"An Architecture Dinner" portfolio - Echo Yue

MENU

“DESIGN PORTFOLIO”

“MENU ” of A RC HITECT UR E

“ARCHITECTURE DINNER“

Ingredients

Art practice Side dish

Empathy

Main Course

Interaction Theary Architecture Narrative Desserts

Haecceity Beverages

Sensory, Movement

Chief：Echo Wanqing Yue

Design Portfolio

selected works

echos

echos

MAIN COURSE INTERACTION THEORY / ARCHITECTURE NARRATIVE

tangible to this is person a perevery formance with my strong r intention to make architecture readable and tangible to every person Part of this presentation is a performance, the reason I am doing this way, firstly, this is my intention to make architecture readable and tangible to every person, just like to present in an easy and very direct way, sense something magical, beautiful in the dishes. Also, to answer the question that people often asked: if architects can be replaced by robots” I put my answer in this performance that there is something that we human have can not be replaced, the empathy, the senses, the thinking.

my name is Echo, I am the chef But I don’t cook food,

I cook architecture.

today.

Here’s the special MENU so I have prepared for today.

These are serious food that has a lot of work behind it.

But (you are not supposed to) don’t take it too seriously.

That is the whole thing. It is boo-yeah tricking you into believing it is something but when it is in your mouth, it is completely different.

Ingredients, it is worthwhile to taste these Art techniques that I have been practising.

For the

They stuck with me and came to define much of what I care about.

They can give you ideas of why each dish was made, how it’s eaten, how to explain it, where do my ingredients come from and why it is the way it looks like.

01 My way of escaping or adventuring away from the countryside was through Art. Cause I would go to any other cities to see an exhibition, even went to London on the plane, age 12, on my own.

So art kind of was an entry point for me into another tribe.

THE COMBINATION OF TRADITIONAL CHINESE ART AND COMTEMPERARY ARCHITECTURE DRAWINGS

DESIGN PRINCIPLE AND ELEMENTS - WHAT ACTUALLY MAKES ME THINK OUTSIDE THE BOX life drawing

Chinese Me�culous Pain�ng

lot of my ideas are influenced by doing life drawing prac�ce, that was when I fall in love with the beauty of human body that catch light and shadow; Movement; The Crv; The shapes created by the interplay of light and dark values on the surfaces of the body;The posi�ve & nega�ve space; The space in between; Balance and the Beauty of imperfec�on.

One of my very first art prac�ce was Chinese Me�culous Pain�ng, also called 工笔画 ‘Gongbi’.

- A carefully realist technique in Chinese pain�ng. The opposite of the interpre�ve and freely expressive landscape drawing.

- use highly detailed brushstrokes that delimits details very precisely.

It was detailed enough to see all the texture on the surface.

This art experience during my early age has changed my way of seeing things, which is also why I am fascinated with complex form as well as texture.

GongBi prac�ce,2009

Melbourne Swanston St mapping,20177

Chinese Ink and Wash Pain�ng

garment based spa�al design test,2019

There are five points that I found very interes�ng by doing tradi�onal chinese Ink and wash pain�ng, which has deep influence the way I design - “Spirit Resonance”, or vitality, which refers to the flow of energy that encompasses theme, work, and ar�st.

- “Bone Method”, or the way of using the brush, refers not only to texture and brush stroke, but to the close link between handwri�ng and personality.

- “Correspondence to the Object”, or the depic�ng of form, which would include shape and line.

- “Suitability to Type”, or the applica�on of color, including layers, value, and tone.

- “Division and Planning”, or placing and arrangement, corresponding to composi�on, space, and depth. And very importantly: The use of ‘nega�ve space’.

architecture sec�on drawing,2017

Chinese calligraphy

Chinese calligraphy is a type of pleasing wri�ng, as well as a kind of sport, embodying the ar�s�c expression of human body language in a tangible form.

According to Stanley-Baker, "Calligraphy is sheer life experienced through energy in mo�on that is registered as traces on silk or paper, with �me and rhythm in shi�ing space its main ingredients."

So I grow up with this Black and white aestheti c in my head.

It was so bold.

I spend the rest of my life trying to find that visual language.

If it is necessary, it’s in there.

If it is not necessary, it’s not there.

So strip it down, simplify it.

Just go for the core.

Graphic simplicity Simple. Bold. Clear

Chinese calligraphy focuses not only on methods of wri�ng but also on cul�va�ng one's character.

Every single word is a gesture, need to consider its balance of posi�ve and nega�ve space, as well as the whole paragraph - how to balance.

movement gesture test ,2018

oil pain�ng I like the process of pain�ng layer by layer, Start from the darkest colour, but not black.

“The electric bulb has done away with total darkness. in oil pain�ng, you have to find the tone in the shadow, whether it is warm or cool, You need to find every reflec�on on each other.”

I love Impressionism pain�ngs, the way they capture light, emphasis on accurate depic�on of light in its changing quali�es. The Impressionists found that they could capture the momentary and transient effects of sunlight by pain�ng outdoors. They portrayed overall visual effects instead of details, not blended smoothly or shaded, as was customary—to achieve an effect of intense colour vibra�on.

As we move to the main course, you might feel like a “rice” alone with the course.

In the bowl in front of you, I cooked some

“Empathy”,

When I cook, I always start

with a strategy: prioritizing people,

put the human experience at the beginning.

Interrogate the sites, the people, the community.

Then empathize.

Empathy is the cornerstone of cooking architecture for me.

It supplies a large fraction of energy needs as well as forming a significant proportion of the intake of other design processes.

02 -

Main Course

/mein kɔːs/ noun

The main dish is usually the heaviest,

heartiest, and most complex or substantial dish in a meal. The main

ingredient is usually meat, fish or another protein source. It is most often preceded by an appetizer, soup or salad, and followed by a dessert. For those reasons the main course is sometimes referred to as the "meat course".

In formal dining, a well-planned main course can function as a sort of gastronomic apex or climax. In such a scheme, the preceding courses are designed to prepare for and lead up to the main course in such a way that the main course is anticipated and, when the scheme is successful, increased in its ability to satisfy and delight the diner. The courses following the main course then calm the palate and the stomach, acting as a sort of dénouement or anticlimax.

03 -

MAIN COURSE 01 - INTERACTIVE THEORY Chinese Calligraphy versus Boolean Operation

Chinese calligraphy, it is the idea of embodying the artistic expression of human body language in tangible form. Not only about the typographic but also on cultivating ones character and preWhen I was practising

senting in each word that you ‘write’.

gesture, each brush stroke need to be considered its balance of positive and negative space. which I find very similar in space design, how we treat solid and void.

In chinese calligraphy, every single word is a

This idea atrract me, which lead me to further exploration. for example, in the Boethius & his wheel studio lead by Anna johnkvoc, I did experiments with

boolean

operation, intersect two extrusions of plan drawing orthogomaly , then substract the volume of one set of objects from the other or create a new solid from the intersected volumns, that not only create endless possibilities between negative and positive spaces. but also captured the qualities from both of the 2-dimensional drawing into spacial experiments,

ment in-between spaces.

I propose architecture role as to provide an

the horizontal move-

interactive experience, so

instead of being the ‘container’ or ‘observers’ of the story, architecture can also function as

engaging art, artist and participants.

