S.architecture

S.architecture is a research-design oriented architecture studio unofficially established by Song,Chi at Beijing in 2011. Its primary target is the dynamic yet equilibrant boundary intertwining between multiple design-related fields.The design practice is consist of architecture design, urbanistic culture contemplation, design theory and criticism, art works and installation and product design. The design method becomes a consistant weaving progression among those fields. The ultimate result will be a well-refined FORM and RENDITION.

临界建筑是以设计研究为导向的建筑设计工作室。主要致力于从相关设计领域之间的动态以及平衡的关系中寻求新的设计方法和结果。包括了建筑设计，城市文化思考，设计理论与批判，艺术装置和产品设计。最终的设计结果将

是一个经过仔细考究之后的形式和表达。

http://songchi.blogbus.com/[email protected]

S. architecture宋驰临界建筑

Computational Design + Aesthetic Research + Theory and Criticism

for Days of Passion and Love

M.Arch with Distinction, The University of Michigan, USA 2009

B.Arch Xiamen University, P.R.China 2007

建筑学硕士美国密歇根大学

建筑学学士中国厦门大学

宋驰 Song,Chi

S.architecture is a research-design oriented architecture studio unofficially established by Song,Chi at Beijing in 2011. Its primary target is the dynamic yet equilibrant boundary intertwining between multiple design-related fields.The design practice is consist of architecture design, urbanistic culture contemplation, design theory and criticism, art works installation and product design. The design method becomes a consistant weaving progression among those fields. The ultimate result will be a well-refined FORM and RENDITION.

临界建筑是以设计研究为导向的建筑设计工作室。主要致力于从相关设计领域之间的动态以及平衡的联系中寻求新的设计方法和结果。包括了建筑设计，城市文化思考，设计理论与批判，艺术装置设计和产品设计。最终的设计结

果将是一个非常考究之后的形式和表达。

[email protected]

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In fact, what characterizes the neo-avantgarde is the relentlesstwisting of the boundaries of the architectural - in terms of itsmedium, location, processes, thematics, and materials - bytransforming its modes of production and reception as well as itsinstitutional settings. Improbable as this goal may seem, these practices aimed at once to establish and to undermine a disciplinary identity, as opposed to simply confirming a commercial or professional one.

Informed by the events of May 68, this second generation of neo-avantgarde animated a consideration of post-liberal social and institutional models through a misreading of the discipline's classical (and modernist) terms: the informe (in place of ideal form, beauty or delight), fal l ing or instabil i ty (for f irmness), and fiction (for commodity or the empirical facts of function).

- R.E. Somol's unpublished phD

- 罗伯特.索莫

A Discipline of Twisted Boundary

边界扭曲的学科：

事实上，通过改变生产与接收的方式以及学院环境，新先锋主义的特性成为对建筑学科边界不间断的扭曲-涉及到其媒介，地点，过程，主旨以及材料。这样的实践目的在于颠覆旧的学科身份创建新的学科身份。有别于以往简单的巩固其商业和专业身份。

经历过1968年五月事件，通过对建筑学科经典措辞的误读:-非形态（取代了理想形式，美以及喜悦），垂降不稳定（取代了坚固），以及虚构（取代了商业化以及实验性功能）- 第二代新先锋主义激起了大量的后自由主义的社会以及学院模式。

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Metaphorical "S": "S" is read here as a pure symbol. It is a metaphorically imaged smooth boundary which intertwines bwtween multiple design-related fields. It implies an equilibrium boundary, around which a consistant series of negotiation and twisting is being achieved.

Geometrical "S": "S" also represents an elegant geometrical curve which conveys S.architecture studio's basic aesthetic preference and form appeal. It is a guiding principle for non-linear and anti-Descartes design strategy.

Linguistic "S":As part of linguistic grammar, "S" after single word represents multiple objects. It is also one of the key philosophies that S.arch studio applied, since we simply deny sigularity, especially a sigularity understanding and reading of design approach and design result.

符号性 "S": "S"可以被阅读为一种符号。是一条象征性地穿梭于不同设计相关领域的一条平衡的界线。临界周边，发生着一系列持续的对不同设计相关领域的协商和扭曲。

几何形"S": "S" 也代表了一条优雅的几何曲线。它表达了临界建筑的基本美学倾向和形体诉求。它是对非线性设计以及反笛卡尔几何策略的指导性原则。

语言学"S":作为语言语法的一部分，单个词之后的"S"代表了多重的含义。这也是临界建筑的设计哲学之一，因为我们抵制对设计过程以及设计结果的单一阅读和理解。

S.ARCH Definition: Why "S"?

临界建筑定义:为什么是 "S"?

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s COMPUTATIONPARAMETRICDESIGN RESEARCH

计算机参数化设计研究

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One of the primary roles to be played by the experimental activists is not to come up with new ideas of what architecture should be but new ways to talk about it - New Media

- Mark Wigley

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HVDStudio Director: David Erdman, Clover Lee Project Team: Chi Song, Jason Dembski, Tom ProbawoWebsite: http://www.davidclovers.com/

Hyper Vertical DelightAn Experimental HongKong Hyper Dense Residential Highrise Project

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实体模型立面细部Physical Model Facade Detail

HongKong Hyper Vertical Residence香港超高层住宅研究

The bundle of 12 towers conveys a spi r i t of e legance that may f lour ish i n t h e d e n s e l i v i n g e n v i r o n m e n t b o t h s o c i a l l y a n d a e s t h e t i c a l l y. The elegancy is achieved via the spiral structure at the tip edges of floor plates and the overall twisting morphogenetic form. The entire 12 towers grow out of the ground landscape and changing its thickness and porosity along with their vertical trajectory. The skin of porosity is both working as façade and lateral structure. The pattern of the entire façade is also shifting according the content within the towers. It is getting denser where the content behind is housing units and looser where public program is hidden behind.

The traditional podium in the residential tower design is replaced by a new typology-Landscape. The fluctuating landscape seamlessly leads people at street level to the entry of the towers on the top of the landscape. The landscape plays a vital role in connecting the surrounding residential towers together since the bridges stretching from the surrounding towers are melting into the landscape. It also provides a delight platform for all types of activities – playground, theme park, etc. To some extent, the landscape more belongs to the entire society than just this residential area.

The gesture of twisting both allows more sunlight into the vertical community and affords positive conversation opportunities between individual towers. Public program is playing a key role here. It locates the opening areas vertically where the potential of deeper social connection happens. It both visually and physically connects the entire 12 towers together to indicate the image of identity and unification. It also works as a kind of “cushion” area where the residents in the tower could slow down, meet the neighbours and enjoy the panoramic view outside the tower.

HvD is also an attempt to become an iconic symbol of Hong Kong. The unique shape and gesture challenges other symbolic towers. The absolute height (448m) will be definitely dominant among the other residential towers to reconfigure the new urban skyline.

Social communicat ions, novel systemat ic d istr ibut ions and aesthet ical ly express ions a re our ma jo r concerns in the deve lopment o f HvD. I t i s a l l about an a l te rnat ive opt imis t ic oppor tun i ty wh ich has the potent ia l to rep lace the outdated hyper f la t b locks o f cur rent res ident ia l towers .

从社会学以及美学角度，12幢塔楼将表达一种在高密度居住环境中的雅致精神。这种优雅

性将通过楼板顶点的旋转结构以及整体的扭转形态来实现。12幢塔楼从绿地景观屋面生长

而出，沿着垂直的轨迹，改变着它们的厚度和孔洞密度。多孔表皮起着结构作用。立面的

孔洞机理也随着内部功能而改变。住宅功能区域的孔洞相对较密而公共空间周围的孔洞相

对稀疏。

传统住宅塔楼的裙房被新的景观形态取代。延绵起伏的景观屋面引导人们从街道进入塔楼

入口，同时也起着链接周边住宅塔楼的作用。景观屋面也为城市的各种活动提供了合适的

场所：运动场，主题公园，等等。某种程度上来说，景观屋面属于整个城市共有而非仅仅

局限于整个塔楼的居民。

旋转的形态为社区提供了更多的光照以及单独塔楼之间跟多的交流空间。因此，公共空间

至关重要。公共空间垂直分布于可能发生社会深层交流的区域，从实体意义上连接起12幢

塔楼，表达了一种统一性身份。同事，公共空间也成为一种缓冲区域，在这里居民可以放

慢节奏，遇见邻居并欣赏塔楼外的城市自然景观。

本项目也试图成为香港新的象征。独特的形体与姿态挑战着其他现有的标志性塔楼。448

米的绝对高度将毫无疑问的在其他楼群间成为主导并且重新定义香港城市天际线。社会交

流，新颖的系统以及优雅的美学表达都是本项目关注的问题，试图用更优化的居住可能性

来替代旧有的平板无生趣的居住塔楼。

ABSTRACT:

项目概述：

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形态意向 Form Image

CENTRAL CONCEPT: From Virtual Diagram to Physical Architecture

中心概念：从虚拟图解到实体建筑

HvD's concept comes from sevral carefully selected Form Images. As a working team, we are attracted to them by their own special geometrical qualities and the beauty they present. These essences could be summarized as the following key words: Fluidity, Porosity, Elegance, Multiplicity. These key words function as guiding principles for further developement and materialization process of Hvd project.

Driven by a computational 3D simulation, a spatial diagam consisted of single lines sets out a preliminary profile to simplify yet capture the key qualities of the initial images. The lines are differentiated by color due to their different programmatic duties. Since our research target is HongKong residential highrises, the red ones represent their central cores while the black ones represent the living units. As shown in the diagram, the initial regular matrix of cores and units is disturbed in to organized intertwined boundles.

