PPD Book 2013-2014 by Laurens T Deuling

CONTENTS PP@PENNDESIGN 13/14 01

Contents

Surrealist Museum / Winka Dubbeldam

Another Real / Ferda Kolatan

Surrealist Museum and Garden / Francois Roche

PPD Studio. Reviews

Site Visit. Nodeul Island. Seoul,South Korea

Site Visit. DMZ. South Korea

Site Visit. Immersion

It is a Dream (at) Work / Lior Galili

Winka Dubbeldam Studio 01/01

Dreamaker / Donghua Chen + Yilin Zhao + Xi Liu

01/01

Cinematics / Elise McCurley + Luli Wang

01/01

Untitled / Laurens T. Deuling + Kaiyu Chen

01/01

Antebellum / Eleni Han + Di Fan

01/01

Mystique / Hoju Chung + Hanxing Zu

A Surrealist museum for Seoul / Peter Ferretto

Ferda Kolatan Studio 01/01 Known/Unknown/ 01/01 Abyss/

Boram Leejung + Haotian Tang

01/01 Depaysement

01/01 Surrealist 01/01 Fringe

Brian Lee + Zhengeng Chen

/ Chang Hur + Jiamin Liang

Museum / Shuang Go + Zelong Xu

Conditions / Sheng Cai + Kshiti Shah

01/01 Interweave

/ Qi Shen + Siyang Yu

Flagrant Rythm of Lurking Desires / Eric Goldemberg

Francois Roche Studio 01/01 Depaysement 01/01 Inv

/ Bing Lu + Jamin Seo s ble / Biqi Zhang + Jiang Jiannan + Konstantina Koligliati

01/01 Calligraphy 01/01 If

/ Li Xia + Cong Ye

Mangroves Cry / Lifeng Lin + Lanmuzhi Yang

01/01 [de]Subliminal

/ Matthew Stone + Runing Wang

131

Agency in Tiling / Roland Snooks

135

DIGIBLAST/ Ezio Blasetti & Danielle Willems

139

A Museum / Nicole McIntosh

141

3D Printing

143

Surrealism / Sulan Kolatan

145

Biographies

147

Acknowledgements

KAESONG

HEYRI

SEOUL

Book Design: Laurens T. Deuling & Matthew Stone Edited by: Laurens T. Deuling & Matthew Stone Cover: Laurens T. Deuling & Elise McCurley

SURREALIST MUSEUM SEOUL Winka Dubbeldam

I AM DELIGHTED TO SHARE THIS NEW ANNUAL PPD ‘13-‘14 PUBLICATION WITH YOU. THE REMARKABLE PPD PUBLICATION YOU HAVE IN YOUR HANDS TODAY WAS THE RESULT OF A SEMESTER LONG COLLABORATION WITH PETER WINSTON FERRETTO, ARCHITECT / ASSISTANT PROFESSOR AT THE SEOUL NATIONAL UNIVERSITY, DEPARTMENT OF ARCHITECTURE, AND WAS MADE POSSIBLE BY THE GENEROUS SUPPORT OF MR. JEONG OF THE HEERIM COMPANY, SEOUL, KOREA, AN ALUMNI OF PENNDESIGN.

MY CO- TEACHERS, FERDA KOLATAN, AND FRANCOIS ROCHE WERE INSTRUMENTAL IN PUTTING THIS SEMESTER TOGETHER, AND ROLAND SNOOKS A LONG-TIME COLLABORATOR OF THE PPD, AND NOW AT RMIT AUSTRALIA, JOINED US TO TEACH THE STUDENTS A WEEKLONG ADVANCED SCRIPTING WORKSHOP FOR BOTH THE KOREAN- AND THE PENN STUDENTS. THE SUBJECT OF THE PPD STUDIO; A SURREALIST MUSEUM IN SEOUL, WAS TO BE LOCATED IN GREATLY CONTROVERSIAL AND INTERESTING SITES IN SEOUL, WHICH MADE FOR AN INSPIRATIONAL AND CHALLENGING SEMESTER AD EVEN GREATER RESULTS!

We started the semester with a two-day PPD conference “The New Normal, Experiments in Contemporary Generative Design” [November 14 & 15, 2013], with keynote lectures by Neil Denari and Ben van Berkel. Since its emergence roughly twenty years ago, generative digital design has fundamentally altered the way in which we conceptualize, design, and fabricate architecture. Virtually every aspect of our profession, including education, has been radically transformed. These innovations have not been restricted to questions of technology alone, as they

have fueled a lively debate among leading educators, theoreticians, and practitioners in their respective efforts to understand the larger cultural and architectural ramifications triggered by this phenomenon. By bringing together leading international and US architects, the symposium explored how the role of the digital created a new form of PRACTICE, the “New Normal”. Starting from this new platform, “SINCE ITS EMERGENCE ROUGHLY TWENTY YEARS AGO, GENERATIVE DIGITAL DESIGN HAS FUNDAMENTALLY ALTERED THE WAY IN WHICH WE CONCEPTUALIZE, DESIGN, AND FABRICATE ARCHITECTURE. VIRTUALLY EVERY ASPECT OF OUR PROFESSION, INCLUDING EDUCATION, HAS BEEN RADICALLY TRANSFORMED.”

we reinvestigate the future of architecture education, design research and this new practice, theory, and fabrication. The Program also benefitted from PennDesign’s strong focus on “Making”, which was recently enforced by placing 3-D printers “Makerbots”, directly in the design studio’s, and large three D printers, ProJets 660 were added to the FabLab. The Projets produce high-definition, fullcolor printed 3D prototypes, thus allowing our students to further experiment and test designs real-time. As most of you know, I started the PPD Program 10 years ago [1994]. In my role as the Director of the PPD, we were able to not only make the Program grow considerably, but also created a very intense network of International collaborators. After 10 years it was time for change: I am exited to be able to mark the start of a newly formulated Post-Professional “BY BRINGING TOGETHER LEADING INTERNATIONAL AND US ARCHITECTS, THE SYMPOSIUM EXPLORED HOW THE ROLE OF THE DIGITAL CREATED A NEW FORM OF PRACTICE, THE “NEW NORMAL”.”

Program [PPD], now to include a third semester. This added semester allows not only for a completely reconfigured first semester with a dedicated studio and specific seminars, but also provides a much more thorough involvement to the 3rd year March program. The results of this change and announcement have been amazing; the upcoming year of 2014-15 had an increase of 30% in applications alone! It also marks the transition of Directorship; Ali Rahim has graciously accepted the role of Director of the PPD to start this next Academic year. I will as the Chair still look forward to contact you regularly with PennDesign updates, and I am looking forward to continue the dialogue!

Winka Dubbeldam Professor

M.Arch., Institute of Higher Professional Architectural Education, Rotterdam (1990) M.Arch.AAD, Columbia University (1992) Founder of Archi-Tectonics,NYC (1994) Currently holds the position of Professor and Chair of the Graduate Department of Architecture at PennDesign, Philadelphia

Another Real

Surrealist Museum in Seoul, Ferda Kolatan THE SURREALISTS HAD THEIR VERY OWN TAKE ON WHAT CONSTITUTED THE REAL. OPERATING WITHIN THE CRITICAL MINDSET OF EARLY 20TH CENTURY AVANTGARDISM THE UN-AMENDED TERM “REAL” HAD A NUMBER OF CONNOTATIONS, MOST OF WHICH THE SURREALISTS OPPOSED VEHEMENTLY.

For instance, it stood for routine, which in extension was associated with a passiveregressive attitude attributed largely to the bourgeois life style of the bygone era of Belle Époque and of “Old Europe” in general. But the word “real” was also associated with political systems, which during the 1920’s were manifesting themselves through increased radicalism, totalitarian agendas, ruthless propaganda, and misuse of institutional as well as academic power. To challenge and overcome this reality the Surrealists sought for alternatives that were not governed or implicated by any corruptive or exploitative influences. Regimes of reason or logic were identified as the culprits for linear, and ultimately destructive, modes of thinking. One strategy that soon became a popular source of surrealist inspiration and operation, 05 particularly in the work of Salvador Dali and Max Ernst, was based on sourcing dreams. This was not only driven by a contemporary Freudian desire to unlock a deeper truth (or reality) from the subconscious but also to undermine what was perceived to be the manipulative tendencies of a causal or reasonbased thinking. Thus, for the Surrealists dreams afforded a way to challenge the validity (or exclusivity) of the real and to liberate the mind from all preconceptions. This critique resonates strongly with the current discourse of the real as embodied in Speculative Realism, particularly in its

opposition to modes of relational thinking. What the Surrealists hoped to do, was to unlock the hidden qualities of reality stored somewhere in our subconscious and inaccessible by means of reason or sensation. At the very least, what they succeeded in was to introduce alternative concepts of the real into everyday life through their art. While other avantgarde movements of that time were mostly invested in the more popular project of TO CHALLENGE AND OVERCOME THIS REALITY THE SURREALISTS SOUGHT FOR ALTERNATIVES THAT WERE NOT GOVERNED OR IMPLICATED BY ANY CORRUPTIVE OR EXPLOITATIVE INFLUENCES. REGIMES OF REASON OR LOGIC WERE IDENTIFIED AS THE CULPRITS FOR LINEAR, AND ULTIMATELY DESTRUCTIVE, MODES OF THINKING.

abstraction as a means to reach a deeper real, Surrealism expanded on Realism by adding fiction to form, color, texture, and shape. It was within this cultural and historical context in which the students were asked to design a Surrealist Museum in Seoul. The locations chosen for the museum, the DMZ and the artificial Nodeulseom Island in the Han River, already exhibit surreal qualities by forcing strange juxtapositions between an organic and synthetic nature as well as manifesting the political real in a material, urban context. The students were asked to speculate on possible new forms of an institutionalized real (museum) without falling into the traps outlined by the Surrealists a century earlier. Each project in this section was developed through both analog and digital means with fictitious elements added to them. A strong emphasis was also based on techniques of representation in the context of a contemporary realist approach.

Ferda Kolatan Professor

Founding partner of su11 architecture + design, New York Kolatan has lectured widely and taught design studios and theory seminars at Columbia University, RPI, UBC, ICA, Washington University, Pratt Institute, and the RWTH Aachen Received his Masters in Architecture from Columbia University and received his Architectural Diploma with distinction from the RWTH Aachen in Germany

Surrealist Museum and Garden Francois Roche

“WE FIND OURSELVES IN A SITUATION TO DEVELOP A MUSEUM OF AN ART-CULTURAL MOVEMENT, ‘SURREALISM’ WHICH IS BY NATURE INCOMPATIBLE WITH THE STATEMENT OF ITS MIND VALUES, FROM PSYCHO DISORDER TO ‘PATAPHYSIC’ APPROACH… THE PASSAGE OF TWO JUXTAPOSED REALITIES, TO PLAY STRATEGICALLY THE INCOHERENCIES BETWEEN REAL AND FICTION, DREAM (NIGHTMARE) AND LOGIC…SEEMS UNREACHABLE,UNMANIPULABLE?”

