream I my city
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Julie Rrap, 'Remaking the World', 2015, p36. http://www.domusweb.it/en/architecture/2013/06/7/sou_fujimoto_serpentinegallery.html http://www.domusweb.it/en/architecture/2013/06/7/sou_fujimoto_serpentinegallery.html http://au.phaidon.com/agenda/art/picture-galleries/2012/february/02/the-fantastical-worldof-yayoi-kusama/?idx=13&idx=13 http://publishbrand.com/art-2/publish-art-study-yayoi-kusama/ http://www.peterstewartphotography.com/Fine-Art-Prints/i-T25jqvx/A http://www.peterstewartphotography.com/Fine-Art-Prints/i-Pm8kXMw/A http://socks-studio.com/2014/01/31/the-architecture-of-madness-leon-ferrarisheliographias/ http://socks-studio.com/2014/01/31/leon-ferraris-heliographias-2-iterations-texturespattern/ http://socks-studio.com/2014/11/02/where-is-the-mind-when-the-body-is-herepushwagners-soft-city-1970/ Julie Rrap, 'Remaking the World', 2015. https://en.wikipedia.org/wiki/Dream Jurgen Hohmuth, 'Labyrinths & Mazes', 2003, p28. Jurgen Hohmuth, 'Labyrinths & Mazes', 2003, p43. http://artmuseum.princeton.edu/object-package/giovanni-battista-piranesi-imaginaryprisons/3640 http://archigram.westminster.ac.uk/project.php?id=60 Norihiko Dan, 'Architecture and Urbanism of TOKYO', 2008, p6-9. Norihiko Dan, 'Architecture and Urbanism of TOKYO', 2008, p8. Norihiko Dan, 'Architecture and Urbanism of TOKYO', 2008, p105-128. Norihiko Dan, 'Architecture and Urbanism of TOKYO', 2008, p109.
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