Yuan Mu _ M Arch I_SCI - Arc _2012.09--2014.12 by Yuan Mu

YUAN MU 3GA

Kaleidoscopic s i n g u l a r i t y

introduction

The era we are living today will have an name in the future history book, and

it won’t be called “Post

Modernsim”. As Hellenism period wasn’t identified as “Post Greek”, Mannerism wasn’t identified as “Post Renais-

sance”, the current complex and dynamic situation shouldn’t be defined as an world has nothing could be defined.The “Zeitgeist” is persuasively revealing the factor that the human behavior inherently inform the existing world as a highly interconnected and self-adaptive system.Instead of simplified and assuming all the structure/behavior is too complicated

to be acknowledged, it requests a more profound understanding for the thing we called complexity.

Most of the works in this book represent a non-linear interpretation on design. The output reach to a certain quality of structured chaos and trying to demonstrate that there are multiple well constructed factors determine an amorphous result which would be mistaken as an unreadable randomness.

The book is divided into 3 chapters. Each of the chapter is a combination of Design Studio with relevant Seminars with certain strategy. The first chapter is about all the experience with robot house and coding. Through analyzing the agenda of each class, the project is developed by a theoretical method and established an specific way of form finding. Creating

a practical technique is the main concern of this chapter, furthermore, the output is a direct result of the method, without

any manual or uncorrelated modification. The second chapter is more

design-oriented. By applying a simple operation to an object several times, the

decision of stopping regards to the pronounce form quality. After the object could maintain the transformation,it starts producing an self-adaptive patterns or motion which as the correlation of the operation. The third part is by

overlapping multiple systems which created by the same source and collect the

output as interactive result which could release part of the system but stopped by the other one.

C H A P T E R

I N T E R A C T I V E E X P E R I M E N T S

DISCONTINUOUS P E R C E P T I O N DESIGNSTUDIO Robot House Toronto-Dominion Tower

3GA

DISCONTINUOUS P E R C E P T I O N DESIGNSTUDIO Robot House Toronto-DominionCenter

D-FORM IMAGE

This project formally illustrates perceptual experience, developing new notions of image and representation. The human visual experience is layered with has a strange and beautiful range of cognitive focus. Unlike a machine human site is always changing; mixed into a soup of various focal ranges. Sometimes we see far, sometimes close. Sometimes we blink and missed visual information, sometimes we are seeing with peripheral vision and sometimes we are fixated in studying details. Unlike photographs or film, human perception is extremely variable. We propose that images provide but one representation of visual experience.

Through the premise that sight is an interpretive tool, this project uses

it to describe a relationship between the visual transformation that a human creates in the lens of his or her experience in space, into the formal transformation of the site itself. Rethinking the representation of a viewer’s experience moving through space, the given visual language of movement through space is something like panoramic scene in a film. Where the experiences of space is created through a sequence of consistently captured still images of uniform resolution, delivered at a fixed framerate.

“There is no such thing as neutral space. Architecture does not exist without something that happens in it. Our perception of architecture depends on the activities that take place inside. The space is transformed by events. It’s not quite the same as before.” ---

Bernard

Tschumi

3GA

DISCONTINUOUS P E R C E P T I O N DESIGNSTUDIO Robot House Toronto-DominionCenter

ROBOT LAB EXPERIENCE

In this process, we translated the site, the Toronto Dominion, to the Robot House. This gave a platform to conduct exact experiments in the nature of the moving image. The Camera attached to Robots is treated as a model of a person/viewer, that can move through a model site, (also re-created in the Robot house). Camera paths parallel the digital simulations, providing two platforms of representation of a person moving through the Toronto Dominion. We used the footage that we took in the lab to examine the gap between digital and physical, between human and camera. Creating parallel versions of discontinuity using both virtual and physical camera images.

3GA

DISCONTINUOUS P E R C E P T I O N DESIGNSTUDIO Robot House Toronto-DominionCenter

SAMPLE SIZE

A photograph or a film has a fixed sample size, the pixel resolution of the camera. Whereas, human attention is not fixed but can be narrowly focused or very broad. If one takes normal film and sample from it at different sizes over time a discontinuous slitscan image is produced. As this project samples in 3D, the field of view is the sampler and must have dimension.

Thus, the sample size is the width of our sampler, and can be varied over time.

3GA

DISCONTINUOUS P E R C E P T I O N DESIGNSTUDIO Robot House Toronto-DominionCenter

SAMPLE RATE /SLITSCAN IMAGE

An aspect of perception is duration.

Humans see faster than film, but also miss in-

formation, such as when they blink.

This This can be thought of as Sample Rate.

In film, the sample rate is usually fixed to 24 frames per second. In this project, sample rate is how frequently the site is sampled as the viewer moves through it. Low resolution in this case is infrequent sampling, which produces aliasing. High resolution is frequent sampling, producing continuity. Variable resolution is when the frequency changes over time.

3GA

DISCONTINUOUS P E R C E P T I O N DESIGNSTUDIO Robot House Toronto-DominionCenter

00:00:37.758

3GA

DISCONTINUOUS P E R C E P T I O N DESIGNSTUDIO Robot House Toronto-DominionCenter

5.a

TOWER C : LOW RESOLUTION --- MANUAL INTERACTIVE DISPLACEMENT

3GA

DISCONTINUOUS P E R C E P T I O N DESIGNSTUDIO Robot House Toronto-DominionCenter

5.b

TOWER C : HIGH RESOLUTION --- ROBOT INTERACTIVE DISPLACEMENT

3GA

DISCONTINUOUS P E R C E P T I O N DESIGNSTUDIO Robot House Toronto-DominionCenter

FORM FINDING / SLITSCAN IMAGE

This geometrical and formal approach to perception results in a deformation of the site, reflecting the discontinuous and variable nature of perception. It is a project not dependent of contexts but rather uses the nature of experience, to reinform place.

3GA

DISCONTINUOUS P E R C E P T I O N DESIGNSTUDIO Robot House Toronto-DominionCenter

3GA

DISCONTINUOUS P E R C E P T I O N DESIGNSTUDIO Robot House Toronto-DominionCenter

SAMPLE RESOLUTION

The human field of view is not uniform.

In addition to focal distortion

the periphery of vision captures less information. In order for the sampler to reflect the difference between the central and peripheral vision, we added another dimension of resolution by creating a variable sampler with finer detail towards its center. To represent focal distortion, a displacement gradient is we applied across the sampler. This geometrical and formal approach to perception results in a deformation of the site, reflecting the discontinuous and variable nature of perception. It is a project not dependent of contexts but rather uses the nature of experience,

to reinform place.

3GA

DISCONTINUOUS P E R C E P T I O N DESIGNSTUDIO Robot House Toronto-DominionCenter

3GA

DISCONTINUOUS P E R C E P T I O N DESIGNSTUDIO Robot House Toronto-DominionCenter

3GA

DISCONTINUOUS P E R C E P T I O N DESIGNSTUDIO Robot House Toronto-DominionCenter

3GA

DISCONTINUOUS P E R C E P T I O N DESIGNSTUDIO Robot House Toronto-DominionCenter

3GA

C O D I N G F [ O ] R [ M ] O S T V I S U A L S T U D Y Generative Design Python script

3GA

C O D I N G F [ O ] R [ M ] O S T V I S U A L S T U D Y Generative Design Python script

PARTICAL DESIGN A

3GA

C O D I N G F [ O ] R [ M ] O S T V I S U A L S T U D Y Generative Design Python script

PARTICAL DESIGN B

3GA

C O D I N G F [ O ] R [ M ] O S T V I S U A L S T U D Y Generative Design Python script

3GA

C O D I N G F [ O ] R [ M ] O S T V I S U A L S T U D Y Generative Design Python script

3GA

C O D I N G F [ O ] R [ M ] O S T V I S U A L S T U D Y Generative Design Python script

INITAL MASSING BREAKDOWN

3GA

C O D I N G F [ O ] R [ M ] O S T

DISPATCH WORKFLOW

V I S U A L S T U D Y Generative Design Python script

Spike

Frost

Broccoli

3GA

C O D I N G F [ O ] R [ M ] O S T

FACE RECURSION

V I S U A L S T U D Y Generative Design Python script

Spike

Broccoli

Frost

3GA

M A T E R I A L A G E N C Y A P P L Y S T U D Y Automating Intelligence Processing script

3GA

M A T E R I A L A G E N C Y A P P L Y S T U D Y Automating Intelligence Processing script

ROBOT LAB EXPERIENCE

The conventional notion of the agent and enviroment in computer science is identified by Manuel Delanda through the propose of multi-agent system which cant be approximated by the flexible surface of the environment but should be understood as a under control action. In this project the experiment was conducted in robot lab through interaction between a block of wax the a heatgun which is manipulated by robot through scripting. The wax was treated by different scripts which is representing automating decsion. As a material which is embeded with non-linear behavior, through heatguy melting process wax and creating dynamic form, becomes new data and feedback through scanning, sends signal to robot and starts and new loop. The result exhibits a collage of wax behavior with all the elements as scripts, multipel loops and several times melting.

