PORTFOLIO Jiaoyue Zhao M. Arch II Southern Calif ornia Institute of Architecture 2018-2019
Jiaoyue Zhao Southern California Institute of Architecture
PORTFOLIO MARCH II SELECTED WORK
- STATEMENT Gia Zhao is a developing junior architect currently advancing her graduate studies as an M.Arch 2 Student at the Southern California Institute of Architecture. After finishing her undergraduate architecture study at the University of Liverpool, Gia worked for one year as architecture assistance in Shanghai. She also has an athlete background for years and participated in various marathon and bikini competition during college years. In the meantime, she has worked with multiple talented designers, participated in international competition and workshops, to extend her design ability. She believed architecture is a comprehensive discipline which requires a broad interest in engaging all subjects. Taking her athlete passion for architecture, she is always passionate about investigating design possibilities. She obsessed with integrating architecture, arts, industrial design, interactive design together to challenge conventional understanding of architecture. Participating with a different team for various international workshops and competitions, she insists that architecture could be anything and belong to a part of a lifestyle, which means exceptionally immersive with it. During the gap year, she goes into more practical direction, which introduces her more rational thinking about architecture. She found SCI-Arc would be the ideal place to develop her professional ability radically and rationally. Architecture is a practical discipline, requiring to put creative thinking into a rational solution. Framing creativity within real construction is the way to do impressive architecture.
- TABLE OF CONTENTS 8
Curiosity
16
X-ray
Make-Believe
Parafictional Reality
2GAX_DS 1200
2GAX_DS1 200
26
44
Engagement
Visual Study
Discrete Experiment
AR representation
2GAX_DS 1200
2GAX_VS 4200
52
66
Material & Tectonic
History & Theory
Facade Transformation
Discussion about parafictional reality
2GAX_AS 3200
2GAX_HT 2200
74
90
Forms of Knowledge
Visual Study
Library of Co-existing
Become the internet
2GBX_DS 1201
2GBX_VS 1201
110
History & Theory Towards a sustainable architecture 2GBX_HT 2201
SCI-Arc
BUS STOP ELEVATION
| Design Studio
| Curiosity
01
Make-Believe Curiosity/Bus stop - Design Studio Complex Morphologies Florencia Pita With Yifan Wang
"Architecture is challenged to re-imagine and make-believe, to invent the new stories that demand new forms, aesthetics and ways of being in the world. Starting with a process of extracting visual and physical information from Bradbury Buidling."
The workshop challenge the conventional way of perceiving reality. The project focus on the aesthetic dimension of architecture and possible produciton of new modes of being in the world. The workshop develops at a small scale which focuses on a transformation of existing building component. Using the real objects inside Bradbury Building as our prototypes, we transforms the photogrammetry scans into a realistic bus stop, the bus stop became the medium for reinterpreting the detail. The play of scalelessness could create abstract design outcome based on a conventional basis.
| Florencia Pita
2GAX_DS 1200_Curiosity
- PERCEPTION -
- Step 1 Observing representative details
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- ABSTRACTION -
- Step 2 Welding photo-scanned geometry to new object
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- PROTOTYPE Taking the found object of Bradbury building into zbrush to form new existence. The exercise trys to explore hidden connection between unrelated objects, and express new aesthetic in combined objects.
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2GAX_DS 1200_Curiosity
- REINTERPRETATION -
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2GAX_DS 1200_Curiosity
Color makes still objects alive. We choose pure yellow and red as the
color expression of LA to indicates passion and vitality.
GEOMETRY TRADITION
TEXTURE SPIRIT
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2GAX_DS 1200_Curiosity
- BUS STOP Giving new architectural meaning to finedetailed object. We imagine the unique bus stop located in the beach of santa Monica, the dramatic color represents the beauty of sunset moment of Venice beach. The weldding chunks provide interlocking circles , forming to be platforms for bike or scooter parking. The upper park became decorative shelter areas, providing functional and aesthetic purposes. The inner circle offers play areas for people to relax. These circles form an obscured and ambiguous architectural language, attracting people to rest, play, read and stay.
