Ruoxi's Expedition: Design Practice through Ecological Aesthetics, Resistance and System Thinking
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Ruoxi’s Expedition:
01 Architectural Landscapes of Resistance: Carnivalesque
Mixed Functional Complex
This project endeavours to expand the perspectives of conventional theatrical performance while concurrently nurturing architectural paradigms that visualise theatre as an embodiment of public performance intricately grounded within communal spaces. Here, theatre connects to its carnivalesque origin and actively initiates agency, exploring possibilities of social change.
The project mentions the carnival as a foundation for performances that inverse established power relationships. It introduces the Russian philosopher Mikhail Bakhtin’s carnivalesque as a basic principle and the introduction of performance to daily life to redefine social order and heal social suffering. Given the amalgamation of architectural elements with the spirit of carnival, I coin the term carnivalesque architecture to characterize this distinctive form. The research is based on an undergraduate final-year project in Suzhou, China, which attempted to offer a platform for engaging marginalized voices in dialogue. Through these interactions, which include human-to-human and human-to-architecture dynamics, along with a re-evaluation of the underlying meanings embedded within them, we enable the examination of new approaches to address longstanding challenges. Ultimately, this contributes to the endeavour of fostering a sustainable community.
Individuals may come to realize that their constraints are not primarily imposed by authoritarian or oppressive rulers but rather stem from the limitations of the physical environment in which they reside.
"Arbitrary control" , which refers to the imposition of a controlling value system onto individuals by external forces. In some cases, individuals may establish barriers to protect themselves, yet inadvertently create obstacles in the control dynamics, failing to consider others’ needs.
The absence of design thinking, planning, and systemic considerations in the construction and shaping of spaces can unintentionally impose restrictions on individuals, hindering their authentic self-expression.
Theoretical Background
Funtional Substitution
Available funtions on site
The functions of neighborhoods, as defined by urban planning authorities, often prioritize economic growth over the well-being of residents. From a systems thinking perspective, these functions can be reevaluated to introduce functional substitutions that better serve the needs of the community.
Site Charactor Theatre Concept
5.
Here, individuals have the opportunity to purchase food and Chinese medicine, receive haircuts, engage in card games, attend yoga classes, do a massage and get some handicraft skills. This setting blends certain desires individuals may have with their need for control. The open pathways and spaces facilitate a sense of carnival, allowing them to construct any societal structure they desire.
By acknowledging the role of design and systems thinking in shaping the human experience, my narrative underscores the transformative potential of architecture and urban planning in liberating individuals to
authentically manifest their true selves within these spaces.
The shift in perspective has reshaped our comprehension of the "carnivalesque," departing from conventional theatrical narratives. It signifies an exploration of the potentiality in orchestrating the intricacies of everyday life. This new conceptualization emphasizes the subtlety of life's choreography, deviating from overt dramaturgy. The 'carnivalesque' is no longer perceived as a theatrical spectacle but as a lens through which to analyze the performative elements inherent in daily activities.
The Frame Platform
The platform offers views of winding paths, a busy waterfront, and lively plazas, serving as a visual frame that encourages reflection and exploration. Spectators on the platform become both observers and participants, deeply engaging with the dynamic surroundings.
Shifting Views: Dissolving Power Dynamics at the Intersection
The intersecting riverfront walkways resemble audience seating, turning paddleboarders into visual focal points. As they pass by, the interaction between performers and spectators blurs traditional power dynamics. The fluid exchange of gazes creates a shared experience, where both groups co-create a space of collective engagement, redefining ideas of power and agency.
The Background, Stage and Audiences
The scene describes a vibrant silk display, where tall racks showcase colorful fabrics. A triangular stage hosts a dynamic performance that captivates a crowd, while a nearby frame stage offers a viewpoint for onlookers. The flowing silk enhances the setting with elegance, blending with the audience and performance to create a visually harmonious celebration of silk and community.
The Bridge
As observers stand upon the bridge, they bear witness to the shared experiences and interconnectedness of the platforms. It is here, at this unassuming position, that the power of human connection come into focus.
The Unreliable Narrator
A MAN DIED in winter solstice. His body was found on the dock. There are several witness accounts to the same event.
"His wife, who also works at the Urban Heritage Research Office, inadvertently heard the argument between her husband and his subordinate, but she didn't pay attention. When she heard the gunshot, she was volunteering at the Community Education Center. She glanced at the frame stage nearby and thought that today would be a good day to do some handicrafts."
"The little girl was swinging on the swing set, witnessing the entire process of her father's murder. However, seeing her father fall on the water bank stage, she thought it was an exciting performance and laughed joyously. Then she ran to the library above the repair shop across the street to play, all the while imagining herself starring in such a drama in her heart."
"The photographer was mending clothes in the second-hand clothing store when she heard the gunshot. She tried to identify the man who had just been shot, squinting to make out his features through the store's dusty window. After finishing her work, she passed by the traditional medicine shop, where she had left some tea leaves a few days earlier for safekeeping. Retrieving her tea leaves, she decided to gift them to a hawker nearby."
"The fisherman is a blind man who works in an accessibility service centre and uses his sense of hearing and touch to perceive the world. He hears a strange movement in the canal and immediately sails his boat over to it. He touches the body of a man, but he thinks it is just a big fish. He took the "big fish" to the dock in his boat, thinking he had made a fortune. Then he went back to his work happily."
"The barber is distracted while shaving the client's head. Today when he went to see the exhibition in the round stage, he overheard someone shooting a man at the water bank stage, but he was too scared to do anything but keep his mouth shut. So he is now playing cards in the boardroom, trying to take his mind off everything."
This section is a fun and exaggerated tale, inspired by the concept of "Carnivalesque," blending theater and architecture. It humorously describes what was happening in the community when someone got shot in Suzhou, China. Keep in mind, though, the narrator is "unreliable," meaning the story is intentionally overstated with dramatic flair and dark humor.
So don't take it too seriously—just sit back and enjoy the ride :)
The Wife's Community FIG.1
The Children's Community FIG.2
The Photographer's Community FIG.5
The Fisherman's Community FIG.3
The Barber's Community FIG.4
FIG.1
FIG.2
FIG.3
FIG.4
FIG.5
Systemic Approaches to Architectural Design: Exploring the Biophonic Theatre After Graduation | 2023.9-2023.11 | Individual Work | Architectural Installations
The project demonstrates the transformative potential of integrating natural elements and sounds into architectural design through the medium of theatre. Drawing inspiration from outdoor soundscape projects and adopting the concept of unbound theatre in the “Architectural Landscapes of Resistance” project, the re-search illustrates how architectural spaces can capture and amplify natural sounds and turn into an integral part of the performance.
Biophonic theatre take the soundscape into account. Wind enters the structure through openings on one side, traversing spaces with acoustic properties where it is either amplified, diminished, or diffused. The other side serves as a stage and space for human performance. The sounds generated by the wind passing through this architectural instrument become an integral part of the performance on stage. It proposes a paradigm shift in architectural design, where nature is not just a metaphor but an active participant in shaping experiential and performative aspects of space.
