Soft Surreal.pdf

Soft Surreal for the Everyday

Graduate Thesis 2022

Lana Yuan

Graduate Thesis 2022 Provocations Positions Project Statement

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Lana Yuan, Jure Zibret, 3GB DS Hernan Diaz Alonso Scenes as Narratives Interior Scenerio 2

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"She prepared a picnic set in the middle of our gathering place. There was light slowly penetrating through the branches mystifying the atmosphere of the tall space. The walls were swinging in the wind, in a gentle and light manner, as a membrane. It was slowly getting darker outside. I couldn't wait for the sunset. What an afternoon."

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Provocation

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Soft shapes and soft materials that comforts and secures? Sense engaging moments throughout the day of life of a work-at-home freelance artist?

In modern architecture, we tend to pursue forms that are minimal, rigid, brutal and hardcore. A good design would highly emphasize

In a sensitive and urgent time period like what walistic world where we

on function, and form? Form always follows, secondary on the

could each dream of our own individual utopia while living together to

hierarchy. We automatically deny projects that emphasize on form vs

collaborate collectively?

function, ornaments vs plain solids with only necessary geometries, phenomenological vs direct and straight to the point brutal. We like the efficient, the pure functional, the routine, the basic, the pre-made, pre-

Keywords:

casted, and even pre-built modules, and we end up settle with the daily

1. soft surreal vs. atmospheric scene

essential, the boring, the mundane, the ugly. It seems like design that

2. loose postured forms

values aesthetics, sense engaging, formally complex, are automatically

3. form finding vs. scene construction

perceived as less trustworthy, red flags and immediate turned off.

4. new everyday domestic presentation post-covid 5. woven material

What are soft form in architecture? How do loost postured forms embody our everyday? Well-considered forms that functions equally well? Phenomenological forms that result in therapeutic

sunset moments in the life of a homebody? Daily forms that are not necessarily boring and ugly?

essential Fluid moments

in a shared home that promotes collaborations and dialogues when incorporated in a daily routine of a shared multiple artists’ lofts?

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Soft Shapes and Softness Week 1, thinking about soft shapes and forms... Curved shapes made with

constrcuted mathematical forms, projected to form a couple of forms that becomes an assemblage, then situated in a non-linear field condition. Spaces created by soft textiles. Weaving as metephor implies fludity of spaces and communities.

Top image to the right page, Chanéac imagined a complex organic structure from a gushing arc and an enveloping arc. The architect defends the concept of architecture as “sculpture and landscape, palpitating, rich and complex in radical opposition with an architectural philosophy that wants to create very neutral volumes to fade before the works in shelters”. As such, Chanéac could trigger audio-visual experiments and generate multiple and unexpected uses.

1."Organic Architecture", Chaneac + Pascal Hausermann: Centre Beaubourg Competition. 1974.

Brazilian artist Ernesto Neto (born 1964) has won legions of fans with his soft, biomorphic sculptural installations that invite viewers to touch and poke them, seducing and activating all of the senses at once. Often using a white stretchy material stuffed with styrofoam pellets and sometimes aromatic spices, Neto aims to provoke an experience of powerful bodily sensuousness in his audience, whom he encounters in a variety of settings, from galleries and museums to outdoor public sites.

In his surrealism photography work Inter-acciones 16, Dionisio Gonzalez, photographed and curated a series of object-like architectural volumes at a domestic scale, all of which are "soft" and "fludity" to my reading of the space. This interests and triggers a lot of echos as well as inspirations as I am literally imaging how our daily life evolves around a post-covid world.

2.Brazilian artist and sculptur Ernesto Neto

3.Dionisio Gonzalez, Inter-acciones 16, photograph

1. Chanéac imagined a complex organic structure from a gushing arc and an enveloping arc. The architect defends the concept of architecture as “sculpture and landscape, palpitating, rich and complex in radical opposition with an architectural philosophy that wants to create very neutral volumes to fade before the works in shelters”. As such, Chanéac could trigger audio-visual experiments and generate multiple and unexpected uses.

2.Brazilian artist and sculptur Ernesto Neto.