The clearity of virtual line diagram needs further detailed materialization process before the project enters into the details of architectural level. A series of working model is constructed to demonstrate this translation from "virtual" to "physical". Extra more qualties are added to the diagram once translated into physical world, such as "volume", "exterior skin", "bounding structure", "joints" and "Anti-gravity forces". These questions and problematic issues presented here in the working model send out hints for further detailed architectural problems we are going to encounter.

本项目的形态意向来源于仔细挑选的形态图示。设计团队被这些形态图示本身折射出来的独

特几何美学所吸引。这些特质可以被概括为一下几个关键词汇：流动性，多孔性，优雅性以

及多意性。这些关键词汇成为项目发展物化的指导性原则。

通过三维电脑模拟，由最基本的简单线条组成的空间图解简化并扑捉住最初图示的特质。线

条用颜色区分以表达它们的不同功能职责。因为我们的研究目标是香港的居住塔楼，红色的

线条表示了中心的塔楼核心筒，而黑色的线条则表达了居住单元。如图解所示，最初的有规

则的核心筒居住单元矩阵被扰乱成为有组织的缠绕一起的组团。

在进入建筑细节之前，清晰地虚拟图解需要被进一步实体物化。一系列的工作模型展示了这

一从“虚拟”到“实体”的物化过程。在被翻译到实体世界中，更多的细节特质被赋予图

解，比如：体积，外表皮，连接结构，铰接点以及反重力。这些由实体工作模型展示出来的

问题暗示了将来在建筑细节中可能会遇到的问题。

Bouding Box - Forces Driven Behind the Dance of Lines

Initial Matrix

Initial Matrix

Middle State of Contraction


Final State of Interweaving


Bouding Box - Forces Driven Behind the Dance of Lines

Initial Matrix

Initial Matrix





空间几何图解 Spatial Geometry Diagram

从虚拟几何图解到工作模型图解

From Virtual Geometry Diagram to Physical Working Model Diagram

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三维打印机实体体量模型 3D Printing Volumetric Model

METHOD:Physical Modeling as a Way to Specification

The key moment for architecture design is the tranlsation from a virtual concept and idea to a physical construction and representation. Therefore physical modelling becomes a very persuasive method to make this translation more smooth and specific. One of the most important benefits out of this method is that it provides a way to tackle the issue of architectural details and physical concreteness.

The issues that could not be easily imaged in virtual environment come to surface once put into physical models. The first step of translation from virtual diagram to physical diagram is carefully crafted via common materials such as hoses and tubes. The basic volumetric geometry is well handled via 3D printing modelling. The relationship among slabs, structure and spaces are negotiated through hard paper modelling by use of laser cutter.

对建筑设计来讲，关键的时刻就是把虚拟的概念和想法诠释为实体的构造和

表达。因此，实体模型-做为一种非常有说服力的工具-使这样的诠释过程更

为连续和具体。其中这种方法最获益的就是他可以提供一种处理建筑细节与

实体性的渠道。

在虚拟环境中无法去想象的问题在被放到实体模型中立马浮出水面。从虚拟

图解到实体图解模型的第一步是用普通的材料-PVC管以及水管-来实现的。而

最基本的整体的几何形体是通过三维打印机来实现。最后，楼板，结构，立

面之间的关系是通过用激光切割的硬质纸张模型来具体探讨研究。

实体图解工作模型制作 Physical Diagrammatic Model Process

设计方法：实体模型作为建筑化的途径

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1st Floor

Total FloorFloor Plates & Connection Part

40th Floor

[ ]

Public P

rogram

80th Floor

[ ]

Public P

rogram

100th Floor

[ ]

Public P

rogram

54th Floor

[ ]

Public P

rogram

1st Floor


40th Floor

[ ]

Public P

rogram

80th Floor

[ ]

Public P

rogram

100th Floor

[ ]

Public P

rogram

54th Floor

[ ]

Public P

rogram

1st Floor


40th Floor

[ ]

Public P

rogram

80th Floor

[ ]

Public P

rogram

100th Floor

[ ]

Public P

rogram

54th Floor

[ ]

Public P

rogram

关键层楼板垂直动态旋转 Key Floors Vertical Rotation

CONTROL: Public Space as Joint Knot

The "Dynamic" and "Elegance" will become pure chaos and anarchy without proper control. The burden again fall on the shoulder of "Public Space". The public activity spaces are organized vertically instead of horizontally in order to free more ground space for urban activities. The community public spaces are deisgned as "pocket" and becomes the joint knot for floor slabs. The twisting triangulated slabs will meet each other wherever there exist public spaces at key levels.

没有适当控制的“动态”和“优雅”将会是一场混乱和无政府状态。“公共空间”再次成为起到控制作用的关键性因素。为了向整个城市释放更多的地面空间，公众活动空间被安排在垂直向量而不是水平向量。社区公共空间设计成一种“口袋”形态并成为链接塔楼楼板的铰接点。旋转地三角形楼板将在公共空间存在的地方相互汇合。

设计控制：公共空间作为连接结点

最终成果实体模型 Final Proposal Physical Model19 20

最终成果实体模型 Final Proposal Physical Model

Initial Empty Site Manipulation of Earth Skin Insertion of Vertical Towers

Initial Topography Topography of Landscape Topography of Porosity

Circulation Penetra

tionCirculation Penetration

Circulatio

n Penetratio

n

Parking Entra

nce

Parking Entrance

Pedestrain Entrance

Communal Space

Communal Space

Communal Space

Communal Space

Communal Space

Pedestrain Entrance

+

+

+

Public Program

Public Program

Public Program

Public Program

Public Program

Parking Area

Parking Area

URBANISM:Green Roof Top as Urbanistic Invasion

HongKong is a city with too many hard plazas instead of soft and green plazas. One of the responsibilities of this highrise community is to provide more urbanisitc space for broader ci t izens l iv ing around. The green roof hovering above freed ground underneath provides necessary covering and, meanwhile, affords different activity spaces on top of itself. Furthermore, the entrace to each tower will be accessed on this soft green roof top.

与已有的软质绿色广场相比，香港拥有更多的是硬质的

灰色广场。本项目的居住超高层的另一个目的和职责就

是为城市居民提供更多的城市活动空间。悬浮地面之上

的绿色屋面解放了屋面一下的空间，保证了必要的遮蔽

也在屋面之上提供了不同的活动空间。因此，每幢居住

塔楼的入口也设置在绿色屋顶上面。

都市介入：绿色屋面作为都市介入空间

绿色景观屋面功能解析 Green Roof Top Programmatic Analysis

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addition subtractionPublic Floor Plates Manipulation

The Public Void in Vertical Towers

Perpective View

Structural Configuration

Floor Plan with Central Core

Mechanical Space underneath

Exterial Skin as Lateral Structure

Site View Street View



Perpective View






公共空间楼板切割解析 Slabs Cut at Public Spaces

公共空间楼模型 Model of Public Spaces

OPERATION:Rotation as a Way to Create Open SpaceSpecific operation is needed at the joint knot where the connected slabs form public activity platform. Rotation while cutting the slab parts becomes one desirable method to create high and comfortable communal public entercounting spaces. The slabs will rotate at one end and decrease in size while going up.

在连接的楼板所形成的公共活动平台区域需要有比较具体

的操作手法。旋转并切割的楼板可以提供较高且舒适的社

区共享空间。楼板沿着一个端点旋转向上并同时在尺度上

减小。

操作手法：旋转创造开放空间

Residential Tower Lobby Level

School Level:Nursery,Elementary School,

Middle School

Market Level:Shopping center, Mall, Pharmacy

Sports Facility Level:Gym, Ping Pang room, Billiards,


Sky Garden Level:Interior Green Spaces, foutains, shrubs

Cultural Facility Level:Museum, Book Stores, Library

Entertainment Level:Bars, Restaurant, Cafe

Public Program Level:Public Plaza, Restaurant, Tea House,Majiang Room.

Public Program Level for residents:Public Plaza, Restaurant, Tea House,Majiang Room.

+12.00 m

+72.00 m

+136.00 m

+200.00 m

+264.00 m

+312.00 m

+352.00 m

+412.00 m

+440.00 m

+ 0.0023 24



Perpective View






STRUCTURE: Systematic Aggregation

The exterior skin here is functioning as main structural supporting system. Secondary beams stretching from central cores connect with exterior skin. Together, they provide a stable structural bones. Other MEP systems will go under slabs and circle around central cores.

外表面成为一种主要的结构支撑系统。从核心筒伸展出来的次梁

连接了外表皮。他们一起提供了一种稳定的结构骨架。其他设备

系统则在楼板次梁下方环绕核心筒。

结构支撑：系统性叠加

绿色屋顶空间透视 Perspective of Green Roof

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街道空间透视 Perspective at Street Level

Residential Tower Lobby Level

School Level:Nursery,Elementary School,

Middle School

Market Level:Shopping center, Mall, Pharmacy



Sky Garden Level:Interior Green Spaces, foutains, shrubs

Cultural Facility Level:Museum, Book Stores, Library

Entertainment Level:Bars, Restaurant, Cafe

Public Program Level:Public Plaza, Restaurant, Tea House,Majiang Room.

Public Program Level for residents:Public Plaza, Restaurant, Tea House,Majiang Room.

+12.00 m

+72.00 m

+136.00 m

+200.00 m

+264.00 m

+312.00 m

+352.00 m

+412.00 m

+440.00 m

+ 0.00

SECTION:Vertical Interconnected Community

HvD provides a new possible community type - the vertical village. It encompasses all different functionalities vertically including infrastructural facilities, educational programs, living spaces, etc. This village will become self-sustaining and the dwellers inside could possibly satisfy their needs just by use of vertical elevators. The freed ground and green roof make this proposal more interactive with the surrounding urban envrionment.

