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2016

2018

PRODUCED by JIANING ZHANG

THE WORKS at GSD


STACK OF ART, STRUCTURE and SIMILARITY MENIL FOUNDATION ART STORAGE

Tutor : Mark Lee Houston, USA GSD Studio Work Spring 2018


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defending to the underground water, the structure is also a stack of two different system. The concrete part is underground and the timber part is above it. The timber part also uses a stack structure system, which comes from the log house and tranditional chinese bracket. In the end, the whole space will be a transfer from primitive space to refine space, or from invisible storage to visible storage. This idea comes from the storage of books, a library designed by Henri Labrouste2. It is a steel structure reading room build on the stone structure storage floor.

told directly to the vistors. The misleading and clue are both existing in the facade and the experience of visiting the space. The Goetz gallery3 designed by HdM is also using the facade to mislead visitors and explain it by interior space. The truth can not be oberserved directly without experience and thinking. The aware of similarity will also be meaningful to tell the similarity of two main architecture parts.

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STORAGE OF ART AND STRUCTURE Stack is a basic way to storage goods. It is a way make use of the space structurally. The traditional log house is a good example to use stack structure. In norway, the stack structure of their traditional loft house also reflects their function, storage1. The basement will be storage for food and other items, while the upper level will be living room and bedroom. Stack will become the concept for this art storage building.The program includes two main parts. The visible storage open to public and the invisible storage. They are connected by the way of stack to relfect their functional and circulational relationship. In addition, to satisfy their need for the environment control and the

Moreover, the stack is also about similarity. It explores the possibility of building same space with different material and structure strategies. The similarity is not

Site bird view axometric

1.Norwegian loft, In Flesberg, Numedal, P103, Stav och Laft, Oslo 1990. 2. Section of Bibliothèque Sainte-Geneviève, Henri Labrouste, Handbuch der Architektur, 1893. 3.Goetz gallery, by Author

Project axometric

Worm view section axo


Timber level mezanine perspective

Concrete level mezanine perspective

Timber level mezanine plan / second floor plan

Concrete level mezanine plan / basement plan

Timber level main plan / ground plan

Concrete level main plan / second basement plan


Facade perspective

Section perspective


Section perspective2


ENTROPY MONUMENT THE ARCHITECTURE FOR THE THINKING OF ENTROPY

LLEIDA CEMETERY COMPLEX

GSD Studio Work Tutor : Inaki Abalos Fall 2017 Lleida, Barcelona, Spain


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ARCHITECTURE FOR THE THINKING OF ENTROPY The idea for this project is to design an architecture for the thinking of entropy. The inspiration for this idea comevs from Friedrich’s book Gay Science, he wrote down “Architecture for the search for knowledge” as a title of one aphorism, in which he described monastery in Europe as a quiet space far away from noisy cities; people can walk around; enjoy the nature and think freely.

“Architecture for the search for knowledge” Aphorism 280 One day, and probably soon, we need some recognition of what above all is lacking in our big cities; quiet and wide, expansive places for reflection. Places with high, glazed cloisters for rainy or sunnu weather where no street-vendor’s cry or horse-drawn traffic noise can reach, and where good manners would prohibit even priests from praying alound-buildings and sites that would altogether give expression to the sublimity of thoughtfulness and of stepping aside. The time is past when the church possessed a monopoly on reflection. When the vita contemplativa always had to be first of all a vita religiosa; and everything built by the church gives expression to that idea. I do not see how we chould remain content with such buildings even if they are sripped of their churchly purposes. The Language speoken by these buildings is far too rhetorical and un free, remainging us that they are houses of God and ostentatious monuments of some-supra-worldly intersourse; we who aregodless could not think outr thoughts in such surroundings. We wish to see ourselves translated into stone and plants, we want to take walks in ourselves when we stroll around

these buildings and gardens. From Nietsche - The Gay Science

Without complete symmetry, the organization of monastery is more free than other religious architecture like church. The cloister and the garden become the central space to organize monastery, which means the connection of nature is the main purpose for monastery. The gravel pit where our project locates, is a huge industrial territory with gravel mound and steel and concrete structure. With the intervention of culture and the recovering of nature, this place changes to a complex combination of different scale of time in terms of geology, nature, industry and culture. This makes it an entropic place to think about entropy. According to Erwin’s book What Is Life, entropy is related to death. As the opposite side of death, eco-system or individual life are the system against the increasing of entropy. They obtain more energy and make more effective use of the energy to struggle for the increasing of entropy until the death. Death becomes the ends of struggling for entropy. In another word, the rising of entropy leads to the death of life. The Jumieges Abbey is a monastery ruin. The nature life invasion to this place makes the monastery a pure natural place with life. It is the death of a building. But the ruin with plants create a new form to struggle for entropy.