CHINESE CALLIGRAPHY OF WORD “樂” (PRONUNCIATION:YUE/LE ) MEANS “JOYFULL”

INPUT 06 + INPUT 01

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INPUT 02+ INPUT 03 CITY COLLAGE

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INPUT

INPUT 01 Borromini_San Carlo alle Quattro Fontane

INTERACTION THEORY/ ARCHITECTURE NARRATIVE INTERACTION THEORY / ARCHITECTURE NARRATIVE

“MAIN COURSE” COURSE” “MAIN

DESIGN PROCESS/STUDIO STDUIO-BOETHIUS & HIS WHEEL DESIGN PROCESS/ - BOETHIUS & HIS WHEEL

DESIGN PROCESS/ STDUIO-BOETHIUS & HIS WHEEL

INPUT 02 San Vitale - c1597

INPUT INPUT 03 + INPUT 02

Boolean fragments

INPUT 04 + INPUT 02

INPUT 02 + INPUT 04

INPUT 04 + INPUT 07

BACHELOR STUDIO - Boethius & His Wheel Studio leader: Anna Jankovic & Andre Bonnice Individual work Boethius & his wheel

INPUT 01 INPUT 02 BOOLEAN OPERATION EXPERIMENTS alle Quattro Fontane Vitale - c1597 First trace the old city plans, then extrude two plans with different Borromini_San qualities,Carlo orthogonal intersect theSantwo extrusions, By experiencing with Subtract the volume of one set of objects from another or Create a new solid from solids' intersected

INPUT 01 Borromini_San Carlo alle Quattro Fontane

INPUT 02 San Vitale - c1597

INPUT 03 National Assembly Building of Bangladesh_Louis

INPUT 04 Michaelangelo_Detail of The Last Judgment Judgment -- 1537-41 1537-41

INPUT 06 + INPUT 01 SECTIONS

Boolean fragments

INPUT 04 + INPUT 02

INPUT 01 + INPUT 01

INPUT 01 + INPUT 01

volumes. that not only create endless possibilities between negative and positive spaces. but also captured the qualities from both of the 2-dimensional drawings into spacial experiments, the horizontal movement in-between spaces.

INPUT ThisChas been taken to my further design process in03different projects to uncoverINPUT and04 develop the possibility of spacial National Assembly Building of Bangladesh_Louis Michaelangelo_Detail of The Last Judgment - 1537-41 interaction.

INPUT 05 Caravaggio_Boy Bitten by a Lizard - c1597

INPUT 06 Piz Languard

INPUT 07 Bernini_Palladio San Giorgio Maggiore

Australian Centre for Contemporary Art

- Exterior Surface

- ACCA Art Gallery space

- Chunky Move Theatre

WHAT’S ON “ DANCING WITH ARCHITECTURE...”

WELCOME TO A WHOLE NEW EXPERIENCE OF ART, DANCING AND ARCHITECTURE.

INTERACTION THEORY / ARCHITECTURE NARRATIVE NARRATIVE INTERACTION THEORY/ ARCHITECTURE

THIS TIME, LET THE ARCHITECTURE LEADING YOU THROUGH A JOURNY OF MOVEMENT AND EXPERIENCE OF DANCING PERFORMENCE.

BACHELOR STUDIO - ENTERSORT Studio leader: Caitlyn Parry Individual work In the context of Design Studio by Caitlyn Parry, The studio interrogated movement interpretation of architectural text. Motion capture data was then used to explore the spatial implications of each piece of text and how it could be translated formally.

“MAIN “MAINCOURSE” COURSE”

DESIGN PROCESS/ STUDIO - ENTERSORT

ARCHITECTS LEARN FROM WORKING WITH A DANCE PRACTITIONER?

3-WAY3-WAY THEORYTHEORY

hand gesture of original dance

Although at the beginning, working with the dance prac��oner felt quite le� of field, I can now see a direct correla�on between movement (in the form of dance) and architecture. I found a couple things in par�cular that Jo (a professional dancer who par�cipated in the design studio) said resonated with me for a few days a�erwards.

hand gesture of interpreted dance

overlapping three data above I began by collec�ng the dancing data, to generate line drawings from the dancing route and sec�on of mo�on capture mesh cloud.

Then use the extrusion of these lines to subtract with the gallery space. So in this way, the solid form(nega�ve space a�er subtract) which le� in the gallery space will lead visitors to follow the whole body movement of dance automa�cally.

INTERROGATED MOVEMENT INTERPRETATION OF

conversa�on record

Hand gesture of original dance

Firstly, how a dance may affect someone. That they might not realize the power of dance while doing it and that it might affect them 5 minMovie “Metropolis” scenes utes later or even several days a�er when they finally look back.

Secondly, I was interested in wasn’t necessarily what Jo said and more what Jo didn’t say. Jo’s movements were mesmerizing and you could tell that her mind and her body were completely in sync. Now that I’ve had the �me to reflect on my own experience with Jo and have done some further reading, I am interested in the personal aspect of dancing and how I could provoke that architecturally. I learnt a lot about myself from Jo’s workshop physically and conceptually. For example, I learnt how far I could push my body in certain direc�ons and my level of coordina�on, but also how to think about dance differently.

“MAIN COURSE” COURSE” “MAIN

METROPOLISM. WHAT CAN

DESIGN PROCESS/ STUDIO - ENTERSORT

Hand gesture of interpreted dance 3D-SCAN point cloud meshed

ARCHITECTURAL TEXT

The main thing, the experiment we par�cipated in that involved a person trying to have a conversa�on while also copying another person’s movements. I originally thought this would be a rela�vely easy task, however this proved immensely difficult. I had to priori�ze one over the other and at some points I was making up my own movements without even realizing. While this process was captured by 3d-scan so� ware, the data from me and Jo shows a lot differences, I find this ‘accident’ very interes�n ng, this abstract idea of act ini�a a�v vely while re-create unconsciously is which I want to provoke that architecturally.

“The great city of Metropolis, with its stadiums, skyscrapers and expressways in the sky, and the subterranean workers’ city, where the clock face shows 10 hours to cram another day into the work proposed 3-way theory that transforms Centre for of the robot. week. IThe workersaabandon the machines by hear andAustralia believe the slanders The machines used to be perfectly suddenly, it exploded.

The flood erupted from the Contemporary Art intofunctioning, a meaningful interac� ve experience with a underground, and became extremely turbulent. The factory became a living hell, full of the horrible focusThe onrigid the buildings Art Gallery, Theatrebyand screaming. supported the Facade columns,design. thick slab and walls stood still, grandeur filled community, courting spaces awaits to be consumed by water, somehow the metropolis remains unaffected at this stage, the chaotic setting of the whole environment caused by the flood seems to get worse as time passes.”

INTERACTION THEORY/ ARCHITECTURE NARRATIVE INTERACTION THEORY / ARCHITECTURE NARRATIVE

GENERATED FROM MOVIE METROPOLISM.

3D-SCAN point cloud meshed

I proposed a 3-way theory that transforms Australia Centre for Contemporary Art into a meaningful interactive experience with a focus on the Art Gallery, Theatre and Facade design. ....I began by collecting the dancing data, to generate line drawings from the dancing route and section of motion capture mesh cloud.

Then use the extrusion of these lines to subtract with the gallery space. So in this way, the solid form(negative space after subtract) which left in the gallery space will lead visitors to follow the whole body movement of dance automatically. boolean extru�on

line data of body movement

extru�on from lines

1 ENTRY 2 RECEPTION 3 STAFF OFFICES4 4 FEMALE WC 5 AIRLOCK 6 MALE WC4 7 STAFF KITCHEN 8 GALLERY 9 STORAGE/LOADING 10 STORE

“MAIN COURSE”

DESIGN PROCESS/ STUDIO - ENTERSORT

CHUNKY MOVE THEATRE

10 9

8

GALLERY4 74 6 5

VOID4

34

2

44 1

FIRST FLOOR PLAN4 EXTERIOR DETAIL 1 2 3 4

OFFICES PLANT STUDIO4 CHUNKY MOVE THEATRE

VOID4

INTERACTION THEORY/ ARCHITECTURE NARRATIVE

4

3

VOID4

2 2 VOID4

1

SECOND FLOOR PLAN4

EXPLODE AXONOMETRIC

ACCA FACADE

For the facade design of ACCA, ‘boolean’ gesturals from the collected dancing data of JO been used as 3d tool to experience different boolean opera�ons. so for the first impression of people come here, it is a series of digital transformed dancing show with strong mo�on power in abstract way.