The tool of the Architect is mainly oriented to a positivist instrumentation, dedicated to a domination of a situation…exclusively condemned to be stuck in the visible spectrum… at the opposite, to avoid to have to answer, meaning to avoid to symbolize what is not ‘representable’…we should accept to slip in our ‘psychopathology’, our idiosyncrasy, with or without Mescaline (the psychedelic alkaloid of some of the Surrealists)…as a protocol of (un) knowledge, engaging in a degree of individual and collective masochism, to abandon the preeminence of the territories from where we use to justify the position of knowledge, masterplanned. We are condemned in this case to 07 develop unpredictable, uncertain scenario’s, for a constantly mutating sequence of possibilities (add a morsel of a difference and the result slips out of control, shift the location for action and everything is different), as the ideal occasion to evaluate the fundamental gap between systems that base their development on scenarios and those that base their development on planning. So, we navigated in a suspended time, balancing between improbable scenario applied to situations and probable technologies, with computation and machinism. The narrations, vector of design process are reevaluating – requestioning the ‘reason of

being’ of their existence, without to deny the unreality of their permanencies, as an architecture able to die, programmed to die. A surrealism museum is genetically a misunderstanding from where we could create the possibility of a manifesto about the illusion “THE TOOL OF THE ARCHITECT IS MAINLY ORIENTED TO A POSITIVIST INSTRUMENTATION, DEDICATED TO A DOMINATION OF A SITUATION….EXLUSIVELY CONDEMNED TO BE STUCK IN THE VISIBLE SPECTRUM…AT THE OPPOSITE, TO AVOID TO HAVE TO ANSWER, MEANING TO AVOID TO SYMBOLIZE WHAT IS NOT ‘REPRESENTABLE’….WE SHOULD ACCEPT TO SLIP IN OUR ‘PSYCHIPATHOLOGY’, OUR IDIOSYNCRACY, WITH OR WITHOUT MESCALINE (THE PSYCHEDELIC ALKALOID OF SOME OF THE SURREALISTS)…AS A PROTOCOL OF (UN)KNOWLEDGE,ENGAGING IN A DEGREE OF INDIVIDUAL AND COLLECTIVE MASOCHISM, TO ABANDON THE PREEMENINCE OF THE TERRITORIES FROM WHERE WE USE TO JUSTIFY THE POSITION OF KNOWLEDGE,MASTER-PLANNED.”

of its incarnation…as the choice to NOT BE… drifting in another zone…through a kind of ‘Malentendu’ (French word in the middle of Mishearing and Misunderstanding. For something which self disqualifies its existence…. But at the condition to be formulated with an extreme manipulation of Science-Geometry-Substance-Robotic, which underlies the appearent logic of its intentional non reality. FR/2013

Francois Roche Studio Professor

Graduated from the School of Architecture of Versailles (1988) Founder of R&Sie(n) (1989) Held Visiting Professor positions at University of Pennsylvania, Philadelphia & Columbia University, NY, USC Los Angeles, Bartlett School London, ESARQ Barcelona, ESA Paris, Angewangde School Vienna, and RMIT Melbourne In 2012 Franรงois Roche was the guest editor of LOG#25, NY Critical Revue, Reclaim Resi(lience)stance

PPD STUDIO.REVIEWS mid and final reviews

the jury in the midreview existed out of the following critics: Kutan Ayata, Jonas Coersmeijer the jury for the final review existed out of the following critics: Roland Snooks, Nicole Weve, Sulan Kolatan, Matias del Campo, Eric Goldemberg, Ezio Blasetti, Inaki Echeverria and Lior Galili photos by: Maria Teicher

SITE VISIT. NODEUL ISLAND seoul, south korea

This year’s PPD studio is invited to collaborate with the Seoul National University, Department of Architecture, Seoul, where the Surrealist Museum will be planned. Two sites are chosen; the first one is the main island in the middle of the Han River (Nodeul Island), which was the site for a big international competition about 8 years ago, the Seoul Opera House, a project plagued by controversy, which got eventually cancelled by the new mayor. The island lies in the centre of Seoul and it is connected to the city by the Hangang Bridge, which crosses the Han River, connecting the Yongsan and Bon-dong, Dongiak District. It is a place of difference, as it has been considered, for a long time, a communal area. Nodeul island is an artificial island, that was first constructed in 1917, by the Japanese colonial rulers for the establishment of the Hangang Bridge, so they could connect the south and north parts of the city. The island spanned 350.000 sq. ft. and it was considered as a small sandy village (“Sa-jon”) in the middle of the Han river, a small patch of nature in the midst of the city, where people would go there to enjoy their time among the flora and swim in the river. Until 1968, since when large scale development started in Seoul and the Han’s riverside, resulting in the diminishing of the island and the loss of its peaceful environment and its consecutive abandonment for many years.The last decade, efforts have been made to reconstruct the island and include it into Seoul’s cultural program. One proposal was to build an opera house and a concert hall, that would instigate a series of new cultural venues along the Han river. However, another proposal came to take its place, one that promoted eco-friendly projects, such as urban farming. This, also, resulted into an unsuccessful realisation, leaving Nodeul island into a vague state. 11

Nodeul Island Visit, investigating the possibilities

SITE VISIT. DMZ DMZ, south korea

The second site is near the DMZ [Demilitarized Zone], which is about one hour north of Seoul. The DMZ is a long strip of land that separates the North and South Korea, serving as a buffer zone between these two countries. The DMZ border was created in 1953 as part of the Korean Armistice Agreement between North Korea, the People’s Republic of China, and the United Nations Command forces and runs along the 38th parallel north. Among all these signs of warfare one finds a peaceful and beautiful landscape. Near that area lie many small villages, one of which is a small village of artists. In 2001, after two decades of planning, book publisher Kim Eun-ho’s vision became reality, and today, over 500 painters, musicians, photographers, writers and sculptors live and work together in Heyri Artists Village, a cultural commune of sorts located in the city of Paju. At the top of the Mountain Dora, near these villages, is situated the Dora observatory. The site’s proximity to the DMZ allows for a clear view of the North Korean propaganda village and the city of Kaesong. Near that location, a massive North Korean tunnel for infiltration, also known as the Third Tunnel, as well as the Dorasan station, which is planned to be a future railroad hub between the south and the north, are only two of the contradictions that define this land of recent warfare.

from left to right top to bottom: 1.Bus journey to the demilitarized zone (DMZ), 2/3.Overlooking the DMZ view on North Korea

4. site for the Seoul Surrealist Museum at the DMZ zone

SITE VISIT. IMMERSION south korea

from left to right and top to bottom: 1. view on Seoul 2.visiting projects by Mass Studies 3. PPD on rooftop 4.visiting Minsuk Cho (Mass Studies) 5.Heyri Art Village visit 6.Korean BBQ Dinner organized by Mr Jeong (Heerim) 7/8.Seoul walks with Peter Ferretto 9.Korean BBQ Dinner organized by Mr. Jeong (Heerim) 10/11.Gyeongbokgung Palace 12.Leeum, Samsung Museum of Art, J.Nouvel,M.Botta & OMA 13.Mimesis Museum, Alvaro Siza 14/15. Seoul City Walks with Peter Ferretto 16.Sign in S.Korea 17. Mass Studies (Minsuk Cho) project visit

It is a Dream (at) Work Lior Galili

IT’S GOTTA START WITH THE CUTTING OF THE EYE. THE VIOLENT TRANSITION BETWEEN CONSCIOUS AND UNCONSCIOUS LIFE AS SHOWN IN BUNUEL’S INTRODUCTION TO UN CHIEN ANDALOU, HIS 1929 FILM IN THE FORM OF A DREAM.

glamour. Only this type of glamour is incomplete: Full of eruptions, the marvelous shell embodies a coexistence of beauty and terror: The beauty is achieved by the seductive form and the terror by its (latent) content. This content is revealed by the story. According to the authors, the DMZ, once a forbidden zone, will now become accessible. Enfolding an invitation to access the forbidden, the museum serves as a protective shield for a taboo and/or the taboo—the taboo which is in the middle between North and South Korea, and the taboo which is the key to understand

Dream as a form of exploration and experimentation, as the repressed material which seeks to emerge from below to above “THE HAUNTING POWER OF THE GHOSTS ground, and as the intense productive material IS REPLACED BY THE ENCHANTING POWER for the realization of built forms was the thread OF THE MACHINE. TRAPPED IN A MENTAL binding the three sections of the Surrealist AND PHYSICAL CIRCULAR MOTION, THE Museum in Seoul Studio at the PPD Program of SILKWORM ROBOT PRODUCES ROTATING PennDesign. Similar to the logic of a dream, AND REPEATING GESTURES WHICH CREATE the adjacency of the three has created an echo AN ENDLESS PERPETUATION OF TIME ITSELF.” which is greater than the echoes of its parts. Unfolding this logic as a mode of expression and production, each group shared a different the shaping of the Marvelous—the dread; the take on the endless possibilities introduced by a glorified and the sublime. Also dealing with the coexistence of greatness Dream (at) Work. and dread, Kolatan’s students raised questions Dubbeldam’s students raised questions on the on the construction of the dream: A project called geometry of the dream, or, more precisely, of the Dépaysement comprised of these four elements: intersection between dream and reality—the real a group of giant monolithic rocks, a grid forest, and the imaginary: A project called Dreamaker: a cutting road and a void. What is the meaning The Museum of Psychology and Surrealism, of this order? What is the construction of the 17 explored the geometric manifestations of the narrative of that dream? Experienced as four fantastic and the real. Using the ground as a Jungian archetypes, the rocks; the forest; the referential surface, the museum is an expression cut and the void may tell a story of that kind: of a celebratory proliferation of sensual gestures. a dread of “bigness” (the rocks as the “bigness Byproduct of this proliferation is the cancelation of the other” ) in adjacency to a demand for an of all previous separations and the creation of a “order” (the forest as an organizing force) result single unified whole. While most of the projects in a violent act (cut as yet another organizing used the strategy of unification of intrinsic force) which is followed by a death wish (the opposing poles, some projects chose to leave void). According to this narrative, both the traces of their distance. For example, a project feeling of impotency in front of the Big Other and called Untitled: A Search for the Marvelous, the omnipotence feeling which is experienced explored the shape of a metaphorical middle in a violent act, result in a death wish. What ground between North and South Korea as a could possibly redeem one from that doom? A shell formed by subversive eruptions. Situated by section cut of the gigantic rocks showing the the edge of the Demilitarized Zone (DMZ), the museum’s interiority reveals the Dépaysement— project faces past horror by introducing a future the twist in plot from where to penetrate the

hidden content of the dream and nevertheless, the resolution by which one could be released from all external pressures and dreads. Here inside those stones—those fossil magmatic layers of years and years of stagnation and still-life— here we finally find an invitation for a real life—the invitation for the real: Bleeding in pomegranate red, the walls “welcome” the “SITUATED BY THE EDGE OF THE DEMILITARIZED ZONE (DMZ), THE PROJECT FACES PAST HORROR BY INTRODUCING A FUTURE GLAMOUR. ONLY THIS TYPE OF GLAMOUR IS INCOMPLETE: FULL OF ERUPTIONS, THE MARVELOUS SHELL EMBODIES A COEXISTENCE OF BEAUTY AND TERROR: THE BEAUTY IS ACHIEVED BY THE SEDUCTIVE FORM AND THE TERROR BY ITS (LATENT) CONTENT.”

museum visitors. This is an invitation to celebrate libido, to celebrate the bursting force of living, and—by the healing flood of lust, pleasure and eroticism—to overcome pain. Dealing with dream in relation to pleasure and pain, Roche’s students explored the schizophrenic state of production and reproduction evoked by the desiring machine. Another project called Dépaysement, tells the story of a silkworm robotic machine producing delicate silk threads over a ground haunted by the ghosts of war. The haunting power of the ghosts is replaced by the enchanting power of the machine. Trapped in a mental and physical circular motion, the silkworm robot produces rotating and repeating gestures which create an endless perpetuation of time itself. This is about time. The robot is here to remind us about eternity but also about its implausibility. It is a coexistence of mortality and immortality; of infinite production and an inevitable entropy; of an eternal trajectory and its own demise. A final scene exposes a tribe of thin, Giacomettilike, robots immersed in a dense lattice of white gentle threads. The lattice is at the same time their creation and destruction: The robot is a Golem—the Talmudic mythological brainless

creature which overcomes and overwhelms its creator—the ultimate reversal of creation-creator relationship (which is also—strangely enough— the Hebrew word for cocoon). WE HAVE REACHED THE FULL CIRCLE MORE PRECISELY, WE ARE TRAPPED IN IT. THIS IS NO DREAM, IT’S A NIGHTMARE. THE CUTTING OF THE EYE AS A WAY TO STOP THE PAIN. THE CUTTING OF THE EYE WHICH ALLOWS US TO ACCES THE REPRESSED MATERIAL. AND; THE CUTTING OF THE EYE WHICH RELEASES THE STORY OF THE EYE—AN ALLEGORY ON THE EXCESSIVE LIBIDINAL FLOW WHICH FOLLOWS THIS CUT.

Lior Galili Critic

Received a March from the Harvard Graduate School of Design and a B.Arch. from the Cooper Union School of Architecture. Academic Experience; Syracuse University School of Architecture and the Harvard Graduate School of Design Worked for various architecture firms in Jerusalem and NYC including the offices of Bone Levine Architects and DMA + Shigeru Ban Architects.

