Architecture Knock Offs by Kyle Stover

ARCHITECTURE KNOCK OFFS RPI + TCAUP SPRING 2014

Contents

02 - 03

Studio Brief

04 - 23

RPI Student Travel Projects

24 - 35

RPI + TCAUP Research Clusters

36 - 137

RPI + TCAUP Studio Projects

Studio Brief We’re all familiar with knock-offs. We all probably own a few, both knowingly and not. The real question is, what’s the value of a knock-off? After all, a knock off is a reproduction of an original, an alien alteration, or a hybrid mutation of the existing – it’s literally ‘not the real thing.’ A knock-off is a mass produced mirror, a reflection of the original with an alibi for authenticity. They are copies made to look, feel, or operate like the real thing. With knock-offs, looks can be deceiving, and beneath the label their ingenuity is in the capacity to alter the tectonic logic of the original. One has to be innovative to make an original, but it takes expertise to make a knock-off. A fake is a product of reverse engineering; it takes an original and works backward using alternative fabrication techniques to simulate the original. The knock-off is an unauthorized imitation, designed to deliver the same effect for a fraction of the cost – and it is ironically the most unique and interesting product in today’s global society. Architects are experts at making knock-offs. After all - architect see, architect do. We, as architects, draw from history and the immediate present in the production of architecture. Architects are professional imitators with a penchant for practice. Like the trained body of an athlete conditioned for competition, the act of building is a strategic rehearsal for an on site performance. As a practice, architecture is an act of repetition. Buildings are never unique, rather, they are extensions of the existing - prosthesis for place-making. Citation, quotation, adaptation, remake, series, and forgeries are textual operations within this logic of repetition – and it is precisely this logic of repetition that connects architecture and knock-offs.

It would be easy to dismiss knock-offs and forgeries as cheap products unworthy of investigation. However, a deeper truth lies beneath the surface. Digital computing and information technologies have wired the world into an atmosphere of inter-connectivity that has fundamentally altered the humanlandscape. The Digital Revolution is marked by this drive towards technicity, and it’s devices like the internet or smart phones that contribute to a self-replicating augmentation of collective subjectivity. Technology has always shaped the human-animal. The Agricultural Revolution domesticated plant and animal, and along with the plow, forever altered our diets and urban habitats. The Industrial Revolution with assembly lines and mass production built the fabric of the world around us. Knock-offs are fundamental to the Digital Revolution, if not one of it’s greatest inventions. The digital is defined through replication and morphological variability which give rise to a unique variation of the copy. Digital copies are simulacra – copies without an original – and this studio will extract logics of the digital, in the form of a knock-off, to be applied in the production of architecture.

Professor Kyle Stover - RPI Professor Wei Wei - TCAUP Professor Hong Wei Lu - TCAUP

Travel Assignment iFrankenstein When Dr. Frankenstein first created his monster, he horrifically gazed on with the new found love of a father. The monster that he had taken a lifetime to painstakingly create was entirely alien, other, distinctly not-human. Alone in the world, the monster asked for a bride to share the life experience – a request initially granted by the good doctor. The monster’s bride revealed a mutant future, a possible rise of monsterkind that might parallel humankind. Appalled by this future, the doctor destroyed the monster’s bride and set out to destroy the monster himself, only to die in the process alone in arctic abyss. The good doctor’s own humanity, or lack there of, is only made apparent through the monster. The ‘otherness’ of the monster crystallizes what it means to be human when set against the theater of cruelty built by Dr. Frankenstein. Typologies, or categories of standardization, are disjunctive syllogisms – they are defined by difference. The classic western film The Good, The Bad, The Ugly is a western because it has elements that define it as such; smooth talking cowboys with a swagger deliver justice at the end of a revolver, stand-offs between dirt-caked villains and vigilantes, a damsel in distress, the music, the scenery all add up to identify the film as ‘western.’ Typologies are coded maps, they define the territory within which they operate. Within typologies, a western film is different from a romantic comedy or a science fiction film. Species, on the other hand, are malleable entities with the capacity for morphological mutation. Star Wars is undoubtedly a science fiction film, but it’s also a western film. Lasers substitute for bullets, spaceships for trains, Imperial AT-AT’s for horses, the Jedi are based of Jidaigeki (Samuri / gunslinger, and Han Solo as our lovable anti-hero cowboy.

