FolioPortArchitectureDesignResearchStanTianruoLi
Stan Tianruo Li Language CantoneseEnglish (Native) Mandarin Instagram:Phone:Email:ContactStangonchine@gmail.com+61451879990@gonchine Graduated with architecture degree, Stan is interested in architectural design and research. During the study in Melbourne, his work is focus on design practice and academic research in the narrative of history. Conducting with traditional drawings and digital 3d modelling, he aims to investi gate architectural concepts brought together through interwoven experience from arts and film. Stan is dedicated in exploring the future term of architecture environ ment through narratives from precedents. Awards & Exhibition Referees Rory AssociateHydeprofessor in architecture and curatorial practice at the University of Melbourne DirectorAnnarory.hyde@unimelb.edu.auNervegnaatNervegnaReed Architecture Studio Leader, Melbourne School of Design SeniorSimoneanna@nervegna-reed.com.KochArchitect,Workshop Architecture, Studio Leader, RMIT simone.koch@rmit.edu.auUniversity Software AdobeRhinocerosSuit including Photoshop, InDesign, Illustrator AutoRevit VrayBlenderGISMayaCADrender Experience March 2020 – Jan 2021 Architectural Intern, YF Architects, Guangzhou, PR DecChina2019 – March 2020 Research Assistance, Architectural Design Re search Institute of SCUT, Guangzhou, PR China Dec 2018 – March 2019 Student Peer Mentor, RMIT University, Melbourne, DecAustralia2017 – June 2018 Architectural Intern, China State Construction Engi neering Corporation, Guangzhou, PR China Master of Architecture 2020-22, The University of Melbourne Bachelor of Architectural Design 2017-19, RMIT UniversityARCH8:THE LABYRINTH 2.0 Architecture Competition 2nd Place, Arch8 Higher Education Mega Centre Design and Planning Competition 3rd Place, School of Architecture, South China University of Technology 46 Little La Trobe Street Exhibition Project Participation GDUT Architecture Superstudio 2018 2nd Place, School of Architecture and Urban Planning, Guangdong University of Technology 2018201920212022
01 02 04 03 05 Curation Architectureof 01 Choreography of Conversation Master of IndependentArchitectureDesignThesis A museum interacting with social justice in Carlton, Victoria. 02 Strategies of Seeing Master of Architecture Design Studio D A gallery adapting stretegies of visual connecting 03 Alternation of Material Master of Architecture Design Studio E A investigation of new sustain able material: Technical Plant Stem, which interwave by recy cled glass fibre 04 Virtuality of Dressing Master of Architecture Design Studio C A fashion store colliding with a dressing room of the theatre, activating virtual scenes of the opera through Augument Reality Technology. 05 Formation of Origin Bachelor of Architecture Design Studio 6 A series of spatial transformation with the former office of Edmond & Corrigan in 46 Little La Trobe St
This thesis investigates how architecture can stage communication. In the environment social estrangement caused by electronic and digital media, this thesis pro pose a question of how the project of museum can catalyse encounter and interaction for the public. Particularly, it investigate the cultural hypothesis of museum space engaging with social justice, rebuilding social trust and under standing through conversation. To encourage people from different background to encounter in the museum, this project takes a look at Carlton which is regarded as an inter section point between local and international, social and academic, and urban and suburban. So the project is plugged in next to the Lincoln Square as an extension of public facility but brings about more opportunities for encounter. It takes over the existing office and apartment buildings which interrupted the flexibility of the block for the local community. The new form instead brings the streets back and attract people through multi-direction ac cess. Sited in local, linked with streets, this project provides a civic space for the public. It is the intersection of programmes, and the intersec tion of space and material, which encourages the intersection of people. At the same time, it allows people involved in justice to experience art, interact with artists and make conversation, debate, and protest shown to the public. It is to make them feel as part of the society, as muse um time is part of the social life.
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Curator Kayleigh Bryant-Greenwell argues in her writing that the future of museum is non-neutral and strongly engaged with culture and society. This museum is imagined of mak ing deep engagement with social justice.
