Designed Chronologically Emergence_ Qi Su_Case Study
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Transcript of Designed Chronologically Emergence_ Qi Su_Case Study
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DESIGNED EMERGENCE
It is not time || space. but time && space...
It is about transformation...
It is about interaction...
It is about design...
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BLUR
R&Sie
Realisation of Tourism design on a bank of a
wild river, rst step production of a prototype on 5000
m2 in 1997, the site of Vianne
Scenario :
1) Realisation of a roof in plastic like a oatingjellysh in trees
2) Waiting the rising of the river.
3) Using this design like a metaphoric lter of
pollution.
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We lost it
R&Sie
A report from Bruce Sterling / 2030 ;
Thirty long years had overpassed our rolling
globe since the unveiling of Roches legendary web-
house. The inspector and I almost missed the place,
which was, of course, the architects original intention.
I stroked the cracked screen of my vintage
iPhone. The GPS coordinates of this structure seem
to have been deliberately mis-allocated.
Typical, sniffed the inspector.
I knew the place from photos, but not from re-
cent ones. The sturdy poles were moss-eaten, their
guywires festooned with vines, and the trees on thesite had grown huge. Given that the plastic mesh
was integrated into the forest, the web-house was all
parabolic arcs and delirious sagging. Much-stained
by years of fallen foliage, the structure had the spotty
look of forest camou. An army could have marched
by it and never seen a thing. The inspector hefted her
tricorder. Aging plastics tend to offgas, she sniffed.Locating the entrance with difculty, we entered the
dense fabric maze. The visual effect was literally in-
describable, a fact I attributed to the stark exhaustion
of conventional architectural rhetoric. Visionary inter-
ventions of this sort were sadly rare during the cultur-
ally retrograde epoch of the War on Terror.
The inspectors face soured. English was not
her rst language.
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Worse yet, the regulatory environment was so
rigid and harsh that Francois Roche was forced to dis-
guise his ingenious designs as conceptual-art instal-
lations.
I *love* conceptual art, the inspector insisted,
wincing.
The sun was setting. Faithful solar-charged
globes icked on. We emerged from the glowing laby-
rinth to confront a drained swimming pool. Tres J.G.
Ballard, I remarked, but the inspector wasnt having
any of that.
The original owner had kept the place in good
shape, but then it had passed into the hands of thecreature who made it notorious: one Novalis Nico, the
Spider of Geneva, a legendary Swiss currency spec-
ulator. Nico had holed-up for years in these forests of
southern France, hunched over his busy laptop. When
not obsessively collecting glamour photos of high-tech
street junk, the reclusive mogul used thousands of
sock-puppet fake identities to pervert the seething ru-mors in investment weblogs.
So, with one Fantomas - Mabuse stroke of
hacker cunning, Nico could send the Euro spinning
right out of control. Within this lair he had reaped
heaps of electronic wealth beyond the dreams of 20th-
century mankind.
Except for the many rusting satellite dishes,
Nicos long, secretive haunt hadnt much affected the
vicinity. The dead zillionaires wealth had always been
entirely virtual. Hed sold off the original owners tasteli
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fully minimalist furniture and replaced it all with
inatable chairs. Their deated rags draped every
room, like discolored pools of hippie candle-wax.
It looks very pop-up in here, I told the
inspector.Its very plug-in city.
The inspector brushed dead leaves from her
padded shoulders. I think I smell bats.
Come on, you cant mix bats and e-commerce
fanatics.
The inspector examined her tricorder. That
guano gives off a denite spectral emission. She
pursed her lips and scanned the walls and oors with
her radar nozzle. At least the structural members arestill sound.
So youre really gonna let the new buyer live
here?
She took offense. It is not up to me to declare
that!
Im not a housing dictator! Im just a simple, ev-
erydayEnvironmental Sustainability Inspector from the
Heritage Bureau of the Euro-Parliamentary Commis-
sion for the Regulation of the Creative-Economy.
I gazed around the sleekly barren cells where
the Spider had passed his days, weeks, years. It had
taken four or ve years for mankind to even realize the
guy was dead; hed lurked inside here with profound
success, and his automated trading systems had
given him veritable Osama bin Laden global-media
brand-extension.
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Who had dared to penetrate the legendary
web-house?
Anybody? Until just now?
I set my heavy backpack on the curving stairs.