本方案提供了一种新的居住社区形态-垂直社区村

落。在垂直向量涵盖了所有不同的功能：基础设

施，教育机构，生活空间，邮政运输，等等。这个

自给自足的垂直社区将在垂直方向上通过电梯来满

足使用者的各项需求。释放的地面空间以及连接周

边塔楼的绿色裙房屋面使本项目和周边都市景观更

有机的连接在一起。

剖面研究：相互连接的垂直社区

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Metropolitan architecture must be the interplay between this surface and the depth of a specific place

- Las Lerup

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ASAStudio Director: Glenn WilcoxProject Designer: Chi SongWebsite: http://www.area-architecture.com/blog/

Animate Surface ArchiveInteractive Surface Archive Storing and Presenting Urbanistic Activities

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ESSENCE FINDING

PERFORMATIVE BEHAVIOR

FROM MECHANISM TO ORGANISM

TECHNOLOGY,TECHNIQUE,CONCEPTION

MAYA,RHINO,CINEMA4D,SKETCHUP,ILLUSTRATOR,PHOTOSHOP

. . . . . . . . .?

VIRTUAL VS REALITY,SIMULATION VS PRODUCTION

TECTONIC QUALITY

“ANIMATE FORM”CHI SONG

12/17/2007

KEY WORDS:Materialization of Key ConceptsAs the project developed, ASA becomes more and more as a materialization process of several academic and disciplinary key concepts which involve the redefinition o f a rch i tec tu re under new emerg ing technologies and techniques.

随着项目的发展，ASA逐渐成为对学术学科关键概念的一个物化过程，其中涉及到在新涌现出的设计技巧和技术下的建筑设计表达。

关键词语：关键性概念的物质表达

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INNOCENT DIRECTNESS & DISCONTINUITY

[ [FRAGMENTAL SKINFRAGMENTAL SKIN

MO

VE

R T

RA

IL

STREET

[ [

+PUBLIC PARKING

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SITE:Abandoned Empty Slot within Fragments

The site of ASA is located in the center of downtown Detroit. The surroundings are basicly parking lots, homogeneous office facade and, most importantly, a people mover trail hovering above the street right next to our site. It is a site with obvious and invisible turbulence happening around it. Also it is a site with a hard and a bit of desperated background.

项目基地位于底特律市中心。周边环境基本上是停车场，均值办公空间以及，更重要的是，悬浮在基地旁边街道上的轻轨交通。基地周围充满了可见的不可见的扰乱。基地氛围略显荒凉。

基地初探：城市片段中废弃的空地

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++

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IBLE

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基地互动装置设计构思 Interactive Installation on Site Sketch

CIT

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What if the city has emotion?How can we decorate it?

Decoration unveils hidden complexity in stead of covering reality

CIT

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TWhat if the city has emotion?How can we decorate it?

Decoration unveils hidden complexity in stead of covering reality

SKETCH:An Interactive Media Installation Recording City Moods

Based upon the site's potential dynamic activities and influences from surrounding traffics, the initial sketchy concept is considering turning this site into an interactive media installation which records and represents the city's behaviors, moods, activities of the cititzens. The preliminary tectonic thinking is a combination of input sensors and output images. This installation could also be endowed with creature-like abilities that could allow it to adapt itself according to the surrounding geographic form. Furthermore, this piece of installation plays a key role in connecting this specific site with broader urban environment.

基于基地潜在的动态行为以及周边交通的影响，最初的概念意向是把基地转变为一个可以记录城市行为，氛围，居民活动的媒体装置。起始的想法是把接收信息的感应装置和投影图像的输出装置结合起来。这样的设计可以被赋予动物性的适应行为，随着地理形态不同而对自身做适当的调整。因此，次装置设计将在连接基地与城市环境中起到至关重要的作用。

最初构思：记录城市活动表情的互动媒体装置

37 38

TURBULENCE CASE STUDYMatrix 3 Revolution

TURBULENCE CASE STUDYMatrix 3 Revolution

INSPIRATION:A Visualized Surface Quality at MATRIX III

In the movie MATRIX, the idea of "Surface" is visualized through the reciprocal impact between partical rains and human activities. All of sudden, the usually unseen air membrance is "Visualized" through this interaction and the slow time lapse. This process could be well reflected on the site of ASA project. The named "Archive" architecture could be possible treated as a visible surface recording city moods and responding to different city activities through human body's invasion. This surface will not be a homogeneous one. It will be disturbed, twisted, rubbed and even torn under strong urbanistic energy.

在黑客帝国电影中，“表皮”概念通过人体行为与雨水的相互影响而得以视觉化。因此，通常不被觉察到的空气薄膜通过这样的相互影响和缓慢的时间得以视觉化。这样的过程可以被很好的反应在本项目中。名为“档案馆”的建筑可以被视为一种视觉化的表皮，记录着城市的氛围。同时通过人身体的介入，对城市的不同活动状态有所回应。这样的表皮不再将是匀质的。在强烈的城市活动能量下，它可能会被扰乱，扭曲，摩擦甚至是撕裂。

灵感触动：黑客帝国中被视觉化了的表皮状态

缓慢时间导致表皮视觉化 Visualized Surface Caused by Time Lapse

39 40

HYPOTHESISHomogeneous and Heterogeneous Surface Surface is consisted of homogeneous particles in the most initial and genetic state.Uncountable particles are continuously distributed along internal parttens of the surface at a constant and equal distance.The imposed external turbulence causesthe reconfiguration of the homogeneous particles into a more heterogeneous state.

Planar and Volumetric SurfaceMultiple layers of surface of particles build up the volumetric surface.Henceforth,one layer of uncountable particles could be isolated and the transformation from homogeneity to heterogeneity as the result of impact of external turbulence could be analysed.

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Sec 1.00 Sec 20.00 Sec 40.00 Sec 60.00 Sec 80.00 Sec 100.00 Sec 120.00 Sec 140.00

... ...

... ...

HYPOTHESISHomogeneous and Heterogeneous Surface Surface is consisted of homogeneous particles in the most initial and genetic state.Uncountable particles are continuously distributed along internal parttens of the surface at a constant and equal distance.The imposed external turbulence causesthe reconfiguration of the homogeneous particles into a more heterogeneous state.

Planar and Volumetric SurfaceMultiple layers of surface of particles build up the volumetric surface.Henceforth,one layer of uncountable particles could be isolated and the transformation from homogeneity to heterogeneity as the result of impact of external turbulence could be analysed.

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+Sec 1.00 Sec 20.00 Sec 40.00 Sec 60.00 Sec 80.00 Sec 100.00 Sec 120.00 Sec 140.00

... ...

... ...

电脑模拟单层被干扰的表皮 Disturbed Single Layered Surface in Computer Simulation

基地可以看成多层表皮叠加 Site is Considered as Stacked Single Layered Surfaces

HYPOTHESIS:Site is Consisted of Stacked Disturbed Single Layered Surfaces

基于对黑客帝国中一些场景的分析，基地可以被视为一个容器-涵盖了叠加的被扰乱的多层表皮。容器中每一个单独的粒子都会被不同的力场所干扰影响：诸如重力，风力，交通，轻轨，居民等等。以这样的假设理论为指导，建筑逐渐演变成一个展示这些持续被激活的活动的关键取景框。

Starting from those scenes analysed above from movie MATRIX, the site in this case could be treated as container which encompass stacked disturbed single layered surfaces. Each single particle within this container could be influenced and interrupted by multiple forces, such as wind, gravity, traffic, people mover, urban citizens, etc. Under this hypothesis, architecture will become key frames of this continuous animated activites and impacts.

假设理论：基地可以被看成被干扰的叠加的单层表皮

41 42

TURBULENCE VIRTUAL SYSTEM

FORM

Programmatic Turbulence

Particles System(Control Vertex)

Physical Turbulence

VehiclesPeople Mover

PedestrainFunctional Cube

WindGravity

Vibrance

Position X.Y.Z

Digital Simulation(Maya Fields)

NewtonGravity

GoalDrag

Physical and Metaphysical TurbulenceTurbulence plays a vital role in reforming and deforming the initial surface.It could be categorised into to types:the Physicaland the Metaphysical.The Physical turbulence is naturally exsiting but Metaphysically ignored while the Metaphysical turbulence is naturally non-existing but ideologically existing.What the surface will be if these two categories are merged together ?


FORM



Physical Turbulence



WindGravity

Vibrance

Position X.Y.Z


NewtonGravity

GoalDrag


SIMULATION:Influencing Factors Exchanged by Virtual Ones

The factors that influence the site - "container" is brought into a virtual computational environment where they are replaced by similar yet different types of disturbing factors. These virtual factors will place impact on the virtual surfaces and particles which represents our site container. These virtual surfaces bcome a placeholder and representatives of the real physical one. The initial homgeneous partical matrix is deformed and evolves into a heterogeneous state, which is visually more dynamic and programmatically more surprising.

