Co p y r i g h t Š 2020 Mi a o x i n W a n g / C a l P o l y Ar c h i t e c t u r e D e p a r t m e n t Al l r i g h t s r e s e r v e d . N o pa r t o f t h i s b o o k m a y b e re p r o d u c e d i n a n y f o r m without written permission of t h e c o p y r i g h t o w n e r s . Al l i m a g e s i n t h i s b o o k ha v e been reproduced wi t h t h e k n o w l e d g e a n d pr i o r c o n s e n t o f t h e ar t i s t s concerned. Er r o r s o r o m i s s i o n s w i l l be c o r r e c t ed i n f u t u r e ed i t i o n s . Pr i n t e d a n d b o u n d i n t h e Un i t e d S t a t e s . Fi r s t e d i t i o n , 2 0 2 0
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Miaoxin Wang
2020 undergraduate thesis
An
Room4oo:
File
not
California Polytechnic State University
found
undergraduate thesis | architectural graphic novel
Miaoxin Wang Advisor: Karen Lange Fall 2019 - Spring 2020 California Polytechnic State University, San Luis Obispo
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c o n t e n t s
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0.0 Introduction:Into the Media
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1.0 Topics 1.1 Censorship, participation, consequences 1.2 Relational space 1.3 Storytelling via comic 1.4 Media Architecture 1.5 Architecture as mechanisms of representations 1.6 Privatisation of public space 1.7 Three ideals of public space 1.8 Street, a symbol of capitalists’ urban space 1.9 Objects of illusion
08 10 12 14 15 16 19 20 22
2.0 Physicality of the virtual 2.1 Now You Can See Me 2.2 Ominous Mannequins 2.3 Was, Were, Where
28 34 38
3.0 Precedents 3.1 Body Movie 3.2 New York Billboard 3.3 Sunset Spectacular
48 51 52
Miaoxin Wang
2020 undergraduate thesis
4.0 A skinny site 5.0 A 5.1 5.2 5.3
dive into the Wall Programs Occupy the public space Architectural gesture at urban scale
California Polytechnic State University
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62 68 76
6.0 Wall typologies studies 6.1 Billboard typology 6.2 Reverse billboard typology 6.3 Overlay Patterns and primitives 6.4 Tectonic operations
77 78 86 94 98
7.0 The Wall 7.1 Back to media 7.2 Media, controversy, empowerment 7.3 Screens, circulation 7.4 A comic and architectural novel 7.5 Design a website for a comic 7.6 Deconstruct a comic page 7.7 https://walterwang.cargo.site
108 110 112 116 120 122 124
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0 .i n0t r o d u c t i o n I n t o
t h e
M e d i a
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As Loos and Hoffmann said, architecture is a social mechanism, where architects design strategies to negotiate the relationship between the private and the social self. [1]. Socialization, organization, group identity, and behavior and attitude shaping are examples of how architecture can be seen as a social medium. Traditionally architecture bears symbols and decorations to educate people, and it was the primary means of mass media before the invention of printed books. As Victor Hugo wrote in Notre-Dame de Paris a polemic that begins with “This will kill that. The book will kill the edifice.” “This” refers to “humanity’s ability to create acts of expression via the printed word.” And “that” refers to “humanity’s ability to express itself through architecture.” [3] At the same time, architecture that supports the governing power always has the centrality in public life that defines privacy and publicity with pecific intents. In modern time, architects have experimented with different methodologies to understand of architecture in relation to media. Le Corbusier, as a modernist famously known for his claim “house is a machine for living,” was also arguably seeing houses as “constructing pictures, or scenes, as about movement through space as the unfolding of a movie or a narrative.” In her boook,Colomina argues that, Corbusier’s vision of the house was modelled on the mechanical eye of the camera, less as a humanist observer. 6
[1] [2] [3] [5]
She also argues that modern architecture engages with the media not just by being displayed in books, exhibits, and magazines, but also constantly presents a space of photographs in rooms and windows, when viewers eyes becoming camera eyes. [3] In that sense, in a world with advancing technologies, architercture is experencing its role more as a medium for domesticity and personal ideology of architects. So how about the society we are living in right now? I’m curious about examining the relationship between contemporary media technologies and architecture and how they collectively affect private terrirory and ambience of public space, and how that interaction could lead to social changes. To talk about the issue, a few points need to be clarified. First, the definition of media changes significantly over time, but its broad meaning consistantly include information/ communication outlet. Medium, on the ther hand, can be interpretaed as a agency of doing something or achieving certain goals. I argue that architecture of public space nowadays should be shifting towards medium rather than just media. The latter emphasizes architecture’s obligation to represent the will of authority whearas the former can free up architecture to the interpretation of users and respond to changes. The challenge is more difficult than modern age , as we are in the age of digitization, or even maybe post-digitization. It seems like the permanency of architecture is not able to transform its contents such as material, structure, space and location as the flashy digital media. However, it is the permanent and materialistic nature of architecture can become
a means of empowerment to reject a spatial ideology used by authority and redefine an architectural typology that is a result of the new political, cultural, and social landscape in which people desires an agency in participation. We are in an age when privacy and publicity are not mutually exclusive anymore, so studying how digital technologies replace, threaten, or enhance our experiences in public space will put the design for a new juxtapositon of private territory and public space to facilitate social activism and critical attitudes towards authority.
“..the spatial experience of modern social life emerges through a complex process of coconstitution between architectural structures and urban territories, social practices, and media feedback. The contemporary city is a media-architecture complex resulting from the proliferation of spatialized media platforms and the production of hybrid [4] spatial ensembles.”
Anna P. Gawlikowska. (2013) Communication and Buildings: Space as Mass Media. Budownictwo i Architektura 12(4) (2013) p7-20 Colomina, Beatriz. (1994) Privacy and Publicity: Modern Architecture as Mass Media. [4] McQuire, Scott. (2008) Media City: the Media, Architecture, and Urban Space. p9 Wikipedia
Miaoxin Wang
the
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2020 undergraduate thesis
media,
educator
exemplary.
architecture of
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California Polytechnic State University
arena
traditionally
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been and
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those in its domain. But as a medium, it could serve to
empower.
Instead
of
responding
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e ffe c t s a s m o r e d e m o c r a t i c r e s p o n s e s t o t h e p e o p l e .
This thesis, through examining a series of topics
around applications
of media in urbanspace and art
and the architecture of empowerment, proposes an i n fr u s t r a c t u r e t h a t s u p p o r t s u n c e n c o r e d m e d i a s c a p e in
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1 .t o0p i c s 1.1
Cencorship,
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Censor means to examine in order to suppress or delete what [1] is considered objectionable . It is an act of obscuring meaning and understanding of expressions or intents. Traditionally, censoring serves the ruling power to prevent undesirable actions of the ruled class. The act od censoring could be countered by decensoring, which requires a conscious engagement with the object in order to reveal. Censorship doesn’t always have to be applied to an entire whole, but only selected portions. This selected censorship shows more intents and complex, giving opportunities to convey different interpretations. This mechanism of learning follows what is called “relational knowledge.� In short, this is an antistructuralism idea about everything in the world. Relational knowledge argues that nothing can
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Pa r t i c i p a t i o n ,
Consequences
be given meanings without being related to others. It emphasizes that difference rather than commonality derives meanings. Inspired by this knowledge, this project intends to explore a graphic approach to censorship, participation, and consequences. The pixelated image is made of three different images masked by circles using Photoshop. Circles are generated parametrically and selected through iterations (sizes, positions). It cannot be understood by just looking at individual circles, but overall as a whole, relationally. As viewers needs to adjust to seeing circles all together, the process will require curiosity and personal knowledge. How does censorship is applied in urban fabric? What is
the role of architecture in mediating the censored and the authority of censorship? How can the act of architectural censorship relate to the political censorship?
Miaoxin Wang
[1] Marriam Webster, 2019
2020 undergraduate thesis
California Polytechnic State University
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1.0 1 . 2
R e l a t i o n a l
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In the age of proliferation of digital media platform, the spatial experience of public social life is observed to undergo a dramatic transformation that foregrounds a communication bond that replaces what used to be a social bond based on spatial proximity to centers of power. Public spaces that manifest such transformations are places heavily equipped with digital screens such as Times Square and buildings facilitating movement such as transportation stations. The communication bond is made possible by radical progresses in communication technologies and digital social media, in which “what
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were more or less closed systems, body, social body, become more or less open constellation.” [1] What this means to public space and the architecture of it is a shift from emphasizing a static and singular experience to one that rapidly constructs and deconstructs itself, creating a multitude of possible consequences that totally depends on the subjective decisions of individuals. Unlike choosing an item from a menu, going through relational space at one scale is at the same time making impacts to another scale. The importance of maintaining a materialistic permanence therefore gives in to meeting an equilibrium between dynamic parts.
[1] Lash, Scott. (2002) Critue of Information, p16 [2] McQuire, Scott. (2008) Media City: the Media, Architecture, and Urban Space. p9
“ Relational space is the experience of subjectivity remade through the expanded demand on individuals to make life choices in the apparent absence of traditional social collectivities.” [2] The new aforementioned spatial experience focuses one individual’s realization that they are somehow related to the context — an experience of being liable to contributions that used to only exist in virtual digital world. The emotional status for this
Miaoxin Wang
2020 undergraduate thesis
connectedness is rendered by a feeling, or atmosphere, of ambivalences. “Ambivalence in this sense is not indecision, lack of certainty or the weakening of moral fibre, but recognition that the complexity of intricately related, cascading consequences render all choices problematic in some way or to some degree. Ambivalence is the predicament of contemporary social life in the media city.” Ambivalence is a spatial quality inspired by the intense, temporal communication bond, in which
our technological openness are translated into spatial effects that transmit the consequences of one’s decision to some forms of spatial interruptions on others. Therefore the interactions permitted by ambivalence will invite more intuitions than normalization. It requires to recognize “the unique position of each social actor and the situated context of every experience.” [1]
Graphic Exploration of Relational Space
California Polytechnic State University
Media Lanbyrinth
[2]
[1] McQuire, Scott. (2008) Media City: the Media, Architecture, and Urban Space. p23 [2] McQuire, Scott. (2008) Media City: the Media, Architecture, and Urban Space. p10
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Lazy Hank ate a lot of candies Angry Jerey was roaring on the stove
1.0 1 . 3
Agile Leisley was ready to execute her justice.
When they combine together, they become a stool!
v i a
s t o r y t e l l i n g c o m i c
Group project with Kristin Miller-Nelson, Patrick McCullough This is an exercise to start to discover our initial interests for thesis. The project Hank, Jerey, Leisley explores three design parameters in architecture: form, function, and narrative. The functions of the three objects were decided to have an ambiguous association with their forms. They are a candy can, a kettle, and a donut holder, to which we also give them characters and emotions that influence their final forms.