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| Design Studio
| X-Ray
02
X-Ray Parafictional Reality - Design Studio Complex Morphologies Angelica Lorenzi
With Yifan Wang
Statement Today we live in a world entirely dominated by the production, proliferation and consumption of images. Image literacy is, arguably, one of the most crucial skills we need in order to go about our daily lives, distinguishing the real from the fake, the authentic from the artificial, the relevant from the frivolous. This workshop reuqire to walk a tightrope between conditions in order to challenge our comtemporary means of architectural representation, and begain to construct unique attitude towards the critical reality. Choosing the South Broadway of Los Angeles to start with the design, where are full of contradictions and strange abutments. Taking the design from curiosity workshop, we choose the Grand Central Market to place our design. Squeezing the design object on top of the fish shop adjacent to the market place, we want to create wired juxtapositions between the ambiguous and the market place. We call it modern Levithan, which is created accidentally by human production. The market is one of the crowdest places in Los Angeles. The waste, trashes are produced daily cause invisible hazards day by day, and eventually forms a strong power to fight against human in the apocalyptical era.
| Angelica Lorenzi
2GAX_DS 1200_X-Ray
Trashes Collection
- DESCRIPTION Walking across the South Broadway Street, we finial decide to choose Grand central market as the place to find the peculiar, hidden possibilities. Giving a brief introduction to the area, the Grand central market is a downtown landmark, which brings together the cuisines and cultures of LA. It mixes food vendor and living together, and also events are held regularly to increase social attention. Undoubtfully, it is a place crowded with different people. Also, it is the right place to find the ignored fact.
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2GAX_DS 1200_X-Ray
However, we would like to focus on the unease moment and reverse the role of architecture and objects. In our story, we take trashes, specks of dirt and leftover dishes as our protagonists. Supposing all of them are alive and can breathe like human and have emotions. They are tired of being ignored, being detested. They want to shout out and state their existence.
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2GAX_DS 1200_X-Ray
- EVOLVING PROCESS Absorbing energy during daytime, the monster only starts to release and evolve in the midnight. Dark night nourish its beauty.
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2GAX_DS 1200_X-Ray
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2GAX_DS 1200_X-Ray
EVOLV
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2GAX_DS 1200_X-Ray
LVING
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2GAX_DS 1200_X-Ray
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2GAX_DS 1200_X-Ray
Isaiah 27:1 The Leviathan, the fleeing serpent The Leviathan, the twisted serpent And he will slay the snake which is in the sea When you slew the Leviathan, the fleeing serpent [when] you finished off the twisted serpent The powerful one of seven heads The heavens were laid bare and languish
- Modern Leviathan It is a metaphor of man-made creature. Born from the dust, the dark side of the undiscovered world, but blooms and burned in a xuberance way. Like the trashes evolves into the alienate creature, alarming human to take care about their environment.
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SCI-Arc
| Design Studio
| Engagement
03
Synthetic Residence Engagement/Discrete Experiment
- Design Studio Complex Morphologies M. Casey Rehm WIth Yifan Wang
Statement Architecture has historical methods of interface. The physical material of the building mediates the internal and external systems of exchange, whether a medieval city wall separating domesticated interior from wilderness or curtainwall mediating fluctuating external climates with stable interior climates. This workshop project will explore the production of synthetic wildernesses in urban voids within downtown Los Angeles. The complex structures will be generated in response scanned meshes of the urban context and bottom up logic driven by color and non-human agendas. Within this new context, we utilise architectural forms and program to introduce modular living unity for the human occupant. The aggregated components are generated from scanned flowers, scripted materiality and forms are voxelized through three different architectural elements, sitting on top of the crossroad in South Figueroa Stree. The projects explore articulate complex three dimensional architectural through interactive design tool.
| M. Casey Rehm
2GAX_DS 1200_Engagement
- Site Information The site is located in the South Figueroa Street, where surrounded by high-rise office builiding and facilities with plaza space. Proposal a future residential district to build the connection between infrastructure and buildings.
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2GAX_DS 1200_Engagement
- Individual Unit -
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2GAX_DS 1200_Engagement
- Aggregated Residential Unit -
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2GAX_DS 1200_Engagement
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2GAX_DS 1200_Engagement
- Public Area The aggregation served mainly as open public transportation island. Giant plate serves as plaza, providing sufficient open area.
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- Residential Block It provide a new posibility of living, new experience through artificial intelligence building.
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2GAX_DS 1200_Curiosity
Living Unit /Rooftop Balcony
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2GAX_DS 1200_Engagement
Living Unit /Modular Glass House
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2GAX_DS 1200_Engagement
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2GAX_DS 1200_Engagement
- Aggregated Core/Plaza -
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2GAX_DS 1200_Engagement
- Information center Building language is plugged into the belly of the aggregation block. Faceted strips forms a stage area, which could be treated as virtual reality experience center.