Donghua Chen + Yilin Zhao + Xi Liu Winka Dubbeldam

DREAMAKER

the museum of psychology and surrealism

Surrealism and dream As a cultural movement, the theme of surrealism is to solve contradictory between reality and inner part of human mind. We are fascinated by the work created by Dali, which contains the dream and reality in the most part. He manipulate a variety of unrelated elements and objects to produce a totally different scene from our daily life. Sometimes it will present some quaint figure or subconscious picture of surrounding. Here, we choose “dream’’ as our mediator to explore the way of understanding of surrealism. Dream is a psychology phenomenon which combined two contradictory part- consciousness and unconsciousness. The aim to create Psychology Museum is to make interaction between visitors, psychologists, participants, museum staffs, citizens, city, history and the inner core of each elements. Operations of Form and Material Starting from choose 10 words to describe the surrealism, which generate different rules to guide our modeling process. Defamiliarize/Displacement/Transfiguration/ Madness/Macabre/Ambiguity /Obscured/Distorted/Automation/Automatism/ Transposition. Each members have their own thought about those words, which ultimately reflect in the geometry models. There have two type of components. The first one is to fuzz the edge and blur interface, shaped as continuity ribbon . And the second one is to exploring the relationship between inter form and the outer expression, which aim to create a state of self-generation and propagation.

Assemblage of Elements Akin to Dali’s work, we try to blur boundaries among city, island and architecture in an interactive way. The museum is integrated by various components: structure, skin, volume, connection, circulation network. It is system constituted of multiple material, texture, scale, function. Rather than leaving the originally indifferent infrastructure (the bridge and island) alone, the museum confronts all these seemingly separate elements, and then merges these exterior objects to stimulate a new complex relationship in which different components have its own new meaning in different systems.The bridge will be divided to 6 differently directed lanes of specified function, among which 2 lanes will be risen up to the level of first floor of the museum lobby and the other 4 lanes will normally go through the inner structure of the museum as well as this infrastructure. The island will also be re-organized into a fluctuant landscape which will combine with the museum to make open ground, natural garden vertically in between the building on top and the island at bottom, as well as the rhythmical, permeable sight horizontally in between both banks of Han River. By doing so, each parts- land, water, bridge, architectural components, and the urban environment of the city are reconstructed together in a new relationship between the internal and the external.

Visualisation of concept

Dubbeldam

Operations of Form and Material

Dubbeldam

A’

“Akin to Dali’s work, we try to blur boundaries among city, island and architecture in an interactive way. “

Dubbeldam

From Top to Bottom: Longitudinal Section; Study of Form; Architectural Visualisation

From Top to Bottom: Picture of the Architectural Model; Plan of the Museum

Aâ&#x20AC;&#x2122;

Visualisation of the Museum Dubbeldam

Elise McCurley + Luli Wang Winka Dubbeldam

Cinematics The Cinematic Museum is a project embodying the ambiguity and connections between differing realities. Layers of the land, the landscape and the building melt into and connect with each other. In lieu of concrete definitions and static conditions, ambiguity and evolving definitions embody the museum concept and design. We began our research with the Surrealist film Le Chien Andalou and by reviewing Andre Breton’s description of the experience of the cinema—Breton would go from one cinema to another always unaware of what film he was walking into and then leaving the particular cinema when he became bored. We concluded our research with an analysis of film editing techniques: contrast cuts, long takes, jump cuts, split screen, parallel editing cuts, flashbacks, and flash forwards. These transitions and techniques for shooting film remind us of the meeting of two realities, a field of ambiguity, or the “supreme point” Breton defines in his Second Manifesto: “According to all indications, a certain point exists in the mind where life and death, the real and the imaginary, the past and the future, the communicable and the incommunicable, the high and the low cease to be perceived as contradictions.” (Breton, Second Manifesto)

Simultaneously, we looked at museum precedents including the historical Museo del Prado in Madrid and the Richard Meier designed Getty Center in Los Angeles. The most striking difference we found is the scale of the projects and the site organization. Ultimately, the Getty’s interweaving of interior exhibition space with transitional courtyards and exterior sculpture gardens aligned more closely with our understanding and concept for the Surrealist Museum. The project is thus designed as a campus of individual cinemas interspersed with larger non-specific programmatic areas or courtyards attached to dining, shopping, and information services. Aside from the public cinema and lobby spaces, the back of house elements include offices, storage, and studio filming space. On the public side, the visitor may wander from one cinema to another, viewing pieces of both classical and contemporary films as they wish. Circulation from one space to another becomes an event, allowing the visitor to discover and explore the museum without a set sequence or given direction. Like the landscape and buildings themselves, the visitor slips into and out of the layers of the island, the landscape, and the building. This ambiguous environment is navigated by way of ‘glitches’ which allow one to move from space to space

3D Printed Concept Model

Dubbeldam

Top: Longitudinal Section; Bottom Left: Entrance to the Museum

Bottom Right: Plaza and Boat dock

Dubbeldam

Top Left: Entry Level Plan; Top Right: 3D printed Sectional Model

â&#x20AC;&#x153;According to all indications, a certain point exists in the mind where life and death, the real and the imaginary, the past and the future, the communicable and the incommunicable, the high and the low cease to be perceived as contradictions.â&#x20AC;? (Breton, Second Manifesto)

Bottom: Building Elevation; textural skin deformations act as functional parts of the buildingâ&#x20AC;&#x2122;s environmental control system

Dubbeldam

Laurens T. Deuling + Kaiyu Chen Winka Dubbeldam

Untitled

a search for the marvelous

The Surrealist Agenda The Surrealist protest went far beyond social and economic arrangement, surrealists hoped to bring a poetic re-animation of the way we conduct our lives. In a similar fashion this project proposes a surrealist strategy to re-animate the way we experience museums. Museums have radically changed over the last few decades. Nowadays museums raise issues which go far beyond the old concepts of museum architecture and display. Probably the most important, is the fact that museums have been struggling for many years against the image of a closed, sacred, and elitarian place. As a consequence museums are no longer concerned with perfecting a method of expressing the value of objects which, for the most part, belong to the past. Contemporary museums no longer deal just with the past, but rather with the present. They have become a place for culture, knowledge and communication. It is the present that is most in need of interpretation. This project therefore explores new ways and techniques to reanimate and redefine museums through the use of surrealist techniques.

The Marvelous; A Surrealist Museum Situated on the border of the Demilitarized Zone (DMZ), we employ the marvelous as a strategy to reanimate the relation between North and South Korea, two approaching realities, who could not be further apart. In line with the definition of Reverdy in 1918, we propose a redefinition of the museum in the contemporary not through the use of a strong image, i.e. icon architecture, but through the exploration of the relation between these two approaching realities within the museum. As a way of this surrealist strategy, we propose a museum which ‘guides’, not in the directional sense, one through an eruption of the contradiction within the real. Concealing the museums entrance on the South Korean side, only to reveal the museum moments later within the DMZ, inaccessible but clearly visible for public. The interplay between hiding and showing, accessible and inaccessible emphasize the twofold relation between South Korea, North Korea and the DMZ. The DMZ not only demilitarized, but also dematerialized, manifesting itself as an invisible border inaccessible for the public becomes now accessible. As divided the museum may appear seen from an exterior point of view, the contradiction of this division becomes clear when one enters the museum through the ‘defensive’ entrance, an assemblage of bodies connects the museum in a continuous but differentiated unity through a heterogeneous circulation route. The Organs of the Museum The interior of the museum consists out of an assemblage of differentiated bodies, which together constitutes the ‘organic’ totality of the museum. Each ‘body’ of the museum is targeted with specific programmatic functionalities. Together these bodies create a system that emphasizes fluidity, exchangeability and multiple functionalities. The museum appears to function as a whole, but is actually constituted out of components who can be ‘dismantled’ out of one system and ‘plugged’ into another without losing their ability to function. The parts are assigned with functional capabilities not with function, i.e. they are not designed to do only one thing.

View from the road

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Untitled Dubbeldam

[a Surrealist Museum] Surrealist Deformation Study guided by a surrealistic ruleset

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Laurens.Deuling, Kaiyu.Chen, PPD, PennDesign,Fall 2013, Winka Dubbeldam w/ Joshua Freese

Dubbeldam

“The interior of the museum consists out of an assemblage of differentiated bodies, which together constitutes the ‘organic’ totality of the museum. Each ‘body’ of the museum is targeted with specific programmatic functionalities. Together these bodies create a system that emphasizes fluidity, exchangeability and multiple functionalities.”

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From Top to Bottom and Left to Right: Resulting Geometry from the Surrealist Deformation Study; Museum in the mountain; Underground section; Longitudinal section

38 COUNTRY: S OUTH KOREA SITE: HEYRI, SOUTH KOREA NEAR DMZ ZONE

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From Top to Bottom and Left to Right: 3D Printed Skin Studies and Circulation; Interior Render; DMZ Site Information Visualization of the entrance of the museum

South Korea

Dubbeldam

Eleni Han + Di Fan Winka Dubbeldam

Antebellum Technological advancements and societal changes since the 1920s have changed the way we perceive reality. Nevertheless, André Breton’s surrealism was born from the ugliness and desperation that followed World War I in a revolutionary attempt to overcome excess rationality, order and authority. These elements give surrealism a timeless definition in the manner of a revolution to go beyond the unfavourable aspects of reality into a utopia of our own creation. The proposal for the Surrealist Museum in Seoul has been an opportune subject that allows for the recreation of a contemporary movement of surrealism in a country recently delivered by war, managing to catch up to the rest of the world. As Jules de Gaultier expressed, “Imagination is the one weapon in the war against reality” and to that end, the war against reality and its atrocities is delivered through surrealism. War, being the main focus of our research on surrealism has led to the metamorphosis of the museum into a war shelter, adapting the concept of surrealism into a protective mechanism against war. In tandem, the location of the museum across the DMZ zone is both a reminder and a critique to the Korean war. The theme of war and its relation to surrealism is integrated in the atmosphere and the experience that the space is generating.

The concreteness of the museum is obscured between visible and invisible, above and beneath. The organisational complexity is enhanced by the structural formation of the spaces, which are emerging from basic elements and connected in varying combinations. The method used is a result of the formation of the spaces and the way they are connected. Therefore, comes the subject of circulation. The directions are skewed and intertwined, the spaces connected by various paths and on many levels, resulting into a contorted environment as if created in a dream. The landscape is at the same time integral and definitive, as well as, irrelevant and alien. The fact that we are dealing with surrealism may only result to a dual relationship with the terrain. Surrealism is connected to reality in the sense of it being beyond and above it. In the sense of it using reality as something familiar with which one can relate to and use it as a reference to which it transcends beyond it. It has no other use. Surrealists want no connection to reality and begrudgingly allow for this minor relation to it. Being consistent with these principles, the museum integrates the tendency of protection from the hostile reality and at the same time manages to incorporate the current programmatic and conceptual elements that define present-day museums. The museum is not only an area of exhibition. It is a manifestation of events and circumstances that define the specific area.

Top View of the Museum

â&#x20AC;&#x153;Surrealism is connected to reality in the sense of it being beyond and above it.â&#x20AC;?

Dubbeldam

Top: Night Time View; Bottom: Surface Penetration Model

Top: Elevation from the Nort; Bottom: Interior Exhibition Space

Dubbeldam

â&#x20AC;&#x153;In tandem, the location of the museum across the DMZ zone is both a reminder and a critique to the Korean war. The theme of war and its relation to surrealism is integrated in the atmosphere and the experience that the space is generating.â&#x20AC;?

45 1.