3GA

M A T E R I A L A G E N C Y A P P L Y S T U D Y Automating Intelligence Processing script

ROBOT SIGHT

3GA

M A T E R I A L A G E N C Y A P P L Y S T U D Y Automating Intelligence Processing script

2.1

CORNER BEHAVIOR

applyCorner(){ ... if (angle > delta ){ col = i; delta = angle; } // Find the corner column applyCorner(){ ... if (angle > delta ){ col = i; delta = angle; } // Find the corner column

... float y = sin(m); float x = 110*cos((i-(vertical*1.5))*0.01); ... -1

...via // Parabola float y = sin(m); sin X augmentation float x = 110*cos((i-(vertical*1.5))*0.01); 0 ... -1 1

// Parabola via sin X augmentation 0

3GA

M A T E R I A L A G E N C Y A P P L Y S T U D Y Automating Intelligence Processing script

2.2

SPIRAL BEHAVIOR applySwitch() { measure_curvature_around_the_Point sum(normals)/4=curvature applySwitch() { if (mesh is flat){ measure_curvature_around_the_Point applySpiral() sum(normals)/4=curvature } else(mesh isflat){ curved) { if (mesh is applyCorner() applySpiral() } } else(mesh is curved) { applyCorner() }

applySpiral(){ ... ... applySpiral(){ Vec3D spiral = ( cos(r) * d, 0, sin(r) * d ); ... ... ... Vec3D spiral = ( cos(r) * d, 0, sin(r) * d ); ...

applyCorner(){ ... if (angle > delta ){ applyCorner(){ col = i; ... delta = angle; if (angle > delta ){ col = i; } // Find the corner column delta = angle; } // Find the corner column

... float float ... float float ...

y = sin(m); x = 110*cos((i-(vertical*1.5))*0.01); y = sin(m); x = 110*cos((i-(vertical*1.5))*0.01); -1

// Parabola via sin X augmentation

-1

// Parabola via sin X augmentation 0

3GA

M A T E R I A L A G E N C Y A P P L Y S T U D Y Automating Intelligence Processing script

STIGMERGY TRACKING

3GA

M A T E R I A L A G E N C Y A P P L Y S T U D Y Automating Intelligence Processing script

3GA

M A T E R I A L A G E N C Y A P P L Y S T U D Y Automating Intelligence Processing script

A L T E R N A T I V D I S C I P L I N E

2GA

HETEROGENEOUS M A T T E R S DESIGNSTUDIO US Embassy Rio de Janeiro

2GA

HETEROGENEOUS M A T T E R S DESIGNSTUDIO US Embassy Rio de Janeiro Concept : introduction

CONCEPT

The idea of this project is inspired by the philosophy tendency: Object-oriented ontology. It tries to break the limit of function, orientation and connection on the existing object. The module object starts from a subdivided cube, by rotating and scaling two diagonal corner to different directions, the formal language becomes very pronounced. Since the object has strong characters, by simply flipping it or changing the orientation, they create different interesting combination. The final formal of the combination has one big object which is the same as the original one, connected with two other objects born from the original one. Because the similar feature they share, the joint from one to another create very clear relation between each other. The major object becomes embassy , the two smaller objects become public area with

program such as theater and gallery.

2GA

HETEROGENEOUS M A T T E R S DESIGNSTUDIO US Embassy Rio de Janeiro transformation

diagram

Analysis

2GA

HETEROGENEOUS M A T T E R S DESIGNSTUDIO US Embassy Rio de Janeiro transformation

diagram

Analysis

2GA

HETEROGENEOUS M A T T E R S DESIGNSTUDIO US Embassy Rio de Janeiro machine drawing

Program

2GA

HETEROGENEOUS M A T T E R S DESIGNSTUDIO US Embassy Rio de Janeiro machine drawing

Program

The project will be a design for a hybrid Embassy building. The Embassy as type is historically strict and focused on defensibility but it is also heavyily laden with symbolism. An embassy quite literally is a piece of one country superimposed into another conuntry. There is always the anxiety of what architectural best represents a particular country. But more importantly, it is an uneasy agreement to allow what is essentially a city-state to exist within the borders of a sovereign state. As much, as we have seen in the last 10 years, Embassies are increaseingly the target of political action and terrorism. Embassy design is thus a political act as much as an architectural act. In case, we propose a new model for Embassy, one that exceeds, the feudal castle model. We propose that as a site of political unrest, an Embassy should engage rather than exclude the public. This project will therefore include public amenities and public outreach facilities such as a lecture theater, gardens, and a consulate. Critical will be the understanding of the radical difference between the public and private functions of the project, and how to express, or obfuscate, that difference.

2GA

HETEROGENEOUS M A T T E R S

Program

DESIGNSTUDIO US Embassy Rio de Janeiro plan : public space

40(Feet)

2GA

HETEROGENEOUS M A T T E R S

Program

DESIGNSTUDIO US Embassy Rio de Janeiro plan : office space

40(Feet)

2GA

HETEROGENEOUS M A T T E R S DESIGNSTUDIO US Embassy Rio de Janeiro Cross cut

40(Feet)

Section

2GA

HETEROGENEOUS M A T T E R S DESIGNSTUDIO US Embassy Rio de Janeiro

2GA

HETEROGENEOUS M A T T E R S DESIGNSTUDIO US Embassy Rio de Janeiro

Aperture

After working out the massing, the project is dedicated on develop the opening system by using a experimental element --- three dimensional aperture. Differentiated from traditional window system, the dimensional aperture interacts with floor and interior space, bridges the isolation of the building and the urban context. Rather than creating the generative looking objects, the pattern of aperture has more freedom and consistence, it starts growing along where the big curvature divides the surface, and continuous to the interlock one from another. The areas where apertures cross along push floor plate back and leave space between the evenlopes, bringing light from above to the interior.

2GB

HETEROGENEOUS M A T T E R S DESIGNDEVELOPMENT US Embassy Rio de Janeiro

2GB

HETEROGENEOUS M A T T E R S DESIGNDEVELOPMENT US Embassy Rio de Janeiro Dynamic Cut

2GB

HETEROGENEOUS M A T T E R S DESIGNDEVELOPMENT US Embassy Rio de Janeiro Concept : introduction

CONCEPT

The approach of this project will be a conventionally understanding of the previous design work as a disciplinary one, where starts challenge representation and search for relevancy in an era where documentation of design and manufacturing are in flux and are increasingly based on three-dimensional live data. While BIM is an important development in this regards, our aim is to re-think how we can envision and communicate design in innovative ways which exceed the design object itself. We will re-consider drawing in term of plastic surgery and magnetc resonance imaging, where things can be hacked apart, peeled away and sliced. Cuts will no longer be flat as in conventional plans and sections, but will be warped and active. We will attempt to combine multiple ontologies into the discussion, where things may be represented i nterms of their profile, sihouette, internal organization, energy , acition on other things and integration, all at the same time. The 3 d chunk is to be develoed as a peel away section that reveals the stuctural system, facae components, floor build up and mechanical components.

2GB

HETEROGENEOUS M A T T E R S DESIGNDEVELOPMENT US Embassy Rio de Janeiro Panel Frame

2GB

HETEROGENEOUS M A T T E R S DESIGNDEVELOPMENT US Embassy Rio de Janeiro Concept : introduction

Structure

The approach of this project will be a conventionally understanding of the previous design work as a disciplinary one, where starts challenge representation and search for relevaTncy in an era where documentation of design and manufacturing are in flux and are increasingly based on three-dimensional live data. While BIM is an important development in this regards, our aim is to re-think how we can envision and communicate design in innovative ways which exceed the design object itself. We will re-consider drawing in term of plastic surgery and magnetc resonance imaging, where things can be hacked apart, peeled away and sliced. Cuts will no longer be flat as in conventional plans and sections, but will be warped and active. We will attempt to combine multiple ontologies into the discussion, where things may be represented i nterms of their profile, sihouette, internal organization, energy , acition on other things and integration, all at the same time. The 3 d chunk is to be develoed as a peel away section that reveals the stuctural system, facae components, floor build up and mechanical components.

