L A N D S C A P E [re]INTERPRETATION
CHIA-YI KUO GRADUATE ARCHITECTURAL DESIGN BARTLETT SCHOOL OF ARCHITECTURE
Research Project
Landscape [re]Interpretation
Translation is a conversion of presentation to communicate in another language without changing its nature. The conversion between two different languages, such as a two-dimensional and three-dimensional manifestation or a static and dynamic state, is the transformation of presentation. Even though the configuration has been changed, the motif will be communicated. In Chinese landscape paintings, landscapes are represented by painters with artistic and personal principles. Compared to the physical world, it reveals the immeasurable and boundless characteristics. Through the proceeding of re-interpretation, the intention is to return landscape paintings into the three-dimensional state and investigate the difference with the former version –paintings. From real landscapes, paintings to the regenerated landscapes, this is a connected translation. After double interpretation, nevertheless, the rn might offer a brand-new perspective beyond natural spatial experience. The re-interpretation of landscape paintings still conveys its motif with a changed state. Real Landscape
2-D Ink Diffusion
Landscape Painting
3-D Ink Diffusion Chinese paintings show extreme variation in rendering of monochrome ink. Artists attempt to represent the 3-D impression with 2-D languages. Texture strokes play a vital role in representing the 3-D quality in Chinese landscape paintings. The amount of water, thickness of ink, density of strokes, shade of tones and pressure of brushes moved all need to be considered according to subjects of paintings. Brushworks not only reflect the natural environment where landscape paintings illustrate but also affect the depth perception.
Fan K’uan Travelers among Mountains and Streams Hanging scroll, ink and light colors on silk One of the most characteristic masterpieces in the Northern Song Dynasty, is the turning point of the Chinese landscape paintings which are represented from narratives to emotions.
Research Project
Landscape [re]Interpretation
The techniques of brushworks applied on rice papers and silk is converted to active forces forming landscapes. Firstly, certain main brush strokes in landscape paintings are classified. According to the properties and visual effects of these brushworks, two-dimensional mediums are transcribed to the three-dimensional versions of strokes. The aggregations of ink particles represent the movements of brushes and the types of brushworks. Different dynamic simulations correspond to specific strokes. When painters draw lines on picture planes to form silhouettes of mountains, it could be seen as the step of carving shapes; then they proceed to apply texture strokes on portrayed objects, which creates the three-dimensional quality. This probably approximates the action causing terrain undulation. There are three main types of brush strokes defined. One creates gaps of the front and rear with cutting faces; another shapes a deep ravine with rendering and the other forms veins of mountains. Moreover, the texture strokes produce the relief of rocky surfaces. As ink particles diffuse on papers, the active forces interact with materials of lands and raise that along with the collision. Texture Brushstroke
Dynamic Brushstroke
Texture Brushstroke
Dynamic Brushstroke
Texture Brushstroke
Dynamic Brushstroke
The depth of ink, density of strokes and contrast of shading constitute the 3-D feature of objects and the relation of the near and the far in composition. On this account, brushworks are transcribed as design instruments to embody the representation of Chinese landscape paintings. Through manipulating these dynamic strokes, a further version of the painting “Travelers among Mountains and Streams� is re-generated.
Research Project
Landscape [re]Interpretation
After translating the painting with the re-defined principles, a painting-like landscape is rendered. This further version substantiates the conceptual space in the landscape painting. The visual effects created by two-dimensional stroke brushes are converted to the state of landforms. This investigation proceeds to apply these three-dimensional strokes into a human scale and response to urban contexts.
The initial trial is to use the dynamic brushworks to design landscapes by connecting and interfering human activities on the site. Different human behaviors are converted to specific strokes which act with the site. The effects of brush strokes are concreted as physical landforms which could be experienced and observed. In addition, the scale of these brushworks determines the terrain undulation and sectional textures of landscapes.
The floating particles above the landscape symbolizes the ink rendering of paintings; on the other hand, it is the interaction visualization during the material collision. Based on the site context, the 3-D landscape painting is unrolled and reproduced in the cityscape.
Research Project
Landscape [re]Interpretation
New York City’s Chinatown locates in a multi-culture confluence of the lower Manhattan where the traditional Chinese culture is introduced to and blends with the West. However, the cityscape of this area seems to lack for the communication of the spatial conception in Chinese philosophy. Consequently, the intention is to embody the spatial identity as the function of a decorated archway which declares the symbolic meaning and of Chinese culture. The possibility of abstract concept could be extended and transformed as a physically spatial experience.
The Sara Delano Roosevelt Park neighbors close Manhattan’s Chinatown. The strategy is to rebuild Chinese landscape painting on the site and represent its spatial conception.
Brushwork Diagram
Texture Distribution
The techniques of brushworks are converted to active forces which shape landscapes. Different dynamic brush strokes generate specific landforms.
Three types of self-defined texture strokes are applied on the generated landforms. This not only represents certain regional environment but geologic condition.
Research Project
Landscape [re]Interpretation
These terrains are generated from various dynamic brushworks and specific texture strokes. The design language which is in responds to regional textures establishes distinct identification in architecture instead of the duplication of formality and symbols. The reinterpreted landscapes embodies the unique spatial qualities and evoke poetic experience in Chinese landscape paintings.
Typical Texture Stroke
Self-defined Texture Stroke
PLAN
TOP
OBLIQUE
SIDE
Research Project
Landscape [re]Interpretation
These terrains are generated from various dynamic brushworks and specific texture strokes. The design language which is in responds to regional textures establishes distinct identification in architecture instead of the duplication of formality and symbols. The reinterpreted landscapes embodies the unique spatial qualities and evoke poetic experience in Chinese landscape paintings.
Typical Texture Stroke
Self-defined Texture Stroke
PLAN
TOP
OBLIQUE
SIDE