‘3-ways formed space‘ - FIRST - FACADE 1.displacement elements 2.pushing effect on opposite facades

INPUT

INTERACTION THEORY/ ARCHITECTURE NARRATIVE INTERACTION THEORY / ARCHITECTURE NARRATIVE

INPUT 01 Borromini_San Carlo alle Quattro Fontane

INPUT 02 San Vitale - c1597

INPUT Boolean fragments

Boolean fragments

Boethius & his wheel

INPUT 01 INPUT 02 BOOLEAN OPERATION EXPERIMENTS alle Quattro Fontane Vitale - c1597 First trace the old city plans, then extrude two plans with different Borromini_San qualities,Carlo orthogonal intersect theSantwo extrusions, By experiencing with Subtract the volume of one set of objects from another or Create a new solid from solids' intersected

INPUT 01 Borromini_San Carlo alle Quattro Fontane

INPUT 02 San Vitale - c1597

INPUT 03 National Assembly Building of Bangladesh_Louis

INPUT 04 Michaelangelo_Detail of The Last Judgment Judgment -- 1537-41 1537-41

volumes. that not only create endless possibilities between negative and positive spaces. but also captured the qualities from both of the 2-dimensional drawings into spacial experiments, the horizontal movement in-between spaces.

INPUT ThisChas been taken to my further design process in03different projects to uncoverINPUT and04 develop the possibility of spacial National Assembly Building of Bangladesh_Louis Michaelangelo_Detail of The Last Judgment - 1537-41 interaction.

INPUT 05 Caravaggio_Boy Bitten by a Lizard - c1597

INPUT 06 Piz Languard

INPUT 07 Bernini_Palladio San Giorgio Maggiore

“MAIN COURSE” COURSE” “MAIN

DESIGN PROCESS/ STDUIO-BOETHIUS & HIS WHEEL 3 WAY THEORY/ FACADE DESIGN

DESIGN PROCESS/ STDUIO-BOETHIUS & HIS WHEEL

ACCAART ART GALLERY SPACE ACCA GALLERY SPACE Using 2d lines of jo’s dancing path and movement section lines to boolean difference with the gallery, leading a dancing path for the visitors.

INTERACTION THEORY/ ARCHITECTURE NARRATIVE INTERACTION THEORY / ARCHITECTURE NARRATIVE

So when you walk in the gallery, to avoid protruding shape and barriers, you body will move spontaneously. In this way, the visitors will follower JO's dancing unconsciously. the idea behind is using architectureal space to informing visitors follow jo’s dance.

“MAIN COURSE” “MAIN COURSE” “MAIN COURSE”

3 WAY THEORY/GALLERY SPACE DESIGN

ACCA CHUNKY MOVE THEATRE

WHAT IF YOU CAN CHOOSE YOUR SEAT DEPEND ON YOUR PERSONALITY? THIS COULD BE LIKE...

WHERE DO YOU FEEL LIKE TO SEAT? WHAT KIND OF EXPERIENCE DO YOU WANT?

“A NEW WAY OF WATCHING SHOWS”

DIAGRAMS

TYPE C

MOOD: shy or emotional Inside this type of space. you can hide yourself，while you can have view of everything, but the others can’t see you. this may proved sense of security and put you in the position where you can relax just like home.

TYPE A

TYPE D

TYPE C

INPUT TYPE A

MOOD: connection

INTERACTION THEORY/ ARCHITECTURE NARRATIVE INTERACTION THEORY / ARCHITECTURE NARRATIVE

MOOD: observer This type of spaces are the highest position in the theatre, on top of everything, what ever happens is under your eye，this provide an experience of spectator.

INPUT

Beside the interaction between actors and audiences, there could also be connection between audiences.since all the plateform are INPUT 01 02 can watching the perforconnected, soINPUT you Borromini_San Carlo alle Quattro Fontane San Vitale - c1597 mance while keep shifting view points.

TYPE E

Boolean fragments

Boolean fragments

Boethius & his wheel

INPUT 01 INPUT 02 BOOLEAN OPERATION EXPERIMENTS AUDIENCE alle Quattro Fontane Vitale - c1597 First trace the old city plans, then extrude two plans with different Borromini_San qualities,Carlo orthogonal intersect theSantwo extrusions, By experiencing with Subtract the volume of one set of objects from another or Create a new solid from solids' intersected

TYPE B

If you want more interaction with actors, and you have desire to express you self, this position in the middle of stage can be a good choice.

INPUT 02 San Vitale - c1597

volumes. that not only create endless possibilities between negative and positive spaces. but also captured the qualities from both of the 2-dimensional drawings into spacial experiments, the horizontal movement in-between spaces.

INPUT ThisChas been taken to my further design process in03different projects to uncoverINPUT and04 develop the possibility of spacial National Assembly Building of Bangladesh_Louis Michaelangelo_Detail of The Last Judgment - 1537-41 interaction.

TYPE E

MOOD: excited

MOOD: energetic, optimistic, confident and expressive

INPUT 01 Borromini_San Carlo alle Quattro Fontane

TYPE D

TYPE B

DANCER

this is an underground space with quite special experience, inside the space you can only have limited sensation, hearing steps and seeing light and shadow coming through.

This may enhance your emotion and provide more opporunity for imagenation .

THEATRE

INPUT 03 National Assembly Building of Bangladesh_Louis

INPUT 04 Michaelangelo_Detail of The Last Judgment Judgment -- 1537-41 1537-41

INPUT 05 Caravaggio_Boy Bitten by a Lizard - c1597

INPUT 06 Piz Languard

INPUT 07 Bernini_Palladio San Giorgio Maggiore

“MAIN COURSE” “MAIN COURSE” “MAIN COURSE”

3 WAY THEORY/ THEATRE DESIGN

DESIGN PROCESS/ & HIS WHEEL In most of theatre that I have been to, I STDUIO-BOETHIUS always feel detached from what is going on the stage, it seems that there is not much interaction between the actors and audiences. when I sat in the audience, I have no choice but to seat there and watch. no matter what kind of person you are, we all have similar experience. This feels a bit passive...

DESIGN PROCESS/ STDUIO-BOETHIUS & HIS WHEEL

Notation system drawing of body movement - 001

Notation system drawing of body movement - 002

MAIN COURSE 01 - INTERACTIVE MODELS Abstract drawings and Models During my foundation year, the idea of

Abstract has a huge influence on me,

it frees me from literally represent things.

To

present the idea of interaction,

I started to use various ways of

present, describe, communicate things, use visual language of line, shape, material, transparency, form, color and light to design.

Logical use of

symbols related to abstract concepts;

INTERACTION THEORY/ ARCHITECTURE NARRATIVE

For example:

Notation System drawings of body movement; physical Interactive models which changes scenes while keep shifting view points;

‘‘wearable architecture” ...

flexibility in thinking as well as the capacities for abstract thinking and mental hypothesis testing.

In which way I want to acquires

“MAIN COURSE”

INTERACTIVE MODEL/ STUDIO - ENTERSORT

MAIN COURSE 02 - ARCHITECTURE NARRATIVE

Once Upon a Time...

The tale of Bendigo Hotel 从前有一天 ...

Subculture

The exploration of ARCHITECTURE NARRATIVE is also something that interests me.

Including a story in a building creates a level of meaning and to the people that can be and .

Narrative architecture evolves from an of the building . or ; Its and often its place in Editing the message into a simple theme and then expanding it into a complete story creates the fullness of the experience. , , and become the vehicles to impart the message(s).

connection engaging provoking introspective exploration site context program function history.

Materiality structure form

detail

Storytelling can be utilised by speculative architects to create narratives that imagine new spaces, cultures or communities.

This project use storytelling as a design method to generate architectural interventionsand new programs for existing spaces/structures in Melbourne.

本迪戈旅店的故事

For the final project, the method of designing that I exploring uses research, which is then interpreted visually as a narrative, which is then translated into an architectural intervention. the of .

