Exhibition ‘Procedural Architecture – Resolution in the Age of Meta-Digital’
MOCA Museum of Contemporary Art, Taipei Mai-June 2012
Taiwanese tea house plays a role as social condenser, providing space not for a sacred but a rather everyday ritual. For this reason, the teahouse pavillion aims to be a room of the “in between”, not only open and quotidian, but also a place of the mind. This “in between” character is declined through a range of nuances sliding from transparency to opacity, and questioning the paradox of dematerialisation through material itself. How to reach a perception similar to the one seen in Asian landscape paintings, where sharp rocky mountains fade out into mist?
In an attempt for a quiet and contemplative design, an initial pure cube defines the overall volume. After being sculpted and carved out, the “in-between” space appears, connected not only to horizontal flows but also revealing glimpses of the sky. The final volume is sliced into a range of closely distanced parallel frames, introducing depth of field and kinetic effects.
Each frame goes then through an iterative subdivision process. Areas of opacity and transparency are pointed out by the introduction of “attractors”, which foster further subdivision generations until reaching a critical minimal size, defined by the accuracy and execution limits of the tools provided. The resulting cut out pattern appears as a fine lattice structure of opaque frame lines, playing on different depth planes and progressively complexifying when going further inside the volume. Nor sharp nor blurred, here we have a tea house that is “in between” space, fading out between outside and inside, transparency and opacity.
Diana Alvarez-Marin, Bojana Miskeljin, Mauricio Rodríguez Castro, Orestis Argyropoulos, Stella Azariadi, Ivana Damjanovic, Pepo Martínez García, Melina Mezari, Stanislava Predojevic, Meda Radovanovic, Daniel Rohlek, Stylianos Psaltis, Teemu Seppänen
Michael Hansmeyer, Benjamin Dillenburger
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