2GB

HETEROGENEOUS M A T T E R S DESIGNDEVELOPMENT US Embassy Rio de Janeiro

2GB

HETEROGENEOUS M A T T E R S DESIGNDEVELOPMENT US Embassy Rio de Janeiro 3D Chunk

Aperture

2GB

HETEROGENEOUS M A T T E R S DESIGNDEVELOPMENT US Embassy Rio de Janeiro

2GB

HETEROGENEOUS M A T T E R S DESIGNDEVELOPMENT US Embassy Rio de Janeiro Theater Chunk

Theater

3GA

M E C H A N I C A L T I W N S V I S U A L S T U D Y Robotic Movement Animation

3GA

M E C H A N I C A L T I W N S

Concept

V I S U A L S T U D Y Robotic Movement Animation

Step 1: Rooted in animation tools, the class would add behaviors to their projects as a way to set their ideas in time, and challenge the notion of a static design. Mutation, Postures, Deformations, Contortions, and Growth would be injected into the geometries as a way to challenge the students to think of their design as fluctuating matter. This step would provide feedback and yield aspects and opportunities not seen before in the project. The goal is to produce a series of studies in which students are asked to evaluate geometry from the design point of view, with the goal of critically understanding the variations produced using animation techniques. Representational animation would be then introduced as a way for student to explain their ideas and the process of design in a sequence of images and animations. Dealing with camera paths, film techniques, and render methods.

3GA

M E C H A N I C A L T I W N S V I S U A L S T U D Y Robotic Movement Animation

3GA

M E C H A N I C A L T I W N S V I S U A L S T U D Y Robotic Movement Animation

3GA

M E C H A N I C A L T I W N S V I S U A L S T U D Y Robotic Movement Animation

3GA

M E C H A N I C A L T I W N S V I S U A L S T U D Y Robotic Movement Animation

STEP 2

Robotics will be introduced to add another level of complexity to the initial design, and ground their behaviors in a physical environment and constrains. Taking advantage of the flexibility of this system and its tendency for disruption, students are expected to rearrange, reposition and contort their project to test the limits of the systems they have created.translation from the computer to their desk would take place, allowing them to compare and overly the digital and the physical. This juxtaposition would generate a tension in which student would examine the results, catalog them and insert them back to their digital models to inform and reiterate the process

3GA

M E C H A N I C A L T I W N S V I S U A L S T U D Y Robotic Movement Animation

The Final output would not only rely on the visualization of the behavior achieved in the class, but would also introduced dynamic skeletons to recreate and investigate such behavior in physical models. With a link between Arduino and Maya, students could expand their design criteria in an investigation of the physicality and materiality of their projects as the translation from the computer to their desk would take place, allowing them to compare and overly the digital and the physical. This juxtaposition would generate a tension in which student would examine the results, catalog them and insert them back to their digital models to inform and reiterate the process

3GA

M E C H A N I C A L T I W N S V I S U A L S T U D Y Robotic Movement Animation

3GA

M E C H A N I C A L T I W N S V I S U A L S T U D Y Robotic Movement Animation

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing Original form

CONCEPT

In this assignment I was trying to develop the posibility of the transformation which comes form a basic form. Started with treating it as a single cell which was trapped in a grame, I imitated the evolution of a creature by using Autodesk Maya, recording how it gets skeleton, organs, skin and cell on different division. THe framed construced the blooming of the object at the beginning, then was melted into the form at the end .On the second stage I take a part from the modle and enlarge it as a milling base, then use the elements from the previous model such as color, partterns to composite it into a larger scale tiles .

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing Interior

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing

EARLY FRAME

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing

COLOR CONSTRUCT : BEGINNING

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing

COLOR CONSTRUCT : FINAL MODEL

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing

COLOR CONSTRUCT : FINAL MODEL

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing

RENDER OF CHOSEN SEGMENT

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing

2GA

I N V I S I A B L E F R A M W V I S U A L S T U D Y Kaleidoscope Tile Printing

C H A P T E R I I I I I

D Y S Y

N A M I S T E M

C S

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain Concept : introduction

GFA: 363,680 sf FAR: 2.79 Volume: 5,308,614 sf3 Height Domain: {48 ft, 93ft} Facade Offset Domain: {0, 15ft} Closed to Open Surface Ratio: 0.55

SITE

The project is about designing apartment block in city of Barcelona, based on the understanding of current condition and trying to develop new task for the urban landscape.Circulation is a curial point for the city, so instead of keeping the conventional courtyard and pushing the building to the edge of the block, the project uses the strategy of folding to aggregate, accumulate and repeat. The extension of one gathering units starts growing to a small complex, two or small complex starts squishing the space and building the inner recreational area. After having the massing of the block, by tracing the grid of the current site block the interior wall and room are divided and established. Furniture and aperture are arranged also by alining the grid, which fastens and rationalize the curvature of the massing. After testifying the existing space could be designed as a living environment, the logic of folding also contributed to the overall block. Pathway runs through the block in different dimension and the folded dripping shape which attaches to almost each units become the balcony, unifying the whole spatial language.

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain Study for circulation

Closed to Open Surface Ratio: 0.55

CONCEPT

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain Figure -- ground

SPACE

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain Figure - ground

VOID

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain 9 square blocks

PLAN

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain 9 square blocks

AXON

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Concept introduction Barcelona : Spain Concept : introduction

CONCEPT

UNIT TYPE 3 ONE BEDROOM 745 SF

UNIT TYPE 1 MICRO APARTMENT 425 SF

1 BATHROOM 1 LIVING AREA 1 BEDROOM 1 KITCHEN OUTDOOR AREA

1 BATHROOM 1 LIVING/SLEEPING AREA KITCHENETTE OUTDOOR AREA

UNIT TYPE 2 STUDIO APARTMENT 515 SF 1 BATHROOM 1 LIVING/SLEEPING AREA KITCHENETTE OUTDOORAREA

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Concept : Spain introduction Barcelona Concept : introduction

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain Concept : introduction

GROUD PLAN

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain Concept : introduction

TYPICAL PLAN

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain Zoom in --- typical plan

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain

CROSS SECTION

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain

10.

LONG SECTION

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain

2GB

E C C E N T R I C T P Y E S DESIGNSTUDIO Apartment Block Barcelona Spain

1GB

Illusion

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles

1GB

ILLUSION

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles Alvar Aalto, Villa Mairea

CASE STUDY

As one of the earliest examples of critical regionalism, Villa Mairea, was design and built by Alvar Aalto in 1938. More than simply appealed on the rational fascination of compositional grid, Alvar Aalto cooperated the appreciation of human nature with the disciplinary design methods, , reflected the profound understanding of the “Zeitgeist“ in the age of Modernism.

There are two main features of this project, the using of column system, and overlapping of the “L“ shape space in plan, specialized the architecture in a different field. The columns emphasized in each node of the nine square in plan in a subtle way, in some places the single column was replaced by several thinner one, which hid the grid of columns among the complicated disposition and constructed the circulation of the building. The “L” shape in plan was one of the Finnish traditions for noble villa, also it inspired by the Falling Water, the overlapping of the “L“ shape creates visual representation on the “Figure-Ground“ relation.

1GB

Illusion

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles Secions

CONVENTIONAL DRAWING

1GB

ILLUSION

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles Alvar Aalto, Villa Mairea

DIAGRAMS

1GB

Illusion

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles Alvar Aalto, Villa Mairea

DIAGRAMS

The interesting display of humanity in this house is the delicate location of the fireplace, it could be considered as showing the respect of modern perspective by Wight, â&#x20AC;&#x153;the fireplace is the center of a houseâ&#x20AC;?. Rather than being arranged on the grid of the subdivision of nine square. It also on the center of the golden square --- the spiral winds round and round, reaching to the visible end --- which is the disposition of the fireplace.

1GB

ILLUSION

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles Introduction

Concept

If the heart of modern house could be identified as the fireplace, what will be the heart of contemporary house? The genres of architecture and art history repeat in a surprising way, the time of Post-modernism reminds me the Hellenistic period. When the farewell of rationality is fading away, the desire of truth searching is decaying, varieties of form representation embrace the releasing human features. The concept --- how the world could be is rather important than what it is --- becomes the strongest motivation to encourage architects develop the creative experience. Rather than perspective view of existing figure, the isometric view of object abstract the pure figure into a stage which human eyes canâ&#x20AC;&#x2122;t approach.

Beyond the general aesthetic value, is there a retraction of the isometric view to the reality? The purpose of my design is creating a isometric house to testify how it could be, how it would cause the affection on human life. The purpose of this project is creating a visual illusion between two dimensional drawing and three dimensional object. In contrary to regular case, each plan or elevation is based on a illusive three dimensional drawing in order to make the house looks like a axon from any view. There is no single vertical wall in this house, and each functional space has there own direction. It represents the struggle between losing balance and the strength of spatial controlling.

1GB

Illusion

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles Introduction

AXON

The operation of the project started from scaling and shifting six congruent triangles converged in the center, which created new geometric forms and leading the new transformation. After the geometry archived to a very complicated form on , instead of extruding simple vertically, the two dimensional form was shifted together to one direction about 60 degree up left, which made the two dimensional drawing already became a axon drawing from top view. The six volumes were divided into three group, scaling by different portions, which finally turned into the section of my house in the end, dragged the abstract drawing back to reality. The large volumes becoming the open spaces like living room, and dining room, the small volumes became the solid space like bathroom, storage and garage. The indexes of the small volumes punch into big one remain there, become the negative space --- like balcony and path underneath the upper building; moreover, itâ&#x20AC;&#x2122;s also become the penning system which control the disposition of the windows and doors.