1.exhibition spaces 2.central core 3.offices and storage 4.programs and events

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Top: Sectional Underground View; Bottom Left: 3D print of the Connection of Spaces; Bottom Right: Assembly and Connection of Spaces

Top: Looking towards he North; Bottom: The Museum Grounds

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Hoju Chung + Hanxing Zu Winka Dubbeldam

Mystique

Museum of Subconsciousness The most surrealistic feature of this island is its “disconnectivity” which could be rephrased as “isolation.” In this isolated site, we would like to build a Museum of Subconsciousness where people can look deep inside them and experience/ explore what is beyond people’s consciousness. Part of the exhibition would be collections of People’s collection. By exhibiting these collection, visitors would have chance to peep into other peoples habits, obsession, complex or even traumas which is supposedly hidden in people’s mind. We have started with embryo which is the shape of cube, the simplest version in 3-dimension. 10 steps in total could be abbreviated into 2 stages; embryosis and metamorphosis. During the stage of embryosis, embryo defamiliarizes itself from the step before by having fission and distortion and this step offers this embryo logic to evolve itself. Metamorphosis stage automatically transforms the embryo by self-exaggeration and self-referential refinement. Through this process, we could observe and criticize the features of 2 different objects in order to compare, define and assign the properties of those. The objects we have produced have properties that could be contrasted from each other in every way. In terms of materiality, one absorbs light as much as it could when the other restrictively allow it. While one is translucent, fragile and delicate, the other is opaque, reflective, protective and robust. In terms of shape, one has softness that could be represented by wrinkles, inflativeness while the other has rigidity which could be represented by angles and structure-like massiveness. 47

In order to incorporate these contradictory properties together, we used symbiotic incorporation. Symbiosis is the inter-dependent interaction between two species in nature. It is not about producing a new one but having a complementary relationship between two different properties while maintaining one’s own. We have concluded this inter-dependent contrast could be like mollusks in their protective shell or intestines in our skeleton. The outer shell would rigidly protect what is inside and structurally support it. Soft and malleable inner space would flow within the shell freely creating diverse atmospheres by absorbing as much as light it could. The contrast between 2 objects is not emphasized only with its form but in every way including materiality, programs, and movement of the visitors and structure.

Birds Eye View of Nodeul Island

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01. Lobby 01. Lobby 02. Theatre 02. Theatre 03. PermanentExhibition Exhibition 03. Permanent 04. TemporaryExhibition Exhibition 04. Temporary 05. Office 05. Office 06. Restaurants/Cafe 06. Restaurant/Cafe 07. Museum 07. MuseumShop Shop 08. Observatory 08. Observatory 09. Open Plaza 09. Open Plaza 10. Harbor Deck 10. Harbor Deck 11. Library 11. Library 12. Open Studio 12. Open Studio 13. Experience Zone 13. Experience 14. Playground Zone 14. Playground 15. Lecture Hall 15. Lecture Hall

From Top to Bottom and Left to Right: Longitudinal Section; Plan View; Architectural Visualisation

Aâ&#x20AC;&#x2122;

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Top: Close-up of the Museum Bottom: Museum as seen from the Han river

component 4

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Symbiosis is the inter-dependent interaction between two species in nature. It is not about producing a new one but having a complementary relationship between two different properties while maintaining oneâ&#x20AC;&#x2122;s own. This inter-dependent contrast could be like mollusks in their protective shell, intestines in our skeleton, and Jello in hard case. Symbiosis is the inter-dependent interaction between two species in nature. It is not about producing a new one but having a complementary relationship between two different properties while maintaining oneâ&#x20AC;&#x2122;s own. This inter-dependent contrast could be like mollusks in their protective shell, intestines in our skeleton, and jello in hard case.

stage 2 /juxtaposition

stage 3 /simplification

2013 PPD_ Winka Dubbeldam

stage 55 stage

/symbiotic adaption Museum of Subconsciousness + Research Center

Hanxing Zu / Hoju Chung

Top: Interlocking of Components Bottom: Interior View of the Museum

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A SURREALIST MUSEUM FOR SEOUL Surrealist Museum in Seoul, Peter Ferretto

“LIGHT IS MEANINGFUL ONLY IN RELATION TO DARKNESS, AND TRUTH PRESUPPOSES ERROR. IT IS THESE MINGLED OPPOSITES WHICH PEOPLE OUR LIFE, WHICH MAKE IT PUNGENT, INTOXICATING. WE ONLY EXIST IN TERMS OF THIS CONFLICT, IN THE ZONE WHERE BLACK AND WHITE CLASH.”

PAUSE CITY At times architects, in their egotistical pursuit to erect buildings, lose track of the city and the elements that constitute the fabric of the urban surroundings. This semester we will focus on the pauses that make up the city, the vacant spaces that arise out of situations that both architects and planners cannot control.

Cities, when perceived and experienced as spatio-material artifacts that developed over “PARIS PEASANT” BY LOUIS ARAGON time, often appear to us as accumulations of ‘effects’. Effects’ of which the ‘causes’ We live in an era where the Museum has are mostly unperceivable. You might call become a default cultural commodity, these places the pauses of understanding. indispensable piece of the urban jigsaw for Pauses that embody a position of waiting and any self-respecting “contemporary/modern/ procrastination, so characteristic of situations en-vogue” 21st Century city. Often situated in segregated cultural districts (Seoul’s Leeum is no about which we have yet to shape our own exception) they no longer follow the institutional conceptions, situations which we have not yet system “collect to display” rather the organism been able to summarize. The places that are has been inverted to follow the dictum “display to collect”; the collection referring to the endless WE LIVE IN AN ERA WHERE THE MUSEUM HAS BECOME A DEFAULT CULTURAL COMMODITY, merchandise which is rapidly replacing the INDISPENSABLE PIECE OF THE URBAN JIGSAW “original” artifacts themselves. This semester the studio will challenge these notions and speculate whether the Museum can be returned to the city; an institution that celebrates urban life the expressions of time 53 and place that inspire our everyday, leading to alternative architectural strategies that assemble fragments and celebrate a city that is beautifully incomplete. Our approach will be empirical, interpreting the city through direct contact, sampling and exploring the notion of “Pause”. Our challenge is to attempt to define what makes up a New Museum for Seoul today, as an antithesis to the Guggenheim and MOMA ventures that have engulfed so many cities today, and in the process reveal the layers of complexity that define Seoul’s urban condition.

FOR ANY SELF-RESPECTING “CONTEMPORARY/ MODERN/EN-VOGUE” 21ST CENTURY CITY.

brought about as physical realities in between the incidents of understanding. Such pauses are found everywhere in every city. Nobody has conceived them or willed them into being. They have turned up by themselves, through collisions, like holes or sites of oblivion. They are always found at the boundaries of thinking. The Architecture of the Pause deals with the obscure transitions and pauses in between places in the city which are culturally and socially saturated with meaning. But these pauses in the urban space are only seemingly empty. If one focuses in on them, they reveal unexpected secrets and thus provide a completely different way of interpreting the concepts of site and space.

‘Causes’ that even for its citizens are often unknown or lost. Streets have directions but what caused their direction? Urban blocks have a shape but what caused their shape? Buildings have heights but what caused their height? There are colors, materials, textures but what caused their choice? Were it geomorphological circumstances, factors of ground ownership, political decisions, urbanistic solutions, technical possibilities or economical reasons that caused the spatiomaterial elements of the city to be as they are? These pauses are often referred to as urban voids and discarded as empty spaces that have to be recharged in order to be activated. THE ARCHITECTURE OF THE PAUSE DEALS WITH THE OBSCURE TRANSITIONS AND PAUSES IN BETWEEN PLACES IN THE CITY WHICH ARE CULTURALLY AND SOCIALLY SATURATED WITH MEANING.

Peter Ferretto Professor

Founding partner of PWFERRETTO, Seoul, South Korea In 2009 he was appointed Professor of Architecture at Seoul National University From 2001 to 2007 he was project architect at Herzog & de Meuron Architects in Basel Followed his architecture education at the University of Cambridge and the University of Liverpool.

Brian Lee + Zhengneng Chen Ferda Kolatan

Known/Unknown Our story begins with an everyday detail. When someone carries a bagful of something, you don’t know what is inside it. If you are curious about the answer inside the plastic bag, then you will imagine, nonetheless it doesn’t mean you can free your thoughts. While you will try to tracing by the outlines of the bag. At this moment the unknown behind the plastic surface is concealed, yet it still suggests its own volume and characteristics through the qualities of plastic bag. It plays a role as an inner dominant force to distort the morphosis of the surface covering it. Meanwhile the plastic doesn’t lose its qualities, or it would rather to say that the unknown things inside it somehow magnified or facilitated to express the bag’s qualities. When you take the things out, you find out they are apples, and both of the plastic bag and the apples have their own independent languages, when they meet together new qualities emerge through their reciprocal interaction. We conceptualize it as surrealistic active-passive relationship between two matters.

The specific active-passive relationship is developed it into our first experiment of the two distinguished qualities of the matters, namely the dynamic, soft qualities of the membrane and the static, hard characteristics of the solid plaster. Here the moment when the two qualities meet can be associated with the situation between the plastic bag and apples. On one hand, the characteristic of the solid such as hard and stiff, which relying on its volume, influence the morphosis of the soft membrane. Moreover, these dominant characteristics of the solid make the way how to manifest the qualities of the membrane such as silky, smooth, tense and loose, as if only these inner qualities can be visualized through the reaction to the existence of the solids, with various creases and micro wrinkles as formal languages. However, on the other hand we find that the soft membrane is at the active status rather than the passive. The dynamic nature of the membrane makes its own independent narrations, it is able to develop its potential by wrapping on the solids, going in-between, or by being free standing. In this case, the interface break the simple dualistic relationship into ambiguity, which creates a new formal language. When we develop our project we extend this specific formal language to the landscape and it evolves into the interrelationships among them. The interaction within them will show the audience various views and perceptions of the space. The audience will experience the museum by the perspective one feels familiar but never tried before, rather than being infused with the spectacles of the literal definition of surrealism.

aerial perspective

Kolatan

micro-scale organic studies

macro-scale organic studies

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From Top to Bottom and Left to Right: gallery; skylights; exterior; skylights, interior

From Top to Bottom: theater; acrylic model

architectural visualisation of the museum

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Boram LeeJung + Haotian Tang Ferda Kolatan

Abyss The isolated Nodule island locates in a dense context of urban life in Seoul, establishing an independent sense of field. Having been covered by concrete, the island claims for a new intervention from the city. The design aims to project a new island on the original one, which occupies the whole land and recreates both building and landscape. By projecting a new island on the original one, the project is able to stimulate the nostalgic sense from people by showing the coexistence of the two objects. The original forest on the island is also invited in to the museum area, with new ground level constructed and peopleâ&#x20AC;&#x2122;s activities reformed. The edge of the two islands prisons all movement in a restricted context, concealing the inner stories from outside. The contribution of volumes and void displays places where people can touch the earth of the original island. The material experiment introduces the concept of layer. The connection and separation of volumes and gaps reveal the image of exhibition spaces in the art museum. Spiral paths continue the landscape experience into the museum itself. From river to landscape then up to the core, the structure tends to be more fragile and transparent. And this is the way in which people meet the end of their journey. 63

Bottom Left: concept drawing; Top Right: overall perspective Bottom Right: sectional studies

Kolatan

Top: interior perspective; Bottom: preliminary model

Top:han river perspective; Bottom: building section

Kolatan

Top: aerial plan; Bottom: plan drawing

Top: night rendering; Bottom: interior rendering

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Chang Hur + Jiamin Liang Ferda Kolatan

DEPAYSEMENT

surrealist museum on nadeul island, seoul

Our architectural keyword is “Depaysement”, which means that we can feel unexpected, unusual and exotic feeling by changing in scenery. A technique that a surrealist, Rene Magritte, uses is to juxtapose two heterogeneous objects. By doing so, it creates new environment and makes people feel shock and strange effect. To design surrealism museum, we researched specific fruits or vegetables to process spatial composition. We made experiments by combining , inverting, rotating them as a linear or nonlinear way. It inspires us the space and quality of our museum and we try to transform these characters into our design. When we go on a field trip to Nodeul Island in Seoul, we found out that nature and artificial material juxtaposed together and created strange quality. The concrete platform is very flat and consists of many layers. Our suggestion is that to build a surrealism museum, we can put our model on flat ground as juxtaposition way to express “Depaysement concept”.

