ZIFAN LIU 刘子凡 / email@example.com
SCI-ARC / M.ARCH
NEW YORK / SHANGHAI
AHEAD OF THINKING AND BEHIND APPEARANCE
New Contemporary Art Museum
Being an important economic center, as the capital of Argentina, its architecture is a combination of different styles which gives it a unique architecture beauty. In the new, fast-placed globalized information age a single iconic image would be inadequate. A !@#$%^&* is more appropriate to celebrate/ capture the fluid reality of today's eclectic immersive experience. This new contemporary art museum can be consider as a mass that could suggest many figures. This kind of figure assemblies is a way to indicate or reflect the city's diversity. It will be different to each visitor and from each point of view. Encouraging the broadest possible range of interpretation by avoiding a simple subscription to any one.
An Incongruous Assembly
SCIARC GRADUATE THESIS / 2011 SUMMER
Instructor: Marcelo Spina
The majority of contemporary architecture is interested in concretizing a certain idea of form. While almost every attempt of making architecture seems Largely rely on either a typology of shapes or a rhetoric of complex geometry. It has become a mechanism of control in contemporary architecture design. No matter how sophisticated the techniques are, the form still exists as an underlying framework, static and rational.
In my thesis, I propose a more expressive, decidedly intuitive way to abstract and dilute the ideas through letting go the control of the overall form but exploit the unintentional and exaggerate it through unreasonable fantasy. Indulge the overwhelming and unrelated strands of thoughts can lead to the absurd and maybe if possible, an unpredictable assembly as an outcome.
Instead of balanced, elegant and skillful , I want to produce disproportionate, absurd and raw as a unique sensibility to both the content and the form. yet still in a very sentimental context.
CUMULATIVE MASS AND INTERSTITIAL NETWORKS
West Hollywood Public Library
Instructor: Marcelo Spina
Long concerned with the articulation of form by means of volume to mass, and way beyond a contemporary threshold of hyper articulation, the discipline seems to be at a critical juncture by having to choose between polar opposites: to continue the search for more complexity via the willful sculpting of soft surface, or to return to a fundamental purity by the articulation of simple platonic volumes.
The problem with figuration in contemporary design is not excess itself, but the erasure of actual and perceivable figure as a result. can figuration be attained at the level of mass and volume without defaulting into fragmentation and collage? what is wrong with collage in the first place?
Turning its attention towards both primitive and figure, the studio's intention is to generate new cumulative mass and interstitial networks. based on a simple logic of aggregation and growth of self-similar primitives, their formal accretion will promote a diversely unified spatial atmosphere that defy the distinction between holistic and discrete, figure and figuration. with emerging and ever-shifting number of massing configurations, group outlines and individual silhouettes as possible outcome.
Consequently, the studio aims to challenge classical conventions of typological composition not by completely disregarding type, but by evolving its DNA through mathematically based and intuition driven formal operations. "figuring math" is as much about the mathematics of form and materials as it is about the necessary intuition associated to their formation. To be very clear, the studio is not interested in a dogmatic or pseudoscientific reliance on modular self-similar structures and their consequent formally stable mathematical expression, but in a rigorous and playful examination of these systems and their capacity to instigate the appearance of new, unseen or even rare forms of expressions that are themselves embedded with a deep underlying order.
omotasando fashion museum
this design is an research and study of having a project of lines instead of a project of surfaces. The super dense refers to the city context, the contrast between the building and the surrounding, the program and the challenge of how to create a space built by lines. Beyond the boundary of the structure, membranes or envelopes, this design merges them together while providing an efficient space in the dense of tokyo. The thickens of the strings wall create an buffer space from the outside, it also support itself as well as the lateral force of the building and provide a column-free space for the museum. its not a surface, but it create a strong felling of surface by having a super dense pattern and hierarchies.
the strings system describes how the pattern transfer from the facade into the building and depart the space. Also it shows a serial of variations in terms of scripting to generate different patterns. We used different methods to control it ranges from density, orientation, thickness or color. We could control the density or the thickness in order to create a pattern of more or less transparency or even a solid facade to response the environmental interaction. We designed the way that the strings were generated and build the bounding box as a volume to contain the strings. The unpredictability of the scripting create variations of density in certain area and some part of it just fade out and become the access between different spaces. More particular for this project, it is more important to research how to apply the technique scripting-wield onto the integrated building rather than explore how the strings could operate architecturally.