1GB

ILLUSION

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles Transformation: 2D

1GB

Illusion

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles Transformation: 3D

1GB

ILLUSION

CONCEPT / SHORT SECTION A

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles Introduction

1GB

Illusion

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles Introduction

DIAGRAM : INTERSECT SPACE

1GB

ILLUSION

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles Introduction

DIAGRAM : NEGATIVE SPACE

1GB

Illusion

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles

SHORT SECTION A

1GB

ILLUSION

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles

LONG SECTION

1GB

Illusion

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles

1GB

ILLUSION

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles

GROUND FLOOR PLAN

1GB

Illusion

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles

SECOND FLOOR PLAN

1GB

ILLUSION

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles

1GB

Illusion

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles

1GB

ILLUSION

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles

1GB

Illusion

DESIGNSTUDIO Single Family House Silver Lake, Los Angeles

1GA

R A T I O N A L C H A O S DESIGNSTUDIO Transformed Library Los Angeles

1GA

R A T I O N A L C H A O S DESIGNSTUDIO Transformed Library Los Angeles Introduction

Concept

The task of this project started with the transformation of Tony Smithâ&#x20AC;&#x2122;s sculpture, and limited the scale into a bounding box. By studying the geometry of the sculpture, I figured the module of the form is based on the repetition of a four columns converged in a central tetrahedron. First I expanded the sculpture to a matrix which is closest size of the bounding box first, which made the sculpture just exude to the edge of the bound box a little bit. The second step I did was finding the diagonal of the matrix by connect the center of the corner tetrahedron, then it showed that the diagonal of the matrix has a slight deviation to the diagonal of the bounding box. The next step I switch the diagonal of the matrix to bounding box, and finished my first transformation. It caused two affections: from one elevation the grid was shrank from the hexagon to a square which proportional close to the ratio of the bounding box; also it made each of the cutting section has different shape, gradually enlarge or shrink down.

1GA

R A T I O N A L C H A O S

DESIGNSTUDIO Transformed Library Los Angeles Introduction

Concept

1GA

R A T I O N A L C H A O S

DESIGNSTUDIO Transformed Library Los Angeles Introduction

Concept

1GA

R A T I O N A L C H A O S

DESIGNSTUDIO Transformed Library Los Angeles Introduction

Concept

1GA

R A T I O N A L C H A O S

DESIGNSTUDIO Transformed Library Los Angeles Introduction

Concept

1GA

R A T I O N A L C H A O S

DESIGNSTUDIO Transformed Library Los Angeles Introduction

Concept

1GA

R A T I O N A L C H A O S DESIGNSTUDIO Transformed Library Los Angeles Introduction

Concept

So base on the transformation of the matrix, i have my white pouch model which all the individual cell was cut in different way. Moreover, I have three grids gained from the transformation: a hexagon, a square, and a rectangular. By learning from the how the construction lines define the boundary of the plan of the Baroque church, my abstract diagram started from the overlapping of three geometric systems interacted to each other. From the lower action on the left and getting dense to the right, the formal shape was hidden in the grids and the new boundary imply the edge of the geometry. The wireframe model is the 3 dimensional representation of the abstract digram, with the same plan and the side was the different elevations of the pouch model. Relevant to each other but formed in totally different ways, the white pouch model which apply large opening space, and the wireframe model which apply the intensive space, started to create the real space of the library. Apparently, the result became hard to trace and brought strong visual chaos, no one can read the system from the beginning, however, there is a strong logic leading through the entire project and each of the step is following to the previous one. The professional eyes which was trained under the linear dualism should start to realize: there are millions of factors behind a chaotic appearance, itâ&#x20AC;&#x2122;s waiting for being developed.

1GA

R A T I O N A L C H A O S DESIGNSTUDIO Transformed Library Los Angeles Introduction

1GA

R A T I O N A L C H A O S

DESIGNSTUDIO Transformed Library Los Angeles Introduction

ABSTRUCT DIAGRAM

1GA

R A T I O N A L C H A O S

Concept

DESIGNSTUDIO Transformed Library Los Angeles Introduction

1GA

R A T I O N A L C H A O S

DESIGNSTUDIO Transformed Library Los Angeles Introduction

MODEL

1GA

R A T I O N A L C H A O S DESIGNSTUDIO Transformed Library Los Angeles Introduction

1GA

R A T I O N A L C H A O S

PROGRAM DIAGRAM

DESIGNSTUDIO Transformed Library Los Angeles

1. 2. 3. 4. 5. 6. 7.

ENTRY FRIEND’S ROOM BOOK’S DROP MEETING ROOM RESTROOM COUMMUNICATION ROOM CIRCULATION DESK

8. LIBRARY OFFICE 9. WORK ROOM 10. STORGE 11. JANITOR’S CLOSET 12. STAFF’S LOUNGE 13. ELECTRICAL ROOM 14. STAFF’S RESTROOM

15. CHILDREN’S COLLECTION 16. CHILDREN’S READING AREA 17. ADULT’S READING AREA 18. ADULT’S COLLECTION 19. YOUNG ADULT’S CO;LLECTION 20. REFERENCE DESK 21. COURTYARD

1GA

R A T I O N A L C H A O S

Concept

DESIGNSTUDIO Transformed Library Los Angeles

1GA

R A T I O N A L C H A O S

DESIGNSTUDIO Transformed Library Los Angeles Introduction

PLAN

1GA

R A T I O N A L C H A O S DESIGNSTUDIO Transformed Library Los Angeles

1GA

R A T I O N A L C H A O S

SECTION

DESIGNSTUDIO Transformed Library Los Angeles

1GA

R A T I O N A L C H A O S

Concept

DESIGNSTUDIO Transformed Library Los Angeles

1GB

P R O J E C T I O N P & F V I S U A L S T U D Y Roman Royal Letter

1GB

P R O J E C T I O N P & F

CONCEPT

V I S U A L S T U D Y Roman Royal Letter

The project started from finding the construction line for the Roman Royal letter(lowercase “f”) and transformed it partially. Then matching to the transformed letter to another one with the similar proportion (lowercase “p”) and grid to do the projection, represented the volumes and spatial quality of the projection. Then second stage of the class is rendering and printing. The projection was rendered by different affection, the three dimensional quality of the image was traced by the gradient and divided into different parts, then using vector line to represent the different affection, merged the letter into background.

1GB

P R O J E C T I O N P & F V I S U A L S T U D Y Roman Royal Letter

1GB

P R O J E C T I O N P & F V I S U A L S T U D Y Roman Royal Letter

ORINGINAL LETTER ON GRID

1GB

P R O J E C T I O N P & F V I S U A L S T U D Y Roman Royal Letter

TRANSFORMED LETTER ON GRID

1GB

P R O J E C T I O N P & F V I S U A L S T U D Y Roman Royal Letter

ELEVATION OF PROJECTION

1GB

P R O J E C T I O N P & F V I S U A L S T U D Y Roman Royal Letter

AXON OF PROJECTION

1GA

V C

I O

L I O N L L A G E

V I S U A L S T U D Y Monochrome Represntation

1GA

V C

I O

L I O N L L A G E

V I S U A L S T U D Y Monochrome Represntation Introduction

Concept

1GA

V C

I O

L I O N L L A G E

V I S U A L S T U D Y Monochrome Represntation Introduction

Concept

1GA

V C

I O

L I O N L L A G E

V I S U A L S T U D Y Monochrome Represntation

1GA

V C

I O

L I O N L L A G E

V I S U A L S T U D Y Monochrome Represntation

1GA

V C

I O

L I O N L L A G E

V I S U A L S T U D Y Monochrome Represntation

1GA

V C

I O

L I O N L L A G E

V I S U A L S T U D Y Monochrome Represntation

1GA

M A T E R I A L T E C T O N I C A P P L Y S T U D Y Mock-up Primitive

1GA

HETEROGENEOUS M A T T E R S DESIGNSTUDIO Mock-up Primitive

The

CONCEPT

project

started

from

choose

material

make

subdivision

primitive

fig-

ure in the size between 4”*4”*4”-- 6”*6”*6”, paid attention on the craft and the node design. After individual work was done, each student choose a group and negotiated all the ideas from group members and using at least two materials to build a mock-up composed by two primitive figures.