Well darling, I told her, this is where we nally cel-
ebrate our secret love
Bruce Stirling, 2007
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Hybrid Muscle
R&Sie + Philippe Parreno
Construction of a work and exhibition space
that would generate its own electricity and thus be un-
plugged from the power grid. Private commission.
Scenario :
1) Construction of an animal engine driven by
the muscle power of a pachyderm. Storage of the me-chanical energy through the lifting of a two-tonne steel
counterweight. Transformation of the mechanical en-
ergy into electrical energy. To power ten light bulbs,
laptop, cell phones.
2) Natural ventilation through the quivering of
the facade leafs made of sheets of elastomer that
work in the same way as temporary shelters made ofteak leaves.
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Hybrid Muscle
His feet thrust deep under the ears of his
pachyderm, Picha starts up the Land electric genera-
tor, as he does every morning. The concrete batter-
ies are run down. Too much laptop and the beating
of wings last night. An elephant keeper as long as hecan remember, partnered for life with his animal, to-
gether they emigrated to this former Thai rice eld that
has become Rirkrit Tiravanija Land, his experimental
Weissenhof.
In front of them is a structure made of still-inert
plastic leaves holding a 20-tonne concrete counter-weight, hanging vertically like clothes in a European
miners locker room. Their job: to lift them patiently, one
by one, using a system of cables and pulleys, moving
with animal slowness. Thus muscular energy (2,000
w/h) is transferred, stored and released, transformed,
by means of a dynamo, into electrical energy. This
endless cycle from elephant to structure to gravity andthen to energy compresses or frees interior space, in
rhythm with the occupation of the Land and the move-
ment of the counterweight platform.
Nothing could be further from monomaniacal
planning that would seek the development and inner-
vation of a territory using the expected tools of domi-
nation and tabula rasa. On the contrary, this project
introduces a relational mode with the local animals. It-
not just an accident that this pachyderm all by himself
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supplies the Land electrical needs and that ar-
chitecture is the vector. This anthroposophic process
that makes currents and the modes of exchange vis-
ible proles architecture as a situational contingency
with no exotic imports other than its scripting.
The auteur of this project is schizoid and bi-cephalic: PPR&Sie. He is miscible with two specic
elds, art and architecture, and cannot put himself for-
ward except through this turbid, hybrid identity.
At a time when artifacts go from Elle Magazine
to Wall Paper Design, this concept of auteur has never
been so incisive as when the creative artist draped in
his charismatic isolation (Duchamp star) turned into apostmodern creative director (Jean Nouvel), introduc-
ing a constant and recurrent recycling of models, like
Pong on speed. Stories and narratives have become
interchangeable, reproducible and autophagic. This is
even one of the necessary conditions for contempo-
rary cultural consumption as a component of the free-
market system.The narrative echo, a kind of amplication by
means of a borrowed model, thus transforms all con-
textual thought into a simple citational opportunist.
The fruit was already infected by he postmod-
ern virus when a De Stijl architect, Rietvelt, faceted
Mondrian world in 3D, and when his successor, Does-
burg, a decorative counterfeiter, covered his buildings
with it, thus de facto heralding the YSL dress of the
same name
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Sound Architecture
Zimoun
Using simple and functional components, Zi-
moun builds architecturally-minded platforms of sound.
Exploring mechanical rhythm and ow in prepared
systems, his installations incorporate commonplace
industrial objects. In an obsessive display of simple
and functional materials, these works articulate a ten-sion between the orderly patterns of Modernism and
the chaotic forces of life. Carrying an emotional depth,
the acoustic hum of natural phenomena in Zimouns
minimalist constructions effortlessly reverberates.
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A History of the Sky
Ken Murphy
Time-lapse movies are compelling because
they give us a glimpse of events that are continually
occurring around us, but at a rate normally far too slow
to for us to observe directly. A History of the Sky en-
ables the viewer to appreciate the rhythms of weather,
the lengthening and shortening of days, and other at-mospheric events on an immediate aesthetic level: the
clouds, fog, wind, and rain form a rich visual texture,
and sunrises and sunsets cascade across the screen.
This is a work in progress. Currently, an image
of the sky is being captured every 10 seconds from a
camera installed on the roof of the Exploratorium, on
the edge of San Francisco Bay. The images collectedover each 24-hour period are assembled into a 6 min-
ute movie (at 24 frames/second).
The nal piece will consist of a large projected
grid of 365 movies, each representing one day of the
year, and cycling in parallel through consecutive 24-
hour periods. The viewer can stand back and observe
the atmospheric phenomena of an entire year in just
a few minutes, or approach the piece to focus on a
particular day.
