Ren Luo's GSAPP Portfolio

REN LUO uni: rl2590 PORTFOLIO OF MSAAD COURSE GSAPP COLUMBIA UNIVERSITY

THE BIG BOX Kersten Geers & Andrea Zanderigo & Bass Princen 2011 SUMMER

This is the first in a series of investigations on architectural strategies for banal buildings of a significant scale. Today, a great number of buildings do not require an intricate development of the plan in order to be

either socially viable or economically interesting. If the plan and its potential complexity cases its failure, it seems that as soon as the plan and complexity of its use turns irrelevant, the lever to argue for Architecture is most certainly gone.

The battle for architecture and it necessity is fought on the fields of housing and public building: there where the plan matters. Contrarily, a great part of the contemporary building production happens in the fringes of this universe. A great number of buildings are pragmatic clothing for a not too specifically defined content. In many cases any attempt to make architecture, starting from the sheer pragmatism of this content becomes wishful thinking. Still, when the scale of the building appears significant in relation to its context, the stakes are too high to let go. Architecture in there instances can not be too ambitious, but has to be smart. It can not be too sophisticated, but it has to be intelligent. It should not ever attempt to be a complete architecture, but it should position itself on the one hand servant to the content it does not grasp, still it should be fundamental enough not to be overlooked, to make sense on its own right. More important however, is the question of what should be its frame of reference, what should be its ambition. What are the defining principles of the big box?

In the early nineteen seventies, and in the better part of the second phase of his architectural production, Robert Venturi experimented with a set of graphical principles disguised as the pragmatic answer to the phenomenology of been seen (and recognized). Despite the (pop art inspired) pseudo irony, and games of representation, many of the strategies and implicit principles still seem valuable. This is not surprise, as in the continuation of architecture of complexity and contradiction, the notion of continuation, or (to a certain extent) architecture detached from its function, is the key. Architecture without content uses the function or content of a certain building as the alibi for its existence. Function/ content is the catalyst but not its quintessence. Venturi’s categorization of ‘boxes’ in ducks and decorated sheds appears old fashioned in our over wired society where context and address is destined by GPS and webspace. More disturbingly, it makes an unnecessary connection between the container and the contained. Fascinatingly, in parts of his own production (e.g. Lewis Thomas laboratories) we get a glimpse of what is possible when this all too forced argument is put aside: we see a building in search of principles that do not have to communicate- an exercise in the architecture of the perimeter.

Architecture without content starts here and wants to investigate the possible architectural strategies left to us when we accept the limits of our field of operation. This pragmatic architecture is not a new architecture and probably finds its roots both in Europe architecture before orthodox functionalism, (sheds, halls and palaces) and in the pragmatic architecture of the big scale container building as developed in the realm of North American Corporate buildings in the sixties and seventies. In this first installment, the latter is the focus. In an attempt to distill possible strategies for architecture of the box, we looked briefly at the architecture of corporate envelopes. The studio investigated the possibility for a vocabulary to be used for big boxes in the city. The projects are proposals for specific machines for the even covered field. They are presented as portraits of possible buildings. Incomplete as it is, it shows a catalogue of potential tools, possible strategies, to deal with the indifference, scale, economy and pragmatism of the big box.

Even though we attempt to accumulate formal knowledge through trail and error only, this series can not hide behind indifference.

Each of the projects needs to be an exercise in economy of means, but more importantly a search for a valid set of principles. If the success of the project cannot be evaluated in a mastered complexity, economy of the plan or a promenade of any kind, how can we judge its relevance? Then again, how do we judge the pyramids, or the success of a palazzo? Scale cannot be the only criterium.

- Kersten Geers, 2011

Auto Sale, Queens, New York, Ren Luo North View

Auto Sale, Queens, New York, Ren Luo South View

VOIDS AS SOLID Greenpoint Art Institute Steven Holl & Garrick Ambrose 2011 FALL

Materials’ Experiment

This studio’s project is composed by two phases:

first, materials’ experiments in first three weeks without acknowledging of building’s program; then architectural design based on selected site and conditions. The experiments here are not for searching certain constructing materials, nor merely as tools to shape some spectacle spaces. They are, to some extent, systematic methodologies to encourage architects break Stereotypes. The fruits of this process might not directly become the prototypes of the final architectural works, nevertheless stimulate ideas to move on, as catalyze in chemical reaction, which only influence yet never intervene. Architects have to read their works after finishing the research, in order to make conclusion inspiring the next step’s thinking. Without the need to consider program and any other technique problems, architects could put spatial experiences at the very center of their researches, which is, as the matter of fact, the core of this design studio.

