[ Chinese perspective in Mandala ]

I wonder if i use this way to express modern architecture, what will happen?

1) In Architectual Mandala, it always use the aerial view of Chinese perspective（cavalier perspective ) which can sufficient express the structure, plan and facades of the architecture all together at the same time. 

Chinese perspective, a perspective that had no explicit vanishing points; every scene of the scroll painting would be seen individually and a vanishing point that lies outside the viewport creates a disoriented view of the scene.
The Chinese scroll paintings show a development in time --a form. of "narrative art", in contrast to the paintings that were made in Europe at the time, which show a "situation" rather than a development.

2) It also drawing some relevant process and story about the building around it. 

i think it have the narrative quality.

 

 

Project Proposal: Spacial Intelligence in Mandala

I saw an impressive Sand-Mandala in Tibet last year. The whole process and pattern always in my mind. I truly believe Mandala has a magical power. On Oct 2009, I went back to Tibet to learn drawing Mandala Thangka.

Background

Mandalas are commonly used by trantric Buddhists as an aid to meditation, a spiritual map. More specifically, a Buddhist Mandala is regarded as a sacred space, a pure lands or a place of nirvana and peace. A Mandala, which is depicted with Mount Meru, can also represent the entire universe.

Tibetan architecture and Urbean Planning all follow the forms of Mandala, even the people. 

I want to choose mandala as my research topic and explore the mandala in geometry, mathematics aspects, inform the forward thinking and experimental mandala and output of the architecture and how space communicate with human body. 

People is an important part of mandala, it said when ppl moving in the mandala, it begin to rotate. It kinda like the relationship between ppl and space. When ppl moving in the space, feel the spacial sequence, became a part of the space.

My concern relate to investigate an narrative space based on Mandala. Since the initial design, the main issue is to find the potentiality of novel space derive from rationally research on the geometric logic in Mandala. The exploration will be done by osillating between digital methodology and physical experiments throughout the research process and finally cereate a research system (2D-3D-Space) and the spacial intelligence in Mandala.

Four stage:

Formation (Form Finding)

Conversion

Enternal Mind

Recreate
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Reference 5 (Installation): Lexus by Tokujin Yoshioka

 

Images from Tokujin website

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update on Nov 10

love this one so much..
actually it s made by 2 different artists, but looks v v similar..

 

 

Reference 4 (Painting): Still Life by Giorgio Morandi

I like Still Life painting v much.

In Italian. 

It s called "natura morta".

means dead nature.

Still Life/dead nature. Is that interesting?

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Giorgio Morandi

My favorite Still Life painter.  

His painting make me feel peaceful. I can also feel the power in his painting. In Still life, u can find the relationship between objects is v amazing.

 

 

 

 

－－－

Gerhard Richter

  

fin

Reference 3 (Architecture): Le Cobanon by Le Lorbusier

 

Plan of Le Cabanon: Radial Scheme and Circulation

 

L’intérieur du cabanon de Le Corbusier
Photos Marc Heller, Gérard Roucaute
© Région Provence-Alpes-Côte d’Azur – Inventaire général 

 

终极平面

柯布一直主张自由的平面，然而休闲小屋最引人注目的是最初动笔时确定的基准线和正方形框架，这不能说是自由的平面而是理性的平面，这个正方形平面实际上是 由9个隐形小正方形构成然后演绎成4个226厘米×140厘米的长方形和一个86厘米×86厘米的中央正方形来分割正方形空间，然而一个从入口进入的螺旋 形动线串联室内空间这个螺旋形动线，是柯布特有的构成原则，这个原则持续了几十年之久。

太极回旋运动

         柯布认为螺旋是成长的自然法则，有机的生命体都从属于和再现这种法则。我们知道柯布西耶被海中的海螺所迷恋，是因为海螺中隐藏着螺旋的运动，休闲小屋就是 将螺旋运动具象化，可见柯布构筑的是最有限的居住空间和自然法则之间的协调关系，这也是为什么柯布曾对一位来访的记者说“就是死在这儿也可以”，柯布已经 把它确认为精神回归的场所。

