Confluent Possibility

MAXXI STUDIO: THE HOME, THE MONUMENT, THE MUSEUM LED BY SCOTT WOODS & KIM VO

Confluent Posibility

BY YI WANG

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Wayfinding Plans Ground

FLOOR

1:ENTRANCE HALL 2:AUDITORIUM 3:RECEPTION COFFE & BAR 4:TEMPORARY EXHIBITION 5:GRAFHIC COLLECTION 6:AUDITORIUM 7&8:EXHIBITION SUITES

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FIRST FLOOR 1: AUDITORIUM 2:EXHIBITION SUITE 4 3:EXHIBITION SUITE 9 4: EXHIBITION SUITE 4 5: EXHIBITION 8 6: AUDITORIUM

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SECOND FLOOR 1:ENTRANCE HALL BELOW 2: EXHIBITION SUITE 3 3: EXHIBITION SUITE 5 4: GRAFHIC COLLECTION 5:EXHIBITION 10

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Prologue Through the initial research of Aldo Rossi’s residential project and consider it reborn with Maxxi as both a typological instrument and an architecture exhibition.

The project provides a new read into both projects with an unexpected constitution through a series of planar and formation collage of the existing space. The result formed a new entity that from the context of its birth yet uncannily unfamiliar, complex yet unclear.

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By constructing Maxxi back to what was originally proposed, unexpected interactions occur to become opportunities for a new formation and integration within the context of the museum. A blunt use of facade from Rossi’s unbuilt project, which was also an adapted model from a built project, creates a condition of Maxxi becoming an object on display as opposed to its original response to its context.

The truth is, this temptation to mold an outcome of accidental possibilities has led to an indefinite circle of hesitation. In lots of ways, ‘The confluent of possibility’ did not stand perfectly at the deadline but rather realised through the whole documentation of the totoal work during the semester.

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Q & A On Rossi YiChen: Do you think that you have moved out of Rossi’s shadow? How have you embraced him but also managed to move away from him?

Yi: I don’t think I’ve completely moved out of Ross’s shadow. I feel like my design motivation is very much guided by him. Um, there is restrictions.

I think I moved away from him in project one like step one, I sort of have that second agenda that in some way I need to break Rossi. I was heavily using materialities to break that and also, especially in Step three, I am introducing Maxxi as intrusion. So it will be another kind of break or like a contrast between, like Rossi Maxi and my own design.

Yichen: Do you think Rossi is still relevant for contemporary discourse? If yes, why? If no, why?

Yi: Um, I will say yes. Rossi was one of my favourite academic before. I strongly resonate to the way he designs and the way he sees things.

Compared to contemporary architecture, I feel like people focus on the actual quality of architecture instead of the meaning. I thinkpersonal experience like memories, emotions, is a very strong tool to guide the designer to design anything. Right now we are using the tools which is very emotionless. like you know, Grasshopper and such. So I think it is good to talk about Rossi to bring us back to the very beginning you as a designer, is the driven of the design as opposed to just tool or software.

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Q & A On Exhibition YiChen: What is the challenge of exhibiting architecture? What is exhibited and what does the exhibiting in your project? Is it that simple?

Yi: First of all, it’s not like you can exhibit every espect and quality of architecture. Like atmosphere, you can just simply display it in drawings and models. I feel like there always will be a part of losing.

For me, I sort of using my step one prjects and display them in 1:1. I extracted window in the form of a window but also reconsider in the context of exhibition.It works like a framework for the artfacts around it. So Yeah, so I’m exhibiting the actual artefacts, but also exhibit that experience as well. which is embodied in architecture. It is not simple, because it always comes down to why you do this way? What the new context would do to it?

Yichen: How would you describe an architecture that exists solely inside the museum? How is that architecture different to architecture that exists outside the museum?

Yi: Well, I think every architecture has a context.

So, when the architecture solely exists in the museum, the museum become the context respond to.

And that becomes the only context, which means everything is on display, every move has to be cautious because everything has been scaled down to human scale.

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Q & A On the Project of Architecture Yichen: Can you identify a moment of crisis in the development of your project or your thinking about your project – for example a particular problem that couldn’t be resolved, or the idea that took-over your project...? Is it an architectural problem that will continue to haunt yourproject even after its completion?

Yi: I think the main, the the key method I’ve used is a collage. So from the beginning, I have problems to generate a new project that I couldn’t understand how to, you know, like, build an architecture within architecture. So I used collages to find new form.

But I don’t actually have a solid conceptual overall narrative. Because I’m a doer. So if I can’t think through, I just do it. Now I have a problem of some of the outcome I’ve generated out of the process.

It kind of doesn’t respond to my motivation at the start. So I don’t know how to explain them.

Especially I’m developing plan right now. I saw some forms and some fragments, I like them but I don’t know weather they are valid.

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Q & A Yichen: Has your project for an architecture exhibition changed your position or attitude to architecture more generally? If yes, how?

Yi: Yeah, I think definitely. It draws my attention to a very specific moment because when we design we have an overarching view of the whole would be like. While as if you’re doing an exhibition, you have to draw your eye down to very little moments.