对基地“容器”的干扰力场被引进到了虚拟的计算机环境当中。在那里，他们被类似的然而在类型上却不同的干扰因素所取代。这些虚拟的力场因素将作用于代表基地容器的虚拟表皮和粒子上。这些虚拟的表皮将代表实体环境中的表皮。虚拟环境中最初的匀质的粒子矩阵将形变进化成非匀质的状态，可以产生动态的视觉以及惊喜的功能。

电脑模拟：实体城市中的干扰因素和电脑的虚拟干扰因素进行了置换


FORM



Physical Turbulence



WindGravity

Vibrance

Position X.Y.Z


NewtonGravity

GoalDrag


43 44

TRAJECTORY OF SKELETONinterference of turbulence caused by people mover

玛雅骨骼模拟系统 Bone System in Maya

Sec 001 Sec 100 Sec 200 Sec 300 Sec 400


DEFORMED ROOF SKIN

DEFORMED GRID

DEFORMATION OF ROOF SKINProgrammatic layer is deformed by the field of vibrance,the physical and metaphysical turbulence



DEFORMED ROOF SKIN

DEFORMED GRID

DEFORMATION OF ROOF SKINProgrammatic layer is deformed by the field of vibrance,the physical and metaphysical turbulence


DEFORMATION OF GROUND Ground layer is deformed by the field of turbulence

DEFORMED GRID

DEFORMED SKIN


DEFORMATION OF GROUND Ground layer is deformed by the field of turbulence

DEFORMED GRID

DEFORMED SKIN

PRECISION:Preliminary Surfaces Undergoes Precise Adjustment

The preliminary surfaces are more precisely adjusted under animate simulation. The controlling particles are directly connected with "Bone System" in software Maya, which allows the designer to control and modify the initial particles in a more accurate manner. At the same time, two different categories start to emerge during this session: Hovering Cover and Bumpy Ground. The cover will provide necessary shelters for program and users while the bumpy ground will provide a landscape -like experience for the citizens.

早期的表皮在动画模拟下被更精准的调整。在玛雅软件中，控制粒子直接的与“骨骼”系统相连接。这样使得设计者可以更精准的去控制和改变初始状态的粒子系统。于此同时，两种不同的分类在这一阶段开始涌现：悬浮的盖子和颠簸的地表。悬浮的盖子将给功能以及使用者提供必要的遮挡。颠簸的地表将给市民提供景观式的体验。

精确演化：初期的表皮形态被进一步精确推进



45 46

基地表皮功能性分析 Program Analysis on Site Surface

PROGRAM:Conceret Programmatic Boxes Inserted into SurfaceAfter the preliminary digital simulation and a more precise process of surface adjustment, the third layer of more conceret influence is put on the site - Programmatic Boxes. This injection causes the surface to morph into a more rational direction and it makes the proposal more connected with the physical environment.

经过第一轮的数字模拟以及准确的表皮调整，第三层更具体的影响作用于基地之上-功能盒子。功能

盒子的介入导致表皮向更理性的方向形变。这也使得提案更接近实际环境。

功能介入：实体功能盒子介入表皮

功能盒子 Programmatic Boxes

47 48

SKIN & WIREFRAME STRUCTURE

表皮的构建属性 The Tectonic Attribute of Surface49 50

Single Cell One Unit pf Double Cells Collective Pattern Collective Behavior

Micro-Chip

Micro-Chip

Transforming Wire Vessel

Information Sensor

Image Screen(LED Light)

INTELLIGENT CELL DISECTION & COLLECTIVE BEHAVIOR

Sensor

LED Light

Micro-Chip

Micro-Chip

表皮细胞单元 Surface Cell Units

MATERIALIZATION of THE VIRTUAL FORM

Section of Main Ribs

TECTONIC:The Bone Structure Becomes Skin's Supporting ElementsThe smooth skin could be realized through series of bone structure system. They could be then cut out by CNC milling machine, labeled, and then assembled on site. At a micro-level, the skin is consisted of small cells, which could receive information on one side with sensors and present it on the other side with LED lights and screen. Therefore, the entire skin will dynamically change its expressions across whole day.

光滑的表皮可以通过一系列的龙骨结构得以实现。它们可以通过数控机床技术被切割，做标记然后再场地组装。在微观层面，表皮由很小的细胞单元组成，它们可以在一面通过感应器来收集信息，同时在另一面通过LED灯光和屏幕来展示。因此，整个表皮将在一天当中动态的改变它的表情。

表皮构造：龙骨结构成为表皮建造的支撑元素

表皮结构 Structure of the Surface

51 52

INTERACTIVE & RESPONSIVE SYSTEM

Constant Changing Surface

Intruders

Captor

Sensors in Cell

SUPER HARD DISK

SUPER HARD DISK

TUR

BU

LEN

CE

RECORDED

CE

NTR

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OM

PU

TER

W.W

.W

INTERACTION:Surface Becomes Medium for City Expression

This proposal turns the site into the "City Face" which constantly reflects the urbanistic activities happening within the city environment. Meantime, through different personal devices and internet connections, the surface starts to progressively record the city's information and become an Living Archive of city's activities. As a result, this small site transforms into a broader city's central spot.

提案将基地变为城市表情，持续不断地反映着城市环境中的都市行为。于此同时，通过不同的个人设备以及无线网络连接，表皮可以开始逐渐的记录城市的信息，变成记录城市活动的有生命的“档案馆”。于是，这个小小的基地转变成广义城市的中心点。

城市互动：表皮成为收集城市信息传达城市表情的媒介

通过互联网与表皮互动 Interaction with Surface Through Internet

6:00 am - 10:00am 10:00 am - 2:00pm 2:00 pm - 6:00pm

6:00 pm - 10:00pm 10:00 pm - 2:00am 2:00 am - 6:00am

6:00 am - 10:00am 10:00 am - 2:00pm 2:00 pm - 6:00pm

6:00 pm - 10:00pm 10:00 pm - 2:00am 2:00 am - 6:00am

6:00 am - 10:00am 10:00 am - 2:00pm 2:00 pm - 6:00pm

6:00 pm - 10:00pm 10:00 pm - 2:00am 2:00 am - 6:00am

6:00 am - 10:00am 10:00 am - 2:00pm 2:00 pm - 6:00pm

6:00 pm - 10:00pm 10:00 pm - 2:00am 2:00 am - 6:00am

6:00 am - 10:00am 10:00 am - 2:00pm 2:00 pm - 6:00pm

6:00 pm - 10:00pm 10:00 pm - 2:00am 2:00 am - 6:00am

6:00 am - 10:00am 10:00 am - 2:00pm 2:00 pm - 6:00pm

6:00 pm - 10:00pm 10:00 pm - 2:00am 2:00 am - 6:00am

不同的城市表情 Different City Expression

53 54

A system exhibi ts emergences when there are coherent emergents at the macro-level that dynamically aris from the interaction between parts at the micro-level. Such emergents are novel with regards to the individual parts of the system - De Wolf & Holvoet

55 56

PDFStudio Director: Glenn Wilcox, Karl DaubmannProject Designer: Chi Song, Jin Chen, Justin FogleWebsite: http://www.area-architecture.com/blog/

Parametric Design FabricationParametric Design Strategy Experiment and Digital Fabrication Procedure

57 58

ABSTRACT:Flower pavil ion is attempting to incorporate different design considerations -including: structure, geometrical metaphor, sunshading system and design method-within one unified form and gesture. The overall form is subdivided into smaller square, within wihich individal structural pieces will be inserted. Due to the logic of the framework, all invisible guiding lines pointing to one reference central point, the curvy and dripping part all facing towards this one direction. In general, it is an experiment of how individual part at micro-level will be influenced by overall framework at macro-level.

花亭试图在一个完整的形体姿态中整合不同的设计考量，其中包括了：结构因素，形体寓意，遮阳系统以及设计方法。整体形态被细分割成小尺度的方形，并将结构单元插入其中。由于形体框架的逻辑，所有的不可见参考线均指向了一个中心参考点，因此，圆滑下垂的弧线部分都指向了这个中心参考点。总的来说，这是一个研究微观单元如何被宏观构架影响的实验。

概述：

Flower Pavilion花亭

59 60

V direction

U direction

Interior View

Arch Element Variation Exterior VariationFramwork

Element Samples

Framework and refrence point

SITE VIEW

The house is positioned on the ground as a booming �ower.It is acting as a creature, facingthe sun and embracing wonderfullife.

The design of flower pavilion starts from the consideration of the metaphor of "flower". The general surface gesture provides a semi-closed space for people to gather around. The shape of structural pieces is carefully designed in a way to express the smoothness and softness contained within flowers. Furthermore, once looked at generally, the expression of the entire structural pieces indicates the the metaphor of "booming flowers".

花亭的设计开始于对于“花”的寓意的思考。整体的表皮形态提供了一个让人可以集聚的半封闭空间。经过仔细设计的结构单元形态试图以一种方式来表达花朵含有的柔软的特点。更进一步来说，整体观看花亭的时候，所有的结构单元都试图在表达一种“旺盛的花朵”这样的隐喻

设计：几何形态暗示花的寓意

DESIGN:Geometry Indicates Flower Metaphor

因位置不同而动态变化的结构单元 Dynamic Structural Cells According to Different Location

整体框架整体框架与中心参考点

切割出来的单元

61 62

V direction

U direction

Interior View

Arch Element Variation Exterior VariationV direction

U direction

Interior View

Arch Element Variation Exterior Variation

These structural pieces are joined together along their U-direction and V-direction along the surface. There will be an intersectional notch where the two pieces from U and V direction meet. The width of these notches is controllable by parameter according to the material to be used. These pieces are unrolled in Rhino and laid in order. Then, they are cut out in laser cutter machine.

这些结构单元在表皮的U,V向量上进行了连接。在结构单元交接的地方将会出现一个交叉的凹槽。这个凹槽的宽度可以根据使用的材料，通过参数进行调节。这些单元构建在RHINO中展开并且有序排布。最终在激光切割机里完成切割。

生产：展开的结构单元准备装配

实体模型透视 Final Model

U-V向量展开的结构单元 Unrolled Structural Pieces along U-V Direction

PRODUCTION:Unrolled Structural Pieces for Assembly

63 64

ABSTRACT:

Porous wall is the opposite of flower pavilion. It is an experiment of how the geometry at macro-level will be influenced by individual cells at micro-level. Therefore, the design of the cell is critical, especially the joint part. It will decide how these parts and cells will be connected. The purpose here is making a wall as porous as possible for light to penetrate through, while structurally the whole wall out of single parts can stand on itself without collapsing.

