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Sijia Li is a practitioner in the field of art and architecture. She is currently advancing her graduate studies at the Southern California Institute of Architecture as a Master of Architecture II student. Previously, she attended Hunan University where she received her Bachelor of Architecture. Outside the field of architecture, she has forayed into illustration and graphic design. Now at SCI-Arc, she is exploring the fusion points where architects can innovate in digital environment art. When each discipline is not divided, one can unveil more possibilities in
design. Spiritually, when one focuses on the aesthetic elements in culture rather than the frame they created, one will perceive things that would be hidden otherwise. Interdisciplinary is and should be the key that opens design possibilities, enriching one’s experience in this diverse world. She hopes to pursue work that advances both visual art and architecture by blurring the line between them, improving the sense of design by combining different art fields, and using her expertise to initiate an experience that focuses on the beauty of an ideal place.
In the building elements, while sliding, rotating, clicking into place, may leave traces of its assembly onto the architecture itself. This project starts from an “imperfect” geometric primitive, a cube, made from interlocking parts, focus on a primary
operation of assembly with a secondary operation for connection. Based on these parameters, it finally explore the range of formal, spatial, and material possibilities that this might enable.
This part focuses on doing iterative studies on Midjourney to explore different formal potentials in the construction of the geometric primitive. After trying to combine different geometric primitive, we selected cube as the original geometry and tried to use concrete and brutalism as the keywords to generate seeds.
While Midjourney is trained to generate interesting and beautiful images, we also pay attention on how to critically evaluate the results based on how it can become an interlocking assembly made of smaller elements.
Sijia Li — Southern California Institute of Architecture
This part means moving into modeling the exploration of formal and spatial potentials for subdividing the 2D images in 3D. The design of the first geometric primitive object uses the Midjourney exercise as the starting point, then explore different interpretations for connections, seams, and void spaces. Since the primitive are mostly solid, we begin to turn some of the solid parts into voids. The images generated before begin to give clues to how the parts are connected. The goal is to maintain the legibility of the piece as a geometric primitive, a cube.
The most important rule we followed is that the geometric primitive should generally be recognizable and this may mean that the physical puzzle will maintain corners and select edges of the selected Midjourney primitive. We do not want this end up looking like a pile of objects. This is also the step we start to consider the "materiality" of the primitive.
In order to add interest in exploration and uncertainty in the sense of space in the physical model, we had the idea of designing different blocks to assemble the cube in addition to allowing it to suggest more variable forms.
The final puzzle can switch between cube and wall forms and can be transformed by sliding, twisting, and inserting the slot after it has been assembled into one of the forms, without separating any of the existing blocks.
In the actual 3d printing process, we faced the challenge of splitting the fully digital 3d model and explored different puzzle designs with many objects connected. The selection of materials also became a key factor in successfully shaping the fluidity of the model, and we found that the use of materials could further imply a degree of deformation to the particular state of our model, allowing it to metaphorically represent the relationship between the full form and the individual pieces in two forms or even semi-disassembled states.
Sijia Li — Southern California Institute of Architecture
Using the set of strategies, we developed in the primitive object and the research of the offered site, we start to design the massing of the building on a particular site with very specific set of contextual, formal, and scalar considerations that will have to address. After making efforts on clearly understand the relationships that we have set up in the primitive, in order to take a position about how to redefine the original building in the new addition, we worked on making a physical overall model to get a new perspect of the whole site we are working on.
Storage Office Office
Auditorium Auditorium
Theater Art Gallery Art Gallery
Skybridge
To Museum Tower
Entrance Viewpoint
Art Studio Art Studio Artist Lounge
To Exhibition Center
Art Studio Apartment Apartment
To Citizen Center
Lounge Hall Exhibition Exhibition Exhibition
Exhibition Exhibition Exhibition Exhibition
Entrance Hall Entrance Hall Entrance Hall Entrance Hall Entrance Hall
Cafe
To South Olive St.
Sijia Li — Southern California Institute of Architecture
Sijia Li — Southern California Institute of Architecture
The Wallox Exhibition
As the life science industry thrives during the current public health crisis, Los Angeles aims to be a bio-tech hub, third only to Boston and San Diego. This project is a 150,00sf BIO-TECH building in El Segundo of Los Angeles County.The studio will
consider the interests of multiple stakeholders that make up this unique and evolving building type. This building for an organization that gathers groups of interdisciplinary constituents to perform research around particular technologies, policies, and ideas.
Sijia Li — Southern California Institute of Architecture
Space model and material exploration for future labs using Blender 3.0 and Unreal
5. As a stand-alone, fully 3D modeled technical proxy, it can be found in a possible future laboratory. The formal language of this stage comes from so-called "hard surface modeling" techniques, which focus on producing complex objects with a mechanical and technical appearance. These objects do not imply "function" in any traditional sense, but should embody
the idea of "advanced technology" and develop specific visual sensitivities and speculative, possible technical vocabulary as future projects. This exercise mainly explores the impact of changes in laboratory materials on the environment and psychological feelings that may be caused by the laboratory. And simulate the transformation of the epidermis in different environments of plant growth. Provides a foundation for the next step of project building.
Image production using A.I. trained a GAN to produce images of environments. Using garden, library, laboratory, and nerve to “mis-train” the GAN in order to produce unexpected environments, or unexpected versions. When the inorganic building materials that wrap human life in layers in modern society are gradually organicized, our life is no longer decisive to exclude other species. Giving up the decisionmaking power of the environment seems to make everything strange, but it may be the way to go for the original environment in the future
Sijia Li — Southern California Institute of Architecture
Beetles are the agents/actors in this GAN training to produce images of possiblity. They are the representative for those who have no voice in an assembly of humans making decisions about the planet. The always neglected types of life are cross-integrated with the industrial products of modern human society, stripped of the protection of various equipment. When humans are also under mechanical surveillance, creating common habitats is paramount. How to conceive and build an equal life structure is the main purpose of this project.
In his publication “Agency at the time of the Anthropocene” Bruno Latour argued that the failure to address the current ecological crises is caused by a lack of representation: who represents the problems at stake or the different communities of people effected? Who represents the oceans and forests, the polar regions, climate refugees and extinct animals in a conference of nations? What if the atmosphere, the soil and the cities had their own vote in the negotiation on a reduction of CO2 emissions? Climate change, health crisis, scarcity or excess of resources, luxury and poverty,
technology and inventions, reinforce the idea that humans are part of a relational ecosystem with other beings, biospheres and environments. In our globalized and hyper-connected world, we are increasingly exposed to complex phenomena and an expanded network of representation. To understand them and to deal with them, we need to manage large quantities and qualities of data. Without data, we are unable to understand the world we live in. Ethical and aesthetic practices are one, not in opposition, while the future of architecture is to give sensibility to a multitude of voices and data, often invisible.
