suckerPUNCH: describe your project.
bin LU: This thesis is a discipline research about painting. It investigates the architect and the painter, trying to figure out architecture out of painting. In architecture color has been used as a final application to geometry, a last layer on tectonics, used as a lighting device, media, bringing out qualities of materiality, ornamental and generally decorative.
Using color from the beginning in a generative way, one can gain the freedom to design architectural functions as multiple conditions in space rather than limited to objects.
Chiaro e Scuro describes an invention in the art of painting to create the illusion of volumes in space. The gradation effected from the light to the shadowed side of a three dimensional object. For example in the Clarinet Player, by Picasso, a pyramidal form implies an image. The pyramid has a strong contour to give the sense the figure is standing in a deep space. The Portuguese, by Braque, uses a highly developed interlacing of horizontal and vertical gridding created by gapped lines and intruding planes that create shallow spaces. Only gradually is the observer able to invest this space with depth permitting the figure to assume substance.
In painting, color invokes the illusion of space, creating depth from flatness, while architecture wants real space to become illusion.
Robert Slutzky argued that color is primary. He studied color structure and then transposed it into a 3-D formal structure. In his Chube/Chrome project, he started a system of color relationships derived from Goethe’s Farbenlehre, which he used to generate a series of conceptual models of architectural space, but he ended up with white and black.
To extend his idea, I created special effects. First painting a flatten surface that had the painterly effect of depth from flatness to create 3-D geometry. By using color to paint the emergent patterns I discovered they either disappeared or conformed with the graphic patterns. Second I recreated the same surface with graphic figures on the flat parts and flipped the bottom surface to the top with red color. Color both conforms and transforms, sometimes it transforms by conforming. Hybridizing the graphic and the 3-D dimensional, hybridizing the depth of space, and hybridizing shade and shadow affects that reverse color gradient. The building is artificial, but the color is real.
The result of the thesis is the possibility of a goal oriented sketching (painting) process using color throughout the whole process of the design in a generative way that achieves new complexities between flatness to depth and depth to flatness.
Color is one.
sP: what or who influenced this project?
bL: my advisor Tom Wiscombe, Chiaro e Scuro, Robert Slutzky/Chube/Chrome, Lois Swirnoff/ the Pyramid Problem: A Visual Ratio, especially, thanks to Jeffrey Kipnis, he also influenced me a lot on this thesis project.
sP: what were you reading/listening to/watching while developing this project?
bL: Dimensional color, Inception
sP: whose work is currently on your radar?
bL: EMERGENT, Zaha Hadid Architects
Special thanks to all my friends and SCI-ARC woodshop