3.Dionisio Gonzalez, Inter-acciones 16, surreal photograph.

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2. Soft Civic, Bryony Roberts Studio, 2019, IN. Weaving Techniques used in buildings. Weaving as a soft material made by and for the communities.

Matthew Meier, Anilao, Philippines; detail view of champagne colored Bubble Coral (Plerogyra sinuosa). Looking at inside a cell, the textures implying the breathing of the soft biology bodies.

3. Zbrush model, process screenshot of formal explorations at Hernan studio "home is not a home".

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2. Nothing But Net, 2012, Ernesto Neto Re-Envisions Crochet at Tanya Bonakdar Gallery.

Inflatable bodies as potential "hosting cell" or "hosting shell" for small size humans.

3. Born November 19, 1936 in Bienne, Switzerland and died November 1, 2011 in Madras India, Pascal Hausermann is a Swiss utopian architect specialized in bubble houses and organic architecture. Most of his creations were built in the Rhône-Alpes region, in France.

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Cushicle in three states, Michael Webb, Archigram 1966. Archigram Archives To this day, Archigram’s work still looks decidedly like the "future", half a century later then when the piece was created. Collected in whole for the first time, this compendium of the collective ideas and inspirations of Warren Chalk, Peter Cook, Dennis Crompton, David Greene, Ron Herron, and Michael Webb reads like a more colorful, creative, and upbeat view of where modern design should be headed.

Ushida Findlay, Truss wall house. Exterior stair photograph. Taken in 2020 when old owner is selling the house to new owner.

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Loose-postured forms Week 2:

1. Lana Yuan, Hernan studio at SCIARC.Imaging domestic lifestyle and furniture at a post-covid world.

IDEA1: Textiles could be soft-looking-but-rigid hosting shells. Weak forms, loose postured forms results from spaces created by soft textiles.

IDEA2: Unbalanced, awkward, and weird forms, cannot stand by itself or cannot stand and have to lay down.

IDEA3: The wrapped around, the dripping down, the leaning forward or backward, the pushing and pulling around, the wiggle, and the floppy, and the giggly...

Conceptual fashion, art, cloth, by yoshiki hishinuma 1986 1.

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1. A girl puts on a part of the installation “Humanoides” by Brazilian artist Ernesto Neto in the exhibition “Priere de toucher – The Touch of Art” in the Museum Tinguely in Basel, Switzerland, 11 February 2016.

The exhibition runs from 12 February until 16 May. (Photo by Georgios Kefalas/EPA)

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1. installation “Humanoides”, Ernesto Neto, exhibition “Priere de toucher – The Touch of Art” in the Museum Tinguely in Basel, Switzerland, 11 February 2016.

2.Soft Body Furniture, Lana Yuan, at Hernan studio 3.Soft Body Furniture #2, Lana Yuan, at Hernan studio 4.Installation “Humanoides”, Ernesto Neto 5. Soft Body Hosting Shell #3, Lana Yuan, at Hernan studio "Home not a home"

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Readings: Woven cloth as Materials Week 3

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Readings about Weaving: 1. Weaving: Integration. (Excerpt from Chapter 5 of ZATI The Art of Weaving a Life by Susan Barrett Merrill): " Weaving: Integration " We av i n g vertical

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ZATI The Art of Weaving a Life" 2. Hemmings, J. (2012) The Textiles Reader, London: Berg. " Plato had a very vivid sense that various irreducibly different kinds of skill are required if there is to be what we today would call a 'sustainable' political order. We need philosophers, guardians, and producers, all of them necessary and non of them dominant. And weaving naturally suggests itself as a metaphor to him because of the way in which these disparate but necessary elements can be held together in a whole that offers shelter, protection, and fulfillment. (Danto in Hemmings, 2012, pp.205-208)."

3. The Textile Reader (Bloomsbury: 2012) " This perhaps helps to explain why weaving should have struck Plato as so natural a metaphor for statecraft, and why the fine arts, as he understood them, are of no use in thinking about politics at all. It is because Plato held to the theory that the fine arts are mimetic, or imitative, and hence involve nothing he would recognise as originality, since they involve merely copying an external reality. The artists are as

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On Weaving, Anni Alberts.

