Part 1: Information File

STRUCTURE AND SURFACE

THURSDAY 23 OCT 2014

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- To Kengo Kuma, rain helps evoke the richness of the space. 
- To Kengo Kuma, shadows is the spirit of an architecture and space.
- To Kengo Kuma, a project that can create voice to spaces is a successful project.
- To Kengo Kuma, the aroma fragrance of tatami benefits a good sleep
- To Kengo Kuma, 3D rendering and simple scale models create a abstraction to space, only using real materials to create real scale model can check the relationship between materiality, human and scale.

 

After watching this video, I believe that the success of Kengo Kuma is build in a bonded relationship between human, temperature, weather and the structure itself while emphasizing the 5 senses to feel the spaces. The world and people are surrounded with architectural buildings. Therefore it is important to maintain and build up relationship to the structure and human for a spacial experience for visitors. For example, when walking in a space without the need of knowing the actual curation of the space but feel it with your own perspective and sense. 

 

 

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SATURDAY 25 OCT 2014

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My Purpose: Sensing Spaces exhibition at the Royal Academy of Arts had already ended at the mid of the year. Even though I has not visited the exhibition, I was thrilled by searching the videos and images of the showcase installations pieces on seeing how the well-known architects feel the architectural spaces in different perspective views using our five senses.

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Pezo von Ellrichshausen (image copyright Dezeen)

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The first installation is a towering wooden structure by Chilean architects Pezo von Ellrichshausen intended to reveal parts of the gallery that are usually left unseen.

Four chunky columns each contain spiral staircases, leading up to a viewing platform positioned at the height of the gallery's cornices. Here, visitors are offered a framed view of the room's ornamental ceiling, before descending via a gently sloping ramp hidden within the rear wall.

 

 

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Diébédo Francis Kéré  (image copyright Dezeen)

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"The sixth structure in the show was designed by architect Diébédo Francis Kéré, who works between Germany and Burkina Faso in Africa. Rather than using clay, a material Kéré is more familiar with, the architect chose to construct a tunnel using a plastic honeycomb panels.

Colourful straws are positioned around the installation allowing visitors to make their own additions to its form, so that over the course of the exhibition its surface will transform into a mass of spikes." 

 

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Kengo Kuma (image copyright Dezeen)

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The piece by Japanese architect Kengo Kuma also occupies two rooms within the gallery. Designed to emphasise the importance of smell in architecture, the intricate bamboo structures are infused with aromas that Kuma associates with the house he grew up in. "The concept was to minimize materials but to maximise senses," the architect told Dezeen.

The first structure is positioned in the centre of the gallery and takes on the smell of hinoki, a kind of Japanese cedar often used in construction, while the second wraps around the edges of a small room and is infused with the smell of tatami, the traditional straw mats used as flooring in most Japanese houses. 

 

 

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MONDAY 27 OCT 2014

 

 

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TUESDAY 28 OCT 2014

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WEDNESDAY 29 OCT 2014

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THURSDAY 30 OCT 2014

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FRIDAY 31 OCT 2014

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SATURDAY 01 NOV 2014

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MONDAY 03 NOV 2014

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Material Library talk: Light Feeds the Future

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TUESDAY 04 NOV 2014

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- exploring the movement, form, and process of massage.

- exploring how the movement can changed into the facade of architecture

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THURSDAY 06 NOV 2014

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"my approach to design is ironically both strong and soft, with this pavilion I have expressed a strong and informative form but simultaneously created a soft and comfortable series of spaces for people to experience,’ said project architect johnathon little of ctrl+N. ‘the strong, angular expression of the pavilion encompasses inviting spaces with soft walls and warm tones of floor and furnishings.’

from the outset, the ambition was to give the installation the right setting. the surroundings should be non-confrontational, but also have a life of their own. it was pertinent to offer both an informative experience to the visitor and create the right setting to accomplish lundin’s objectives.

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MONDAY 10 NOV 2014

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"The works by Brazilian artist Ernesto Neto—he defines himself as an sculptor—were designed to be walked through, inhabited, felt, and even smelt, which enables the viewer to experience their own body, their senses, and their mind through the work of art. Visitors interact with each other, as well as with their surroundings, immersed in a sculpture-architecture fusion. Neto claims: “What we have in common is more important than what makes us different. I am interested in debating the plight of humanity, the temperature of the things we experience, the movement of things, language.” For this reason, he inquires into the common features of human relationships through sculptures that appeal to our sensuality, corporality, and reflection."

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TUESDAY 11 NOV 2014

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"Serra's materials and methods, i.e. large-scale steel panels and welding, has been interpreted by some feminist historians as a "last gasp" of Abstract Expressionism's so-called masculine themes and artistic processes. His work has thus unwittingly inspired a host of counter-responses by subsequent generations, who, decidedly in rejection of his histrionic example, turned in the late 1970s and 1980s toward more ephemeral, everyday materials to suggest that art could be monumental without relying on massive, "in your face" substances and formats."

 

"I consider space to be a material. The articulation of space has come to take precedence over other concerns. I attempt to use sculptural form to make space distinct."

 

"I never begin to construct with a specific intention. I don't work from a priori ideas and theoretical propositions. The structures are the result of experimentation and invention. In every search there is always a degree of unforeseeability, a sort of troubling feeling, a wonder after the work is complete, after the conclusion. The part of the work that surprises me invariably leads to new works. Call it a glimpse; often this glimpse occurs because of an obscurity which arises from a precise resolution."

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