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2GAX_DS 1200_Engagement
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2GAX_DS 1200_Engagement
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2GAX_DS 1200_Engagement
- Residential Island we also introduces another script logic by bridge another gagantic residential block on top the highway. We try to create a fictional residential senario in the postmodern era. 41
2GAX_DS 1200_Engagement
42
- Physical Models -
2GAX_DS 1200_Engagement
- Models on site -
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| Visual Study
| Agumented Reality
04 Visual Study Interactive Design Andrea Cadioli & Casey Rehm Yifan Wang
The seminar will utilize interactive animations in augmented reality in conjunction with designed contexts to produce synthetic misreadings on the interior of physical models. The final composition between 3D printed object, 2D physical printed backgrounds, and animated augmented reality section pieces will produce compositions which could only exist when working with these disparate mediums. While previous exercises in the seminar focused on abstracting a physical object through digital techniques, this exercise will focus on the ability of digital visualization techniques to reintroduce higher resolution information back into the physical environment.
01 Render the original photogrammetic geometry 02 Toward complexitity form 03 Anaglyph Effect 04 AR Presentation 05 Exhibition
| M. Casey Rehm
2GAX_VS 4200
- Tranform First step is to scan the geometry and transform it into an artiful sculpture using zbrush.
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2GAX_VS 4200
47
2GAX_VS 4200
3D geometry
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Anaglyph effect
2GAX_VS 4200
- EXPRESSION DIVERSITY Rather than combined complex geometry, we decide to minimium geometry and maximum presentation effect.
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2GAX_VS 4200
Exhibition 50
2GAX_VS 4200
AR Slicing and presentation 51
| Advanced Material &Tectonic
| Facade Tectonic
05 Advanced Material &Tectonic - Façade transformation of Elbphilharmonie Hamburg Maxi Spina Xin Liu, Zepeng Gao, Lawrance Yuan The course seeks out a n alternative understanding of the Tectonic ,one that not only mirrors the realm of construction, materials, methods, sequences, tolerance, but also e mbraces architectural processes of expression, encompassing issues of geometry and technique, posture and character. Choosing Elbphilharmonie as the study example. several issues about the reflective facade of the Elbphilharmonie Hamburg, even it generally recognises as a significant parametric project. The multiple layered prefabricated panels require a complex structure to weight. Two module units of windows are prefabricated, which means mostly limitation regarding form variations. Thirdly, the facade itself require external materials which are the ceramic dots to solve the problem of glaring, which increases the cost of the building. Over-budget has been reported frequently due to complex parametric design process appears to less efficiency. In order to improve the current variation of the glazing façade and the heavy-weight issue of the materials. Plexiglass or so-called acrylic sheeting is chosen as a lightweight and flexible material for façade transformation. The plexiglass windows have 17 times the impact strength of traditional glass, which means stronger weather-proofing ability especially important for Hamburg where extreme weather condition happens.
| Maxi Spina
2GAX_AS 3200_Advanced Material &Tectonic
Facade Study
54
2GAX_AS 3200_Advanced Material &Tectonic
55
2GAX_AS 3200_Advanced Material &Tectonic
Typical Components
56
2GAX_AS 3200_Advanced Material &Tectonic
Glazing Facade/Type A Curved Acrylic Glasses
Glazing Facade/Type B Vertical Louver Panels
57
2GAX_AS 3200_Advanced Material &Tectonic
Chunk Analysis
58
2GAX_AS 3200_Advanced Material &Tectonic
Assembly Process
Mullion Detail
59
2GAX_AS 3200_Advanced Material &Tectonic
Material Study
60
2GAX_AS 3200_Advanced Material &Tectonic
61
2GAX_AS 3200_Advanced Material &Tectonic
Transformation
62
2GAX_AS 3200_Advanced Material &Tectonic
Details Frame Substructure Combination of Type A & B
Details Sealed Glass Facade
63
2GAX_AS 3200_Advanced Material &Tectonic
Transformation Exploded Assembly
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2GAX_AS 3200_Advanced Material &Tectonic
Aperture & Pattern Continuity across different facade units
Rationalization and optimazation of vetical panels
Fabrication Process For a single set of panels
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| History + Theory
| History Theory 2200
| Marcelyn Gow + Tim Ivision
06
History Theory Discussion about Parafictional reality - Theories of Contemporary Architecture Marcelyn Gow + Tim Ivision
Architecture should not only the constructed building itself, but also things have the responsibility to “orchestrate the very perception of the reality". -By Lambert-Beatty Architecture has always had a subtle relationship with reality. Architecture has long treated as buildings within actual content, which developed from the reality in general acceptable acknowledge. It might cause a monotony situation that architecture has already been framed into specific recognition. The fact is such a design strategy mostly limit the design possibility for the future. However, everything presenting in the internet era has certain degrees of fraudulence. The problem becomes rather crucial regarding architecture belief. For example, if someone produces realistic video and photos about completing modification of a well-known architecture project (for instance, a purely white concrete cladding of Villa Savoye is replaced by gradient and shining plastic cladding). Such shocking action would strongly affect the original impression of the work. That is to say, people’s general belief is always influenced by the way it is presented.
