WinterBook_Walter

design process process design {iteration, testing, experiment, and fail}

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I WANT YOU TO...

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photos by Hannag Mckay, Jennifer Mahan, Walter Wang

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o o T Y W t u I ( n o a Y o T t W n u a )I o W T I ( u o ant o T Y W t u I n o ) a Y o t W T (I u o o Wan Y T t u n a o Y o W t T I n ( u a o o W Y T I t u an Yo W t n I ( a ou To ) o W T t I n u ) a o o Y W T t I ( u n a o To W I u o ) Y o Want Y T t n u a o W T I t Yo n ) u a o o Y T W t I u ( n a W t Yo n I a ) You To o W T I t ( n u a o o T Y W t u I n o ) a Y To IW ( u o o Y T I Want t u n a o o W tY T I n ( u a o o W Y T I t u ) n a Yo W t n I ( a You To o W T I nt ) u a o o W Y T I t ( u n o a o Y uT IW o ) Y o T t n (I Want u a o To IW tY ) n u a o o T Y W t u I ( n o a tY W n I a ) o W You To T I t ( u n o a o T Y W t u I n o ) a Y o t W uT o Y t n a o ) I Wan Want You To (I W To I ( u o o Y T I t u n ) o a t You To ou To ) I Want Y ant You To (I W an W I ( o Y T W t I u o ) Y o T t n u a o o (I Wan o W Y T I t n ) u a o o Y T W t I ou an o( Y T W t n I u a o ) Y o W t T n n a o (I ou T Y W t u I n o ) a Y o t W n uT o Y t n a To ) I Wa I Want You To (I T IW ( u o o Y T t u ) n o a o Tbookshow is a collaborative) IupW witha fog and lights and seatings; a W tY n I ( o T nt YouThis u o project by studioo 400 who with W Y To small room of woodI construction I t ( u n a o Y T W t u n a o ) designed, fabricated, and white interior o finishes, furnitures, and I Want Y T u o Y To (I W t ) installed multiple devices in books in display. n u a o o T Y W t u I ( n o a Y o W to ccreate an immersive nt I uT a ) o W T I ( u ant Yoorder o o T experience to for audiences to W tY u I n o ) a Y o t W T n I a ( u o each student’s fallbook.

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o Y T t n u a o Y W To (I W t I an ou o) Y W T t I ( u n a o o Y T W t I u Want Yo nt You To (I Wan I Want You To ) )I o T u ( a o Y o W nt uT a o W Y I t ( u To ) I n a o o T Y W t u I n o ) a Y o T t W n I u Want Yo ant You To ) I Wa I Want You To ( u To (I ) o o W Y T I t ( u n o a o T Y W )I ant You o W Yo T I t ( u n o a o Y T W t u n I a o ) I Want Y ant You To (I W (I Want You To ou To ) To tY IW n u ) a o o Y W T t I ( u n a o Y To W Y I t u n o ) a Y o T t W n I u a ( o o W T I ) u o o Y T t I Want Y u an o( W t Yo T n I u a ) o o W Y T I t ( an ou Y W t I n ) a You To o W T (I u nt a o o Y T W t I u n a o ) Y o W uT o Y t ) I Want Want You To (I n a o T W u I ( o Y o T t I n a ou W Y I t ( n a o You To ) T W nt ou )I a Y o T t W n I u a ( o o W Y T o)I ou T Y t u (I Want n o a Y o t W T n I a u ) o o W Y T I t ( u n o a o nt You T ou To (I Want Y ant You To ) I W ) I Wan W tY To I n ( u a o o W Y T I t u n ) o a o T W tY n I u ( a o o Y W T t I n u ) a o Yo W t I ( n a o T W I u nt You T an Yo o) T t W n I u a ( o o W Y T I t n ) To (I Wa (I Want You To u To ) I Want You nt You T a o o T Y W t u I n o ) a Y o t an (I W uT a o o Y T W t I u n a o ) Y o W t T I n ( ou Y t n a To ) I Wa ) I Want You To W (I ou Y o T t n u a o o W Y T t (I u Want Yo nt You To ) I Wan ) I Want You To IW ( o T u a o o T nt Y ou a Y To (I W t W n I a ) ou o W Y T I t ( u n o a o T Y W t u Want Yo t You To (I Wan I Want You To ) I To ) I W n ( u a o o W Y T I t u n ) o a o Y nt IW uT ( a T o u W T o I Y u ) o t o n Y T a t u n Want Yo nt You To ) I Wa Want You To (I W ant You a IW )I W ) o I ( T o T o u T o u Y o u o nt tY I a n ) a W o W T I ( I u ( o o Y To uT t o n u a Y o Y t W n t I a n ( a W W To tY n I u a o u W Y o Y I t ( n t a u To o Y t o ) I Wan ant You To ) I W n I a ( o W T I ) u o o T Y t u (I W poster designed by Dana Cameron