The 3D printed models are only representations of the three characters at a specific moment in the narrative, yet they still maintain their individual forms and functions as they could be separated apart. Inspired by Jimenez Lai The exercise also experiments with comics as a representational tool that 12
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
incorporates informal architectural drawings, a way to speculate “plural realities” on one page. [1]
You guys disobay your FUNCTIONS, and now I’m excuting my power to rip that off from both of you!!
Hey Richard and you sit over there and just be quiet for a second? Mom is making you delicious dinner now.
Shhhhhhhhhhhh
[1] Lai, Jimanez. (2012) “Three Little Worlds”. Archdaily
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1.0 1 . 4
M e d i a
A r c h i t e c t u r e
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In the context of this book, Media Architecture does not merely mean surfaces of built environment illuminated by lightings that are programmed and controllable[1], nor smart houses, buildings controlled by artificial intelligence. Rather, Media Architecture should be conceived as infrastructures in three different ways. First of all, it is an adaptation to technologies in the second machine age, an age when digital devices dramatically reshaped how people work, communicate, and live(2). It has to be inspired by changes in digital devices and technology in society and therefore has to give up an “ontology of being”
to an “ontology of becoming,” whose definitive features are constant changes and development [2] . Second, Media Architecture challenges singularity of space and time. In other words, it considers the possibility of doubling and displacement of spatial experiences that are used to be predictable and unchallenged by, now nonetheless prevailing in digital media, a sense of elsewhere. Last but not the least, Media Architecture combines what Tomitsch called “spectacle placemaking” and “infrastructure place making.” Spectacle placemaking creates temporal nodes or destinations in cities that transform urban space into a stage, allowing passer-by to be parts of performances in
public spaces. Infrastructure placemaking is the integration of digital media into physical infrastructure to improve critical qualities such as energy efficiency or user experience[3]. Therefore, Media Architecture in this thesis includes spatial experiments that exists both temporarily and permanently.
Plug-in City, Archigram
Body Movie, Rafael Lozano-Hemmer
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[1] [2][3] Tomitsdh, Martin. (2017) “New Opportunities For Media Architecture: From Spectacle Placemaking to Infrastructure Placemaking” Media architecture compendium. p16-p18 [4] Photos credit online
Miaoxin Wang 1 . 5
2020 undergraduate thesis
A r c h i t e c t u r e
r e p r e s e n t a t i o n s
“The building should be understood in the same terms as drawings, photographs, writing, films, and advertisements;not only because these are the media in which more often we encounter it, but because the building is a mechanism of representation in its own right.” (Colomina, 1994) “For the tasks which face the human apparatus of perception at the turning points of history cannot be solved by optical means, that is, by contemplation alone. They are mastered gradually by habit, under the guidance of tactile appropriation.” (Benjamin, 1936) Architecture is not purely representational.
a s
m e c h a n i s m s
California Polytechnic State University o f
materiality, but the construction of the observatory deck is an experiential product influenced by TV. The panoramic night view of Moscow is compared to the TV screen, with lights coming through the glass, and engaging multiple senses to feel as if being “outside” of the enclosed space. The centralised spatial organisation of the tower also corresponded to the centralised media power in the 1960s (Aker, 2010). Furthermore, to understand the implication of mechanism of representation in architecture, its explanation in political studies is inspiring:
“Mechanisms of representations relate to the organization of politics and its consequences, and the processes through which interests or preferences are represented in the political system and the outcomes of public It’s special, tangible, and policy.” (Jennings, 2017) slow to change. However, there is an interesting In other words, architecture, intimacy between architecture a mechanism of representation and media technology, the on its own, would represent a apparatus of people towards spatial organisation that could be society. The influence of compared to experiencing through media technology on design of contemporary media technology, architecture can be found in confronts the old authority with the organisation of interior the decentralised new power, and spaces, the demarcation of exhibits a process where “the interior and exterior, privacy liberating and enslaving forces vs publicity, visibility, confront.” (Deleuze, 1990). symbolism, ideology, etc. A building is a mechanism of representation on its own right. Colomina claimed in her discussion about how modern domestic architecture of Le Corbusier and Loos have spatial organisations and representations that are highly related to the human perception via media technology in the same age (Colomina, 1994). The Ostankino TV tower in Moscow is a constructivism work in its structure and 15
1.0
1 . 6 Pr i v a t i s a t i o n
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The perceived boundary between public space and private space in the United States has been significantly shifted since 1920s when telecommunicative devices such as TVs and radios enter the domestic space of families. They turned each house into a media center and as part of the regional, national, and even global media flows. As McQuire notes in his book Media City: “This aspect has
Ads for TV at home in 1928
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o f
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become more manifest as media technologies have extended beyond fixed sites and specialized places of consumption such as home, office or cinema. Moving through the world now at large involves the ongoing negotiation of, and participation in, diverse media flows. Neither home nor street nor city can now be thought apart from the media apparatus which redistributes the scale and speed Houses in suburb area in 1920 of social interaction in their domains.” Considered as the most intimate environment, home started to become a site where private space for families intersects with social interactions and activities to learn about the world outside the domestic territory. If “public space” is defined by its ability to produce social[1]cohesion and cultural identity , the process of domesticating digital devices for social and cultural purposes is essentially the privatisation of public space. Furthermore, in suburb context, public space is further subsided into fenced lawns or yards as part of the domestic territory as social interfaces. In urban areas, the lack of social interactions and activities were observed by Jane Jacob, who criticized the modernist zoning and planning was “oversimplifying” the complexity of human lives across diverse communities to pursuing efficiency[3]. Along modernist ideas, inhabitants or users are treated as pure consumers of services and activities within
[1] Ericson, Staffan. & Kristina, Riegert. (2010) Media House: Architecture, Media, and the Production of Center, p1
Miaoxin Wang
2020 undergraduate thesis
an area. This scenario has been strengthened since with the development of digital media. On one hand, public space is commercialised with screens for advertisement of commercial products, which makes participants in a public space associate themselves with their financial images and certain demographic groups. On the other hand, the proliferation of general informational technologies and Internet played a role in contributing to the decline of bodily social interactions in public space in general, where the site for social space for individuals is not just the physical territory, but one simultaneously present in virtual networks - the doubling of urban experiences that is [4]both challenging and exciting . The doubling of urban
experience have two different meanings. The first refers to our profiles created from collecting digital traces that we left behind when we use [4] mobile phones and social media . We don’t directly experience this doubling of ourselves, but computers are capable of creating digital analysis of our habits when using digital tools and affect our lives through adjusted search results and recommendations. The second means that our urban experience is no longer just limited to transitions from private space to public space, but rather “all sorts of gradations” created by overlapping of physical and digital presence of others. For example, when we message or talk to families or close friends in a local cafe, we will behave casually as if we are at home. This juxtaposition introduces the “parochial sphere,” an intermediate layer between private and public coined by
California Polytechnic State University
Lyn Lofland, in which we primarily meet like-minded people and have a sense of commonality among people whom we are[5] interpersonally connected to . The experience of “parochial sphere” becomes extremely important as our interpersonal network is no longer limited by geographical space and mobility. We can learn about a place without physically going and making friends without physical interaction. As everyone in the society becomes more of a netwroked whole, the freedom we have through social media allow us to consider ourselves to be part of a lot of different groups. In that sense, the public space in contemporary society should be considered as “a layered whole,” whose components are results of temporarily overlapping parochial domains belonging to different citizens.
People are mere consumers of public space, with their own virtual territory on smart phones
[3] Jacob, Jane. (1961) The Great Death and Life of American CIties, p1 [4] McQuire, Scott. (2008) Media City: the Media, Architecture, and Urban Space. p25
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Therefore the experience at a public space is privatised to different degrees by the sense of commonality with others, and this sense of commonality could be conveniently found, strengthened, or threatened -- thanks to digital media.
Coffee shops are usually great examples where we can see parochial space. People who come to the same coffee shop are assumed to have simialr financial capability and tastes for arts, deco, etc. The sense of commenality to other people predicts their casual gestures as if they are at home.
Study for finals in library is probably not much different than going to a rave.
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[5] Waal, de. Martijn. (2014) The City as Interface: How New Media Are Changing The City., p67-88
Miaoxin Wang 1 . 7
T h r e e
2020 undergraduate thesis I d e a l s
How does this personal experience of gradations, different degrees of commonalities with others, and privatised public space influence Media Architecture? In order to conceive a design at architectural scale, it is necessary to recognise the underlying philosophical ideals of cities, which include the libertarian city, the republican city,[1]and the communitarian city . The libertarian city treats the city as a market, where city dwellers are not expected to have responsibilities to what they are given. City dwellers’ roles are primary consumers of different business and services, and therefore the city becomes a marketplace to allow exchanges to meet the demands of dwellers. The political and cultural incentives totally give away to the invisible hands of the market. The modernist versions of cities in pursuit of efficiency and most of the smart city are envisioned based on this ideal. The republican city gives dwellers freedom to choose between a variety ways of lives, but they are also conceived responsible for the city as a whole.
o f
P u b l i c
California Polytechnic State University
S p a c e
“Whereas the libertarian thinks it is perfectly acceptable for city dwellers to completely isolate themselves in their private worlds or behind the fences or gated community, the republican disapproves of such behavior. The city dwellers are first and foremost citizens and may not completely [2]withdraw from urban society.” The third ideal, the communitarian city is heavily based on the communism ideas to construct a harmonious community where city dwellers live in lifestyles very similar, if not identical, to each other. The commonality among individuals to strive for a collective whole surpasses individualities. However, the libertarian ideal and communitarian ideal can be seen related -- the libertarian ones who isolate themselves from the society might end up living lives unanimously similar to others. Furthermore, it seems like the modernist cities we are living in are also communitarian:
To discuss the three ideals is to decide which type of them this thesis serves to and also acknowledge that both libertarian and communitarian cities are conceived from a top-down relationship between urban designer and users. Here I agree with the republican ideal of cities in a way that it considers the possibility for architecture to empower people with responsibilities for their cities by engagement of digital media and technologies.
“The architect was to use scientific methods to determine ideal social relationships and convert them into a physical form that would provide city dwellers with a new collective world of experience: an experimental world that did not arouse nostalgic feelings of togetherness but instead, a feeling of solidarity that fitted with the mobility, speed, and new[3]technologies of modern life.”
[1] [2] [3] Waal, de. Martijn. (2014) The City as Interface: How New Media Are Changing The City., p10-12
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1.0 1 . 8
S t r e e t ;
s p a c e
a
s y m b o l
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“[T]he city may be described as a structure specially equipped to store and transmit the goods of civilisation, sufficiently condensed to afford maximum amount of facilities in the minimum space, but also capable of structural enlargement.”(Mumford.)