The construction of the project model starts from the exploration of the hard surface structure in the first part, and shifts the focus to the space creation and functional distinction of different blocks, and obtains a rich and reproducible combination space by repeatedly connecting the shape changes of multiple single blocks. At the same time, consideration the site needs and equipment system requirements of the laboratory space at this stage, such as electricity, ventilation, vertical traffic requirements.
Sijia Li — Southern California Institute of Architecture
Biology Laboratory
Sijia Li — Southern California Institute of Architecture
Different environments provide diverse living climates and bring forms of life coexistence. The growth of fungi accelerates the organic corrosion of the building, and at the same time participates in the setting of the biological chain in the interior space, providing energy for the organisms. Water intervenes to adjust the microclimate, allowing a greater diversity of biological types and survival. The structure provides separate entrances and exits for all the creatures that live in it, providing them with passages.
Sijia Li — Southern California Institute of Architecture
Sijia Li — Southern California Institute of Architecture
Biology Laboratory Coexistence Environment
Currently, the earth is changing every moment. Whether it's the climate, health issues, the number of buried resources, or advances in science and technology. At the center of all these changes, human intervention can be seen as the beginning. If so, what role can humans play in this ‘age of change’, and how should we respond? These ever-changing ecosystems influence each other and form an environment that suits them. We started by focusing on the meaning of this environment. One example of this is the advancement of science. Science is gradually
advancing, and humanoids and robots are appearing. So, what will the Earth look like in the future?
Are all living things extinct and the era of complete robots coming? The answer may lie in 'coexistence' between creatures. When the familiar mechanical imagery begins to be encroached on by other species, any space and form with the meaning of "exclusive" begins to be redefined. When the external environment no longer takes care of fragile life survival, coexisting creatures board Noah's boat with equal life value. We can start by mimicking
A proposal for a K thru 6th grade institution adjacent to Diamond Ranch High School in LA. the project functions not so much as an isolated unit, but as a campus, one which integrates itself into the landscape of Southern California, connecting
socially, culturally, visually and physically an ethnically and socioeconomically diverse community of Pomona. This micro climate, so distinct and so natural, is also incredibly germane to Los Angeles as an urban/landscape idea.
" Chair " " Classroom " " School "
“In the early years of the 20th century, tuberculosis ravaged American cities, taking a particular and often fatal toll on the poor and the young. In 1907, two Rhode Island doctors, Mary Packard and Ellen Stone, had an idea for mitigating transmission among children. Following education trends in Germany, they proposed the creation of an open-air schoolroom. Within a matter of months, the floor of an empty brick building in Providence was converted into a space with ceiling-height windows on every side, kept open at nearly all times.”
Begining by designing Thonet chairs, and will zoom out to design a full elementary school. The shift was designed in incremental steps. This project looks at the changing role of the classroom within the unravelling of a devastating pandemic, at a moment when the world grapples with questions on the role of the classroom and how much access or lack thereof each institution, city and country has. Millions of kids are engaging in a completely different model of education, one absolutely challenged by endless constraints, including social, technological, physical, and ethical issues.
The process of this project presents a cinematic shift in scale, from the micro to the macro, on a linear path. This notion of scalar change will be the focus of this class, from small items at the scale of furniture, to large scale work on the context and site in the city. This project is fully developed in detail, in a cinematic manner, by looking at design spatially rather than in orthographic format, as a way to be immersed in architecture.
Sijia Li — Southern California Institute of Architecture
Sijia Li — Southern California Institute of Architecture
Elementary Classroom Chair Tracks & Roofs & Functional Platforms
The chairs connected by the track can slide in the area, and the playground-like atmosphere is very helpful to create the activity of the area. At this stage, the platforms with different functions have clear geometrical location divisions, the connection between the different plateform is activated by interweaving and the public use of space. The form explores how to combine multiple monomers in complex geometric textures and visual designs.
When the scope of the site has been expanded to the entire campus. Takeing Taking into
account the special climate environment in California, new shading devices have been introduced into the entire system. Site conditions play a key role in body combination and adjustment. The difference in the location and height of vegetation determines the centripetality of different areas. The repeated use of geometric elements and the curved landscape with pointing hints ensure the continuity of vision and space.
Differenet roof layers and landscape serve as the visual axis to unify the functional groups scattered in the three areas.
Sijia Li — Southern California Institute of Architecture
The project will be the Diamond Ranch Elementary School, located in the city of Pomona, east of Los Angeles. The intention of the project is to create a synchronicity within the site, one that comprises and integrates the existing Diamond Ranch and the new Elementary School. In this sense, the project functions not so much as an isolated unit,
but as a campus, one which integrates itself into the landscape of Southern California, connecting socially, culturally, visually and physically an ethnically and socioeconomically diverse community of Pomona. This micro climate, so distinct and so natural, is also incredibly germane to Los Angeles as an urban/landscape idea.
Whether the dynamics of living elements can be conceived and succeeded in the form of human manipulation. This project focuses on taking inspirational elements from his pictures and developing and creating them. How the evolution
of moving life forms will take place in the ecological box with changing materials and movement rhythms will become the purpose and focus of exploration. entities. The world is enhanced with a new sense of procedural sound and machine vision.
Figure 1.
Starting with Roman Bratschi's 3D illustrations, this project creates assemblies of light, color, mechanical and random movements in Unreal Engine. The simulated ecologies are represented with stills and constructed perspectives. The composition of the first step was then reorganized into a landscape around generative ecology. These arrangements reverberate on site, creating a playground of behaviors and interconnected entities. The world is enhanced with a new sense of procedural sound and machine vision.
Figure 1. Nonsense in 3D N°231-240, Roman Bratschi, https://romanbratschi.com/nonsensein-3d-n0231-240
" Atoms " " Bits " " Genes "
Sijia Li — Southern California Institute of Architecture
Sijia Li — Southern California Institute of Architecture
Sijia Li — Southern California Institute of Architecture
Under the dual conditions of reality and technical simulation, the collision and fusion between different materials constitute the core concept of this "ecological box". The correct perception in the subconscious will be gradually transformed by the substitution of materials and the subtle sense of difference. The poetic fusion of motion and stillness will bring a sense of story to the elements that create the world to which this program belongs.
The life forms that struggle of their shells are fighting with an unstable rhythm, and the plant-like organisms within their radiation range carry out a cycle of self-conscious expression under the replacement of materials and movements. The intertwined branch structure also represents the strength of a living element. The interspersed lens begins with life and ends with life, and the almost invisible particle transformation generated by the collision joins this silent evolution.