2GAX_HT 2200
PARAFICTION
Image 1: Views inside the corridor of the hotel room (Joyce & Adrian emailed to author, Nov 8, 2018)
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parafiction plays a crucial role in architecture representation. As Young demonstrates parafiction is the tool to peel a possibility away from the general information presented on the table and engage multiple media which can help architecture to free from solidified by a single meaning. However, parafiction also intervenes the world through
CONSTRUCTED FICTIONS”.
“
It means the balance between fiction and fact is the key to avoid the idea of falling into a far more abstract side. To be specific, if parafiction is the cure to release the freedom of architecture, how would it be properly used to achieve reasonable reaction and critical emotion from the audience.
“AESTHETIC IS A DELIMITATION OF SPACE AND TIMES, THAT SIMULTANEOUSLY DETERMINES THE PLACE.” Using the quote as a starting point, this paper is going to discuss how parafictional work create plausible aesthetic by using multiple media to present architecture in a more immersive way. “The Fourth Wall” is compared with the work of a professional degree which is the exhibition “ Geothermal Future Lab”. Both of them start with a discussion of parafiction but interpret in two different way. Finally, the studio project will be reviewed as the conclusion to demonstrate how to develop my paraficiton project more convincingly.
2GAX_HT 2200
Fictions are experienced as fact and achieve believable status in specific time and certain people.
(Warren 2016, 56)
In this term, the fourth wall created a model-made hotel with real materials, texture, decorations and lighting settings to restore the scene as real as possible. The models of different objects: the door, the light, the carpet, the windows and the walls become the background information to create the reality. However, estrangement should be achieved for a parafictional artwork in order to raise the curiosity and doubtfulness from the audience. In the Fourth Wall, the overlooked objects play a central role to express the familiar objects in a new term. As the video goes on, the insulation started to breathe, to overflow from the wall, the sofa becomes alienated from the original form and the over sided pipe behaved like a human.
IT IS THE MOMENT the strangeness happened, which created a dramatic and unexpected fictional effect within an authentic hotel room. The foreground and background have been appropriately distributed in the scene. Concerning the media engaged in the project, animation,1 to 1 scale of detail model and the printing booklet are integrated for the audience to understand the project. The designer firstly guided people into the scene by playing animation which can draw people’s attention immediately. Then present the 1:1 scale detail model of the wall which was altered in an oddly way. It is the moment people started to feel the strangeness which can push them to think through the video. In order to increase the dramatic effect, the designer finally began to interpret the deceptive content within the project by sending out the booklets which explained how the hotel was made to be real. Only at the final stage, you could be suddenly enlightened and fully understand the fictional reality. To conclude, the defamiliarization was firstly introduced to push the audience into a discomfort position, which meant to raise doubt from the beginning. With the story went on, the puzzle ultimately resolved. Just as the title “the Fourth Wall�, the project is like a drama show, and you never know the ending till the final moment. The designer delimited the scale, the time and space, highlight the invisible behind the scene which is the hotel room, create the plausible aesthetic and beauty of doubt through the presentation.
Image 2: Interior of the hotel (Joyce & Adrian emailed to author, Nov 8, 2018)
create an intense relationship with each other. It is the proper allocation of the objects in the scene, and proper counterfeit of reality make the topic to stand out.
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2GAX_HT 2200
Image 3: Technical section drawing of the well (Geothermal Futures Lab 2018)
The graduate thesis presented their project highly relying on the video, which appeared to have more development space. Using professional exhibition as a dedicate example, the “Geothermal Future Lab� showed an experiment about a new technology of laserresonance geothermal welling for sustainable energy generation (Geothermal Future Lab 2018). The project developed its media representation in four aspects, which are drawings, website, video and technology, in order to comprehensively develop the exhibition and make it as believable as possible. Firstly, the drawings make an influential effect on the plausibility of the projects. On the one hand, the incredibly detailed drawing through the crosssection strength the authenticity of the engine. On the other hand, the signatures were purposely made by numerous different trades to indicate the legitimacy of the project. However, if visitors think through the rationality of the drawings which were elaborately designed, they will suddenly realize the extreme absurdity of information positioned in the paper. Actually, the drawings which are copy from Apollo 11 Moon landing and only exist in fictions(@SCI-Arc Channel, Mar 14, 2018). Everything presented appears to be useless in the reality. It caused strong
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DOUBTFULNESS AND ABSURDITY FOR VISITORS. It is
THE EXACT EFFECT THE EXHIBITION WOULD LIKE TO ACHIEVE.