On Weaving, Anni Alberts.

On Weaving, Anni Alberts.

On Weaving, Anni Alberts.

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passive in this respect as the camera would be. ... The beauty of the weaving metaphor is that each move made by the weaver has the whole fabric in view ... The aim of state making is justice, which means, in effect, weaving together the various social virtues without allowing one more than another to dominate. And it is that which makes weaving so apt a metaphor for statesmanship. The task is 'to make the city as a whole as happy as possible ... not modelling our ideal of happiness with reference to any one class.'"

4. The Spell of the Sensuous, David Abram. "The Spell of the Sensuous makes the observable assertion that most humans have become unaware of or disconnected from the living, animate earth, and this disconnect has unfortunate and often disastrous consequences for beings on this planet."

5. On Weaving, Anni Alberts. " Her lucid and engaging prose is illustrated with a wealth of rare and extraordinary images showing the history of the medium, from hand-drawn diagrams and close-ups of pre-Columbian textiles to material studies with corn, paper, and the typewriter, as well as illuminating examples of her own work."

1. On Weaving, Anni Alberts.

“Soft Architecture” - what could it potentially mean?

1 Physical material, the detail texture and structure of a piece of fabric 2 Fluidity in the ideal of living : Architecture surrealism The idea of “utopia islands” for young creatives - young designer’s downtown community 3 Fluidity in the sense of space : The new digital metaverse-ready digital garments and digital space Hybrid of digital and traditional architecture spaces 4 Fluidity in idea of reside: clothes as shell for inhabitant , maybe the residential unit could support both work and live needs or occupants, in terms of form it is an organic soft shell or even changeable/modifiable

Weaving as metaphor, soft textile material and fluidity in social senses: (surrealism and utopian community, combination of physical and digital, clothes as shell for inhabitat) ~Weaving as metaphor, weft and warp made into textiles as bounding of all creative fields and collaborations ~The weaving patterns (order and organization), showing how everything is bound up with everything else. ~Soft fabric symbolizes a sense of persistence, patience, and flexible strength. Textiles could be rigid hosting shells. ~Imagining model to be made with a collection of soft fabric material: woven textiles, tufted carpets, felt, yarn, puffy, padded, folded and stitched ~Program: Designer's town? Social housing in downtown? work live residential lofts double as creative studios?

Providing closeness, convenience, multi-functional and collaborative spaces (layered just like when weaving,

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warp and weft have to work together to make one piece of textiles, layer by layer of mark-making build up) facilities without prioritizing any one occupation or majors. (Just like weaving or tufting, artist/planner would be looking at the whole picture without playing flavorist towards one topic/occupation) 1. On Weaving, Anni Alberts.

2. On Weaving, Anni Alberts.

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Scripted information Week4, Provocation workshop: Casey Rhem's "AI Did My Thesis" Prep introduced an interesting exercise where we uses a script that generates an images based on the text and visual informations we input. We can see this as a kind of "digital weave" if you would like. The warp and weft is the text information and the visual informations, plugged in and generates new cross-breed woven information.

Here is whart he wrote in the prompt: "In a conversation between Rana Dasgupta, Ramon Amaro, and Yuk Hui published in The Atlas of Anomalous AI (McDowell and Vickers 53-72)1 the consequences of a Universal approach to technology are critiqued. As Yuk Hui states: “... if we look at the development of technology in the USA, in China and in Russia, it is still very much based on this Kantian idea of universal history - which has been dominant since the European Enlightenment - universal technology... They are competing towards this imagination of singularity, instead of thinking about the question of diversity. What we lack now is the thinking of techno-diversity in current geopolitics.”

This workshop will focus specifically on this issue in artificial intelligence, which has allowed for an increase in the efficacy of platforms to automate intellectual labor. The capital driven innovation in architectural software platforms privileges a universalism descended from Modernism, to limit the complications/ costs of developing software with the flexibility to engage diverse design agendas.

Provocation Questions: 1. How does the use of platforms and AI for the automation of intellectual labor impact the agency of individual designers?