photos by Hannag Mckay, Jennifer Mahan, Walter Wang

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o o T Y W t u I ( n o a Y o T t W n u a )I o W T I ( u o ant o T Y W t u I n o ) a Y o t W T (I u o o Wan Y T t u n a o Y o W t T I n ( u a o o W Y T I t u an Yo W t n I ( a ou To ) o W T t I n u ) a o o Y W T t I ( u n a o To W I u o ) Y o Want Y T t n u a o W T I t Yo n ) u a o o Y T W t I u ( n a W t Yo n I a ) You To o W T I t ( n u a o o T Y W t u I n o ) a Y To IW ( u o o Y T I Want t u n a o o W tY T I n ( u a o o W Y T I t u ) n a Yo W t n I ( a You To o W T I nt ) u a o o W Y T I t ( u n o a o Y uT IW o ) Y o T t n (I Want u a o To IW tY ) n u a o o T Y W t u I ( n o a tY W n I a ) o W You To T I t ( u n o a o T Y W t u I n o ) a Y o t W uT o Y t n a o ) I Wan Want You To (I W To I ( u o o Y T I t u n ) o a t You To ou To ) I Want Y ant You To (I W an W I ( o Y T W t I u o ) Y o T t n u a o o (I Wan o W Y T I t n ) u a o o Y T W t I ou an o( Y T W t n I u a o ) Y o W t T n n a o (I ou T Y W t u I n o ) a Y o t W n uT o Y t n a To ) I Wa I Want You To (I T IW ( u o o Y T t u ) n o a o nt You T You To ) I Want Y ant You To (I W o (I W T W t u n I a o ) Y o W T t I n ( u a W To I t Yo ) n u a o o T Y W t u I ( n o a Y o ant You T t You To (I Want Want You To ) I W o ) I W T n I a ( u o o W Y T I t ) u n a o o W tY uT I n ( u a o o W Y T I t u n ) o a o Y nt IW uT ( a o o Y W T t I n u ) a o o n Y W T a t u n W a o I Y ( W t o I T an ) o u W o T I Y ( u t o o n Y T a u W ant IW I ) W ) o I ( o T T o u T u o o u Y tY t n a n a W W I ( I Want Yo o ou o( T Y T u t u o n o a Y Y t W t n To ) I Wa t You To ) I Wan I Want You To (I u To (I o ) an Y o W T t n I u ( a o o W Y T )I nt u a o T Yo W t u I ( n o a Y o T t W n I u a Want Yo ant You To (I W (I Want You To ) u To ) I o o W Y T I t ) u n a o o Y T W t (I an You o W Y T I t u n ) o a o Y T W t n I u ( a o I Want Y ant You To ) I W ) I Want You To ou To To tY IW 7