It physically and programmatically interacts with the centre of Innovated Justice on the site. This institute is a university-run programme, which seeks for alternative way to help people with justice issue. Using the museum space as an innovative way, lawyers and social work ers help their clients to rebuild social trust and Museumconnection.space which contains the environ ment of public embracement and art, can help the clients who are involved justice issues gain healing and make their voice heard more ef Forfectively.example, project reset in Brooklyn invite low level crime offenders to the museum to experience the artwork and finish art creation in exchange for not being charged. The sta tistic suggests this programme helps reduce the crime rate of the community because the criminal are more likely to gain social trust when they are sent to museum instead of court, which inspires the new role of museum space in ArchitecturallyMelbourne. this project addresses what these client can do in the museum. Offenders can experience art in gallery spaces and make artwork at the adjacent workshop. Clients who suffer from violence can meet lawyers for their own issues in the private consultant room. If they are willing to share their experience, they can walk to the creative space to have conver sations with the artist. Refugees can not only visit gallery to experience normal life but also make their voice and protest in auditorium and Museumatrium. projects as a space of communica tion can facilitate flexibility and convenience for justice, inviting people back to the society. Art experience in Project Reset, Brooklyn Museum
O4 Contemporary Galleries is the media of propaganda
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The first statement suggests that gallery is not just a place for communication between artists and visitors but among the people in different background. Sport and politics are less effi cient for such communication because they are interrupted by self-interest. But gallery is a place to get rid of misunderstanding where people can be patient to understand the art work carefully and progressively, they can try to understand what other people’s real feeling.
The third challenges the traditional idea of gal lery design as curating spaces. Circulation is used to curate exhibition spaces, so visitors are likely to drown into art in the gallery and get back to reality in the circulation. What if these two elements intertwine or intersect to make ambiguity so that people cannot tell the differ ent between them?
Electronic media resurrects acoustic space in modern era. Contemporary world gives rise to the possibility of regarding the architecture composition as a big scale media, a piece of artwork for propaganda.
Many galleries themselves are treated as a piece of artwork on site like a sculpture or installation. Relating to the backdrop of the electronic age, gallery can be regarded as a piece of contemporary art. Marshall McLuhan put forward the theory that history follows de velopments in the means of communication.
The second statement reveals the possibility that architecture could provide space not only for visitor to watch the artwork but also to watch other visitors watching the artwork so that they can recognise themselves can be part of the artwork when they are interacting with art.
O1 Gallery a place for communication.
O2 Contemporary Galleries recognised visitor as a piece/ part of the artwork. This contemporary gallery is to explore O3 Contemporary Galleries can blur the distinction between reality and art.
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The foyer celebrates the outcome of stacking as are stacking as volumes on different enhance the complexity. The space is open and grand to encourage visual contact on different levels. It is a public space for people to speak and negotiate under the back ground of art. To investigates the idea of visitors as a piece of or part of artwork, the box volumes are compressed so that some volumes are inserted into lower volume to allow inspection and Verticallyvoyeurism.such
The gesture here is more vibrant as people at three different levels can interact with each other. It also provides an ideal platform to viewing the performing art.
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The project applies the floor level stackings. All the programs are categorised in different boxes in terms of scale, and they are stacked vertically. The form is to reminiscent Nam June Paik’s stacking TVs and robot and the huge screen not only provides panoramic views of Melbourne city but also act as huge tv monitor for propaganda.
space set floating above so that they can overlook at the what’s happened below or look up as well. The intersection of gallery volumes generates a secondary space that allow people to watch other visitors watching art. Each floor is physically separated but visually contacted which provides a new angle for people to look at the gallery. Currently it is holding the exhibition of Brett Whiteley in upper level and Harold Ancart on the lower level.
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The installation of circulation attempts to blur the distinction of art and reality. This diagram shows the relation between the circulation and the gallery space. They can be separated, ambiguous or even mix in term of the space privacy. In permanent exhibition area visitor can take a glance or act as voyeur when they walk on the stairs. The escalator stretches over the member’s lounge level to reach the digital gallery while the led panel can represent digital artworks.
` 1 Programme Gallery and other programmes are defined in volumes Volumes are stacked vertically on site 3 Insert volumes are inserted to allow voyeurism. 4 Rotate Volumes rotates to echo context and provide pamoramic view in this new virtual environment of new definition
Alternation of Material
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This studio conduct with the research and application of the new sustainable material called Technical Plant Stem. This is a biomi metic product inspired by a variety of structural properties found in different plants. The hollow structure reduces the use of materials and the high level of stability combine with enormous strength suggest the same application of steel.
The factory is to house the recycle of glass fi bre as the origin source, and the production and research of this new material. It not only provides a space for manufacture and devel opment of technical plant stem, but also flexi bility access for the public to engage with the material and the site.
