Portfolio_Di_Liang_SCI-Arc_2019-2021 by Di Liang

2020-2021 SELECTED WORK

Di Liang SCI-Arc M.Arch2

DI LIANG

PORTFOLIO

STATEMENT Di Liang is graduated from M.Arch 2 Program in SCI-Arc. During his 2.5 years’ study, he contributed himself to challenge the boundaries of architecture, to utilize the conventional methods to design unconventional architecture in rational & radical logic. He believes “What we human created is beyond ourselves. “ After graduating from SCI-Arc, he continues his exploration as Project Designer in Eric Owen Moss Architects.

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DI LIANG

GT KOWLOON SYMPHONY / 06 Grad Thesis 2021

PORTFOLIO

VS SYSTEM AND IMAGINATION / 236 VS2657 Visual Studies

INFINITE CONTRADICTION / 244 DS CLOUD / 32

VS4200 Visual Studies II

SLICE IT! / 272

VS4200 Visual Studies I

3GBX Vertical Design Studio

CHALLENGE THE GROUND / 76 3GBX Vertical Design Studio

DELUSION IN LOGIC / 120

AS LEEZA SOHO TOWER / 288

AS3200 Advanced Materials and Tectonics

3GAX Vertical Design Studio

A POETRY IN STALACTITE / 154 3GAX Vertical Design Studio

LE MUSEE IMAGINAIRE / 178 2GBX Computational Design Studio

BETWEEN IN-BETWEEN / 218

HT THE STRUCTURE BEHIND SURFACE / 298 HT2201 Theories of Contemporary Architecture II

THE ORDER BETWEEN OBJECTS / 314

HT2200 Theories of Contemporary Architecture I

2GAX Computational Design Studio

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GRAD THESIS

KOWLOON SYMPHONY

PROJECT 1 Kowloon Symphony Extroverted Transformation

Project: Community Shared by Hong Kong Citizen Time: Summer 2021 Individual Work Supervisor: Eric Owen Moss

Kowloon symphony deals with the original conditions of Kowloon Walled City in Hong Kong. The aim of the project is to rethink the original context and try to transform it to its new use. The original quality of Kowloon city is embedded into this project to produce a shared community that can be experienced by Hong Kong citizens.

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GRAD THESIS

KOWLOON SYMPHONY

Kowloon Symphony - Extroverted Transformation. Kowloon Symphony reverses introversion of original Kowloon Walled city to extroversion - a shared community for Hong Kong citizens. Three movements: Climbing on the frame. Floating above the ground. Diving under ground. Are generated by two strategies in Kowloon Symphony. The first is the deformation of the ground condition, a volume is pulled up from ground which provide an extroverted figure to it’s surrounding environment. The second is the original pediatrician path of Kowloon Walled city is transformed to structure system which runs vertically and horizontally to support the “scores” on “steel musical notation”.

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KOWLOON SYMPHONY

1st Movement Climbing on the frame. In the first movement, for office program, the original building is cut by the holes and hanging on the frame. The relation of the facade is reversed: what is windows before now becomes the panels, what is wall before now becomes the glazing facade. If the office program is association from the original condition on to ground to the holes in the sky, the second program - a twisted city tower is the selfassociation between the holes.

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KOWLOON SYMPHONY

2nd Movement Floating above the ground For second movement, the office in the sky is put back to the ground, so the building on the ground redefines the office in the sky. These four units function as artist studios and connect to horizontal frame exhibition space.

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KOWLOON SYMPHONY

3rd Movement Diving under the ground. The third movement aims to transform original structures to three types of spaces. The first is original structure space that can be experienced by people. The second is the library space transformed from original wall system. The third space is evolved from original structure and divided into interior space and exterior terrace.

GRAD THESIS

KOWLOON SYMPHONY

For Kowloon Symphony, the multiple ways of dealing spaces and structures can be unified into one thing, which referred to graphic musical score done by John Cage.

GRAD THESIS

KOWLOON SYMPHONY

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KOWLOON SYMPHONY

Thickness: 300mm

Five columns are associated with the circulation underground.

Depth: 3000mm

239 Foot

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KOWLOON SYMPHONY

View to the sea.

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KOWLOON SYMPHONY

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KOWLOON SYMPHONY

View 1 View 2

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KOWLOON SYMPHONY

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KOWLOON SYMPHONY

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PROJECT 2 Cloud Affordable Housing

Project: Affordable Housing Time: Spring 2021 Partner: Yunbin Wang Supervisor: Eric Owen Moss

Located in Venice, Los Angeles, There is a binary opposition of the ground condition distributing the pedestrian and the residents, from which two vertical structure systems grow up to support the cloud - truss. The truss, who supports the units, extending from end to end of the site ,bends in plan and rotates in section not only responding to the initial quality of the cloud - always in motion, but also giving the units various orientation for different views and functions. Seeing from the whole relation of the ground and the floating building, the binary opposition grows into one thing - the cloud.

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WINDWARD CIR

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Ground: For public

Ground: For Residents Structure of vertical circulation. Outdoor seating area for residents.

Infinity pool: Reflects upper building.

Bridge: Connect to vertical circulation of the affordable building. Vertical circulation: For public go up from parking.

Artificial lake: Under which is exhibition space.

Structure of vertical circulation.

Water flow direction.

Public plaza: For public go down to the retails and exhibition.

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Underground: -1 Floor Exhibition space Parking ramp for pubilc

Retails Parking for residents

Parking for pubilc

Parking ramp for residents

Parking for residents

Underground: -2 Floor Parking for pubilc

Route to the retails and exhibition.

The wall divides the public parking and parking for residents. 39

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Three qualities of the truss:

1. Extend from end to end of the site. 2. Bend in plan to avoid the shade of the upper building blocking the ground condition. 3. Rotate in section to give the units various orientation for different views and functions.

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Vertical Structure 1:

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Resist vertical loads: Vertical loads

Joint

The spatial truss strengths the truss system to resist vertical loads where the truss rotates to horizontal direction.

Vertical Structure 2:

Resist horizontal loads: Horizontal loads

Joint

The area of vertical structure system: Strong and stable.

This part connected to the area of vertical structure makes the truss system stronger to resist horizontal loads.

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Structure of aluminum envelope Cantilever of pipes to support I beam Structure of units

I beam to support horizontal circulation

Cables hang the I beam

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Slabs of vertical circulation Horizontal circulation Staircases connected to units Walls dividing Slabs of units

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24 STUDIO 14 ONE BEDROOM 7 TWO BEDROOM 5 LOFT 48

COMMON AREAS FITNESS CENTER GAMING ROOM 3800 sq.ft

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UNIT TYPE: 2 BEDROOM

UNIT TYPE: STUDIO UNIT TYPE: STUDIO 500*8=4000 sq.ft

COMMUNITY CLUBHOUSE 300*4=1200sq.ft

500*16=8000 sq.ft

UNIT TYPE: 1 BEDROOM

1300x4=5200 sq.ft

UNIT TYPE: 1 BEDROOM

950*6=5700 sq.ft

975*8=7800 sq.ft

UNIT TYPE: 2 BEDROOM 1100*3=3300 sq.ft

UNIT TYPE: LOFT 2000*5=10000 sq.ft

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SAMPLE 2

Every unit contains: 3 one-bedroom 1 residential gathering space

SAMPLE 1

Every unit contains: 2 studios 1 residential gathering space

SAMPLE 4 View to the sea.

View to the Venice community.

Every unit contains: 1 artist loft

SAMPLE 3

Every unit contains: 1 two-bedroom 1 one-bedroom

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The view to the sea:

The red boundary represents the buildings on the west, which the outdoor platform of the affordable building is not blocked by. This diagram proves the access of the view to the sea.

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View to the sea.

SAMPLE 1

Every unit contains: 2 studios 1 residential gathering space 56

Through the glazing slab, people can see the infinity pool.

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View to the Venice community.

View to the canal

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Every unit contains: 3 one-bedroom 1 residential gathering space 58

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View to the Venice community.

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SAMPLE 3

Every unit contains: 1 two-bedroom 1 one-bedroom

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Through glazing slab, look down to the lake.

