GT23 - Haocun Zou - Architectural Being

CHAPTER 01

SCALE

STEPS BEYOND STAIRS

STAIRS BUT MORE THAN A STAIRS

STAIRS BUT MORE THAN STAIRS

Affinity refers to the relationship or connection between two or more elements or features of a 3D model. It is a measure of how well different parts of a model fit together in terms of geometry, size, and orientation.

Design intent The architect or designer may have intentionally made the stairs appear larger to create a sense of grandeur or drama in the space. By making the stairs larger than necessary, they could create a focal point for the courtyard, drawing people's attention and creating a sense of importance.

Functionality The stairs are extended on one side to accommodate a high volume of foot traffic. If the library is a popular destination, the designers might have made the stairs wider or more spacious to ensure that people can move through the space easily.

Navy Pier “Wave Wall”, nARCHITECTS

Wormhole Library, MAD Architects

STEPS BEYOND STAIRS

Scale is used to resize or proportionally adjust the size of a 3D object along one or more axes. It allows the user to either scale the object uniformly, or along a specific axis, to increase or decrease its overall size.

Symbolism Steps of ancient pyramids were intended to symbolize the difficult and arduous journey to the afterlife. Climbing the steep steps was meant to be a physical representation of the challenges that the deceased would face in the afterlife.

Defensive purposes In some cases, the steep steps of ancient pyramids may have been designed to make it more difficult for invaders to climb the pyramid and reach the top, where they could potentially cause damage or desecrate the burial chamber

Step Pyramids in Teotihuacan, Mexico

El Castillo, Chichen Itza, Mexico

HUGE PRESENCE

The HUGE PRESENCE is where the architect designs the staircase as the core of the space, weakening the other parts. In these projects, the staircase serves to connect the spaces and form a focal point, focusing people's attention on the staircase and thus enlarging the space in disguise.

In Laurentian Library's design, although this is not a residential project, the staircase is included in this type of reference because its role in this project is so unique. The huge staircase fills the entire space, squeezing the rest of the space into almost no place. This huge presence magnifies the scale of the space many times at once, stuffing the feeling commonly found in giant architectural projects into this small space and also magnifying the experience of the original space.

Scapa's Olivetti Showroom, on the other hand, is crafted to make the tectonic of the staircase the most striking, enlarging it while putting more details on display, creating the lightness of the staircase overhang to amplify the experience of the space.

National Park Centre's staircase limits the program and massing to two defined entrances, and uses a gradual narrowing and widening effect to give the user a sense of amplification when entering the interior.

Stairway House is a bold combination of Huge Presence and a small residential project, with a colossal staircase inserted into the building block. But this operation does not amplify the space as well as the others, more because the single-sided glass curtain wall makes the whole building more open.

ENORMOUSNESS

Relativity When a large object is placed in a small space, our brain uses this object as a reference point for size and distance, which can create the illusion that the space is larger than it actually is. Or the giant object was crafted and filled into the perimeter, so that the space keep its continuity.

Complexity Either extremely simple or extremely complex makes the space feels larger. It’s easier to understand the simple situation since the object is placed sole in the space. However, the when the object gets to be complex, the spatial experience becomes more complicate, and the brain unconsciously creates a bigger space than it actually is.

How to make small space feels LARGER by putting a massive object inside?

Farnsworth House – Mies Van der Rohe (1951)

Y2K House – OMA (1998)