The second scheme is the hybrid-programme institute associated with the material technolo gy. Adjacent to the factory, the institute is as sociating with the research of Technical Plant Stem. This project is to investigate the applica tion of such new material. It begins with what we want to ask: what can steel do in architecture. Then we follow up this question to keep asking how Technical Plant Stem can replace to steel. Steel work is the ideal application in the site in the industrial area and surrounded by fac tories. However, the production of steel cause huge energy and material consumption and the CO2 emission.
On the other hand, this new material has no autonomy representation of form, however, can do the many thing as the reinforced steel bar can do. The project is to represent the new ma terial expression in the way of how it can re place steel. It reserves the cognizant of struc ture while provide possible alternative.
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The main structure of the building was inspired by Centre George Pompidou that the wide suspension beam was supported by columns and Gerberettes. Excepts the main columns, all of the elements such as loading beams and tension columns are made by Technical Plant Stem. The programmes will be installed in the primary structure frame and two levels in terms of the degree of pri vacy. The research and teaching space will arrange on the ground. Lab and administration will then set on upper lever level. The spatial organisation follows the gesture of the factory to pro vide another L-shape volume. Along with the factory they enclose a piazza for the public. To restore the flexibility and public access to the site, some of the ground volumes are left over to create porosi ty. More importantly this project is to reconnect the booker Street to the river side. The form takes the influence of Archigram. When the primary structure was set up, the programmes which categorised in rooms would be plug into the framework. Circulation goes around the whole volumes and interlink with the interior corridors. The ameni ties such as stair case and mechanical rooms are recognised as servant space will plug in the outside of the volumes. Structures, facilities and junctions are exposed in public space and circulation of the building. To maintain the hierarchy of repre sentation, only this new material was remaining its original white colour while the rest would be painted out of white so that people around the building can see how this material are applied in detail. People can engage with this new material when they walk around these spaces. They can see how this new material was applied in different aspect. To echo the context, the form is compressed as a gentle gesture. The material expression would be more likely to represent in details and functions. It is to herald that the sustainability can be conduct in the way of replacing traditional material by the recycle and mini mal used alternative.
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Augment reality and virtual reality represent graphic and animation into immersive and 4-dimensional environment so that spectators can engage with the characters in the opera/ drama and the other spectators beside. Future cinema/ theatre will merely stand independent ly. They become an embedded programme which biosynthesis with another program. Electronic commerce will become the dominant business as digital communication expand the information interchange. Retail are forced to shift into digital consumption as internet unify the market national or even international-wide. Under this backdrop, the role of retail store with be changed because the consumption has transferred into internet. Physical store will be more likely to become a place for product experience. Fashion brands look forward to ex panding this experience as their product are embed with the culture.
Immersive theatre becomes popular nowa days because spectators don’t have to sit on the fix position for couple of hours. These the atres are taking place in a whole building with different rooms that allow multiple thread to be developed at the same time.
This project interrogates the future of cinema/ theatre. It’s assumed that spectators are no longer watching the film and opera in front of the screen or fix auditorium in 2040 as virtual technology become sophisticated that allows spectators to have more interactive and higher dimensional experience.
Alternation of Material
This project attempts to juxtapose immersive theatre into a physical retail store. The soundtrack and smell generator are installed on both side of the store that produce surround sound and smell to intensify the immersive experience.
The virtual public space provides complex gesture in architecture. They are enclosed and compress that encourage intimate encounter and interaction. It is contrasted to the real space of being simple and wil Eachderness.scene is recorded by CCTV on the top and they will interact with different scene occasionally. When visitors trigger the drama scene in living room, the real wall would generate the scene of kitchen that phys ically exist on that position but the other level. The CCTV provides footnote to represent the scene that al low visitors to interact which trigger voyeurism.
The open space provides demonstration of Alpha60’s fashion products and free stage for actors to perform. Virtual technologies can break the boundary of programme and allow them to collaborate because both of them have the similar properties of being commercial and cultural. Visitors can choose the narrative through movement of rooms. It gives rise to a more interactive experience and en gagement. AR technologies allow the transportation of scene more easily.
based on the scenario that in 2040 the digital communication is so convenient that actually estrange the social distance. Theatre is to imbue the feeling and memory to spectator, so the theatrical artifact is to bring back of vital memory of real and physical interaction.
The virtual scene will be triggered by the real product hanging system when visitors’ devices is moved closed. It’s an interactive way that visitor can interact with the real objects. After watching the opera, visitors can review the moment of the opera scene and the products of Aplha60 as the snapshot will transfer into visitor’s personal devices. It can be documented as the memory which imbue the cultural value of the fashion product and the dra Itma.is
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The façade interacts with both futuristic and retrospect. The semi-transparent glass panel reveals the interior and products in a blur view in a sense of mystery and desire, at the same time they are emissive to maintain the volume of the front, or act as led screen to echo the mainstream context of big screen commercial environment.
