Studio Delta Journal

GRAFTON I WHITEREAD I TSHUMI I BARDI I STOLZL I DEQI

STUDIO DELTA JOURAL

LLOYD HSIEH 996484 I STUDIO18 HEATHER MITCHELTREE

CONTENT Room of requirement Yvonne Farrell + Shelley McNamara Rachel Whiteread Bernard Tschumi Lina Bo Bardi Gunta Stolzl Edmond + Corrigan Odile Decq Diller Scofidio + Renfro Zoom Background at.studio Stage

REIMAGINE BORDERS

American & Mexican families play on

a seesaw straddling

the Mexican border with U.S....

THE ROOM OF REQUIREMENT Aspect from The Room of Requirement that captivated my attention the most was the notion of employing architecture as a mechanism to dissolve physical and political boundaries.

More often than not, I interpret architecture as a device that can fabricate space by separating areas or by sheltering the inside from the outside. The library situated on the US and Canada, on the other hand, burbs the boundary with a newly defined space – an in-between space with ambiguity…

Divide Connect Space People

What is boundary?

Can’t see?

Can’t hear?

Can’t smell?

Can’t taste?

Can’t touch?

YVONNE FARRELL + SHELLEY MCNAMARA Farrell and McNamara approach architecture by transforming a structure into spaces. Rather than consciously designing “spaces” they believe “the enjoyment of architecture is the sense of weight being borne down […], the feeling of moving within the forces of gravity”. Their design of the School of Economics for the Universita Luigi Bocconi appears as stones slipping and sliding past each other. With three distinct parts – the sunken volume, the open ground space, and a sequence of floating spaces, they fabricated two worlds with the city flowing in between them. The choice of the local stone of Milan, Ceppo, allows the mass to portrait a sense of depth and density.

RACHEL WHITEREAD’S GHOST (1990) Whiteread strives to create a new sense of permanence imbued with memory through making large castings of domestic items and solidifying the non-physical. The process of looking, emptying and filling objects and the exploration of negative space is a way for Whiteread to capture the “air of a room”. My journal response attempts to capture the idea of the negligence of the casting/shell. The absence of substance demonstrates the relationship between the actual subject and its “shell”. The runners or the remains of the toy hold a memory of its value in its previous existence.

BERNARD TSCHUMI Tschumi’s design of Parc de la Villette aims to juxtapose the artificial with the natural as a symbol of continuous discovery and reconfiguration. Tschumi based the design principle on a grid with points, lines, and surfaces. The de-constructivist follies act as reference points, enabling people to retain a sense of placeness in the extensive open space. The follies are nonfunctional, but they become orienting interventions throughout the park as part of the dimensional and organizational principle of the design.

LINA BO BARDI Bardi’s eccentric, expressive structures integrate modernism with populism. With her belief in architects’ social and ethical responsibilities, she advocated for the use of local materials and the native aesthetics of Brazilian vernacular architecture in an attempt to maintain the local communal identity. The SESC Pompéia shows Bardi’s respect for the existing and her vision of having co-existence with the old in a harmonious manner. The adaptive reuse throughout the design preserves the pre-existing physical form and the memory of the past.

GUNTA STOLZL Gunta Stolzl is a German textile artist and a Bauhaus master who is known for developing weaving from individual pictorial pieces to modern industrial design. The Jacquard technique she employed in the Five Choirs means the mechanism and its punch-card could easily reproduce precise, complex patterns in textiles. The interrelated geometries in the textile precisely mirrored across its vertical centre.

Expressionist moment within the functionalist Dessau period.

EMOND + CORRIGAN Emond and Corrigan intellectual approach to design strives to foster an Australian architectural language in the context of post-modernism. With a Realist view, they believed the role of architects is to curate and make something good of the complex world rather than “deluding oneself that what one does is going to change the whole thing�. The use of vibrant colour and clashing patterns results in buildings that employ collage technique one expects in art. In particular, the Niagara Galleries out-of-place design and its challenge to the urban context show Corrigan’s interest in blurring the boundaries between art and architecture.

ODILE DECQ Decq’s Frac Bretagne showcases the ambiguity of light, form, material, and structure. The density of the black, the vertical void, and the suspension of weightiness create the inversion of mass and light. Decq’s use of glass and exposed steel structure further emphasis the contrast of density and lightness. Dynamism in the form and the ramps and bridges that lead to vertical pathways translates to a constant sensory exploration.

DILLER SCOFIDI + RENFRO Scofidio and Renfro design of the Medical building for Columbia University intertwines the programmatic spaces into one entity. The architects envisioned an integrated education and socialising space that is collaborative. The 14 stories stairs with oversized landings accommodate for a series of social and study spaces. The circulation becomes a device that mixes with the different programmatic functions and dictates the overall form of the architecture.

ZOOM BACKGROUND I was intrigued by the idea of a virtual ground as an illusion of escapism. As people conform to stay into isolated spaces with its constraints comes this illusion of freedom with virtual spaces.

The virtual space is infinite and self-repeating. It is like being in an elevator with mirrors. The reflection of space projects as illusions again and again.

AT.STUDIO STAGING https://try.at.studio/deltastudio18#model=dd51fe80-afd3-11eaac10-a34ae7ae9db6