2GAX_HT 2200
Image 4: Metal faux create hyper-real features (Geothermal Futures Lab 2018).
Furthermore, the exhibition combined other media to create the false conspiratorial reality. The website was used to draw public attention on the internet, which shows the principle of geothermal power, the experiment of the working process, the constructability of the geothermal welling. Additionally, the scaled model of the engines is also displayed for visitors to have an immersive experience of the working mechanic. People would be able to control the monitor engine which simulated from the nuclear reactor of the 1950s (@SCI-Arc Channel, Mar 14, 2018). The project creates a somewhat plausible fictional realism to persuade people about the existence of the geothermal welling. The fraud only shows up if people can become highly perceptual about the tracks they played and be doubtfully about things presented on the stage. The project successfully challenges the contemporary belief of architecture as it shows the way it is. The exhibition aims to highlight the manipulatable elasticity of the reality and push people to set themselves in a critically doubtful position (@SCI-Arc Channel, Mar 14, 2018.) Image 5: Installation with fake radar signal (Geothermal Futures Lab 2018).
Always be doubtful for the authenticity of the surrounding. Be skeptical about media of presentation, and always observe architecture in multiple dimensions.
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Rethinking the plausibility of studio project It is the time to return to self-examine about my studio project: Modern Leviathan, which just finished in the X-Ray workshop instructed by Angelica Lorenzi. The critical discussion of two examples provide further consideration, and it would mean to adopt a similar strategy for project development. “Modern Leviathan” is a project attempting to create a fictional world in the Grand Central Market of DTLA, which initially developed as a parafictional proposal. The workshop focused on image literacy, which is one of the most crucial skills for people to distinguish reality from fake, the authentic from the artificial, the relevant from the frivolous. Multiple media were introduced to present the fiction in a plausible narrative way. We first tried to find out an area in DTLA where extremity and contradictions could create within that place. Finally, the Grand Central Market was chosen as the perfect place to set the scene, because it is an appropriate mix-used space filled with all kinds of people, risks and potentials. Secondly, we develop the project in a very literal way. Perceptual atmosphere and feelings generated by activities in the market are the subjects of the project. Generally speaking, people always attracted by things which can instantly capture their attention, but ignore the surrounding and the energy released from unconsciousness. Similarly to “the Fourth Wall”, this project tries to put the counterfactual information on the ground to create a feeling of juxtaposition. What is familiar is born from the place but in a new form to create unfamiliarity. The story was presented in an immersive mediation, which allows the strangeness and curiosity be significantly experienced. The animation is the storyteller which narrated the evolution of the monster. On behalf of the monster, the video presented through the eyes of the monster. Everything was highly distorted, blended and saturated to simulate from the perspective of the monster. The intention was to push people to switch their thinking into an alien mode and oddly observe the environment. Two images were deliberately collaged, trying to freeze the viewers’ eyes in the purposely designed era. Furthermore, tricks played in the final drawing board. If taking a closer look at each frame and match it with the video, viewers would suddenly realize the storyboard was created after the animation. It was the flaw which rises immediately doubtful thinking when the audience started to read the whole story critically carefully.
However, the initial design still lost specific details to make the story more plausible. Several strategies from example projects can adopt in the new version. Firstly, more contacts between the monster and the visitors could present, also adding more trashes on the street would increase the intensity of the scene. People would be more attracted to the story capturing at the moment than be suspicious at the first place. Secondly, the storyboard could be more deceptive if mixing the copy drawing of readily setting scenes with free-hand drawing. Rather than questioning immediately about the authenticity of the storyboard making process, but be doubtful about whether it is purposely made. To conclude, the most critical thing about the parafictional project is to create oddity in a seamless reality. On the one side, these creations are made to be broken, tipped, peeled, overturned, in order to reveal all the strangeness that exists in the everyday world. On the other side, the new objects become subtle intrusions into this realism, revealing people resolve the positions at the fleeting moment. Architecture could become a narrative scene involving thinking, rather than a static image which only states the solid information within the content.