The single cell is of triangle shape with curved edge on each side. These curved shape will form porosity once layered on top of each other. The ends are carved out at 10 degree, therefore, the rotation of the connected cells will cause the reshaping of the entire geometry.

渗透墙体是花亭的一个相对面。这是一个研究微观的单元如何集聚起来影响宏观几何的实验。因此，对细胞单元的设计很关键，尤其是链接点的设计。它将决定了这些单元以何种方式链接起来。设计提案的目的在于使墙体最大化的渗透以提供更多的光照。同时，结构上可以承受自重而不坍塌。

三角形的细胞单元在其三边为曲线形态。当细胞单元叠合在一起的时候，这些曲线形态一起将呈现一种多孔性。细胞单元的端点成10度被切割，这样，当链接在一起的单元转动时，就会影响整体的墙体形态。

概述：

Porous Wall渗透墙体

65 66

P a r a m e t r i c F a b r i c a t i o n

A r c h i t e c t u r e 5 7 1 : D i g i t a l F a b r i c a t i o nF a l l 2 0 0 8

C h i S o n gJ i n C h e n

J u s t i n F o g l e

T h i s p r o j e c t d e a l s w i t h t h e p o s s i b l e w a y s o f p a r a m e t r i c f a b r i c a t i o n a n d n e g o t i a t e s b e t w e e n d i g i t a l s o f t w a r e a n d p h y s i c a l c r a f t i n g . T h e p r o j e c t i s t r y i n g t o g o b e y o n d t h e d i g i t a l l i m i t a t i o n a n d m a k e t h e f i n a l p h y s i c a l c o n f i g u r a -t i o n f l e x i b l e a n d a l s o p a r a m e t r i c a l l y m a n i p u l a t a b l e . T h e r e f o r e , t h e p h y s i c a l c a s t i n g a n d m o d e l i n g i n r e t u r n h e l p s t h e d e s i g n e r s t o u n d e r s t a n d d i g i t a l s o f t w a r e m o r e d i r e c t l y

T h e t a s k i s s p l i t i n t o t w o d i r e c t i o n s . O n e i s a g g r e g a t i n g s i m i l a r p i e c e s i n t o c h a o t i c f o r m a t i o n . T h e y a r e c a u s e d b y t h e t i l t e d c o n n e c t i n g s u r f a c e s . T h e o t h e r d i r e c t i o n i s a b o u t c r e a t i n g r e g u l a r i t i e s o u t o f v a r i a n t i n d i v i d u a l p i e c e s . T h i s e f f e c t i s c o n t r o l l e d b o t h b y t h e s a m e c o n -n e c t i n g s u r f a c e s a n d m o r e r e g u l a r f r a m e w o r k .

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General Framework

Initial State

Modi�ed Formation

Vertically Shifted

Possible Growth of Formation

Larger Formation

Possible Growth

Threaded Rod as Connector

Same Connecting Circle Area

Gasket as Cushion

Nuts to Tight the connection

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Piece 5

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Piece 10

Piece 11

Piece 12

Piece 16

Piece 15

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Piece 13

Piece 6

Piece 7

Piece 8

Piece 2

Piece 3

Piece 4

Chaotic Formation out of Same Pieces

Regular Formation out of Variant Pieces

Aggregation Methodology

Physical Casting

Larger Aggregation

Tool Path Layer 1

Tool Path Layer 1

Tool Path Layer 2

Tool Path Layer 2

Piece 1

Piece 2

Piece 3

Piece 4

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General Framework

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Larger Formation

Possible Growth



Gasket as Cushion


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Physical Casting

Larger Aggregation

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The fabrication process begins with the design of the mold, including the shape of the contour line, CNC cutting layout of the mold material and CNC machine drill head selection. These all together will affect the final surface effect of the plaster cell. Once the molds are finished, the liquid plaster will be poured into them for further solidification.

建造过程起始于对模具的设计，其中包括了模具轮廓线的形态，切割材料的排布以及CNC（数控切割机床）钻头的选择。这些将一起影响着最后石膏单元的表面效果。一旦模具完成，液态的石膏将被倒入其中进一步凝固成形。

浇筑：石膏在模具中塑性

POURING:Plaster Formed within Mold

模具材料排布 Layout of Mold Material

最终效果渲染 Rendering of Porous Wall 石膏浇筑 Pouring Plastic

轮廓线形态 Shape of Contour Line

67 68








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Once the plaster parts are finished, they will be laid out in pre-designed order and binded together with threaded rod and nuts. The drilling hole on the joint for rods will have to be thought through and reserved during the molding process. There will be plastic gaskets inbetween the metal nuts and plaster parts, working as cushion to reduce damage and stablize the final geometry.

石膏单元成形以后，他们将以预先设计好的形态排布，同时被螺纹棒以及螺栓帽进行最后绑定。连接部分的螺纹棒钻孔要在模具生产过程中想好并预留。在金属螺栓帽以及石膏单元之间还有垫圈，作为一个缓冲功能减少石膏破碎并稳定最终形态。

连接：单元被螺纹棒绑定

CONNECTING:Parts Binded with Threaded Rod

69 70

s AESTHETICARTISTICSENSATIONAL RESEARCH

美学艺术感知研究

71 72

Architecture design only begins when it enters abstraction - Thom Mayne

73 74

SOEThesis Advisor: Perry Kulper Neal Robinson Thesis Constructor: Chi SongWebsite: http://www.1-ab.com/kulper.htm

Structure of ExpressionA Thesis Project Proposing A Surrealistic Operation on the City of Detroit

75 76

Skeleton of Redemption - A Surrealistic Fiction for City Detroit 救赎的骨架-底特律超现实主义叙事

STRUCTURE OF EXPRESSION:Detroit Surrealistic Fiction Abstract:

Time Frame Set in 2008:

Scientists Klaus Lackner and Christopher Wendt from Los Alamos National Laboratory state the following abstract in their research paper – Material Processing for Self –Assembling Machine System:

"We are developing an important aspect of a new technology based on self-reproducing machine system. Such systems must procure necessary raw materials from their surroundings. Therefore, next to automation, the most critical for this new technology is the ability to extract important chemicals from readily available materials. We have designed a thermodynamically viable process and experimentally demonstrated most steps that differ from common practice. To this end, we had to develop a small, disposable vacuum furnace system."

From this research, they proclaim that in the future, they are going to be capable of sending self-replication robots with solar panels to clean the desert. Within the furnace of 2000 degree centigrade, sand will be electrolyzed into silicon and carbon that become original ingredients for metal elements such as iron, aluminum and copper. Later, these elements will be manufactured into standard parts to be assembled into the final robots. Those robots will stop working when the desert is basically cleaned up and turn themselves into a huge solar power station! At that point, energy source will no longer be a problem for the entire earth!

SoR is a surrealist projection onto Detroit, the most enlightened of all modern cities. The failure of Detroit was the failure of programmatic singularity, which depleted the city’s energy, turning it into futuristic ruins, or an artificial farmland. This proposal is motivated by the process of ‘redemption’, structured through the metaphorical development of a ‘catholic savior’. The recovery process is a surgical action and a process of the city’s cellular organ rebirth. An artificial injection programmatically penetrates the remaining farmland, gaining energy while providing the basic nutrients for the growth of new infrastructure and revitalized accommodations. Framed through varied articulations of the exotic bizarre, the narrative is fictional and oniric, revealing the spiritual reality and hope behind the pessimistic skeletons of the city. An alternative visionary-urbanism is being rediscovered.

Time Frame Set in 3000:

Aliens from outer space come to earth with advanced technology and equipment. They become new hope for Detroit’s devastated and vacuumed pessimistic city skeleton. With their own coordinate and target-detective system, their biomechanical airships approach the city in particular formation.

They land on the wasteland and turn it into a stratum factory. The waste industrial materials are being stratified, categorized, decomposed, smashed into much smaller pieces. Then these materials will be turned into new energy after the digestion process in the airships under high temperature furnace.

Once the site is cleaned up, those airships together with the energy they collected, will be absorbed by the cloud of eyes. Those cloud will be floating above the empty site, providing constant energy and censorship of the future development on this site. Displinary Argument:

Take the challenge of pursuing alternative architectural design methodology. Avoid the tendency of from Specific Abstraction to Abstract Specification. What are being ignored are what I am trying to pick up and from which, I pursue alternative architectural result and productions. It includes: Emotion, Sensation, Narrative, Empathy, Imagination, Resonance, Temporality, etc. The way I try to achieve this temptation is through surrealism which helps me to understand communicative language and cinematograhic construction which draws viewers into the narrative stories.

What surrealists did is tripping off objects’ ordinary significance to create a compelling image that was beyond ordinary formal organization, in order to evoke empathy from viewers. The point here is that the artists did not create or invent pure new things but construct them in a innovative way based upon their personal aesthetic sensibility and oniric imagination. All those are what I am trying to do, constructing the narrative temporal structure, build up characters, using captions to refine or redefine the content of drawing, testing the characters in different scenes, playing with the “relational structure” in hope of unveiling seductive “Expression”. The thesis title is therefore “Structure of Expression”!