Each student will identify three typologies and visually define the parameters of standardization. How is that type defined? What rules set it apart from the other? How is that particular type different from another? Each student will then make a monster – a synthetic species reconstituted from their typological taxonomies. Deliverables 4 page drawing set – each page at A3 Page 1 – Visual Analysis of Typology 1 Page 2 – Visual Analysis of Typology 2 Page 3 – Visual Analysis of Typology 3 Page 4 – A Monster

1, 2 - Impossible Architecture - Filip Dujadin

Liz Lee iFrankenstein - Analysis 1 - Aries Mateus 2 - Forbidden City 3 - Feberic Plateus

original shape

slices

ARIES MATEUS

FORBIDDEN CITY

FREDERIC PLATEUS

twisting around core

Liz Lee iFrankenstein - Monster

JOE DANIELE iFrankenstein - Analysis 1 - Blur Building, DS&R 2 - Anime 3 - Chinese Landscape Paintings

JOE DANIELE iFrankenstein - Monster

Will Pyatt iFrankenstein - Analysis 1 - Traditional Chinese Architecture 2 - Adolf Loos 3 - Formula 1 Logo

FIGURE GROUND

LOOS

BILLBOARDS

GRAPHICS

SYMMETRY

DECALS

Will Pyatt NEW ORDERS iFrankenstein - Monster

Erica Barrows iFrankenstein - Analysis 1 - A Clockwork Orange by Stanley Kubrick 2 - Banyan Tree 3 - Odeile Decq



 Alex's World

Prison

Ludovico’s Technique

After Treatment

Treatment Removed

Love for Beethoven Control Free Will Commited Violence

Foundation

Compression

Pulling

Contortion

Splitting

Result

Received Violence



 



  

 

  

Pulling

iFrankenstein - Monster





Erica Barrows

Hailey Beyer iFrankenstein - Analysis 1 - Le Corbusier Urbanism 2 - Kowloon Walled City, Hong Kong 3 - Beauty and Transmogrification

Hailey Beyer iFrankenstein - Monster

Jacob Wigton iFrankenstein - Analysis 1 - iPhone, Virtual / Real 2 - Subtractive Geotechtonics, Kirst Mountains, Chinese Wood Sculpture 3 - Tulou Housing, Inside / Outside

Jacob Wigton iFrankenstein - Monster

Emily Judson iFrankenstein - Analysis 1 - Gothic Cathedral, John Soane 2 - Parametrics, Michael Schumacher 3 - Tao Chi

Emily Judson iFrankenstein - Monster

Frazer Lea iFrankenstein - Analysis 1 - Le Corbusier Urbanism 2 - Gundam Techtonics 3 - Camouflauge

Frazer Lea iFrankenstein - Monster

Amy Gecelter iFrankenstein - Analysis 1 - Issey Miyake 2 - Perception and Distortion 3 - Antonio Gaudi and Star Wars

UNIFORM

DISTORTION

Amy Gecelter iFrankenstein - Monster

Research Clusters -isms What makes a thing belong? Or rather, but what criteria is one thing differentiated from another? A pursuit of purity in classification is unachievable, not to mention unworthy as an aim. The boundaries that encircle taxonomies, periods, or genres are artificial constructs and are far fuzzier than historians or coffee table books would have you believe. The film Star Wars is simultaneously a science-fiction (the dominant reading), a western (space = frontier), and a romantic comedy (Luke kisses his sister Leia); an attempt to reduce a work to a singular reading is far more reductive than productive. Charles Jenks laid the foundations for architectural classification as an infinite web of collusion between actors and agents that destabilizes any traditional notion of genre. The intent of this research is to determine why a categorical heading might exists (like Modernism) while simultaneously also seeking to find the limits of such a construct. Groups of six students (3 RPI + 3 TCAUP) will be organized into five research clusters under categorical headings - modernism, post-modernism, formalism, post-formalism, and contextualism. While the historical periodization of architecture is an arbitrary social construct, the intent is for each research cluster to develop insight into why such a construct might exist or be useful. Each research cluster will catalog a series of fragments by knocking them off into an architecture taxonomy. Each cluster will focus specifically on the assigned cultural genre and must articulate why such a fragment falls within their genre. Each fragment must be autonomous, which is to say, the genre must be identifiable within the fragment and the fragment (as a digital object) must be universal (modeled as a polygon object with materials). Each week, the library of architecture fragments will grow into an

open source encyclopedia for all student to use at the end of the research cluster phase. Each group is the designated expert on their topic, you as a group must make the case why your fragment falls in your genre â&#x20AC;&#x201C; even if another group might make a claim to the same fragment. Once the library is completed, groups will design a monster from their fragments â&#x20AC;&#x201C; an unholy reincarnation of genre.