We design a narrow and tall gap space between two parts of museum, which draws people getting inside, creating a strong impression of a natural slot canyon, the strength of gravity and the stress when two parts colliding to each other. The plaster models we made own various texture and color quality, such as small and deep hollows, round and bubble shapes, uneven patterned upheaval and so on. All these qualities contribute to a natural rock appearance. But when getting closer look, people will notice some architecture characters. The exterior surface is consisted of rock-like panels and there are seams between them. In the aperture which divides the small volumes, we design windows and doors as entrance and area that lights can pure in. These architecture characters along with the natural rock-like qualities create a surrealism moment. As the interior design, the object we study has a great potential in developing architecture space. The red bubble clusters are like small galleries getting together; the soft and curved layer are like the wall division; the vertical part is like the transportation and structural system. We transform these language into our interior design. Inside the building, there are two layers, the interior and exterior. Exterior surface gives an impression of hard and uneven texture while the interior gives an impression of warm color and glossy quality. The interior part is not following the exterior as an offset layer, rather it extends into the center of architecture as a public space, organizing the functions. When people are exposed in the space between the exterior and interior, they conceive the totally different quality of the two surface. Through this qualities people can feel desire, fear and curiosity.

Top: entry perspective; Bottom: physical experimentation

The architectural keyword we used while designing the museum is â&#x20AC;&#x153;Depaysementâ&#x20AC;?, which means that one can feel unexpected, unusual and experience an exotic feeling by the changing in scenery. In order to create such an atmosphere we employed a technique that surrealist Rene Magritte frequently used. This technique entails the juxtaposition of two heterogeneous objects, together these objects make a new environment which create strange,unusual and unexpected transitions.

Kolatan

Top: entry perspective; Bottom: organic object study

interior atrium rendering

Kolatan

Top: plan drawing; Bottom: building section

Top: stage rendering; Bottom: entry rendering

museum as seen from the han river

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Shuang Guo + Zelong Xu Ferda Kolatan

Surrealist Museum a surrealist museum in Seoul

This project is based on the understanding and definition of “surreal”. Confront with this kind of abstract and huge topic, what we want to do is to figure out its most important character and express it in architectural way. What we focus on is the character of ambiguity. To create the atmosphere of ambiguity, we decided to abandon the normal process of architecture design which begins with floors, roof and walls. What we tried to do is to overturn people’s common sense of what components of architecture. In this case, we did a serious of experiments to find some interesting architectural elements in irrelevant field with irrelevant material. The most successful experiment our group did is sewing pills of melon skin together to find the logic of surface connection and embracing space. In this experiment, we find the ambiguity of the definition of surface. It could be regarded as wall, floor, roof or even structural construction. It is surface but at the same time it is also the volume. This kind of ambiguous character is what we are looking for.

With the deeper research of three sites, we found the same ambiguous character in one of the sites, the Nodeul Island. This Island is right in the middle of the Han River. It was part of the land 30 years ago. With the over development, it became an island. Besides, there is a bridge site directly on the island. This bridge is composed of three parts. The north part is a beam bridge and the north part is a tied arch bridge. The middle part of the bridge sites directly on the bridge which makes it more like a street than a bridge. These ambiguous characters match what we studied before and we decided to take advantage of the site and combine the site with our study together to highline the ambiguous atmosphere. To combine our site and study together, we find we can transform the bridge a little bit and combine our embracing pills on it. In this way, the bridge is still functioned as a bridge but at the same time it is part of the museum. We’d like to blur the boundary between museum and bridge to make people wander which part is the bridge and which part is the museum. Then the museum is like a monster hanging on the bridge but also part of the bridge. Then we split the Nodeul Island and make two parts have no access to each other. Since this museum is not sited on the island again, the only way to access the museum is through the bridge and it can be reached both by foot and by car. The path through the museum is a very important element in this project. Different paths of pedestrians and cars will lead audients to different experience of space. Since the museum is not a closed volume the paths will lead people to various of space experience. For different space we will arrange different kind of exhibition.

Top: north facing perspective; Bottom: flow/form diagrams

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Top: concept model; Bottom: organic fruit peel models

Top: aerial rendering; Bottom: form studies

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Top: interior perspective from below; Bottom: plan drawing

Top: prolonged exposure rendering; Bottom: sectional rendering

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Sheng Cai + Kshiti Shah Ferda Kolatan

FRINGE CONDITIONS Noduel Island

Within the extensions of the different typologies that collide together, a unifying/ merging growth exists; the pattern, growth and structure that exists only by the formation of that edge. Through the edgeâ&#x20AC;&#x2122;s division, an overlap takes place that creates an opportunity for a unifying growth and fluctuation. The Nodeul Island creates an element of surprise as you move through the river edge. At the tip of the island, you expect a built space but all you see is a barren mound of concrete. These qualities of the site make it surreal. The object studied has similar qualities of the edge as found on site. Being set within the ground, the object creates a space of quiet solemnity through the physical depression and the humbleness of the gesture. The materials and texture on the site are particularly organic at some places, whereas at certain places it becomes synthetic. The intercession of the leaf like structure into the landscape creates a built environment that clasps to the rim. The physical boundary formed by the hollowing of the earth not only inserts a break into the vast expanse of land, but it is this sculpted edge that becomes the place where surreal qualities of the museum can be seen, and landscape meets built intervention. The subtlety of the site incision leaves room for the landscape to merge back into the submerged edge, creating a close delineation of surface. 83

The elevated ground becomes an independent edge that breaches the surrounding landscape visually, though it never physically intrudes itself into the physical ground. A broader spectrum of the integration of an edge and both the unifying and disconnecting elements that the issue can carry is understood through this study. The edges created at their collision achieve one of two things: unification or division. Thus periphery becomes a threshold for growthâ&#x20AC;&#x201D;where clashing ecosystems can come together and in the chaos of unity find cohesiveness and life. The insert, therefore is bordering the site edge but unseen from the ground.

Top: overall rendering; Bottom: interior perspective

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Top: plan; Bottom Left: organic precedent model

Top: sectional rendering; Bottom Right: form studies

visualisation of the museum

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Qi Shen + Siyang Yu Ferda Kolatan

INTERWEAVING a museum at the involuntary park

For the past half century since the agreement was signed, the Korean DMZ has been a deadly place for humans. However, the natural isolation along the 155 miles length of the DMZ has created an involuntary park which is now recognized as one of the most well-preserved areas of temperate habitat in the world. Besides the valuable source of irreplaceable natural life, the site is also a historical site reminding humanity of the preciousness of peace. With respect for the existing serenity and peacefulness of the site, we achieved our project through a tactical dissolution of the object based on the blurring of its silhouettes and the dissolution of its presence. It is not, however, an intention towards passive invisibility, but rather an active impurity aimed at responding to the surroundings, through ambiguous mechanisms of fusion and transfusion. The DMZ owes its various biodiversity to its geography, which crosses mountains, prairies, swamps, lakes and tidal marshes. We respect all these, and perceive nature as a gift. For us, it is where the surreal quality lies. The surreal quality of the project stands in the oscillation between what is natural and what is artificial.

We locate our building in this place facing water and with hills on the back, and within an ever-changing marsh. The rising tide would bring water up and flow along the land and permeate through our building, which is consciously designed to welcome this interaction. We propose “operative landscape”, rather than “host landscape” with the dynamic changing of hydro-fluctuation of DMZ, our architecture displacement allow the transfusion that leads to multilayer spaces and experience. The museum tour is imbued with extraordinary experience overlapped with environment. In addition, an observatory is specifically designed to feel the site: its precious peacefulness and an invisible tense atmosphere, which conducts a completely different adventure from traditional gallery experience. Elaborate material selection is another adding to the surreal quality of our museum. When moving forward, people encounter the outer corten layer, the inner concrete and the construction core. As the geometry is twisting and folding, there is the interweaving of the three distinct material, casting another layer of ever-changing sensuality. The palm print texture and the flesh alike curvature wall are trying to remind visitors’ memory of war. When looking up, they perceive the peacefulness and uniqueness. The center core is surrounded by a continuous wrap, which leads people to the highest point where there is a stopping point of the entire experience.

sectional perspective

â&#x20AC;&#x153;With respect for the existing serenity and peacefulness of the site, we achieved our project through a tactical dissolution of the object based on the blurring of its silhouettes and the dissolution of its presence. It is not, however, an intention towards passive invisibility, but rather an active impurity aimed at responding to the surroundings, through ambiguous mechanisms of fusion and transfusion.â&#x20AC;?

Kolatan

From Left to Right: organic studies; interior rendering

From Left to Right and Top to Bottom: plaster cast study; exterior form; views of the DMZ

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Birdâ&#x20AC;&#x2122;s eye view of the museum

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Flagrant Rhythm of Lurking Desires Eric Goldemberg

AS MUCH AS SURREALISM SOUGHT OBSESSIVELY TO LIBERATE DESIRES AND SUBLIMATE SEXUAL INSTINCTS, IT MAY VERY WELL BE POSSIBLE TO SET AN AGENDA FOR ARCHITECTURE AS A PURVEYOR OF SCENARIOS FOR BROAD, LATENT BEHAVIORAL INTENSITY VESTED WITH FAINT TRACES OF AN UNCENSORED, IDIOSYNCRATIC HUMAN DRIFT.

In their portrayals of encounter, desire, and carnality, the Surrealists facilitated ways of seeing the world anew – a clear refusal to allow love to be divorced from eroticism by giving free rein of expression to all manner of psychopathological impulses and wanton paraphilias, including rape, murder, sodomy, cophrophilia, and religious blasphemy.

Recursiveness, différence & répétition, sensual pleasure coupled with psychic anxiety are some of the possible expressions of such pulsatile, carnal extrapolation to architecture; an arena of multiple impulses set in motion by erogenous-tectonic articulation and stimulated by the effects of rhythmically charged membranes. Repeated components operate by establishing a kind of rhythm of intuition, which then structures all subsequent experience in a sort of flagrant economy of vision: repetition manifests itself differently in its dynamic form than in its static variant; time introduces a whole range of hitherto unimaginable possibilities into the field of architecture. Therefore the surrealist notion of rhythmic architecture will be one that unhinges unapologetically the repetitive-compulsive nature of spatial perception as sexual drive, as a primordial force that can foster unrestrained, subversive cognition and erotic relatedness in space.

Eric Goldemberg Critic

He is currently the Digital Design Coordinator and Full-time professor at Florida International University Goldemberg taught studios and seminars at Pratt Institute, Colombia University, and IAAC (Institute for Advanced Architecture of Catalonia,Barcelona) Founder of Monad Studio, Miami {2002) M.Arch.AAD, Columbia University

Bing Lu + Jamin Seo Francois Roche

DEPAYSEMENT a pleasant sorrow

“As beautiful as the chance encounter of a sewing machine and an umbrella on an operating table” –Comte de Lautréamont Our scenario is more like a ritual ceremony rather than a project. It is a gorgeous, but short life story. Before yesterday, the invisible cold wall between North Korea and South Korea has been there for almost 60 years. It is one of the untouchable lands in the world, the DMZ. During the past half century, nothing happed there except ambiguity. Even though the history has been frozen, mysteries like potential dangers, unpredictable landmines, and incredibly high reeds have been remained alive in this black forest. We cannot manipulate the political past, it is even forbidden to talk about, but almost imperceptible, a little movement, like as weaving and knitting enable to create new links in the middle of the two nations. The unexpected encounter between rough land and fragile beauty defines the “Depaysement”.