o Y T t n u a o Y W To (I W t I an ou o) Y W T t I ( u n a o o Y T W t I u Want Yo nt You To (I Wan I Want You To ) )I o T u ( a o Y o W nt uT a o W Y I t ( u To ) I n a o o T Y W t u I n o ) a Y o T t W n I u Want Yo ant You To ) I Wa I Want You To ( u To (I ) o o W Y T I t ( u n o a o T Y W )I ant You o W Yo T I t ( u n o a o Y T W t u n I a o ) I Want Y ant You To (I W (I Want You To ou To ) To tY IW n u ) a o o Y W T t I ( u n a o Y To W Y I t u n o ) a Y o T t W n I u a ( o o W T I ) u o o Y T t I Want Y u an o( W t Yo T n I u a ) o o W Y T I t ( an ou Y W t I n ) a You To o W T (I u nt a o o Y T W t I u n a o ) Y o W uT o Y t ) I Want Want You To (I n a o T W u I ( o Y o T t I n a ou W Y I t ( n a o You To ) T W nt ou )I a Y o T t W n I u a ( o o W Y T o)I ou T Y t u (I Want n o a Y o t W T n I a u ) o o W Y T I t ( u n o a o nt You T ou To (I Want Y ant You To ) I W ) I Wan W tY To I n ( u a o o W Y T I t u n ) o a o T W tY n I u ( a o o Y W T t I n u ) a o Yo W t I ( n a o T W I u nt You T an Yo o) T t W n I u a ( o o W Y T I t n ) To (I Wa (I Want You To u To ) I Want You nt You T a o o T Y W t u I n o ) a Y o t an (I W uT a o o Y T W t I u n a o ) Y o W t T I n ( ou Y t n a To ) I Wa ) I Want You To W (I ou Y o T t n u a o o W Y T t (I u Want Yo nt You To ) I Wan ) I Want You To IW ( o T u a o o T nt Y ou a Y To (I W t W n I a ) ou o W Y T I t ( u n o a o T Y W t u Want Yo t You To (I Wan I Want You To ) I To ) I W n ( u a o o W Y T I t u n ) o a o Y nt IW uT ( a T o u W T o I Y u ) o t o n Y T a t u n Want Yo nt You To ) I Wa Want You To (I W ant You a IW )I W ) o I ( T o T o u T o u Y o u o nt tY I a n ) a W o W T I ( I u ( o o Y To uT t o n u a Y o Y t W n t I a n ( a W W To tY n I u a o u W Y o Y I t ( n t a u To o Y t o ) I Wan ant You To ) I W n I a ( o W T I ) u o o T Y t u (I W 8

o o T Y W t u I ( n o a Y o T t W n u a )I o W T I ( u o ant o T Y W t u I n o ) a Y o t W T (I u o o Wan Y T t u n a o Y o W t T I n ( u a o o W Y T I t u an Yo W t n I ( a ou To ) o W T t I n u ) a o o Y W T t I ( u n a o To W I u o ) Y o Want Y T t n u a o W T I t Yo n ) u a o o Y T W t I u ( n a W t Yo n I a ) You To o W T I t ( n u a o o T Y W t u I n o ) a Y To IW ( u o o Y T I Want t u n a o o W tY T I n ( u a o o W Y T I t u ) n a Yo W t n I ( a You To o W T I nt ) u a o o W Y T I t ( u n o a o Y uT IW o ) Y o T t n (I Want u a o To IW tY ) n u a o o T Y W t u I ( n o a tY W n I a ) o W You To T I t ( u n o a o T Y W t u I n o ) a Y o t W uT o Y t n a o ) I Wan Want You To (I W To I ( u o o Y T I t u n ) o a t You To ou To ) I Want Y ant You To (I W an W I ( o Y T W t I u o ) Y o T t n u a o o (I Wan o W Y T I t n ) u a o o Y T W t I ou an o( Y T W t n I u a o ) Y o W t T n n a o (I ou T Y W t u I n o ) a Y o t W n uT o Y t n a To ) I Wa I Want You To (I T IW ( u o o Y T t u ) n o a o nt You T You To ) I Want Y ant You To (I W o (I W T W t u n I a o ) Y o W T t I n ( u a W To I t Yo ) n u a o o T Y W t u I ( n o a Y o ant You T t You To (I Want Want You To ) I W o ) I W T n I a ( u o o W Y T I t ) u n a o o W tY uT I n ( u a o o W Y T I t u n ) o a o Y nt IW uT ( a o o Y W T t I n u ) a o o n Y W T a t u n W a o I Y ( W t o I T an ) o u W o T I Y ( u t o o n Y T a u W ant IW I ) W ) o I ( o T T o u T u o o u Y tY t n a n a W W I ( I Want Yo o ou o( T Y T u t u o n o a Y Y t W t n To ) I Wa t You To ) I Wan I Want You To (I u To (I o ) an Y o W T t n I u ( a o o W Y T )I nt u a o T Yo W t u I ( n o a Y o T t W n I u a Want Yo ant You To (I W (I Want You To ) u To ) I o o W Y T I t ) u n a o o Y T W t (I an You o W Y T I t u n ) o a o Y T W t n I u ( a o I Want Y ant You To ) I W ) I Want You To ou To To tY IW 9