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c a p i t a l i s t s ’
As Mumford described, the formation of a city can be seen as the result of a spatial explosion to maximise content and efficiency. Streets, on the one hand, were the site for public space in ancient times where people of the local community meet and socialise, exchanging goods and information. Streets were also conduits for ensuring the security of the local community. On the other hand, streets became the urban space of efficiency as buildings became driven by markets in modern ages. Le Corbusier argued in total favor with his metaphor of a machine production and his vision of a city influenced heavily by the dominance of
u r b a n
the automobile: “The street is a traffic machine; it is in reality a factory for producing speed.” and “a city made for speed is made for success.” (1971:179) Therefore, the role as public space for experience at individual human scale gives way to the effective tool for control and distribution of resources. There are also cases such as Paris and Beijing where the construction of boulevard is given a symbolic meaning of moving from past into modernity. Furthermore, the urban space of efficiency where “streets as machines” evolved from moving people and objects around to moving spectacles
Miaoxin Wang
around, becoming “vision machine.” Paul Virilio stated: “This public image has today replaced the former public spaces in which social communication took place. Avenues and public
venues are from now on eclipse by the screen, by electronic displays, in preview of the ‘vision machines’ just around the cornoer...Really once public space yields to public image, surveillance and street lighting can {1}be expected to shift too...”
2020 undergraduate thesis
California Polytechnic State University
From the evolution of systems into prescriptive public space under influence attempts serve nothing but to of technologies we observe a control public behavior? {2} diminishing ability of public space to encourage spontaneouty and active participation. In other words, The pursuit for rationale in modern urban planning transformed streets into symbols for organisation and sites for enforcing influence and control. Undoubtedly, the urban planning produced benefits in terms of inefficient commute, miserable living spaces, and endemic health crisis of the industrial city, the future of the public realm of streets seem to bleak as we can question whether rationalising complex urban spaces and circulatory
[1] McQuire, Scott. (2008) Media City: the Media, Architecture, and Urban Space. p131 [2] McQuire, Scott. (2008) Media City: the Media, Architecture, and Urban Space. p137
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1.0
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1 . 9
O b j e c t s
o f
i l l u s i o n
Obscuring Flattening
When perspectival drawings were invented during Renassance, it is a humanistic idea to represent based on perspecitves. Human perspective is one of the agencies through which individuals experience environment differently from person to person. Art of various scales have applied perspectival illusion as a tool to conceal and reveal different meanings and perceptions of an object, a piece of information, or experience. As our eyes move constantly with our bodies, it is crutial to think how architecture is flattened into a series of images but also work with spatial qualities
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to affect decisions and judgments of the observer. Architecture of censorship is a section of the study that deal with this process of graphical flattening of architecture to become a mechanism that produces surprises and anxiety as people move through the space. The ability of relating seeing to walking as a choregraphed sequence that contains media, arts, and events, where people become important to architecture in order to become enlightening and provoke actions, is explored here.
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
an object designed based on projection lines from four diminishing points has the ability to create an illusion of flattening and expansion along movement of eyes .
Angelo Musco
Resolution
Foreground&Background
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Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
composite drawings describing the object from the lens of a camera moving around it to demonstrate the illusion of flattened surfaces
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3-D printed model is capable of replicating the accurate angle of projection lines that it follows
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Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
camera is not able to focus on object at the diminishing points where object is visually flattened. therefore the “perfect flattening� is not seen in this physical model via camera lens.
3D printing fabrication technique also results in arrays of lines from layers of material, which differentiate surfaces due to different degrees of slopes.
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2p.h0y s i c a l i t y 2 . 1
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of their actions in the public space. The consequences are texts revealed to different degrees. The device is a physical form of cencorship. Users are invited to interact with it in a spontaneous way. Unaware of what is hidden, users contribute to the meaning The project argues that: of the objects by revealing first, a parallel physicality different texts. and virtuality can affect the impression of an object and its relation to adjacent object in space. Areas where texts are projected receive more attention than others that Now You Can See are not. Second, through the Me investigates in two primary action of revealing and reading, questions: users experience a conscious realization of the consequences
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The project has two major components: a physical model as a “screen” and digital projections of texts from Haruki Murakami’s 1Q84. The physical model is further divided into two parts: motherboard and plug-ins. The motherboard has a series of modular teeth onto which audience can fit the plugins. The motherboard and plug-ins are different in colors so that the projected texts will disappear on the motherboard but re-emerge when plug-ins are in position.
of the virtual
Abstract Show Material: PLA Plywood Rockite 28
1) how can a parallel physicality and virtuality change the experience of user; 2) how does the consequence of actions become a formal participation in public space. The projection includes texts from 1Q84 that describes sexual scenes from a first-pective perspective.
October 16th Show time!
October 13th Fabrication
October 8th Test perspective warpping
Miaoxin Wang 2020 undergraduate thesis California Polytechnic State University
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01 motherboard
MAKE 2D !!
02 Blocks
30 03 instruction
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
Red surfaces of blocks filter out red fonts and reveal hiddend texts which are seen in black 31
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2.0
34 O m i n o u s
M a n n e q u i n s
Site: BLDG 5 courtyard
Material: Cardboard Mannequins ($6) Clothes from Goodwill ($29) Metal Stance (free)
dress me!
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
dress me!
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The experiment started with an observation of the existing public space at the courtyard in building 5. The public space is primarily made up by grand stairs descending down to the first level of the building. There is a landing area between two sections of the stairs where there are two seating areas. From my observation, I noticed that people tend to either sit on the first few stairs or sit on the chairs around the site. In either case, students display a lack of engagement with the public atmosphere present on the site. In other words, students constrain themselves from conversing, interacting, or any other forms of communication with strangers, a symptom of public space that is privatised to different degrees. The goal of this experiment, nor does this thesis, is not
to eliminate the privatisation of public space, but to explore means of interventions to activate public pace. Taking inspiration from the similarity between the stairs on site and seatings in a theater/ opera house, I hypothesized that setting up two mannequins to simulate an imaginative scenario would provide the public space a kind of stage where audience and performers can be switched. Students are expected to ask why there are mannequins, and they will generate an answer that they are supposed to dress the two mannequins with the clothes in ways they want. There are two levels of spontaneity in this sequence of actions that I want to test out. First level is whether students will initiate the actions at all because they will become “watched� targets in a public space once they initiate the actions. Second level is whether they will dress Nov.6 10:57AM
Nov.6 10:57AM
Nov.6 1:56PM
Nov.6 1:56PM
People are being really creative!!
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in a way indicated by the color of clothes and adjacency of context. (orange clothes are supposed to be put on mannequins close to orange pipe versus monochrome color clothes are for mannequins close to the grey concrete.)
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
Observations: Nobody changed the clothes on mannequins for the first hour during experiments. Mannequins didn’t wear the clothes with the same colors as the pipe or the column. Results were more mixed. Conclusion: Engagement with inanimate objects can is a possible way to activate spontaneous actions that are socially interesting in a public space. Both action and result will contribute to the atmosphere and impression of the public space. Even though the experiment appeals to some audiences more than others, it provides evidence that personal expressions could take shape and be meaningful to the dynamics in a public space.
There were people who just removed the clothes from their seats and put them aside instead of on mannequins clothes. ‘ Experiments appealled to certain groups of students such as architecture students in the building. Clothes are sometimes put on in wrong ways.
Nov.8 4:57PM
Nov.10 1:06PM
These guys didn’t touch the mannequins at all
Nov.8 4:57pM
Nov.10 1:06PM
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W
, S A
WE
, E R
WH
E R E The physical engagement with the environment through human senses and body does not only have impacts on immediate experiences. Architecture has long been given the role of archiving civic,religious knowledge and educating the public. Therefore the long-lasting consequence of the physical engagement with architecture is unfolded through remembering places, actions, and interactions. At the scale of individual being, people won’t always be able to experience a place, an architecture with a “god-eye view.” On the contrary, our understanding of a building is formed by stitching fragments of memories that are temporary, specific to certain location and time. Therefore the final form
of architecture becomes a cognitive narrative scripted by our minds in a sequence of clues. These clues are external stimulus for us to create unique stories in our mind and remember, which encompasses all our senses. Arguably the most powerful clues are those visual ones.
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“...The mind palace—also known as the memory palace or method of loci—is a mnemonic device thought to have originated in ancient Rome, wherein items that need to be memorized are pinned to some kind of visual cue and strung together into a situated narrative,[1]a journey through a space...”
Was, Were, Where is a small-scale furniture is designed to predict the past of users. Its primary function is a collective phone stance, but more importantly it responds to the weight of phones with a prediction about your past when a phone is placed on certain parts of the furniture, whose parts consist of an acrylic topographical base, 3D prints, pressure sensors and springs that are underneath 3D prints, and LED lights. Texts are carved out and 3D printed onto surfaces of different parts that contain LED string lights inside. However, viewers are not able to read the texts under normal light, because the texts will be covered with one-way film, which allows texts to emerge when LED is lit up. The
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[1] Sarh, C. Rich. (2012) “The Architecture of Memory”, Smithsonian
Miaoxin Wang
2020 undergraduate thesis
contents was structured to be affirmative and specific, in order to lead viewers to a specific moment of time at a specific place. For example, use “your coffee was bitter this morning” instead of “did you drink coffee today.” Nevertheless, the predictions are not meant to be true and reflect reality. They are invitations to explore the mental capability of humans to construct narratives when the clues are not necessarily true. Users’ varying reactions to the predictions verify their conscious engagement with the objects in a mental process of wondering and questioning. The formal language is loose and intuitive,
not meant to follow any grid or functional rigidity at the initial stage of design. The design started with sketching out compositions and then popped into Rhino to dissimulate from a mere extrusion of a 2D composition. The upper half pushed and pulled with the “ground,” in order to take full advantage of the 3D printed curvilinear surfaces and harmonises with the up and down of different parts. The clean edges of 3D prints were blurred by texturizing with acrylic paint stars. Inspired by pipe head paint artists, I use a similar technique to create a texture that is both volumetric and colorful. The resultant overwhelming spikes become intriguing visual clues to draw people to touch and interact.
California Polytechnic State University
Composition Sketches
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How is your day? How was dinner? How was the beach? How was the coffee this morning? How was the walk this morning? How many steps were from the door to here? You woke up. You smiled a lot today. Your alarm went off. You look great in blue. You took a nap. You fell asleep on a book. You had a bad dream. Your coffee was bitter this morning You went to the beach and had a fish taco. Yesterday It was sunny. A leaf dropped upon you The shower water was too hot. Lunch was too salty. Who did you see in your dreams? Cloud was high. Sky was blue. She was singing. He was sleeping on the lawn.
2020 undergraduate thesis
California Polytechnic State University
October 24
Miaoxin Wang
October 28
Laser cut acrylic for making a waffle structure base.
October 28-30
Adding textures to the 3D printed shells by hand with star piping heads and mixture of acrylic paints and modeling paste.
Test out the hardness of dried acrylic paint.
Texturing and wiring are going at the same time because LED lights need to be put inside shells before texturing.
More pieces to go...