1,2 - Jim Golden

Hailey Beyer, Liz Lee, Will Pyatt, Ke Xinran, Wu Xiaofei, Xie Tianyuan -isms [Modernism] 1 - Villa Savoye, Unite dâ&#x20AC;&#x2122;Habitation, Olivetti Factory, Barcelona Pavillion, IIT Crown Hall 2 - Prentice Hospital, Church of Light, Ronchamp, Bauhaus, LA DWP 3 - Stone Screen, Johnson Wax, CBS Building, Koluma Museum, Dulles Terminal

Hailey Beyer, Liz Lee, Will Pyatt, Ke Xinran, Wu Xiaofei, Xie Tianyuan -isms [Modernism]

Yuan Fengi, Frazer Lea, Michael Miwa, Li Ximeng, Li Chen, Edbert -isms [Post-Modernism] 1 - 77 West Wacker, Arab World Institute, Unidad residencial en Vialba, Bank Of America Center, Golden Snail 2 - House of the Suicide Hair, HSBC Main Building, M2, Koizumi Sangyo Office Building, Kreuzberg Tower 3 - Parc de La Villette, Parc de La Villette, Mothers House, La Nuova Piazza, Walt Disney Concert Hall

Yuan Fengi, Frazer Lea, Michael Miwa, Li Ximeng, Li Chen, Edbert -isms [Post-Modernism]

Emily Broadbent, Michel Chabam, Tom Roland, Shiji, Pan Pan Cao, Adlet -isms [Formalism] 1 - Airstream, Ducati, Quarter Panel, Digital Morphologies 2 - CCTV. W Building, Torus Building,

Emily Broadbent, Michel Chabam, Tom Roland, Shiji, Pan Pan Cao, Adlet -isms [Formalism]

Wangshan

Amy Gecelter, Melanie Ngami, Jacob Wigton, Lu Xinjie, Gui Mingze, Wang Gaoxin, Wang Shan -isms [Post-Formalism] 1 - Translation Autoban, Melting Ice Cream Truck, Barcode Building, Basket House 2 - Piano House, Lego House, Weinermobile, Rooms

URE OCK-OFFS KNOCK-OFFS

ALISM

ami ton nLu lter oxin han

ARCHITECTURE KNOCK-OFFS

POST FORMALISM Melanie Ngami Jake Wigton AnnLu Amy Gecelter Wanggaoxin Wangshan

POST FORMALISM Translation , Autoban / Melanie Ngami, 3/27/2014

Melanie Ngami Melting Ice Cream Truck, Glue Society/ Melanie Jake Ngami, 3/27/2014 Wigton AnnLu Amy Gecelter Wanggaoxin Wangshan

Translation , Autoban / Melanie Ngami, 3/27/2014

URE OCK-OFFS KNOCK-OFFS Piano House , Architecture Students at Heifei Univeristy of Technology / Amy Gecelter, 3/27/2014

ALISM

ami ton nLu lter oxin han

Translation Melanie Ngami, 3/27/2014 Translation , Autoban, /Autoban Melanie /Ngami, 3/27/2014 RPI / TONGJI SPRING 2014

Piano House Piano , Architecture House , Architecture Students at Students Heifei Univeristy at Heifei Univeristy of Technology of Technology / / Amy Gecelter, Amy 3/27/2014 Gecelter, 3/27/2014 RPI / TONGJI SPRING 2014 Basket House ,NBBJ Atchiteture/ Melanie Ngami, 3/27/2014 Basket House ,NBBJ Atchiteture/ Melanie Ngami, 3/27/2014

Basket House ,NBBJ Melanie 3/27/2014 Melting Ice Melting CreamAtchiteture/ Ice Truck, Cream Glue Truck, Society/ GlueNgami, Melanie Society/ Ngami, Melanie 3/27/2014 Ngami, 3/27/2014

Lego House , James May/ Amy Gecelter, 3/27/2014

Barcode Building, Vitruvius and Sons/Amy Gecelter, 3/27/2014

Piano House , Architecture Students at Heifei Univeristy of Technology / Amy Gecelter, 3/27/2014

Basket House ,NBBJ Atchiteture/ Melanie Ngami, 3/27/2014

RPI / TONGJI SPRING 2014

Wangshan, 3/27/2014 Lego House Lego , James House May/ , James AmyMay/ Gecelter, Amy 3/27/2014 Gecelter, 3/27/2014

Barcode Building, Barcode Vitruvius Building,and Vitruvius Sons/Amy and Sons/Amy Gecelter, 3/27/2014 Gecelter, 3/27/2014

Wienermobile, Oscar Mayer/ Jake Wigton, 3/27/2014 RPI / TONGJI SPRING 2014

Wangshan, 3/27/2014

Amy Gecelter, Melanie Ngami, Jacob Wigton, Lu Xinjie, Gui Mingze, Wang Gaoxin, Wang Shan -isms [Post-Formalism] ARCHITECTURE KNOCK-OFFS

EK-OFFS KNOCK-OFFS

ISM

POST FORMALISM Melanie Ngami Jake Wigton AnnLu Amy Gecelter Wanggaoxin Wangshan

TitleDesign of Group Design Title of Group Final Piece Final Piece Axonometric View 3 Axonometric View 3 RPI / TONGJI SPRING 2014