Sijia Li — Southern California Institute of Architecture
Instructor: William Virgil Kumaran Parthiban Rachael McCall
Partner: Shuang Chu
This is a virtual world story with an unknown planet as the background. For survivors who have drifted in the universe for hundreds of years, a planet with rich biodiversity is not easy to find. But this is not the paradise they imagined. There is already the
the biggest organic matter overlord, which is the planet itself. The ancient body has a special rejection reaction to outsiders, making their survival difficult.
Sijia Li — Southern California Institute of Architecture
Part 1
In “We Wear the Mask”, a lyrical poem by Paul Laurence Dunbar, the mask is a metaphor for human duplicity and concealment. There is a suggestion that the mask's role in human life is inevitable. In the third line, the mask is referred to as "this debt we pay to human guile," indicating that the mask is inextricably connected to—and perhaps a product of—the human capacity for deceit and duplicity. The mask must be worn both to engage in duplicity and to protect the interior self from the untrustworthy eyes of the rest of the world.
This project explores the themes of concealment and misrepresentation through the design of a physical mask. For human beings who have abandoned their body surface fur during the evolutionary process, the intangible scales are psychologically used for selfprotection. The social rules framed by various systems are destined to every social animals, the outside world can only be glimpsed through the divided network holes. In between, self-consciousness spread and survive quietly like a tenacious thorns.
Sijia Li — Southern California Institute of Architecture
Mask
This is a virtual world story with an unknown planet as the background. For survivors who have drifted in the universe for hundreds of years, a planet with rich biodiversity is not easy to find. But this is not the paradise they imagined. There is already the biggest organic matter overlord, which is the planet itself. The ancient body has a special rejection reaction to outsiders, making their survival difficult.
Sijia Li — Southern California Institute of Architecture
Terraform
Scatter Iterations 1
Terraform
Scatter Iterations 2
Sijia Li — Southern California Institute of Architecture
Taking on the work from the previous scenes, this project focus on post-production and compositing: imbuing, concealing, and revealing new layers and visual narrative in the work. This project works with layering and dynamics in form, multiple opacities within materials, as well as focus on masking, sequences, and adjacencies in post-production software. The work oscillates between 2D and 3D worlds, the virtual, augmented, and real. As much as post-production and overlaying is a process of refinement, there are always opportunities in filtering for percolation, over-flow, escape and new oozeness in the project. Challenging the smooth slickness of spline and polygon modeling of the 1990s and early 2000s, this project operates within the current post-digital context, investigating ideas of precise and intentional
ideas of precise and intentional unruliness, mixing rustication and delicacy, and how formal legibility is affected by layering, filtering, rips, wrinkles, peeling, and fuzz. It seems everything we do at the moment is overlaid, filtered and masked - once, twice or in many ways. Formally and texturally, “overlaid” elicits thoughts of many layers of fine detailed mesh, multilayered semi-opaque synthetic materials, murky reflections, and bundles of particles. At the same time, “overlaid” and “masked”, bring up issues of politics, postprocessing and applying filters to images and ideas. Study the effects of different lighting settings, rendering particles, and lens parameters of static or non-static cameras on different materials as a digitally rendered model, and explore different effects and emotional rendering through postimage processing.
Sijia Li — Southern California Institute of Architecture
The project involves hands-on visualization experiments bridging digital and analog mediums in Robot House. The lab is motivated by the aesthetic and material possibilities of born digital and upcycled materials. This playful project offers teams
a platform and toolset to explore phygital workflows that synthesize multi-modal imaging and robotic processes. It works with stage sets that include motion capture paths, lighting set-ups, and backgrounds.
Collaborating as a film crew, we work with stage sets that include motion capture paths, lighting set-ups, and backgrounds. The next step is to provide and develop the subject matter in the form of 3D models, assemblages of objects and postprocessing workflows. The lab aims to structure a “procedural creative strategy” with poetic or expressive potential. The lab suggests the possibility of “procedural directors” in digital narrative experiences like games. Even though there is a strong experimental quality
to the use of a system like Automavision, the human presence is still very much there as the authors decide which takes to keep.
“Automavision,” as initially developed by the Danish director Lars von Trier in Dogville (2003), is a principle for shooting film with the intention of limiting human influence by inviting chance and thus giving the work an idea-less surface free of the force of habit and aesthetics. Lars von Trier justifies the use of this system with the desire to “loose control”.
The way Automavision works is relatively simple. For each scene, first the camera is placed in a default position, more or less facing the focus of attention. Then, Automavision is activated. The system repositions the camera in an arbitrary fashion, modifying parameters such as pan, tilt, and zoom. The first take is then filmed. This is repeated for every following take.
Lars von Trier elaborates on this
process: "Basically, I make the frame how I’d like it to be in the film, and then we push this button on the computer and we get given six or eight randomized set-ups-a little tilt, or a movement, or if you should zoom in". It’s supposed to make the image imprecise. Robot House, initiated and designed by Peter Testa and Devyn Weiser, builds upon the school’s strengths to create a next generation platform for
Sijia Li — Southern California Institute of Architecture
speculation on the future of architecture. Situated conceptually and physically between studio and shop, school and industry, Robot House is more than simply a logical progression in digital tooling. The lab offers the opportunity to develop a unique position in the emerging field of robotics in architecture. The 1,000 squarefoot robot cell focuses on multi-robot
collaboration and multi-media simulation using 6 state-of-the-art Stäubli robot systems.
Emulation and animation software support material experiments in and out of digital space. Robotic stages for photography and videography support new visualization formats.
The intent of this course is to develop a cohesive understanding of how architects communicate complex building systems for the built environment and to demonstrate the ability to document a comprehensive architectural project and
Stewardship of the Environment.
The project design was selected from other group members in the 2GBX studio in order to provide an in-depth design from a construction perspective.
The site of the project is located in the city of El Segundo of Los Angeles County. Situated south of LAX airport and just inland of the Pacific coast.
El Segundo is known as the aerospace capital of the world, but has expanded into industries of defense, bioscience, information technology, energy, and creative media. The area of the lot that our studio will work on is approximately 185,00sf, at the corner of Nash St. and E. Grand Ave.
This project investigates issues related to the implementation of design: technology, the use of materials, systems integration, and the archetypal analytical strategies of force, order and character, with a review of basic and advanced construction methods, analysis of building codes, the design of Structural and Mechanical systems, Environmental systems, Buildings service systems, the development of building materials and the integration of building components and systems.
South Elevation
South Elevation
Aluminum honeycomb panels consists of an aluminum backing layer bonded to the face of a stone slab. The aluminum backing increases the strength and impact resistance of the stone and makes installation much easier and more secure than with traditional veneers.
