家宅 之五：云之家
A HOUSE A HOME VI: CLOUDS - ARCHITECTURE BEFORE ROOMS
港大建築 2021秋 二年級設計工作室
HKU FALL 2021 YEAR 2 DESIGN STUDIO
We usually understand a house “room first”: there exists a room, a unit of space for people to live in, and envelopes are built to fit this a priori unit. This is how the profession of architecture is codified since modernism: housing programs are identified by room types - living rooms, bedrooms, bathrooms, etc; real estate is advertised by the sizes of these rooms in square-meters; professional licensure exams emphasize on the control of these rooms - statutory controls, cost controls, environmental controls, etc. The room is the institutional structure of social provision, capital, and labor. It is how a house is sold.
But it is also possible to understand a house as an accumulation of things that precedes the definition of any room between them. Here, the idea of space is understood not as rooms but as different conditions of the environment and enclosure, intervals that afford places and uses. The rock grottos in Suzhou’s Lion Grove have this quality, as do clouds.
Often considered to be purely pictorial devices in architectural representation, this studio argues instead that clouds are exactly what they appear to be, accumulated masses of liquid droplets, frozen crystals, and fluid particles rendered visible. Its forming process of evaporation, saturation and condensation suggests a possible turn to the meteorological tectonics for space and architecture. With water and air as the primary material for construction, this studio examines how architects designed houses like clouds - changeable, permeable, and sensual ambience based on the natural management of matters and flows - as means to imagine and construct places for contemporary culture and hedonistic pleasure.
A HOUSE A HOME VI: CLOUDS - ARCHITECTURE BEFORE ROOMS
港大建築 2021秋 二年級設計工作室
HKU FALL 2021 YEAR 2 DESIGN STUDIO
We usually understand a house “room first”: there exists a room, a unit of space for people to live in, and envelopes are built to fit this a priori unit. This is how the profession of architecture is codified since modernism: housing programs are identified by room types - living rooms, bedrooms, bathrooms, etc; real estate is advertised by the sizes of these rooms in square-meters; professional licensure exams emphasize on the control of these rooms - statutory controls, cost controls, environmental controls, etc. The room is the institutional structure of social provision, capital, and labor. It is how a house is sold.
But it is also possible to understand a house as an accumulation of things that precedes the definition of any room between them. Here, the idea of space is understood not as rooms but as different conditions of the environment and enclosure, intervals that afford places and uses. The rock grottos in Suzhou’s Lion Grove have this quality, as do clouds.
Often considered to be purely pictorial devices in architectural representation, this studio argues instead that clouds are exactly what they appear to be, accumulated masses of liquid droplets, frozen crystals, and fluid particles rendered visible. Its forming process of evaporation, saturation and condensation suggests a possible turn to the meteorological tectonics for space and architecture. With water and air as the primary material for construction, this studio examines how architects designed houses like clouds - changeable, permeable, and sensual ambience based on the natural management of matters and flows - as means to imagine and construct places for contemporary culture and hedonistic pleasure.
Students
Bernal Mayelle Andrea J., Chan Wilson, Chau Hiu Tun, Chung Wing Sze Cecilia, Ju Wai Hang, Kong Ling Yiu, Kwok Hoi Wing, Mao Yueyan, Morakhiya Esha Vipul, Tsang Yuk Yuk, Yim Yung Ching
Critics
Wataru Shinji, Haotian Zhang, Lily Zhang, Sony Devabhaktuni, Nuno da Silva Tang, Weijen Wang, Fai Au, Eike Schling, Wesley Ho, Anderson Lee, Olivier Ottevaere,Donn Holohan, Ying Zhou