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SIXishWORDS

URBAN TRAP CREATES INEFFICIENCY THAT DENIES HISTORICAL PRIMACY

architectural gesture at city scale

Wall

False perception of scale

Visual dominance in the city

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The researches in fall quarter discussed about two subjects: media and public space, and their intersections which are in forms of public interactive installations. The results of public engagement in creating public spatial experiences led to rethink the importance of public spaces that were designed with an oversimplified image of public and social relationships, which were primarily about production and speed in modern era. Moreover, the physical layouts of public spaces in Beijing were produced by

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authority/power in control without any interest in provoking events nor sensational experiences except for mass desmonstrations for political influences Therefore the architecture is devoid of power and control and creates a statement that overpowering the physicality of existing history to engage public in producing social and cultural contents to ...?

1.1

architecture censorship

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 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.

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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 13

Foreground&Background

1.2

architecture censorship

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composite drawings describing the object with a camera moving around it to demonstrate the illusion of flattened surfaces

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1.2

architecture censorship

3-D printed model is capable of replicating the accurate angle of projection lines that it follows

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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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1.3

all about program...

>> map of adjacent programs along Chang’an Avenue. blue is commercial black is government related red is historic yellow is education purpule is transportation

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1.3

extension of time 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

Museum on Escalator/conveyer belt

framework led to consider parks, museums, theaters, art galleries, 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. For one, this strategy follows the intent to create inefficiency through manipulating circulation and that architecture is more than just point A and point B also occupies between point A and point B. For another, the spectrum of the activities has to cover every perceivable architectural scale

Theater on Evelator

so that the duration of times is extended and architecture becomes public. The definitive spectrum of activities/ programs of the project is not comprehensible due to the dramatic scale, overlappings, and density. However, graphic explorations such as collages and overlaying texts embodied an idea that collages together seemingly unrelated public activities as a means to new social behaviors.

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1.4

all about programs///

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

l e ec dt uu rc ea t i o n a l t e m p op e n a i 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 a r 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 a r t g a l l e r i e s

a graphical approach of finding programs/uses/events/activities 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 for the project is done through s q a u r e s subdivision, shifting texts, t e a h ou s e s creating graphics to make r t s i n g l e o c c u p a n c y a p a en mcre n ty ss se i a d t e alternative groups of words that t r h u n i t s a r could be either meaningfuless fb a m i l y d o r m ai r t o r g y my op e n or letting new programs to h o a s e k l s p rt emerge. h p i t a c o lu r t ss NO FIXED ANSWERS, as s p o ro t s s social condensers always stay rs ew hi ambmi li int ga t i o n c e np toeor l open to people’s creativities. 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 t e nt p ca re tr m 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 st au ibj wi a y ou t d o or gt ar ie j ei n f i f o l k g am s w i fk loene g z h u s k as hn ut it qt lue ec o c k h i t ep l e tk ei m l e t ’s t hn ed e r rg ar ro eu n u y a j u g g l i n g f a n s pi n n i n g f ol k g ls ena cal tlp urpori eon m b ct l a p p ie n g m f r e e ro op lel ni n g r i b b on s h o ot i n g l e t’s o c 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 tb a i j i - s o f t m a t ch m a k i n op e n- c o m p e t n 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 y l k a sp t a i j i ah r t i t a i j i l e t’s f o l k g am yl a n s c a ap e d k on g z h u fs a n a 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 j u 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 i p e i j i n rg b s h o ot i n g d an c e t o cc l a sl s i c - l e i s s e l f - or g a n i z d - c a g e fb o ii lrl m k c h a sb or oc ia ad l c a s t i n 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 - an 22