Materials Experiments: In the very first place, plaster came into our views, a material which own splendid capability of form shaping, stability, as well as elegant visual effects in light. The beauty of plaster does not exclusively dwell on ridged geometries it shapes, but the possibility to transform into any nonlinear forms before its solidification. A waterproof fabrics is fixed inside the mould, shaping a cone-like space with one opening on its top. Plaster, after being poured into the mould, crush this ‘cone’ with the help from its weight and gravity. The tensions between these materials sculpture a cube which owns a nonlinear interior space. Light is saturated in this ‘hall’, diffusely reflected back and forth on these fluid-like surface, creating unexpected spatial experience. Then, we stretched our focus onto another target. This glass fiber cloth is soft and opaque before being processed. After being soaked by resin, it transforms into transparent and stable solid. This character gift glass fiber similar sculptural capability to that of plaster. Yet its lightness and transmittance distinguish it to the latter one. A cluster of this glass fiber ‘tower’ could shape a unique space where light penetrate through all objects while reflect surrounding images on them. A beauty of ambiguity is thus installed.

Two major summaries were made afterwards: (1) The two materials’ sensitivity to light create divisive visual effects. Plaster reflects light diffusively yet itself is opaque, while resin processed glass fiber is light transmitting and translucent; plaster is used to construct spaces under the methods of undercutting and carving, glass fiber on the other hand do it by being raised up as objects defining boundaries. In the end, we have two entirely different systems above, both of which are self-sustain and deformable. They will be examined further more so that they could be merged into the final design.

(2) The experiments uncovered the conflicts between orthogonal and diagonal systems. The first experiment create a diagonal mass inside an orthogonal geometry. The fabrics in the mould resist the invasion of the plaster by prevent it forming a complete cube, as the nonlinear diagonal entity defy the occupation of orthogonal forces. The tension that being created by this conflict stretched and crushed fabrics, undermine the system’s stability. The space, in the end, is outside the region of traditional architectural concepts. What will happen if we combine this narration with the glass fiber system? Could we merge a sculptural system with a carving one? Could a design own both features at the same time?

Architectural Design: The program is an art gallery at New York City’s Greenpoint. The community is now in the process of transforming into a residential and art district via an industrial relic. The new art institute should be more than a container for art works, but as a cultural center provoking local urban events. We realized that, right after the beginning, the control of circulation is crucial for this building. It is because on one hand circulation can be used to organize behaviors inside the gallery, and also could be the tool to introduce outdoor urban life into this public facility. Therefore the building is divided into two parts: orthogonal spaces as main exhibition rooms (stable, rational and simple), alone with the diagonal ones as circulations (dynamic, nonlinear and complicated)- a ‘solid’ of art and ‘voids’ for movement. They coincide the two systems in our experiments, making it possible to apply those experimental outcomes into architectural design. As the building’s main volume is a cube- the solid- with single side length of one hundred feet, we insert glass fiber cylinders- the voids- into it as the main circulation. Carrying natural light and visitors at the same time, these voids start from south entrance at ground floor, thrusting through all major exhibition spaces, ending up at rooftop. It is a caged ‘beast’ which break holes on the solid’s surfaces as entrances and balconies. An auditorium grows out from this complex, facing towards Manhattan Island for the spectacular views. A diamond shape oxidative metal facade contains this illuminating complex, keeping the building’s morphological intact as a cube in the day light- in another word, preserving it as the solid for art. After getting dark, the facade fades out visually, leaving the voids, which being illuminated, spiral up to the sky. The roles played by ‘voids’ and ‘solids’ are now inverted. Due to its independent nature, the circulation could still be in operation after the gallery closed. It makes this building being a twenty-four-hour extension of vertical urban territory. The switch of the two modes above allow viewers to re-read and misread the building, liberating the beauty of ambiguity and uncertainty.

Building Prototype Research

View on Greenpoint Avenue (towards East River and Manhattan)

View on West Street (main entrance)