References: 1.Geothermal Future Lab. 2018. “Theory”. Accessed Dec 5, 2018. http://magneticfutures.com/theory.html 2.Gage Mark Foster (@mark_foster_gage_architects). 2018. “Geothermal Futures Lab” Youtube video, Accessed Dec 5, 2018. https://www.youtube.com/watch?v=tLNw9R3NDHQ&t=178s 3.Kate Warren. 2016. “Double Trouble: Parafictional Personas and Contemporary Art. Persona Studies.” 2.55. 10.21153/ ps2016vol2no1art536. Accessed Dec 5, 2018. 4.Lambert-Beatty, Carrie. 2009. “ Make-Believe: “Parafiction and Plausibility.” MIT Press Journals https://doi.org/10.1162/ octo.2009.129.1.51.2. Accessed Dec 5, 2018. 5.Young Micheal. https://cooper.edu/architecture/people/ michael-young#/gallery/7. Accessed Dec 5, 2018. 6.Young Micheal. n.d. “ The Art of the Plausible and the Aesthetic of Doubt.” Accessed Dec 5, 2018.
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| Design Studio
| Forms of Knowledge
07 Library of Co-existing Forms of Knowledge - DS1201 - DS 2GBX Generative Morphologies Elena Manferdini Kaiying Lin Contemporary libraries, however, are complex structures that have defied cultural expectations and evolved to integrate an expanding array of media collections and spaces for civic and democratic exchange. But this shift in rhetoric is also manifested in a shift in architecture and its attendant aesthetics. The idea, of the library as a ‘living room in the city’, has continually gained traction since the watershed moment of OMA’s Seattle Public Library. A central proposition of this studio is that strong architectural projects, at the scale of the city, are not only of interest to other architects but are a necessary and currently missing catalyst for a new urban vitality. Our proposal tries to refine the Central Library of Atlanta into a co-existing information container where encourage not only economy exchange but also emphasis unique experience of acquiring knowledge. As the 4.0 world focuses more on the virtuality and immersive experience, new technology and new materials become the representation of architectural language.
| Elena Manferdini
2GBX_DS 1200_Forms of Knowledge
01. Platonic Geometry
03. Ambiguous Materials
04. Form Rationalization
05. Adding Transparency
06. Interior Programming
07. Interior & Structure Rationalization 76
02. Material Superimposition
08. Iridesent Facade
Form Generation:
2GBX_DS 1200_Forms of Knowledge
Manferidini Studio started with abstract large volume as basic massing strategy, contraposed to ambiguous material finishes applied to the design facade and interiors of the Atlanta Central Library.
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Floor Plan Children playspace Co-working seminar room
Floor Plan/Ground Floor Book retail store Parking lot
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SCI-Arc
2GBX_DS 1200_Forms of Knowledge
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Axonometric Section
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SCI-Arc
SCI-Arc
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2GBX_DS 1200_Forms of Knowledge
0
- Northern East Elevation -
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10’
30’
2GBX_DS 1200_Forms of Knowledge
0
10’
30’
- Southern West Elevation -
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2GBX_DS 1200_Forms of Knowledge
- Material Strategy The proposal tries to express the transparency of knowledge and collaboration through twofold. Firstly, the stunning exterior contrasts with the surrounding environment, forming new monumentality through primitive geometry. At the same time, Lightweight perforated aluminium panels and iridescent glass show the lightness and transparency of the building.
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2GBX_DS 1200_Forms of Knowledge
- Virtual Reality RoomThe room provides free access to internet resources and immersive experience 24/7. The large display engine seats in the middle of the room, providing visual contents to the visitors. The aluminium facade panels are projected with virtual screens, showing the newest social events, movies and activities.
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- Exhibition Area The lighting effect is emphasized through exhibition area; the geodesic form space with modular marble triangular panels plays an exuberant effect with the chromatic glass facade.
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- Physical Models -
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rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC | Visual Study | Becom the Internet SCI-Arc | Damjan & Angelica SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC - VS 4201: Visual Studies SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SC Damjan Jovanovic SCI-Arc SCI-Arc SCI-Arc SCI-Arc rc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc SCI-Arc Angelica LorenziW rc SCI-Arc SCI-Arc SCI-Arc SC SCI-Arc SCI-Arc SCI-Arc What is creativity in the age SCI-Arc of content? 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Chapter 1 • Underwater Once upon a time, I got trapped on the internet.
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- King's Slipper Station The shipman told me to go to King's Slipper station, which is the central station to all the wonderlands.
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Chapter 2 • Floating City I found the central library of the wonderworld in the floating city, there are millions of "earphone weeds" fly across the city walls, and I can hear gentle polyphonic. It's such a familiar melody, just like the song I used to practice in the high school music club.
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Chapter 3 • Cup Jungle
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Chapter 4 • New Babylon I learned the "New Babylon" city by visual artist Constant Nieuwenhuys in the history class. I heard there is also the same place in the wonderworld. I want to see it! 102
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Chapter 5 • Ending It's time to be back to earth, finally. The boat appeared again. I know I have to leave. It's such a beautiful, mysterious dream to me. I love it, obsessed with it. And I'll be back soon!