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3D modelling connections for holding sensors and furniture in the base. Each connection is slightly different in their heights and sizes.
3D printed connections in their assigned space on the base.
Soldering wires to LED string lights of different lengths, which are glued to the inside of shells.
Test out!! 44
Connecting lights to Arduino boards and bread board.
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
2019 Vellum 16
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Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
“YOU WALKED ALONG CREEK TODAY”
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3p.r0e c e d e n t s C a s e
S t u d y :
B o d y
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Body Movie is one of the six Relational Architecture projects designed by Rafael Lozano Hammer, a digital media artist whose works specialized in redesigning urban public space. Body Movie was first staged in 2001 at the Schouwburg Square in the central Rotterdam. It projected over 1000 portraits taken from streets of Rotterdam, Madrid, Mexico, and Montreal on to the facade of the Pathe Cinema building. The projection displayed one portrait at a time, but it went barely visible when strong xenon light was projected over the projected portrait from a different light source. However, when people walked
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M o v i e
in front of the facade, blocking the xenon light, the contents within the outline of people was revealed. As a result, the facade of the building becomes a virtual canvas where silhouettes of different participants interact with each other. The playfulness of this urban stage is that the scale of projected silhouettes became dramatic and manipulatable, which freed the imagination of participants to be creative about their roles on the canvas. Furthermore, once people realized there was underlying portraits, some of them would choose to align themselves with the outline of those figures in the portrait. Once all the projected figures matched silhouettes,
[1] Photos credit to Rafael Lozano Hammer Studip
the sensor responsible for detecting the alignment of silhouettes and portraits would send out the signal to change to next different image. Therefore the play of human interactions was able to continue in a more unpredictable way because participants would need to change their expectations and come up with new poses. Compared to traditional interactive installations, Body Movie didn’t limit the consequences to a list of actions and instructions for participants to choose from, but rather it focuses on how to design a spatial mechanism for creating contingency
Miaoxin Wang
2020 undergraduate thesis
and unpredictability in [1]an encounter with strangers . The contingency is not physical but ephemeral, relying on participants’ cognitive decisions and reactions. Shadow is reflecting the physical reality for people to confirm themselves, but participants could not isolate themselves from relating to other participants’ shadows and projected images. Furthermore, the engagement with the architectural facade also convey a form of censorship of imagery in which public is the participants. There was no guidance for people in Body Movie to follow, only the spontaneous effort to make
a meaning in the spatial system that value personal participation and collective interaction. It’s important to note that the participants didn’t get out of their way to participate in the project. They were only conducting the most mundane activities such as walking, waving, jumping, etc. It’s worth noting that Benjamin once argued that the radical impacts of media and architecture in modern city were consumed in a “distracted” state [2]. In that sense, Body Movie provides inspirations to designing architectural interventions in three ways. First of all, as social beings, we are more sensitive to the digital embodiment of themselves. Social media plays an important
California Polytechnic State University
role in this development because images that we made available online have become the way we identify the authenticity of ourselves. In Body Movie, the removal of details of our images leave the silhouette the only source for our selfidentification. Second, once we identify ourselves from the digital embodiment, we become very aware of our immediate physical and virtual context, and situate ourselves into a contextaware and event-oriented embodiment. Therefore there are three levels of embodiments: individual, social, and technological. Body Movie questions how
Left Body Moview Rotterdam, 2001 Right Body Movie Hong Kong, 2006 [1] Ekman, U. (2012). Of the Untouchability of Embodiment: Rafael Lozano-Hemmer’s Relational Architectures. CTheory: An International Journal of Theory, Technology and Culture. [2] Benjamin, W. (2003) ‘Some Motifs in Baudelaire’ in Selected Writings (Volume 4 1938-1940) (Howard Eiland and Michael. W. Jennings, eds., trans. E. Jephcott and others), Cambridge. MA and London, Belknap Press
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humans move across these three territories simultaneously, and provokes us to become “interactants and performers that have capabilities to exist otherwise with technics [1] .”
Left Body Movie Hong Kong, 2006 50
[1] Ekman, U. (2012). Of the Untouchability of Embodiment: Rafael Lozano-Hemmer’s Relational Architectures. CTheory: An International Journal of Theory, Technology and Culture.
Miaoxin Wang C a s e
S t u d y :
2020 undergraduate thesis N Y
California Polytechnic State University
B i l l b o a r d
prechtech New York Billboard is a proposal by prechtech. It addresses the issues of isolation in vertial space caused by skyscrappers and tries to connect the city horizontally by linking programs such as lightrails and other public transportation. The organisational strategy places the public programs at the bottom of the building and private on the top, creating a intermediate zone in between and withing the diagonal volumes to mix users. NY Billboard serves as a precedent for its monumentality and outstanding scale in the dense urbanscape and skyline of Manhattan. It is also an occupiable infrastructure
containing both private and public programs to maximize the value of land. The modularity of the structure allows room for programs at different scales to take place . The dominant triangular geometries were employed multiple times as structural units as well as in facade system. This project does not reflect how digitised media could be incorporated into architecture. It is solely a project serving the wealthy class and business in Manhanttan to create values amd new luxurious life styles, a rebranding of living in the highrises. However, it doesnt inspire an architecural billboard typology for further studying.
Billboard
Modularity of structure and space [1] photo source: https://www.designboom.com/architecture/prechteck-nybillboard/
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C a s e
S t u d y :
S u n s e t
S p e c t a c u l a r
TWA (Tom Wiscombe Architecture)
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Sunset Spectacular is a proposed architectural installation that utilises multiple LED screens on both the interior and exterior that illuminates habitable spaces for people to circulate through and stay, with a purpose of breaking the conventional typology of a billboard that is static and non-spatial. The design of Sunset Spectacular showed a low-resolution treatment on its skin which consists of customised panels that highlighted an alienate reading of the object. The design also focuses on defining both interior mass and exterior mass without expanding to higher floors. It is a project designed to
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[1] Photo credit to Tom Wiscombe Architectur
activate two experiences on Sunset BLVD. First, it provides a site for media projections that sometimes could be artists’ works, which enhances the cultural and social value of the public space for people to come and visit. Second, itself is a sculptural piece for drivers to see and appreciate from their cars, becoming a new landmark on the stretching Sunset BLVD. This project did not lose its formal interest because of the infusion of digital screen, which points to a possibility for architecture to reach a complexity where a physical (sculptural) form could become different conditions for digital projections thus multiplying their effects. On the other hand, its lack of
floor plates shows an intended waste of space for occupying in exchange of its formal compensation to screens -- a biasc question to the media architecture: how much space is allocated to physical occupation vs digital display/ consumption.
4a. 0s k i n n y
Site
C h a n g ’ A n
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site
A v e n u e
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
2 2 , 0 0 0
ft
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HISTORICA
1959 1948
1984
MODERN AXIS
1959
1989
1985 1959 2007
Zhongnanhai
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Tiananmen Square
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
ORICAL AXIS
Beijing Historical Distric is bounded by the SecondRing
1984 1959
1959
The Forbidden City
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4.0 A b o u t
C h a n g ’ A n
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Chang’an Avenue was the road running in front of the ancient imperial palace (the Forbidden City). It connected the west and east gate of the ancient capital from 13th century to 1950s, but historically the section of Chang’an Avenue that runs in front of the palace was walled, therefore the other north-south axis gained more significance in the past, as the inner palace extended its complex along it all the way till where today Qianmen is. However, the communist party tore down the walls of part of the palace that stopped Chang’an Ave and let it run all the way from east to west. It was given a significant status as the axis for modernity because later on major buildings for the government and bank HQs
A v e
were constructed in the style of modern architecture along Chang’an Ave. Annually, it also act as the primary site for the military parade to show off the power to thousands of people gathering around Tiananmen Square and leaders on Tiananmen -more importantly, to the world. Therefore Chang’An Ave itself symbolically relates to the modernity of China after 1949, in comparison to the historic south-north axis. However, due to the iconicity of two axises, most of the urban layouts and infrastructure within the historical district stayed relatively identical toorthogonal grid based off the two axises. Most of later developments were intentionally oved to areas outside the second ring, without affecting the primacy of this historical layout at all.
The intersection of Chang’an Ave with the southnorth axis yields great potential for architectural interventions to question the value of modern and historic icons in the contemporary public sphere. The deterioration of subway and traffic congestions are the programmatic reasons for an intervention, but most importantly, the heavily surveilled Tiananmen Square possesses the least capability to match up what a public space could be potentially incubated from architecture in conjunction with media.
Chang’an Ave from Ming Dynasty was cut off by part of the imperial palace [1] From 1987, height limitation on Chang’an Ave gets lower towards the south-north axis. [1]
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[1] Greco, Glaudio. (2008) Beijing: The New City
Miaoxin Wang T i a n a n m a n
2020 undergraduate thesis
California Polytechnic State University
S q u a r e
The origin of Beijing’s current urban fabric could be traced hundreds of years ago to early Ming Dynasty (1368 1644). The old city was built based on principles from the ancient mannual of rites, Kaogong Ji. The layout of the city used divine numerology and ritual to express the power of the ruling class back then. The boundary of ancient capital overlaps roughly with current Second Ring Erhuang in the city. Using the size of the palace as reference, the city was divided into a 9x5 grid, where the palace sits in the center. Even after 1949, chairman Mao used this grid system to help divide the city into semiautonomous units for measuring production, assigning jobs, and distributing resources. Therefore throughout history, the urban fabric of Beijing has helped enforce social orders through its physical forms. Up to 1910, the Tiananmen square was closed off from the rest of the city as an entrance to the holy palace. It used to be in a shape of “T” and walled the three gates to the Forbidden City and included an colloride that measured a thousand steps from the entrance on the south to Tiananmen Square. On two sides of the plaza there are different bureaucratic branches, which became a historical reference to the functions of buildings at present. From 1910 to 1949, Tiananmen Square was left with piles of trash, grass, and the artificial river was stinky during the governance of warlords and Kuomingtang. It was not until 1954 that the government of the People’s Republic of China started redesigning the square to
[1] Greco, Glaudio. (2008) Beijing: The New City
better serve the image of a new Chine. From 1950 to 1954, the design committee discussed 15 iterations that can be summarized with the following characteristics: 1)Maintain the “T” shape but resize the plaza to reach 25 40 acres. (as a reference to old plaza.) 2)Add a Stalinist high-rise as a new landmark. In 1956, experts from Soviet Union reiterated 10 designs based on those from 1954. All of the new designs cancelled the addition of a high-rise, because the massing and scale of the building didn’t fit in the urban fabric back then. Furthermore, the heights of all the buildings surrounding Tiananmen Square were not supposed to surpass Tiananmen (32m/105ft). In the end, Tiananmen Square was decided to be a total public and civic space with offices, institutions, and museums along the sides.