1GA

M A T E R I A L T E C T O N I C A P P L Y S T U D Y Mock-up Primitive

1GA

HETEROGENEOUS M A T T E R S DESIGNSTUDIO Mock-up Primitive

1GA

M A T E R I A L T E C T O N I C A P P L Y S T U D Y Mock-up Primitive

1GA

HETEROGENEOUS M A T T E R S DESIGNSTUDIO Mock-up Primitive

1GA

M A T E R I A L T E C T O N I C A P P L Y S T U D Y Mock-up Primitive

1GA

HETEROGENEOUS M A T T E R S DESIGNSTUDIO Mock-up Primitive

1GA

M A T E R I A L T E C T O N I C A P P L Y S T U D Y Mock-up Primitive

1GA

HETEROGENEOUS M A T T E R S DESIGNSTUDIO Mock-up Primitive

1GA

M A T E R I A L T E C T O N I C A P P L Y S T U D Y Mock-up Primitive

1GB

D I A L E C T I A L U R B A N I S M CULATURALSTUDY Theater of Rationality Utopian City of Chaux

1GB

Theater of Rationality

ARCHITECTURE H I S T O R Y CULTURALSTUDY Royal Salt Work Age of Enlightenment

--- The Royal Salt Works and the Utopian City of Chaux Claude-Nicolas Ledoux Arc-et-Senans, France 1775-1778

: 1 94

1GB

ARCHITECTURE H I S T O R Y

“Spirtit in will to express

CULTURALSTUDY Royal Salt Work Age of Enlightenment

Can make the great sun seem small

1 Dominique de Menil, 2001. Visionary Architects, page 45, Hennessey & Ingalls, New York

The sun is

2 Ibid, p. 52

Thus the Universe Did we need Bach Bach is Thus music is Did we need Boulle Did we need Ledoux Boullee is Ledoux is Thus Architecture is”

Louis I. Kahn

“... when the surfaces are large enough to engage the mind, when the color of the stone bears comparison to the finest marble, when the viewer’s eye is warmed by these inanimate surface, when the whole, by the freedom of its composition, develops unexpected effects --- when it i that architecture must be free of excess, economy being the first law of art, which allows only what is absolutely necessary.”2

Claude-Nicolas Ledou L’Architecture

: 1 95

1GB

ARCHITECTURE H I S T O R Y CULTURALSTUDY Royal Salt Work Age of Enlightenment

I. Historical Context and Ideology

3 Ian Sutton, Western Architecture, A Survey from Ancient Greek to Present, p.268. Thames &Hudson, New York,1999 4 Barry Bergdoll, European Architecture 1750 -1890, p.15. Oxford University Press, New York, 2000 5 Leland Roth, Understanding Architecture: Its Elements, History, And Meaning. p.334, Westview Press, New York, 2006

The history of architecture has been reduced to a bundle of significations, where happened as the rays of light passing through a lens, refocused by the integration of ideas of design. The proposal for architectural design absorbed philosophical context of their age, subsuming it within the development of sensation. The Age of Enlightenment and Industrial Revolution through contemporary period had a different way of thinking on religion and permanence, including the understanding of the changes in social pattern and technology. Architecture after 1750 became self-consciously experimental as never before. The response of architecture required understanding to the explosion of scientific inquiry, not simply into the natural realm, but into humanity itself, invented over the course of the period. Started from the mid-eighteenth century, the Europe-wide movement which is “often referred as the sweepingly labeled Neoclassicism”3, was anything but a revival. The debates over the origins and authority of the Classical Order were given a new impetus by the influence of the analytical inquiry developed by two main accomplishments on scientific which is the revolutionary insight of Newtonian theory, and on the new philosophical social discipline established by Voltaire, Rousseau and other intellectual leaders, shifted the passion from religion to rational and scientific thinking.4

Figure1. Rustic Hut, Frontispiece for the Marc-Abbe Laugier’s Essay on Architecture, Pairs, 17558

the categories of scientific archeology to art and architecture history. The ethos of Neoclassicism was born of the conviction that “architecture might engender a renewal of civic life, even a revival that strong moral fiber of society”5 he admired in ancient Greece. Antiquity resources and Classism on architecture were interpreted in a different way; instead of idolizing the form in Roman period which was already as a copy of the idealism, scholars rediscovered the Greek aesthetics on architecture which meant the advocacy of simplification and .combated Baroque. In the writing of Abbe Marc-Antonie Laugier’s Essay

As the first person who differentiated the concepts

on Architecture, he asserted the important reason of

between Roman, Greek, and Greco-Roman Art, Jo-

divorcing Roman standard of architecture, by inter-

hann Joachim Winckelmann systematically applied

preting the concept of “rustic hut”, which is generally

: 1 96

1GB

ARCHITECTURE H I S T O R Y CULTURALSTUDY Royal Salt Work Age of Enlightenment 6 Alan Braham, The Architecture of the French Enlightenment, p.28. University of California Press, Berkeley and Los Angeles, 1980

7 Jonathan I. Israel, A Revolution of the Mind: Radical Enlightenment and the Intellectual Origins of Modern Democracy, pp.49-50, Princeton Press 2009

mistranslated into primitive hut6. It represented

One of the greatest achievements to architects since

the harmonious proportion and towards a more

the late eighteenth century was the rapid prolifer-

essential truth of structural clarity in architecture,

ation of new building types. Previously, the house,

also embodied in mankind’s first structure by us-

the church, the palace, and small group of utilitarian

ing the rectilinear forms, free-standing columns,

buildings were featured by the list of “program” on

entablature, gabled roof and less ornament. The in-

which architects came to understand the relation-

terpretation of rustic hut became the fundamental

ship between functional requirements and the for-

idea and the paradigm of primary needs of a pu-

mal expression of a building. However, according

rified architectural logic went through the Age of

to the changes of intellectual, technological, and

Enlightenment.7

social structure, the development brought the new demands for public building types. The similar condition happened during the transition from the Greek period to Roman Empire, when the portion of sacred life was shrunk by the increasing of secular entertainment, public bath, market, and retail store engaged more energy on architects. After the industrial revolution created the increasing of population and unprecedented growth of communication, public libraries, hospital, museum, and even more specialized factories started to challenge the architects’ capabilities. growth of communication, public libraries, hospital, museum, and even more specialized factories started to challenge the architects’ capabilities. Many of the new building types had earlier been settled within palace or monastery complexes, but for now, the first time they were to be treated as free-standing building and given a new form appropriately. In order to bring those buildings to a broader audience --- the city --- “architects sought to decompose the existing traditions into elemental units which might be reorganized as the new future demands”9, and to create a new meaning for the existing form.

: 1 97

1GB

ARCHITECTURE H I S T O R Y

II. General Information

CULTURALSTUDY Royal Salt Work Age of Enlightenment

i. Architect

9 Marian Moffett, Michael W. Fazio, Lawrence Wodehouse, A World History of Architecture, p.387, McGraw-Hill, 2004 10 E. Kaufmann, Three Revolutionary Architects: Boullée, Ledoux, and Lequeu. p. 85 Philadelphia, American Philosophical Society, 1952 11 Barry Bergdoll, European Architecture 1750 -1890, p.97. Oxford University Press, New York,2000 12 Christin W. Thomsen, Visionary Architecture, From Babylon to Virtual Reality, p.56, Prestel-Verlag, Munich, Germany,1994 13 Anthony Vidler, Claude-Nicolas Ledoux, Architecture and Social Reform at the End of the Ancien Régime, Cambridge and London, 1990 14 Ibid, p.47 15 Marian Moffett, Michael W. Fazio, Lawrence Wodehouse, A World History of Architecture, p. 382, McGraw-Hill,2004 16 Anthony Vidler, Claude-Nicolas Ledoux: Architect of the Revolution Between Vision and Utopia, p. 47, Birkhauser, Boston,2006

Claude-Nicolas Ledoux, as one of the greatest architects in his generation, triumphed over the obstacles by the active perseverance, accomplished

The salt works project begun in 1775 between the

the extraordinary range of his competence in his

small villages of Arc and Senans in the eastern of

works in every conceivable genre. Associated with

France, not far from the Swiss border. There were two

early Antiquity with simplicity and freedom, his rep-

version of the project, in the first one Ledoux spent

resentation on architecture is a systematic account

enormous energy on designing individual building.

of proportions, or a dissertation upon the principle

The second revised version included the landscape

of convenances. As the true son in the Age of Rea-

and surrounding environment, which extended the

son, he created an architecture of pure elemental

project to an ideal town rather than an architectur-

form expressing function which would be addressed

al complex. It represents the increasing attention in

as the “speaking architecture”10, or the concept of

the 18th century Europe where architects were giving

“architecture parlante”. The term coined by architec-

the form of building scale to urban scale, especially

tural historian to deride one’s interest in the “overall

on developing the city into an ideal industrial com-

architectural form as well as the rhetorical power of

munity. The buildings were arranged to enclose an

ornamental elements”11, was carefully processed to

oval, a form that Ledoux choose because it was “as

speak the purpose of the structure or their function.

pure as that of the sun in its course.”13 of the ring,

Like Boullee and other “visionary architects”12, Le-

At the center of the oval plan, the series of build-

doux experimented tirelessly with the sensationalist

ings were constructed to a more organic appearance.

proposition that architecture spoke directly to the

Extended the radians as a linear assembly line: the

emotions and the soul through the eyes. His most

house of the administrator in the central pointed,

famous work in his late career, the Royal Saltworks

flanked by the reduction building, where the brine

at Chaux, is one of the best examples of seeking to

pumped up from the salt mines was boiled down to

meaning of expression in architectural design.

salt. Around those workshops in the oval ring and framing as a communal park, the residential apart-

ii. The Project

ments for the workers identified the boundary of the town. The gardens in rear yards softened the

Following up on the anti-Baroque tendencies within

pure geometric shape in plan to a more organic

neoclassicism and dropping all the camouflage and

appearance. Extended the radians of the ring, pub-

décor, Ledoux endowed each of his project with a

lic facility like markets, recreational gardens and

monumental, ideal character even on country house,

open farmland formed a green belt for the utopia

or commercial building such as the salt work.

