![\"le](\"http:\/\/thesis.arch.hku.hk\/2015\/wp-content\/uploads\/sites\/3\/2015\/10\/le-frey-national-studio.jpg\")
<\/a><\/p>\n<\/p>\n
Architecture has actually experienced an evolution throughout history in terms of \u00a0 \u201cdimension\u201d \u00a0(D). \u00a0There are 4 stages, all still exist nowadays, resembling that of movies: 2D, 3D, 4D, and a 4Dx that I propose.<\/p>\n
Architecture as (Media) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 “Dimension” \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Mediates The design focus of the above \u201cDimension\u201d architecture is actually dimensionless in terms of real space. \u00a0The space in 4Dx architecture happens in the mind (virtual space), when body senses are stimulated. \u00a0The x appears when mutation occurs between the limitation in body sensations and the infinity in imagination. \u00a0My concept is that architecture is not about designing real space, but designing the stimulation or mechanism that triggers the x mutation.<\/p>\n <\/p>\n The testing site of my design project is cultural or festive in nature, when an atmosphere is important. \u00a0It may be a hotel, a (theme) park, a church etc., where weddings, banquets, celebratory events take place. \u00a0It may also be a musuem, arts or exhibitory space, a cinema, or something in between, or a hybrid, where the relationship between the presenter and the receiver will be explored and developed. \u00a0Even a completely new typology may result, the 4Dx, when the real human sensations and the virtual imagination and space come into mutation – the x factor.<\/p>\n Surface experimentation will be one major focus, for example, the facade. \u00a0The type of media that architecture represents has changed over time. \u00a0From book to screen, and then to film, to cinema… in these stages the facade is a key element for investigation. \u00a0The facade has connection with human\u2019s senses or minds when it is close to users, as well as when it is far away. \u00a0The impact and the degree of stimulation is different for different distances, but the connection remains. \u00a0The type of connection is the question, whether it is mental, visual, physical, conceptual, virtual. \u00a0Besides facades, planes (vertical walls and horizontal ground) may also be sites for experiments, which have a more direct interaction with the \u201caudience\u201d.<\/p>\n <\/p>\n My concept of architecture as book can be illustrated in \u201cNotre-Dame de Paris\u201d, where Hugo expressed his idea of “Architecture is the great book of humanity\u201d. \u00a0Before the invention of printing press, architecture acted as a medium to mediate virtual texts – concepts. \u00a0For architecture as screen, I will use Robert Venturi’s projects as reference, the Vanna Venturi House and his theory of “shed” and signboard architecture in “Learning from Las Vegas”. \u00a0While architecture as film can be seen in Bernard Tschumi’s projects. \u00a0The cinematic strip of gardens and the implementation of \u201cManhattan Transcript\u201d in his Parc de la Villette shows the focus on the events instead of space, which comes naturally as a consequence. \u00a0His Glass Video Gallery is a series of moving images due to reflective glass. \u00a0The platform spaces on the facade of his Le Frey National Studio for the Contemporary Arts are strips of film frames of independent events. \u00a0I categorize the above as 2D because of the passive relationship between architecture (presenter) and users (receiver).<\/p>\n While the evolution to 3D and 4D (architecture as cinema) is different, in which the audience is not isolated but involved in the design itself. \u00a0The Blur by Eliazabeth Diller, its edible form, brings out her idea that “architecture is nothing but a special effects machine, that disturbs the senses”. \u00a0Besides designing the stimulation of body, it also challenges the conventions of space. \u00a0Its quality of space is scaleless, and there is “nothing to see or do” there. \u00a0Her focus on making an active relationship between the presenter and receiver is shown in her other projects, like the reconfigurable interior of The Bubble project, the “light belt” as she described, that creates a “seamless continuity that connects the audience with performers”, in her Alice Tully Hall, as well as the Slow House which I see as a cinema where the audience walks instead of sits.<\/p>\n Over the past 7 years, multimedia arts has been merging with architecture, which inspires my concept of going beyond 4D – a 4Dx. Existing examples of concepts between 4D and 4Dx include Pipilotti Rist’s Pour Your Body Out in the Museum of Modern Art; Doug Aitken’s Lighthouse, and his Song 1 installation at Hirshhorn. The idea of virtuality has been put into experimentation. John Welling’s Glass House Series is a vivid example of reflections being the building materials, and the surrounding projections turn an empty space into a large structure of landscape, buildings and sculptures.<\/p>\n <\/p>\n A series of experiements across \u201cdimensions\u201d will be carried out, to investigate principles and develop the potentials of a 4Dx media \u201cdimension\u201d of architecture, where real space design is not the focus, but generates a new realm of concept of space.