77 78

表达性结构：底特律超现实叙事梗概：

时间框架 2008年：

来自Los Alamos国家实验室的科学家Klaus Lackner以及Christopher Wendt在他们的研究论

文-材料的自主处理：组装机械系统-中做了如下陈述：

“我们正在研发一种重要的基于自我复制生产的机械系统的新科技。这样的系统必须能

够从它们的周围环境中获得原料。因此，除了自动化，这项新技术还面临的关键性问题就是如

何从现有原料中提取重要的化学元素。我们已经设计了从热力学角度来说可行的操作过程，同

事也实验性地展示了不同于普通实践的大部分步骤。为了达到此目的，我们不得不去开发一种

小型的，一次性的真空熔炉系统。”

基于这样的研究，科学家们表示，在不久的将来他们将能够派遣自我复制的拥有太阳能板的机

器人去清理沙漠。在两千度高温的熔炉里，沙粒将被电解成硅和碳两种元素-诸如铁，铝，铜

这些金属的基本原料。之后，这些元素将被生产成标准构建，随时准备组装成最终的机器人。

在沙漠基本上被清理干净的时候，这些机器人将会停止工作，把自己转变成一个巨大的太阳能

发电站。到那时，能源将不再成为全地球的问题。

“救赎的骨架”（SOR)是对底特律-所有现代都市中最受启蒙的城市-的一次超现实映射。然

而，底特律的失败归咎于其功能的单一性，这种单一的功能耗尽了城市的能源，把它变为一

个未来主义的废墟，或者说是人工耕地。本提案被一种“救赎”的过程所激发，通过隐喻的

“天主教救世主”发展过程建立叙事构架。恢复的过程是一个外科手术般的行为，是一种城

市细胞单元组织重生的过程。官能性的人工投射穿越了剩余的人工耕地，收获能源。同时也

对新城市基础设施的生长以及住处的复兴提供基本养料。通过对不同的外来异域奇特性的框

取表达，整个叙事是虚构的也是梦魇般的。这样的叙事揭示了悲观城市骨架背后存在的精神

性现实以及新的希望。与此同时，另一种替代性的视觉性都市主义被重新发现。

时间框架 3000年：

拥有高科技和设备的外太空外星人来到地球。对底特律如此荒芜，真空和悲观的城市骨架来

说，他们成为了新的希望。基于他们携带的定位以及侦查系统，他们的生物机械飞船以一种特

定的阵型接近城市。

他们着陆在荒凉的废弃地表上，讲其转变成生产加工工厂。工厂废料被分层，别类，分解以及

压碎成更小的单元。随后，在飞船上的高温熔炉里，通过“消化”系统这些材料被转变成新的

能源。

场地一旦清理完毕，这些飞船带着他们收集到的能源将被空中漂浮的“云之眼”所吸收。这些

云朵将漂浮在清空的城市上空，为未来的基地发展提供持续的能源以及适当的审查。

学科批判：

旨在追寻另一种可能的建筑设计方法论。避免了从“具体的抽象”到“抽象的具体”这样的设

计趋势。曾经一度被建筑设计忽视的正是我想在这里重新捡起的，并期望获得不同的建筑结

果和成品。这包括了：情绪，感知，叙事，移情，想象，共鸣以及瞬时。我是通过“超现实主

义”这一手法来实现这样的企图和构思。超现实主义帮助我理解了“可交流性语言”以及“电

影摄影构建”。这些手法都可以吧观者吸引到叙事中。

超现实主义所作的真实撕掉“物体”普通常见的意义来创造一种超出平常形式组织的激发强烈

兴趣的图像，目的在与在观者中间引发移情的作用。这里所要强调的是，艺术家们并没有“发

明”或者“创造”新的事物，而只是在他们的美学素养以及梦呓般想象力的基础上，以一种创

新的方式对既有事物进行了重组。这些都是我尝试在做的，搭建叙事时间构架，建立新的角

色，使用文字去定义或者重新定义图面，在不同场景中测试角色，把玩“关系性结构”试图揭

示诱惑性的“表达”。

79 80

EXOTIC ANIMAL:Different Perspective on City Those exotic animals are hunters who are searching for potential site where they can digest the waste substances and transfer them into new type of existence - energy. This introduction of exotic animals in this narrative is a sacrificial pretext. What they have provocated is far more important than what they are. This image and scene allow the designers to enter into another world of imagination, where the basic tone and backbone of unfolding the narrative is captured.

这些外来的生物在寻觅可以将废弃物质转化为新能原的场所。在这个叙事过程中对外来生物的引进其实是一种牺牲式的借口。他们所激发出来的远比他们是什么而更为重要。这张图面以及场景让设计师可以进入另一个想象的空间，在这个新的世界里，基本的叙事氛围和强调已经被捕捉。

外来生物：从另一个超现实设定的生物视角看待城市

81 82

SAVIOR:Religional Symbol as Spiritual RedeemerThe character of savior is technically a collage of mechanical products. The organizational structure it follows is a cruciform that metaphorically suggests its spiritual attraction. The mechnical details tells another story of scientific accuracy which makes thie redeeming performance plausible. The way it is penetrating the ground and building is weightless and lightness. The traces left behind implies a catholic church silhouette .

城市救世主的角色技巧上来说只是机械产品的一种拼贴。它所追

寻的组织性结构是一个十字架，隐喻性的去暗示了它本身的精神

吸引。机械性质的细节又展示了另一个科学精准性的叙事，使得

这样的救赎过程变成实际可行的。它穿透地表以及建筑的方式是

相对轻盈的。留在后面的痕迹暗示了天主教堂的剪影。

城市救世主：工业元素拼贴的宗教符号成为城市的精神救赎

83 84

SYNTHETICAL DRAWING:Synthetical Drawing as the Medium for Narrative DevelopmentThis synthetical drawing turns out to be a schematic proposal before the final accurate and specific production. It is also an attempt to reorganize all the previous analysis and conceptions under a narrative structural context with multiple implications and interpretations. The perception shift among section, perspective, elevation, plan and aerial views. This combined spatial-temporal categories become persuasive when they allows the narrative to be unfolded in a smooth and recognizable way. This synthetical drawing basically shows how different energy gaining troops -wind power, water current, solar energy and geothermal- are doing their duties around the central energy storage airship. In addition, the specific quasi-military deployment directions are constantlly being implied. The central silhouette of cruciform is sitting on the border of a street view and a water imagery which is right underneath the city elevation. Each type of energy-gaining troop is in specific position and motion in order to demonstrate their relation with the existing building and city environment. And because of the transgressional infiltration (same character cross the border into another context while the same context extents itself around other characters), the same characters are starting to obtain multiple identities to either enforce or betray the context where they are located. In other words, this synthetical way of drawing is visual representations of narrative and its corresponding methodologies. This expressional image is a subtle result of organizational structure.

这幅综合性绘画最后成为最终准确具体表述前的“方案性”构思。它也在尝试着去重新组织之前的分析和构思，并把这

些构思组织在一个可以表述多重含义和理解的叙事文本中。感知在剖面，透视，立面，平面和航空图视中切换。当这种

时空切换组合可以使得叙事以一种平滑有组织的方式展开的时候就变得非常有说服力。这幅综合性绘画基本上展示了不

同的能源收获角色-风能，水流能，太阳能以及地热能-围绕中心能源储藏飞船如何履行他们的职责。除此之外，也暗示

了半军事化的布阵方向。中心的十字架剪影正好处在街道景观的边界。想象的水体处于城市立面的下方。每种不同的能

源收获角色处于特定的位置以此来表述他们和既有城市建筑环境的关系。同时，由于这样的跨界渗入（一些角色跨过边

界进入其他机理环境，而一些机理环境却延伸到其他角色当中），同样的角色被赋予了多重的身份，因此开始加强或者

背叛了他们所处的机理环境。一言蔽之，这幅综合性绘画是叙事以及叙事隐喻的图像式表达。这种表达是组织性结构的

微妙精细的结果。

综合性绘画：综合性绘画成为叙事展开的媒介和工具

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SECTION:Surrealistic Section Conveys Narrative FragmentsThe section drawing here is a zoom in presentation on how this broader redeeming process are acting upon individual architecture. It is a captured moment which shows the breeding of new accomodation space, the penetration of energy storage tank, the process of gaining energy, possible vertical circulation, remodification of ground and facade.

基地剖面是对救赎过程具体到单独建筑体量上的放大化了的表达。它扑捉到了如下活动的瞬时性行为：新居住空间的产生，能源储存容器的侵入，获取能源的过程，可能性的垂直流线，对地表以及里面的重新修整。

基地剖面：超现实主义剖面表达了叙事的片段

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NARRATIVE SITE:Site Plan Becomes the Script of NarrationUnder the surrealistic setting, the site plan is more than just a drawing which indicates the location of the event and building. Rather, it slides into a completely new category of narration, a script arranged for the story's strategic deployment. All different characters (different both in species and scale) are delibrately located at specific location to triger the narration and imagination beyond this frame of narration. A series of intensive exchanges and activities is ready to be exposed. The shadow of crucifix-like airship suggests an impression of approaching. Floating organs are getting ready for the task of harvesting wind energy. Series of kinetic lines implies an intensive activities happening underground. Several ariships have already attached themselves on the industrial wastes.