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SAMPLE 4 66

Every unit contains: 1 artist loft

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CHALLENGE THE GROUND

PROJECT 3 Challenge the Ground PREFA Academy

Project: Academy Time: Spring 2021 Partner: Yunbin Wang Supervisor: Eric Owen Moss

Located in Austria, beside the Traisen river, the Prefa Academy is designed. A discussion is raised about how to treat the ground and how to take the advantage of the river beside the site. Three zones: above the water, under the water, in-between the water, are particularly considered and created in this project. The conventional structure system starting with five columns supports the unconventional form of the building, with a glazing system dividing the building into two parts, the sunlight is able to get through and lightens the “outdoor cave” which function as horizontal circulation to enter the building.

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Above the water

In-between the water

Below the water

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PREFA ACADEMY A major European engineering, manufacturing, and construction company, Prefa Aluminum, is located 80 km southwest of Vienna in the town of Marktl. The company intends to build the Prefa Academy above an existing parking lot situated between the main highway to and from Vienna, and the Traisen River that flows east of the site.

515ft

Height Limit: 36ft 94ft

The Academy program will include conference, exhibition, classroom, and office facilities where the history, production issues, and future prospects of the aluminum industry will be studied, discussed, and exhibited. FUNCTION: Exhibition Classroom Office Conference Library Restaurant

Market/Traisen Train Station From Vienna Traisen River

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CHALLENGE THE GROUND

Challenge the ground The first strategy is to let the water from river get into the site. Two voids are dug to let the water comes in. In the middle is a flat surface for people to access the glazing bridge functions as horizontal circulation. To maintain the form of the voids, the material of the surface is made of aluminum.

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CHALLENGE THE GROUND

Elevator to the underground space

Stair to the underground space Elevator to the underground space

From Vienna

From train station

Pedestrian from Marktl Vertical circulation to the upper building: 1 stair 2 elevators

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The waterfall to the underground Through 7 windows showed in diagram, the water flows down to the underground space. Under these windows are water containers connected by flume.

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CHALLENGE THE GROUND

The gap to let water falls down

Flume

Waterfall system

The view to under water

The waterfall system is around the classroom area, a quiet environment is needed, so the cylinders to eliminate the noise caused by waterfall.

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CHALLENGE THE GROUND

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CHALLENGE THE GROUND

The water gathered will be pumped up through the water pipe inside the column.

Exhibition area

Classroom area

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CHALLENGE THE GROUND

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CHALLENGE THE GROUND

Glazing system: The glazing system lets the sunlight get through to the ground landscape and divide the building into two parts. On the river side is for libiary and restaurant. On the road side is for office and conference.

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Glazing system

River side: Three volumes function as libiary and restaurant.

Road side: Two volumes function as office and conference.

Cave space: The sunlight gets through glazing system and lightens the cave space, where the bridge functions as horizontal circulation to enter the building. 99

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STAIRCASE To restaurant ENTRANCE To library CORE Elevator and stair

Archive library

Library

Office

Conference Hall

Lobby

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SECOND FLOOR

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STAIRCASE

ENTRANCE To restaurant CORE Elevator and stair

Restaurant

Office

STAIRCASE To roof

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THIRD FLOOR

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CHALLENGE THE GROUND

Restaurant

Office Library Office

Classroom

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CHALLENGE THE GROUND

Roof platform

Restaurant

Library

Conference

Exhibition

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CHALLENGE THE GROUND

Roof platform

Restaurant

Library Look down through glazing slab

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CHALLENGE THE GROUND

Perspective of library

Perspective of conference hall

Perspective of vertical circulation

Perspective of Office 115

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DELUSION IN LOGIC

PROJECT 4 Delusion in Logic Culver City Complex

Project: Highrise Time: Fall 2020 Partner: Karim Khayati Supervisor: Eric Owen Moss

What’s a high rise? A huge building? Or buildings? 200,000 square feet, minimum. Mandatory: an enclosure, a vertical and horizontal circulation system, a structure. Or multiples of each. Purpose: a unique opportunity to alter a substantial portion of west Los Angeles. Not to fit in, but to reimagine the area. To change its scale. To change its meaning. What’s the relationship to the ground, to the train? to the river, to the park, to the views, to the sky? What’s the relationship to other large buildings that have come before it? Is the project an example of a building typology? If so, which? or is it beyond typology?

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DELUSION IN LOGIC

Delusion in logic In the height range of 436 feet, there is a discussion between natural form and logical form, there is a metaphor from forms to human behavior. A desire to trace that original impression bursts out and is hybridized with the logical, rational linguistics we use today. An image of a isolated town thousands years ago is floating in the air and staring the city. This town is unstable, is anti-gravity, but is in a stable structural statement. The quality of this isolated, unstable monster provides an odd urban view for the public. Another tactical gesture is a high way. This high way governs the human behavior between the office and the residence. Additionally, it provides a chance to stare back the building. An odd feeling between the interaction of different pieces speaking by itself raises questions between stability and instability, between temporary and permanent. It gives perceptive answers by itself in every infinite moment.

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Delusion in logic Located in Culver City at a height of 435 feet, the project stands out with its verticality within a height-restricted zone. This project is a mixed-use tower programmed to host office spaces, residential apartment units, retail shops, and community areas.

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Core Core

Glazing roof

Entrance

Parking Entrance Plaza

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Stature & Highway The structural strategy was not only to make the tower achievable but also a way to make the interaction between different formal languages become coherent. Since the idea results in a vertical town, we have established a gesture within the project by creating a staircase ‘high way’ that conducts human behavior, provides circulation within the heart of the building, and creates an outdoor & indoor experience.

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Vertical cores

Trusses attached to the core

Horizontal trusses

Pyramid structure for office

Roof system

Circulation system

Trusses for apartment

Roof system for entrance

The other side of the structure

Arch system for office 131

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Residential center

Apartment

Office

From metro station

Parking extrance

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DELUSION IN LOGIC

Residential center

Outdoor Platform for residents

Office

Walkable roof

Plaza to enter the building

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DELUSION IN LOGIC

Office

Circulation hall Office

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Apartment

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Residential center

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Town & Highway An image of a isolated town thousands years ago is floating in the air and staring the city. This town is unstable, is anti-gravity, but is in a stable structural statement. The quality of this isolated, unstable monster provides an odd urban view for the public. Another tactical gesture is a high way. This high way governs the human behavior between the office and the residence. Additionally, it provides a chance to stare back the building.

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A POETRY IN STALACTITE

PROJECT 5 A Poetry in Stalactite Covid-19 House

Project: Single Family House Time: Fall 2020 Partner: Karim Khayati Supervisor: Eric Owen Moss

What’s the house under the condition of COVID-19? How people live under the condition the COVID-19? What’s the program? How many floors? Why? What’s the structure that support the building? How the circulation works? What the relationship to the canal, to the street, to the neighborhood?

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Free-soul Space The project intends to design a post-COVID home that would be a free-soul space. An architecture that serves as a space for deep thinking, introspection, imagination, daydream, and contemplation. The house is located on a small site in Santa Monica Canyon and is boarded by the Rustic Creek.

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1. Vertical pipe grow from foundation.

2. Tubes connected to the pipes.

3. I-columns sit on the tubes.

4. I-beams added to support slabs.

Structure from three holes The structural design of the house is orchestrated by three columns rising from three hoes of the landscape, followed by structural floor rings, and secondary structures. 158

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Water from Canal

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1. The water from canal flows into the landscape and flows down to three holes, this effect is continuous that can be observed by people. below these three holes is a water container.

3. The water collected in the water container will be pumped up through water pipes inside those three structural pipes. on the east side, the water will flow down to the landscape to produce a visual waterfall. In the living room, through glazing floor, people will also see the flow effect from a unique perspective.

2. The people in the meditation space will have a unique perspective to observe the water, he will see the water surface at a very close distance.

2. On the west side, the water flows down from the façade, which produce an urban view to the neighbours. People standing on the bridge will see a huge waterfall hanging on the façade of the house.