The definition of the robot has been reevaluated. They look like elegant ballerinas, but in fact they are pious ascetics. They pilgrim to find safe zones for silk links, but they tangle themselves within cocoons at the end of their life or mistakenly trigger the danger to a dead end. They are creeping up like as a cat walking in order to avoid arousing the reality. They are the real surrealists. Silk links are getting intricately woven by robot’s soft touching and it is going to form a maze. The museum is the maze itself which is reconfigured continually by new occupants combined with dangers and uncertainties from the past. Unfortunately, the museum will end its life and disappear from the land eventually. The moment in silk link gives you ‘Pleasant sorrow’. Between the narrow silk walls, you are confused to find the way and belong to the beauty at the same time. However, finally you would realize that you never gonna touch and meet there ever forever.

machine apparatus

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feminized ambiguity

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geometry apparatus

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From Top to Bottom & Left to Right: feminized ambiguity; stretching silk; geometry evolution; global position From Left to Right & Top to Bottom: density variation; geometry evolution; local analysis fragment

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Biqi Zhang + Jiang Jiannan + Konstantina Koligliati Francois Roche

INV S BLE a secret creature

In the ambiguous boundary of South Korea and North Korea, there is a mud flat stretching for miles. Wind caressing the face of sands again and again, and the tide takes away some and leaves its own print on the mudflat. A secret creature is sleeping under the sands, recording the movement of sands and tides. A bunch of needles are dancing freely on the back of the creature, who is living inside a dream. Somewhere between the real world and subconscious world, retracing generations of people’s memory. Sands become transparent, moving, dancing in the air, escaping capture of constrain. Like any substance in the world, when darkness is here, the needles begin to work, to create the most beautiful invisible construction underground. In those untouchable darkness in the sands, layer by layer, with the power of fire, transforming those particles into incredible shining glassy, but also rough substances. Those glassy needle-like particles burrying are crying and shouting to gather the attention of the people from North and South. With the tide going back and forth, water crushing the shore, those particles are burried years and years in the darkness, forgetten by the people. The creature begins to wake, opening its eyes, curiously looking around, struggling pushing the body out of sands jumping out of the ground. 105

Years After After years of waiting, something forgotten a long time ago jumps into people’s sight. “See, what is that?” Shining and attracting attention. What are found are mountain-like sticks all over around the sands, showing off its inside and outside, which attracts people’s attention to merge every difference into this incredible world. They touch it, the sand and glass. They get lost. They become addicted. It is a museum passing over its own meaning. What’s the Secret? The machine moves like a crab on the surface across the mudflats, avoiding the wet spots during the tide and leaving its marks in the sand, awaiting the next tide, which washes the loose sand away, revealing the robot’s dance in stone. The machine’s needles give high pressure and temperature into the sand, solidifying sand. Performing this dance over and over again, sand aggregates, the museum grows gradually, what lives inside our dream becomes true.

From Top to Bottom: global trajectory; teraform; machine self-rotational study

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From Top to Bottom: material experimentation;local evolution

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From Top to Bottom: computational path;computational research;fragment

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â&#x20AC;&#x153;They touch it, the sand and glass. They get lost. They become addicted. It is a museum passing over its own meaning.â&#x20AC;?

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From Left to Right: machine apparatus; sediment erosion diagrams

fragment

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Li Xia + Cong Ye Francois Roche

CALLIGRAPH

bioplastic/wind/erosion/mutated spaces

Seoul, the capital is influenced by East-Asian monsoon on the Korean Peninsula annually. In this city, the wind seems desolate and emotionless. It wavers swaying from side to side and then rushes onwards headstrongly and carelessly. There are also frequent typhoons that bring high winds in the autumn, which can tear away parts of houses, break trees, and possibly cause a large area of damage. Right in the surreal world, our calligraphy machine resides, ignorantly hinging on the vortex of randomness and chaos. You can hear its voice dropping sometimes to a whisper. You can feel it slowing down however never stopping. 111

It is a delicate painting more carefully crafted than any people could wish or imagine. If you close your eyes for a moment, you can see all the images passing and overlapping in your eyes. The building is recorded as a history book, any single trail could be traced back to that exclusive stroke of the calligrapher. Our story starts with the beautiful painting that is never-ending.

material evolution & experimentation

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Working Depth

Layer Levels

Motion Direction

Layering Trajectory

Potential Void Spaces

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From Top to Bottom: local evolution; machine breakdown

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From Top to Bottom: machine evolution; machine apparatus

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Passage Generating Process

Decay Process: 07 day 00 hrs

Decay Process: 21 day 00 hrs

Decay Process: 14 day 00 hrs

Decay Process: 28 day 00 hrs

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From Top to Bottom: material evolution; computational research

visualisation of the created space

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Lifeng Lin + Lanmuzhi Yang Francois Roche

IF MANGROVES CRY life after algae

After the surging tide wallops Nodeul Island, massive amounts of algae are left on the shore. It grows unscrupulously, creeping on the beach and invading the bank, with the artificial contaminant and primary pollutant. When the situation reaches critical mass, the robot comes. The robot can extract the algae water and segregate the commixture into biomass, oil and water. It mixes the biomass and oil to make the algae glue and sprays the glue like a glass artist with molten glass drops/bubbles. To make the glue drops aggregation more interesting, the trajectory of the robot creates deformed shapes mimicking the logic of mangroves. Day after day, year by year, the robot keeps building the glue trees which slowly grow into three different layers--stratification-canopy, lower canopy and ground root. Concurrently, the microbes begin invading the whole system. The root part of the system is undergoing an upheaval. As the glues are made of biomass which nourish the microbes the marine microorganisms multiply uncontrollably on the glue drops. After a while, the microbes aggregate pieces as freckles on the glue tree. Lots of algae die due to the invasion of the microbes that lead the environment deterioration. The dead algae also contaminate the water and produce algae toxins.Within this vicious circle the bottom is becoming a mess with dead algae, crazy microbes, and marine pollutants. 117

Regardless of time passed, the lower-canopy layer will remain the way it was built. This is the space people can walk through. The only way that the space evolves is the rancid smell that develops over time. The canopy layer changes differently from the other two. This layer is exposed direct sunlight and the glues become dry quickly. There are not enough microbes present to destroy the glue, but the glues eventually eroded and decompose. The process repeats constantly like an organized system. The robot is building; the root layer is decaying and the canopy layer is decomposing. It may reach a balance as the process goes, but as far as we know, the system will collapse because the building speed will never catch up the decaying speed.

visualisation of the algae forest

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1. substance 2. material experiment 3. substance extraction

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Top: material evolution Bottom: global trajectory

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material evolution: generation 1, 2, & 3

11 "

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30°

50°

11 "

40°

0°

15°

Top :machine apparatus Bottom: machine trajectory

3. local trajectory

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Matthew Stone + Runing Wang Francois Roche

[de]SUBLIMINAL showcasing problems at their source

â&#x20AC;&#x153;Surrealism is merely the reflection of the death process. It is one of the manifestations of a life becoming extinct, a virus which quickens the inevitable end.â&#x20AC;? - Henry Miller Our surrealist museum is a commentary on the current state of industrial production in emergent nations and, further, aims to initiate a discussion about wether or not the borders of those nations exist. The museum represents the materialization of the immaterial waste of the industrial process by bringing the future death and decay that is a result of rapid industrialization into the present. It is a crystallization of the excrement of industrial production and forces those who pollute to face the ugliness of the result of their selfishness through a physical interaction with the future. They are able to touch what is normally forbidden - what is normally vomited up into our atmosphere, in an attempt to do away with, is now brought down to the ground and presented as an ugly, volatile, mass.

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In order execute this task, we had to relocate our museum to the source of the problem. We moved our museum to an industrial park in Dadong, China. South Korea has made significant efforts to clean up their industrial process and are no longer a major polluter, as they once were. However, they are still plagued with yellow dust that comes in from the Northwest during the spring. They must live with this cloud of pollution every year, despite all that they are doing to cut down on industrial pollution. The pollutant filled smog that comes from China does not have any knowledge of international borders, it only knows the flow of the gulf stream. Our project does not intend to posit a solution to the problems of industrialization. It does not aim to fix, but to display in an effort to showcase the ugliness and act as a wormhole into the wasted future that will soon confront our world if solutions are not conceived. It is not just a museum of the forbidden, a tribute to the industrial process, but it is a museum of death. It is constantly dying, as a reflection of our own mortality. Within itself, it attempts to showcase the brief lifespan of our time on this planet, it is constantly producing, while dying at the same rate.

visualisation of a detail of a fragment

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From Top to Bottom and Left to Right: material experimentation; global trajectory; space typologies

â&#x20AC;&#x153;...what is normally vomited up into our atmosphere, in an attempt to do away with, is now brought down to the ground and presented as an ugly, volatile, mass.â&#x20AC;?

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From Top to Bottom: machine front elevation; machine side elevation; machine apparatus

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From Top to Bottom: material sublimation; sectional studies; mass elevation

fragment

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AGENCY IN TILING a workshop in tiling

BEHAVIORAL SURFACES WORKSHOP The workshop explored algorithmic techniques and complex systems in the design and fabrication of intricate surfaces. The workshop developed from the logic of swarm intelligence and operated through the technique of multi-agent algorithms. This generative strategy was used in the design of fibrous surfaces that negotiate between structural and ornamental conditions. The workshop had three components, the design of drawings, volumes and tiles using these multi-agent strategies. The drawings were explorations of the behavior of the algorithm operating in a high population condition, with a focus on the emergent capacities of the process. The volumetric studies explored strand geometries and their spatial implications through 3D printing.

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The focus of the fabrication component of the workshop was on the tiled surfaces. Molds for these surfaces were 3-axis milled from which vacuum-formed plastic tiles were made.

Roland Snooks Founder of Studio Roland Snooks Co-Founder of Kokkugia Taught a numerous institutions worldwide of which: University of Pennsylvania, the Pratt Institute, Columbia University GSAPP, SCI-Arc, UCLA, RMIT University, and the Victorian College of the Arts Master of Science in Advanced Architectural Design, Columbia University, New York Received a BArch from RMIT University, Melbourne

(above) a-periodic tiling (Donghua Chen)2. (on the right) Vector Drawing using Processing (Laurens Deuling,Elise McCurley)

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Type A AGENT TILE GEOMETRY + AGGREGATION

Andy Warhol

Type A

AGENT 3D ISOSURFACE Type A

Type B

Type C

FALL 2013 | UNIVERSITY OF PENNSYLVANIA | SWARM WORKSHOP | STUDENTS: Eleni Han, Hoju Chung, Konstantina Koligliati

AGENT 3D ISOSURFACE PROCESSING ITERATIONS

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Type A

INSERT FINAL AGENT DRAWING - FULL PAGE

FALL 2013 | UNIVERSITY OF PENNSYLVANIA | SWARM WORKSHOP | STUDENTS: Lanmuzhi Yang/ Jiannan Jiang/ Sheng Cai/ Kaiyu Chen/ Jiamin Liang/ Yinzhu Shen/ Elia

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from left to right and top to bottom; 1. Runing Wang, Cong Ye, Zelong Xu, Bing Lu,Matthew Stone 2. Eleni Han, Konstantina Koligliati, Hoju Chung 3. Elise McCurley, Laurens Deuling 4. Lanmuzhi Yang, Jiamin Liang, Sheng Cai, Kaiyu Chen 5. picture by Joshua Freese 6. same group as (1) 7. same group as (3) 8. picture by Joshua Freese 9.same group as (1) 10. same group as (3) 11. picture by Joshua Freese 12. same group as (2) 13. same group as (1) 14. picture by Joshua Freese

DIGIBLAST

Broken Flower MOMA PS1

intensive immersion in digital tools

MODEL _SCRIPT _VISUALIZE _FABRICATE This workshop will provide a comprehensive introduction to four elements critical to the digital workflow of PennDesign graduate studios: modeling, scripting, visualization and fabrication. Short daily lectures situating digital techniques in contemporary design practice will be followed by hands-on tutorials in Maya and Rhinoceros. The first half of the workshop will provide an operative knowledge of the many geometry types, modeling techniques and simulation tools available for studio work. The second half of the workshop introduces visualization and fabrication techniques. Using the abstract module as a case study, students will learn to quickly produce shaded renderings, animations and technical line drawings. As part of the workshop there is a competition organized under the students.

Ezio Blasetti

Danielle Willems

Co-Founder of Maeta Design (2011)

Co-Founder Ahylo (2009)

Professor of Architecture at Pratt Institute and University of Pennsylvania

Taught generative design studios at numerous universities world-wide of which, University of Pennsylvania, Pratt Institute, the Architectural Association, Rensselaer Polytechnic Institute and Columbia University Master of Science in Advanced Architectural Design, Columbia University, New York (2006)

Master of Science in Advanced Architecture Design,Columbia University, New York and a Bachelor in Architecture from the Southern California Institute of Architecture Her work seeks to merge algorithmic concepts, techniques and methods from a multitude of design fields such as fashion design, motiongraphic and film into the discipline of architecture.