The retrospect represents on the manner of Art Deco, when the thin steel and glass interplay to respond the existing context.
The installation-style also echo the Maison de Verre by Pierre Chareau, which give rise to the memory of industry environment in Fitzroy. The retrospect can also be seen from the brand of theatre which reminiscent the Art Deco theatre in Melbourne.
This project interrogates the EXPERIENCE of complexity and contradiction, after under standing Robert Venturi’s Complexity and Con tradiction in Architecture, a canonical theory as manifesto of post modernism. This studio initiated with the 3d model of the of fice building designed by Edmond & Corrigan is the starting material to generate new archi tectures in terms of individual narrative. Follow ing the six schemes design process, Robert Venturi built Vanna Venturi House. This office was adapted the same process as spatial transform to generate a house gallery complex to recognise the complexity and contradiction as architectural experience. of Origin
Eisenman, Vanna Venturi House, exploded axonometric view Venturi, Vanna Venturi House, 1964Venturi, Vanna Venturi House models Venturi, Vanna Venturi House interior, 1964 Vanna Venturi House part, 1964 HOUSE_RESIDENTIAL RETAILSTORE_FUTURE MELBOURNE_VICTORIABACHELOR OF ARCHITECTURE DESIGN STUDIO
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Before the final idea of addressing Venturi’s spatial transformation, this model was used to generate different typologies in terms of ideas and narra tives, which come from the broad experience such as precedence study and even a move or a piece of art work. The outcome shows the understanding of architecture as a form of propaganda besides construction and functionality.
Theresearchof Edmond & Corrigan Pty Ltd as the Pierre Chareau, Maison de Verre Alfred Hitchcock, Life boat Frank Lloyd Wright, Fallwater John Wardle, Somwhere Other Philip Hunter, Anatomical Section dust clound No 1 Parmigianino,MadonnawiththeLongNeck,Oiloncanvas architecture in the realm of propaganda
Frank Lloyd Wright, Unity Temple Michalangelo, Porta PiaPierre Chareau, Maison de VerreFederico Fellini, Roma studio research projects
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During the study in RMIT architectural design, the history course Australian Architecture makes me understand the way Peter Corrigan herald complexity and contradiction in australian context. The interaction between Venturi and Corrigan brings the inspiration on the investigation architecture theory and experi Thisence.conceptual research studio encourage divergent attempts on the office as an architectural material. That give rise to a series of spatial transforn, typology mutation and idea representation.
Edmond & Corrigan, Newman and St Mary’s college, 2004 Precedence for in beaux-art
SCHEME I SCHEME II SCHEME III SCHEME IV SCHEME V SCHEME VI
Spatial chamfer: Rooms are trimmed to adapt diagonal exception Spatial define: Threshold are thicken to redefine rooms for different function Compression: Rooms are compressed in section to adapt suburban context
Rotation: Rooms are rotated and reori ented to adapt the site Compressin ii: Rooms are compressed to recognise diagonal and centriod plan
Original plan of Edmond & Corrigan, adapting the nine square plan in section
DrawingsConceptual
These drawings investigate the con ceptual ideas in complex context. Taking each single element as start ing points, these projects develop the movement and composition of organic form in the narrative of choreography and Theseliterature.project represent the vision of art and architecture, including the under standing of architecture theory and his tory and the vision of what architecture form can be in the future. These proj ects also convey the inclinations on the investigation of digital architecture and fabrication in the future study.
