MAIN IMAGE OF YOUR PROJECT GOES IN THIS BOX
Mengyan Yu
PARIS 58
Chapter I :Brief forming Start with GO music video, the inspiration of abstract site for the project.
A brutalist site, in the music video, the site gives me a feeling of strong, aggressive, and retro. In the real world, the site is near the center of Paris, and built on a deck.
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When I saw the video, I’m confused about the the time, like when it’s taken. Causing im not a fan of Chemical Brother, see this music video, I cannot sure they are cotemporary artists or from past. Due to the entire style of this video is quite vintage. So, after I researched on the background of this video, I found it’s actually made in 2015. That’s so interesting when people at present try to pretend, they are came from past. What people really did in this space? in this courtyard? In this brutalist building? The building is an office which built in 1970s, thus my drawing has two parts, 2010s and 1970s. the section line not only open the structure of building but also sections the time into present and past. The present shows more diversity of lifestyle, I use the handlining by girls makeup and the material of grid. While the past is flatter and more abstracted. Using the circle as main hatch method.
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Architecture is designing experiences. New typology of your building, “cannot found in the Swanston street�
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GO!e
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My uncle
My uncle, the film was shot in 1958, another start point lets me to find out the difference between 1958 and 2020. The film critic the contemporary life and country style life: the cold, concrete building represents the contemporary lifestyle of upper class. In the film, I can have a glimpse of the different lifestyle in Pairs. It evokes me the memory of my childhood. While nowadays, the skyscraper rises everywhere in my hometown. The modernization kills certain lovely memories. I believe we should trace back certain memories, activities from 1958. The architecture can do something.
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My uncle
My uncle
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1958 Memory as object
Musueum of Innocent
Musueum of Innocent
Thinking the difference from 1958 and 2020. The format of memory changes. In the past, the memory is an object. The tape, the film, the photos, all of those is physical, tactile and be nicely restored in storage. Even every time we are making those memory, we need to prepare, to mark the moment valuable, to make them as a photos or tape. When I was a children, my family took the photos for me and make the album for me; now in 2020, I can still read those albums with them. The book, Musuem of Innocent, by Orhan Pamuk. It shows how the object trigger the memory. Through it all exists a certain sense of timelessness; a feeling that no matter where or when the human character is imbued with the need to love and to have and, when those aren’t possible, to seize onto the closest thing we can get. In this case as in many, memories, and the detritus that we accumulate in our lives as talismans to help us recall those memories. The Museum of Innocence itself, though not particularly noteworthy from the outside, is visually arresting from the first glance inside.
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h a n g e 0 1 - f o r m at
2020 memory as a part of virtual data cloud in phone
2020 Memory as data
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WQW
In 2020, Memory becomes data on virtual cloud. The digitalization changes the attitude we treat memory. Every time we take photos by phones, the reason behind it might be “everyone on Instagram did that”; the phones system will automatically classify albums for you. The memory is not as treasured before; and seldom be reviewed. Even google “photo album”, the result is the phone system albums. The physical memory is disappearing, the awareness of photography is disappearing; the understanding of making physical photography album is fading. Meanwhile, the moment of sharing albums, storytelling, the atmosphere is also gone. It’s sadly all those will go, including the memory. Causing we do not know one day the website; the cloud may shut down. However, the photography album will always there, in your home storage.
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Floating above concrete
Memory Publisher for Paris De Nuit
2000s-2020s Digitalized Age accelerate the lost of Memory
2020 1930 BrassaĂŻ Pairs De Nuit Pairs, the leader of photography technique from 1854, a city devoted to the history of photography.
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In Pairs Context Paris De Nuit To integrate with Paris context, The famous photographer Brassai who take the photos for Paris’ night is an crucial inspiration. Brassaï was 34 at the time of publication. His universally acclaimed night photographs are visually of their time, while creatively and technically ahead of their time, and have been an inspiration to many photographers since this book’s publication in 1932. He shows the under mask, secret stories for Pairs Night. It’s same phenomena in the project. Memory Publisher Our chemists aim to collect Street View of Paris night photos from 1959 to 2000, which before the digitalization era. The people who contribute their photos to publisher are the photographer contributor and as a part of the community. We believe everyone involved in can change the current situation. The project collects memory for Paris Night therefore to publish that photography in the society the power of photography again in 2020 and then everyone starts to collect their own photography albums.