A
c i t y
o f
and the military had access to view points where overlooking the city was possible. Even after dismantling all the walls except for the one of the palace after 1910, the urbanisation of Beijing showed its tendency to restrict the height of buildings in decremental limits towards the center and north-south axis. Therefore, the untouchable height within the historical center of Beijing is a symbol of power and authority. By allowing people occupy, circulate, and breathe the air in such height is overthrowing the historic primacy on the site, unimaginable for every generation of Chinese who has lived in the city.
w a l l
Wall, as an important architectural element, is an important spatial concept to define hierarchy and segregate social classes in Beijing during ancient times. There used to be more than two layers of walls surrounding the palace, and each wall divided people of lower classes outside people considered as higher classes, with the center, innermost wall protecting the palace and the emperor. The horizon of the city was occupied by each layer of these walls, defying people’s views towards the center of the city. Only royal families 59
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Site model 1:300
Major Roads
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Pedestrain Path
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
Regional Mapping around Tiananmen Square
Lake within Zhongnan Hai not accessible to public
Existing Buildings
Lake and Public Park 61
5a. 0d i v e 5 . 1
into the wall
p r o g r a m s
>> map of adjacent programs along Chang’an Avenue. commercial government related historic education transportation
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Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
63
1.0 topics 2.0 phyicality of virtual 3.0 precedents 4.0 a skinny site 5 .50. 0 a a d idvi ev e i ni tn ot o t ht eh e wwa lall l 6 . 0 w a l l t y p o l o g i e s s t u d i e s 7 . 0 t h e w a l l
architecture doesn’t only occupy point A and point B, but also in between how to create architecture that conducts activities between destinations ?
Library on Escalator
Flaneur is the French word meaning “stroller.� Walter Benjamin described it as an urban spectator , investigator of the city, and represented an archetype of urban space that rejects productivity in the industrial society. In our case, architecture that applies inefficiency as a design intent produces an extended duration of experiences and counterproductivity. The programmatic concept first revolves around creating the great walk, or circulation that is out of conventional scale. This framework led to considering parks, museums, theaters, art galleries,
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Museum on Escalator/conveyer belt
Theater on Evelator
libraries, parking, and hotels as well as water park, go kart, rock climbing, tea making, shadow play, Beijing opera, and fake mountains etc. Some can be combined with the circulatory path to create objects such as massive escalators, elevators, conveyor belts etc. The massive amount of squarefootage is almost impssible to be convered with imaginable programs. However,a graphic approach such as collage and overlaying texts tried to explore unexpected combinations of programs like puzzles to imagine unrelated public activities as a means to new social behaviors. Although in the end this section of experiments failed to reach to a conclusion on what programs
would be specifically contained within the architecture, this inability is the conclusion itself that this massive project will create unimaginable amount of incedents, nuances, and experience to different individuals in the interaction with screens and other types of media.
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
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b s e r vi i c e k b f lue s e sa un bt iwqa uy e gt er m e ep nl e u n d e r g rou n d l o c a l s h oppi n g s h oppi n g d e p a r t m e nt
ns p a c e g smt a tr ik oe nt s s tm a ta i rokne st s f pa ai cr es m a r k e t s m a r k e t s m a l l s s t re e t / d i s t r i c t s t ore s
1.0 topics 2.0 phyicality of virtual 3.0 precedents 4.0 a skinny site 5 .50. 0 a a d idvi ev e i ni tn ot o t ht eh e wwa lall l 6 . 0 w a l l t y p o l o g i e s s t u d i e s 7 . 0 t h e w a l l
l e ec dt uu rc ea t i o n a l t e m p op e n ai r
i
s p ha ac le l s l e s cc oo uu rr tt yy aa rr dd
o ppe er ra f o r m a n c e sh po au cs ee s fc loene c e r t m a rh ka el tl ss as n t i q ut e m a g e a r k e st ts e m p tl e r e e t f a i r ss u n d e r g rou n d m ar k e t s t e ra e c r e a t i o n a l sh po aucs ee s ts i n g hl e o ce c u p aa n c yt a p ae r t m re n t ss b a r f a m i l y u n i ts o dp e n o r m ai r t o r g y my p rt h o a s e k l s sh p o ro t s s p i t a c o lu r t ss sr ew hi ambmi li int ga t i o n c e np toeor l p l r a yi g s r oo u n n ds g a l l e r i e s a graphical approach a r t
of finding programs/uses/ events/activities for the project is done through subdivision, shifting texts, creating graphics to make alternative groups of words that could be either meaningfuless or letting new programs to emerge.
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l a fn os rc m a pa le du r b a n p u b l i c sppl aa cz ea s s q a u r e s t e a h ou s e s st i nr g hl e o cse c u ip aa nd c yt ea p aenr t mcre n ty ss fb a m i l y u n i ts a r d o r m ai r t o r g y my op e n h o a s e k l s p rt h p i t a c o lu r t ss s p o ro t s s rs ew hi ambmi li int ga t i o n c e np toeor l p l r a yi g s r oo u n n ds a r t g a l l e r i e s c e el nl t e r t a i n m e n t ss tpuadc i eo s f i l m s t a g i n g s t u ddi ioo bro a d c a s t i n g ss tt uu dd ii oo ss s h co op mp m i ne gr c i a l r e t i a l s pma ac le l s o p e r a s h oppi n g s t r e e t / d ihs ot ru is ce t s cd oe n c e r t p a r t m e nt s t ho ar le l ss s t a g e s s t r e e t s
T a b i t a i j i -s of t t au i s j i b n on - c omp e t ts au ibj wi a y ou t d o or tg ar ie j ei n f i f o l k g a m s w i kf loene g z h u s k as hn ut it qt lue ec o c k h i kt ei m t ep l e l e t ’s tu hn ed e r rg ar ro eu n y a ju g g l i n g f a n s pi n n i n g f ol k sl en ca tp up ri en g b a l l r o om ct l a p p ie n g m f r e e r op lel ni n g o r i b b on s h o ot i n g l e t’s co lp aes rs ai c - l e i s s ol o cb oi rn dc -e cr at g e c h sc h t a b e i j i n g sn e w t i n rv d an c e t o g r ou n d s e l f - or g a n i z tr ei na g f o l k tc l a p phi n g - ae n s o c i a l b t a i j i -s of t m a t c h m a k i n o e n- c o m p e t np on e m ot i on a l put d o or a o s p e c i a l fs p o r t si T a m i n g i s w i mw t a i j i l k a y sp t a i j i a r t h i t a i j i l e t’s f o l k g a m yl a n s c a ap e d k on g z h u fs a n q s hut t l e c o c k f ol k k i t e s ia nl gl rl eo o m o c b t h e r a re f ar eme i l y ju g g l i n g r rd i b b o n s pi n n i n g h o l e t’s s n appi n g s sh o l o o c l appi n g cr e h a b i l hi t a t i ro l l i n g p e i j i n rg b s h o ot i n g d an c e t o csc el al fsl -s oi cr -g la eni is z d - c a g e fb o ii lrl m k cb r o a dhc a s t i an s o c i a l n e w i n s ha ot pc ph imn ag k i n m g r ou n d es hm oo pt pi oi nn ga l r i n g sd pe ep ca ir at lm e n t c l appi n g - a n
s e r v iac e s p ja c e nj g Ti i i b e l l2020 undergraduate thesis California Polytechnic State University s t a t i oq nu sa nt a i j i s e r v i c e q u a n s p a c e it i on s p or t s s t a t is ownos r dt a i j i s w or d g y m s f a n s p a c f ea nt a i j i s h i n g m e s f rom a n t i q u i t yf o l k g a m e s f rom a nt i qu it y m m i n g l o c a l m a r k e t sp l a y i n g p l a y i n g m a r k e t s k on g z h u a t i n g k i c k i n g ( h a c km ya r ks ea t c s) h u t tl loe cc ao l c k k i c k i n g m( ahr ak ce kt ys s a c ) k i n g f f al iy r i sn gk i t e f l y i n g d a n c e t r e a s u r e s o f B e i j i n g d m a r k e t s t h e r a re t re a s u re s of B e ij i n g n g g e t h e f l ow e r s t i c kj u g g l i n g t h e f l ow e r s t i c k d a n c e t h e w h i ps p i n n i n g t h e w h ip d a n c e e d u c a t i o n a l s p a c e t h e w h i p t h e w h ip h da al lns c se n a p p i n g t h e b a m b o o c l a p p i n g t h e b a m b o o m p l e e du c at i on a l s p a c e s t ys l e t h e t h e h o op a i r c o u r t y daharondoc pre o l l i n g t h e m e t e or h a m m e rs h o o t i n g t h e m e t e or h am m e r g e t mu s i c a l si pn a c Be e i j i n g u re s c e n e s i n h Bo eu is j ei sn gc l a s s pi ce -r lf eo ir smu ar ne c e s c e n e s s i n g i n g w ha al lk l i sn gb i r d -pcear gf eo r m a n c e s p a cw e a l k i n g o r u s a t gt s gc i e n h a t t i n g op e a rv e n t i oe n s e s nn e w of t f u i nv e nt i on s of f u n o t h e h a r m on i c a s c a l l i g r a p h gy r o u n d c a l l i g r a p h y z e d p e r f or m i n g g roup s p a c et o s s i n g h to ou ss sei sn gr i n g r e c r e a t i o n a l mu s i c p l ay e r s r n d - ca h a n t ti n g e d r si l cl l a p pr ie nc gr -e aa nt id o- nc ah la n t i n g d r i l l s p a c e g roup s a r b se l tl a i j i - s o f t b e l l m e e t n g i t i o na i r s gp yomr t n s on - c omp e t it i on s p or t s s upp or t g roup s r k g y sm os u t d o o r g y m s f e a t u r e s c no u r t s gf f l e e i s h i s h g m ia r k e t sn i j i m m i np o o l gs a n t iwq u e i m m m a ir k e t n g q u a n ya g o i u d gs tr nn k a t i f a i r sn g s w or d t e mp l e g a ln l e r i e s gh u n d e r gi r o u n d k k i i m a r k e t ns g f a n d a n c le e t ’s d a n c e m e s f rom a nt i qu it y ft oea ra m a l un r b a n pg u b l i c - s p h a co eugs e s n g p gl a z a s ey e p l a y i n g d a n c e a u r e s f a n ft o r mh a l u er b a na p u bt l i c es p a c re d sa n c e k i c k i n g ( h a c k y s a c ) d a n c fe o l k b a r d as n c e f l y i n g r e s i d e n c y a p a r t m e dn at ns c be a l l r oo po emn c c up a n c y a i r g ydma n c e t re a s u re s of B e ij i n g u n s i tt ys l fe r e e p a r k s st y l e r e s i d e n c y t h e f l ow e r s t i c k m i t o r d a ny c re i b b os np o r t s c o u r dt as n c e t h e w h ip s t e l s g e t m u s i c a l e t ’ ss w i m m i n g p mo uo sl i c a l g e t t h e w h ip p i t a s l i n g is n gs o l o p l a y g r o u ns i n dg i n g t h e b am b o o i o no r uc e n t e r cs a r th g a l l eu r i e s o r s t h e h o op i s o n s o p e ba e i j i n g op e a t h e m e t e or h am m e r o t h e h a r m o n i c a sd a n c e t o t h e h a r m on i c a s u re s c e n e s i n B e ij i n g z e d p e r f o r m i n gs t u gd ri oo us p s e l f - eo nr tg ea rnt i az i endm e np te r f o r m si pn ag c e g r o u p s tma ug si ni cg s wtp ual adl yki oei nr sfg o l k e n t e r t a i n m m ue sn it c s p a c ep l a y e r s t t i s t ugndr ioous p gss o c i a l n g g r ou p s v e nt i on s of f u n m am l l es e m n g t a t c ch omma m k ie nr gc i a l r e t i a l s p a c e m e e t c a l l i g r a p h y s t r e e t / d i s t r i c t s upp o t g o u p se m o t ci o nm aml e r c i a l s ur pe pt io ar lt s p a c e g r o u p s t os s i n g fs et ao t r ue rs e ss p e c i a l f e a t 67 u r e s n d - c h a nt i n g d r i l l k
i
i
Miaoxin Wang
5.0 5 . 2
O C C U P Y
T H E
1.0 topics 2.0 phyicality of virtual 3.0 precedents 4.0 a skinny site 5 .50. 0 a a d idvi ev e i ni tn ot o t ht eh e wwa lall l 6 . 0 w a l l t y p o l o g i e s s t u d i e s 7 . 0 t h e w a l l
With an idea of creating density and quantity of public space the first step eraces the perception of flat open space. The blocks intend to be read as layers of a bigger system that could also be dividedinto smaller components that would break the boxiness. These layers intend to redirect the circulation and frame views when people enter the space based on certain rules (not defined yet) as a form of censorship without asking public to invent how to engage with each other. The density increases the surface area of architecture, giving an immersing experience of being
68
P U B L I C
S P A C E
inbetween rather than being insid, which is a critical to not subscribing to a single dieology of architecture. The ribbon-like geometries undulate in response to context to allow people to look out at the city at a different height. However, its simplicity and directness needs to be reinvented to create more nuances and be responsive to human scale.