Stan Tianruo Li, The M Tower with Ocular, 2020 Woody Allen, Annie Hall, 1977 Paul Le Quernec & Michel Grasso, Nursery, Sarreguemines, France, 2011 Dan Graham, Public Space/Two Audiences, 1976 Ushida Findlay, Truss Wall House, Japan, 1992-93
39.38.37.36.35.34.33.32.31.30.29.28.27.26.25.24.23.22.21.20.19.18.17.16.15.14.13.12.11.10.9.8.7.6.5.4.3.2.1. Precedent Reference 21 3 45 6 7 8 9 10 11 12 13 14 1517 1618 19 2021 22 2423 2625 28 27 3234 33 35 36 37 38 39 30 31 29
Peter Eisenman, House X, 1975 Peter Cook, “Filter City,” 2020 Jacob Landau, Funhouse from 11 Prints by 11 Printmakers, 1961 Paul Cezanne, The Basket of Apples, 1893 Nervegna-Reed Architecture, Dr Caligari Moves To The Suburbs – The Architecture Of Edmond And Corrigan, 2013 Wes Jone, Tract House, 1987 Jun Tamaki, Hakama House, Kyoto, Japan 1998 Peter Saville, Cover of Technique by New Order, 1989 The City as a Responsive Environment: the Urban Mark as City John Mayall, Portrait of Karl Marx, 1875
Stan Tianruo Li, View of Studio, 2021 OMA, Tres Grande Bibliotheque, Paris, France, 1989 OMA, Tres Grande Bibliotheque, Paris, France, 1989 Frores & Prats, View of Studio. Frores & Prats, View of Studio. OMA, Parc de la Villette, Paris, France, 1982 Enric Miralles & Crme Pinos, Olympic Archery Rnage, Barcelona, Catalonia, Bolles+Wilson,1991Suzuki House, Tokyo, Japan, 1990-93
Zoe Young, Dynamic Dissonance For Morning Tea Mathias Skafte Andersen, The Museum of Nine to Five Wassily Kandinsky, Murnau – Blick aus dem Fenster des Gries bräu, Franco1908Purini & Laura Thermes, Teatrino Scientifico, Rome, Ita Froresly,1979& Prats, View of Studio. Woody Allen, Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask), 1972 Woody Allen, Melinda And Melinda, 2004 John Wardle Architects and Durbach Block Jaggers, Phoenix Central Park Gallery, Sydney, Australia, 2019 Janinie van Oene, Painting Marcel Duchamp, Spring, 1911 Robert Venturi & Denis Scott Brown, Episcopal Academy Chapel, Philadelphia, USA, 2008 Robert Venturi, Vanna Venturi House, Philadelphia, USA, 1964 Peter Eisenman, Diagram of Vanna Venturi House in Ten Cannon ical Buildings, 2008 Janinie van Oene, Culinary Trophy, 2018 Peter Eisenman, Aronoff Centerfor Design And Art, Cincinnati, Peter1988-96Saville, Albumn Blue Monday by New Order, 1983
1 5 6 7 9 8 10 11 17 HF G I J QR SNK OL MPDCBAE 18 19 12 13 14 15 16 20 2 4 3 A Study of Baroque Movement, 2018 E Incrustation Projector, 2019 I H island, 2018 M Acid Injection, 2018 Q Michenical Linkage, 2019 B Rouge and Bleu, 2018 F Post-structurism Collision, 2019 J Aviation Projection, Voyage, 2019 N Acoustic Accelerator, 2018 R Study of Three Orders, 2018 C Armunation Suits, 2018 G Fluridity Castom, 2019 K Aviation Projection, Still, 2019 O Ballon, 2018 S Study of Three Aviation, 2019 D Aviation Fleu Project, 2018 H Illusion of Solidity, 2019 L Study of Saint Teresa, 2018 P Flulidity Movement, 2018 Giovanni Odazzi, Fall of the Angels in SS. Apostoli, Rome, Italy. Gian Lorenzo Bernini, Ecstasy of Saint Teresa, Rome, MarcelItaly Duchamp, Nude Descending a Staircase, No. 2, Stephen1912 Talasnik, Surveyor, collage, 2009 John Soane, Comparative elevation of St Peter’s, Rome, and sections of the Pantheon, Rome, the Radcliffe Li brary, Oxford, and the Rotunda, Bank of England, 1806Richard15 Lippold, The Sun, 1956 New Order, Cover of Round and Round, 1989 Peter Saville, Cover of Technique by New Order, 1989 Andy Warhol, Loti Smorgon, 1981 Parmigianino, Madonna with the Long Neck, Uffizi, Flor ence, Hieronymous1535-40Bosch, Ascent of the Blessed, 1505-15 Peter Cook, A tower for Swiss Cottage Hieronymous Bosch, The Garden of Earthly Delights, Peter1490-1510Cook, Veg Village, 2001 Peter Cook, Veg House: Stage 5, 2001 Hieronymous Bosch, The Garden of Earthly Delights, John1490-1510Mayall, Portrait of Karl Marx, 1875 Gavin Green, Phoenix Central Park Gallery by John Wardle Architects and Durbach Block Jaggers, 2019 Antoni Gaudi, Detail of Sagrada Família, Barcelona, Catalonia, 1882Peter Cook, A Living Jungle City, 200820.19.18.17.16.15.14.13.12.11.10.9.8.7.6.5.4.3.2.1. Precedent Reference Drawing Projects