The project hopes to and is not only The and costly but wasteful. The of can address some of the key challenges facing our cities. Through the medium of the moving image, this project hopes to present new kinds of stories about the emerging conditions of the New Melbourne.

investigate transition cities demolition construction process adaptive reuse refurbishment ageing buildings

BACHELOR STUDIO - Once Upon a Time Studio leader: Marta Parra and Natasha Giles Individual work

BACKGROUND: Not too many music venues can boast a criminal history – but then again there is only one Bendigo Hotel.

Despite its moniker, Bendigo Hotel is located in Collingwood, one of Melbourne’s oldest suburbs and the heart of its music community.

The century-old venue has a colourful history that manages to squeeze failed robberies, axe-wielding crazies, pop divas, band room riots, fis�cuffs even murder into one hundred exciting years.

THIS IS A CHURCH, WHERE DIFFERENT CULTURE, PEOPLE OF DIFFERENT BLIEF CAN BE HOLD TOGETHER.

“CHURCH.”

“MAIN COURSE”

ARCHITECTURE NARRATIVE/ STUDIO - ONCE UPON A TIME

THIS IS A COMMUNITY CENTER, WHERE DIFFERENT PROGRAMS CAN HAPPEN IN THE SAME PLACE AT DIFFERENT TIME OF THE DAY.

YOGA 3F PSYCHEDELIC TRANCE

3F MEDITATION HALL

MEDITATION

BALCONY 4F

4F BALCONY

CHORAL 1.5F

UPPER STAGE

ALTAR GF

STAGE

ARCHITECTURE NARRATIVE/ SUBCULTURE

CAFE STAIRCASE

STAIRCASE

BRUNCH

2F INDOOR GARDEN

2F INDOOR GARDEN

GF TOILETS

GF TOILETS

Night Time

PSYTRANCE

Day Time

BOX OFFICE

MEDITATION

Day Time

CHURCH

Night Time

PUNK HOUSE

8am came to church, the sunday service just about to start

not like the other church, the choral stand on upper floor, which is a staircase connect with the altar underneath

“MAIN COURSE”

ARCHITECTURE NARRATIVE/ STUDIO - ONCE UPON A TIME

can’t believe this sacred place will turn to ‘HELL’ at night

ONE DAY TRAJECTORY

6pm, looks like there is a punk wedding tonight, even the most famous downtown band came.

MEDITATION HALL

There is a window connect people who walking up the stage with someone pass the corridor.

2pm, after lunch Is time for meditation and a nice yoga. oh yes! keep going up, there is a meditation hall on 3rd floor.

INDOOR GARDEN

ARCHITECTURE NARRATIVE/ SUBCULTURE

11:30 finished the service, feel a bit hungry, someone said the indoor garden restaurant on 2nd floor make good food, maybe give it a try.

E

NG U O L

10pm, OMG the wedding finally finished, let’s go to the lounge on 4th floor, i want some drinks.

What a full day!

SITE PLAN

EXPLODE AXO Sackville

ROOF

StreetIN

Gold Stre etIN

3.5F BAR

3F BAR STAIRCASE

2F MEDITATION HALL StreetIN

3F BALCONY

1F INDOOR GARDEN

Cambell St

reetIN

Dight Stre etIN

Johnston

1F CHORAL

ARCHITECTURE NARRATIVE/ SUBCULTURE

GF TOILET

BENDIGO HOTEL

Perry Stre etN

ALTAR GF

“MAIN COURSE”

ARCHITECTURE NARRATIVE/ STUDIO - ONCE UPON A TIME

GROUND FLOOR PLAN

GROUND FLOOR PLAN

Day Time

Night Time

Johnston

Johnston

StreetIN

Public En trance

Public En trance

vestibule

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oilet female T Unisex

Bo xO

oilet female T Unisex

Dight Str eet

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Public En trance

Re

Dight Str eetIN

Public En trance

ARCHITECTURE NARRATIVE/ SUBCULTURE

“MAIN COURSE”

ARCHITECTURE NARRATIVE/ STUDIO - ONCE UPON A TIME

e

offic

Street

FIRST FLOOR PLAN

FIRST FLOOR PLAN

Day Time

Night Time

Johnston

Johnston

StreetIN

Bell Tower

CHURCH GF

PUNK House GF

Indoor Garden 1F

1F-2F

High Altar

Dight Str eet

1F Staircase GF-

Indoor Garden

High Stage

F F-1

se G

irca

Sta

Dight Str eetIN

Bell Tower

High Stage 1F

Choral 1F

Res t ro

om

ARCHITECTURE NARRATIVE/ SUBCULTURE

“MAIN COURSE”

ARCHITECTURE NARRATIVE/ STUDIO - ONCE UPON A TIME

1F

Res t ro

om

1F

Street

SECOND FLOOR PLAN

THIRD FLOOR PLAN

Day Time

Day Time

Meditation Hall

Toilets

High Altar Brunch 3F

Choral 1F

Choral 1F

Res t ro

om

1F

THIRD FLOOR PLAN

Night Time

Night Time

Lo u

Res t ro

om

1F

Storage

2F-3F

2F-3F

High stage

Bar 3F

F

Toilets

ng e3

Stage

Psychedelic Trance

Stage

Lo

DJ

PUNK House GF

un ge 2

F

SECOND FLOOR PLAN

1F

Cou nte r

om

Bar

Res t ro

ARCHITECTURE NARRATIVE/ SUBCULTURE

2F-3F

2F-3F

High Altar

Storage

oun ter

Stage

Bar C

CHURCH GF

Lo un ge

2F

Stage

“MAIN COURSE”

ARCHITECTURE NARRATIVE/ STUDIO - ONCE UPON A TIME

HOLLOWED CROSS DAY/NIGHT DIAGRAMS

“MAIN COURSE”

ARCHITECTURE NARRATIVE/ STUDIO - ONCE UPON A TIME

PERSPECTIVE SECTION

6AM SUNRISE LIGHT COMES IN

4F BAR

3F BALCONY

3F BAR

ARCHITECTURE NARRATIVE/ SUBCULTURE

2F MEDITATION HALL

NIGHT NEON LIGHT LIGHT INSTALLATIONS

STAIRCASE

1F INDOOR GARDEN GF TOILET

1F CHORAL

ALTAR GF

PERSPECTIVE SECTION

WEST ELEVATION

ARCHITECTURE NARRATIVE/ SUBCULTURE INTERACTION THEORY / ARCHITECTURE NARRATIVE

中庭空間をつくることで、日本式庭間の要素を加えるこ とで、瞑想の授間に参加する人々に禅の建間感間を作り 出すことができる.

By adding landscape inside the building, to create this asian style courtyard inbetween the existing facade and the proposal design, Which can be a natural architectural introducing for people attending meditation classes.

COURSE” “MAIN COURSE”

ARCHITECTURE NARRATIVE/ STUDIO - ONCE UPON A TIME

MAIN COURSE 02 - ARCHITECTURE NARRATIVE Film and Architecture Film

Architecture

The relationship between and can appear simple, while at the same time it can be read as complex.

The fact that film relies on the city, and hence architecture for much of its drama is generally accepted.

That architects and theorists of architecture have been affected of this new and powerful art is and inspired by the also recognised.

These figures refer to theories of

evolution

‘montage’, “folded space’, and “filmic architectures’, yet nowhere is a clear definition of what these might actually be Do these filmic architectures exist in reality, or only in fiction?

Where lies the underlying motive behind the architect’s interest in this medium, and

is it significant?

ARCHITECTURE NARRATIVE/ FILM AND ARCHITECTURE N THEORY / ARCHITECTURE NARRATIVE

FILM INSPIRED NOTATION SYSTEM FROM DIGITAL MODEL TO LINE DRAWINGS HOLY MOTORS

REAR WINDOWS

From dawn to dusk, a few hours in the shadowy life of a mystic man named Monsieur Oscar. robitic . relationship. intense. animation. motion capture. unreal. movement

Recuperating from a broken leg, adventure some professional photographer L. B. “Jeff ” Jefferies (Stewart) is confined to a wheel chair in his Greenwich Village apartment. His rear window looks out onto a courtyard and several other apartments.