<\/p>\n Step 01: Analytical table of coded archetypes of 2D, 3D and 4D, with reference to Bernard Tschumi\u2019s table drawing of all folies in Parc de la Villette. Bibliography \u201cI don\u2019t find the purely virtual terribly exciting, just as in the same way, I don\u2019t find the purely real terribly exciting. I like to see what happens when the two collide – the tensions that are created between them.\u201d<\/p>\n","protected":false},"author":84,"featured_media":1070,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[19],"tags":[6],"_links":{"self":[{"href":"http:\/\/thesis.arch.hku.hk\/2015\/wp-json\/wp\/v2\/posts\/958"}],"collection":[{"href":"http:\/\/thesis.arch.hku.hk\/2015\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/thesis.arch.hku.hk\/2015\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/thesis.arch.hku.hk\/2015\/wp-json\/wp\/v2\/users\/84"}],"replies":[{"embeddable":true,"href":"http:\/\/thesis.arch.hku.hk\/2015\/wp-json\/wp\/v2\/comments?post=958"}],"version-history":[{"count":10,"href":"http:\/\/thesis.arch.hku.hk\/2015\/wp-json\/wp\/v2\/posts\/958\/revisions"}],"predecessor-version":[{"id":1538,"href":"http:\/\/thesis.arch.hku.hk\/2015\/wp-json\/wp\/v2\/posts\/958\/revisions\/1538"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/thesis.arch.hku.hk\/2015\/wp-json\/wp\/v2\/media\/1070"}],"wp:attachment":[{"href":"http:\/\/thesis.arch.hku.hk\/2015\/wp-json\/wp\/v2\/media?parent=958"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/thesis.arch.hku.hk\/2015\/wp-json\/wp\/v2\/categories?post=958"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/thesis.arch.hku.hk\/2015\/wp-json\/wp\/v2\/tags?post=958"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nBOOK \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a02D \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 TEXTS
\nSCREEN \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 2D \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 TEXTS + IMAGES
\nFILM \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 3D \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span>TEXTS +IMAGES + SOUND + PLOT\u00a0<\/span>
\nCINEMA \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a03D<\/span> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 VISUAL ILLUSIONS +<\/span> AUDIENCE<\/span>
\nCINEMA \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a04D<\/span><\/em>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0STIMULATION OF SENSES<\/span><\/span>
\n? \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 4Dx \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0VIRTUAL SPACE + REAL BODY<\/span><\/em><\/p>\n4Dx GENERATION:
\nArchitecture Without Real Space<\/h2>\nWHAT?<\/h3>\n
Lighthouse, Douh Aitken<\/h6>\n
<\/a><\/p>\nWHY?<\/h3>\n
Alice Tully Hall, Elizabeth Diller \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0The Blur, Elizabeth Diller
\n<\/a>\u00a0<\/a><\/h6>\nThe Bubble, Elizabeth Diller \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u201cLearning from Las Vegas\u201d, Robert Venturi
\n<\/a> <\/a><\/h6>\n\u201cNotre-Dame de Paris\u201d, Victor Hugo \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0Song 1, Doug Aitken
\n<\/a>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/a><\/h6>\nPour Your Body Out, Pipilotti Rist \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Parc de la Villette,Bernard Tschumi
\n<\/a> \u00a0\u00a0<\/a><\/h6>\nGlass House, James Welling \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0Lighthouse, Doug Aitken
\n<\/a> <\/a><\/h6>\nHOW?<\/h3>\n
Parc de la Villette, Bernard Tschumi
\n\u00a0 \u00a0 \u00a0<\/a><\/h6>\nManhattan TranscriptS, Bernard Tschumi
\n<\/a><\/h6>\nThe Slow House, Elizabeth Diller
\n<\/a>\u00a0 \u00a0 \u00a0\u00a0<\/a><\/h6>\n
\nStep 02: Develop a set of notations, in drawings and models, to describe events and space when architecture is a \u201ccinema\u201d but not just \u201cfilm\u201d, when the senses of audience are stimulated. Compare and contrast these drawings or models of 3D and 4D with the 2D Manhattan Transcripts. (Test site: Facade Format: Drawing\/model notations Types of medium: Light and sound)
\nStep 03: Develop a design with reference to the Slow House, which acts as a cinema that stimulates the five human senses, as well as human movement. (Test site: Planes Format: Drawdel Types of medium: Stimulations of the five human senses)
\nStep 04: Final tests, simulations of how 4Dx can perform. It can be in the format of a movie and a model.<\/p>\n
\nTheory
\nVictor Hugo, Notre-Dame de Paris, (Hachette, 1994)
\nMarshall McLuhan, \u201cThe Medium is the Message,\u201d Understanding Media: The Extensions of Man (1964)
\nRobert Venturi and Denise Scott Brown, \u201cA Significance for A&P Parking Lots, or, Learning from Las Vegas\u201d, Architectural Forum 128, no. 2 (March 1968), 36-43.
\nDenise Scott-Brown, \u201cLearning from Pop,\u201d Casabella 359-360 (December 1971), republished in K. Michael Hays, ed., Architecture Theory since 1968 (Cambridge:MIT Press, 2000), 440-461.
\nBernard Tschumi, Interview by Yoshio Futagawa, (Tokyo, Japan: ADA Edita Tokyo, 1997)
\nKevin Lynch, \u201cThe Image of the Environment\u201d, in The Image of the City (Cambridge: MIT Press, 1960), 1-13.
\nLynch, Kevin. What Time Is This Place? Cambridge: MIT Press, 1972.
\nTechniques
\nBernard Tschumi, The Manhattan Transcripts, (London: Academy Press, 1994)
\nProjects
\nBernard Tschumi, Event-cities 2, (Cambridge: MIT Press, 2000)
\nSylvia Lavin, Kissing Architecture, (Princeton University Press, 2011)<\/p>\n","protected":false},"excerpt":{"rendered":"