s e r v iac e s p ja c e nj g Ti i i b e l l 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 e t a i j i f a n s h i n g f rom a n t i q u i t yf o l k m e s g a m e s f rom a nt i q u it y m m i n g m a r k e t sp l a y i n g m apr l ka ey t i sn kg o n g lz oh cu a l a t i n g k i c k i n g ( h a c m k 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 kg i t e f l y i n g d a n c e o f m aBr ek i ej ti sn gt h e dt r e a s u r e s 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 t h e w h ip h dawal hlnsicpse n a p p i n g t h e b a m b o o c l a p pe idnug c a t i o n a l t h e p l e m s p a c be a m b o o s t ys l e t h e h o o p t h e h o op a i r c o u r t y da ar nd c re 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 b g 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 t h e h a r m on i c a s o 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 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 n d - ca h a n t ti n g e 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 n g m e e t 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 g o i u d gs ya tr nn k a t i f a i r sn g s w or d t e mp l e g a l l e r i e s k i n gh i k i m a r k e t ns g f a n u n d e r g rou n d d a n c le e t ’s d a n c e f rom a nt i qu it y m e s 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 ns c fe a n ft o r mha l u er b a na p u bt l i c es p a c re d sa n c e u r e a 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 ro po em en s i d a i er n c yg ydma n c e c c up a n c y a p a r t m e dn at ns c be a l l r o 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 rp s st y l e e s a i d r e n kc 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 amb o o i o no r uc e n t e r cs a r th g a l l e o r ur i e s s t h e h o op s o n i o ps e ba e i j i n g op e a t h e m e t e or h am m e r t h e h a r m o n i c a sd a n c e o 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 u nd i o s g n g g r o u p ss o c i a l g r ou p s v e nt i on s of f u n c o m m e r c i a l r e t i a l s p a c e m am l l es e m n g t a t ch m a k i n g 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 u r e s d r i l l n d - c h a nt i n g i

k

23

i

1.5

conceptual model / iteration i

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: 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.

back

24

an

n g'a

Ch

front

25

ue

A

n ve

1.5

conceptual model / iteration i

moment 1

sticks are weightbearing columns, frames, structures, holding up surfaces

moment II sticks are programmatic spaces revealed by the skin, displaying activities, events

26

moment III sticks punctuate skins and intersect with other sticks to create a hierarchy.

Symmetry of an axial organization creates tension between space.

moment VI sticks become sculptural pieces creating chaos and geometries confusing rational readings of the buildings

27

28

29

1.5

conceptual model nd architectural resolutions

architecture scale

30

human scale

[Along the River During Qing Ming Festival ] Zhang Zeduan 31

1.6

section, section, section.../iteration ii

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 scale during the process.]

This exercise also only focused 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 capability to cut off and take over roads by dispersing people who crossed the blurry boundary between a driveway and public space. This relationship between the

space where people own their agency of changing and space for control, power, and speed resembles tactic urbanism.

sectional shots of the object at different cutting planes

32

33

process of development

model 1

model II

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

section, section, section...

十里長街

200’

model III

1.7

overlay, patterns, grids...

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 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

40

study of patterns with overlay and shadows

traditional Chinese patterns 41

overlay, patterns, grids...

