Nine-Tiered Pagoda:
Spartial and Visual Magic IV - Cinema Paradiso
/WAU Design Office
Binyuan Li Solo Exhibitions
Lead Architect: Linshou Wu
SENIOR DESIGNER: ZIYU TANG
Role - Design of spatial and structures, as well as the rendering and construction supervising.
Toolkits - Rhino, Adobe Photoshop, Revit and AutoCAD
Year 2020
Location - Shenzhen, China
News Featured - Gooood, Pingshan Art Gallery, ARTDBL, Position, Peopleweekly
Taking the emotional resonance of the architect and the artist, "the hometown that can't be returned" as the starting point, the slightly nostalgic sloping roof divides different atmospheres of "dichotomy": inside and outside, daily life and rituals. This kind of juxtaposition is a kind of translation between Lacanian psychoanalysis "Symbolic order" and "the Reality", just like the juxtaposition between church and heaven.
Under the roof, the action of "material alienation" makes the space multifaceted. The visitor's mood changes with the presentation of images such as "Bells", "Free Farming", "Seabirds", etc., and the abstract space can be continuously metaphorized and exchanged: the colony, the church, the courtyard, the parish ......, and thus carries the symbolization and emblematization of personal emotions.
Beyond the roof, we hope to present a chaotic space where the sense of spatial scale disappears and time stands still. The video "The Last Letter" is projected on the roof that disappears from the horizon, perhaps for Li Pengyuan it is a conversation with his father in heaven; in this alienated space, perhaps for the audience, "there is a true meaning here, which I want to argue, but have forgotten to say," and with the help of this space, we can peep into the deepest realm of the heart.
We directly deconstructed the "three-room" house common in the southern countryside, presenting the roof, porch, and room as separate fragments. We hope that the visitor's physical experience will be associated with the space and the video work in memory.
Spatial Presentation
Structural and Nodal Analysis
Suspended Chain Roof
At the beginning of the design process we were told that the construction of the exhibition should not destroy the original gallery. The ideal choice was to present the roof form as a zero-moment Catenary curve, with one end fixed to a precast concrete block and the other to the original columns of the gallery, where the rope forms the space. We wanted the roof to be as gentle as an open bamboo curtain, with a minimum of elements in contact with the original architecture.
Roof morphology of zero-moment suspension chain lines
At the same time, we utilize the weight of the suspended projector and the counterweight of the bracket to form two different curvatures of the suspension chain: the high section conforms to the overall curvature of the roof, while the low section achieves less curvature of the drape, avoiding blocking the projection and the audience's line of sight.
Suspended projector weights and bracket counterweights to form two different curvature suspension chains.
Power segments achieve less curvature to avoid blocking the projection and the viewer's view.
Corridor and Room
Corresponding to the position of the roof, we set up a dissected "three-room" room and gallery in order to sequence and increase the depth of the space. Five of the artist's works are presented on the wall in the form of a television. Wooden benches borrowed from the café of the museum are placed under the gallery, dividing the projection area and the TV area in terms of behavior, so that visitors who are resting can freely choose to watch the video works in different directions.
Room and veranda of the "three rooms"
Details of the exhibition space
Details of the exhibition space
Material and Reuse
The exhibition has been facing the problem of garbage disposal after the withdrawal of the exhibition, so we present the space in a dry-joint way, hoping to maximize the recycling of materials on the one hand, and at the same time, the misplaced use of materials brings new spatial experience. For example, we use PVC non-slip strips as the "purlin" of the roof, which can not only show the curve of the suspension chain, but also can be recycled and reused as an outdoor public art installation; the tinfoil tile roof, as a derivative of the exhibition, can be opened and used as a painting clip, and the dimensions of which are taken from Li Pengyuan's video work "Drawing Board 90X60". He Jianping is responsible for the flat presentation of the tile, which can be given to the audience as a souvenir after the exhibition is withdrawn; as for the tripod in the projection area, curator Cui Canchan proposes to move it to the rooftop terrace of the Pingshan Museum of Art to show an open-air movie during the retrospective exhibition of the Nine Tier Pagoda.
Suspended chain line purlin
Photos of the construction process
Photos of the construction process
Plan
Section
About the Exhibition
"Nine Tiers Pagoda: The Magic of Space and Vision" is a cross-border action, a direction and form of exhibition that has never been seen before in China. Nine artists/ groups will be invited to provide works as the base material for the exhibition, while nine architects and nine designers will be invited to form nine temporary teams. Artists, architects, and designers will work together without "priority" or "center", but only division of labor and collaboration, ultimately forming nine new types of exhibitions