Title ofPiece Group Design Title of Group TitleDesign of Group Final Design Final Piece Final Piece View 4 Axonometric Axonometric View 1 Axonometric View 4

Title of Group Design Final Piece Axonometric View 2

Hailey Beyer, Liz Lee, Will Pyatt, Ke Xinran, Wu Xiaofei, Xie Tianyuan -isms [Contextualism] 1 - Colum Typologies, Kirst Mountains, Tulou Housing Stair 2 - Tulou Housing Typology, Rice Fields

Hailey Beyer, Liz Lee, Will Pyatt, Ke Xinran, Wu Xiaofei, Xie Tianyuan -isms [Contextualism]

Studio Projects The primary studio project this semester will be the design and development of a building sited in the North Bund of Shanghai. The building will consists of three major programmatic elements; 1. Museum for Forgeries 2. Factory for the Production of Forgeries 3. An Artificial Ecology : each at 18,000 sq.m.. The given programmatic area is smaller than necessary given our site and students must think through the urban implications of siting their project and how the site should be used given the context of Shanghai. The site is surrounded by highly differentiated urban fabric on all sides; generic glass and steel high rise from the post1980’s on the North, a historic low rise Jewish neighborhoods on the South and East, and traditional low rise Chinese Lilong housing on the West. Students, in groups of two (1 RPI + 1 TCAUP), will begin by developing a thesis on architecture. An architecture thesis is an abstract idea that allow you, the design team, to make critically operative decisions in the project. Architectural thesis / strategies are infinite and malleable – the same strategy or thesis can yield an infinite array of spatial organizations or aesthetics. Often these are tectonic associations, like Semper’s surface strategy of ‘weaving,’ or they can be analytic operations like Eisenman’s ‘deconstructions,’ or even synthetic composites like Corbusier / Koolhaas / Lynn ‘plasticity of form.’ The history of these ideas form the discourse of architecture, namely, they define the vocabulary and grammatical syntax of architectural language. When in doubt, and in the spirit of the studio, pick a project and copy.

Macro Strategy Develop an organizational strategy that encompasses all three major programmatic elements; a museum for forgeries, a factory for the production of forgeries and an artificial ecology, each with a minimum programmatic area of 18,000 sq. m. These should not be applied to the site for the time being, rather, they will exist as abstract concepts visualized through drawing. Each week the program will become progressively more specific and you will have to reiterate your thesis as it it incorporates a finer grain of architectural program and space. Micro Strategy Develop a strategy of display and production. How should forgeries be displayed in a museum context; like a traditional museum or perhaps something alien and other? How should forgeries be made; is the forger a traditional artist who needs a studio live / work or are forgeries made through mass industrial / computational techniques. A minimum of 10 artists must live and / or work on site.

Frazer Lea + Pan Pan Cao

Post-and-Beam Monster in the Park

A Lie that Tells the Truth

This project is intended to be in direct dialogue with column projects throughout history. Oneto-one knock-offs of previous column typologies/instances are used to allegorize the role of the column in Architecture. Columns themselves can mean many things: they can be a resolution of vertical and horizontal (the Gothic) or an expression of accreted mass bearing down on a central point (Chinese framework column); some columns relate directly to what they support by expressing an intersection (â&#x20AC;&#x153;collisionâ&#x20AC;?) of structural components (Sendai Mediatheque column), while others express the purpose of one autonomous element supporting another (Caryatid column).

Additionally, this project explores the meaning of the forgery through an architectural metaphor. As the visitor circulates from galleries displaying forged art to studios where forged art is produced, they experience a very sudden and highly articulated transition from one world into another, narrated through an abrupt change in spatial organization, materiality and axiality. This architectural transition represents the abstract link between the physical piece and the intention/ meaning that every artist imbues in their work. And in a forgery this link is doubly as potent and dynamic! Our project aims to enhance the visitorâ&#x20AC;&#x2122;s ability to engage with these two worlds that art occupies.

Frazer Lea + Pan Pan Cao Column / Beam; A Museum / Factory for Forgeries

Yuan Fengy + Jiang Yi

Hegemony as Heterotopia The museum is conceived as a miniaturization of the social structure of Foucault’s heterotopia, in which the hegemonic institutions and spaces of otherness are not in conflict with each other. The project recalls the premise of Rem Koolhaas’s Exodus Project, in which the politics of the Berlin Wall are inverted containment becomes a desirable condition. Recently, the protests in Kiev, Ukraine evoke a similar strain of thought. Independence Square, originally designed by Haussman as a deterrent to revolution, ultimately facilitates it.