Acoustic clouds are made up of ceiling panels and designs meant to help absorb sound and provide better acoustics for an area. They can completely cover the ceiling of a room or be strategically placed in areas that need better sound control.
Precast concrete panel is a concrete product that is created offsite (under controlled conditions), then delivered to its project destination for final use. Natural stone veneer is made from real stone quarried from the earth. The large pieces are then sliced into thin profiles to create veneers.
Triple-pane windows/walls contain two panes of glass separated by air spaces. The spaces in between are filled with gas to provide better insulation.
Aluminum metal panels are made from aluminum coil stock, which is chemically coated to protect the metal and then painted for further protection, as well as aesthetics. After coating, the siding is baked for durability, with enamel often added to create desired textures.
Aluminum channels are the most preferred metal channels in the marketplaces due to their durability and high water resistance levels. This lightweight and flexible metal channel can be manufactured into a variety of shapes and sizes, and can be used for a number of applications.
Sijia Li — Southern California Institute of Architecture
Chuck Selection Detailed Models
Detail Top Section
In order to achieve the effect of multi-layered stone suspension on the outer skin, how the individual materials and riveting sequence can be combined in a waterproof way and hidden for visual effect becomes the main research problem of the Detail top model.
Steel Beam Air Duct System
Hanger Wire
USG Grid Load Transfer Bracket Pressed Steel Ceiling Section
Sealant and Backer Rod
Metal Stud 16” O.C.
6” x 8” Steel Tube
4mm Vapor Barrier 3/8” Exterior Sheathing 1.2m x 2.4m Stone Panel
Interlocking Channel Attachment #10 (5mm) Tek Screws Shim
To achieve the effect of connecting the corner skylight to the façade window, the aluminum square tube supporting the interior of the stone panel was used to connect the two parts of the glass and successfully provide support while maintaining the open view range.
Anchored in Front of Slab
USG Grid Load Transfer Bracket
Steel Beam
Air Duct System
Hanger Wire
USG Drywall Suspension System
Pressed Steel Ceiling Sections
Steel Truss
Aluminum Exterior Closure
Rigid Foam Insulation
Aluminum Angled Tube
5/16” Weep Hole
Face Cap
Pressure Plate with Isolator
Gasket
Shear Block attach to Horizontal
1” Vision Glass on Setting Block
Chiller
Boiler
815*255*240cm Air Handling Unit
Chilled Water and Heating Hot Water to Air Handling Units
Mechanical, Electrical and Plumbing (MEP) HVAC System
From Utility
Main Electrical Room
Mechanical, Electrical and Plumbing (MEP) Electrical System
Li — Southern California Institute of Architecture
180*60cm Return Duct 180*60cm Ventilationv Duct 180*60cm Supply Duct
Electrical Telecom
SijiaGrey Water Discharge
Potable Water Supply Black Water Discharge
Black Water to Sewer
Trickle Filter Settling Tank Reclaimed Water to Irrigation From Utility
Grey Water Tank
Mechanical, Electrical and Plumbing (MEP) Plumbing System
Reflected Ceiling Plan (RCP)
Linear Pendant Ceiling Light Recessed Light
Exit Sign - Ceiling Mounted
Exit Sign - Wall Mounted Fire Sprinkler Linear Diffuser
The radiation is mainly exposed in the South throughout the average day. Most of the direct radiation can be found on the roof. The secondary region that receives sunlight is the East side, allows natural daylight to reduce electric lighting and save energy. It also produce excessive heat gains and losses, which increase the airconditioning cooling or heating load. Consider the combined effect of daylight and energy. Fenestration from the West and South elevation of the proposed design could be improved in order to benefit from the maximum natural ventilation possible. Also, the design could be structurally reinforced in preparation for the wind load applied during the windy season.
Instructor: Dwayne Oyler Randy Jefferson
Partner: Hanna Park Suyue Jin Zeyu Wang
Using Cal Poly Student Services Building as a vehicle to analyze and document the anatomy, the tectonics of the sub-systems of the Precedent and subsequently to Transform the Façade of the precedent .
Consider the multiple layers of construction that exist between the exterior surface of the Façade and the Structural Skeleton that supports the Façade.
Sijia Li — Southern California Institute of Architecture
+ Third Layer
+ Fifth Layer
Steel Beam
Unit Steel Connector Wooden Beam
First+Second Layer (Original) + Forth Layer
Steel Mounting Bracket For Wood Lap Joint
This article explores the role of axes in weaponized architecture. As a means of symbolizing power, axial architecture serves the ruler, so it has an inevitable social structural nature. The layout of the building is a way the ruler constructs the ideal world, which
also means it is more hierarchical and political. This is the expression of cultural attributes achieved through the social system. As long as there is a desire to express power, there is always the possibility of finding it.
Simple geometric shapes are very common in early ancient buildings like the Basilica, which put the concept of the axis in an important position. Axis is common in both natural and man-made creations, such as leaf veins and ancient fans. The role of the axis in the design is defined as alignment, reinforcement, movement and continuous1. For architectural forms, the axis is one of the most common design elements. Arrangement and division is achieved by connecting the points in a regular linear arrangement of the space.
If we use ancient residential buildings as an example, the spatial hierarchies of a given architectural program are related to, and have an influence on the social hierarchies of the people who (for whatever reason) inhabit that architecture. The role of the axis and the division of the hierarchical system have thus left a close connection. Although the representation of the axis is mostly implied by multiple symmetry and repetitive elements rather than a real line, it makes the concept of hierarchy become concrete in the space.
"The axis has been used to embody the pursuit of power order under the philosophical background, creating many urban planning and unique architectural styles. Although the customs of the world are very different, the pursuit of embodiment of power in the axis is very common. "
Figure 1.
“A building is the result of a choice, a specific intent to build. As buildings do not simply fulfill a need for shelter, buildings must primarily serve some other function, such as to structure social interaction, to indicate private or sacred areas and individual status.”2
Architecture has always had a very intuitive effect on the manifestation of the hierarchy. Unlike the deconstruction and multi-axis and multi-center concepts that gradually formed trends in modern architecture, the use of a single axis played an irreplaceable role in the feudal dynasty, and it has a wide range, from the planning of the entire city to the construction and combination of a single house. The formation of these expressions is the result of many complicated factors that alternately influence in
1.Melissa, “Design Principles”, accessed Nov.,
2.Molly Glenn,“Architecture Demonstrates Power” (Bachelors of Philosophy Diss.,
Figure 2.
different eras. However, in addition to the influence of philosophy and theology, the division of power levels is also an important factor. I think this also explains to a certain extent the similarity in the use of the axis between urban and single buildings when the formation background and regional differences are not the same. “Architecture is a materialization of structure, and the adoption of architecture as a permanent feature of life introduces spatial organization and allocation as an ordering visual dimension.”3 The use of the axis is a concentrated expression of this concretization. Axis use in different programs is a symbol of power at different levels of performance, which includes theocracy, monarchy and patriarchy related to social systems, etc.