“might have been intended for Plato’s Republic”14.

: 1 98

1GB

ARCHITECTURE H I S T O R Y

III. Inspirations from Early Examples

CULTURALSTUDY Royal Salt Work Age of Enlightenment

i. The Plan

9 Marian Moffett, Michael W. Fazio, Lawrence Wodehouse, A World History of Architecture, p.387, McGraw-Hill, 2004

First of all, the planning of the town was influenced formally by the city of Palma Nova in Renaissance,

10 E. Kaufmann, Three Revolutionary Architects: Boullée, Ledoux, and Lequeu. p. 85 Philadelphia, American Philosophical Society, 1952

and ideologically could be considered as the prede-

11 Barry Bergdoll, European Architecture 1750 -1890, p.97. Oxford University Press, New York,2000

cessor of the Garden City. Palma Nova is a city in Italy built following the ideals of Renaissance standard.

12 Christin W. Thomsen, Visionary Architecture, From Babylon to Virtual Reality, p.56, Prestel-Verlag, Munich, Germany,1994

It’s a concentric city with three nice sided ring roads intersecting in the main military radiating streets, functionally organized as a citadel. Established around defense, the zoning area undermined successfully urban environment17. Chaux city was built Firgure2. City plan of Palma Nova, Italy, 1572-1680 15

First of all, the planning of the town was influenced formally by the city of Palma Nova in Renaissance, and ideologically could be considered as the predecessor of the Garden City. Palma Nova is a city in Italy built following the ideals of Renaissance standard. It’s a concentric city with three nice sided ring roads intersecting in the main military radiating streets, functionally organized as a citadel. Established around defense, the zoning area undermined successfully urban environment17. Chaux city was built around salt produced area, which meant an ideal city

around salt produced area, which meant an ideal city now is a working community rather than a military stronghold. Moreover, the working city was protected by wall which was symbolized as the protection for the source of wealth. The sidewalks symmetrically crossed the plan, extending to the surrounding area also reflected that the city couldn’t held so much salt even the walls can’t contain it. The module of ideal city changed by the functional demand, which represented the advanced step in human history: instead of fighting and plunder, producing became the most important method to create a better life18.

now is a working community rather than a military stronghold. Moreover, the working city was protected by wall which was symbolized as the protection for the source of wealth. The sidewalks symmetrically crossed the plan, extending to the surrounding area also reflected that the city couldn’t held so much salt even the walls can’t contain it. The module of ideal city changed by the functional demand, which represented the advanced step in human history: instead of fighting and plunder, producing became the most important method to create a better life18.

: 1 99

Figure 4. Temple of Paestum, Campania, Italy, 7th century BC 19

1GB

ARCHITECTURE H I S T O R Y CULTURALSTUDY Royal Salt Work Age of Enlightenment 19 Marian Moffett, Michael W. Fazio, Lawrence Wodehouse, A World History of Architecture, p. 382, McGraw-Hill, 2004 20 Barbara A. Barletta, The Origins of the Greek Architecture Order, p. 103, Cambridge University Press, Cambridge, 2009 21 R.A. Tomlinson, A. W. Lawnrence, Greek Architecture, p.128, Yale University Press, New Heaven, 1996 22 Anthony Vidler, Claude-Nicolas Ledoux: Architect of the Revolution Between Vision and Utopia, p.46, Birkhauser, Boston,2006

ii. The Columns

rusticated motif with the dramatic simplicity of the primitive Doric, Ledoux was directly and self-con-

The other reference to classic antiquity is the Reviv-

sciously countering the prevailing code of luxury and

al of Doric order in most of the buildings in Chaux.

convenance. He recalled that the king Louis XV was

Similar to the Temple of Poseidon in Paestum, Italy21,

offended by this overturning of the representational

the Greek columns boldly silhouetted against the

columns and asking “why so many columns- they are

sky, which powerfully demonstrated the properties

only suitable for temples and royal palaces?”22 In jus-

of load and support, in cooperated with the ideas

tification Ledoux explained those columns couldn’t

of Ledoux’s “Speaking Architecture”. In the temple

be found in churches or royal places due to their

where the roof had been supported, there were

uniqueness.

superimposed columns on atop the other. In the gateway four giant columns defended the entry, and the house of director twenty four others supported

iii. The Façade of the Factory

three covered porches to the rear, the alliance of the columns is massive and austere, which is an arche-

Another example of borrowing from the predeces-

typal motif of neoclassicism. Attempted to adapt the

sor’s representation is the design of salt-extracting

Figure 5. Front elevation, House of the Director

: 2 00

1GB

ARCHITECTURE H I S T O R Y CULTURALSTUDY Royal Salt Work Age of Enlightenment 23 Allan Braham, The Architecture of the French Enlightenment, p.182. University of California Press, Berkeley and Los Angeles, 19980 24 Michel Gallet, Claude-Nicolas Ledoux (1736–1806), p. 49, Picard, Paris,1980 25 Ibid, p. 159 26 Marian Moffett, Michael W. Fazio, Lawrence Wodehouse, A World History of Architecture, p. 307, McGraw-Hill, 2004

Figure 7. Factory of the Royal Saltwork.24

buildings flanked by the house of director, the elevations recall the early Renaissance in France and its sources in north Italian Mannerism, in the work of Serlio and Giulio Romano25. A sovereign state in miniature, the factory is so expressive of austere primitive strength had been led astray by irrational dreams of lost classical world. The huge sloped roof, the rustic bricks on the façade, the broken arch and the flat pliaster address to the precise quotations of the courtyard of Palazzo del Te in Mantua, Italy26. In Romano’s façade, the heavy Doric columns support parts of the architrave and frieze with triglyphs dropped down. It’s unclear whether the effects was intended to shock or amuse in the Mannerism, however in Ledoux’s work the feature of heavy rustication created extreme contrasts and a sense of ambiguity and tension to the factory, his purpose was clear . The conscious expression thereby evoked the unusual character of the buildings, represented the place as the center of production.27

Figure 6. Courtyard of Palazzo del Te, Mantua, Italy23

and canals in the contemporary age, it was still more efficient to assemble labors at the rural sites where near to the natural resources. The development of the location in Ledoux’s project was not only established a model factory which just serve as a prototype, but also a self-sufficient town in which workers would be settled adjacent to their place of work. Ledoux expanded both the design and its social programme. Respected to economics and trade, labor and recreation, the arrangement of the city served itself as a self-satisfied union and put the disposition

IV. The Revised City Plan

of each building in the best possible relationship to one another, combined a fanatic concern for detail

The salt was a precious commodity in Ancien Re-

with a tendency to the universal, linking garden-city

gime28, normally was controlled by the royal monop-

ideas with the infinities of the cosmos. The semicir-

oly, also showing the logic of industrial production.

cular core of salt works exploited the syntax of sen

: 2 01

1GB

ARCHITECTURE H I S T O R Y CULTURALSTUDY Royal Salt Work Age of Enlightenment 28 “Ancien Regime was the monarchic, aristocratic, social and political system established in the Kingdom of France from approximately the 15th century until the later 18th century (“early modern France”) under the late Valois and Bourbon dynasties. The administrative and social structures of the Ancien Régime were the result of years of state-building, legislative acts (like the Ordinance of Villers-Cotterêts), internal conflicts and civil wars, but they remained a confusing patchwork of local privilege and historic differences until the French Revolution ended the system.” Roche, Daniel, 1998. France in the Enlightenment wide-ranging history 1700-1789, p. 203, Cambridge University Press, Cambridge, 1998 29 E. Kaufmann, Three Revolutionary Architects: Boullée, Ledoux, and Lequeu. p. 534, Philadelphia, American Philosophical Society, 1952

satisfied union and put the disposition of each build-

and those pavilions from the one-floor wings are

ing in the best possible relationship to one another,

distinguished by quoined angles. The main entrance

combined a fanatic concern for detail with a tenden-

is marked by a portico with four ringed column, the

cy to the universal, linking garden-city ideas with the

geometrical layout is masked by a conventional front

infinities of the cosmos. The semicircular core of salt

with a dominant center and subordinated sides.