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A POETRY IN STALACTITE

Stalactite & Box The formal language of the house takes the shape of a stalactite and is gently resting on an artificial landscape that allows water from the canal to enter the site and create water ponds where the building and landscape connect. Through the glazing system, the stalactite form and box form are merged which brings an in-between statement of how to identify the form itself. It created an existence between blurry and clear, between rigid and elastic. Because of this strategy, the perception of the interaction of these two formal language will never stop in people’s mind.

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Program Spatially, the 4-level house creates distinctive spaces for each program such as a living room, bedroom, contemplation space, workspace, library, wellness area, and multiple outdoor spaces. At the top floor, a panoramic balcony followed by a long ribbon window allows the user to have a full uninterrupted view of the pacific ocean and the urban landscape.

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First Floor Plan 168

A POETRY IN STALACTITE

Second Floor Plan

Third Floor Plan 169

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Meditation Space. The eye level and the water level are the same, People will see the surface of the water with a very close distance.

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A POETRY IN STALACTITE

Stalactite Landscape. The water from the canal is welcomed to the site, this is an outdoor “water garden” for people to enjoy the peace.

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Balcony. Connected with the master bedroom, the indoor balcony floats in the middle of the living room to provide communication and view.

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A POETRY IN STALACTITE

Living Room. Standing on the glazing floor, people will see the water flow under glazing floor and also it provide a view to see canal.

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LE MUSEE IMAGINAIRE

PROJECT 6 Le Musee Imaginaire Moving Images

Project: LACMA Museum Time: Spring 2020 Partner: Rob Leising Supervisor: Herwig Baumgartner

With the 2GBX studio, the curriculum shifts its attention to the study of the relationship of architecture and the spatial expression of collections of artifacts. The studio project challenges the outdated notion of encyclopedic museums in the age of internet and makes a proposal for LACMA (Los Angeles County Museum of Art) in Los Angeles, CA, to replace the existing William Pereira– designed structure. The project is to be conceived in relation to the current controversy surrounding the status of the future building designed by Peter Zumthor and scheduled to be finished in 2023. The studio’s main focus is on disciplinary questions of the relationships amongst typology, program, and aesthetics. These questions will be considered as they relate to current issues of social media, technology, and access to visual literacy.

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Moving Images We see the future of the museum as one that isn’t stationary, where art is kept to collect dust, but a place where art flows in and out, allowing art to constantly change frames both on site and within Los Angeles. We move art to move people.

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Moving Images This is done through a mix of traditionally curated galleries and constantly changing spaces with customizable trays of art being delivered on rails to patrons. Thinking beyond the site, we deploy modular drones to create a satellite campus at any place at any time, reframing and recontextualizing the collection. Art can empower someone, it can elicit emotions, it can be a spark of creativity, or a connection to one’s forgotten heritage. Art moves people, but only if you allow the art to move to the people.

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LE MUSEE IMAGINAIRE

ARTWORK CIRCULATION SYSTEM A1: Drone Center A2: Outdoor Exhibition Composed By Drone A3: Archive Center The artwork circulation system is composed by drone center and archive center. Our artworks are moved by drones. The drone center sitting on the other side of the Wilshire is connected to the archive center with underground tunnel. The whole system not only ensure that the artwork from the whole world can be flowed inside the LACAM museum, but also provide a moving exhibition platform in exterior world. The drone modules can connect each other by themselves to performance an exhibition show on available grounds on exterior, through which we move art to people. The form of exhibition is not static just in museum, but also in motion all around the world.

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DRONE CENTER With the use of modular, interlocking drones, a piece of LACMA is turned into a satellite campus that can be deployed and configured anywhere in Los Angeles, at any time. With endless possibilities of reframing our collection, we work with AI to find hot spots of activity where the most people can view art but also to act as a catalyst in areas lacking access to cultural institutions to create pop-up galleries that can fly home at the end of the day.

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LE MUSEE IMAGINAIRE

Archive Rail System

Archive Shelf System

ARCHIVE CENTER In order to keep a constant flow of art, we need an archive which acts as the beating heart of the building. Placed centerally, the archive acts as the means of not only moving art in and out of the galleries, but also our patrons as they circulate through the core. Storage is offered for art in racks that allow for secure storage of the art while still being veiwable to visitors.

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LOBBY The Lobby and the archive are connected, which provides a more efficient circulation for people. The delivering rail system, escalator and elevator set up in transportation core strength the interaction atmosphere between art and people.

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TRADITIONARY EXHIBITION The Lobby and the archive are connected, which provides a more efficient circulation for people. The delivering rail system, escalator and elevator set up in transportation core strength the interaction atmosphere between art and people.

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LE MUSEE IMAGINAIRE

FUNCTION 1. Archive 2. On Rail Gallery 1 3. On Rail Gallery 2 4. Over Wilshire 5. Drone Landing / Lift-off 6. Traditional Gallery 1 7. Traditional Gallery 2

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FUNCTION 1. Entrance 2. Art+ Tech Lab 3. Art Studios 4. On Rails Gallery 1 5. Traditional Gallery 1 6. On Rails Gallery 2 7. Archive 8. Shipping / Recieving Tunnel 9. Traditional Gallery 2

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ART STUDIO Traditional Art Studio providing space to local artists in Los Angeles to create and a platform for their work to be seen as LACMA challenges who has the privilege of having their art displayed. For the paintings in the renderings, other images of the project were put into Google deep dream to create stylized paintings one might make if inspired by their surroundings. 206

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EXHIBITION IN MOTION Other exhibition spaces are provided that offer greater flexibility on what art is curated and how. Using walls of varying sizes on rail system art is delivered to the visitors. Interactive elements are also included with guests able to request backdrops or virtual screens related to the collection, while not disturbing the actual piece of art.

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ART LAB The Art and Technology Lab expands on the current program, giving space for the advancement of new artistic means of expression along with the preservation of older pieces in the collection. This allows for experimentation with fungal aesthetics next to the restoration of ancient sculptures.

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Global Action On a global level. a certain percentage of the collection will be on loan. returning cultural artifacts back to their homes and sharing our culture with other museums. in doing so we propose that almost all of the artwork should be in constant movement. in doing so we create a constant motion of art coming from the hub across wilshire. underground. and up into the archive. As such the Archive acts as the heart of the system. never static and keeping the art flowing in and out of the galleries and the complex. Similarly the archive is also a central place for patron circulation. with visitors taking a similar procession through the archive and into the galleries as the art. To accommodate this we have placed a Metro station underground which we anticipate to be the primary method of entry in the future. 212

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Art is more than an old sculpture gathering dust or a bunch of paintings of dead men. Art can empower someone, it can elicit emotions, it can be a spark of creativity, or a connection to one’s forgotten heritage. Art moves people, but only if you allow the art to move to the people.

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BETWEEN IN-BETWEEN

PROJECT 7 AFTER IMAGE Between In-between

Project: Co-working Soace Time: Fall 2019 Partner: Ilaria Lu Supervisor: Ferda Kolatan & Rachael Mccall

The studio work will focus on the design of a 25,000 sf co-working space combined with retail and cultural programming that will entail designing a multistory building and a horizontal landscape element that can include a covered outdoor space. As we continue to work afterimages and through after-images [a visual image or other sense impression that persists after the stimulus that caused it is no longer operative] the design should incorporate techniques for producing interrelations between objects and images of objects. Composite forms with displaced scalar effects generated in the first phase of the studio will be the point of departure for the design of the co-working space and its immediate site. These composite forms produce new perceptions of common artifacts.

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OBJECTS

Interpretation changed by different directions.

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At first, the process is to form three different objects by combining and deforming the chunks, which is extracting from the classic geometric forms of Chinatown in Los Angeles. Taking the direction of gravity as the coordinate axis, under which different placement methods allow people to have different interpretations of the space that the objects have.

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BETWEEN ARCHITECTURE AND ENVIRONMENT Our architecture and the surrounding environment are two different systems in term of formal language. What we first concerned about is how the architecture can be connected to the environment. Through a particular organization of volumes, the perception of the architecture can be achieved directly from the street. It is exposed to people’s wander, observation and curiosity. From the other side, we try to make this relation reciprocal, the building also allows people to approach the outer space due to its porosity. One physical connection would be the public stair, from which people are invited from the plaza to access the building.