At the center of the museum for forged art is Ledoux’s Spherical House, with the dome of Nero’s Domus Aurea above, and a roman amphitheater below. These elements are framed by the atrium walls of Kahn’s Exeter Library. The exterior wall is a suspended poche space from which figures are carved out, producing voids for potential inhabitation. The museum lies within the grid of Tschumi’s Parc de la Villette, organized under the open plan of the MIT Media Lab, allowing artists to configure their own living/work spaces.

Yuan Fengy + Jiang Yi Hegemony as Heterotopia

Liz Lee + Simon [Li Ximeng]

Fragments and Facades This project for a forgery facility uses figures as program voids and facade surface. Figural program voids are used planometrically and sectionally to erode the XXL urban mass that occupies that site. As a narrative that might connect the workers within the urban mass to the public without, the facade is composed from a series of architectural knock-off pre-fabs. The facade then operates as an XXL advertisement for the products made within. Through its gridded composition, the facade allows the interchange of parts over time as new architectural projects are forged within the factory.

FORMAL ANALYSIS

The internal program volumes reconfigure the floor plate topography into an artifical groundscape where occupants drift through continuous space, The voids operate as a moment of interruption within the spatial flow thereby establishing spatial hierarchy. In keeping with the XXL urban scale, a megaramp absorbs the massive corner while moving users internally from one floor to another. The project is a program packing archetype, wrapped in product stream it seeks to proliferate.

Liz Lee + Simon [Li Ximeng] Fragments and Facades

FORMAL ANALYSIS

Liz Lee + Simon [Li Ximeng] Fragments and Facades

SERVICE

GALLERY ‘01

CAFE

OPEN GALLERY SOUVENIR SHOP

SERVICE

TICKETING

OPEN FACTORY

STORAGE SERVICE

ECOLOGY CIRCULATION

LEVEL ‘01

SCALE 1:500

Liz Lee + Simon [Li Ximeng] Fragments and Facades

Melanie Ngami + Wen Yitong

Wonky Reflections The project, in general, is a wonky reflection of a typical garden in Su Zhou. The strategy was to trace a series of precedent elements through patterned deformations that would leave their spatial mark as super-graphics. The Shu Zhou site is configured as a stencil composed of porous garden rock shapes into a monumental urban mass. The original roof profiles were used as an trim to level out the urban mass.

FORMAL ANALYSIS

Melanie Ngami + Wen Yitong Wonky Reflections

CONCEPTUAL ANALYSIS

Melanie Ngami + Wen Yitong Wonky Reflections

FORMAL ANALYSIS

Melanie Ngami + Wen Yitong Wonky Reflections

SECTION: 1M-500MM

Melanie Ngami + Wen Yitong Wonky Reflections

Erica Barrows + Shiji

Fragments and Facades Cityscape Apocalypse employs Archigramâ&#x20AC;&#x2122;s Walking City and Dogmaâ&#x20AC;&#x2122;s No Stop City / A Simple Heart to mimic a mat strategy replicated from the Shanghai North Bund urban grid. The mat is composed of urban modules operating as a cityscape which replicates an array of architecture into the area of the site. The limit of the mat cityscape is framed as an urban backdrop defining the program space and creating a sense place-less. The robotic Archigram figures are spatially parasitic as they deteriorate the grid through destruction; they act as other in relation to the urban mat. The western facade is a mute urban backdrop against the city; slowly

deteriorating as the grid pushes its way out of the wall. The Walking City figural disruptions contributes to the site strategy of eroding the urban landscape through the projectâ&#x20AC;&#x2122;s internal grid.

Erica Barrows + Shiji Cityscape Apocalypse

Reception

Work Staff

Stores

Office

Atrium

Permanent Gallery

Mechanical / Electrical

Office Storage

Office

Conference Room

Storage

Event Space

Storage

Permanent Gallery

Temporary Gallery

N 1 : 500

First Floor Plan

Storage

Office

Stores

Atrium

Artist Shared Work Space

Mechanical

Artist Living Space Artist Individual Work Space

Storage

Equipment Space

Artist Individual Work Space

Storage Artist Individual Work Space

Permanent Gallery Temporary Gallery

Second Floor Plan

1 : 500

Erica Barrows + Shiji Cityscape Apocalypse

Artist Individual Work Space

Atrium

Artist Shared Work Space

Storage Artist Shared Work Space

Artist Individual Work Space Storage Artist Individual Work Space Cafe / Restaurant Artist Individual Work Space

Atrium Artist Living Space

Storage

Artist Living Space

Fourth Floor Plan

1 : 500

Artist Living Space

Artist Living Space Artist Living Space

Artist Living Space

Atrium

Artist Living Space

Artist Living Space Artist Living Space

Artist Living Space

Artist Living Space Artist Living Space

Cafe / Restaurant

Artist Living Space Artist Living Space

Artist Living Space

Fifth Floor Plan

Atrium

Artist Living Space

1 : 500

Erica Barrows + Shiji Cityscape Apocalypse

Jacob Wigton + Edbert

Built Environment Duplication and forgery have a long history in China as a way of learning, iterating, and making. Located on a site sandwiched between contemporary iconic skyline and historic Chinese housing, the museum for forged artwork bridges and contextualizes the past, the present, and the future. The fragments of urban fabric, from past to future, build up a collage of built environment. The built environment in the project are made up of both imitations of urban â&#x20AC;&#x153;built environmentâ&#x20AC;?, as well as imitations of nature as a built-environment. These imitations of nature create layered spaces that unravel and expose their true identities as forged objects for the context of the built environment. .