THE COOK THE THIEF

THE ROYAL TENEMBAUMS - CHAS TENENSBAIN Model designed based on charactor personality, his and his kids, also his unsacure emotion after he lost his wife.

- MARGOT TENENSBAIN - RICHIE TENENSBAIN

model designed based oncharactor personality, and the strange relationship between Margot and Richie.

“MAIN COURSE” “MAIN COURSE”

ARCHITECTURE NARRATIVE/ FILM AND ARCHITECTURE

For the beverages, here we have some

sensory drinks:

Light, Colour, Reflection, Emotion,Motion, Light and Shadow, Lumion and Sensation.

Depends on whether you would like a cup of “spirit” or you prefer “Mixer”.

We also have pre-mixed drinks in-store, “light and colour”, “sensory mapping”, and “Tactile & Movement” are the most recommended.

Please feel free to try.

04 -

BEVERAGE 01 - SENSORY & MOVEMENT I READ WORLD THROUGH MY EXPERIENCE AND SENSORY. IN THIS WORLD THAT IS MATERIALLY DISPELLING. I propose different ways of experiencing the space through the mental action, the process of acquiring knowledge and understanding space through

thought, experience, and the senses.

Human Beings are profoundly sensuous creatures, born with five sophisticated senses- sight, hearing, taste, touch, and smell. the connection between our senses and our body and emotions is very strong.

Instead of being observers rather than participants. I propose that the body of the

movement is also part of human sensory.

Object based design:

consumerism

We reject the idea that is vapid and devoid of meaning.

We believe not in the construction of identity through consumption, but in what consumption reflects of our

identity.

The items that we accumulate in our lifetimes reflect our

context, echo our

values and reveal our aspirations.

Key to this proposition is that objects carry meaning and shared cultural memory.

At is core objects hold ideas - Architecture needs these ideas.

How do I apply the three techniques on site . . .

“BEVERAGE”

THREE TECHNIQUES identified from the garment

DRAPE and RUFFLE

“BEVERAGES”

TECHNIQUES

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT

“如何将服装设计的技术用于剧院的设计”

TECHNIQUE-01

DRAPE & RUFFLE JOINT TYPES

TENSILE STRUCTURE

fabric

TAILORED PANELS VS DRAPED ABRIC

I AM INTERESTED IN HOW FABRIC PERFORM DIFFERENTLY WITH GATHER FRILLS IN HORIZONTALLY AND VERTICALLY. WHILE FABRIC SHOWS BEAUTYFUL LOOSE DRAPE IN VERTICAL, AND LAYERED RUFFLE IN HORIZONTALLY.

east elevation

1. original shape based on the Negative space on site

3. Combine all the ideas from 1&2

west elevation

north elevation

JOINT TYPES TECHNIQUE-02

3D PATTERN MANIPLATION

I AM INTERESTED IN HOW FABRIC CREATE DIFFERENT SPACE WHEN THEY HAVE SPECIAL TYPES OF JOINT . IN THE DESIGN OF MY GARMENT, EACH PIECE OF FABRIC CONNECT WITH THEIR EDGE BEEN GATHERED.

2. Modeling process_ apply the idea of Tensile structure, drape and ruffle

4. type of joints identified from the garment_ diagonal cross interwave

TENSILE STRUCTURE

plan drawing

TECHNIQUE-03

TAILORED PANELS VS DRAPED ABRIC

I AM INTERESTED IN HOW STRING COULD WORK AS THE MAIN STRUCTURE OF GARMENT. AS IT COULD CONTROL THE FABRIC BETWEEN FIT AND LOOSE, EVEN THE LENGTH.

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT

south elevation

“ It’s the coolest place in theworld ! ”

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT

section drawings

site plan drawing

Arts centre Melbourne

A

NGV

site plan drawing

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT

“这是世界上最酷的地方”

B

C

D

“BEVERAGE”

DESIGN TEST - 01

“BEVERAGES”

TEMPORARY THEATRE mid-semester

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT

-BURN -RUBBING -DYE

“我在试验破坏各种布料过程中学习到的...”

FABRIC WEAVES

Super mesh

Twilled 2-2 (Square)

Twilled 2-2 (Oblong)

Reverse Plain Dutch

axo

3D mesh

Satin 1-4

1. the chosen fabric: Reversible Mermaid Fish Scale Sequin Fabric Sparkly Paillette fabric

section drawing - DEGRAVES LANE “这是世界上最酷的地方”

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT

top view

FISH SCALE

TOP LAYER

FED SQUARE Atrium- DETAIL drawing

GRID

BOTTON LAYER

section

“BEVERAGE”

DESIGN TEST - 02

What do I learn from garment fail testing . .

THREE SCENARIOS “布料灾难现场”

“BEVERAGES”

ATRIUMS

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT

axo drawing

SECTION DRAWINGS

轴测图

细节剖面图

tunnel

tunnel

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT

viewing platform

offices

tunnel

staircase

section drawing 剖面图

“BEVERAGE”

Balconies at each level integral with the fabric facades.

- Viewing platforms - Enclosed meeting rooms - Escalators connect the lowest levels - Interconnecting Stairs connect the higher levels .

“BEVERAGES”

Degraves Lane ATRIUM ATRIUM-01- Long and Thin

Fed Square ‘The Atrium’ -02

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT

site axo drawing

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT

“这是世界上第二酷的地方”

#movement #boolean #erosion #positive space and nagative space

“BEVERAGE”

“BEVERAGES”

MOVEMENT

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT

“我在试验破坏各种布料过程中学习到的...”

THREE SCENARIOS “三种布料运动现场” -DANCE -FAST RUNNING -SPIN THREE FORCES APPLYED ON THE FABRIC wolfmen fast running through

traction

Gravity

Fabric capture movement.

-

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT

THE FORCE BEHIND INFORMED THE POSITIVE SPACE AND NAGETIVE SPACE

“BEVERAGE”

“BEVERAGES”

What do I learn from garment fail testing . .

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT The Old Palace Theatre - 20-30 Bourke Street

SITE - B

The Testing Grounds - Southbank

The Old Palace Theatre - 20-30 Bourke Street

“BEVERAGE”

SITE - A

The Testing Grounds - Southbank

Adjacent building height

185m

79m 80m

34m

68m

10m

48m

23m 95m 27m

297m

96m 130m

113m

144m

83m

60m

66m

8m

22m

Heat Heat Map Map

BOOLEAN

boolean position: centre line

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT

boolean position: upper back

boolean position: ground level shortcut from Sturt Rd to Fanning Rd

boolean position: cross the centre half way

boolean position: corner ground space City Rd - Sturt Rd corner

MASSING This cut-out at back aviods overshadow to the neighbourhood building.

split the massing into two buildings

BRIDGES This cut-out creates large open space with view facing the art centre. can be used as courtyard and open theatre. path way to the art centre terrene, creat a desire path to the buidling connect the courtyard and theatre.

Step back at ground level

Short cut from Sturt Rd. to Fanning Rd.

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT SITE::

SOUTH BANK - TESTING GROUND ( CITY RD - STURT RD)

PR OBLEM:: PROBLE INCONVENIENT PEDESTIAN TRAFFIC, THE ONLY TWO SMALL BRIDGES HIDE AWAY FROM THE ST KILDA ROAD ARE THE ONLY WAY FOR PEDESTIAN TO ANIMATED GARMENT MESH

WALK TO THE SITE.

SOLUTIONS: MASSING DIAGRAM- LARGE-SCALE “BRIDGES” BREAK THROUGN SITE , CREAT PATH WAYS TO THE ART CENTRE TERRENE. VERTICAL SCOOL ROOMS

“GREEN CONTINUITY”

EXTRUDE MESH TO CREATE HORIZONTAL VOLUMN

ROOF GARDEN

1* OPENED AIR BALCONY ( GREAT VIEW OF THE ART CENTRE AND GREEN LANDSCAPES 1* LATERED BALCONY WITH TRASPERANT GLAZING

Proscenium Arch Theatre ARTS CENTRE MELBOURNE

ORIGIBAL FORM OF THE BRIDGES

“LAYERED THEATRE” GREAT SOCAR ACCESS DURING DAYTIME LARGE SCALE, DIFFRENT VIEWS Atrium

ST UR

RD

STEP BACK AT GROUD LEVEL

DA

OPEN UP GROUND FLOOR SPACE PROVIDE SHORT-CUT FROM:

ST

KIL

TY

T

ST

CI

(CONNECT WITH LIBRARY READING ROOM)

RD

City Rd - Sturt Rd Sturt Rd to Fanning Rd.