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BOUNDARY

When everything can be digitalised, The boundary between 3D objects and 2D images disappeared. The ambition of the project is to challenge that sensitivity balance.

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BETWEEN REALITY FORM AND ABSTRACTED FORM Compare to the conventional world, the formal language is now reversed. What we consider strange is now the normality, and what we used to is now weird. The glassed corridor that we bring in as an abstract form turns to a piece that unfamiliarized the 3D scanning world. It is critical whether it cuts the building into two parts, or unify the two sides. However, the approach happens differently to the two parts. So we take this abstracted form as a tool, to emphasize the different atmosphere and function of the building.

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BETWEEN TIME FRAGMENTS The building is formed by various units, in terms of volume, form, and language. We started to recognize and extract their quality individually. Based on which result we designed the texture through using points, lines, curvatures, and ornaments from China town. The texture is composed by fragments of time floating in a non-linear storyline, where different moments are sometimes married, and sometimes rejecting each other.

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Time fragment 2.

Time fragment 3.

1. Here we can see how a post-modernist moment turns to a traditional Chinese facade. 2. Here is how the facade becomes structural, and it holds up the Chinese roof. 3. Here is how the post-modernist moment turns to ventilating skylight.

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THE PINK PURPOSE

We identify the surrounding environments through order between objects, when objects that are normal in everyday life appears in a weird way, the knowledge and the experience are challenged or even subverted. During this process, the measurement is evolved or at a risk of destruction. When observer witnesses the column appears as the same scale as a house, is the column still a “column”? Or is the column actually a house with the form of column? The function of this “column” is unclear because of the weird scale. The weird feeling comes because of the right scale of the house compared with the scale of humans. Actually, in this case the measurement is based on the scale of ourselves. Imaging we watching the image or the animation of a column and a house with the same scale through a monitor, we cannot figure out which is the real column and which is the real house because the monitor cut down the connection between the scale of ourselves and the scale of these two objects. But the weird feelings also come because we know that the scale of one of the objects is weird. Thus, in our understanding of this world system, there is a clear order between objects, and we, humans have been so familiar with this order that when it’s is broken, it seems like something goes wrong.w

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PINK FUR - FLOATING INTERIOR The interior design of pink fur can make the building more tangible. There is a sharp contrast between the pink fur and the interior objects: flowing, tangible fur, and smooth, non-emotional interior objects create a tension, which makes the relationship between the two subtle. This treatment makes solid, smooth interior objects seem to float in the soft fur ocean, so that the sense of space of gravity is dissipated.

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BETWEEN EXTERIOR AND INTERIOR The black and white color is creating confusions, and the sensation of losing the distance. It is tend to camouflage and expose the building at the same time. For the interior, every single elements can be take as a whole. Take the meeting space for instance, if we look it closer, it could be a stadium or something. The lost of the scale pushes us to question what is a column, a room, specially what is an architecture. 234

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2D TRANSFORMATION

PROJECT 8 System and Imagination 2D Transformation

Project: Graphic Design Time: Fall 2020 Individual Work Supervisor: Curime Batliner

“Systems and Imagination” asks three questions. When Invisible parts share equal or more importance than visible parts, what is the value of an image or an object? How can designers and artists open new imaginative trajectories, now that we collaborate with and through software, machines and networks ? What role do communication protocols, sensors and interfaces play in this process of imagination? By increasing code literacy the course aims to inspire curiosity for today’s contemporary computational systems and empower students to be active participants with both a critical and imaginative approach to technology.

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Base on the platform of vvvv, the project try to study the relation between 2D images and 3D forms. The archive of the images mainly focuses on sculptures of portraits, the reason is that the images of sculpture have a strong contract between shade part and light part, which will be potentially transformed to 3D form, also it gives a chance to do AI face capture analysis.

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Then I pixelate the image I chose, which means I turn every pixel of that image into a small sphere, on the Y axis, every sphere will move to specific position according to the color it represents on the image, through which the 2D image turns into a 3D form.

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AI face capture technology is used to trace the center of the face, there is an area around that center where the sphere is bigger, which produce an effect : an light is projected on the face, when the images switches, the “light” moves accordingly.

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INFINITE CONTRADICTION

PROJECT 9 INVISIBLE INFINITE CONTRADICTION

Project: Graphic Design Time: Spring 2020 Individual Work Supervisor: Elena Manferdini & Andrea Cadioli

There is no limitation about how we exist in this world. We are the blue sky, the fresh air and the one we love. We are also the industrial smoke, the prison and the war we engaged. We created and suffered from ourselves. There is justice in this world, every cloud and every human are graced under the same light. There is unjustness everywhere, the BBQ chicken is chick’s mother. The more perspective, the blinder we are. The more we experience, the closer we reach the truth.

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NATURE Nature is not just a word. Nature is where we from and what inspired us to build the civilization. Nature is a world, an archive of all the data reflected from the universe. We humans are also part of this data. We are the nature. We are the blue sky, the fresh air and the one we loved.

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INFINITE CONTRADICTION

CIVILIZATION This is how we live – our civilization grows from the nature. The high-rises rise just like trees, pointing straight to the sky. The burst of life happened at this moment. The determination of surviving, the joy of existing push us to move beyond time.

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CONNECTION We utilize the power of nature to live. The facades of buildings absorb the solar energy and convert it into electricity. The water produces power with the height difference of artificial landscape. We are connected to the nature and we also extend ourselves to a higher level. What we create go beyond ourselves.

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INFINITE CONTRADICTION

GATE

COLONNADE

Behand the gate is secret, is the mysterious zone, where exists the order of the universe, the low of how world functions and the principle of how we should behave virtuously, sublimely and gracefully. Through the narrow gate, we see it – the light.

From the past to the future, from fragile fragments to great nationality, we broke the boundary and extended the limitation of how the world could be seen. Just like roaming on this colonnaded street, we inadvertently traversed countless days and nights, only for that original point – the syncretism of the first beginning and the endless ending. The past is future.

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INFINITE CONTRADICTION

MIRROR We need to know where we are from and how we go forward. Civilization, is a glory for human beings, which has witnessed how we face our strength and fragility. We created the most beautiful art, and we also triggered the cruelest war against nature. This is us—a contradiction, a mirror always reflecting our hope and despair. it illuminates our mortal world, but it cannot illuminate our deep heart. 254

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CENTER The center city is a data-based foundation where artificial intelligence is utilized to organize everything more efficiently. Humans are not only connected in physical world, but also in digital world. Different methods of communication system based on AI is built to push us move forward.

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INFINITE CONTRADICTION

FUTURE INDUSTRY With the cooperation of artificial intelligence, the operation of industry has become more intelligent and accurate. The efficient and pollution-free operating mechanism makes human life more abundant and healthy.

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RELIGION “The mind is universe.”- A quotation from Buddhism. The religion helps citizen to build their spiritual life. Meditation promotes citizen to think deeply and profoundly. Only they know themselves can they build their own future. The future of our civilization is in people’s hands. The bright and wise brains cooperate together to get closer to the truth.

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FINALE There is no limitation about how we exist in this world. We are the blue sky, the fresh air and the one we love. We are also the industrial smoke, the prison and the war we engaged. We created and suffered from ourselves. There is justice in this world, every cloud and every human are graced under the same light. There is unjustness everywhere, the BBQ chicken is chick’s mother. The more perspective, the blinder we are. The more we experience, the closer we reach the truth. 262

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INFINITE CONTRADICTION

FINALE We need to know where we are from and how we go forward. Civilization, is a glory for human beings, which has witnessed how we face our strength and fragility. We created the most beautiful art, and we also triggered the cruelest war against nature. This is us - a contradiction, a mirror always reflecting our hope and despair. it illuminates our mortal world, but it cannot illuminate our deep heart. 264

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FINALE How we go back? Utopia and Dystopia is not an imagination but a reality. It’s a reflection of our heart. It shows our power from fragility and peace from strength. When we know how to go back, we move forward, which is infinite.

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REFLECTION The only way to get rid of death is you are the death itself. Reflection is a surface which can mirror the past to the future, or the past is future. Reflection is a colonnade, which connected Extrasensory Civilization and Hyper civilization, both of which are the same existence of reverse reflecting. When you go forward, you go back, there is no direction, everything is parallel. 268

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UV Print: Blacklight Off.