William Chamber designed a tomb with exterior ruin and interior pantheon elements. This picturesque style design implies the death of life by showing the death of a building, which is the ruin. The inside is decorated in an order way to commemorate the death, the end of struggling for entropy. However, the plants outside already take the place of ruins to begin the new struggling for the entropy. It is a quite interesting contrast The project choose the foundation site as the main site. For it can be a bridge in gravel pit to connect the industrial history and cultural and natural future in the site. It is also a good medium to think about entropy through the discussion about death and time.

1. What is life, Erwin Schrodinger, Cambridge University Press, Cambridge; United Kingdom, 1944. 2. Frande estampe ruine de I’ Abbaye de junieges 1852, 1854 Litho by Charpentier. 3. Section of the mausoleum to the Prince of Wales, Sir WIlliam Chambers, 1752, Pen and ink; pencil and watercolor, Britain. 4. Plan of saint Gall. Reichenau, early 9th century. 5. Photo of the foundation ruin in the site, by author.

General plan to show the industrial and agricultral site and the project


The Isometric of the whole project to show the three main part of the design, which include a pavilion on the top of hill, a cemetory in the sunken foudation ruin and an arena beside the water pond.


Section AA to show the cemetery and the pavilion as an oberving point

Section BB to show the cemetery and a church in it, and the water pond

Section CC to show the arena and the pavilion facade

Ariel view from the top of a hill where pavilion takes up


Foundation ruin plan

Ground floor plan

The unfinished building leaves its foundation on the site. It was already occupied by the plants. But people can still tell the structure of foundation. The plant, which was eliminated before, grow and sprawl the whole site. This is a battle between life of human and life of plant. Death as entropy is the statue transfered between them.

Based on the void rectangle space, the project grow up. The basic shape of the unit comes from the industrial silo. These silos envelop the courtyard. Due to the different need of program, the silos have distinguished inner structure to satisfy it. The four solid courtyards envelop a void courtyard.

Basement plan

Roof plan

Following the structure of foundation, the site is divided into four courtyards. They are four square space which are digged deeper to differentiate the foundation-part and non-foundation part. Ther are deployed by different program by space atomshpere and circulation, which include church, culture center and cemetery.

Based on the silos, the building form a new level on the top of it. The silos become both the container for soil to grow plants and the structure to support the steel network. After the plants covering the building, the project comes to its completion. The death of another life transfer to the flourish of new life. The entropy as death find a representation here.

Cemetery section perspective


Death culture center courtyard perspective

Cemetery courtyard perspective

Church interior perspective

Central courtyard


Worm view axonometric

Bird view axonometric


GSD Studio Work Tutor: Wonne Ickx Spring 2017 Mexico city , Mexico

MEXICO CITY CULTURE CENTER

CULTURAL MONUMENT DOUBLE EXHIBIT / DOUBLE THEATER


DOUBLE BIND

DOUBLE EXHIBIT / DOUBLE THEATER

Juan Munoz is a spanish artist, who designed this huge installation titled Double Bind. The work presents the visitor with a series of scenes, which play on the view point and visibility. It is divided into two parts. The upper floor is a pattern floor to play with real and fake hole. the lower parts is a darken space with wells of light from above. Between them, there is the scenario scupltures and the space holding them. Two elevators rise and descend to connect two part in locked position.

Double Bind Artist : Juan Munoz Material : Fiberglass, Metal, Polyester, Pigmented, Wood Dimension : 155 metres long x 35 metres high Place : Turbine Hall Time : 12 June 2001 - 10 March 2002

1. Site The building is located in the central historical area of Mexico city. It takes up the north part of a triangle plaza. The south part of it is a subway station entrance.The west side of the plaza is a facade of a church.The most important avenue of Mexico city becomes the east boundary of plaza. 2. Isolated public space Basically, public space needs to be open to the

Site plan

public. However, due to the secure, acoustic and optic demands, some of them have to be isolated from surrounding. This limits the potential of public program as communication space. How to achieve the balance between the open public space and program requirement is what this design try to do. 3. Double exhibit / double theater Besides the exhibition in the museum, the auditorium is also worth exhibiting, both its momu-

mental space and the activity in it. Through the light well thrust museum and theater program, people have the interaction with others from another part. In addition, the facade towards the plaza becomes a mirror, which reflects a open public theater on the outside of facade. Both theater can be used separately. When the lower part of the facade open, a new big theater will appear. In a word, the isolated box disappear.

Diagram for structure to achieve double exhibit and double theater


Elevation towards plaza

Perspective in the museum

Groud floor plan

Perspective in the theater


Longitudinal section

Crosswise section

Site and section isometric


Second floor plan

Third floor plan

Perspective to show the double exhibit and double theater


GSD WORKS  

from 2016-2018 GSD WORKS

GSD WORKS  

from 2016-2018 GSD WORKS

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