在超现实主义的框架背景下，总图不在仅仅是一幅为了表达建筑地点的图画。更重要的是，它悄然划入一个全新的叙事性范畴内，成为一个策略性安排事件布局的脚本。不同的角色（在物种以及尺度上的不同）被有意识的安排在特定的地点，以此来激发超过此时刻叙事框架的情景和想象。一系列高强度的交换与活动蓄势待发。十字架形的阴影强烈的预示着一种“逼近”的印象。漂浮在空中的器官也准备好了随时去获取风能。一系列动态的线条暗示着在地下正进行的一系列高强度的活动。几艘飞船早已将他们自己粘附在工业废墟上。

叙事性总图：总平面成为叙事进行发生的舞台脚本

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漂浮的城市新器官 Floating Urban New Organs 漂浮的城市新器官 Floating Urban New Organs

CITY ORGAN:New Organs Replace City Waste and Produce New Energy

This experiment of NUO (new urban organ) is a possible linear projection of future. The logic behind this urban organic renewal is a cause-effect linear postulation. The assumption is that excess energy gained through previous strategy is utilized in reconstructing the city skeleton and giving birth to NUO. These organs are oniric and surrealistic. All different kind of symbols and borrowed specific objects are incessantly implying the sense of “growth”, “desire”, “hope”, “lightness” and “motion”. Each organ is deeply rooted in the earth for geothermal energy underneath. It is also growing upwards at the same time for more wind power energy and solar energy. New ”tissues” are spinning around NUO for broader and deeper contact with the city environment. They protect the organs and redecorate the city. Again, due to its specific relational structure and positioning, components in the drawings are continuously shifting their roles, identites, characters and functions.

NUO（新城市器官）试验很可能只是一个对未来的线性投影。城市器官更新背后的逻辑是一种“因-果”的线性思考。这样的假设性思考具体是指过剩的能源可以策略性的使用起来，从而达到重建城市骨架以及孕育出新的城市器官。这些器官形态是梦呓式的也是超现实的。不同类型的符号以及借用而来的具体物体都持续的暗示着如下的感知：“生长”，“渴求”，“希望”，“轻盈”以及“运动”。每一个器官都深深地植入地球表面从而可以获得地下的地热能源。同时它也在积极的向上生长，以获取更多的风能和太阳能源。新的“器官组织”围绕着城市器官旋转以获得对城市环境更广泛更深层次的接触。他们保护着城市器官也重新装饰着城市。在这里也在一次证明，由于器官组成元素特定的关系性结构以及定位，它们在图面中持续的切换他们的角色，身份以及功能。

城市器官：新的器官更新了旧的城市废墟并生产新的能源

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ONIRIC SECTION:Liquified Ground and Temporal Scale JumpThe solid ground is replaced by the liquified one which works as a metaphor of ocean and a hint of energy storage. A geometrical seed, as a reference from Dali's painting, becomes a symbol of growth, hope and delight. A fully developped "Grown-up" tree bursts out from the gigantic seed with leaves flying upwards. The mechanical pipes consistantly supply nutrition to those trees. Meanwhile, a window of "Eye" endows the seed with animalistic character.

坚实的地表被液体形态所取代，成为一种对海洋以及能源储存的隐喻和暗示。一个几何的种子-从达利绘画中借来的参考-变为生长，希望和喜悦的象征。带着向上飞起的叶子，一颗完全发育成熟的大叔从巨大的种子种破土而出。机械管道持续地给这些树木提供养分。与此同时，一个“眼睛”形态的窗户赋予种子动物学特质。

梦样的剖面操作：液化的地面以及时间尺度上的跳跃

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ARRIVAL OF HOPE:The Depleted Skeleton Waiting for the RedemptionArrival of Hope is both a synthetical drawing and the first chapter of the whole narrative. It is a compressed yet specific arrangement of different characters and events. The top-down overwhelming cinematographic projection is accompanied by a sectional slit, which stitch the earlier research and later secional development. The incomplete and twisted mega-structure circles around the cruciform to imply another scale level. Other airships are approaching the ground in particular formation, searching for the right targets.

“新的希望降临”是一幅综合性绘图也是整个叙事的开篇。这是一个压缩的然而却很具体的对不同角色以及事件的安排。这种至上而下的电影全景式的投影也伴随着一个剖面。这个剖面串联起之前早期的研究以及之后的剖面式的发展。那巨大非完整的扭曲巨构环绕着十字架，暗示了另一层子的尺度。其他飞船也在以一种特定的阵型接近地表，搜寻着合适的目标。

新的希望降临：枯竭了的城市骨架等待被救赎

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STRATUM FACTORY:Waste Materials Transformed into New EnergyThe drawing of Stratum Factory indicates the procedure of transforming the existing waste industrial materials into new energy which is stored back into the airshipes. Several airships penetrate through the mega-industrial structures, seperate and categorize them. While some other high-temporature furnaces attach themselves onto the waste materials and transform the materials at mirco level. The materials under process tend to be soft and fluid under hyper-intense activities and temporature. The major structural beams start to present themselves with bright colors and burn marks. While the secondary structures are being liquified into soft tubes.

底层工厂揭示了把既有工业废墟材料转变为新能源的过程，新能源将被储存在飞船里。几艘飞船穿越了巨型工业构架，分拆并对其分门别类。与此同时，其他的高温熔炉则依附在工业废墟材料上，进行更微观的能源转变。在超强度活动以及高温下，被处理的材料趋于软化以及变为液态。明亮的色彩以及焚烧的印记开始出现在主要结构上。而次要结构则被变为趋于液态化的软质管状。

地层工厂：基地的剩余废弃物被加工为新的能源

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CLOUD OF EYE:New Energy Absorbed and Sotred within the CloudCloud of eyes implies one of the possible endings to Detroit City. All the energies collected will be return to the city in a different gesture -Floating. These floating energy tanks form Detroit’s second layer and skin. It is a mobile urbanism It provides a constant censorship to activities on the ground and afford accomodations to people underneath whenever necessary. Through the cloud’s movement of descending ascending and fluctuating, citizens will be aware of how much they are consuming the energies provided by earth. A new balance will be achieved through this censorship.

“云之眼”暗示了底特律的一种可能性结果。所有搜集而来的能源将以新的漂浮的形式送回到城市当中。这些漂浮的能源箱将形成底特律的第二层表皮。它将成为移动的城市机能，提供对地表活动持续的审查也个下面的居民在必要的时候提供了居住使用空间。通过这层云表皮的上下移动以及起伏状态，市民将会很好的意识到他们在多大程度上消耗可用的能源。新的平衡将通过这样的审查从而得以实现。

云之眼睛：新的能源被漂浮的云储存吸收

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Any weakness in the function of unreality will hamper the productive psyche. If we can not imagine, we can not foresee - Gaston Bachelard

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MCSResearch Advisor: Coy HowardResearch Constructor: Chi SongWebsite: http://archinect.com/features/article.php?id=101781_0_23_0_M

Mexico City SkyscraperAn Aesthetic Research Tackling Artistic Techniques and Mexico Culture

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... ...there’s a multiplicity, a manifold quality to things as opposed to a singularity to things, so pretty much everything I do challenges the idea of singularity. I like the dynamic multiplicity in terms of interpretation, in terms of use... ... - Coy Howard

... ...多样性于多重性是相对于事物的单一性，因此我所做的所有事情都是在挑战单一性这样的概念。我喜欢在诠释，使用上的动

态多重性 ... ...

-科伊霍华德

Mexico Culture Aesthetic Research墨西哥文化美学研究

Vertical Studio:

Vertical studio's ultimate object is to propose a skyscraper located at the center of the mexico city. The skyscraper should become a landmark and start a conversation with the surrounding context culturally and aesthetically. The skyscraper's geometrical gesture, color tone and texture should be culturally anchored in Mexico's local background.

The earlier research includes a series of technique training, such as collage technique, junk sculpture sensation training and photography. These series of training help the team to build a collective spirit and understanding of what is "Bueaty" and how this "Beauty" should be presented and interpreted. This concept could be best illustrated by Coy Howard's own words:

... ...Potentiality is for the thing to continually engender transformational qualities in terms of how it’s used and how it can manifest itself in different guises. Part of the way in which that happens here are things can have certain enigmatic presence but they can also have an idea of some sort of abstract incompleteness. Abstract incompleteness invites completion. You never want to complete it because then it wouldn’t invite that anymore ... ...

... ...It always deals with multiplicity of opposites, so there’s basically a sense of symmetrical asymmetry or asymmetrical symmetry so things are always blended together. The underlying principle behind that is that most of the things we experience or encounter doesn’t exist in singularity, they exist in multiplicity and they exist as opposites. Our consciousness is based on that notion in terms of our intuitive understanding and grasp of the world. So a fundamental part of our existence is based upon this fusion of opposites and how these opposites feed each other to produce transformational dynamics... ...

The final skyscraper is presented in 3 moments at different scale and temporal frame. These images share the same quality as the ones of earlier practice, the same organizational principle, the same formal relationship, the same aesthetic appeal senstation.

垂直工作室：

垂直工作室旨在为墨西哥市中心提供摩天大厦提案。新的摩天大厦将成为地标，同时在文化

层面以及美学层面和周围机理产生对话。摩天大厦的几何姿态，色彩基调以及材质将在文化

层面植根于墨西哥当地文化背景。

早期的研究包括了一系列的技巧性练习，诸如拼贴技巧，垃圾雕塑美学感知训练以及摄影技

巧。这些早期的系列性练习帮助整个工作室建立关于如何理解“美”如何诠释“美”的集体

精神意识。这些概念可以更好的被导师Coy Howard自己的文字来阐述：

... ...物体的潜在性可以持续的产生变换的特质，涉及到物体如何被使用以及如何在不同的伪装下呈

现自身。潜在性可以发生的方式之一就是物体拥有某种神秘性的存在，但同时也用有某种抽象的非完整性。抽

象的非完整性引发完整性。你从来不会想去使它完整，因为一旦发生了，将不再进一步引发任何事情... ...