UV Print: Blacklight On.

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SLICE IT!

PROJECT 10 SLICE IT! Between In-between

Project: Graphic Design Time: Fall 2019 Partner: Ilaria Lu Supervisor: Andrea Cadioli & Curime Batliner

From the Syllabus: Playing in the game of part to whole, the course looks at the potential of a gestural cut as a device for the production of dualities in an ontologically weak system. Concepts of inside/ out, open/close, right/wrong are challenged in a surface in continuous evolution in between opposing identities. Following the contemporary explorations of the 2.5d canvas in post-digital area, the project investigates the architectural facade as a space of multiplicities and singularity, deeply public and in an infinitely state of fluxation.

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Project Overview The project will be constructed starting from a series of parametrically and generative designed patterns playing with repetition, tiling and overlapping. From a first path in Grasshopper, the linework will be enhanced in Illustrator and After Effect before being printed double side and carved out of the canvas itself and plexiglas sheets. The elements will be compiled on a CNC frame and mounted on the robotic arm. The panel will be video recorded while oriented in different position in relation to gravity and camera view to take advantage of the natural fold of the cut and the different light effect of the hatches.

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Processing 1: Every pixel is moved to a specific point with 45 degree.

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Processing 2: Every pixel is moved through a curvilinear path, the program runs two times.

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Left: 2GAX Visual Study Final Prensentation. Right: Sticky Board Prensentation.

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“We are living in the mechanical age. Painted canvas and standing plaster figures no longer have any reason to exist. What is needed is a change in both essence and form. What is needed is the supercession of painting, sculpture, poetry, and music.” Lucio Fontana

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Combined with the Processing image, the geometry and aesthetic of panel-facade is extended to a new potential. The motivation of this project is to build a bridge between static design and VR, AR technologies.

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ADVANCED MATERIALS AND TECTONICS

LEEZA SOHO TOWER

BIRDS VIEW CHUNK

A1 - STURCTURE CHUNK A COMBINATION OF CONCRETE AND STEEL SYSTEM

PROJECT 11 TECTONIC TRANSFORM Fragments facade

Aluminum Unit Frame

Structural Core

Perimeter columns that follow the curvilinear exterior form of the tower

Steel Tension Rings Surrounding Each Floor Plate

Project: Leeza Soho Tower Time: September 2019 (Semester-long) Team member: Di Liang Kuanting Wu Lezi Li Yi Jin Supervisor: Maxi Spina & Randy Jefferson

Steel- Tube Frame

Countersunk Stainlesssteel point fittings Silicon Sealant Refuge Floor Truss

One ofOne theof thefour aerial bridges four aerial bridges that connect the two halves of That connect the two halves of Leeza Soho Leeza Soho

System 02 FacadeFacade System 02 Outer Atrium Glazing Outer Atrium Glazing Structural Core System 01 FacadeFacade System 01 Typical Facade Typical Facade

Precedent Study: Leeza Soho Tower Envelope System: Curtain-wall System

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Wide-flange steel beams

Envelope Transformation of Leeza Soho Tower is divided into two wavy halves which are connected by a twisted atrium from the base to the top. The two main curtain wall systems of the tower are the unitized curtain wall for the main facade. We mainly focus our transformation in terms of the water infiltration and aesthetic of it.

Advanced Tectonics & Materials AS3200 Di Liang Kuanting Wu Lezi Li Yi Jin

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LEEZA SOHO TOWER

Horizontal joint seal

Fire rated atrium facade - Stick system

Gap facade - Point fixed glass facade Steel tube

Main facade - Unitized curtain wall (UCK)

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Fire rated atrium facade Stick system

Gap Facade - Pointed fixed glass facade

Main facade - Unitized curtain wall (UCK)

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LEEZA SOHO TOWER

Concrete filled Steel Tubular Column

Horizontal joint seal

Concrete filled Steel Tubular Column

Concrete Floor Concrete Floor Welded wire reinforce mesh

Horizontal joint seal Welded wire reinforce mesh

Steel profiled sheeting Steel anchor

Steel profiled sheeting

Vertical joint seal

Double-insulated unitised glass Double-insulated unitised glass

Aluminum unit frame

Suspending ceiling

Glass reinforced Plastic (GRP)

Wide-flange steel beam Wide-flange steel beam

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Steel tube

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LEEZA SOHO TOWER

Water infiltration The glazing units of the main facade on each floor turn at an angle. Thus, the gaskets within the interlocking horizontal mullions at the perimeter of unitized panels can create direct paths for air and water to infiltrate the building. To improve the durability of the curtain wall, we intended to apply a protected space onto the panel to keep the water flowing all the way down along panels thus prevent it from staying on the interlocking horizontal mullions. Aesthetic The building is characterized by the twisting Atrium which allows natural light and view of the city from the center of all floors of Leeza Soho. To emphasize the atrium visually, we intend to triangulate the curtain wall. We also add curved aluminum fins to every panel, arranged as a series of waves, to strengthen the flowing character of the facade, produces a dynamic enclosure. The facade’s fins are structurally glazed to a steel-reinforced aluminum frame and are further supported by intermittent welded studs. The aluminum frame is, in turn, hung off the primary structure with three-way adjustable unitized curtain wall brackets.

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Steel Tube Steel anchor

Horizontal joint seal Steel frame Aluminum frame Glass reinforced Plastic (GRP)

Insulated glass

Gasket Aluminum unit frame

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POSTDIGITAL – INTEROPERABILITY

PROJECT 12 THEORIES OF CONTEMPORARY ARCHITECTURE II POSTDIGITAL – INTEROPERABILITY

Project: Theory Time: Spring 2020 Author: Di Liang Supervisor: John Michael Cooper

If there is a world, there is a perspective. Postigital is a midpoint between the perspective of physical world and the perspective of digital world. Digital technology is not only a tool for humans, but also a derivative of human biological capabilities. The way we trade the technology has changed. The emergence of artificial intelligence has made us gradually regard the digital technology as an existence equivalent to our status.

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FORWARDS "Exactly the same" is a very high standard, which means that the imitator must fully understand the structure, principles, content and background of the original itself. In this way, the imitator can achieve the same presentation as the original did. Beyond “exactly the same”, “subtle derive” is a higher level in some degree, it means the creator fully understand the structure and principle and have the ability to bend the rules in a delicate way. Behind “subtle derive”, there is a motivation to build a bridge between human and digital technology, which are two aspects on same level. The process is based on the comprehending or converging the lens of humans and technologies. Postdigital is “subtle derive”, which can be achieved in three steps: 1. The mastery of the structure and principles in physical world. 2. Using digital technology as a platform to derive creations in physical backgrounds related to creation. 3. Deliberately control the difference between the creation and the original. The difference between the creation and the original can be distinguished, and at the same time it is slight that can be blurred.

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THINGS Postdigital Jeans – Between

reality and

digital

Japanese fashion designer Junya Watatnabe’s Indigo Dyed 5 Pocket Sweat Pant, designed for famed denim brand Levi’s, are not what they seem. In a photograph, they are virtually indistinguishable from a classic pair of Levi’s 501 jeans (figure 7.1). They follow all the trends in contemporary denim design: faded front legs, linear dye streaks, frayed pockets, and so on. To anyone remotely familiar with recent fashion, they’re a rather unremark¬able item. However, the pants are not denim at all. They are cotton-linen trousers printed with a high-resolution digital scan of a pair of Levi’s. In 2011, they were part of a trend called ‘log Jeans,” a move by brands such as Watanabe’s COMME des GARCONS label MAN, fellow Japanese label About the Abstraction, and Diesel to increase the comfort of denim with¬out sacrificing signature looks.

The information of the classic pair of Levi’s 501jeans (faded front legs, linear dye streaks, frayed pockets, and so on) is already stored in people’s mind, when the cotton-linen material is attached with the image of high-resolution of Levi’s, the experience of “the real jeans” based on physical world and the visual appearance of printed jeans created by digital world come on to the same level in mind, They are all real in mental reality, they all have relative independence but the boundaries between them are blurry. When they appear in the mind at the same time, a subtle and odd feeling

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is produced, and we know there are some interactions between them.

unstable and in motion, which turns an object into a thing in mental reality.