Haverford College, 2003), 4–5.
3.Peter J.Wilson, “The Domestication of the Human Species”(Professor of anthropology, University of Otago, New Zealand, 1991), 59
Georges-Eugène Haussmann was chosen by Emperor Napoleon III to carry out a massive urban renewal programme of new boulevards, parks and public works in Paris commonly referred to as Haussmann's renovation of Paris.4 It seems that during the 18th century and the time of the Enlightenment, “architects were no longer content to see their buildings glorify the state, the monarchy, or one specific stratum of society: they aspired to create monuments that would celebrate human greatness, inculcate worthy remembrance, teach moral values.”5 But culminating in cohesive blocks is also to further emphasized Napoleon III's idea of a“unified” Paris. In the late 1860s—less than ten years after he introduced the Haussmann building—Haussmann was facing increasing criticism. On top of complaints about his complete disregard for “old Paris,” residents were concerned about the costs of his projects, which, ultimately, came out to 2.5 billion Francs. There were also mounting suspicions that Napoleon III ordered big boulevards not to “air, unify, and beautify” Paris, but to accommodate his large-scale army6.
”Napoleon III installed a huge map of Paris in his office, marked with coloured lines where he wanted new boulevards to be. Partially, the boulevard system was planned
as a mechanism for the easy deployment of troops and artillery.”7 Regardless of whether his intention is as simple as to improve the various problems caused by the population density of Paris, this is an appropriate case to show how the rulers instruct the designers to arrange and transform the axis according to their personal wishes. His vision of the city still dominates central Paris. Axe Historique has played an important role in the urban planning and design of all eras later in Paris. The existence of the axis itself is the preservation of a symbol of the monarchy.
4. http://www.culture.gouv.fr/documentation/ joconde/fr/decouvrir/zoom/zoom-haussmann. htm - Joconde - visites guidées, 2012-03-05
5. Wendell Marc Tamani，“History of A City”， University of Pangasinan
6. Kelly Richman-Abdou, “How Haussmann Architecture Transformed All of Paris with Modern Buildings”, accessed May 26, 2019, https://mymodernmet.com/haussmann-parisarchitecture/
7. Wikipedia, Georges-Eugène Haussmann, http://en.Wikipedia.org/wiki/GeorgesEug%C3%A8ne
Another example is Beijing, which is about 17,000 miles from Paris, with completely different cultural background, but similar axis application. The Forbidden City is one of the classic cases of applying the axis to parade the majesty and power of the ruler in ancient Beijing history. The Forbidden City was constructed from 1406 to 1420, and was the former Chinese imperial palace and winter residence of the Emperor of China from the Ming dynasty (since the Yongle Emperor) to the end of the Qing dynasty, between 1420 and 1924. The Forbidden City served as the home of Chinese emperors and their households and was the ceremonial and political center of the Chinese government for over 500 years.8 The axis design of the Forbidden City strictly conforms to the hierarchical system of the feudal society in terms of function.
At the same time, it achieves the artistic effect of left-right balance and body change.The different roof shapes and colors of Chinese buildings also play a role in the division of functions and hierarchy. The Forbidden City was not completed under the guidance of architectural aesthetics, but under
the guidance of the monarchy, patriarchal, and ethical concepts. Political system, social structure and ritual concepts, this city was formed because of their piling up and the rules they made. The uniqueness and foundation of the aesthetics of ancient palace architecture. The Forbidden City is both an entity and a symbol. Monumental architecture embodies the leader’s ability to control and affect his followers. It both shows the group his actual power and demonstrates his worthiness and capacity to possess that power. Architecture is a sign pointing to a leader’s power.9 Both of these examples use straight lines as the direct representation of the axis, which is also the most straightforward and powerful way to guide residents' behavior. The pure form also reflects the ruler's desire to spend resources and labor to change nature according to his own will.
8. "UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang". UNESCO. Retrieved 4 May 2007.
9. Molly Glenn,“Architecture Demonstrates Power” (Bachelors of Philosophy Diss., Haverford College, 2003), 18.
Chinese quadrangles, also known as courtyards, have been built in Beijing ever since it first became the capital during the Yuan Dynasty. In the past they were the main form of residence there and were built in large quantities. The courtyard was enclosed by its surrounding buildings—one row on each side—and there was a gate which led outside. The ancient Chinese culture stressed the hierarchy of old and young, man and woman, and this manifested itself in the arrangements of rooms in a courtyard. Being the best rooms, the principal rooms were for the family elders. The eastern and western wing rooms were the eldest and second son’s homes respectively. Servants resided in the southern rooms and the unmarried daughters and some other servants dwelled in the back rooms.
For the homeowner, the house is not only used to adapt to the living quarters, but also a tool to show personal authority and wealth to the outside, and it is also a means to restrict the behavior and etiquette of family members inward. The axis here exists for more convenient execution of the allocation and division of space. Although affected by the different climates of various regions, the size and shape of the square courtyard are different, the divided space is still the privilege of the owner in any case.
Figure 5.
Part 2: Italy, Pompeii
Roman atrium-house is similar.
Take Pompeii: House of the Vettii as an example. Its observed properties are the firm axiality and bilateral symmetry of its plan with a dominant long axis intersected by a cross axis at the end of the atrium, its heart of circulation and source of light. Again, these properties are discovered not as components of style, but by contrast to the loosely combined megara and courtyards of Greek houses, in reference to a supposed origin-from the roofing-in of a courtyard or the unroofing of a hall-for their beating on the derivation of later types of dwelling.10
This contrast of architectural space organization also reflects the
most important thing in ancient Greece is the direct democratic system. Power is not in the hands of an individual, but the free people directly participate in the governance of the city-state. However, in the social system of ancient Rome, power is in the hands of the elected executive, which means the concentration of power. These differences are also inevitably reflected in different architectural styles, making them as productions that can be adapted and used after being selected and changed by current social system. For the owner of the house, the distribution of space in the building is obviously directly related to the distribution of his family
Figure 6.
members’ behavior. Construct a satisfactory family hierarchy according to gender and master-slave relationship, which is mapped to the use of houses. As long as the patriarchal system is dominant, residential buildings in different regions and eras are still shaped into similar spatial structures due to the similarity of the social system. For example, the rooms near the end of the axis are all used as important spaces to highlight the authority and wealth of the owner of the house. The difference between these two cases is that according to Chinese custom, the reception room and the living space are separated by a screen in the same room, while the custom of ancient Rome is to set the exedra, which is a suitable place for conversation, alone at the end of the building axis.