ENTRANCE FROM ST KILDS ROAD

ANIMATED GARMENT MESH

ARTS CENTRE MELBOURNE CONBINE

ST UR T

KIL

TY

RD

ST

ST

CI

DA

RD

VERTICAL VOLUMN

BALCONY “LAYERED THEATRE”-STAGE ENTRANCE CIT

Y

RD

“LAYERED THEATRE”-SEATS LIBRARY ST KIL DA

COURTYARD

RD

ATRIUM

STUR T ST

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT

EAST ELEVATION

PLAN - LEVEL2.5

ARTS CENTRE MELBOURNE

“BEVERAGE”

“BEVERAGES”

Project: Theatre School Site: The Testing Grounds, Southbank, Melbourne Area: 4200m2

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT “BEVERAGE”

outdoor deck outdoor deck theatre

atrium

lecture theatre library

lecture theatre

lecture theatre

BEVERAGE/ FABRIC, TACTILE AND MOVEMENT

entrance

lecture theatre

atrium(inside)

atrium(outside)

entrance

library

What about some dessert to refresh and finish up this meal?

I collected some sweet and joyful things that i found in architecture design and made this dessert.

Which I called it - that property or thing by which it is unique or describable as ‘this (one)’. question the thing-ness of objects(architecture elements)

Haecceity

Althrough there are a lot of things I like about architecture, I enjoy the most of process of ‘making’ things. intergrating large-scale polymer 3D printing, clay 3D printing, PLA 3D printing, slip casting, glazing, resin casting, hololence fibrication, carbon fiber to create a synthesis of form and architecture.

DESSERT - “HEACCEITY”

BACHELOR STUDIO - Tectonic Behaviour Studio leader: Roland Snooks and Charlie Boman Group work- other group members：Hanna & Brian

In the context of the studio led by Roland Snooks and Charlie Boman, This project proposes a different way to recognise, describe and categorise things that constitute architecture. The framework for this project finds roots in theories of emergence and the philosophy of becoming. this project undertakes systematic behavioural design (with multi-agent algorithms) whilst constantly revisiting subjective topological (via digital ‘brushing and physical making).

We began by thinking about what properties or elements of stairs are unique or ascribable to a . yet still Then we wanted to take these elements to their retain .We wanted to the overall recognisable, or have characteristics that are obscure the conventional use of stairs and distort it uses so much that it draws to question We employed top down design decisions to the continuous form of the mesh to introsuch as wall, floor, ceiling, balustrade, duce native , , tunnel, amphitheatre and Laneway. There’s spaces for

staircase

limit of legibility “stair like” ‘“at which point does stair become other?” architectural elements shelter circulation climbing, crawling, hanging, sliding, hiding and dwelling. All the while the complexity, ornament and uniqueness of ‘this thing’ generates a playful and whimsical architectural experience.

sufficiency

What perhaps, is still unclear, is the of procedural form in capturing the complexity of this emergence. Does behaviour and architecture equal what is present in this room? Why does our work look the way it does? It is possibly less necessary to this work has with biology the relationship with the orthodox Architecture - this time, not as a straw man. Fundamentally, this studio still operates and . Inevitawithin architecture-as-a-dumb- thing state of bly, with what tools we’ve made useful to architecture, it is highly likely, not without fear, to think that architecture can become something completely unrecognisable or to our current state explain the instead, focus can be on a thing that despite all effort to mobilise its substance, returns to a state of stillness and slowness.

stillness

technology,

slowness

ambivalent relationship robotic

DESSERT/ HAECCEITY DESIGN

PRINT

GLAZING

SLIP

CAST

JOIN

agent body

OBJECT

slip casting modular aggregation

“dynamesh” rigging script

hololens

lattice srf

“Haeccity”

STAIRCASE

glazing

“dynamesh”

“Haeccity” discrete clay 3d print conduit

resin joining

clay 3d print chunk

clay 3d print “dynamesh”

cast resin

“Albert”

digital design

glazing

slip joining

Draft angle analysis PLA 3d print chunk

slip casting component PLA 3d print

“boolean” “mortise & tenon”

PLA 3d print CPN plastic tube

C O M P O NT ER NA TN S F O R M A T I O N

PAINTERLY O B J E C T

CLAY 3 D

Week - 03

P R I N T STRENGTH Week - 04

T E S T S

D Y N A M E S H

another limb added

JOINING M E T H O D S

Week - 05

S L I PC A S T I N G

L A T T I C E S

Week - 06

‘gothic arches’ for printability

L A T T I C E S

STAIR DESIGN double corrugation for strength

DYNAMESH L A T T I C E

C O M P O N E N T S

Week - 07 M I D S E M

lattice - A1 not slipped

M I D

Week - 08

“ALBERT”

S E M

Week - 10

BECHELOR STUDIO/ TECTONIC BEHAVIOUR

PLA 3D PRINT

C O N D U I T S

Week - 09

S L I P

S L I P JOINING

Week - 11 F O A M

Week - 12

TECTONIC

TIMELINE

PLA 3D PRINT

S L I P L A T T I C E S

lattice - A2 (slip not yet optimised) application method: poured

lattice - A3 application method: dipped 2 minutes, flipped upside down midway. lattice - A4 application method: poured stoneware slip

lattice - A5 application method: poured (earthenware slip we made from clay) lattice - A5 application method: dipped 1 minute (earthenware slip we made from clay)

PLA 3D PRINT

Week - 13

G L A Z I N G

C H U N K S

FINAL

Expanding foam joining

SEM.2 2019

SEM.2 2019

carbon fiber joining

COMPONENT

“DESSERT”

FINAL PANEL - 05

H.B.W.

H.B.W.

FINAL PANEL - 04

“DESSERT”

H.B.W.

SEM.2 2019

Episode 4: Now

Slip casting

-30

another limb added 0

‘twisting’ to ‘save’ the component (from being too boring)

B. digital component

A.

Physcial ‘brushing’ double corrugation for strength

‘Original’

scaling point limb leg foot

3d-printing components in halves

physical ‘dynamesh’ Episode 3: Evolution of the component ‘Gothic arches’ for printability

mesh surface component

Hololens 3d-printed PLA

D. C. Episode 1: introduction to slip casting

Plaster mold

Silicon mold

Digital ‘brushing’ & joining

First attempts at joining slip-casted components with slip CNC milled chemical wood mold for plaster mold

castable component

Physcial ‘joining’

Draft Angle Analysis

30

First attempts at

BECHELOR STUDIO/ TECTONIC BEHAVIOUR

t as someone who assembles elements, to recognising elemental qualities. In this dynamic, the architect gains authorship of architecture in a much more peculiar way. This undertaking also extends the discourse of human comprehension in the form of things. Architecture, as a thing, is a compromised and localised perception of reality (or truth – which ever you’re after). This compromise is precisely what allows architects do their jobs, but it is not a task without subtraction and

E.