MoMA PS1 Ephemeral Pavilion Competition 135

The site, MoMA PS1â&#x20AC;&#x2122;s large triangular entrance courtyard and outdoor sculpture area, is an integral part of the museumâ&#x20AC;&#x2122;s popular music concert series, Warm Up, which features experimental music, live bands, and DJs. The site is open to visitors throughout the summer. THE PROPOSAL: The design of a freestanding temporary contemporary showcase Pavilion. The Pavilion should feature the element of surprise, unexpected juxtapositions and non sequitur. It should be a covered or partially covered, open space for sitting, talking, socializing, presentations, gatherings and musical events. The objective of the project is to provide visitors with an outdoor recreational area. PPD /Boram Lee(Jung)

from left to right and top to bottom: Boram Lee (Jung), Boram Lee (Jung), Laurens Deuling, Matthew Stone, Siyang Yu

Department of Arch

spiral bound MoMa PS1 PAVILION

Chaos inMotion

Chaos inMotion is a pavilion constructed by an aggregate of wooden slats, randomly distributed but structurally fit to accomodate different functions within and on top of it. At first sight this pavilion seems a chaotic mixture of wooden slats assisted by a smooth surface. Yet at a closer look one will notice that every piece is put in a specific place having a precise function. By capturing and researching the intersection and accumulation of curves, the pavilion succeeds in freezing the dimension of movement. The tagline of the project “There ‘s no chaos, only structure” refers to the idea that there is no such thing as chaos, or at least not in the sense of how society defines chaos. Chaos does exist, as a form of structure.

site plan

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PPD /Student: Laurens Deuling / Instructors : Ezio Blasetti & Danielle Willems

Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania entry perspective

project title: spiral bound pavilion

designer : matthew s stone

00 a rigid container with scarce movement reality

PPD NAME: Siyang Yu

01 supporting structure become usable space

02 with structure integrity allow any natural movement

02 with structure integrity possible for “upside down”

03 structure integrity + continuous experience

04 structure integrity + continuous experience +nautral movement

00 natural existence

Instructors : Ezio Blasetti & Danielle Willems

Site Plan

natural Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

Broken Flower

If the interior space of MOMA is the cup which is containing water and has been broken st some important part of the its space, The water should have its own motion when it come out. Using the maya, we can not only trace its movement but be acquired the form whcih is so strong against the graivity. The sound spekers can be installed the surface, and the wire-Optical fiber can be haing the roof. When wind blow the inner space, the wires would be trembled. people can touch and bound the wire. All the forces which is existed in the site would be intergrated each other as time goes by .

MOMA PS1

A flow of water sequence #1.

#2.

#3.

#4.

#5.

Reverse

#6.

Gravity

Entrance of the gallery

The structure against gravity

The broken part of MOMA PS1

Excisting Building

Surface - Fiber & Loud speakers (The PA)

Wire - Optical Fiber

Urban Canopy

Shaphe of the wires at the bottom

Entrance PA

PA Tension Wire

Program

Loud speakers (The PA)

Joint PA PA

Dance Floor

Stands

private garden

Information area

Temporary Bar

Fiber

Component

project title: Broken Flower

Section

Department of Architecture School of Design University of Pennsylvania

PPD /Boram Lee(Jung)

Sea Scapes PS1 Ephemeral Pavilion

PPD /Student : Eleni Han

Instructors : Ezio Blasetti & Danielle Willems

jellyfish assault

description: The proposal for the ephemeral pavilion derives from the water movement and its reflections. Using the lights and shadows, which are created as the light falls on water surface that is in motion, an “eye” pattern was designed. This pattern formed the basic module for the lattice of which the pavilion is composed of.

The pavilion follows the water motion as well, thus creating “mountains” and “valleys” and being consistent with the notion of fluidity. While most part of the pavilion is penetrable, the “valleys” are covered in in transparent film that can concentrate and hold water, creating various topologies where people may enjoy some shade or cool off in the hanging lakes, while experiencing the feeling of being underwater in the open air.

Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

description: One day at the late night, a flock of jellyfish assaulted the MoMa PS1. Unfortunately, they solidified at once they touched the ground, keeping the shape as I design. This shape presents the moment when the jellyfish's feelers landing on the building and ground. I try to make it dynamic so some feelers are in the sky while some touch on surface.They spread over the square, insert between buildings and thrust into the ground, appearing transparent and illuminated.

Department of Architecture School of Design University of Pennsylvania

PPD / Boram Lee (Jung)

loop-d-loop

Sea Scapes

ppd-ps1 competition

Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

PPD / Student : Eleni Han

Instructors : Ezio Blasetti & Danielle Willems

Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

jellyfish assault

PPD Name:Jiamin Liang/ Instructors : Ezio Blasetti & Danielle Willems

spiral bound

MoMa PS1 PAVILION

Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

description: Within the courtyard, the Spiral Bound pavilion acts as both an enclosure and a sculptural object resting atop a plane. Its cold metal structure wraps its occupants, pulling them from one end of the courtyard to the other, giving them opportunities to slip between the clusters of tubing along the way. While they are moving through the space they are forced to engage with the metal tubing as it sweeps beneath their stride and passes above their heads. There is a network of stretched canvases that connect the groupings of metal tubing. These canvases also reflect the duality of the pavilion, in that they act as a binding agent and a trapeze surface on which the occupants can rest or play, depending on their energy level. The overall form of the pavilion is intended to mimic the motion of someone traveling rapidly through the space; with big sweeping forms that are being pushed away from themselves at the apex of the turns. The pavilion is an excercise in form that is meant to evoke a sense of animation within the courtyard, that engages its users/observers from every corner of the site.

site plan

aerial perspective

entry perspective

project title: spiral bound pavilion

longitudinal section

designer : matthew s stone

Loop-d-loop pavilion in PS1’s courtyard playfully climbs and jumps over the courtyard walls, creating shaded spaces for summer crowds. The structure is made of formed plastic modules attached with steel pins and brackets. The lightweight plastic structure...

loop-d-loop ppd-ps1 competition

PS1 Ephemeral Pavilion

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PPD Name:Jiamin Liang/ Instructors : Ezio Blasetti & Danielle Willems

description:

PPD / Instructors : Ezio Blasetti & Danielle Willems

Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

PPD : Elise McCurley

Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

PPD : Elise McCurley

Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

[Re]ST

description [Re]ST - Relaxed Structural Tent is a free standing temporary public pavilion designed for MoMA PS1 Young Architects Program as a flexible and interactive common gathering space. The flexible and interactive common gathering space will explore the relationship between the structural and the relaxed form, ultimately creating an interactive space to flow with peoples' movements. The free-flowing canopy allows for various experiences throughout, with areas for different types of resting. [Re]ST creates an environment, not just a space.

Relaxed Structural Tent MoMA PS1 Young Architects Program

[Re]ST Relaxed Structural Tent MoMA PS1 Young Architects Program

+ =

PLAN

AXON

SECTION

Name : Bongkyun (Brian) Lee

Course : Summer 2013 Intensive Digital Methods PPD

PPD / Instructors : Ezio Blasetti & Danielle Willems

Department of Architecture School of Design University of Pennsylvania

Name : Bongkyun (Brian) Lee

PPD / Instructors : Ezio Blasetti & Danielle Willems

Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

Experiencing Diversified Lights under Urban Forest

description:

As we walk along the woods and forest, we can always experience lights which delivers differentiated atmosphere from the one in high-rised and crowded city. The main idea of this pavillion “Urban Forest,” which will be constructed on the triangular courtyard of MoMA PS1is to offer visitors an experience they could enjoy as if they are walking through the forest and fallen leaves. In addition to providing shades of leaf-like patterns so that people can gather around underneath the pavillion various events and activities would take place. The shades produced by the pattern of pavillion may varie as time goes by according to the altitude of the sun in the city of NewYork. “Urban Forest” may welcome visitors of MoMA PS1 from all around the world with calm and exotic atmosphere.

walking along leaves

Our world is a rigid container with scarce movement, with seperated space, distant people. no communication. While the natural universe is based upon fluidity and flexiblity. Why being opposite to the nature, since we are acturally in a world full of natural mobility and freedom? Why not follow the nature? Like those beautiful coral under sea, their existence perfectly demonstrates the possibilities of extreme soft and fragile integral structure could stand for huge strength. Instead of having columns and beams forming specific supportive system, the whole construction acts as an united agent . In fact, the boudary between wall and ground, the inside and ourside is also blurred in the meanwhile. Upon integral system, there is no singular element, structure is combine with a fluid continuous and overlapping experience. Especially in the ear of media, continuity is becoming new priority in exhibition design consideration. With no physical seperation, the construction is itself a supportive field , enriched with all kinds of possible events, program and setting. Unexpect could be expected here.

In addition to providing shades of leaf-like patterns so that people can gather around underneath the pavillion various events and activities would take place. The shades produced by the pattern of pavillion may varie as time goes by according to the altitude of the sun in the city of NewYork. “Urban Forest” may welcome visitors of MoMA PS1 from all around the world with calm and exotic atmosphere.

1_ plaza

2_ grid

30 (m)

3_ events & activities

Events & Activities

4_transformation 1

5_transformation 2

6_transformation 3 B’

A’

Form Devlopment from Triangular Plaza Form of the “Urban Forest” first derived from the triangular shaped plaza of MoMA PS1. By applying triangular grid on the plaza and designating the place where events and activities could take place, simple prism shape with empty columns were established. By deforming floor slab with roof and twisting the column, Urban Forest has developed its own shape with varying faces.

Pattern Development

Activities and Events

Pattern which has been applied on “Urban Forest” is derived from the idea of fallen leaves. In order to produce nature-like but artificial pattern which could remind people of leaves, it was fabricated from triagular grid rather than quadrangle so it could has randomness within the shape. By studying several 2-dimension units and final transformation of the pattern, leaf-like 3-dimension unit has been designed. 1_ grid

2_unit 1

3_unit 2

IMPRESSION distant away 10 plan +30.00

section AA’

11 plan +24.00

12 plan +18.00

13 plan +12.00

13 plan +6.00

#.0

+ 3D IMPRESSION distant away

4_ 3 dimension

5_transformation

20 section_a

21 section_b

22 section_c

20 section_d

21 section_e

22 section_f

+ a continuous experience

section BB’

00 a rigid container with scarce movement reality

PPD / Student : Hoju Chung

Instructors : Ezio Blasetti & Danielle Willems

Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

PPD / Student : Hoju Chung

Instructors : Ezio Blasetti & Danielle Willems

Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

PPD NAME: Siyang Yu

01 supporting structure become usable space

02 with structure integrity allow any natural movement

02 with structure integrity possible for “upside down”

03 structure integrity + continuous experience

04 structure integrity + continuous experience +nautral movement

00 natural existence

Instructors : Ezio Blasetti & Danielle Willems

+ an overlapping experience

Site Plan #.1

natural Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

PPD NAME: Siyang Yu

Instructors : Ezio Blasetti & Danielle Willems

Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

section

Chaos inMotion

there is no chaos only structure

Capturing two opposing languages, smooth vs articulated surface, allows people to engage with this installation in different ways. The smooth surface acts as a catwalk where people cannot only perceive the installation itself and its surroundings but act in it as well. People become part of the dynamiism of the installation, letting it melt from its solid state. The installation becomes more than an art piece. The articulated surface of wooden slats can be seen as a translation from the chaos we experience in our everyday life , that one thing we cannot control.