works exploited the syntax of sensationalism and the

The practical disposition is in a conventional order:

association of ideas, in order to imagine a precise

the forefront contains the gateway, flanked by the

physiognomy for the most diverse building.

apartments of the director and the employees; the

“The specific links between Enlightenment debates

left corner pavilion houses the circular chapel with

on reforming theatrical space and the abrupt change

the altar in its center, that to the right, the bakery.

in plan, revised the shape of Chaux from a square

The wings and the pavilion of the lateral fronts in-

cloister-like scheme to a great half- circular open

cluded homes of the workers. Rooms were destined

space”.29 Flanked by an arc of residential and service

for the fabrication located in the rear, the center of

building facing the salt production, the director’s

the court is marked by a fountain which referred to

house set along the diameter and demonstrated the

the typical feature of Byzantine basilica.30The king

importance of the inspector. In the first project of the

rejected the project because he objected to the ex-

salt works, all the houses coherently arranged around

tensive use of columns and thought the designed

a square court, with bordering alleys forming out the

recalled traditional communal building. In his own

square. Inside of the court, diagonal corridors served

critical review, Ledoux noted that the plan had been

as additional communications between the central

too centralized, unhygienic and easily to catch fire.

pavilions. The pattern of the ground plan is strictly

In the revised second plan, the medieval image of

geometrical within a plain main front, a two-storied

working community was abandoned for the layout

center and those pavilions from the one-floor wings

of the ancient Amphitheatre. Instead of offsetting

are distinguished by quoined angles.

square as the outline of the plan, he decided on using an elliptical arrangement. The major diameter coincides with a stretch of the route leading from the Besancon to the river, the minor forms part of the road connecting the villages Arc and Senans. The choice of the refinement of the plan is not only for the aesthetical satisfaction as a more pure geometry, but also the superior of form would organized the maximize efficiency and productivity. It unified a number of separate pavilions around its periphery and across its rear diameter, always drew the shortest line between any two points. By the same token, the location of the director’s house where in the center

Figure 8. The first project of Saline de Chaux, was rejected by the King in 177231

: 2 02

of the diameter became the focus of the whole plan.

1GB

ARCHITECTURE H I S T O R Y CULTURALSTUDY Royal Salt Work Age of Enlightenment 30 Marian Moffett, Michael W. Fazio, Lawrence Wodehouse, A World History of Architecture, p. 234, McGraw-Hill, 2004 31 E. Kaufmann, Three Revolutionary Architects: Boullée, Ledoux, and Lequeu. p. 534, Philadelphia, American Philosophical Society, 1952 32 Anthony Vidler, Claude-Nicolas Ledoux: Architect of the Revolution Between Vision and Utopia, p.53, Birkhauser, Boston, 2006 33 J.-Ch. Moreux, M. Raval, Claude-Nicolas Ledoux, architecte du Roi, p. 90, Paris, 1954 34 Barry Bergdoll, European Architecture 1750 -1890, p.56, Oxford University Press, New York, 2000 35 E. Kaufmann, Three Revolutionary Architects: Boullée, Ledoux, and Lequeu. p. 542, Philadelphia, American Philosophical Society, 1952

In opposition to the first plan which was open in the

Ledoux and was indignant by the idea that archi-

central building but surrounded by colonnade and

tect wanted put “columns in a factory”34, finally was

enclosed wall, the second plan has a guarded house

convinced by Ledoux. That such a lavish architec-

located in the intersection of the short and long di-

tural gesture was extravagant for a rural factory. It

ameters. Moreover, what had before been a single

was the room of guards, the prison, and the bakery,

factory building, now became broken up into the

also a small attic was concealed on the second floor.

constituent parts of a factory town to take advantage

The embedded archway was hidden behind the col-

of breezes from different quarters. He added a num-

umns and merged into the shade, the façade was

ber of buildings for common use for the apartments

founded by rusticated stone, the dramatic contrast

and workshops fundamentally changing the general

between smooth ashlar wall, the frame of the door

form32. Thoughtfully, Ledoux extrapolated the radi-

and the coarse texture of the archway demonstrated

al line so f his plan to remap and subordinate even

the august feeling of the royal project. With all the

the surrounding territory, “not only creating a series

traditional apparatus of columns, entablature with

of access points”33 but placing his salt factory at the

pediment, the porch of the Gateway has a charac-

crossroads of the natural resources on which it de-

ter of its own. But even those unversed part in the

pended. In addition to the illiterate local population

conventional rhetoric of the classical language would

who would experience the monumental building dai-

be awed by the scale and simple forms, as well as

ly, he addressed a learned audience who could ad-

the professional axial approach, they gave an over-

mire the careful coordination of parts of this complex

whelming air of ceremonial dignity in the open plain

project. In the first project Ledoux conceived the idea

of the landscape. The extremely symmetrical and

without knowledge of the site, after acquired the

block-like mass emerged from lower wings, without

condition of the environment and understood the

window on the walls, is marked more precisely pre-

wide plain site allows for several alternative layouts,

cisely by the urns that punctuate the walls to each

he adjusted it with all the practical necessities.

side of the portico35. The back wall was shaped as a grotto in unhewn rock. All could immediately read the purpose of this building, for those great urns

V. Gateway and Entrance

were carved at regular intervals along the convex outer facade, oozing saline water. In order to enhance the sculptural quality of building, Ledoux re-

The monumental gateway to the salt works featured

sembled the urns design in a more imaginative con-

by four colossal baseless Tuscan columns flanked

text, acting as portholes which suggesting no merely

aside of the porch, directly faced to the audience

the flow of water, but water congealed by the density

with huge staircase or rising stage, which were rec-

of salt. The metaphor of the urns is developed fur-

ognize by the researchers as the appropriate Classi-

ther inside the portico where a low rusticated arch is

cal order for utilitarian buildings, even though many

disrupted by a cavern of natural rock with sculpted

of his contemporaries would argue. Apparently the

spring to each side bubbling forth their water. The

king himself did, he was shocked by the novelty of

grotto is not discordant within the context of the

: 2 03

1GB

ARCHITECTURE H I S T O R Y CULTURALSTUDY Royal Salt Work Age of Enlightenment

classical architecture that encloses it, although its

VI. The House of The Director

ancestry in art is much more influenced by Bernini’s work.36

36 Ibid, p 560 37 R.A. Tomlinson, A. W. Lawnrence, Greek Architecture, p.285, Yale University Press, New Heaven, 1996 38 “Pictorial Realism is the simultaneous ordering of the three great plastic qualities: lines, forms, and color…. for the quality of a pictorial work is in direct relationship with its realistic quality.” Dominic Lopes, “Pictorial Realism”, The Journal of Aesthetics and Art Criticism, June, 1995, pp. 53- 69

Entry leads to the wider central interval of the col-

The importance of the Director’s building was em-

onnade which could be considered as the Athenian

phasized on multiple aspects by location, scale, and

propylaea37, incorporated with the speculation that

format. It lies on the diameter of the plan with the

on the factory as a modern acropolis. Then through a

buildings for the evaporation of the water to each

great apsidal void treated not as a Roman half-dome,

side. The circumference is occupied by the storage

as in so many Neoclassical project, but as an imita-

halls, with the main entrance in the center, directly

tion of a grotto from which more saline water is seen

below the house of the director which shows in the

to emerge. Here the three elements are combined:

section as the basement. It represents the Classism

the classical features, the pseudo-natural Romantic

and Romanticism interfering with the new compo-

finishing, and the new cubism. Ledoux combines two

sitional ideal. The stark geometry of the building

orders of meaning, a daring pushing of the rhetorical

was emphasized by over scaled details, built up of

codes of the Classical language to their extreme of

alternated cylindrical and square blocks of stone. It

expression with a pictorial realism38 --- and explores

was designed more like a public building than as a

the many ways in which the language of architectural

country villa, with its temple portico of giant band-

form communicates both meaning and sentiment.

ed Tuscan columns. Banded columns, which Le-

The spirit of independence created this modernized

doux also used in his later designs for some of the

version of classical models.

Pairs toll-houses, are a rare sight in France though common in Italy in sixteenth-century buildings. The portico has almost entirely lost its traditional character, for the shafts of the columns disappear behind the square drums ringing them. Likewise, the Venetian windows if the upper story is ineffective in the rustication. Compositionally, the Director’s House is thoroughly modern. The upper story is superposed on the lower, one block on top of the other. Ledoux contrasts the masses in shape and size, which makes this performance becoming the most impressive design. The vigorous rustication with its heavy shadows is a means to obtain picturesqueness. The purpose of this arrangement was addressed to the effect of lights, which provided a time that all the detail were over-shadow in a point.