2. How does the investment of labor, energy, and capital in the production of design technology influence power structures it creates?

3. What opportunities does automating repetitive tasks in architectural production have for reshaping contemporary practice.

1. Top image generated by script 2. image generated by script, tyoe in key words: soft, weave, woven, surfaces, warp weft 3. image generated by script, tyoe in key words: soft, weave, woven, surfaces, warp weft

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Precedents of Domestic Soft Forms Week 5

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Looking at precedents: 1950, Frederick Kiesler, Endless House; Bloom House, and lastly my house... timeline and diagram coming soon..

1993, Truss Wall House, Soft and Hairy House, Ushida Findlay; 2010, Bloom House, Greg Lynn

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1. The Endless house, Frederick Kieser. This model is made with chicken wire and plaster in 1950. This is a complete manual process. The precise physical model was first built in order to figure out construction of form.

I found it interesting how he would elevate the house with pedestal and fetishes about it- architects fall in love with their forms easilier back in the time when they have to make things models by hand.

Wondering how he gets his idea accurately with hand made model...

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1. 2. The Truss Wall House, Ushida Findlay Architects. Interiror details.

3. 6. The Truss Wall House, Ushida Findlay Architects. Cut sessions plans and section drawings.

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4. The Truss Wall House, Ushida Findlay Architects. Street exterior view, noticing its scale at a domestic range, of a relative small single family in Tokyo.

5. The Truss Wall House, Ushida Findlay Architects. Wireframed isometric showcasing its circulations.

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Graduate Thesis 2022 Ushida Findlay, Truss wall house. Interior photography.

Ushida Findlay, Truss wall house. Interior photograph.

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1-3. Bloom House, Greg Lynn Noticing all the curved walls and curved furnitures, how their forms and their interactions form the coherance of the everyday interior of the home.

Bloom House, Greg Lynn. Looking at the application of soft furniture details and use of soft fabric as enhancement of "softness" through material and atmosphere.

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Lana Yuan, 2GA DS Russell Thomsen Scenes as Narratives, collective of formal elements forming a narrative.

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Lana Yuan, 2GA DS Russell Thomsen Scenes as Narratives

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Exploring Digital Method: Making Soft Forms and Woven Texture

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1. c4d, zbrush, rhino

Week 6: Exploring methodology Exploring techniques of digital softness. Exploring ways to surface materiality and surface quality. From solid to semi-translucent with mesh and woven surface.

Right upper: inflation in zbrush, boolean union and differences in zbrush, rhino and c4d.

Right lower: testing with fabric simulation, sculpted mesh, pull and tear. Assemblage of formal elements from solid, meshed, and stretched in zbrush, rhino and c4d.

1. c4d, zbrush, rhino

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1. c4d, zbrush, rhino

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2. Home is NOT A Home. Rethinking about domestic home post-covid, making a frankenstein furniture from Minnie and tulip table.

1. Lana Yuan, Home is NOT A Home. Rethinking about domestic home post-covid.

Hybrid Mickey lamp from chilhood memory.

3. Home is NOT A Home. Rethinking about domestic home post-covid, making a clear and translucent woven set of furniture.

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Architecture of the Everyday Week 7 1. Venturi and Denise Scott Brown, monumental duck

Reading Deborah Berke's article “Ugly and Ordinary: The Presentation of the Everyday. " in the book "Architecture of the Everyday".

What are new domestic forms in a home?

In Deborah Burke’s article “Ugly and Ordinary: The Presentation of the Everyday. " In her book "Architecture of the Everyday". It states that everyday architectural space is ugly and ordinary in a non-pretentious way.

She discusses the Signs of Life and the unapologizing forms from Venturi and Denise Scott Brown. My response for the domestic architectural inhabitant is that it can be a formalist space with everyday conveniences and comforts. In this domestic softness we can have both form, phenomenon, and function. How to achieve the everyday comforts and forms? This has been ongoing research especially during a zoom and in person hybrid post-covid, post-quarantine world...