Section B-B

Section A-A

Second Floor

Third Floor

Forth Floor

Second Floor

THE BIENNIAL BRIDGE SHOHEI SHIGEMATSU & CHRISTINE J CHENG 2013 SPRING

BEFORE 1950

1951-1960 1951-1960

1961-1970 1961-1970

1971-1980 1971-1980

1981-1990 1981-1990

1991-2000 1991-2000

2001-2010 2001-2010

2011-NOW 2011-NOW

1955

1895

BEFORE 1950

1968 May 1968 Protest in France

1961 Construction of Berlin Wall

1940-50 Economy grew rapidly in Brazil

1st Carnegie International

1937 Worl War II broke out

1933 Nazi German came into power

The 1st London Open

1923 Italian Facists came into power

1914 World War I broke out

1907 The 1st national pavilion, Belgium Pavilion, was built

The 1st Biennial

Venice became a part of Italian Kingdom

1866

1895

1950 1951

1950

1932

1895

1890

The Great Exhibition in London

1851

Biennale From 1895 To 1950 Biennale From 1951 To 1990

LONDON OPEN, ENGLAND DOCUMENTA, GERMANY

CARNEGIE INTERNATIOANL BIENNALE, USA VENICE BIENNALE, ITALY HAVANA BIENNALE, CUBA

SAO PAULO BIENNALE, BRAZIL

Biennale From 1991 To Now

LIVERPOOL BIENNALE, UK D-0 ARK BIENNALE, BOSNIA

GWANGJU BIENNALE, KOREA

MARRAKECH BIENNALE, MOROCCO 1895

SHANGHAI BIENNALE, CHINA

BEFORE 1950 1951-1960 1961-1970 1971-1980 1981-1990 1991-2000 2001-2010

2010 2011

2009 Financial Crisis

2005

1999 2000

1995 1996

2001 9/11

1991 Yugoslav Wars begin

1990

1989 The Fall of Berlin Wall

1990

1984 The Macintosh 128K

1983

1980 Gwangju Massacre, South Korea

2011-NOW

ART-PERENNIAS’ URBAN AMBITIONS

“ ... ... establish Sao Paulo as an “Kassel as

international art centre”

Documenta City”

“(Gwangju as)

Aisa’s cultural

window

to the world”

“The Biennial aims to expand Shanghai’s importance as the

west’

‘ gateway to the

through the arts sector”

“... ... seeks to invoke the latent cosmopolitan spirit of the modern metropolis of Kochi and its

mythical past,

Muziris”

“Liverpool Biennial unfolds through a programme of exhibitions and projects that lead to a

rediscovery of the city.“

“... ... intends to be not only a great event in the artistic life of Moscow and Russia

play an important social, cultural and political role internationally”

but also to

“... ... seeks to promote the status of the artist and contemporar culture in North Africa and to

dynamize regional creative scene”

“... ... collectively emhancing Singapore’s international image as a

city to live, work, play” “... ... broadened Taiwan’s artistic vision, its professional, ability, and its

vibrant

exhibition-organisation

exposure in the international media.”

“This motivates cultural exchanges based upon the principle captured by the Japanese expression “seikô udoku; kakô tôdoku”, which can be rendered in English as “In summer, cultivate the fields; in winter, cultivate the mind.” Cultural facilities, created by global artists and run by local people, warmly welcome visitors and travellers. In viewing the artworks, the visitor passes through terraced rice fields and forests of native beech, encountering festivals and traditional customs, thereby

experiencing the landscapes and cultures of Echigo-Tsumari through all five senses.”

MORE VENUES? The EXPO model requires perennial keeping expanding sites in order to satisfy its survive. It also create the concept of central pavilion- the hierarchy system of exhibition.

ON

AI E SM RAR 201DIX ATEUS 2

ARSENALE PIAZZA SAN MARCO

GISRDINI DI CASTELLO

VENICE BIENNALE now

NO VENUE? The Emergency Biennale radicaly denounced the model of current art exhibition, while adapting a way without any permenant facilities. It also denounce, for political reasons, local authority’s supports.

The lack of spaces cannot ensure the events’ continuity, and lack of a stable institute makes the event difficult to be promoted. As the matter of fact, the biennale does not survive.

A MONUMENT? Should the art perennial be monumentalized? The Sao Paulo Biennale has been held in the Pavilh達o Ciccillo Matarazzo designed by Oscar Niemeyer, with 30,000 sqm exhibition spaces. The building stays empty in the gap years.

Sao Paulo Fashion Week, 2009 In order to maintain the facility’s running, the pavilon has been used as a public space for cultural activities, including advertising and tourism.

MORE FAIRS? Gwangju Biennale has been held in the Biennale Hall built for it. In order to ensure the space-as well as the city-be occupied all year long, more events were created to fill up the calender.

HUB CITY OF ASIAN CULTURE

GWANGJU

Dominique Perrault Urban Folly Gwangju Design Biennale, 2011

TURN STREET INTO GALLERY? Liverpool Biennale is the first one to aim on urban interventions. It allows art works in public spaces stand longer than the event itself.

However, could art perennial make urban impact by simply putting artworks in public spaces? Those artworks are all shut down, despite their popularities, due to financial reasons.

Richard Wilson

Turning the Place Over 20 June 2007 - 8 January 2011 Turning the Place Over has been commissioned by Liverpool Biennial and co-funded by the Liverpool Culture Company, Northwest Regional Development Agency, CityFocus and The Northern Way. Co-commissioned by the Liverpool Culture Company and Liverpool Biennial, co-funded by the Northwest Regional Development Agency and The Northern Way, and facilitated by Liverpool Vision, the project was conceived as a stunning trailblazer for Liverpool’s Year as European Capital of Culture 2008, and the jewel in the crown of the Culture Company’s public art programme.