Jacob Wigton + Edbert Built Environment Imitation

UP UP DN

UP DN UP

DN UP

Ground floor plan 1:500

Section-A 1:500

Jacob Wigton + Edbert Plan and Section Drawings C

Built Environment Imitation

Built Environment Imitation Diagrams A Edbert and Jacob Wigton

Vine Imitation The manifestation of virtual advancement into materiality bridges the gap between the virtual and the real in order to recontextualize the form of nature as a man-made object

Icon Imitation Imitation of the iconic Shanghai skyscrapers re-developed as horizontal bar structures questions the verticality of the skyscraper while grounding contemporary architecture back into Chinese historical roots UP

UP DN

UP DN UP

DN UP

UP DN

DN UP

UP DN DN UP

Lilong Housing Imitation Reorientation of the Lilong house into a vertical tower emphasizes a transition from historical architecture in the context of a developing urban environment.

UP DN DN

DN UP

Park Imitation

DN UP UP

DN UP

The Imitation of the park builds the ground out of layers that begin to unravel revealing a reality of virtual design and imitation of the natural. This imitation throws off the qualities of the natural and becomes a monster that is both and neither.

DN UP

UP UP

2nd floor plan 1:500

Jacob Wigton + Edbert

Built Environment Imitation

UP UP

2nd floor plan 1:500

Section-B 1:500

Tom Roland + Summer

One-to-One Market With modern art inevitably shifting towards an extremely iconic, almost industrial standpoint; One-to-One Market becomes an equally iconic monument for which to display and consumerize such works. Programmatically, the work is mean to be both a factory for producing forged pieces as well as a museum to display this specific genre of fine arts. While One-to-One is in no way a contemporary approach to the modern art museum, it becomes a historical taxonomy of iconic figures coming together in a not so harmonious way producing a monumental architecture perfectly suited for the display and production of not only forged art pieces but also the ever changing conditions that become art. An art displayed to the masses; an art available to the masses.

Tom Roland + Summer One to One Market

0m 10m

LogIC

PLAN

1 : 500

bASEmENT

grouNd

1ST

2Nd

STANdArd

uNIT

20m

40m

SITE PLAN

1 : 1000

Tom Roland + Summer One to One Market 0m 10m

LogIC

PLAN 1 : 500

bASEmENT

grouNd

1ST

2Nd

STANdArd

uNIT

20m

40m

SITE PLAN

1 : 1000

Tom Roland + Summer One to One Market

2Nd

STANdArd

uNIT

Tom Roland + Summer One to One Market

PLAN 1 : 500

bASEmENT

1ST

grouNd

0m 10m

2Nd

STANdArd

uNIT

20m

40m

2Nd

SITE PLAN

STANdA

1 : 1000

Hailey Beyer + Gui Mingze

Contextual Fragmentation Contextual fragmentation refers to the confusion of a visitorâ&#x20AC;&#x2122;s sense of place. The concept behind this project is reinforced by the program. A museum for architecture knockoffs inherently displays work that has already been created elsewhere and brings it into a different context. Art and Architecture fragments situated into an alternative context transports visitors into a decontextual other space. As visitors make their way through galleries and artist studio areas, their sense of place within the urban fabric of Shanghai is constantly challenged and then reinforced. This is done through a series of large windows that look outward at the surrounding city. Contextual confusion is created by a series of circular cuts that replace floors and walls with decontextualized fragments of significant architectural projects.

Hailey Beyer + Gui Mingze Contextual Fragmentation

Hailey Beyer + Gui Mingze Contextual Fragmentation Relationship between surroudings and site

Car

路路

SITE

Line 12 Foot

Public Road

Country Road

Country Road Public Road

中南

路

Hailey Beyer + Gui Mingze Contextual Fragmentation

Hailey Beyer + Gui Mingze

Architecture Knock-Offs: Contextual Fragmentation Contextual Fragmentation Gui Mingze and Hailey Beyer