References of Denise Scott Brown and Robert Venturi's "duck architecture", Featuring buildings that are "ducks" vs buildings that are :sheds". For these buildings that are symbols and expressions of their function. ". Bottom image is Venturi

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4. Hosting cell and a hosting shell

1. Breathing Shell with breathing Cells

2. Hosting shell with extruding arm

3. Aperture

1-6. Home is NOT A Home. Rethinking about domestic home post-covid.

This set of concept diagram aims to identify a few key essential domestic habitat spatial elements that we need from daily domestic lifestyle before, during, and post covid. Experienmenting with apertures, doors, windows, mushrooms symboplizing nature while purple crystal hearts of our living shell is extruding, stretching, and contracting, introverting, retrospecting. Showcasing them as a set is purposely studying the gesture of "hosting shell" and the activity of "hosting cells".

6. Hosting Cell within a Hosting Shell

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5. Hosting Shell

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Position Week 8: Soft Surreal: The New Scenes of the Everyday.

In 1950, Frederick Kiesler is looking at concrete on top of bend chicken wire to maximize continuation in his Endless House; In 1964 and 1967, Michael Webb of Archigram prototyped Suitaloon and Cushicle wishing for a utopian postwar world with a more integrated and transparent society, and a more open and connected humanity. In 1970, Kenzo Tango progressively tests out how to make “soft architecture” from spaceframe at Expo ’70 in Oosaka for Festival Plaza to bring in some humor with a character like object. In 1993, cave-shaped, earthy, Truss Wall House, Soft and Hairy House were built by Ushida Findlay in Tokyo utilizing high-tech and geometric, and nonlinear mathematical research knowledge in the construction of the building... in 2022, what is the new form of home at a domestic scale? Could there be new forms that make spaces more equitable? New forms that bring in new experiences?

New forms that make occupants not interact with space in the way they expect to? New forms that are full of sensual surprises for a mundane daily life? Maybe it could even be a house that exists in VR? or comes

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with a VR/animarion version of it so everybody could go and experience it?

What are new domestic forms in a home? In Deborah Burke’s article “Ugly and Ordinary: The Presentation of the Everyday. " In her book "Architecture of the Everyday". It states that everyday architectural space is ugly and ordinary in a non-pretentious way. She discusses the Signs of Life and the unapologizing forms from Venturi and Denise Scott Brown. My response for the

domestic architectural

inhabitant is that it can be a formalist space with everyday conveniences and comforts. In this domestic softness we can have both form, phenomenon, and function. And they will be evaluate equally when thinking of the experiences those spaces created towards our daily habitat. How to achieve the everyday comforts and forms? This has been ongoing research especially during a zoom and in person hybrid post-covid, post-quarantine world...

Keywords: 1. soft surreal vs. atmospheric scene 2. loose postured forms 3. form finding vs. scene construction 4. new everyday domestic presentation post-covid 5. woven material

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Scenes of the Everyday Week 9

The New Presentation of the Everyday.

Imaging a post-covid world where our lifestyles and mental world are changed. How much longer do we have to live in this Weird and Unstable states of living in our domestic spaces and states of mind? This uncomfortable, Weird, Awkward, constant changing environment? In a sensitive time like this, what is it like to live with covid? What does it mean to us as the “presentation of everyday space” in 2022? What do people want in their daily domestic space as a post-covid lifestyle? What would it be like to live in a constructed scene? To add a little bit of humor to our daily life, what if we live in a surrealistic world where we could each dream of our own individual utopia while living together to collaborate collectively? What is the new form of home at a domestic scale? Could there be new forms that make spaces more equitable? New forms that bring in new experiences? New forms that make occupants not interact with space in the way they expect to? New forms that are full of sensual surprises for a mundane daily life? Maybe it could even be a house that exists in VR? or comes with a VR version of it so everybody could go and experience it?

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Process: Surreal Narrative and Scenes Week 10 Thinking a lot about surreal and non-linear finction narratives. And the spatial construction of the story. How that inspire the form making of the architectural space and how the space then contributes back to the scene in a visual sense.