KOCHI BIENNALE? Kochi biennale is not heavily financed by local authorities like Gwangju; it is also lack of major funding means like Venice or Sao Paulo. All exhibition now are held in historic buildings. Without permenant facilities and reasonable financial supports, how could it survive in this harsh ecnomic environment?

“The artists and the scholars have the responsibility to make the government change the policies on art so that infrastructure comes up for promoting art in Kerala and the rest of the country” Co-curator of Kochi Biennale Riyas Komu

Won’t give more funds for Kochi Biennale, HC told Author: Express News Service Published Date: Jan 9, 2013 11:30 AM Last Updated: Jan 9, 2013 11:30 AM

The petitioner submitted that the state had initially handed over Rs 5 crore for the biennale.

The state government on Tuesday submitted before the Kerala High Court that it has not considered any proposal so far to grant additional financial assistance to the Kochi Biennale Foundation for conducting the ongoing Kochi­Muziris Biennale.

P G Unnikrishnan, Under Secretary to Government, Cultural Affairs Department, made the submission on a petition filed by G Ajith Kumar, secretary, Lantern Fine Arts Society, seeking a directive to restrain the state from providing additional financial assistance to the Kochi Biennale Foundation. The court also flayed the state for not filing an affidavit and issued a directive to file a detailed counter­affidavit within ten days. The state further submitted that a Cabinet meeting is scheduled to be held on January 10 and there is no agenda so far on granting further assistance to the biennale.

The petitioner submitted that the state had initially handed over `5 crore for the biennale.

Meanwhile, the government is also planning to provide additional financial assistance to the foundation, without taking any steps to recover the funds already provided. The Cultural Department was in haste to disburse `5 crore, he alleged in his petition.

The petitioner also sought a directive to expedite the Vigilance probe.

He submitted that the government has so far not executed the order to conduct the Vigilance probe as recommended by the inspection wing of the Finance Department.

Copyright © 2012 The New Indian Express. All rights reserved.

The solution is to combine Kochi Biennale with urban infrastructures, the later which has been well financed over the years, and will continue to be so in future.

One of the major investments among them is bridge constructions.

KOCHI INVESTMENT PALN: 2005-2012

transportation 40%

KOCHI TRANSPORTATION INVESTMENT PALN 2006-2012

2012

2011

2010

2009

2008

2007

2006

The metropolitan area of Kochi is divided into two main parts: Fort Kochi (the historic center), and Ernakulam (the modern city). In last one decade, all major infrastructure construction were taken place at Ernakulam.

Fort Kochi is branded as the ‘living museum’.

However Fort Kochi is still high populated.

It is dying because local residents are moving to Ernakulam for better services and living conditions. Hence in order to attract investments back to the old town, a link has to be built, bringing Fort Kochi back to the daily lives of this dynamic metropolis.

Ernakulam

Fort Kochi

SHANMUGHAM ROAD

PARK AVENUE

KALVATHI ROAD RIVER ROAD BAZAAR ROAD MAHATMA GANDNI ROAD

JEW TOWN ROAD

VENDURUTHY BRIDGE

BY CAR: 9.7 KM Walking time: 2 hours Driving time: 30 minutes (20km/hr)

THOPPUMPADY BRIDGE

Bazarr Road and Marine Drive are two most popular pedistrian areas in the whole city.

Yet they are porrly linked by current traffic systems. The new structure will be porposed to be built as a direct link of these two.

SHANMUGHAM ROAD

PARK AVENUE

KALVATHI ROAD RIVER ROAD BAZAAR ROAD

BY CAR: 2.5 KM Walking time: 30 minutes Driving time: 7.5 minutes (20km/hr)

Kochi’s climate is a tropic monsoon one.

It has some most extreme wether conditions through a year: high temperature and unbearable humidity. The current venues of Kochi Biennale are basically re-using existing historic buildings. Fancy as they are, these facilities have no cooling systems; and most of them are with poor ventilation. People rarely stay inside a venue unless viewing time-based pieces like videos.

Yet the open or semi-open venues are popular among audiences due to better ventilation and comfortable natural environment. Hence, being relocated near waterfront and keep them semiopen, exhibition spaces could be improved. The programs will not be walled unless absolute necessary. Breeze from the massive water surface around will cool the air down all day long. The exhibition space will become more comfortable and more sustainable, while could housing more dynamic urban behaviors.

THE PROPOSAL

We believe that instead of building extra spaces on bridge, the bridge itself should be the ‘building’. The bridging structure will at the same time be the architectural one.

Therefore our design starts with researches on structure knowledges and debates.

By applying different building methods the bridge is now capable to adapt various urban contexts crossing with.

Craftsman Market, Fort Kochi side

Spuare, Fort Kochi side

Kochi Biennale Museum, Willington Island

Kochi Biennale Museum, Willington Island

Kochi City Library, Willington Island

Public Park, Ernakulam

Ground Floor Plan