Designed Chronologically Emergence_ Qi Su_Case Study

7/31/2019 Designed Chronologically Emergence_ Qi Su_Case Study

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DESIGNED EMERGENCE

It is not time || space. but time && space...

It is about transformation...

It is about interaction...

It is about design...


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BLUR

R&Sie

Realisation of Tourism design on a bank of a

wild river, rst step production of a prototype on 5000

m2 in 1997, the site of Vianne

Scenario :

1) Realisation of a roof in plastic like a oatingjellysh in trees

2) Waiting the rising of the river.

3) Using this design like a metaphoric lter of

pollution.


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We lost it

R&Sie

A report from Bruce Sterling / 2030 ;

Thirty long years had overpassed our rolling

globe since the unveiling of Roches legendary web-

house. The inspector and I almost missed the place,

which was, of course, the architects original intention.

I stroked the cracked screen of my vintage

iPhone. The GPS coordinates of this structure seem

to have been deliberately mis-allocated.

Typical, sniffed the inspector.

I knew the place from photos, but not from re-

cent ones. The sturdy poles were moss-eaten, their

guywires festooned with vines, and the trees on thesite had grown huge. Given that the plastic mesh

was integrated into the forest, the web-house was all

parabolic arcs and delirious sagging. Much-stained

by years of fallen foliage, the structure had the spotty

look of forest camou. An army could have marched

by it and never seen a thing. The inspector hefted her

tricorder. Aging plastics tend to offgas, she sniffed.Locating the entrance with difculty, we entered the

dense fabric maze. The visual effect was literally in-

describable, a fact I attributed to the stark exhaustion

of conventional architectural rhetoric. Visionary inter-

ventions of this sort were sadly rare during the cultur-

ally retrograde epoch of the War on Terror.

The inspectors face soured. English was not

her rst language.


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Worse yet, the regulatory environment was so

rigid and harsh that Francois Roche was forced to dis-

guise his ingenious designs as conceptual-art instal-

lations.

I *love* conceptual art, the inspector insisted,

wincing.

The sun was setting. Faithful solar-charged

globes icked on. We emerged from the glowing laby-

rinth to confront a drained swimming pool. Tres J.G.

Ballard, I remarked, but the inspector wasnt having

any of that.

The original owner had kept the place in good

shape, but then it had passed into the hands of thecreature who made it notorious: one Novalis Nico, the

Spider of Geneva, a legendary Swiss currency spec-

ulator. Nico had holed-up for years in these forests of

southern France, hunched over his busy laptop. When

not obsessively collecting glamour photos of high-tech

street junk, the reclusive mogul used thousands of

sock-puppet fake identities to pervert the seething ru-mors in investment weblogs.

So, with one Fantomas - Mabuse stroke of

hacker cunning, Nico could send the Euro spinning

right out of control. Within this lair he had reaped

heaps of electronic wealth beyond the dreams of 20th-

century mankind.

Except for the many rusting satellite dishes,

Nicos long, secretive haunt hadnt much affected the

vicinity. The dead zillionaires wealth had always been

entirely virtual. Hed sold off the original owners tasteli


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fully minimalist furniture and replaced it all with

inatable chairs. Their deated rags draped every

room, like discolored pools of hippie candle-wax.

It looks very pop-up in here, I told the

inspector.Its very plug-in city.

The inspector brushed dead leaves from her

padded shoulders. I think I smell bats.

Come on, you cant mix bats and e-commerce

fanatics.

The inspector examined her tricorder. That

guano gives off a denite spectral emission. She

pursed her lips and scanned the walls and oors with

her radar nozzle. At least the structural members arestill sound.

So youre really gonna let the new buyer live

here?

She took offense. It is not up to me to declare

that!

Im not a housing dictator! Im just a simple, ev-

erydayEnvironmental Sustainability Inspector from the

Heritage Bureau of the Euro-Parliamentary Commis-

sion for the Regulation of the Creative-Economy.

I gazed around the sleekly barren cells where

the Spider had passed his days, weeks, years. It had

taken four or ve years for mankind to even realize the

guy was dead; hed lurked inside here with profound

success, and his automated trading systems had

given him veritable Osama bin Laden global-media

brand-extension.


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Who had dared to penetrate the legendary

web-house?

Anybody? Until just now?

I set my heavy backpack on the curving stairs.

Well darling, I told her, this is where we nally cel-

ebrate our secret love

Bruce Stirling, 2007


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Hybrid Muscle

R&Sie + Philippe Parreno

Construction of a work and exhibition space

that would generate its own electricity and thus be un-

plugged from the power grid. Private commission.