simplification of the unknown. This studio recognises the gap in sensibility, experience and process in the architectural elementlisation of the real. What perhaps, is still unclear, is the sufficiency of procedural form in capturing the complexity of emergence. Does behaviour and architecture equal what is present on this wall? Fundamentally, this studio still operates within architecture-as-a-dumb-thing – a thing that despite all effort to mobilise its substance, returns to a state of stilln

reciprocity between digital procedural formation and the 1:1 material engagement. Instead of Rem’s elements of architecture, distinguished as floor, wall, roof, stairs and so on, this studio attempts to differentiate them in terms of a more fundamental material build-up. This demands each material substance to take on multiple architectural roles – the thing which emerges as ‘floor’ possibly traverses into the territories of ‘wall’, ‘roof’ and so on. This reconsiders the role of the architect as s

glazed

clay

skeleton

joints

alternative

of stillness and slowness. / The thingness of a thing can be attributed to two things: the material makeup of the object and the object’s use. For example an object can be described in terms of it’s materiality as a hallow plastic cylinder. If the same bucket is tuned upside-down it can be used as a drum, if you eat or drink out of it, it takes on role of bowl or cup. If it’s used to hold unwanter litre, it becomes a bin. My point is; that any object can have many uses and the line between this thing a

DESSERT/ HAECCEITY

This project proposes a different way to recognise, describe and categorise things that constitute architecture. The framework for this project finds roots in theories of emergence and the philosophy of becoming. In the context of the studio led by Roland Snooks and Charlie Boman, this project undertakes systematic behavioural design (multi-agent algorithm) whilst constantly revisiting the subjective concerns (digital ‘brushing’). This project at its current state is a display of reciproci

BECHELOR STUDIO/ TECTONIC BEHAVIOUR

fixing plates

joint

SEM.2 2019

Option 1:

casted concrete hollow core for feeding fibres

Option 2:

steel ban fixing between ‘legs’ of components

chunk

casted concrete hollow core for feeding fibres Mortise & tenon joint Option 3:

y=4sin(3.3x+c) Episode 2: Study of strength - lattices & compressive strength tests y=sin(x) z=0.25sin(x) 1.627kg

y=sin(x) y=sin(x) z=0.25sin(2x) z=0.25sin(4x) 17.177kg

2.277kg

y=2sin(2x) *did not break in plan (26kg) broke in elevation under 2.5kg

> 26kg

y=2sin(2x+c) y=1sin(2x+c) y=2sin(1x+c) y=1sin(1x+c)

y=mx+c

y=sin(x)

y=2sin(x)

y=sin(2x)

y=4sin(3.3x)

1.377kg

2.127kg

18.7kg

22.87kg

23.37kg

“DESSERT”

Episode 5: ‘Chunk’ - Joining method

1:3 SCALE CERAMIC MODEL

H.B.W.

fixing plates to four ‘legs’ of components

this thing and that thing is arbitrary and subjective. Thereforeif a staircase can be used for multiple purposes, is it still a staircase? or become something else? A staircase in its most rudimentary form is used to get humans from one plane to another separated by a vertical distance. There is no reason why a staircase can’t be a place for dwelling, a place to eat, a place to climb, exercise... / The whole is irreducible, with a synthetic relationship between the discrete and continuous.

object

DESSERT/ HAECCEITY

WORKING PROCESS

DESSERT/ HAECCEITY

BECHELOR STUDIO/ TECTONIC BEHAVIOUR

SEM.2 2019

SEM.2 2019

PHOTO

“DESSERT”

1:2 SCALE CERAMIC MODEL

H.B.W.

H.B.W.

1:3 SCALE CERAMIC MODEL

WORKING PROCESS

DESSERT/ HAECCEITY “DESSERT”

BECHELOR STUDIO/ TECTONIC BEHAVIOUR

METALIC GLAZING OVER CERAMIC PRINT

DESSERT/ HAECCEITY

1:3 SCALE PLA 3D PRINT MODEL - JOIN TEST

“DESSERT”

1:2 SCALE CERAMIC 3D PRINT - ADD CONDUITS

BECHELOR STUDIO/ TECTONIC BEHAVIOUR

SLIP JOIN TWO PARTS

JOIN

BECHELOR STUDIO/ TECTONIC BEHAVIOUR

-PRINT TEST -SLIPPING TEST -GLAZING TEST

DESSERT/ HAECCEITY “DESSERT”

LATTICES

GLAZING TEST

BECHELOR STUDIO/ TECTONIC BEHAVIOUR

CERAMIC PRINT GLAZING TEST

DESSERT/ HAECCEITY

GLAZING OVER SLIPPING OVER CERAMIC PRINT

“DESSERT”

1:3 SCALE CERAMIC PRINT MODEL - GLAZING TEST

DESSERT/ HAECCEITY

no. of parts

2 - part mold2

none (positive form)

1 - part mold2

(mold2) tool

Roland CNC Mill

3-D printer

Roland CNC Mill

3-D printer

4 hrs x2

120

model resolution: low

time & resolution

3-D printer

150 120 250

400

150 300

[0.3 rough] [0.1 fine]

20 hrs model resolution: medium [0.3 rough] [0.1 fine]

BECHELOR STUDIO/ TECTONIC BEHAVIOUR

process

outcome

constraints

1. prep STL files “patterns” 2. mill both sides of pattern (chemical wood) 3. make box around pattern (foam ply) 4. cast plaster in box 5. takeout, leave to dry for a week in this rainy weather... or into oven 50°C overnight 6. slip cast 7. bake

1hr 8

[est. time:

28+]

2 16 1 ?

hollow/solid object - milling bed size: 400 x 400 - milling tood length: square 62, ball 43 - longer file prep time - casting precision controlled by machine

- no negative draft angles (avoid even 90° for cast release)

SLIPCASTING_RMIT_M.STUDIO_TECTONIC BEHEVIOR

1. 2. mill one pattern only 3. 4. 5. 6. 7. -

surfaces

80

16 hrs?

6 hrs?

1. prep files 2. 3-D print positive (actual form) 3. [fill bottom half with plasticine] 4. [takeout plaster mold, leave positive in, apply release agent, cast plaster on the other half, then take both out] 5. 6. 7. -

hollow/solid object - printing bed size: 250 x 250?

- deflection?

- layers require extra sanding-spraying time, and may cause negative draft angles - longer casting prep time - casting precision controlled by hand

“DESSERT”

mold-forthe-mold

DESSERT

DESIGN - SLIP CASTING

DESSERT/ HAECCEITY “DESSERT”

DESSERT

DESIGN- SLIP CASTING

2 PARTS MOLD

1. component design

add hole for slip casting

thicken the componet

2. modeling 2 parts for Milling process prep STL les “patterns” 1hr

BECHELOR STUDIO/ TECTONIC BEHAVIOUR

3. ROLAND CNC Mill mill both sides of pattern (chemical wood) 8hr 4 hrs x2 model resolution: low [0.3 rough] [0.1 fine]

5. make box around pattern (foam ply)

4. spray paint surface 3 times ( wait for 5 mins each)

SLIPCASTING_RMIT_M.STUDIO_TECTONIC BEHEVIOR

DESSERT/ HAECCEITY

14. fire components wait until the component dry enough to be put in fire

“DESSERT”

2 PARTS MOLD

DESSERT

DESIGN - SLIP CASTING

6. brush the surface with Soft Soap (1:1mix with water) - helping with release the plaster mold from box 3 times ( clean the surface with soft fabric each time after brushing the soft soap to get ride off bubble)

7. cast plaster in box Pottery Plaster (100:70 plaster:water)

13. wait for 40mins component ready to come out

12. wait for 2mins pour out the slip

BECHELOR STUDIO/ TECTONIC BEHAVIOUR

8. wait.... 2hr more or less when plaster become solid

11. slip cast put baby powder on the molds before slip cast can helps it dry faster

stoneware casting slip 9. takeout, leave to dry for a week in this rainy weather... or into oven 50°C overnight 10. air holes on both ends so air can come out when pouring clay inside molds

SLIPCASTING_RMIT_M.STUDIO_TECTONIC BEHEVIOR

put in oven 50°C overnight

DESSERT/ HAECCEITY “DESSERT”

DESSERT

DESIGN- SLIP CASTING

ONE PART MOLD

1. component design

11. wait for 30mins component ready to come out

2. modeling ONE Piece mold for Milling process

10. slip cast put baby powder on the molds before slip cast can helps it dry faster

12 9. takeout, leave to dry for a week in this rainy weather... or into oven 50°C overnight 8. wait.... 2hr more or less when plaster become solid 7. cast plaster in box Pottery Plaster (100:70 plaster:water)

BECHELOR STUDIO/ TECTONIC BEHAVIOUR

3. ROLAND CNC Mill mill pattern (chemical wood)

6. brush the surface with Soft Soap (1:1mix with water) - helping with release the plaster mold from box 3 times ( clean the surface with soft fabric each time after brushing the soft soap to get ride off bubble)

4. spray paint surface 3 times ( wait for 5 mins each)

SLIPCASTING_RMIT_M.STUDIO_TECTONIC BEHEVIOR

5. make box around pattern (foam ply)

DESSERT/ HAECCEITY “DESSERT”

DESSERT

DESIGN - SLIP CASTING

3D PRINT

component design - 01

component design - 02

Can be 3D printed, however, because all the draft angles are different, is very chanlleging to make multi molds that can take the slip out without breaking it.

component design - 03

Changed the design, edgs are tape in the same angle, botton part and the upper part are symmetrical. innner holes are verticaly extruded.