Model on site 1=1000
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
69
1.0 topics 2.0 phyicality of virtual 3.0 precedents 4.0 a skinny site 5 .50. 0 a a d idvi ev e i ni tn ot o t ht eh e wwa lall l 6 . 0 w a l l t y p o l o g i e s s t u d i e s 7 . 0 t h e w a l l
Model on site 1=1000
70
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
71
thinking about modularity in winter break
72
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
73
74
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
a drawing tried to explore the idea of permeable visibility and perspectives with modular architectural forms. Its result is composed of mutiple sectons compiled to gether, implying a simoutaniety in these spaces and events.
75
1.0 topics 2.0 phyicality of virtual 3.0 precedents 4.0 a skinny site 5 .50. 0 a a d idvi ev e i ni tn ot o t ht eh e wwa lall l 6 . 0 w a l l t y p o l o g i e s s t u d i e s 7 . 0 t h e w a l l
MEDIA WALL DELIQUECESE BOUNDARIES OF PEOPLE AND AUTHORITY
5.0
architectural gesture at city scale 5 . 3
Wall 76
A r c h i t e c t u r a l
g e s t u r e
False perception of scale
a t
u r b a n
s c a l e
Visual dominance in the city
6w.a0l l
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
typologies studies
The researches in fall quarter led to thinking about the democracy of media technologies in its nature and how it was utilised to enhance the experience at public space in an urban contect. The idea of affecting public environment via instant participation seeks ways to be translated into architecture to convey a sense of rejection to the singular meaning, function, performance of the architecture defined by the authority.In a site charged with political symbolism and attention, the architecture is always afflicted with controversies of being public yet highly representational for authority and control. Controversies are also observed in the landscape of
media technology, where marginized voices could seek their way to be heard by the world, but government or techcompanies are capable of polluting the democratic nature of media technologies via means such as censorship and big data. How to empower people through a combination of architecture and media? What are the spatial conditions to allow the virtuality infiltrates into physical environment and making tangible differences in reality? To start off, the architecture needs to accomplish at a scale that claims dominance over the existing urbanscape.At the sametime, a series formal studies were conducted to explore ways for this architecture to take place on such particular site.
77
6.0 6 . 1
B i l l b o a r d
1.0 topics 2.0 phyicality of virtual 3.0 precedents 4.0 a skinny site 5 . 0 a d i v e i n t o t h e w a l l 66..00 wwaallll ttyyppoollooggiieess ssttuuddiieess 7 . 0 t h e w a l l
I began with a analog conceptual model that employed basswoods and bristol paper that spoke for a scheme resembling billboard. The condition of the site, which is skinny and long, informed the usage of linear vulumnes. The opaque paper enclosed the model and revealed certain spaces, which became graphics on the exterior facade. The basswood sticks were placed to represent three potential architectural elements: circulation, structure, and creating negative space for prgrams. Sometimes wooden sticks intersected with the paper and created various tectonic relationships:
back
78
t y p o l o g y
hiding, protruding, intersecting, revealing, etc. These were as spaces that maybe become occupiable. The opaqueness of the paper raised the question of porocity. How porous this project is? Both visually and spatially. Maybe the opaque thin paper could be reiterated in a way to be occupiable. Maybe the quality of a surface can become either more vulumetric, or somehow it can aid to enhance spatial experiences by receiving projections.
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
e
nu
'an
e Av
g an
Ch
front
79
1.0 topics 2.0 phyicality of virtual 3.0 precedents 4.0 a skinny site 5 . 0 a d i v e i n t o t h e w a l l 66..00 wwaallll ttyyppoollooggiieess ssttuuddiieess 7 . 0 t h e w a l l
m o m e n t I sticks are weightbearing columns, frames, structures, holding up surfaces
m o m e n t I I sticks are programmatic spaces revealed by the skin, displaying activities, events
80
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
m o m e n t I I I sticks punctuate skins and intersect with other sticks to create a hierarchy. Symmetry of an axial organization creates tension between space.
m o m e n t I V sticks become sculptural pieces creating chaos and geometries confusing rational readings of the buildings
81
architecture scale
84
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
human scale
[Along the River During Qing Ming Festival ] Zhang Zeduan 85
6.0 6 . 2
R e v e r s e
B i l l b o a r d
Departing from the first iteration and moving into digital, the second exercise focused on spatial relations at human scales which was not conceivable in the first analog model. In this series of iterations, I used similar geometries to carve out voids instead of treating them as solid masses. The voids were carved out by cubes/tubes of different dimensions with a constant question of how occupiable the void would be for humans in different events and scenarios. The exercise gave an insight into the scale of this project. [the solid mass was first divided by planes set 10ft apart, and the
division lines became a graphic the radical surfaces of the scale during the process.] object and filling up spaces This exercise also only focused with certain programs. just a chunk of the project. It discovered a malleable relationship between car driveway and public space. Cars could be stopped by the cut of the driveways and became objects of display for the adjacent public space. Moreover, activities in public space are given the propability to cut off and take over roads by dispersing people who crossed the blurry boundary between a driveway and public space. The confusion between circulation and occupiable space was used as a strategy to counter the clear definition of paths vs space in modernist terms. On the contrary, the experience of users in this case will focus on observing
sectional shots of the object at different cutting planes
86
T y p o l o g y
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
87
Reversal Billboard Operation Process
Atrium to 100’ elow
700’
Theater
Wall continue on both ends
800’
600’
Therapeutic Gym
Coffee shop
500’
????
Cars waiting to get across the gap 400’
????
Art Gallery
300’
????
Cars on the driveway become objects for display to people using the adjacent public space
100’
Top of the Container becomes a site for events when connecting at certain level
十里長街
200’
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
91
6.0
1.0 topics 2.0 phyicality of virtual 3.0 precedents 4.0 a skinny site 5 . 0 a d i v e i n t o t h e w a l l 66..00 wwaallll ttyyppoollooggiieess ssttuuddiieess 7 . 0 t h e w a l l
6 . 3
O v e r l a y
p a t t e r n s
With this iterational exercise, I am exploring a way to populate over the site with certain modules that could be generated from overlaying 2d patterns. The technique to derive three dimensionality got inspired by projections of patterns on the top of each other to generate figures/geometries that have correlations with the original 2d patterns. This technique also achieved a result of dissimulating original geometries which became less recognizable and distinguishable from others. The chosen 2d patterns are mostly repetative on x and y axis, with various densities and sizes. However, the 94
a n d
p r i m i t i v e s
projected shadows became the background of one layer and foregraound of the other. Maybe linking surfaces via diaganal projection lines, there could be potentials of affecting the volummetric readings of masses and a misreading of 2d imensional surfaces.
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
study of patterns with overlay and shadows
traditional Chinese patterns samples
95
96
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
study ii of patterns with overlay and shadows
97
Residence units slide t tion to access programs
connect to ground circulation
Monastery discourse/lecture hall
moving container deliver participants to site and other programs
some bigger tubes? maybe lightwells or housing a telescope
6.0
6 . 4 THE GREAT WAL[L]K STUDIO 400 |Walter Wang
Te c t o n i c
O p e r a t i o n s
HISTORICAL AXIS
As a result of studying geometries created an optical illusion overlaying patterns to create of their true volumes. They also figurative relations through possess tectonic relations involve projections, a more rigid and modular inserting and sliding to reveal approach is中南海 applied by using a grid surfaces and space in between them, 东二环 to Chinese puzzle pieces that that is 45-degree slanted in all x, similar y, and z axises, which resulted in an also involve sequential actions. extrusion of surfaces along a non- 北京站 orthoganal axis. The resultant 3d 普渡寺
往故宫
北京市劳动人民 文化宫
中山公园
北京第八中学
西单商业区
端门
居民区
文化宫派出所
1959
1948
1984
DERN AXIS
1959
民族饭店
中国工商银行
中国人民银行
民族文化宫
1989
1985
中共中央 组织部
民生银行
平安银行 招商银行
凯晨世贸中心
外金水桥
中共中央 宣传部
北京图书大厦
中国银行
1959
中共中央办公厅
2007
北京四中
龙华伟业写字楼
奋斗小学
中华人民共和国 公安部
王府井商业区
北京协和医院
中国农业银行
东单体育 中心
东单公园
美国使馆旧址
Monastery Rehabilitation center School Broadcasting facility Single occupancy units
meditation
discourse
eating
growing food
首都宾馆
北京医院
北京同仁 医院医院
民生金融中心写字 楼
恒基中心写字楼 中粮广场写字楼
playground
library
中华人民共和 国海关总署
胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同 胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同 胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同 胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同 胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同 胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡 同胡同胡同胡同胡 同胡同胡同胡 同胡同胡 同
中国海关博物 馆 古观象台
北京国际 职业教育 学校
比利时使馆旧址
1959
明城墙遗址公园
continues to reach the second ring expressway
THE GREAT WAL[L]K PROGRAM
法国使馆旧址
法国邮政局旧址
中央文史研究室
全国人民代表大 会
国家口岸管理 办公室
北京市邮政公司
中国人民对外友 好协会
中华人民共和国 最高法院
北京市一六一中学
北京国际饭店
北京好苑建国饭店
1984
中换人民共和国 商务部
毛主席纪念堂
西单银座
中国联通
北京饭店
北京市鲁迅 中学
胡 同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同 胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同 胡同胡同 胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同 胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同 胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同 胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同 胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同 胡同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同 胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同 胡同胡同胡同胡同胡 新华通讯社 同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同 胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同 胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同胡同 胡同胡同胡 新华社新闻大楼
中国社 会科学 院
东方新天地
北京贵宾楼
中国国家 博物馆
人民大会 堂
中华人民共和国文 化和旅游部
中国妇女儿 童博物馆
中国协和医 科大学
新燕莎金 街购物广 场
紫金宫饭店
国家开发银行
国家大剧院
乐学院
1959
胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同胡同胡同胡同胡 同胡同胡同胡同 胡同胡同胡同胡 皇史宬 同胡同胡同胡同 胡同胡同胡同胡 同胡同胡同胡同 胡同
residence tube/units ove up and down
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
to diffferent posis
residence units can only slide through slots on these moving programs at certain time
funky, puzzl-ish shaped moving cubes
some major rehabilitational facilities could be housed in these moving boxes to disperse people to different areas
Library that slides open and closes
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perspective view of site with selected buildings in context
site plan
scale ???