Maybe overlook to all and appreciate it. So I think it definitely make me pay more attention on those moments.

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Concorso per un’unità residenziale, Setùbal

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Project: Concorso per un’unità residenziale Date: 1975 Location: Setùbal MAXXI Archive: Project Address: ROSSI Aldo > Attività professionale > 30: Concorso per un’unità residenziale, Setùbal ([1975]) Images (Supplied): 912 + 914 Link: http://inventari.fondazionemaxxi.it/AriannaWeb/main. htm#250332_archivio

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Concorso per un’unità residenziale, Setùbal

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Garibaldi-Repubblica, Milan 1991

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Garibaldi-Repubblica, Milan 1991

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Garibaldi-Repubblica, Milan 1991

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Project List Overview Isometric Plans: Site Plan with Roof Ground Floor Plan First Floor Plan Second Floor Plan Architecture Fragments The Collision of Four The Intruded Ceiling Alignment The Entrance Gate Perspectives The Intrude Terrace Auditorium: The Intruded Ceiling Outsider’s Observation: Endless Window Insider’s Observation: The Entrance Gate

Final Del

CONFLUENT POSIBILITY

liverables 29

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Overview Isometric 31

VIA GUIDO

SITE PLAN WITH ROOF 0 5 10 15 1:700 @ A1

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40m

VIA FLAMINIA

O RENI

Site Plan with Roof 33

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Perspective: The Intruded Terrace

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Fragment: The Collision of Four

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Perspective: Auditorium: The Intruded Ceiling

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Fragment: The intruded Ceiling

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Perspective: Outsider’s Observation: Endless Window

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Perspective: Aligment

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Perspective: Insider’s Observation: The Entrance Gate

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Perspective: The Entrance Gate

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A collision of the planar and the curvilinear, a total imposition of a monolithic block, with distinct overtones of the Gallateresse, on the northern facade bounding Via Masaccio locks off any one single view of the MAXXI as object, and instead creates a condition where the singularity of the museum as formal expression is intersected, subsumed within, and exists alongside the uncannily recognizable interventions of Yi Wang’s “The Home, The Monument & The Museum”. Their disjuncture with the museum is total, positing the idea that the application of these universal forms, referencing the unique through the most general, allows alternate readings of basic space, loading the vacuum that exists within the sweeping curves of this most objectified architecture. The splaying of these forms across these lurching arms and extrusions creates odd, idiosyncratic moments, played out as fragments of another architecture displaced and conformed around the overbearing expressionism of ZHA’s MAXXI.

Critics

By Ja Whilst very much in tune with the conceptual bases of Rossi, the intersections between the existing museum, and Wangs’s new museum, suggests the continuing relevance of his transhistorical, omnipresent architecture that stems from, and contributes to, a reading of the city. The city, in this microcosmic study, can be read as the MAXXI, the context with which intersections create a new, third space, not the old, or the new, but a new, contingent, and shifting whole.

Moving through, it is no longer apparent the role or origin of these planes, is this signifier an veneered application upon the existing, a wholly new entity inserted alongside and separate, or a blurry point between the two?

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Review acob Komarzynski The unclear nature of this combinatory architecture allows a complex reading without a clear outcome, the new architecture is subsumed into the continuing history of the existing, separate, but inextricably bound, to the MAXXI. Much like the siting of Rossi’s residential projects, which stem from and exist as a continuation of the city, they exist in an unclear middle ground, the uncanny generality of their forms clearly stem from their surrounds, an ethereal mental construction of the city-ashistory. They sit alongside, yet apart; their sides touching, but never an embrace. Their new totality is awkward, obvious, confounding. Yet, the forever folding, the morphing march of time eventually laminates them into one and the same, an image of the city to reference, and be referenced, yet again.

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Step 1: Residence 1.1 City 1.2 Monument 1.3 Domestic Object Step 2: Exhibition Curatorial Design Strategies + Rooms

Index

Step 1 Residence

1.1 City - Axonometric

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1.1 City - Perspective

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1.2 Monument - Axonometric

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1.3 Domestic Object Axonometric One

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1.3 Domestic Object Axonometric Two

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Step 2 Exhibition 1 Room 3 Rooms 5 Rooms

Precedent Photo: Trigon’69 Graz, Australia

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Curitorial Strategy: Window Frame

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Superarchitettura (Superarchitecture) Pistoia, Italy 1966

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Room 1

Room 2

Room 3

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XIII Triennale di Milano (The XIII Milan Triennale) Milan, Italy 1964

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Room 1

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Room 2

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Room 3

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Room 4

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Room 5

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City

Week 2

Process Documentation

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Monument

Week 3

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Domestic Object Balancing Scale

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1 Room

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3 Rooms

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5 Rooms

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Step 3 Potential Formation

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Potential Formation

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Fragments, Plans & Perspective

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Views & Fragments

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Diagram and drawing

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Diagram and drawing

SWOT

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weekly reading & class notes

knowledge Bank

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