Looking at a lot of Gregory Crewson's cinematography, art direction and scenography work. Thinking of ways to make surfaces move. Thinking of the phonomenen that the affect can create to the architectural and interior design.

Reading Sara Ahmed's Queer Phenomenology on "orientations" and "objects".

Thinking about the fluidity and the breathable Softness. Ahmed examines what it means for bodies to be situated in space and time. Bodies take shape as they move through the world directing themselves toward or away from objects and others. Being “orientated” means feeling at home, knowing where one stands, or having certain objects within reach. Orientations affect what is proximate to the body or what can be reached. A queer phenomenology, Ahmed contends, reveals how social relations are arranged spatially, how queerness disrupts and reorders these relations by not following the accepted paths, and how a politics of disorientation puts other objects within reach, those that might, at first glance, seem awry.

Figuring out animation techniques in c4d.

Lana Yuan, Jure Zibret, 3GB DS Hernan Scenes as Narratives, featuring moveable skin as facade

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"The kitchen is wide open. Inside it feels like spring while outside feels like autumn."

Lana Yuan, Jure Zibret, 3GB DS Hernan Diaz Alonso Scenerio Render of the building sited in forest.

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Project: Home and Houses Week 10 : Lana Yuan, Jure Zibret, 3GB DS Hernan Scenes as Narratives, featuring moveable skin as facade

Site: Based on a surreal scene.

Program: Imaginations of the new everyday.

Form: Soft forms, loose postures, frayed edges and textures.

Format: animation of scenes, paired narratives context and surreal persona, perhaps model of scene(if time).

Lana Yuan, Jure Zibret, 3GB DS Hernan Scenes as Narratives, featuring moveable skin as facade

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Lana Yuan, Jure Zibret, 3GB DS Hernan Scenes as Narratives

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"The building looks like a cloud that flows, and lays down on the flower field like a dancing cloth. Its woven textures are like luminating fibers with eyes and all of them are trying to tell a story."

Lana Yuan, Jure Zibret, 3GB DS Hernan Diaz Alonso Scenerio Render of the building as an object. One of the form Iterations based on the scene

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Sectional clipping plane, showcasing the sectional construction of the form.

Lana Yuan, Jure Zibret, 3GB DS Hernan Diaz Alonso Scenerio Render of the building as an object. One of the form Iterations based on the scene

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Thesis Statement

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Keywords: 1. soft surreal vs. atmospheric scene 2. loose postured forms 3. form finding vs. scene construction 4. new everyday domestic presentation post-covid 5. woven material

This thesis looks at non-hard and non-rigid shapes as refer to "soft shapes", and soft forms, with woven materials, at a domestic scale, with the approach of looking at architecture through phenomenology, and with an emphazise on the form of the space. The process will work back and forth from the narrative surreal scene to the form of the architectural volume that hosts the scene. The presentation will simultaneously reveal a constructed scene (treating architecture as a wellconstructed, well-thought-out object like a formalist) pair with the immersive sensual interior environment (treating architecture with an experience like the phenomenologist).

Questions: What does it mean to us as the “presentation of everyday domestic space” in 2022 post-covid time? What do people want in their daily domestic space as a post-covid lifestyle?

What visual outcome wil come out if using surreal characteristics to formulate new ways of thinking about everyday? What if we live in a surrealistic world where we could each dream of our own individual utopia while living together to collaborate collectively? What is the new form of home at a domestic scale? New forms that bring in new experiences?

New forms that make occupants not interact with space in the way they expect to? New forms that are full of sensual surprises for a mundane daily life? An assemblage of forms that allows an immersive experience simultaneously from outside and within?

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Soft Surreal

Wk 1 Soft shapes Wk2 Loose-postured Forms Wk3 Reading: Woven cloth as Material Wk4 Provocation: Scripted Information

Wk10 Process: Surreal Narrative and Contexts Wk11 Project.

Thesis Statement Wk12 Medium and Format

Wk5 Way of making weave and ways of making form Wk6 Diagramming four houses Wk7 Architecture of the Everyday: Ugly and Ordinary: The Presentation of the Everyday Wk8 Position Wk9 The New Presentation of the Everyday

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