10. Frank Edward Brown,“Roman Architecture” (PhD. Diss., Yale University, 1958), 106–107.
The monarchy and patriarchy's pursuit of hierarchical systems has realized concreteness in the architecture of different regions in different ways. In fact, the axis also plays the role of domination and distribution in it. Therefore, although urban planning is very different from a single building, due to the similarities between the monarchy and the patriarchal system, they also have a similar layout to a certain extent, such as the use of secondary spaces or structures to arrange and set off the importance of the main area.
As a means of symbolizing power, axial architecture serves the ruler, so it has an inevitable social structural nature.The layout of the building is a way the ruler constructs the ideal world, which also means that it is more hierarchical and political, so it has a certain degree of similarity. This is the expression of cultural attributes achieved through the social system. As long as there is a desire to express power, there is always the possibility of finding it.
1. Melissa, “Design Principles”, accessed Nov., 2014
2. Molly Glenn,“Architecture Demonstrates Power” (Bachelors of Philosophy Diss., Haverford College, 2003), 4–5.
3. Peter J.Wilson, “The Domestication of the Human Species”(Professor of anthropology, University of Otago, New Zealand, 1991), 59
4. http://www.culture.gouv. fr/documentation/joconde/fr/ decouvrir/zoom/zoom-haussmann. htm - Joconde - visites guidées, 2012-03-05
5. Wendell Marc Tamani，“History of A City”，University of Pangasinan
6. Kelly Richman-Abdou, “How Haussmann Architecture Transformed All of Paris with Modern Buildings”, accessed May 26, 2019, https://mymodernmet. com/haussmann-paris-architecture/
7. Wikipedia, Georges-Eugène Haussmann, http://en.Wikipedia. org/wiki/Georges-Eug%C3%A8ne
8. "UNESCO World Heritage List: Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang". UNESCO. Retrieved 4 May 2007.
9. Molly Glenn,“Architecture Demonstrates Power” (Bachelors of Philosophy Diss., Haverford College, 2003), 18.
10. Frank Edward Brown,“Roman Architecture” (PhD. Diss., Yale University, 1958), 106–107.
Figure 1. La Défense from the Arc de Triomphe, Paris, accessed Aug.5, 2012
Figure 2. The Great Exhibition 1851, “The Opening Ceremony”, Illustrated London News, 22-021851.
Figure 3. Meridian Gate of the Forbidden City,Wikipedia, accessed Oct.24, 2015
Figure 4. The Forbidden city, News Desk, Beijing, accessed Dec.21, 2018
Figure 5. Chinese quadrangles, “Chinese traditional houses”, Dongmeng, accessed Dec. 11, 2016
Figure 6. Pompeii, Getty, accessed Oct. 12, 2020
Figure 7. Roman house. Atrium. Emilio Ereza, Antique illustration 1914, https://www.alamy.com/ stock-photo-roman-house-atriumantique-illustration-1914-16116108. html
Despite many warnings of a loss of "roughness", modern architecture continues to move toward a monotonous and chaotic mechanization.The loss of a sense of materiality seems to be accelerated by the extensive application of various simulation
methods in design has been integrated into and formed part of people's perception of the world in modern society. In the chaos of the material world, the rush of technological upgrading further fuels the thirst for deep spiritual stimulation .
We are inserting different machinery and equipment into almost all types of living spaces we use to provide a higher-quality living environment. Taking living spaces as an example, electrical equipment has gradually evolved from basic home appliances to comprehensive smart home systems. This seems to represent a traditional implied trend, that the type and scale of mechanical equipment serving human activities is closely related to the quality of human life it represents. Although the maturity of green buildings such as passive design seems to
mean that the quality of building space no longer needs to be unilaterally related to the degree of mechanization, a ubiquitous aesthetic orientation of invisibility or non-invisibility still exists, in most cases defined as "Industrial Style". This trend does not only exist in the field of architectural design, but also in the design of furniture, interiors, products, games, film and entertainment, etc.
A similar industrial-style craze seems to date back to the Industrial Revolution. The Great Exhibition(1851) seeming to set the beginning of a preference
"
In the most extreme cases, how can we imagine the future? Are we really going to wake up in a room where electronic screens replace the walls? "
Figure 2.
human flesh and machinery in many science fiction works, but the mechanization of construction is a process that is actually happening.
Le Corbusier considered a house to be a machine. The metaphor here seems to focus on how it will organize and ensure that the various partitions and functional modules within a building are aligned and can serve people's daily needs, just as machinery usually has a clear and precise purpose, focusing on solving a class of problems. or a variety of specific problems. Although the word looks very similar to the mechanization of construction, he is more obsessed with building walls that can be physically touched and felt, such as the classic white concrete material of Figure 1.
for centuries to come. Largescale industrial production in the field of construction means that the popularization of advanced machinery and high-quality living environment is possible, but it inevitably means the homogenization of behavioral activities and the reduction of sensitivity to material experience. The application of machinery and how to integrate new machinery into existing buildings in order to improve the internal environment of old buildings are new problems that are constantly faced with the development of the times. We are becoming more and more reliant on electronics, and our buildings are becoming more and more automated and more and more made up of mechanical equipment. It seems to be the product of the imagination of the fusion of
modernism. This has reflected a kind of resistance to the abuse of industrial decoration and a return to a simple and sensitive experience. "Our hand reaches out to it (the modern object) and our sense of touch looks in its own way as our fingers close around it."1 If the accumulation of a large number of touchable decorative materials is obvious enough to make designers and users feel distracted and dulled, the mechanized changes in modern architecture are mostly "hidden" features, mixed with the trend of information technology. The changes that invaded the living space of human beings together, although they are quite aggressive, we can only accept almost all of them before they can be distinguished, and we have become accustomed to them before we stop and reflect. It is undeniable that the so-called modernist style can still
be related to the theme of industrial machinery in intuitive visual or design aesthetic preferences.
1. Le Corbusier, “The Decorative Art of Today”, (1925) , 112.
2. Arthur J. Pulos,“Art Moderne Becomes Industrial Design” (Design Department, Syracuse University, 1958), 5.
“The modern style will remain as long as the machine in its present form is the dominant characteristic of world production."2 Machines have become not only the material meaning they represent, but also a potential cultural symbol and even a sense of people's spiritual sustenance for the future. Precisely because we are entrapped in such a trend in a comprehensive and irreversible way, it is almost impossible to do selfexamination beyond its possible social connection phenomenon completely and objectively. Figure 3.