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| History + Theory
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History Theory Towards a sustainable architecture - Theories of Contemporary Architecture Erik Ghenoiu
ABSTRACT Architecture should never only be buildings. According to Banham (1965, 113), architecture is an integrated media which regulates architectural technologies, human needs and environmental concerns into an organised system. It means architecture is a reflection of social condition, economic development and culture. Reyner Banham, one of the most influential architectural historians, points out that architecture should not only concern functionalism but also technological development and environmental consequences. This essay will demonstrate how could architecture become more sustainable in terms of environmental consideration and social influence by evaluating two proposals made in the “A Home is Not a House”, which are “anatomy of a dwelling” and “the environment bubble”. The global impact of the proposal is discussed by introducing two avant-garde groups: Japanese metabolism and Archigram. Furthermore, the Kowloon walled city is used as an example to testify the feasibility of proposal in the future.
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Image 1: Transportable Standard-of-Living Package (Lucarelli, 2018)
Undoubtedly, there is a growing tendency that people start to connect environment impact and living experience for contemporary design. Banham has illustrated that architecture is not about the appearance but also the quality of experience in its space, construction, form and material (Wiryomartono 2012, 274). Starting with the discussion about the modern architecture in North American, he believed these houses which are poorly equipped with complex mechanical service such as piping, ducts, excessive water vapour would cause discomfort and severe health issues (Banham 1965, 111). Furthermore, he also pointed out that such unwise design choice would become problematic to the environment in the future, and he indicated it could be solved only by controlling the environment (Banham 1965, 112). Consequently, he suggested two ways which are breaking the physical boundary when creating houses and provide freedom and variability to all architecture design. In the article, he actively provided detailed illustrations for the proposals (Banham 1965, 112).
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Firstly, using the “Anatomy of a Dwelling” as a justification for mechanical services. Giant, interwoven cables and tubes occupied the sky and ground, which intended to make people rethink the role of mechanical service in architecture. Architecture would never be static, but a dynamic system operating with time. Furthermore, to emphasise his concerns about functionalism and environmental impact, he proposed “the environment bubble” where he and Dallegret sited on the “transportable standard-ofliving package” formed by membrane and equipped with innovative energy supply system. He indicated it would provide comfortable living experience and minimum environmental impact with standardised design (Banham 1965, 114). Nevertheless, the proposal considered to be environmentally friendly and economical choice for production, it still failed into a Utopian design for the contemporary housing unit. Criticism mostly questions his actual definition about architecture and structure simplification. People would not functionally work in highly elastic and unstable space, and safety and privacy could be a crucial challenge for the proposal.
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Arguments However, the proposal did not originally intend to be rational. The radical statement became a catalyst for modern architecture at that time. The most significant aspect is that he adopted a simplified form which is the airdome with innovative technological control as the solution to the complex environmental conditions caused by wind, fire and light. He became the pioneer of sustainable building and thinkable architecture. His approach to technology architecture had deeply influenced postwar architecture development when the experiment in functional and self-growing city proposals became a popular discussion worldwide (Leslie 2002, 207). Practically speaking, architects like Arata Isozaki and Kisho Kurokawa proposed selfgrowing city for city revival. In the proposal of capsule dwelling, the standard living unit organised in a number of ways to achieve mobility and freedom in a ruined urban context. Like the airdome, capsule dwelling also emphasises the individual unit importance and dynamic through a standard unit. Meanwhile, Isozaki came up with melancholic proposals using the same concept. In his proposal of re-ruined Hiroshima, he built his deconstructed mega-structures onto the bombed ruin Hiroshima (Heather, 2016).
Image 3: Standard moveable unit in a highly-mobile city(THE ARCHIGRAM PORTFOLIO, n.d.)
Image 2: Repetitive modular unit(Lucarelli, 2018)
Instead of making renovated city structure, he assumed everything should be respectful to the original context. The unfinished structure was left and remained to be imaginative backing up the concept of self-developing and self-governing. Furthermore, British avant-garde Achigram also inspired by Banham. The plug-in city contains mega-structural elements incorporating mechanical and electric services, into which a series of repetitive pre-fabricated capsules (Langevin, 2011, 11). Cranes are used to live the capsule into place, forming a continuously growing city which regenerates itself. Different from airdome, plug-in cities focused on emphasising technological potentials rather than balancing nature, human experience and advanced technology. Undoubtedly, the proposal in “A Home is Not a House” made a historical significance to architecture recognition at that time. He posits architecture with “scientific and technological” vision and associate with awareness of “environment betterment” (Wiryomartoo 2012).