Advanced technology is used to make something look old - that is, a worn-out pair of Levi’s. The detailing, however, contradicts the simulative nature of the rest of the pants. Around the waist they are outfitted with traditional Levi’s elements, such as denim belt loops, zippers, buttons, and rivets. On the back, an original Levi Strauss & Co. tag covers a scan of the same tag, torn and digitally smeared underneath, creating an odd mixture of digital and physical traits.

Postdigital Species - Between robots.

In this quotation, the jeans have become a composition of different information fragments. the Levi’s elements are fragments produced by physical world, the scanned tag and digitally smeared underneath are “data” fragments from digital world. the relationship between these two kinds of fragments are delicate: The physical elements can be seen as backgrounds for digital printing, the digital printing achieves something new that physical elements cannot approach. Why does odd feeling occur? It seems that the human brain is trying to understand the relationships among three objects: The highresolution image of a jeans, the real jeans and the printed jeans. We can say that the image of jeans is produced by a mirror which reflected the real jeans, this process is stable and static. While, the creation of printed jeans is a process with infinite reflection in every moment, it is

reference. This discontinuous, segmented comparative presentation method allows the metaphor of postdigital to be expressed.

human and

There is a blog on The New Aesthetic – Balenciaga Summer Campaign, posted by Will W. The storyline is about the live of Balenciaga News, dressed with the Balenciaga classic suit, the presenter is sitting in front of camera and moving her mouth without voice. The presenter’s facial expression was stiff. Although her mouth was moving, the position of the facial muscles did not change accordingly. From the news broadcast process, the presenter’s emotions cannot be caught, or the presenter has no function of generating emotions. Along with the screen switching, the presenter and the off-site reporters start a conversation. Like the presenter, the off-site reporters also have a “digital appearance”. Also, all the clothes worn by the people in the news show a “cube” effect, or the clothes worn by all people are more like boxes, which their figure cannot be seen. The stiff expression and blocky clothing make these people flatter than humans, but more tridimensional than robots, which is an existence between humans and robots. Postdigital depicts a “between” state in Balenciaga News. At this moment, human’s understanding of humans and robots is sliced, segmented and presented as a mutual

Balenciaga 2020 Summer Campaign Resource from internet

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In order to project the robot personality - the shortest step to achieve the goal (the least motion to produce voice in visual appearance), on presenter. The presenter's emotions, facial muscle movements, and body language are missing. In this model, the humanism of the presenter is weakened, while the robotism is strengthened, and the original balance is broken, thus creating a certain tension. Under this tension, humanism and robotism are in a dynamic state of cross-reference, which cause a same effect just as printed jeans did.

Postigital Space – Between

illusion and

reality

POSTDIGITAL – INTEROPERABILITY

“natural rock-landscape”, with the opaque and translucent mirrors, the trace of eyewear and rocks are unexpectable and elusory. In physical world, everything is controlled by the gravity, none of them can escape this order. While the interior of Mirror Mirror really breaks this order and bring digital quality into physical world. The details of rocks metaphor its heaviness, with the filter of mirror, the rocks escape the gravity and float in the air. The quality of postigital is presented by the contrast of gravity in physical world and nongravity in digital world, which burst out the odd feelings.

Mirror Mirror is interior project produced by SIFT Studio and EADO. This collaborative project acompetition tasked its participants with the design of a temporary store for Linda Farrow, the iconic eyewear brand. Mirror Mirror represents the allure of fashion by resembling a geode: a colorful vibrant core to a deceptively dull rock. For the exterior surface, the repurposed foam pieces are stuck together and painted black, which turn the architecture into the odd rocks. From outside, people will not expect what happened on the inside. When it comes to the inside, the cascading reflection of floating “rocks” caused by mirror blurs the boundary between what is real and what is illusion. The luxurious eyewear is presented in a

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Exterior and interior of Mirror Mirror Resource from internet

Postdigital

architecture

environment

–

glitch

Glitch art is the practice of using digital or analog errors for aesthetic purposes by either corrupting digital data or physically manipulating electronic devices. Glitches appear in visual art such as the film A Colour Box (1935) by Len Lye, the video sculpture TV Magnet (1965) by Nam June Paik and more contemporary work such as Panasonic TH-42PWD8UK Plasma Screen Burn (2007) by Cory Arcangel. From the quotation, the first thing we got is that glitch is digital errors which happened in seconds. It means the Glitch is non-permeant. Meanwhile, Glitch is a process based on a nonmaterial environment, which is an abstracted existence compared with things happened in physical world. When the glitch is torn out from digital world and becomes a kind of reality, the postdigital thing is produced. For its latest project, H3333333K, !Mediengruppe Bitnik—the artistic duo of Carmen Weisskopf and Domagoj Smoljo—introduced a new random element: glitch. The two applied a digital image error directly onto the facade of the House of Electronic Arts Basel (HeK), misaligning the facade’s element and, as they put it, “bringing disturbance to an otherwise settled structure.” !Mediengruppe Bitnik wanted to discover what happens when a digital glitch migrates to a structure. More specifically, they wanted to know what happened when

they took something ephemeral like a software error and applied it to a long-term physical architecture. “The appropriation of a technical error, a glitch can be read as critical, by attracting attention to the material basis underlying digital technologies,” !Mediengruppe Bitnik’s Carmen Weisskopf tells The Creators Project. “The technical error interrupts the smooth functioning of media and raises questions which extend beneath the surfaces.”

H3333333K is an architectural project produced by !Mediengruppe Bitnik—the artistic duo of Carmen Weisskopf and Domagoj Smoljo. Inspired by glitch art, the digital image error is directly transform onto the facade of the House of Electronic Arts Baesl (HeK). The aim of the project is to question and challenge the conception of reality under contemporary background.

Elevation of H3333333K Resource from internet

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As Weisskopf says, a software error build out of stone. In this project, the ephemeral of digital things such as software error and the “permanent” of physical things such as architecture are put on the stage for discussion. There are two things need to be discussed here. First, in the perspective of human world, glitch is a transient digital error, but in the digital world, is there a conception of time? In my opinion, there is “no time” in the digital world, because there is no limit to the length of the life for any existence in this world. Thus, the momentary behavior of glitch is actually a "blank permanent" in reality. Under this deduction, the "blank permanent" in the digital world and the "actual permanent" in the physical world are superimposed in the H33333333K, which producing a surreal effect. In addition, glitch itself has a quality of "nonmateriality", while architecture is material-based representative, the “non-materiality” existence and material-based quality is merged to bring out postdigital thing. If we continue to explore the meaning of digital and physical in this project: digital is timeless and immaterial, it is an abstract existence. And physical is time-based existence. In physical world, there is an order behind the relationship among all things, which governs the construction and presentation of reality. While glitch behavior is random, changeable, difficult to capture, as an abstract existence, there is

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no order between glitch. So postdigital in this project is a mergence of order and non-order in which they are independent of each other and whose boundaries are deliberately blurred. When glitch is given the characteristic of "things", it means that glitch is "ordered" and integrated into the system of things that exist in the physical world itself.

H3333333K has turn into a random, dynamic, aimless existence. After that moment, because of the material-based quality of architecture, which is relatively eternal, “glitch structure” has become a static, solidified existence. Therefor there are two states in the H333333K: 1. Instant (blank eternity), unordered and nonmaterial state. 2. Eternal, ordered, and material-based state. These two states are infinitely switched in mental reality. Thus produces a contradictory, unified tension, and finally lets humans feel what is odd postdigital.