Changed the design, edgs are tape in the same angle, botton part and the upper part are symmetrical. innner holes are also tape in with the same angle.

failed print - 01

12. wait for 2mins pour out the slip

3D Print

failed print - 02

the component crved because of the heat so we cannot use it to cast any more

BECHELOR STUDIO/ TECTONIC BEHAVIOUR

failed print - 03

white Silicone

SLIPCASTING_RMIT_M.STUDIO_TECTONIC BEHEVIOR

cast with resin

DESSERT/ HAECCEITY “DESSERT”

DESSERT

hololens cutting

place cut

:(

digital components

align

clay components

cut

hololens brushing

spiral

reduced mesh 90%

place

BECHELOR STUDIO/ TECTONIC BEHAVIOUR

‘spiral’

displace

hololens cutting it’s there

Bill - Practice working experience

It was my that inspired me to step further. I came back to China after my graduation, served as a project architect in RENYANG+Partners architecture design for one year, it is a small start-up firm with an extra Exhibition space. where I began from cooperating with the project team, then , managing a team to handling projects of , , , and .

From concept design to construction, this working experience given me chance to think more about how to solve the problems of clients, site and the context, time-management, cooperation within multi-discipline team and make maximum sufficiency of team work.

interior design adaptive reuse architecture competition installation curation workshops

Because the opportunity of a project, me and three colleagues left and start up a new firm called 放 肆 & 释 放 设 计 （meaning of Unbridle & Unleash）the initiative is to use design as a tool to spread positive energy as well as keeping the enthusiastic of creativity. Intervening childlike creativity and highly skilled professionals, our studio consist of two parts, 放 肆 is a design and research studio, which interested in environmental control and philosophy of technology, globalization and infrastructure, contemporary media culture and production-consumption relations, film and media technologies, as well as craftmanship. Our work includes , critical practices in many fields, such as and , and , and . For example, we planned a doomsday party for Chongqing's oldest live house - NUTS (which was about to close due to COVID), to motivate everyone through installations, music and activities under the pandemic and global warming situation. On the other hand, 释 放 is an architecture design firm，whose work focuses on contemporary spatial culture. Such as

lab)

cross-disciplinary

( 4fun

branding installation art practice curation event planning multi-media production new media operation

architectural，Interior and urban design.

BILL/ PRACTICE “BILL”

adaptive reuse

Project

Art Workshop He

Area

historical building renovation

1500m2

Programs

Art Gallery, Artists workshops

Location

Huangjuepin, Chongqing - Involved in design phase of the project - Produced digital&physical models, renders and documentations for presentation

Project

Yuan Lu Mansion

Area

470m2

Programs

Historical exhibition space, Club and Hotel

Location

NO.8 ELinJiaLinXin Rd. Yuzhong District, Chongqing.

- Involved in design phase of the project (include architecture, Interior and decoration design) - Produced models, renders and documentations for presentation

Project

Chengdu LuHu THE MEWS stables renovation, outdoor market and landscape design

Area

100m2

Location

NO.8 ELinJiaLinXin Rd. Yuzhong District, Chongqing.

in construction

BILL/ADAPTIVE REUSE

- Involved in design phase of the project (include architecture, Interior and installation design) - Produced models, renders and documentations for presentation

新 旧

BILL/ PRACTICE “BILL”

Project

OOZE Electronic Music Club

Area

250m2

Programs

Bar & Live house

Location

Honghuang Rd, Chongqing

in construction

interior design historical building renovation

- Involved in design and construction phase of the project.

- lnterior, lighting and installation design.

- Produced models, renders, technical drawings and documentations.

Project

UTO000 PUPA Bar&Coffee

Area

240m2

Programs

Reptile theme Bar & Live house

Location

ElinErFactory, Chongqing

Completed

- Involved in design and construction phase of the project.

- lnterior, lighting, furniture and installation design.

- Produced models, renders, technical drawings and documentations.

Project

MILU Bar&Board games

Area

180m2

Programs

Bar, Board games, Live house

Location

Shazhng Rd. Shapinba District, Chongqing

Completed

BILL/ADAPTIVE REUSE

- Involved in design and construction phase of the project.

- lnterior, lighting and installation design.

BILL/ PRACTICE “BILL”

competitions Competition

ChuanXi Linpan Micro-renewal Design Competition - Finalist Prize

Project name YouYuan

Number of members

420m2

Design Schedule

Area

Programs hotel

Location

Tianfu Park, Chengdu

4

4 weeks

Work Contents

Involved in design phase of the project.

Produced iterative models, diagrams and renderings.

Concept design bid:

Administrative Building and Main Gate of Yong Chuan city’s Intergrated Free Trade Zone, National Level, Second Prize

Project name QingQiu

Number of members 3

Design Schedule 4 weeks

Work Contents

Competition

Design for Living 2020, IAAC, Finalist prize international competition, shortlisted of publication

Project name YouYuan

Programs synthesis

Number of members 5

Design Schedule 4 weeks

Work Contents

BILL/ADAPTIVE REUSE

Involved in design phase of the project. Produced iterative models, diagrams and renderings.

Involved in design phase of the project.

Produced iterative models, diagrams and rendering

BILL/ PRACTICE “BILL”

Exhibitions and Event Curation Installation Design

“Cloud Affects” Shenzhen 2019 Bi-City Biennial of Urbanism/Architecture

Exhibition

The Private Life of Marginal Groups Liu Qingshan Photography Exhibition

Collaborating artist Liu Qingshan

Place

YOYA Art place，Yuzhong，Chongqing

Installation Design

Work Contents

“Apocalypse” AwesomeLAND NUTS Livehouse x 4FUN

worked as curator assitant, Involved in curation，material preparation， installation design and making process.

Design in other fields

Exhibition

First Forest Dancing performence, Live Music with ShenLvHai band, Art Fair and Hotpot

Collaborating artist DuoDuo

Place

YOYA Art place，Yuzhong，Chongqing

Work Contents

worked as curator，organize and coordinate cooperative crew , material preparation， installation design and making process.

Installation Design

Installation Design

“skin” The Private Life of Marginal Groups

“Sensory trip” LUHU A8 southwest independent architects group exhibition

Event

AwesomeLAND NUTS Livehouse x 4FUN Party, DJ, Games, Interactive installations

Collaborating Music artists

Kaishandao, Xing, B.ai, Fan, Jaziwen

Place

NUTS Livehouse

Work Contents

worked as curator，graphic designer, We media publicity, organize and coordinate cooperative crew，venue decoration, installation design and making process.

Installation Design

“safe zone”and “tree life” First Forest exhibition

Table Design

UTO000 PUPA Bar

Workshops

One Hour Workshops aesthetic of the ugly BILL/ADAPTIVE REUSE

Place

RY+P，Yuzhong，Chongqing

Work Contents

Presented a serious of public workshops for the topic of Aesthetic of the Ugly.

Vase Design 3d print

Thanks!