Site Plan Scale: 1:1000 m

Hailey Beyer + Gui Mingze Contextual Fragmentation

6th Floor Plan Scale: 1:500 m

Section B-B Scale: 1:500 meters

Will Pyatt + Ann Lu

747, Boeing or Otherwise The project hinges upon the manipulation of figures through a series of highly specific sectional moments arranged within a mass, and are made apparent through their cutting and exposition across the facade. The surfaces of the figures are the only moments of puncture in an otherwise unbroken mass, and function as massive display surfaces for the artworks. However, rather than derive the figures from a constructed primitive or base geometry [as is the trend within contemporary design], the iconic and identifiable form of the Boeing 747 is manipulated and transposed within the building mass. The sheer scale of the projections operate as public

and urban gestures claiming the street front and spatial voids between program masses as a new public forum for the display of artworks. The scale of the projections in this public space echo back to the typology of a drive in theater, where works are displayed in public outdoor forum at a massive scale. The sliced figures and intersections therein create strange and mysterious volumes operating at a variety of scales. The macro - urban scale gesture of the singular figure, wherein the urban screen displays projected artworks. The micro scale of the interior, where art works are projected at a human scale, and the interstitial scale where the space between the figures and the vast scalar discrepancy of the projected artworks creates fantastic and unforeseeable visuals effects.

Will Pyatt + Ann Lu 747, Boeing or Otherwise

Emily Broadbent + Truman

The History of Now Museum The History of Now Museum is a place for the iPhone generation and things that lack a sense of place. The struggle of this museum is to stay relevant into the future and it does that by continually knocking off the newest trendy thing. This museum is composed of twelve different environments that were knockoffs of Superstudioâ&#x20AC;&#x2122;s Twelve Cautionary Tales for Christmas. The building is a sort of ant farm from the outside and the inside uses a strong pochĂŠ to create support space for the twelve environments. The art in this museum is not what people generally perceive as art, the meme and fake iPhone have an equal standing as art in the History of Now Museum.

Emily Broadbent + Truman The History of NOW Museum

Michael Miwa + Wang Shan + Wang Gaoxin

Future and the Forgotten Shikumen housing, typologically unique to Shanghai, has become dominated by the influx of high-rise residential and commercial towers built for rising urban population and growing urban business districts. It can therefore be argued that Shanghaiâ&#x20AC;&#x2122;s rich history is becoming forgotten and dominated by the anticipated future. Consequently, we wanted to design a structure that acknowledges Shanghaiâ&#x20AC;&#x2122;s present growth but also its history. To represent this concept, we intersected two plains and created program space through surface manipulations. The site is currently empty, but before, it consisted of multiple Shikumen-style homes. As a museum for knock-offs and

forgeries we wanted the history of Shanghai to be preserved by knocking off the siteâ&#x20AC;&#x2122;s past, hence the perforations on the structure roof. The future is represented as a moment of excavation. At the southwest corner, the plain is cut, revealing layers of the factory for knock-off art. The future is is excavating layers of the past. The intersecting plains help define the basic program of the structure, which covers the entire site. The southeast and northwest corners contain museums; these museums contain smaller glass exhibition spaces which are actually extrusions of the original site. The southwest contains the factory. At ground level, the northeast is a park and walking entrance for pedestrians. Underground at the same corner is a parking lot.

Michael Miwa + Wang Shan + Wang Gaoxin Future and The Forgotten

Outline of History Plain

Plain of Present and Future

With some glass extrusions, one can see work from the outside in. But with others, you can only see work from the inside out

Hiding in Plain Site

Glass Extrusions of Past Context

Informal Opaque Geometries

Interior Floors

Above Ground Context Outlines are Perforated for Fenestration

Underground Context Outlines are indicated by different Ground Material

Plain of History

Michael Miwa + Wang Shan + Wang Gaoxin

Evolution

Urban Context

Future and The Forgotten

2005

pure Shanghai traditional residence

2009

demolishing surrounded "linong"

2014

sudden turn to "modern building"

Future

buffer.... integration tradition with modern

Michael Miwa + Wang Shan + Wang Gaoxin Future and The Forgotten

10 10

1 3 4 5

8 5 5 6

Michel Chabam + Wu XiaoFei

Dancing Frames Dancing Frames studies the movement of frames to control and create a range of architectural consequences that provide visitors with a variety of experiences and interactions. The flexibility of volumes creates instances where the frames seem to be dancing. This project is a proposal for an art forgery museum, which serves as a space for both creation and display. Itâ&#x20AC;&#x2122;s sole purpose is to change peopleâ&#x20AC;&#x2122;s attitudes towards forgeries; to regard them in the same manner as they would an original masterpiece. A wide range of spaces are created because of the flexibility and adaptability of the frames, they can move both vertically and horizontally to create a series of courtyard

typologies and changes in elevation. Transparency and superposition of the frames also come into play to create phenomenons such as sight restriction, key visualisations, and an inside outside pattern of experience.