A series of objects are populated over the site. The low-resolution reading of the architecture is nevertheless authoritorian. This approach was a deviation from previous iterations, soley focusing on the illusions of extruded geometries and creating misreadings -- a naive and mischievous move in design. The solidity of this typology is rather more monumental 100
and lack of developed sptial complexity. Since monumentality and shock is not what this thesis is about, thie iteration forced to pause on object-oriented approach to the issues of media empowerment.
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
THAT’S A TRAPPPPP !!!
WE ARE STUCK HERE!!
IT SEEMS LIKE WE NEED TO WALK THERE...
ARE WE STILL GOING TO THE PALACE DAD ??
r e - e v a l u a t e .
MEDIA WALL DELIQUECESE BOUNDARIES OF PEOPLE AND AUTHORITY 101
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1.0 topics 2.0 phyicality of virtual 3.0 precedents 4.0 a skinny site 5.0 a dive into the wall 6.0 wall typologies studies 7.0 the wall
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
model
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2020 undergraduate thesis
California Polytechnic State University
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2020 undergraduate thesis
California Polytechnic State University
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7T.h0e W a l l 7 . 1
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7.1.1 [Experience Age] The past twentieth century is the information age, when computers and the Internet give people instant access to information across the globe. The accumulated amount of data has benefitted companies such as Google as well as alerted some threatening aspects of information technologies. While people cannot make sense of all the data collected by algorithms on computers, we are actually in the transition into another age, the experience age. Arguably this era has started when the computer interface and the Internet allow two-way communications to happen between users because individual values are expressed for[1]others as well as for oneself . The experience age doesn’t mean the end of the information age. Just as agricultural and industrial products have existed along with the information age, the experience age is a continuation of the information age from a historic perspective. A comparison could be made between the two eras. If in the information age the data is the main capital, and knowledge ( of the information) is traded for money, then in the experience age creativity is the main capital and innovation is the product [2]. Here are two points to be noted. First, creativity is not a direct result of the accumulated amount of data/ information, and innovations are not equivalent to machines in both industrial and information age. Paralysis through analysis can be observed in daily life: we always feel the urge for more information before coming to 108
a decision or conclusion because tech companies have been of the ubiquity of information exploring the boundaries of (Birkinishaw, 2018). technologies to capitalise on experiential innovations “Knowledge born innovativeness . An example would be the hastens the pace of problem- rapid evolution of cameras solving and facilitates our on smartphones. Half of the transformation from mere century ago when the idea of consumers of knowledge into taking photos with a small creative users and prolific mechanical eye can only be producers of knowledge. It’s seen in spy films. Nowadays not anymore simply what you know people are walking with those and how much you know, but also devices that are updated to how well you can use what you match, even surpass, the know to create something that capacity of human eyes. The produces values for others...”[3] ability to take and share these aestheticised situations of 7.1.2 [Comodification of each of us is a product in Experience via Media] this commodification in the experience age. In another The point is, in the article named Facebook experience age, individual struggles to stop decline in experiences have the value to ‘original’ sharing, it said be turned into products for that the original status consumption. In the industrial updates by Facebook users were age, mass production turned down 21 percent .[5] People care art into a commodity, and the about the reality that they process of commodification can see, hear, and experience also underlies [4] a process of more than a reality said on aestheticization. the digital profile. The notion that I maybe the result “Just when art works become of everything I’ve done, but commodities, the commodity I’m not the accumulation of itself in consumer society it means a shift in people has become an image, from a desire to leave some representation, spectacle. traces of life in the digital Use value has been replaced by world to a desire to capture packaging and advertising. The a visual, instantaneous, commodification of art ends up fast-paced clip of their in the aestheticization of the experiences for others. You commodity.” (Huyssen, 1986, p21) are not your profile, you are simply you When individual What does this shift experiences become commodities, from the information age to the commodity itself in the experience age inform us consumer society has become a as architects? Maybe despite situation, perspective, and all the efforts to push the participation. In the past two technological boundaries to decades, developments in various follow the trend, we should industries have confirmed this be critical about how these commodification of experiences desires will affect us in markets, from social media internally. In other words, such as Snapchat to VR in we might be able to live in gaming, from self-driving cars an environment ultimately run to smart cities. Business and by AI in all good ways, but
[1] [2 ] [3] Doria, Mike. (2014) If You Think We’re Still in the Age of Information, Think Again. [4] Benjamin,W (1968), “The Work of Art in the Age of Mechanical Reproduction.“ [5] Effrati, Amir (2016) Facebook Struggles to Stop Decline in ‘Original‘ Sharing
Miaoxin Wang
the social desires stimulated by the media accustomed us to exposing, broadcasting, and eventually profiting on our own experiences. The prevalence of surveillance causes the fear of losing one’s freedom and identity, but as social beings we are controlled to be less resistant to sharing our experiences with others via media for consumption. We will eventually enter “a kind of exhibitionist regime that locates the individual within a polarized desiring structure, ‘to be seen’ and ‘to see’ thus always also has ‘to be controlled’ and to ‘control’.” [6] In other words, the commodification of our personal experience can collaborate with advanced information technologies to create a panopticon of the media, which led to a public life filled with staged “experiences” from individuals in a non-coordinated way, resulting a theatricalization of public life.
2020 undergraduate thesis
California Polytechnic State University
exchange of these experiential commodities in “a free-floating control” instead of a regulated time frame in an architecture of a closed system. [8] At the same time, the consumption of others’ experiences is strengthened by the cycle of feedback. Feedbacks deliver values and participate, which in turn encourage creativity and products. It is similar to societies of control that “imposes a modulation of each salary, in states of perpetual metastability that operate through challenges, contests” [9] and “perpetual training” . The producers of experiences will eventually receive visibility, influence, and capitals. In conclusion, the experience age will produce a decentralised media authority that exploits desires and creativity for controls in this society whose background will be rapidly advancing technologies to enhance, replicate, and archive experiences.
“In the age of globalisation, the panopticon of the media becomes the new disciplining authority, In the context of this development, the theatricalisation of all spheres of public and private life has proven one of the most striking features of our everyday experiences in contemporary culture.” [7] This new disciplining authority, however, creates a society closer to Deleuze’s societies of control rather than Foucault’s disciplinary societies. On one hand, the platform where the various media operate is not a fixed enclosure. The internet allows the instantaneous [6] Mattsson, Helena Real TV: Architecture as Social Media [7] Frohne, U.(2002) “Screen Tests: Media Narcissim, Theatreicality, and the Iternalised Observer“ [8] Deleuze, G. (1992) “Postscript on the Societies of Control.“ p3-p7
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Media technology has shown to be a vain and glorious species, as technology advances, its users gain access to its power in a democratic manner where anyone can grab attention, economic gain, or political agency. However, the promise of democracy in the mediascape has only been abused by centralised political authority and tech companies to enforce censorship and restrict data accessibility. The society as a whole needs to be challenged through a lack of censorship and authoritarian jurisdiction to visualise and mobilise active forces in participation of social changes. This challenge is attempted by an architectural proposition located in Beijing that materializes the decentralisation of media authority, demarcation of publicity and privacy, vulnerability of public ambience, symbolism, and a panoptical presence in an environment that is highly censored and charged with political and cultural attention. Without alluding in to any dramatic shift in political power, the Wall imagines a different reality where architecture exists in a disconnection with economy but draws inspiration from Chinese culture to contextualize a radical idea inspired by western literatures. However, it is the desire to push the possibility for architecture to initiate something outrageous evolving from the rapidly changing mediascape.
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E m p o w e r m e n t
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
Analog model studies a cluster of folding planes who surfaces could become screens and projections are shared in adjacent public space. This model tries to create ambience of a public space that could be affected by projections controlled by residents in adjacent living units.
digital model tries to translate from the analog model 111
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7 . 3
S c r e e n s ,
C i r c u l a t i o n s
space right next to living units are sites for them to project their videos, photos, art, etc.
circulation
circulation
dark blue - surfaces for screens or projections red - circulation grey - occupiable floor plates 112
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
folding planes are facades of the living units and continuing to extend into public space as theater screens
a cafe would be nice
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2020 undergraduate thesis
California Polytechnic State University
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To conceive a piece of architecture through traditional methods of architectural drawings, renders, and diagrams in this project is limiting and not powerful. Its intent is to provoke imagination and questions via a fictional reality. A very influential precedent is Jimenez Lai’s Citizens of No Space, and here I quote: “Cartoon is an enticing way to convey complexity; it is more than just a rendering technique... Dancing between the line of narrative and representation, cartooning is a medium that facilitates experimentations
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in proportion, composition, scale, sensibility, character plasticity, and the part-towhole relationship as the page becomes an object. More importantly, this drawing medium affords the possibility of conflating representation, theory, criticism, stroytelling, and design.“ [1] Most importantly, comics tolerate drawings at different resolutions to speak on their “pages“ contextually to the viewer. Our environment of the ongoing pandemic forced a rethinking to redefine the exerperience of reading comics online, which led to experimenting with re-deconstruction of pages and interactive comics.