42

study ii of patterns with overlay and shadows

43

Residence units slide to 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

1.8

iteration THE GREAT WAL[L]K

iii / 45 . extrusion illusions

STUDIO 400 |Walter Wang

HISTORICAL AXIS

As a result of studying overlaying patterns to create figurative relations through projections, a more rigid and 中南海 modular approach is applied by using a grid that is 45-degree slanted in all x, y, and z axises, which resulted in an extrusion of surfaces along a non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

龙华伟业写字楼

乐学院 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

东方新天地

北京贵宾楼

中国农业银行

北京饭店

中换人民共和国 商务部

东单体育 中心

东单公园

中华人民共和国 最高法院

Monastery Rehabilitation center School Broadcasting facility Single occupancy units

meditation

北京医院

法国邮政局旧址

北京市一六一中学

中央文史研究室

全国人民代表大 会

美国使馆旧址

continues to reach the second ring expressway

THE GREAT WAL[L]K PROGRAM

法国使馆旧址

毛主席纪念堂

西单银座

discourse

eating

growing food

playground

library

首都宾馆

比利时使馆旧址

中国社 会科学 院

北京国际饭店

北京好苑建国饭店

1984

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

中国联通

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

北京四中

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

orthoganal axis. The resultant 3d geometries created an optical illusion of their true volumes. They also possess tectonic 东二环 relations involve inserting and sliding to reveal surfaces and space in 北京站 between them, similar to Chinese puzzle pieces that also involve sequential actions.

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

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

1959

明城墙遗址公园

residence tube/units ove up and down

o diffferent posi-

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

45

1.8

Va no Va/the great wal[l]k

perspective view of site with selected buildings in context

site plan scale ???

After concentraing on creating an in a section of the road, parts are pulled apart (inspirations coming from the exploded drawing in previous page) to populate over the site, as it was the very initial intent that the pattern study would inform a way and certain types of grometries to occupy the

site. Modules were color coded and the drawing is taken directly from Rhino as a process drawing to try to subdivide the clusters of geometries smaller pieces to accomodate different programs.

46

THAT’S A TRAPPPPP !!!

WE ARE STUCK HERE!!

IT SEEMS LIKE WE NEED TO WALK THERE...

ARE WE STILL GOING TO THE PALACE DAD ??

re-evaluate.

URBAN TRAP CREATES INEFFICIENCY THAT DENIES HISTORICAL PRIMACY ???

47

1.8

Va no Va / chunk development

48

# SPIRAL TO A DEAD END /cars represent speed and efficiency, which are highly valued by modernists in their deisgns for the society. //the spirals connect intersections of the existing road to pull cars into the structure. however, the spiral only leads to a dead end, which means cars will be stuck in traffic and people have to WALK their way to the destinations and cars become objects of display...

# CONTAINERS CONTAIN CONNECTIONS /the design for a social condensor uses mobile units both vertically and horizontally to introduce shifting occupiable space shared by multiple programs. //where there is a ceiling, there is also a ground...

#TOO BIG TO BE MOVED /maybe there could be structures that could be totally lifted off the ground and create a public space underneath? // library?? ///gym??

# PUBLIC OR POLITICAL?? OR BOTH /plazas and sqaures in beijing are modelled after soviet socialists’ design as site for mass demonstration. however argubally, these voids become more political than public. //in this structure, voids are carved out with the scale for imaginary uses such as lectures, observatory, or paths.

49

1.8

Va no Va / social condenser diagram

program 1 program 2 program 3 program 4 program 5 undefined

program 6 program 7 program 8 undefined program 9 program 10

undefined

program 11 program 12 undefined program 13 program 14 program 15

the precedent of parc de la villette by OMA informs an organizational strategy of distributing programs that a building mass is sliced vertically into equal pieces, and then stitch them together through mobile structures that are also sites for programmatic uses. the purpose is to maximize encountering of the public as well as dispersing them into undefined spaces for unexpected interactions, gatherings, and events to happen.

rehabilitation residency art gallery

physical recovery gym library indoor garden

20’

children plyground

theatre apartment

rotation of smaller architectural spaces create opportunities of mixing the people from different areas who came with certain purposes of using the space. the rotation creates both occupiable open space and destinations of circulation to propel social condensers to aggreagate people.

50

model

51

52

53

54

55