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In all Major cities of the world, the ebbing of the day brings a second world of light, This world is not the world of a single light source,clear, friendly and legible. But neither it the world of darkness, shadowed, mysterious, terrifying--loosened by the sunset upon men in the natural state. It is the world of man-made light sources, the glittering dynamic glow of artificial illumination of twentieth-century metropolis. Gyorgy Kepes, 1965
Nocturnal City
Brassai,1930
ALPHAVILLE 1. East Deck and Parking (below office building) 2. Office building 3. South Garden, Pathway and Stair 4. Boiler / Plant Room, Stack + Truck access 5. Security Room (+ overall coordination of drawings) 6. West Deck and Vents (+ overall coordination of model) 7. North Deck and Planter (include lift-off deck)
AXONOMETRIC NTS
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PARIS 58
ALPHAVILLE SITE - PARIS 2020
8. Lift and Stair
Context learning Site is in Paris, so the sun comes from south. Not same as AUSTRALIA. The stack is 20.4-meter-high, so the stack might affect the solar access of building or can it be an opportunity? The shadow of stack like a clock. The security room have a corner window. The view from security room? The boiling room is noisy. It’s a good opportunity to make a contrast bet ween noisy space and quiet internal space. The smell of west deck. The damaged pipes, the old and cracking deck. The space under deck is quite brutalist atmosphere. How to this benefits the design? Garden and stairs. How the garden benefit with the design? And the stair is the only way to access deck. The relationships between stairs and design. The lift and stair at north deck informs the circulation to the deck comes from north. There is a car park under east deck. So, the people mainly access deck through the north lift instead of south stair, causing there is a rubbish room as a baffle in-between stair. Office building is 7.2-meter-high, considering the sun shadow. The people in office, considering the people inside and there view they are looking into the site. The balustrade is 1 meter high, concrete, consideration deck access, extension of deck. The entire atmosphre is brutalist. heavy, old. How to make it as an opportunities.
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Brassai,1930
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Deck Level Night Gallery Including restoration archive and dry room archive, to show the magic moments, the efforts behind photos. First Level The floating archive to collect the photos which comes from the contributors. The night gallery will be opened when a specific location’s photos are accumulated enough. The photos are classified according to the locations of Paris.
Above Deck: Publication Program finding: Below Deck: Publisher Editor Room A space for storytelling and handle the photograph to the alchemists. The staff will record the story behind the photographs or negatives. Additionally, the space should have a connection with conservation lab; so, the alchemist will give a primary examination for the photography and tell the contributor the fixing resolution. Finally, alchemists may or may not get the permission to use the photography or negatives to the night gallery or archives. The space should be relaxing, warm, comfortable, the day light access.
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Conservation Lab
Conservation Lab The basic, main functions of conservation lab include: 1. wet area: primary examination 2. Restoration, the workbench. Primary examination: Causing the photos is quite old and historical. The photos might in form of paper, films. (Transparent and solid base). For both, we need test the activeness of the base. So a wet area is needed. After doing some researches, I found the traditional conservation lab is quite closed and dull. In my perspective, the conservation lab can also be open and bright. I hope the space can also make staff feel comfortable and relaxed as well. The basic, main functions of conservation lab include: 1. wet area: primary examination 2. Restoration, the workbench Primary examination: Causing the photos is quite old and historical. The photos might in form of paper, films. (Transparent and solid base). For both, we need test the activeness of the base. So a wet area is needed. After doing some researches, I found the traditional conservation lab is quite closed and dull. In my perspective, the conservation lab can also be open and bright. I hope the space can also make staff feel comfortable and relaxed as well.
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A Guide to the Preventive Conservation of Photograph Collections
University of Delaare
University of Delaare
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cam lery tim hin as evo ate bac the pho
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Enlarger, a equipment to scale th ages and print on paper base. It rooom, for exhibition, do I need t A Guide to the Preventive Conservation of Photograph Collections
Replica Replicate the photography and publisher those replicas to public there is an argument of replica: which types of replica should memory publisher apply? There are three types replica in conservation standard: Period Print/ Modern Print/ Facsimile print The facsimile print is using the original negatives and printing on the same paper base of that photos. In the Memory Publisher, the facsimile is chosen because we hope to reshow the beauty of the photos instead of remaking new photos. Therefore, to replicate the negatives, a dark room. The dry room is for dry the photos, after washing the photos. It is also an archive for the testing printing.
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Mid semster- Design Concept Building concept, overall Concept is floating above concrete, which the publication is supported by the publisher below. there are three main architecture components: first, the solid concrete publisher, the floating, archive and gallery and the organized shaft in between. Again, through section drawing. the concept is floating above concrete. The underdeck publisher is dig from solid concrete depends on the space volumes and atm. The archive and gallery are the publication from publisher, supported by a field for thin columns. The organized shaft leads the nature light to underdeck and connect the vertical and horizontal circulation.
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B
B’
7. Archive
UP Archive
6.Night Gallery
Light
2600
2000
8. Publicity Activities
5.Entry
Whisper
Vault
2.Examination
1.Editor Room
4.Conservation
3.Refresh
down
Section
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Magic Drawing
Entry
Editor Room
Shaft
Night Gallery
ChapterII: Design Development Under this chapter, there are five main aspects: Times Structure Landscape Materiality Mechanisms
"Keep Drawing!"