SYSTEM

Detail of H3333333K Resource from internet

In this image, the falling pipe and the column are split into three segments and stacked in a dislocation in turn. The moment when glitch is applied to stable and static structural system, the structure of the building appears a kind of instantaneous instability. The structure of

The cybernetics from Christiane Paul and Malcolm Levy pushed a major shift in the conception of an organism from something isolated and discrete to something inextricably linked with its surroundings. It also led to the concept of “system aesthetic” – change derives not from what things are, but rather how they act, a shift from an “object-oriented” to a “systems-oriented” idea of culture. For architecture, when it related to the surroundings, the context, when the architecture is not only to be seen as an autonomous entity, but rather the artifact inextricably linked to its environment, there is a risk that “ecological” undermine the unique quality of architecture. David Ruy and Graham Harman are ones that opposite

ecological approach and suggest that architecture should return to objects, to the internal quality of objects. In Harman’s ontology, the world consists of two parts: sensual objects and real objects. Sensual objects are what we can interact through our sensory nerve or organ. Real objects are withdrawn from human access, but exist beneath the sensual objects themselves. The sensual objects are just like the surface of an apple, on which we can know its color, smell, and whether it’s smooth or not. In the apple itself, is the core – the real object. In Harman’s opinion, this schism between sensing and knowing is “allure”, which he describes as “a special and intermittent experience in which the intimate bond between a thing’s unity and its plurality of notes somehow partly disintegrates.” The opinion from Harman more clearly explain the initial quality of H3333333K project: There exists a tension which cause the infinite reflection on a mirror (intimate bond) between “real glitch” and “real architecture” in mental reality. This tension is “allure”, which is the key point that drives things to change. Here I will make a comparison and emphasize how it changes: In H3333333k, the sensual objects of glitch and architecture are: Glitch: random, intermittent and dynamic Architecture: precise, coherent and static These sensual qualities are information that can be precepted and comprehended.

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The real objects of them are: Glitch: Instant (blank eternity), unordered and non-material Architecture: Eternal, ordered, and materialbased The real qualities of them are abstract, invisible and excess of human’s perception. We can see that the quality of real objects behand glitch and architecture are actually the quality of digital world and physical world itself. More specifically, the real object is the concentrated essence of its corresponding world. When the H3333333K birthed out, at that moment, the “real quality” of glitch and architecture evolve into a new real object, at the meantime, the digital world and the physical world are interacted together and evolve into a new world. In Steven Shaviro’s opinion, our surfeit connectivity is inescapable and overwhelming. As he said “we are continually beset by relations, smothered and suffocated by them.” In my perspective, when something is built, when it comes out and becomes an existence, the relationship with its surroundings is produced at the same time, which is a spontaneous process. The Steven’s opinion - Out surfeit connectivity is inescapable, shows a passive attitude which is not objective enough to see the whole image of the situation. Besides, this connectivity is precepted, touchable and visible, which is a connection based on sensual objects. Thus,

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POSTDIGITAL – INTEROPERABILITY

in my opinion, Barham and Steven are talking about one thing from different aspects, which is not opposite, but can be coherent into one system. If allure draws us inward, toward an object’s “vacuum-sealed” core, metamorphosis takes us outward, toward an object’s vital connectivity with the world” For this quotation, if we consider it on the level of real object and its corresponding world, they are the one thing, they happened at the same time, there is more about inward or outward. It’s not just about interaction between two things, it’s about evolution of a new world or a new perspective. The real object is the system.

SENSUAL GLITCH

SENSUAL ARCHITECTURE

REAL GLITCH

REAL ARCHITECTURE

Postdigital is a system aesthetic, an infinite processing and an odd feeling which human never experienced before. There is a model of producing or explaining the produce of postdigital: First, based on the physical world, human beings master the structure and principle of external reality, using the digital technology, the creations are produced. REAL H3333333K

SENSUAL H3333333K

System: Glitch architecture Dragram by Di Liang

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Second, the visual appearance of postdigital creations are imported into human mind, contracted with the information of structure and principle, the infinite reflection of comprehending between these two kinds of information happened in mental reality.

POSTDIGITAL – INTEROPERABILITY

human living environment and a humanism of technology operating environment, which is the ultimate goal of postdigital.

Third, the brain traded the mixed information in mental reality as cognitive background, at the same time, stimulated by continuous visual appearance of external reality, the odd feelings come out.

Manifestation

Perspective transformation If there is a world, there is a perspective. Postigital is a midpoint between the perspective of physical world and the perspective of digital world. Digital technology is not only a tool for humans, but also a derivative of human biological capabilities. The way we trade the technology has changed. The emergence of artificial intelligence has made us gradually regard the digital technology as an existence equivalent to our status. In order to enable people to collaborate more closely with digital technology, which is also an unstoppable trend, we began to see the reality and the world we created from the perspective of digital technology. Many postdigital artworks superimpose the perspectives of digital technology and humans to produce a new perspective, which can be understood and applied by both humans and technology. Therefore, postdigital is a slight robotism of

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Information based in mind

Information A Mirror infinite reflection

The structure principle

Postigical

Information A’

Technology

Creation Manifestation

Mential reality

Exteral reality

Odd postigital

System: Produce of odd postigital Dragram by Di Liang

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POSTDIGITAL – INTEROPERABILITY

BIBLIOGRAPHY 1. Adam Fure, “Aesthetics Postdigital.” (The MIT Press, 2019) 2. Will W, “Balenciaga Summer 20 Campaign,” 3. Adam Fure, Ellie Abrons, Christina Kull and Nick Safley, “Mirror Mirror.” 4. Wikipedia, “Glitch Art.” https://en.wikipedia.org/wiki/Glitch_art 5. DJ Pangburn, “Glitch Architecture Shows How Beautiful Broken Can Be.” 6. Jack Burnham, “System Aesthetic.” (Museum of Contemporary Art, 1967) 7. Stephen Jones, “Cybernetics in Society and Art.” (University of NSW, 2009) 8. David Ray, “Returning to (Strange) Objects.” Tarp (Spring 2012) 9. Graham Harman, “Guerrilla Metaphysics.” (Chicago: Open Court, 2005) 10. Steven Shaviro, “The Universe of Things: On Speculative Realism.” (Minneapolis: University of Minnesota Press, 2014)

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THE ORDER BETWEEN OBJECTS

PROJECT 13 THEORIES OF CONTEMPORARY ARCHITECTURE I THE ORDER

Project: Theory Time: Fall 2019 Author: Di Liang Supervisor: John Michael Cooper

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THE ORDER What we created go beyond us.

THE ORDER BETWEEN OBJECTS

The

order between objects.

Imaging we watching the image or the animation of a column and a house with the same scale through a monitor, we cannot figure out which is the real column and which is the real house because the monitor cut down the connection between the scale of ourselves and the scale of these two objects. But the weird feelings also come because we know that the scale of one of the objects is weird. Thus, in our understanding of this world system, there is a clear order between objects, and we, humans have been so familiar with this order that when it’s is broken, it seems like something goes wrong. The world function as a system under some kinds of order, what the initial quality of this order? Where does the order come from? Is it from nature or we human build it? When the order is broken, is there anything new born? Whether we can break the boundary of this order to create something new?

The initial quality of the order – a clear and non-reverse direction

Let’s go back to the case of the column and the house. In the real world, the relationship between the column and the house is clear: the column is one of the structural elements that compose the house.

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There is a fundamental master-to-slave relationship between the column and the house. The column is the slave to support the daily life of the house. The house is the result and the column is the process to that result. Thus, the first quality of this order is: there is a linear direction from the column to the house.

THE ORDER BETWEEN OBJECTS

means the way that how human think, produce and create is linear- from one point to another. And this direction is irreversible, which points directly to the sky above the human head what a romantic, hopeful and tragic destiny.

The similar relationship appears in other cases. In a family, the relationship among “grandparents”, “parents” and “children” is also linear. The “parents” are the children of the “grandparents”, also, the “children” will become the parents someday. In this case, time is the main effect that determine this linear relationship. The things that the “children” become the parents of “parents” will never happen. The second quality of the order is that the direction of the order will never reverse in reality world.

Time and gravity, the only two elements in the universe that push and limit human civilization to born. Under the effect of these two elements, how we, human beings build our world?

The

Where

is the direction of the order comes from? Let us return to the initial formation of this world. The mountains form in the opposite direction of gravity, and also the trees grow in the opposite direction of gravity. When humans see how these objects are formed, they begin to build buildings in the anti-gravity direction. The structure of buildings is like a weapon for human to against gravity, while the direction of formation of the world we create is still unable to escape the "linear direction" logic, which

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The volume of the tree will never change from large to small. It can only grow from small saplings to large ones until the end of life. The whole life process develops linearly under the control of time. This is because time is one-way direction, and humans still cannot surpass the speed of light to get rid of the bondage. The brain is a magical organ that allows humans to retrieve memory fragments and return them to a time that they have experienced in the past, but the brain still cannot let humans move to the future.