... ...它总是需要去处理多重的相对面，所以，基本上总是存在一种对称的非对称或者说非对称的对

称，这样一来事物总会混合在一起。这背后的根本性原则就是，我们所经历的以及遇到的事物总不会单独的存

在，而是夹杂着反面性与多面性。在我们用直觉去理解和掌握世界的时候，我们的意识是基于这样的概念。

因此，我们存在的根本部分是基于这样的多面性的混合,以及不同的层面如何互补彼此从而产生可变换的动态

性... ...

最终的摩天大楼将在三种不同尺度和时间下的时刻所呈现。这些图像拥有和之前的练习一样

的特质，同样的组织原理，同样的形式关系，同样的美学感知。

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... ...I think that art and architecture is an epiphenomenon. And what I mean by that is that it’s really what the name we give to the aesthetic experience you have in built form. It’s not a thing. It’s the assemblage or the experience... ... - Coy Howard

... ...我认为建筑和艺术是一种偶发症状。我这么讲的意思是，它其实是我们给建成形式里的美学经验的名字。它不是一个物体，

而是一个装配集合，一次体验... ...

-科伊霍华德

107 108

... ...in fact, if you look at a building and it creates certain association in your mind, it gives it a certain richness and certain depth of emotional experience. There’s also probably a set of words that can do the same thing, and trigger that association and trigger that same thing.... ... - Coy Howard

... ...事实上，当你看到一座建筑物的时候，它可以在你意识里创造出某种关联。它衍生出某种丰富性以及较为深刻的情感经历。

一些词汇也很可能产生同样的作用，激发这样的关联... ...

-科伊霍华德

109 110

SCULPTURE PHOTOGRAPHY:New Perspective Endows Scultpture Transcendental QualityOur consciousness is based on that notion in terms of our intuitive understanding and grasp of the world. So a fundamental part of our existence is based upon this fusion of opposites and how these opposites feed each other to produce transformational dynamics. That’s almost always the principle. How do I find a way to embody as many oppositions as a coherent dynamic of transformation not as a juxtaposition. - Coy Howard

我们的意识对世界的直觉感悟以及掌握都是基于这样的概念。因此，我们存在的一个基本部分就是基于这样的可以互相影响并产生动态转变的反面性混合。这个总是一个指导性原则。我试图在寻找可以使反面性得以连贯的方法，而不是简单的叠加。 -科伊霍华德

雕塑摄影：新的视角影像赋予雕塑本身不曾有的特质

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RE-SITUATED: Sculpture within New Context Gains Novel Narration and Sensation

语境重置：雕塑至于新的语境产生新的叙事和美学感知

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AESTHETIC COLLAGE:Re-Organized Magazine Elements Imply Mexico CultureThis collage training becomes a vital process for the designer to have access to the final skyscraper proposal. The color theme, the geometrical position, the texture and culture flavor are all set up in this collage. A more specific process of architecturalization is deployed afterwards based upon the understanding of this collage. The translation is more or less direct, straightforward and sophisticated. Otherwise, the quality will lose during the process of abstraction.

对设计师来说，这个拼贴训练成为达到摩天大厦设计的关键性过程。颜色基调，几何形态，材质以及文化风格都在这幅拼贴画中所展现。基于对拼贴画的理解，更具体的建筑化过程在随后展开。诠释的过程相对比较直接，复杂。否则拼贴画拥有的特质将会在建筑中丧失。

美学拼贴：重组的废杂志元素表达墨西哥文化:

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I think it has more to do with a certain kind of ambiguity, and the ambiguity has to do primarily with creating two things. Number one: creating a sort of enigmatic presence in the work that is basically non-identifiable as a concept. And the second has to do with the enigmatic mystery that gets created by that and essentially opens the work up to possibilities for another person. It’s not something that you can look at and read consistently, it’s a lot of jumps and inconsistencies in the work. In terms of how other people might work, for me, those inconsistencies and those gaps and those transformations are really what demand, first of all, they seduce you because they provoke curiosity. And secondly, they open the work up to interpretation. ... ...Conjures up analogical thinking processes. And that’s a very important part of it for me that basically carries a lot of memories and activates certain desires – the desire for completion ... ... - Coy Howard

我认为它和某种模糊性有关。这种模糊性主要可以产生两种事物。第一：在基本上不能够定义为“概念”的作品中创造一种神秘性存在。第二：这样的神秘性在本质上使得作品可以面向更多的观者。这不是一些你可以持续阅读的东西，而是在作品中存在着很多跳跃，不连贯性。至于别人如何工作，对我来说，这些非连贯性，空缺处以及转换都是需要的。首先，它们因为可以诱发好奇心而吸引人。其次，使作品存在多重阅读，可以和类比性思考相连接。对我来说它是很重要的一部分，因为它基本上带出了许多记忆，行为活动以及某种渴望-对完整性的渴望 ... ... -科伊霍华德

URBAN CONTEXT:The Dialogue between Skyscraper and The Surrounding Context

城市机体：超高层和环境机体的对话

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ARCHITECTURE ELEMENTS:Aesthetic Dialogue between Skyscraper and Virtual Site There’s a poetic technique called ‘enjambment’ and enjambment is where you have a line where the thought that it contains stops and then that thought is picked up in the next line, so in the reading of the poem, you basically have to pull around to the next line. I’m very concerned with the idea of variability and how elements can beckon to other elements and how some incomplete gesture or some particular gestures encourages the eye to move on to something else. To me, when Jay talks about ideas and when you talk about these gestural movements, it’s really about visual movements. You try to provide within the work, enough visual movements so the eye never stops moving. But at the same time, it’s cognitive moves because you’re having to reorganize how you think about the space and yourself within the space relative to that visual movement ... ... - Coy Howard

在诗歌中有一种叫做“跨行连续”的技巧。“跨行连续”是指思绪在一条线上断掉却在下一条线上连续。所以在阅读诗歌的时候，你基本上需要跨越到下一行去。我非常关心可变性这个概念，以及元素如何吸引其他元素，以及某些分完整性的姿态邀请眼睛移至其他事情上。对我来说，你谈论这些姿势行为时Jay提到的概念都是关于视觉的移动。你在作品中试图提供足够的视觉移动元素从而使眼睛从未停止移动。但与此同时，因为你必须去思考如何重组织与视觉相关联的空间以及在空间中的自身，这就变成了一种认知的移动过程。 -科伊霍华德

建筑元素：建筑尺度与虚拟基地语境的美学对话

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SPATIAL SENSATION:Smooth Spatial Transition between Interior and Exterior Images

Well, function has all sorts of different dimensions to it. It’s not, “well, oh can you perform this different activity that this space was created for but does that space in some ways celebrate that activity?” And does that space also have some kind of variability so that it can have a life in other ways so that space can be reinterpreted. I don’t really know because I don’t look at things as ideas, I look at them as moments where something needs to be done. So it’s a much more direct kind of process. It’s not just about an idea. I might be over articulated later as an idea. But it wasn’t an idea at the moment of creation when I was doing it. It was just a thought process of oh it needs more symmetry, it needs more texture, it needs more work in order to create the kind of feeling or tone or sort of psychological moment that I wanted to have. - Coy Howard

功能自身拥有各种不同的维度。这不是“可以在为某种功能创造的空间中进行不同的行为，而是这样的空间在某种方面也在庆祝这样的活动？”空间是否有某种变异性所以它可以在某些方面拥有可以被重新诠释的生命。我并不是把事物看成是概念，而是把他们看成是事情需要被完成的时刻。所以这是一个更加直接的过程。这不是一个概念。我可能随后会过多强调概念。但是当我创作的时候那并不是一个概念。这只是一个思考过程，好比说，这里需要一些对称关系，这里需要一些材质，这里需要一些工作从而达到我想要的某种感觉，基调或者说是心理学层面的时刻。-科伊霍华德

空间感知：室内外空间意境元素的相互渗透

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s DESIGNTHEORATICALCRITICISMSPECULATION

设计理论批判思考

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Architecture only survives where it negates the form that society expects of it. Where it negats itself by transgressing the limits that history has set for it - Bernard Tschumi

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TCSTheory Advisor: Amy KulperTheory Critic: Chi Song

The Critical SensibilityA Critique and Presentation of Key Glossary in Rem Koolhaas's S,M,L,XL

127 128

Chi Song

is defined as:

Rem Koolhaas’sSocial Sensitivity

Manipulation of Media

Critical Analysis of EventsPoetic ExpressionScenic Narratives

Form as Vehicle

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Manipulate MediaScenic Narratives Critical Analysis of Events

Poetic Expression

Form Vehicle+- Level of Influence

133 134

BIG

NES

STa

le o

f

Spira

l

BIGN

ESS

Void

Tabu

la R

asa

Look

at i

t,I s

ee n

othi

ng

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not

a h

isto

rian.

Qua

ntum

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p

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belie

f

Inno

cenc

ePa

nic

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ease

Del

iriou

sImag

inin

g N

othi

ngne

ssW

orld

with

out S

PA

CE

and

TIM

E

But

all

the

sudd

en

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is

slic

ed b

y tw

o ex

trem

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rces

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es a

nd W

ords

T

wo

s

torie

s ar

e be

ing

d

With

cor

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S in

bet

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part.

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ng re

plac

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ity

n

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is e

ncro

chin

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s

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is

sen

sed

It is

get

ting

BIG

GE

R

I am

just

the

real

ity

noth

ing

but

+- Level of Influence

135 136

In this age, you make your own game rules. -Tome Mayne

137 138

ACKNOWLEDGEMENT:

Monica Ponce de Leon, Tom Brush, Jason Young, Caroline Constant, Perry Kulper, Amy Kulper, Coy Howard, Clover Lee, David Erdman, Glenn Wilcox, Karl Daubmann, Neal Robinson, Peter von Bülow

139 140

Documents

S.architecture