Michel Chabam + Wu XiaoFei Dancing Frame

Michel Chabam + Wu XiaoFei Dancing Frame • GENERATE

BEND TO CONNECT

HORIZONTAL TO VERTICAL

BRIDGE TO INTERSECT

CHANGE IN PROGRAM

ENTRANTRY

PEDESTRAIN CIRCULATION

ARCHITECTURE KNOCK OFFS Tongji / RPI Wu Xiaofei / Michel Chabaneix 2014 . 04.24 .24

Michel Chabam + Wu XiaoFei Dancing Frame

Michel Chabam + Wu XiaoFei Dancing Frame STRATEGY FORM • reform Based on the basic shape of a fr ame, we change the form of according to the form of facade of FIVE PLACE. • Basic shape

• BEND

• TWIST

• CONNECT

• ENCLOSE

And then we reorganized frames, connected and enclosed to create different types of spaces. Also, we try to make interesting facade along the road. It looks like that the frame is dancing to music.

• DANCING FRAMES

Section B-B 1:500 FLEXIBILITY & ADAPTABILITY

• COURTYARD A

• COURTYARD B

• COURTYARD C

• COURTYARD D

SPACE • TRANSPARENCY & SUPERPOSITION a s t h e f r a m e i s t r a n s pa r e n t i n a direction, visitors can catch the view of different layers at the same time when they look through the series of frames. The views include the exhibition, courtyards, interactions and activities happening in the frames,

Section C-C 1:500

• SIGHT RESTRICTION The changes in elevation constrict visitors of certain views, allowing them to pay specific attention to the angles being framed by the architects.

ARCHITECTURE KNOCK OFFS Tongji / RPI Wu Xiaofei / Michel Chabaneix 2014 . 04.24 .24

A wide range of spaces can be created because of the flexibility and a d a pta bilit y of t he frames, they can move in all directions to create a series of courtyard typologies and changes in elevation.

Michel Chabam + Wu XiaoFei Dancing Frame

Emily Judson + Adlet

Cybercloud Without forgeries, there is one unique piece of artwork. Similarly, before the internet, there were unique, limited resources for sharing information. Now, forgeries are distributed as freely and as infinitely as information on the internet. The cloud, as an icon for the internet, embodies the differentiation between physical and virtual, unique and infinite. This is combined with knock-off versions of data centers to illustrate the industrial, tangible element of virtual technology. In the spirit of sharing information, we created spaces within our cloud that would allow open circulation and visibility between the museum

and the different studio spaces. All of the studio and museum spaces are located within the cloud and all of the utility, artist living space, and storage spaces are located in the four towers. These spaces are designed to create intrigue in the artwork through high visibility and open circulation, much like the spaces within the cloud. In short, this project is the physical representation of the virtual cloud. It uses familiar iconography to convey ideas about how art forgeries are concurrent with contemporary modes of sharing information.

Emily Judson + Adlet Cybercloud

Amy Gecelter + Lee Chen

Mountagoda Mountagoda is a public facility in Shanghai where art knock-offs are fabricated, exposed, and sold. The design of Mountagoda comes from the forms of both a mountain and a traditional pagoda. This structure has traditional pagodas in front of designed mountain typologies. These pagodas are merged into the mountain, forming a crack, where one can find the main entrance to the structure. The idea of the crack is knocked off from a rock climbing facility in Iran created by New Wave architects. The pagodas consist of gallery space with glass walls so that one can see into the miniature courtyards that the mountain and pagoda form. The mountains consist of a gallery space with an atrium at

the center of the largest mountain, public space on the whole first floor, office space, cafĂŠ, and a factory hidden away on the far side of the mountains. The rear of the structure has a traditional Chinese courtyard which is not visible from the front entrance. The faĂ§ade of the structure is designed so that it wraps around the mountains creating slightly open strips adding just enough light into the interior as to not reveal the knock-offs that are existing within the structure.

Amy Gecelter + Lee Chen Mountagoda

+ Traditional Pagoda

= Mountain

+ Two Seperate Mountain Cracks

Merged Mountain & Pagoda

= Two Mountains Merfged to form a Crack

Amy Gecelter + Lee Chen Mountagoda

3 2

2 3 1

Amy Gecelter + Lee Chen Mountagoda

Joe Daniele + Vannie

KAHN We predict a necessity to art, that the technique of the ‘forger’ as a master craftsman must one day be virtualized into a great library. This library, staffed by forgers interpreters and machinists, acts as both a museum to its process and a factory for production. The headquarters is divided into living space for the workers, open offices for the interpreters of technique, a factory for the production of artifacts, and a library/gallery for the artifacts’ storage/exhibition. The architecture is sixty-six percent ripped off from Louis Kahn’s temple and Exeter library, with the remaining third being the development of an artificial mountain to camouflage the exterior from select views.

Joe Daniele + Vannie KAHN