Diagram: The order of hierarchy and the gravity Author: Di Liang

god happy. The Pharaohs were believed to be god in the human form.” (Shaw 2006)

From this quotation, god is actually the represent of gravity and time. Gravity and time together control the climate change, and the climate determines the harvest of the crops and determines whether the citizen will die of hunger, disease or disaster. The human at that time is so weakness under the order of gravity and time that they need to choose someone powerful, someone seems that can hold everything to negotiate with the god. Here again we see the subtle mental influence of gravity and time on human society: human beings set up an existence that is closest to God, and divide themselves into different levels in turn, the entire level shows a top-to-bottom direction.

hierarchy of information

With the inspiration of gravity and time, we humans have created a world system with order - hierarchy, which define the identity of different kind of humans in a certain order. In ancient Egypt, humans are divided in 8 levels from top to bottom- Pharaoh, government officials, soldiers, merchants, artisans, farmers and slaves. “The Pharaohs were the community of people who were the richest and the most powerful. Broadly speaking, the Egyptian society manifested God at the top position. They believed that the god controlled their lives and they performed all the needful to make

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The direction of order not only have influence on civilization, but also how human percept the objects.

in these billions of years of evolution: intelligent life

As Sara Ahmed argued in Queer Phenomenology “you

theoretical framework for modeling complex non-

bring your past encounters with you when you arrive.

linear systems and their quantum interactions or

In this sense an arrival has not simply happened; an

communications, staring with elementary particles and

arrival of objects points toward a future that might or

their fundamental interactions to the modeling of living

perhaps will happen”.

organisms and their environment.”

(Sara Ahmed 2006)

(Lucian M. Ionescu)

The quotation argued that when human percept one objects, the arrival of the objects points to the future, which means the process of arrival has a direction, under the order of time.

When the first image is recorded by the camera, the information of physical world is flattened and fixed as a data that can be reused without the limitation of gravity and time. The digital world is a space that all the information is flattened in to one hierarchy, to some degree, the order between information disappeared. all the information is equal and there is no or everywhere correlation among them.

When we face so many images in digital world, we percept through images but not reality, does the arrival of objects still have a direction points to the future or nowhere? Does the hierarchy also exist in digital world?

Digital data

world

– Non-hierarchy

“Micro cosmos and macro cosmos: so different and yet, we believe, just a matter of perspective. Human intellect always strived to achieve a unified description of the Universe, starting with its genesis, the Big Bang as a micro event under the jurisdiction of high-energy particle physics, followed by a expansion explained by cosmology and ending with its Big Crunch, of a cycle at least, invoking the concerted efforts of both quantum physics and cosmology, the exotic framework of black holes. Let us not forget a fleeting moment

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modeled as complex systems totally outside the above phenomenological realm ... at least until recently! The Digital World Theory designates a common

When people see the column and the house with same scale through a monitor, actually which is a process of breaking the order between the column and the house – the column will no longer support the house as a slave anymore, their identity is equal, the information between the column and the house disappeared and the information of the column and the house exist individually at this moment. The column and the house now lose their physical meaning and transferred into a kind of “pure” object. Under this situation we

THE ORDER BETWEEN OBJECTS

have an opportunity to combine or deform the information of column and the house in a new way. We first need to figure out why we want to create something new with a “pure” column and a “pure” house. If in our subconsciousness there is no information that the column is “slave” to the house, the wield feeling will never come out when we face that monitor. Thus, the key point is a comparison between the wield scale and the order exists in your mind. A new infant will not notice that wield feeling because he does not have information of order in his subconsciousness. Adolf Loos column skyscraper is a case to perfectly respond this information transformation of column and architecture. The building is designed with a “skyscraper” scale but a “column” form. The details of facade with vertical grid which shows a standard facade-strategy makes this weird combination to some kinds reasonable. This design is a process of abstracting the column from its physical meaning and projecting the formal information to a “skyscraper” body. The scale of this “column” does amplify the wield feeling of breaking the order. The similar design strategy can also be seen in the case of Binoculars Building, which was built between 1985-1991. The building is notable for its binocular entrance which makes the building out of touch with reality.

The axon of Adolf Loos column Skyscraper Resource from internet

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The boundary of deformation – Design of readable information The digital world provides a platform for superimposing and transforming information. In digital world, information loses its physical worldbased carrier and turns into a more abstract existence. The order between the information can also been broken in the digital world, which has been confirmed in the above. The order between the information can be broken, but the degree of being broken is limited to be comprehended. There is a possibility that when information is superimposed or deformed to some degree, information becomes unreadable or incomprehensible to humans, does such a transformation make sense? Do we need to do that? Imagine we tear the photo of the Adolf Loos column skyscraper into countless tiny pieces, and then randomly stitch it into a complete image. In the process, the original photo which contains the information of the sky, the skyscraper and the buildings surrounding the skyscraper—the spatial location in the original photos (spatial information) and even their own information order are all broken. The new photo composed by these fragments are unreadable to humans, which means such information superposition and deformation have no meaning for human perception. Thus, what kind of information combination is meaningful, and where is the boundary of this matter?

The perspective of Binoculars building Resource from internet

Filip Dujardin used digital collage technology to combine buildings that were actually shot in Belgium – this series is called “impossiblearchitecture” and most buildings are structurally unrealizable, however, at first glance These buildings are mundane, and they can only show their incredible absurdity when they are carefully observed and found subtle and uncoordinated details.

Image of "impossible architecture" Resource from internet

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“The absurdity in order” is my understanding of his work. First of all, the “Impossible architecture” is readable to humans because most of the information is in line with human experience in the order of existing world. The reason why this work shows ridiculous feelings in subtleties is that only some part of the elements breaks the order and is integrated into the whole things in an appropriate way. This means that the premise that humans perceive absurdity is that this absurdity is in an environment with normal order. There is another explanation for “impossible architecture”. In the article - Filip Dujardin’s impossible architectures defy both physics and sense, written by James Holloway, mentioned that “Adding shadows, that’s the main trick,” Dujardin told Elle Decor. “The building becomes real if the shadows are well done.” (James 2013) The

reason why these works are reasonable at first glance is that it conforms to human’s aesthetic logic of the relationship between object position and the sunlight in real world. The wield feelings comes out when they analyze from a structural perspective, or the methods combination of the surrounding environment is not reasonable. There are two levels of discussion in this: the first is that Filip Dujardin meets the order of aesthetic logic, but when people connect the “impossible architecture” to the reality, it violates the law of gravity.

around the Binoculars Building or the normal architectural aesthetic are in line with the law of gravity.

Conclusion - Break the order

the order in

“Break the order in the order” is a unique perspective to create a new world. Between the break and the conform, there burst a universe with intense to the endless. “Break the order in the order” describe a situation of “between in-between”, which means when we break the order in the order, it create a space or an atmosphere existing continuous, constantly collision in every moment. It also means in every moment, in the “between inbetween”, time, gravity and that specific order changed their directions constantly, the collision happened so fast that it seems like it’s a quiet and static sculpture. The essential process of intense movement and static visual illusions brings out wield feelings. When you see the slight waves of the sea, behind that mild movement is huge power.

The entrance of the Binoculars Building looks also strange because most of the buildings

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Bibliography: 1. Shaw I, The Oxford History of Ancient Egypt. (Oxford University Press, 2006). 2. Sara Ahmed, Queer Phenomenology. (Duke University Press Books, 2006). 3. Lucian M. Ionescu, The digital world theory, https://my.ilstu.edu/~lmiones/ISUP/JMDF_DWT_ Abstract.pdf 4. James Holloway, “Filip Dujardin's impossible architectures defy both physics and sense”, NEW ATLAS, January 17, 2013, https:// newatlas.com/filip-dujardin-fictions/25802/

Image of "impossible architecture" Resource from internet

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i D liangdi0116@outlook.com +1 2137058195