ASSIGNMENT 7
PORTFOLIO BY ZIKAI WANG 760549 1. SITE 2. SPATIAL COMPOSITION 3. LANDFORMING 4. ASSEMBLAGE 5. Spatio-Temporal Narrative 6. SUPERPOSITION collage 7. EXPERIENCE collage 8. FINAL PROJECT
9am
10
11
12
1
2
3
4
5
6
zz
`
1 SITE c Left. This temporal diagram, inspired by the Yokohama Master Plan proposal by OMA, shows intensity of use over time. It shows a 12PM peak hour, as well as a smaller peak around 9PM, of people on their phones or buying coffee.
Right. Three gradient maps show how intensity of site use changes over time. A farmer’s market that day attracted a larger crowd.
Low
High
Right. This spatial composition model attempts to reduce the metaphor of a tree to an unconventional frame of elliptical and inverted ‘L’ elements. The grouping of the ‘L’s contrasts density and transparency of its two ends.
Below. This development concept is inspired by the imperfections of a gnarled tree.
2
SPATIAL c COMPOSITION
3 LANDFORM c c
Left. This landform model responds to the brief’s requirement to explore the extrusion/subtraction technique by drawing initial inspiration from the collision of tectonic plates (below, second from the right), wherein the heavier plate is forced under the lighter, forming a valley. Below far right. The idea then adapts the fluidity of a tsunami wave, and how water rushes away from the shore to come back as a wave. The sectional view of this phenomenon provides the primary gesture or force, which enforces unity to the whole form. Below left. The result is parted along the middle axis, with a path, which allows one to enter the wave landform, and appreciate the mass and kinetic potential of the wave. Below. The physical model is constructed of foam core sections.
4 ASSEMBLAGE c c
Above. By unwrapping the wire frame of the spatial composition model, and fragmenting the landform model, the basic elements of the assemblage model are derived.
‘Grafting’ is invoked by threading the wire through the foam core volumes, which suspends them in a curvilinear path. In turn, the weight of the volumes keeps the wire frame taut. This recombination of interpenetrating forms opens up a third condition, a new balance.
5 c
COLLAGE SPATIOTEMPORAL
NARRATIVE Post-digital-revolution, us second generation global citizens are as well informed and opinionated as ever. Fatigue with online forums led to a new platform for healthy face-to-face debate, about all the world’s problems. Word passes on social media, that this week’s street-debate will be held under the abandoned bus station. Stage-lights set the atmosphere, a circular stage establishes a ‘ground datum’, and the crowd provide a suitable ‘wall’. The MC introduces the first speaker, and the crowd settles - momentarily.
SUPERIMPOSITION 6 c c Below. This second collage uses ‘orbit’ as an organisational strategy; the various cut-outs from the last three assignments collide, form clusters, and have the lighter elements spun out in centrifugal manner.
The circular masses are luminaires, which invite guests. Monoliths delineating a circular boundary, blocking out distractions to encourage an intimate atmosphere.
7 EXPERIENCE c Below. This section interprets the superimposition collage as an amphitheatre. The monoliths are finished in different kinds of bark and timbers, to create a comfortable, textured and secure environment, like a nest.
The idea behind the monolith second from the right, made out of bamboo lattice, is to produce a dappled light like that found in a bamboo grove.
8 FINAL PROJECT c Below. The section and plan make a few changes to the experience section. The luminaires are no longer glass, but timber, to provide cohesive tie to the monoliths. The hill landform into which the amphitheatre is sunken, adds a new dimension of ‘approach’ to the site. Most visitors would approach from behind the site, and so all but the tips of the monoliths would be hidden by the gentle curve of the hill landform. This way, the amphitheatre’s presence is gently revealed, which ties into the idea of the amphitheatre as a comfortable place for semi-formal debate.
Above. The resolved site can be described as a low hill, into which seating is sunken. The luminaires draw people closer. Bark monoliths reinforce the sense of a boundary-place, add drama, and focus attention inwards.
PROGRAM by Zikai Wang