116 [1] Lei, Jimanez. (2012) Citizen of No Place. p7
It demanded new workflows between digital and analog, and reevaluating each architectural drawings.
right test out using rendering technique to achieve the aesthetic of comic below practice hand drawing and post process in illustrator images on next two pages practice breaking renderings into frames to assist story telling
Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
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2020 undergraduate thesis
California Polytechnic State University
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Paper comics are products of pop culture and consumerism. Although there are different genres of comics, one similarity among all comics throughout is the presence of both graphics and chat bubbles. Traditionally a page on which the comic would be printed defines the boundary of the presentations. However, when paper comics enter digital forms, there are generally two ways comics adapt to technologies: one is to turn comics into animations, and the other is to upgrade comics with the ability to interact with audiences. In my case, the comic is an architectural graphic novel that focuses
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less (although still important to storytelling) on character building and depiction but more on presenting issues and solutions visually. Therefore, to adapt to an online format, this comic will focus on acquiring certain interactiveness to keep the audience into the comic without losing the intensity as an architectural novel. This comic adapts by deconstructing each page into a set of graphics and a set of chat bubbles. By alternating what’s hidden and what’s revealed, the audience gets different emphasises on either graphics or texts. Therefore, all the pages collapse into a long scroll of one website page, making the whole experience of reading this website comic different than on
separate pages, although this interaction is only possible on computers not on phones.
right codes to allow hover to show an image below wesite interface in editor mode links to other pages of the website
text bubbles appear when hovering over the images on the left
click here to go back to studio homepage shortcut links to each sections
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2020 undergraduate thesis
California Polytechnic State University s c r o l l l l l l
Miaoxin Wang
hover over the image to see text click the image to zoom in
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First thing appear on the page Introduction of the comic
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create picture frames
draw characters in Photoshop
sketch out story board d e c o n s t r u c t . . .
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page of graphics only!!!
Miaoxin Wang
2020 undergraduate thesis
s e t
A
California Polytechnic State University
s e t
B
crop out each graphic frame and text bubble and save as separate individual image file. upload them to the website and weave together with the code 123
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F i n a l
W e b s i t e
for a better experience, please visit walterwang.cargo.site on your computer
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2020 undergraduate thesis
California Polytechnic State University
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2020 undergraduate thesis
California Polytechnic State University
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2020 undergraduate thesis
California Polytechnic State University
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California Polytechnic State University
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California Polytechnic State University
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2020 undergraduate thesis
California Polytechnic State University
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a
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s i t
Miaoxin Wang
2020 undergraduate thesis
w a l t e r w a n g . c a r g o . s i t e
o n
y o u r
California Polytechnic State University
c o m p u t e r
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1.0 topics 2.0 phyicality of virtual 3.0 precedents 4.0 a skinny site 5 . 0 a d i v e i n t o t h e w a l l 6 . 0 w a l l t y p o l o g i e s s t u d i e s 77. 0. 0 tthhee wwaal ll l
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2020 undergraduate thesis
California Polytechnic State University
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photos by Hannag Mckay, Jennifer Mahan, Walter Wang
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2020 undergraduate thesis
California Polytechnic State University
143
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photos by Hannag Mckay, Jennifer Mahan, Walter Wang
t o I W T ) I o ) u T o o Y T u o t u n Y o a I Want Y t You To (I Want ant You To (I W Want Y I n W a ) I o W ) T I o u T ) o o u Y T ant t Yo n IW W a ( I ( o W T I o ( T u o o u T Y nt t Yo a n a W nt You I W To ) I o ) u T o o Y T u o t u n Y o a t IW ( o T (I Want Y t You To (I Wan u o ant tY n W a I n W a ) I o W ) T ou u To Y o t Y n u To ) I a t W n I W a ( I ( o W T I o ( T u o o u ant You T u To ) I Want Yo You To ) I Want Y nt You T o a t Y n W t a n I ( a W o I W ( T I o( t You n u To a o t n Y W a t I n W a ) I W To o) u T o u Y o t Y n a ou To ) I t (I W o (I Wan T I o ( T u o o u T Y o t u Y an W I ) o Want Yo You To ) I Want T You u o t n Y a t n W t a n I ( o (I W T o u T o Y To (I Wa n u a o t n Y W a t I n W a ) I o W I o) uT T o u Y o t Y n a t n You To ) a W a I W ( W I I o ( T u o o u T Y u Yo nt a W I ) o Want Yo You To ) I Want To ou T Y u o t Y n t a t n n a W a (I W o I T ) o To (I W u T o Y u t o t Yo n Y n a a t n W W a I I ( W ) To o (I u T o u Y o t You To t Y n W a t I n ) W a o I W T ) I o u ) T o o ou nt Y Y a t n W a I nt You T ( W To o I ( T u o o u T Y o Y t u n o t a n I Want Y t You To ) I Wa ant You To ) I W Want Y n a o (I W IW ( T I ( o u T o o T Y u o t u o an IW nt Y ) W a o I T ) W o I u T ) o o Y nt You T u To (I Want You You To (I Want uT o Y t n o t a n Y a IW ) o T ) I Want ant You To ) I W u o t n Y a t n W a I ( W o W I I o( uT T o Y u o t n Y a You To ( t n )I W a o I T ) W o I u T ) o o Y u T u ant t Yo n W a I ( W o I ( T Want Yo o ou T u T Y o Y t u n o t a n Y a t W IW )I ) o T o T u o ) I Wan o u Y o ant Y t n t W a n I a ( W o W I ( T I ou Y u To o t n Y a You To ( t n W a o) I T ) W o I u T ) o o Y u T o t u an nt Y W a I ( W o I ( T Want Yo o ou u T Y o Y t u n o t a n Y a t W n W o) I T u o To ) I Wa Want You To ) I n Y t (I Wan To (I Wa (I Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
145
(I nt a I o T ) W o I u ( T o o Y u uT ant t Yo n W a I W ) I o ( Want Yo T u o o u T Y o t u Y n o t a Y n a t W n To ) I Wa Want You To (I W I Want You To ) I o ) I Wan ( T I ) o u T o o T Y u o t u n Y o a Y ant o) IW ( T W o I u T ) o o Y u T o t u an nt Y W a I ( W o I T ) Want Yo o ou u T Y o Y t u n o t a n Y a t W n W o (I T u o To (I Wa Want You To ) I Y a t n W a I ( W o I T ) I ( o T o You t n a W nt You T To (I Want You I o ) T o u T o u Y o t Y n u Wa ant I W ) I o ( Want Yo T o u T Yo o u Y t o n t a Y n a t W n W I a ) I u To ) I W I Want You To ( o (I Want You To )I W o T ) u T o o Y T u nt Yo a t n W a nt You I ( W T o I u T ) o o u Y o T t Y n u a t o IW ( o T I Want Y t You To ) I Wan u Y o Y t n t a n a W n W I a ( W To o) I T u o u Y o t Y n ou To (I t a n IW ( a W o I W T ) I ( o u o T o tY ou uT n Y o a Y t W n t a n I a ) W W To o (I You u T o t n Y u a o t n Y W a t I ) IW o ( T o u T ) I Wan o u Y ou o t Y Y n a t t n n W a a I ( W W I I o o( uT T o u Y o t Y You To ) t n a n t a n W a W I W ) I ( I o uT You u To o t Y n a t n W a I Want Yo I ( W ) o o I T ) T o u u T o o Y tY nt a t You n W a I ) W o o (I Wan I ( u T o o u Y T o t Y n u a o t n Y W nt Wa )I a I o ( W T o I u T ) o o u Y o T ant tY Wan n W I a ) I ( W o T I o T ) u Yo ou Y t n t a n You To a ) W o W I ( T I o ) u T o o Y T u u ant t Yo n W a I ( W o I Want Yo T ) o o u Y o T t Y n u a t o n Y W a (I W nt To (I Wa Want You To ) I ) I Want You To Wa I ( o T I o ( T u o o nt You T u To (I Want You ou To ) I Want Y t You To Y o an I Want Y You To (I Want ant You To ) I W Want Y I nt W ) a I o ( W T o I u T ) o o You nt Y uT a t W n I W a ) I ( W o T I o ) T u o o u tY n a W I ant You T u To ) I Want Yo ( T o u T o Y u o t n Y o a Y t (I W Wan o I T ) (I Want o u T o nt Y u ant Yo To (I Wa ) I Want 146
o) Yo u T o t n Y u a o t n Y W a t I ( n W o T u o Y To (I Wa Want You To ) I t a n a W W I ( I ) o T o I ( T o ou nt You T u To (I Want You ou To ) I Want Y t You To n Y o a Y t n t W a n I a ) W o W I ( T I ou tY Y n u To a o t n Y W a t I n W ) a o (I u To ) I W ) I Want You To To (I Want You T To ) I W o ou u T Y o Y t u n o t a n Y a t W an (I T IW o ) u T o o Y T u o t u n Y o a tY ant IW ( o T u o o (I Wan ant You To ) I W t Y n a t n W a I ( W I To W o) u T o Y u o t n Y a ou To (I t W n W I a ( I o W ) T I o ( T u o o ou tY uT Y n o t a Y n a t W n I W a ) I W To o( You T u t o u n Y o a Y t W n t a n I o) IW ( T o u T o To ) I Wa n Y u a o t n Y W a t I n W ) a I o o( IW uT T o u Y o t Y n a t n You To ) a W a I W ( W I I ( o ) T o o T u T u Yo ou Y t n a W Want Yo You To ) I Want I ( I ) o o T T u o u o Y nt nt tY a n a W W I ) I ( o To (I Wa ou T t Yo u To o n Y a Y t n t W a n I a ) W (I To o u T o Y To ) I W u o t n Y a t IW n W ) a I o ( W T o I u T ) o You nt Y a t n W a ) t You To I ( W o T I o T ) u o o u T Y o nt ou tY I Want Y t You To ) I Wan ant You To (I Wa Want Y an W o (I T u o Y t u To (I W Want You To ) I an IW ( W I o T ) o I u ( T o o Y nt You T u To (I Want You You To ) I Want To u o Y t n o t a Y n IW Wa ) I ( o T o ) I Want T u o u nt Y o a Y t W n t a n I a ) W o W I o( uT T o Y u o t n Y ou To ) I a t I n W ) a I o ( W T o I u T ) o o u Y ant You T ou To ) I Want Yo You To (I Want T u o Y t n t a Y n a t (I W IW ) o T o T u o (I Wan o u nt Y o a Y t n t W a n I a ( W o W I T ) I ou Y u To o t n Y a You To ( t n W a o (I I T ) W o I u ( T o o Y u T o t u an tY n W a I ) W o I ( T Want Yo o ou u T Y o Y t u n o t a n Y a t W n W I To ) I Wa Want You To (I (I Want You To ) an W I ) o T I ou Y u To o t n Y a t You To ) n W a I o) To ) I W You To ( nt You T Miaoxin Wang
2020 undergraduate thesis
California Polytechnic State University
147
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