Scenario :

1) Construction of an animal engine driven by

the muscle power of a pachyderm. Storage of the me-chanical energy through the lifting of a two-tonne steel

counterweight. Transformation of the mechanical en-

ergy into electrical energy. To power ten light bulbs,

laptop, cell phones.

2) Natural ventilation through the quivering of

the facade leafs made of sheets of elastomer that

work in the same way as temporary shelters made ofteak leaves.


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Hybrid Muscle

His feet thrust deep under the ears of his

pachyderm, Picha starts up the Land electric genera-

tor, as he does every morning. The concrete batter-

ies are run down. Too much laptop and the beating

of wings last night. An elephant keeper as long as hecan remember, partnered for life with his animal, to-

gether they emigrated to this former Thai rice eld that

has become Rirkrit Tiravanija Land, his experimental

Weissenhof.

In front of them is a structure made of still-inert

plastic leaves holding a 20-tonne concrete counter-weight, hanging vertically like clothes in a European

miners locker room. Their job: to lift them patiently, one

by one, using a system of cables and pulleys, moving

with animal slowness. Thus muscular energy (2,000

w/h) is transferred, stored and released, transformed,

by means of a dynamo, into electrical energy. This

endless cycle from elephant to structure to gravity andthen to energy compresses or frees interior space, in

rhythm with the occupation of the Land and the move-

ment of the counterweight platform.

Nothing could be further from monomaniacal

planning that would seek the development and inner-

vation of a territory using the expected tools of domi-

nation and tabula rasa. On the contrary, this project

introduces a relational mode with the local animals. It-

not just an accident that this pachyderm all by himself


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supplies the Land electrical needs and that ar-

chitecture is the vector. This anthroposophic process

that makes currents and the modes of exchange vis-

ible proles architecture as a situational contingency

with no exotic imports other than its scripting.

The auteur of this project is schizoid and bi-cephalic: PPR&Sie. He is miscible with two specic

elds, art and architecture, and cannot put himself for-

ward except through this turbid, hybrid identity.

At a time when artifacts go from Elle Magazine

to Wall Paper Design, this concept of auteur has never

been so incisive as when the creative artist draped in

his charismatic isolation (Duchamp star) turned into apostmodern creative director (Jean Nouvel), introduc-

ing a constant and recurrent recycling of models, like

Pong on speed. Stories and narratives have become

interchangeable, reproducible and autophagic. This is

even one of the necessary conditions for contempo-

rary cultural consumption as a component of the free-

market system.The narrative echo, a kind of amplication by

means of a borrowed model, thus transforms all con-

textual thought into a simple citational opportunist.

The fruit was already infected by he postmod-

ern virus when a De Stijl architect, Rietvelt, faceted

Mondrian world in 3D, and when his successor, Does-

burg, a decorative counterfeiter, covered his buildings

with it, thus de facto heralding the YSL dress of the

same name


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Sound Architecture

Zimoun

Using simple and functional components, Zi-

moun builds architecturally-minded platforms of sound.

Exploring mechanical rhythm and ow in prepared

systems, his installations incorporate commonplace

industrial objects. In an obsessive display of simple

and functional materials, these works articulate a ten-sion between the orderly patterns of Modernism and

the chaotic forces of life. Carrying an emotional depth,

the acoustic hum of natural phenomena in Zimouns

minimalist constructions effortlessly reverberates.


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A History of the Sky

Ken Murphy

Time-lapse movies are compelling because

they give us a glimpse of events that are continually

occurring around us, but at a rate normally far too slow

to for us to observe directly. A History of the Sky en-

ables the viewer to appreciate the rhythms of weather,

the lengthening and shortening of days, and other at-mospheric events on an immediate aesthetic level: the

clouds, fog, wind, and rain form a rich visual texture,

and sunrises and sunsets cascade across the screen.

This is a work in progress. Currently, an image

of the sky is being captured every 10 seconds from a

camera installed on the roof of the Exploratorium, on

the edge of San Francisco Bay. The images collectedover each 24-hour period are assembled into a 6 min-

ute movie (at 24 frames/second).

The nal piece will consist of a large projected

grid of 365 movies, each representing one day of the

year, and cycling in parallel through consecutive 24-

hour periods. The viewer can stand back and observe

the atmospheric phenomena of an entire year in just

a few minutes, or approach the piece to focus on a

particular day.