         柯布西耶的作品与螺旋形运动的关系已经是众所周知的事，然而柯布最初的休闲小屋草图，显示的力学图像是在一个正方形中做对称性回旋运动。休闲小屋的平面是 16平方米，而室内功能的分配为昼和夜两个领域，这两个领域的回旋运动实际上是一个阴阳太极图。我们还可以在日本榻榻米的组合空间上找到同样的类型，由此 可见，当寻找运动的规律时所有的图像都会呈现出相同性。柯布正是被这种自然法则所迷恋，几十年居住在这个南法尼斯地中海的海岸，并愿意与之同归。

         勒·柯布西耶的休闲小屋让我们思考，一个人一生到底需要多大的空间才够，或许身无长物这个成语，是中国人衡量理想生活方式和空间的尺度。

Reference 3 (Architecture): Kait Workshop by Junya Ishigami Architects

Photo by Iwan Baan


The client wanted to built a place where students could work on diverse self-initiated projects to make things. KAIT workshop consists with 305 steel columns. He want to only use columns to seperate space and make ppl is easy to found space.

"The studies we did to examine these issues became quite extensive. We did models in numerous scales ranging from small to extremely large. Sketches were made with the plan depicted in dots, to explore just what kind of spaces would exist between pillars. Studies of the plan were done with a program written for this project on an special CAD. We had an Excel program created to do trial calculations and give us general ideas on the structural soundness, and so on."

Photo by Iwan Baan

Photo by Iwan Baan

Photo by Iwan Baan

Reference 2 (Novel):「The Tibetan Book of the Dead」

「The Tibetan Book of the Dead」

 
In this book, it describe the whole process of a death-trip. What will u see after u dead and  what should u do. it is an amazing journey including extraordinary wisdom and knowledge. (the state in between death and rebirth)

It maybe a good choice for narrative spacial proposal. 

Reference 1 (Film):「Snow」

Opening Exercise

This opening exercise is aimed to clarify the individual research question. It is a means to help you evolve your research concerns through the making of a spatial proposal. This work will form the basis for developing your major project which is to be presented at the end of the course. The exercise will investigate the relationship between space and its representation, and is to be presented in a way that juxtaposes two and three-dimentional means of representation.

You will begin the exercise by making a relation between your research concerns and a series of spatial sequences by other artists, architects, designer and filmmakers. These points of reference are to be presented to the group. You will need to articulate how the sequences have particular relevance to your research concerns; the sequences need to be carefully selected and argued for. The sequences should comprise:

1. A short (4 minutes maximum) spatial sequence taken from a film of your choice, presented either in dvd format or as a series of film stills.

2. An extract describing a spatial sequence from a novel or other book of your choice, 500 words maximum.

3. An architectural sequence from a building you have visited, presented in image and/or drawn form.

4. A painting, abstract or figurative, that you fell establishes a relationship between the spectator and the virtual space of the painting.

5. A spatial sequence from a piece of sculpture or installation art.

Develop the proposal through analysis and interpretation, extracting the underlying themes that tie the disparate material together.

Using the above material, you will develop a spatial sequence of your own that is capable of materializing and communicating your research concerns. This can be in the form of architecture, object, furniture, installation or film – or hybrids between these outcomes. You are asked to combine two and/or three-dimensional ways of representing this sequence, such as by juxtaposing object/film, model/drawing, object/drawing, film/drawing, painting/object, painting/film. The idea is that these are small-scale proposals, which are not heavily workshop dependent, and can be constructed largely in the studio. Any moving image should ideally be incorporated in laptop or monitor form, although it may be possible to use projection. We do not have space at this point for large-scale installations, so the issue of scale has to be thought of creatively, as part of the proposal. The idea is to inventively link your spatial and research concerns. The physical outcome should be accompanied by a 300 word text that describes the spatial sequence your proposal presents.

Stay hungry Stay foolish

Hello~
I have been working as an architect for 2 yrs in BIAD (Beijing Institute of architecture design). Everyday I was full of projects. I found myself was totally lost in work and really need to change. I started a long journey, Germany, Japan, Tibet.....and at the same time, I began to do illustrations for National Geographic Magazine. In this lovely yr, I met many amazing ppl and got precious memories. The most important thing is I found what I love and what I am truly want to become.

This course is also like a journey. a journey of self-discovery.

So, Lets go~


Alice, Bing Yang

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- Illustration works- 

~fin~