Sijia Li — Southern California Institute of Architecture
Another change in the field of construction brought about by the development of industry and machinery is the vastly increased choice of materials and forms of construction that can be used. In such a situation as if designers and consumers can achieve a winwin situation, many non-visual problems are also emerging. The level of human cognition of the surrounding environment has been confused and sluggish to varying degrees due to the intervention of the development of industrial machinery, a lot of Historians like Sigfried Giedeon raised such concerns.
A very controversial example is MVRDV's 2013 glass farm project. Through the analysis of photographs of many traditional Schijndel farms in the area, an "average" image was created and printed onto the 1,800-squaremeter glass façade through a fritted glass process. The glass "brick wall" with transparent texture is obviously a product of the development of building material technology. This behavior may create a successful sensory stimulation and memory
point through the gap between consciousness and actual sense. This façade material mixes the traditional rough brick wall in people's impression with the smooth glass surface representing modern architecture. The audience who loses the clear sense of boundary between the two also seems to lose the sense of gravity of traditional materials. An indefinable weightlessness and chaos bound in a seemingly smooth mechanized process. When people's emotions can be decomposed and refined to the control of hormone levels, it seems that individual aesthetic differences can finally be integrated in a unified form through sensory stimulation. This seemingly endless pursuit of sensory stimulation has been controversial from the moment it appeared. However, the development of modern industrial technology has indeed contributed to people's aesthetic fatigue to a certain extent. “The urge to adorn the body, objects of everyday use, and one’s dwellings, is intrinsic to human nature. However, machines enabled the mass production of objects, which in turn reduced the cost of goods and encouraged the
desire to clutter and over decorated built spaces”3. Under such circumstances, the use of emerging technological means to pursue deeper and more different sensory stimuli than which can be received on a daily basis is bound to occur. If it is impossible to obtain unique memory points on the sensory stimuli that have been accustomed to, then with the help of AI, the experience mode and content can be upgraded to mental stimuli that cannot be obtained in daily life, or further simulated as real physical environment stimuli.
3. Priya Joseph, “The Interface of the Machine and Architecture: The 19th Century and Beyond” ( Manipal University, 2018), 3.
“Digital technologies exacerbate the implosion of spatiotemporal frameworks, resulting in a new aesthetic order in which previous alignments of identity, behavior, and meaning are no longer recognizable as such.”4 This change also led to new forms of presentation and reception, such as “Nature Dreams”, work of Refik Anadol. Anadol was granted access to one of the world’s foremost quantum computing research projects allowing him to merge AI-induced latent space with a quantum
4.Max Kuo, “Post-digital Frenemies”, Log 51(Winter/Spring 2021), 100.
hyperspace, and thus speculate an alternative reality through the lens of nature aesthetics.5 These AI sculptures calculated from 300 million natural pictures are obviously not equivalent to daily experience, but their data sources and visual effects are shrouded in "familiarity" and "intimacy", making people unconsciously It falls into the safe area. This kind of visual stimulation is different from watching a landscape video of a certain place on a computer screen. In fact, it has flattened the realistic 3d and distant sense of "landscape" we are used to before showing it in the form of AI sculpture. We don't ask how far such a "landscape" is from where we live, or whether we can plan a trip, we feel all the visual and psychological satisfaction we need in a box with three walls. Another example is Pipilotti Rist: Big heart, Be My Neighbor. This exhibition, created in 1962, uses a variety of surfaces for video playback, such as extending and mapping to ceilings, floors and walls. These semi-public spaces inevitably have the color of artistic overhead, but it is not a very shocking display method for most visitors - our eyes have been accustomed to wandering in the imaginary space by a long time, and our other perceptual organs also have been accustomed to the way of experience that does not seem to match the former.
5.Machine Hallucinations — Nature Dreams, https://refikanadol.com/works/machinehallucinations-nature-dreams/
Figure 6.
Since such a change has not (perhaps not yet) brought a strong sense of impact on the existing way of life or the human social order, it seems that it can only be described as infiltration. Obviously, just as we have lost the ability to define the derivative products of the combination of the old and the new, we cannot clearly divide them into "right" and "wrong". In this situation, Max Kuo’s “Postdigital Things''diagram is a way to help. Although no one can accurately predict the direction of the development of events, the Friend-Enemy and Predictable-Unpredictable axes used in the diagram are suitable for current needs. Just like meeting an unknown wild animal that has never been seen before, while approaching cautiously, we can only take the friendliness or hostility shown by the other party at this stage as a vague reference.
In most films and television works with a futuristic scifi style, excessive mechanized participation is often manifested as extremely pessimistic life status and conflicting class divisions. In addition to the need for these works to create a story, this may also mean that people are no longer simply delighted with everything brought about by technology, and realize that we need to reflect on whether this progress can still keep pace with the rules and laws of existence provided by modern society. So far, it seems that the use of sensory stimuli in human society is still in the safe area of creating comfortable and happy experiences, but the example of using sensory stimuli in the business field seems like a crack to the opposite world. The use of VR goggles on cows helps to get more high-quality milk, but also raises ethical questions and arguments about morality. The "healthy" living environment experience produced by sensory stimulation through modern technological
means, such a script in the story of "Black Mirror" has been applied to humans. A wall made entirely of LED screens can virtualize a room of any environment and material. The disturbing thing is that in terms of technology alone, modern society is fully capable of making this a reality. And the work of Andro and many other artists and architects seems to herald a possibility that goes far beyond the direct imitation of everyday elements. Max Kuo expressed his concerns about these unpredictable objects although they are still active in the "Friends" field so far. “(their) skeuomorphic qualities are instrumental to their deviant behaviors and purposes, economic or otherwise. In an age when information is crowded with endless difference, the unpredictable friend is arguably the most novel in its unsettling betrayal of our most closely held values and aesthetic categories.”6
6.Max Kuo, “Post-digital Frenemies”, Log 51(Winter/Spring 2021), 108.
Perhaps until now, the speed of the studies about how to locate or even control these post-digital processes is still mostly in the rear position of blindly catching up with the speed of change. The loss of a sense of materiality seems to be accelerated by the extensive application of various simulation methods in design, construction, and use, and has been integrated into and formed part of people's perception of the world in modern society. In other words, it is the chaos of the material world, and the rush of technological upgrading, that further fuel the thirst for deep spiritual stimulation . This is like a closed loop embedded in the wheel of history, and unless the carriage stops, no one will have a chance to see what it looks like.