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Winchester House

Sarah Winchester

Although this is disputed, popular belief holds

that the Boston Medium told Winchester that she had

to leave her home in New Haven and travel West,

where she must build a home for yourself and for the

spirits who have fallen from this terrible weapon, too.

You must never stop building the house. If you con-tinue building, you will live forever. But if you stop, then

you will die.

Winchester left her New Haven home and

headed for California. In 1884 she purchased an un-

nished farm in Santa Clara Valley, and began build-

ing her mansion. Carpenters were hired and worked

on the house day and night until it became a sevenstory mansion.

The June 1937 issue of Modern Mechanix re-

lates the story from then-current accounts as follows:

Winchester and the baby girl died suddenly and Mrs

Winchester, stunned by the tragedy, fell into a coma

so serious that physicians despaired of her life.

Finally she recovered and, at a friends sug-

gestion, visited a medium. During a sance, accord-

ing to those familiar with her story, she received a

communication from her dead husband in which he

said: Sarah dear, if our house had not been nished, I

would still be with you. I urge you now to build a home,

but never let it be nished, for then you will live. [6]


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Winchester House

Sarah Winchester

Another version of the story says that after the

deaths of her daughter and later her husband, she

consulted a medium who told her that she must build

a house and never cease building it, otherwise the

spirits that killed her family members would come af-

ter her, too. After that she began construction on themaze-like house full of twists, turns, and dead ends,

so that the spirits would get lost and never be able to

nd her.

One version states She believed her only

chance of a normal life was to build a house, and

keep building it. If the house was never nished, no

ghost could settle into it. The house contains manyfeatures that were utilized to trap or confuse spirits.

There are doors that are small or lead nowhere and

windows that look into other parts of the house. The

mansion may be huge but there are only two mirrors in

the whole place. This is because Sarah believed that

ghosts were afraid of their own reection.[7]

Winchester inherited more than $20.5 million

upon her husbands death. She also received nearly

50 percent ownership of the Winchester Repeat-

ing Arms Company, giving her an income of roughly

$1,000 per day, none of which was taxable until 1913.

This amount is roughly equivalent to about $300,000 a

day in 2012. All of this gave her a tremendous amount

of wealth to fund the ongoing construction.


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Sagrada Familia

Antoni Gaudi

On the subject of the extremely long construc-

tion period, Gaud is said to have remarked, My client

is not in a hurry.[15] When Gaud died in 1926, the

basilica was between 15 and 25 per cent complete.

[9][16] After Gauds death, work continued under

the direction of Domnec Sugraes i Gras until inter-rupted by the Spanish Civil War in 1936. Parts of the

unnished basilica and Gauds models and workshop

were destroyed during the war by Catalan anarchists.

The present design is based on reconstructed ver-

sions of the lost plans as well as on modern adap-

tations. Since 1940 the architectsFrancesc Quintana,

Isidre Puig Boada, Llus Bonet i Gari and FrancescCardoner have carried on the work. The illumination

was designed by Carles Buigas. The current director

and son of Llus Bonet, Jordi Bonet i Armengol, has

been introducing computers into the design and con-

struction process since the 1980s. Mark Burry of New

Zealand serves as Executive Architect and Research-

er. Sculptures by J. Busquets, Etsuro Sotoo and the

controversial Josep Subirachs decorate the fantastical

faades.


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Nature is the best designer

N/A

On the subject of the extremely long construc-

tion period, Gaud is said to have remarked, My client

is not in a hurry.[15] When Gaud died in 1926, the

basilica was between 15 and 25 per cent complete.

[9][16] After Gauds death, work continued under

the direction of Domnec Sugraes i Gras until inter-rupted by the Spanish Civil War in 1936. Parts of the

unnished basilica and Gauds models and workshop

were destroyed during the war by Catalan anarchists.

The present design is based on reconstructed ver-

sions of the lost plans as well as on modern adap-

tations. Since 1940 the architectsFrancesc Quintana,

Isidre Puig Boada, Llus Bonet i Gari and Francesc

Cardoner have carried on the work. The illumination

was designed by Carles Buigas. The current director

and son of Llus Bonet, Jordi Bonet i Armengol, has

been introducing computers into the design and con-

struction process since the 1980s. Mark Burry of New

Zealand serves as Executive Architect and Research-

er. Sculptures by J. Busquets, Etsuro Sotoo and the

controversial Josep Subirachs decorate the fantastical

faades.


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Designed Chronologically Emergence_ Qi Su_Case Study

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