: 2 04

1GB

ARCHITECTURE H I S T O R Y CULTURALSTUDY Royal Salt Work Age of Enlightenment 39 “Intercolumniation is the spacing between columns in a colonnade, as measured at the bottom of their shafts”, Leland Roth, Understanding Architecture: Its Elements, History, And Meaning. p. 260, Westview Press, New York, 2006 40 Ibid, p. 137 41 Harry Francis Mallgrave. Architectural Theory: An Anthology from Vitruvius to1870, p.342, Blackwell Publishing, 2005

The front elevation was characterized as Enlightenment architecture rather than a Renaissance one. Differentiated from the organization of the geometry components in plan and section, Ledoux applied the overall building as a whole geometric mass. Similar to the Newton Memorial designed by Bouelle which as a sphere, the Director’s House manifested the sense of triangularization. The repetition of the triangular shapes in a reducing scale, overlapped on the upper level of the massive bottom, created the image of the building as a rustic pyramid. Another interesting feature of the elevation is the complementariness exists in different elements. Although the shaft of

in the center of the wall supported by two free stand-

the columns lost the sense of circle by showing the

ing Doric columns which is smaller than the two floor

banded shape, there is a circle carved on the center

height exterior columns, with the status of the king

of the pediment on the top to reminder the audience

standing underneath. The structure also show at the

the missing quality of the original columns. There are two levels of elongated windows arrayed on the façade, each row of the window is exactly arranged

other three sides of this room, however, instead of having a status standing in the middle, status of god

in the space of intercolumniation39, which makes the

was removed into the cave on the wall. There is dou-

changing of the rhythm neatly displayed, moreover,

ble roof in this space, underneath the barrel vault,

it intensified the contrast of light and shadow in the

another shallow dome-like ceiling is graved by four

portico. The tension between architecture and ma-

layer of cofferings. From the long section, one would

sonry could well cast a fresh light upon the replacement of classical ordinance, echoed the belief of the existence of a nature ruled by the laws of sensation.

figure out the space is not arranged in the center of the whole building but close to one side. The space

Including the basement, the section

is divided by two large scale spaces --- the hall way

shows the grand interior space. The unique feature

in the front and the public room in the back --- com-

of the interior is the space is not symmetrical in one

posed by a series of small rooms. After entered the

dimension, which distinguished it from other build-

building by the portico, going through the double

ings. The short section more relates to the section of Medieval Basilica, characterized by a barrel vault40 ceiling under the pitched roof and two buttress struc-

floor height hallway and ascending to second floor, the “Roman Temple”41 showing in front of your eyes.

tures on each side. The space is divided into three

Besides the wooden triangle beam on the roof, the

parts horizontally as one large space in the middle

body of the building made out of solid masonry.

plus two equal smaller spaces. The side of the direc-

At the Salt works all the strategies clearly enhance

tor’s house has three floors for each, however, the

the strength and the authority of the director, while

central part of the building is a large public room engages the whole space from the second floor till the top of the building. The upper level of public room

the presence of the pediment within a precinct such as this seems expressive of a degree of the civilized

imitates the interior of the Pantheon, ascending by

administration, also tell us the wealth of the city is

giant staircase, the audience would reach to an arch

based on the rational organization.

: 2 05

1GB

ARCHITECTURE H I S T O R Y CULTURALSTUDY Royal Salt Work Age of Enlightenment 42 “Rousseau affirmed that people were neither good nor bad. In Rousseau’s state of nature, people did not know each other enough, and they did have normal values. The modern society is blamed for blemishing the pure people.” Barry Bergdoll, European Architecture 1750 -1890, p.39. Oxford University Press, New York, 2000

VII. The Surrounding Taking his earlier design as the point of departure for a utopian town, Ledoux filled the woods surrounding the salt works with the institutions needed by a society more complex than a simple company town. Ledoux’s buildings, both by the activities they housed and the messages they conveyed, serve as veritable lessons for a new society set amidst a Rousseauian nature42. Functions that societies had traditionally relied upon for spiritual and material well --- being would be retained, including market halls, a church,

VIII. Conclusion

and multiple dwellings. New functions would occasion explorations of the capacity of architecture to give both form and purpose to unprecedented institutions. In a series of institutions, some prophetic, quixotic, even quirky were giving vent to his deep involvement, like so many late eighteenth century architects, in free masonry imagined architecture as a foundation of social harmony.

The specific form and proportions of the semi-circle indicated Ledou’x overall symbolic aim: the Saline is, literally, to be read as a theater following the outline of the antique amphitheater. As a type and a metaphor, the theatrical plan controlled and “gave the substance to Ledoux’x complex mixture of social and political idealism,” became a fundamental royal form and was crowned as the center of power. Imbued with the new ideal of raising the standards of

Figure 21. Photo of current condition of the façade of the director’s house

the working class, Ledoux wants to promote in his city a new way of life, which will make the inhabitants healthier and happier. He was seeking a design syntax which challenged both the traditional orders of architecture as well as of society. Chaux was to be such a fine-tuned instrument, a city in nature, that it would call forth the highest capacities of human nature. Ledoux himself was putting the finishing touches on his vision of an ideal city, had just successfully appealed that for his ideal city set in nature he drew a blueprint without prison, spoke of no police force, confident to the last that architecture could engender a better world, wisely recommend a plan with practical advantages than with formal ideals.

: 2 06

1GB

ARCHITECTURE H I S T O R Y

Citation:

CULTURALSTUDY Royal Salt Work Age of Enlightenment

1. Ian Sutton, Western Architecture, A Survey from Ancient Greek to Present, Thames &Hudson, New York,1999 2. Barry Bergdoll, European Architecture 1750 -1890, Oxford University Press, New York, 2000 3. Leland Roth, Understanding Architecture: Its Elements, History, And Meaning, Westview Press, New York, 2006 4. Marian Moffett, Michael W. Fazio, Lawrence Wodehouse, A World History of Architecture, McGraw-Hill,2004 5. E. Kaufmann, Three Revolutionary Architects: Boullée, Ledoux, and Lequeu. p. 534, Philadelphia, American Philosophical Society, 1952 6. Alan Braham, The Architecture of the French Enlightenment, University of California Press, Berkeley and Los Angeles, 1980 7. Jonathan I. Israel, A Revolution of the Mind: Radical Enlightenment and the Intellectual Origins of Modern Democracy, Princeton Press 2009 8. Dominique de Menil, 2001. Visionary Architects, Hennessey & Ingalls, New York 9. Christin W. Thomsen, Visionary Architecture, From Babylon to Virtual Reality, Prestel-Verlag, Munich, Germany,1994 10. Anthony Vidler, Claude-Nicolas Ledoux, Architecture and Social Reform at the End of the Ancien Régime, Cambridge and London, 1990 11. Elizabeth Barlow Rogers, Landscape Design: A Cultural and Architectural History, Harry H. Abrams, New York , 2001 12. Michel Gallet, Claude-Nicolas Ledoux (1736–1806), Picard, Paris, 1980 13. Barbara A. Barletta, The Origins of the Greek Architecture Order, Cambridge University Press, Cambridge, 2009 14. R.A. Tomlinson, A. W. Lawnrence, Greek Architecture, Yale University Press, New Heaven, 1996 45 15. Roche, Daniel, 1998. France in the Enlightenment wide-ranging history 1700-1789, p. 203, Cambridge University Press, Cambridge, 1998 16. Garry Steven, 1990. The Reasoning Architect: Mathematics and Science in Design. . McGraw-Hill Professional; New York, 1990 17. J.-Ch. Moreux, M. Raval, Claude-Nicolas Ledoux, architecte du Roi, p. 90, Paris, 1954 18. Harry Francis Mallgrave. Architectural Theory: An Anthology from Vitruvius to1870, p.342, Blackwell Publishing, 2005 19. Svend Eriksen, Early Neo-Classicism in France (London: Faber) Translated by Peter Thornton, 1974 20. Dominic Lopes, “Pictorial Realism”, The Journal of Aesthetics and Art Criticism, June, 1995 21. Saline Royale. Official site from Institut Claude-Nicolas Ledoux 22. Royal Saltworks of Arc-et-Senans at UNESCO.org 23. Royal Saltworks at Arc-et-Senans at the archINFORM database

: 2 07

thesis statement

“ ... but the more closely we watch ourselves, the more certainly we will discover that we cannot experience alternative readings at the same time...you cannot see the one without obliterating the other.” --- E.H. Gombrich, Art and Ilusion

The progression of history in contemporary language has the bifurcated view of nonlinear perspective, which has been accepted by visual professional through interacting with digital tool and creating the heterogeneous form or pattern. It cooperates with the realization that human behavior inherently inform the existing world as a dynamic, highly interconnected and self-adaptive system, nonetheless, it’s hard to trace how the intelligible representation becomes unrecognizable. Proposing a interpretation to this question would be the topic of my thesis. I will create a complex form/pattern through interwinding several systems, then rather than expanding it, do a close reading to that form/patterns and demonstrate those moments when “a same singularity may be said to trigger two very different self-organizing effects”( Manuel de Landa, War in the Age of Intelligent Machines).