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Where should we go We are now entering a post-digital era when technology becomes crucially dominant to contemporary architecture. Meanwhile, green strategies gradually engage in housing design with an ascending trend on environmental protection awareness. People should become more cautious and thoughtful when making design choices. Even technology can make a drastic influence on architecture revolution, and it is not the solution to the ultimate goal. Architects should always remember that technology should not take control over design thinking, and it is the tool helping designers to make optimal decisions.
Image 4: Living condition in the Kowloon Walled city( James, 2014)
Image 5: Section illustrations shows the living conditions (James, 2014).
Kowlloon City Machine or House?
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Taking the Kowloon walled city as an illustrated example, it is regarded initially as a high-rise squatter camp area occupied 50,000 residents into 2.7 hectares areas (Fraser, Cheuk & Li, 217). It was eventually demolished due to the extreme lawless and chaotic situation by 1993 and changed to a classical Chinese garden park. However, the civilian and cultural memories have been deeply rooted in the field which cannot easily vanish by merely erasing the buildings. Consequently, the contemporary designers still try to find new solutions for the area, which can integrate cultural traditions and environmental-wise choice with the intervene of emerging technology. Kowloon walled city is never a particular case in our society; therefore, rethinking of our architectural world and review back to the “unhouse� concept become essential to us. Here, the sustainable architecture should be refined, which not only means interaction of technological innovation, creativity but also bring social, cultural and environmental circumstances together.
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Image 6: Streets maintain cutural and memories in the Kowloon city (James, 2014).
Sustainability —Re-definition If relating back to the example of Kowloon city, the demolish should not be considered as a smart to solve the messy situation. Completely cleaning away only means to close “Pandora’s box”, but the deep roots and the traditions already existing for centuries would be swept in any circumstance. The city should be rebuild and interpret in contemporary language which is to rebuild the a sustainable community. Rather than concentrating the view on the whole district, the real conditions of the street should be redefined. Just as the Banham illustrated that it is the time to rethink the foreground and background of architecture. The street reconstruction will not only build up the connection between residents but also rise the awareness of caring, to really pay attention to their living environment and understand how to make it work better. Then with the assistance of emerging technology like self-growing block, the problem of the city could be fundamentally solved, also the culture would be reminded. Architects of this generation should take more factors into design consideration. Rather than treat the discipline as an internal thing, the external should also take into consideration. In this sense, the sustainable should integrate social and cultural influences with environmental strategy. Then the it would be possible to achieve a more communicable future.
Bibliography Banham, Reyner. “A Home is Not a House, ”Art in American .1965. Wiryomartono, Bagoes. “ Reyner Banham and modern design culture”.2012. Online available at: https://www.researchgate.net/publication/257737460_ Reyner_Banham_and_modern_design_culture. Accessed 03/10/2019. Fraser, Alistair, and Eva Cheuk-Yin Li.2017.“The Second Life of Kowloon Walled City: Crime, Media and Cultural Memory.” Crime, Media, Culture 13, no. 2. : 217–34. doi:10.1177/1741659017703681. Langevin, Jared. 2011. 'Reyner Banham', Architectural Theory Review, 16: 1, 2 — 21. Online available at: http://dx.doi.org/10.1080/13264826.2011.560389. Accessed 03/10/2019. doi: 10.1080/13264826.2011.560389 Th o m a s N . , L e s l i e . 2 0 0 2 . " M O D E R N I T Y A N D TECHNOLOGY." TECHNOLOGY AND HOUSING, 207-17. JD.Heather. 2016. “Metabolism of Identity.”Medium, Architecture, Landscape, UrbanDesign,medium.com/ architecture-landscape-urban-design/metabolism-ofidentity-784a55e1c2e8. Accessed 03/10/2019. Lucarelli, Fosco. 2018. ""A Home Is Not a House", by Reyner Banham and François Dallegret, 1965." SOCKS. Accessed May 10, 2019. http://socks-studio. com/2011/10/31/francois-dallegret-and-reynerbanham-a-home-is-not-a-house-1965/. "THE ARCHIGRAM PORTFOLIO." Gazelli Art House. Accessed May 10, 2019. http://gazelliarthouse.com/ product/the-archigram-portfolio-3/. Saywell, James. "The Architecture of Kowloon Walled City: An Excerpt from 'City of Darkness Revisited'." ArchDaily. Accessed May 10, 2019. https://www.archdaily.com/493900/the-architectureof-kowloon-walled-city-an-excerpt-from-city-ofdarkness-revisited.
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