1. Le Corbusier, “The Decorative Art of Today”, (1925) , 112.
2. Arthur J. Pulos,“Art Moderne Becomes Industrial Design” (Design Department, Syracuse University, 1958), 5.
3. Priya Joseph, “The Interface of the Machine and Architecture: The 19th Century and Beyond” ( Manipal University, 2018), 3.
4. Max Kuo, “Post-digital Frenemies”, Log 51(Winter/Spring 2021), 100.
5. Machine Hallucinations — Nature Dreams, https://refikanadol. com/works/machine-hallucinationsnature-dreams/
6. Max Kuo, “Post-digital Frenemies”, Log 51(Winter/Spring 2021), 108.
Figure 1. The Great Exhibition 1851, “The Opening Ceremony”, Illustrated London News, 22-021851.
Figure 2. Crystal Palace, Textile Research Centre, TRC Needles.
Figure 3. Le Corbusier & “L’Esprit Nouveau” 1925, 15-06-2016.
Figure 4. Glass Farm Schijndel, MVRDV Rotterdam, thomas mayer_ archive.
Figure 5. Machine Hallucinations — Nature Dreams, https://refikanadol. com/works/machine-hallucinationsnature-dreams/
Figure 6. Machine Hallucinations — Nature Dreams, https:// refikanadol.com/works/machinehallucinations-nature-dreams/
Figure 7. Fifteen Million Merits — Black Mirror, 2011
Figure 8. “Postdigital Things''diagram, self drawing.
Sijia Li — Southern California Institute of Architecture
This project starts from covering specific issues and moments in Williams’s career and center the study of craft (architecture, design and art) at the intersection of form, function, space, law, intention and social justice. The idea of sanctuary will develop
an understanding of commission-based work and the vital, and often troubling, relations between aesthetics, built environments and important social histories.
Figure 1.
1ST CENTURY B.C. 446 ft X 358 ft, features 120 arches Battleground for gladiators
Figure 2.
5TH CENTURY A.D.
Addition of four protective towers A fortified town with churches and housing
Figure 3.
19TH CENTURY A.D. Demolished buildings inside Venue for sports and entertainment
Sijia Li — Southern California Institute of ArchitectureThe most prominent of these is the size of the amphitheater. It is small compared to other theaters in Rome. The amphitheater has 120 arches, a single gallery, staircases, and two levels of seating. The amphitheater could welcome up to 21,000 spectators through a series of doors, arches, galleries, staircases, and floors. In addition, whereas the Colosseum has a dual system of galleries (which increased seating capacity), Arles Amphitheatre has only a single annular gallery. Still, Arles Amphitheatre is an impressive monument and is considered to be one of the largest amphitheaters in the Roman world.
The Arles Amphi theatreis Converted into a Fortress. The arches of the monument were walled up, while four towers (three still visible today) were added to the amphitheater, not unlike a medieval castle. Houses were built in the
arena, and the Arles Amphitheatre turned into a walled town.
Community Arles Amphitheatre provided some level of security and protection to those living within its walls during these turbulent times.
It was at the late 1820s that the amphitheatre was converted back into a venue for some of the public entertainment.
Today, Arles Amphitheatre remains one of the city’s most iconic landmarks and is a must see for anyone visiting the city. The importance of Arles Amphitheatre is also evident in the fact that in 1981 the monument was inscribed as a UNESCO World Heritage Site, as part of the ‘Arles, Roman, and Romanesque Monuments’ group.
The building itself resolved not only most of the problems that a modern stadium architect must face but included sophisticated devices to transport animals into the arena from the holding cages below.
Here was the famous ‘bread and circuses ’ which kept the urban poor and unemployed of Rome entertained and bribed them into acquiescence to the rule of the rich senatorial classes. St Augustine gives us another example us he tells us ‘The story of Alypius’. Alypius had been convinced by his friends to go to see the gladiatorial games. He had been determined not to enjoy the games and had shut his eyes tight. Eventually, as he heard the crowd screaming in excitement, he opened his eyes ‘and was drunk with the fascination of bloodshed’. As St Augustine declared, Alypius became just ‘one of the crowd’.
The rules and moral standards of modern society are obviously very different from those of ancient Rome, but the spatial persistence of the influence of this hierarchy on architectural forms still seems to be a manifestation of the release of negative human characteristics. And the unique spatial setting of the amphitheater can also provide a reference for the architectural space that requires public gatherings such as modern stadiums.
Perhaps through re-use, the expression of human nature in space can be reproduced.
Figure 4.
The Amphitheater used to be a village, events place, and gathering space for various people. So we started to think that this Amphitheater could be a sanctuary if we brought those functions back from several hundred years ago and added a new role. This Amphitheater may become a unique and perfect place for people to express, pray, and gather, and it becomes a sanctuary that supports the entire city and area. So we bring up three ideas for transforming it into a sanctuary. Each idea has a different shape, purpose, and method to make this Amphi Santuary becomes unique.A series of doors, arches, galleries, staircases, and floors create an opportunity for the Arles Amphitheatre to become a san c tuary. By merging the simple structure of the Allmannajuvet Rest Area and Museum, the designs fill the spaces and create some unique positions and ideas for the sanctuary. It becomes the
amphitheater's extension and provides an exciting area for people to stay, hide, and live. This idea of extension gradually becomes part of their mental support.
We try to rebuild the village's imagination from hundreds of years ago but with a new function, "sanctuary." by thinking abou t these sanctuary ideas, we combine them and see what it looks like. With all the doors and arches filling with the chapel sanctuary, it becomes the first layer of th is amphitheater sanctuary. Second, all the Allmannajuvet Rest Area and Museum structures were constructed in the center of amphithater and hanging on the exterior wall; it became the second layer of this sanctuary. It does not only provide an opportunity for people to the gathering but also express their though and enjoy their own time.
Figure 1. The Amphitheater of Arles, 1868, https://etc.usf.edu/ clipart/74100/74178/74178_arl_ es.htm.
Figure 2. The Amphitheater of Arles, http://mikestravelguide. com/things-to-do-in-arles-visitthe-roman-amphitheatre-arenesdarles/.
Figure 3. The Amphitheater of Arles, https://en.wikipedia.org/wiki/ Arles_Amphitheatre.
Figure 4. Théâtre Antique, https:// www.locatipic.fr/lieux/bouches-durhone/arles/parcours/cite-d-arles/ points-d-interet/theatre-antique.
Figure 5. The Arles Amphitheatre + Allmannajuvet Rest Area and Museum = Sanctuary, self drawing.
Figure 6. The Arles Amphitheatre + Allmannajuvet Rest Area and Museum = Sanctuary, self drawing.
Figure 7. The Arles Amphitheatre + Allmannajuvet Rest Area and Museum = Sanctuary, self drawing.