Times and Architecure by John Gatip "Time in the architecture the speed The movement. Quick or slow? The tram station vs gallery..." "The gesture changes, the speed change; From narrow volume to a high volume." "Time on the architecture: The material. Time is invisible changed. Make it visible on architecture? The steel, the copper‌"
From the mid semester feedback, the guests suggest me involved time in the project. Overall, the alchemists come to the building at daytime to restore the photos and films; at night, the gallery will be opened. Like the magazine, it will refresh content every month. To share the memory for Paris night and becomes a part of night Paris. Apply the narrative into the projects: Time is plasticity, it’s always changes. It includes anticipations, actualization, and past. To refine the brief and design, the anticipation is in the dry room. Every time the staff washing the photos, they need keep testing and find out the best exposure time to replicate the best from the original films. Therefore, the dry room is used as at daytime, for the staff to dry the photos; at the night become the dry room archive for the visitors. The past is the restoration archive. Again, to show the power of photos in 2020, visitors need to know the efforts behind the gallery. Every time, before we restored a damaged photos or negatives, staff will take photos of them. Therefore, to exhibit the copy of damaged photos. The actualization is now, that is the night gallery, and it include the anticipation and past. Therefore, the area excluded dry room and restoration archive is the night gallery
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Night Time
Day Time
Dry room section diagram
Anticipation Dry Room
Past Restoration
Deck Level Plan diagram
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Structure Lets celebrate the structure!
VXO House,LondonAlison Brook
VXO House is to create a new domestic campus of structures which integrate landscape, structural form and site-specific art into a visual and spatial narrative. Similar, the memory publisher can use the columns form a narrative of NUIT, which likes the project title for the publisher. Therefore, at the deck level. Certain thin columns are changed into Letter form, which can also support the floating archive above. At the moment of exit, there is a detour. Therefore, the visitors will have a view of all NUIT columns. Surprise!
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View Testing for NUIT columns
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Landscape composition inspired by traditional Paris garden
Garden at center
Function at center
There are two types of traditional French garden composition: one is garden at the center and functions at the surroundings. Another is function at the center. For the Editor Room . The second methodology is used: the function is surrounded by the garden. Therefore, the garden can bring certain atmosphere to the people inside functions. For the entry courtyard, the first composition is used. It's more like people sit surrounds the nature and get refresh. For choosing the plants, for the editor room, the plants are aim to create atmosphere of relaxing, natural feeling. The editor room is storying telling space and it made by timber. Thus the color of nature along with timber gives contributor a feeling of relaxing and willing to share their story behind the photos. Therefore, to crate a sensory garden, flowers and climbing plants are chosen. Due to the design schemes is about Time, thus both of the plants can visualize the time: the flower will bloom every four weeks and the climbing plants will climb on the wall according to the time.
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Two courtyards in the ground floor
https://hoommy.com/60-marvelous-indoor-vines-and-climbing-plants-decorations/ marvelous-indoor-vines-and-climbing-plants-decorations-53/
Climbing Plants
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Materiality It is hard to find a balance between singularity and complexity. The majority mateiral is concrete and steel, with a little timber... Concrete can be soft. It's better to get the nature of mateiral instead of adding color to it.
from discussion with Miranda
One of the design strategy is constrast. The underdeck is strong and hevay, for the pubisher supports the publication above. Therefor the material is concrete, a soft concrete, borad formed, to differ with the burralist site. Above deck is light steel structure. The hanging facade is made by polycarbonate. which is semi trasnparent and with a little reflective effect. When night gallery is closed at daytime, the facade closed, the building like a floting, secret box.When the galleryt is opened, the hanging facade will be left, the night gallery is opened.
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Clyfford Still Museum, Allied Works Architecture
Garage museum of contemporary art,OMA
Garage museum of contemporary art,OMA
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Mechanisms
Hnaging Facade
Dry Room
Hanging Facade The hanging facade is changeable and vary according to the time. The facade is made by light polycarbonate. It will firstly rotated by hinge and lifted by winch the facade will vertically lifted to the first level. The entire form will change according to the publication date
Hanging Frame in Dry Room Every time the staff washing the photos, they need keep testing and find out the best exposure time to replicate the best from the original films. At daytime, for the staff to dry the photos; at the night become the dry room archive for the visitors. The system is inspired by Olson Kundig , using pully system and poeple moevment is also invovled.
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Chicken Point Cabin, Olson Kundig Architects
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Chapter III: Final Outcome
Overall Model Render
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Cutting Model Render
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The drawing shows overall architecture composition: A vertical shaft insert in between the two horizontal stacks: One above deck another one under deck.
Axomatric Drawing
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The ground floor is for staff to preserve the photos and receive the photo contribution from the community. The editor room is located in the south and in the center of the garden. The garden services for a natural, relaxing atmosphere. The conservation lab is directly under the shaft, the natural light creates a untraditional lab environment.
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At the corner is the dark room and dry room. Both prepares for the night gallery. There are hanging frame in the void will lifted. So for the day time the staff works under-deck and dry the photos. For the night, the dry room on the deck level will show the testing printings (represent anticipation time threshold) to the public.
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Again, the publisher supports the publication above.
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Details shows the activities in the Memory Publisher
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