WAVING*

MOMA PS1 PAVILLION

N B

0 1

20 (m)

SITE PLAN

front view Moma PS1 pavillion Chaos inMotion :

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description: "The site , MoMA PS1’s large trangular entrance courtyard and outdoor sculpture area, is an integral part of the museum’s popular music concert series, Warm Up, which feaures experimental music, live bands, and DJs. The site is open to visitors throughout the summer Waving, the proposal for a temporary pavilion for MoMA PS1, addresses a contextual relationship which imimics the water movement as an exploration on lightness and transparency. From the sigle plan line to the space curves, try to use lines or curves to describe the appearance of the waves.It reaches transparency as it allows the penetration of light to the point of incorporating it. A complex meshwork of linear elements support transparent covers. This project explores structural and material logics as waving curves,the ‘curve’ is examined as a bending element caught within a woven collaborative structure of glass fiber tubes, in which the use of compression is exchanged by the one of tension for the building to achieve lightness. The benefit of the technological system lies in the optimization of materials and the minimal footprint that the building possesses. "

LOGIC PROCESS

FORMING

SECTION A-A

SECTION B-B

aggregation of wooden slats (structure)

in between pocket space

smooth skin allows users to walk on the pavillion 0 1

20 (m)

0 1

20 (m)

#.0

PPD /Student: Laurens Deuling / Instructors : Ezio Blasetti & Danielle Willems

Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

PPD / Student: Laurens Deuling / Instructors : Ezio Blasetti & Danielle Willems

Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

PPD / Student Name: Liu Xi

Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

PPD / Student Name: Liu Xi

Course : Summer 2013 Intensive Digital Methods PPD

Department of Architecture School of Design University of Pennsylvania

From the upper left to the lower right: Boram Lee (Jung), Donghua Chen, Bongkyun (Brian) Lee, Sheng Cai, Eleni Han, Elise McCurley, Hoju Chung, Siyang Yu, Jiamin Liang, Konstantina Koligliati, Laurens Deuling, Liu Xi, Matthew Stone, Qi Shen, Runing Wang

A Museum Nicole McIntosh

AN ICON - an impression - AN EXPERIENCE - a machine - A PIECE OF ARCHITECTURE -

a configuration of spaces - A DIGITAL DESIGN - a non-profit institution a permanent institution - a building - an archive - an exhibition - a café a place for education - an attraction - A DESIGN EXPRESSION - a famous building a preservation - AN ADVANCED DESIGN -a reflection of a time in history a trophy for the city - a venue for people - an expense - an ongoing project a status symbol - a gift shop - a day trip - A UNIQUE PROJECT - an accomplishment A PLACE TO BE - a chance - an excitement - a restaurant - a reflection -

a circulation system - AN OBJECT - a landmark - a cultural highlight - an investigation a center for communication - A HOTSPOT - a tour with headphones - a book an opening - a rooftop bar - a stock - an interaction - a committee - an escape A REFLECTION OF TIME IN ARCHITECTURE - a virtual platform - a standing in line situation -

an admiration - a waiting area - AN IN-BETWEEN WORLD - an enjoyment 139

A NOUVEL FORM - a memory - a long visit - a short visit - an investment -

a place for recreation - a facade - an advertisement - AN UNEXPLORED TERRITORY a one of 55‘000 museums worldwide (2007) - a library - a collection - a perception A CONCEPT - a cathedral of the 21th century - A NOVEL FORM - a flexible space -

a documentation - AN IMAGINATION - an excursion - a library - AN ILLUSION - a fantasy a place - a statement - an important intervention - an adventure a path - A „MUST HAVE“ - a souvenir - a book store - an “ I‘ve been to “ - A MASTER PIECE a break through - an identification - a wish - a potential - a mesh - an expectation a belief - A DREAM - an adventure - A PPD PROJECT

The official Definition of a museum according to the ICOM (international council of museum): Article 3 Museum. A museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment.

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Nicole McIntosh Critic

Received an MSc from the Eidgenรถssiche Technische Hochschule (ETH) in Zurich Worked for various firms in Switzerland and in New York City including AGPS and ARCHI-TECTONICS Currently she is working at OOS in Zurich

3D PRINTING makerbots in the studio

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Since its emergence roughly twenty years ago, generative digital design has fundamentally altered the way in which we conceptualize, design, and fabricate architecture. Virtually every aspect of our profession, including education, has been radically transformed. These innovations have not been restricted to questions of technology alone, as they have fueled a lively debate among leading educators, theoreticians, and practitioners in their respective efforts to understand the larger cultural and architectural ramifications triggered by this phenomenon. By bringing together leading international and US architects, the symposium explored how the role of the digital created a new form of PRACTICE, the “New Normal”. Starting from this new platform, we reinvestigate the future of architecture education, design research and this new practice, theory, and fabrication. The Program also benefitted from PennDesign’s strong focus on “Making”, which was recently enforced by placing 3-D printers “Makerbots”, directly in the design studio’s, and large three D printers, ProJets 660 were added to the FabLab. The Projets produce high-definition, full-color printed 3D prototypes, thus allowing our students to further experiment and test designs real-time.

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from left to right and top to bottom: 1. makerbots at studio 2. 3D-print made using the 3D-printers (Elise McCurley) 3. printing job in process 4/5. 3D print in the 3D-printer

Surrealism Sulan Kolatan

SPIT IS RURAL, ITALICS SEEM VILE. SORRY, I MEANT TO SAY, SPECULATIVE (SUR) REALISM. OR DID I? LETTERS, WORDS, SENTENCES. OBJECTS AND RELATIONS. SENSE AND NONSENSE. ABSURD SENSE. PRODUCTIVE NONSENSE.

The Surrealist object and its relations Surreal Poem: The chance encounter on a dissecting table of a sewing machine and an umbrella (Lautréamont) Argument: “A linking of two realities that by all appearances have nothing to link them, in a setting that by all appearances does not fit them.” (A. Breton) Objects: a dissecting table, a sewing machine and an umbrella (I didn’t say Flat Ontology) Relations: none -by all appearances. 143

Observation: seeking-and-not-finding of relations, or seeking-and-not-finding-and-theninventing speculative relations in spite of appearances to the contrary; becoming aware of the image’s/objects’ “malfunctioning” (T. Morton)… absence of hierarchy Productive nonsense. The Speculative Realist object and its relations OOO Lists: plumbers, cotton, bonobos, DVD players, sandstone; atoms to alpacas, bits to blinis …

Argument: “Things in a world rather than our world with things in it.” (T. Morton) Objects: endless number of objects. Relations: no relations –by definition. (I didn’t say Surrealism) surreal sensibility in the selection of objects for the list … Observation: seeing a “world” of objects; list as both flattening device to erase hierarchies and open-ended catalogue of every thing; space, environment, setting, context are not containers of things but things themselves. The dissecting table is not a backdrop… no thing is backdrop. Absurd sense. To see things (I. Bogost). Differrently. Object machines are hyper-aware. They have what it takes: “sensitivity” (B. Latour). Absurdly so. Can we catch up?

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Sulan Kolatan Professor

Adjunct Associate Professor at the School of Architecture at Pratt Institute Co-founder and principal of the architectural firm KOL/MAC LLC Received her Masters in Architecture and Building Design from Columbia University and received her Architectural Diploma from the RWTH Aachen in Germany

PROFESSORS & CONTRIBUTORS Winka Dubbeldam is Professor and Chairman of the Department of Architecture at PennDesign,Philadelphia. She founded her office Archi-Tectonics in 1994. She served as juror at several design- and AIA awards, for the Prix de Rome, the Architecture Biennale Bogota, and served as the External Examiner for the AA [Architectural Association], London. She recently joined the Board of Directors of the Institute of Urban Design, NY [2010], the Board of Advisors of BOFFO, NYC [2011], and is on the Editorial Board of the D_City. Publications include the three Monographs, “Winka Dubbeldam, Architect” [010 Publishers, Rotterdam, 1996], AT-INdex [Princeton Press, NYC, 2006], and the Archi-Tectonics Monograph [DAAB publishers, 2010]. Winka received the “Emerging Voice” award [2001], and was awarded “Best and Brightest” by Esquire; the Genius Issue [2004]]. Archi-Tectonics was the Award winner in the IIDA / Metropolis Smart Environments Award [2006], won the Design Competition for a Sustainable Neighborhood Staten Island, NY [2008], the Hommes Design Award [2011] Rotterdam, the Netherlands.

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Ferda Kolatan is a founding partner of su11 architecture + design in New York City and a Senior Lecturer at PennDesign. He received his Architectural Diploma with distinction from the RWTH Aachen in Germany and his Masters in Architecture from Columbia University, where he was awarded the LL Memorial Price and the Honor Award for Excellence in Design. Kolatan has lectured widely and taught design studios and theory seminars at Columbia University, RPI, UBC, ICA, Washington University, Pratt Institute, and the RWTH Aachen. In 2010 he co-authored the book “Meander: Variegating Architecture” with Jenny Sabin, published by Bentley Institute Press. Francois Roche originally trained as a mathematician, later graduated from the school of Architecture of Versaille in 1987. He founded R&Sie(n) architecture studio in 1989 along with fellow french architects Stephanie Lavaux and Jean Navarro. Roche continues to lead the paris based studio which regularly changes its name every few years. After more than 15 years, the studio has built a name for themselves with their investigative approach to architecture. They are currently focusing on developing technological experiments,from which they can create architectural ‘scenarios’. R&Sie(n) has exhibited their work at institutions around the world, including the tate modern,London the Pompidou Center, Paris and MIT’s medialab, Massachusetts Peter Winston Ferretto, born in 1972, studied architecture at the University of Cambridge and the University of Liverpool. He has taught at the Architectural Association in London and has published various articles on architecture and the city. In 2009 he was appointed Professor of Architecture at Seoul National University. From 2001 to 2007 he worked for Herzog & de Meuron Architects in Basel as both a project architect and associate responsible for numerous international projects including CaixaForum Madrid and Espacio Goya. In 2009 he founded PWFERRETTO , an architectural office based in Seoul and London.

Lior Galili is an Israeli born artist, architect, and educator based in the US. Her recent research explored the interrelationship between the urban practice and the urban fabric in Times Square, NYC. Galili’s academic experience includes teaching at the Syracuse University School of Architecture; the Harvard Graduate School of Design. Her professional experience includes working the offices of Bone Levine Architects, Dean Maltz Architects and Pritzker winner of 2014,Shigeru Ban Architects. She holds a Master’s degree in Architecture from the Harvard Graduate School of Design and a B.Arch. degree from the Cooper Union School of Architecture. Roland Snooks is a director of the architecture practice Kokkugia and Roland Snooks Studio. In addition to teaching at the University of Pennsylvania, Roland has directed design studios and seminars at the Pratt Institute, Columbia University GSAPP, SCI-Arc, UCLA, RMIT University, and the Victorian College of the Arts. Roland’s current teaching and research interests focus on emergent design processes involving genetic and agent based techniques. He has previously worked in the offices of: Reiser + Umemoto, Kovac Architecture, Minifie Nixon, and Ashton Raggatt McDougall. Nicole McIntosh was born and raised in Zurich, where she went to the Liceo Artistico and studied architecture. She holds a master from the ETH and worked as assistant at Prof. Marc Angelil. She gained first practical work experience at AGPS (Zurich), Arch-Tectonics (New York) and OOS. Nicole worked at studio Grego Architektur and focused on interior design after finishing her Master Thesis. Since July 2012 she’s back with OOS and working on the project “Bachtobel”.

Goldemberg holds a Master of Science in Advanced Architectural Design from Columbia University.His firm MONAD Studio was co-founded in 2002 with Veronica Zalcberg.MONAD Studio is a design research practice with focus on spatial perception related to rhythmic affect, exploringthe urban dimension, from landscape to installations and buildings. Prior to joining FIU Goldemberg taught studios, seminars and workshops at Pratt Institute, Columbia University,New York Institute of Technology, New Jersey Institute of Technology, University of Buenos Aires, and IAAC -Institute for Advanced Architecture of Catalonia, Barcelona. He is currently the Digital Design Coordinator and teaches graduate studios and advanced digital design and fabrication courses at Florida International University. Sulan Kolatan is the Principal of KOL/MAC LLC, an architecture and design firm she co-founded with William J. Mac Donald. She is currently Adjunct Associate Professor at the School of Architecture at Pratt Institute. Her firm has been internationally acknowledged as a leader in digital architecture and technologically innovative design. She holds a MS in Architecture and Building Design degree from Columbia University and a Dipl.Ing. Arch. degree from the RWTH Aachen, Germany. She has taught at the GSAP at Columbia University from 1989-2005 and served as Acting Chair of the Department of Architectural Design and Building Technology at the Technical University in Darmstadt in 2002-03.

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ACKNOWL PROFESSORS & CONTRIBUTORS

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LEDGEMENTS

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Our warmest thanks go out to Mr. Jeong of the Heerim Company, Seoul, Korea, an Alumni of PennDesign, who sponsored and made this collaboration possible. We also thank Peter Winston Ferretto, Architect / Assistant Professor at the Seoul National University, Department of Architecture, who toured us through Seoul and collaborated with us on the Studio project with his students. We also like to thank Minchuk Cho, of Mass Studies, who generously received us in his office and gave us great insight in his work and concepts. And last thanks to the staff at Penndesign to help to make this all possible!!!