OBJECT IS SQUEEZED INSIDE

OBJECT OCCUPIES PERIMETER

MIES VAN DER ROHE FARNSWORTH HOUSE

RICHARD ROGERS ROGERS HOUSE

PHILIP JOHNSON THE GL ASS HOUSE

PIERRE KOENIG STAHL HOUSE

LUIS BARRAGAN CASA BARRAGAN

RICHARD MEIER NEUGEBAUER HOUSE

MICHEL ANGELO LAURENTIAN LIBRARY

NENDO STAIRWAY HOUSE

RICHARD NEUTRA LOVELL HOUSE

FRIEDRICK KIES LER ENDLESS HOUSE

HOLLOW

OMA Y2K HOUSE OMA CASA DE MUSICA

KARL SCHINKEL ALTES MUSEUM

PIANO & ROGERS CENTRE POMPIDOU

FOA - YOKOHAMA INTERNATIONAL PASSENGER TERMINAL

SHIGERU BAN FURNIT URE HOUSE NO.1

SANAA OKUR AYAMA APARTMENT

JOHN HEJ DUK WALL HOUSE

TADAO ANDO AZ UMA HOUSE

MIES VAN DER ROHE FARNSWORTH HOUSE

RICHARD ROGERS ROGERS HOUSE

PHILIP JOHNSON THE GL ASS HOUSE

PIERRE KOENIG STAHL HOUSE

LUIS BARRAGAN CASA BARRAGAN

RICHARD MEIER NEUGEBAUER HOUSE

MICHEL ANGELO LAURENTIAN LIBRARY

NENDO STAIRWAY HOUSE

RICHARD NEUTRA LOVELL HOUSE

FRIEDRICK KIES LER ENDLESS HOUSE

OMA Y2K HOUSE

OMA CASA DE MUSICA

HOLLOW

KARL SCHINKEL ALTES MUSEUM

PIANO & ROGERS CENTRE POMPIDOU

FOA - YOKOHAMA INTERNATIONAL PASSENGER TERMINAL

SHIGERU BAN FURNIT URE HOUSE NO.1

SANAA OKUR AYAMA APARTMENT

JOHN HEJ DUK WALL HOUSE

TADAO ANDO AZ UMA HOUSE

CHAPTER 03 PROTOTYPE

MODERN JAPANESE ARCHITECTS

THE SECOND

THE THIRD GENERATION

& THEIR SMALL HOUSING PROJECTS

隈

Kengo

Kuma

Plastic House

Location: Tokyo, Japan

Year: 2002

Scale: 2 stories

安藤 忠雄 Tadao Ando

Azuma House

Location: Osaka, Japan

Project: 1975

Site Area: 57 m2

Built Area: 65 m2

伊东 丰雄 Toyo Ito

Aluminium Brick Housing in Groningen

Location: Tokyo, Japan

Year: 1983

Scale: 2 stories

Site Area: 257.00m2

坂

Shigeru Ban

Furniture House No.1

Location: Tokyo, Japan

Project: 1995

Plot Area: 139 m2

Built Area: 73 m2

Waro Kishi

House in Nipponbashi

Location: Osaka, Japan

Architect: Waro Kishi

Project: 1992

Site Area: 30 m2

妹岛 和世 Kazuyo Sejima

西泽 立卫

Ryue Nishizawa

MORIYAMA HOUSE

Location: Tokyo, Japan Project: 2005

内藤 广 Hiroshi Naito

House No.21

Location: Tokyo, Japan

Architect: Hiroshi Naito Project: 1997

Koh Kitayama

Dada House

Location: Tokyo, Japan

Architect: Koh Kitayama

山本 理显 Riken Yamamoto

Wakatsuki House

Location: Tokyo, Japan

Project: 1989

Site Area: 87 m2

Built Area: 123 m2

高松 伸 Shin Takamatsu

Plastic House Location: Kyoto, Japan

Year: 1982

Scale: 4 stories

Building area: 62 m2

佐藤 大 Oki Sato

Stairway House Location: Tokyo, Japan

Year: 2019

Scale: 3 stories

Site area: 284 m2

FLUXUS ART MOVEMENT

Fluxus emerged as a loosely knit collective of artists with a global reach, though its influence was particularly potent in the vibrant art scene of New York City. Central to its historical origins and organization was George Maciunas, often acknowledged as the movement's chief instigator. He characterized Fluxus as a "fusion of Spike Jones, gags, games, Vaudeville, Cage, and Duchamp."

Echoing the sentiments of earlier art movements like Futurism and Dadaism, Fluxus artists contested the power of museums to dictate artistic value. Similarly, they rejected the notion that appreciating and comprehending art necessitated formal education. Fluxus not only aspired to democratize art, making it accessible to the masses, but also sought to democratize the act of creation itself, advocating for art production to become an integral part of daily life.

Flux Year Box 2 - George Maciunas

MARKET INDEX: LEE LOZANO

Private Book 1: LEE LOZANO

POSTCARDS BY ON KAWARA

Grapefuitt (1964) by YOKO ONO