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Winchester House
Sarah Winchester
Although this is disputed, popular belief holds
that the Boston Medium told Winchester that she had
to leave her home in New Haven and travel West,
where she must build a home for yourself and for the
spirits who have fallen from this terrible weapon, too.
You must never stop building the house. If you con-tinue building, you will live forever. But if you stop, then
you will die.
Winchester left her New Haven home and
headed for California. In 1884 she purchased an un-
nished farm in Santa Clara Valley, and began build-
ing her mansion. Carpenters were hired and worked
on the house day and night until it became a sevenstory mansion.
The June 1937 issue of Modern Mechanix re-
lates the story from then-current accounts as follows:
Winchester and the baby girl died suddenly and Mrs
Winchester, stunned by the tragedy, fell into a coma
so serious that physicians despaired of her life.
Finally she recovered and, at a friends sug-
gestion, visited a medium. During a sance, accord-
ing to those familiar with her story, she received a
communication from her dead husband in which he
said: Sarah dear, if our house had not been nished, I
would still be with you. I urge you now to build a home,
but never let it be nished, for then you will live. [6]
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Winchester House
Sarah Winchester
Another version of the story says that after the
deaths of her daughter and later her husband, she
consulted a medium who told her that she must build
a house and never cease building it, otherwise the
spirits that killed her family members would come af-
ter her, too. After that she began construction on themaze-like house full of twists, turns, and dead ends,
so that the spirits would get lost and never be able to
nd her.
One version states She believed her only
chance of a normal life was to build a house, and
keep building it. If the house was never nished, no
ghost could settle into it. The house contains manyfeatures that were utilized to trap or confuse spirits.
There are doors that are small or lead nowhere and
windows that look into other parts of the house. The
mansion may be huge but there are only two mirrors in
the whole place. This is because Sarah believed that
ghosts were afraid of their own reection.[7]
Winchester inherited more than $20.5 million
upon her husbands death. She also received nearly
50 percent ownership of the Winchester Repeat-
ing Arms Company, giving her an income of roughly
$1,000 per day, none of which was taxable until 1913.
This amount is roughly equivalent to about $300,000 a
day in 2012. All of this gave her a tremendous amount
of wealth to fund the ongoing construction.
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Sagrada Familia
Antoni Gaudi
On the subject of the extremely long construc-
tion period, Gaud is said to have remarked, My client
is not in a hurry.[15] When Gaud died in 1926, the
basilica was between 15 and 25 per cent complete.
[9][16] After Gauds death, work continued under
the direction of Domnec Sugraes i Gras until inter-rupted by the Spanish Civil War in 1936. Parts of the
unnished basilica and Gauds models and workshop
were destroyed during the war by Catalan anarchists.
The present design is based on reconstructed ver-
sions of the lost plans as well as on modern adap-
tations. Since 1940 the architectsFrancesc Quintana,
Isidre Puig Boada, Llus Bonet i Gari and FrancescCardoner have carried on the work. The illumination
was designed by Carles Buigas. The current director
and son of Llus Bonet, Jordi Bonet i Armengol, has
been introducing computers into the design and con-
struction process since the 1980s. Mark Burry of New
Zealand serves as Executive Architect and Research-
er. Sculptures by J. Busquets, Etsuro Sotoo and the
controversial Josep Subirachs decorate the fantastical
faades.
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Nature is the best designer
N/A
On the subject of the extremely long construc-
tion period, Gaud is said to have remarked, My client
is not in a hurry.[15] When Gaud died in 1926, the
basilica was between 15 and 25 per cent complete.
[9][16] After Gauds death, work continued under
the direction of Domnec Sugraes i Gras until inter-rupted by the Spanish Civil War in 1936. Parts of the
unnished basilica and Gauds models and workshop
were destroyed during the war by Catalan anarchists.
The present design is based on reconstructed ver-
sions of the lost plans as well as on modern adap-
tations. Since 1940 the architectsFrancesc Quintana,
Isidre Puig Boada, Llus Bonet i Gari and Francesc
Cardoner have carried on the work. The illumination
was designed by Carles Buigas. The current director
and son of Llus Bonet, Jordi Bonet i Armengol, has
been introducing computers into the design and con-
struction process since the 1980s. Mark Burry of New
Zealand serves as Executive Architect and Research-
er. Sculptures by J. Busquets, Etsuro Sotoo and the
controversial Josep Subirachs decorate the fantastical
faades.
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