critic: Nate HUME.
suckerPUNCH: Describe your project.
Zherui WANG: This house speculates on domestic living and its relationship, in the near future, to air. No longer considered, matter-of-fact, as an available resource, fresh air is commodified as a luxury consumer item—obsessively collected, carefully stored, and consumed in a contained environment.
This house cultivates this obsession and explores social, technological, and spatial qualities of this near-future scenario through its treatment of form, surface, spatial sequence, and domestic rituals.
The surface of certain domestic spaces are articulated with Celia-like lashes through which stored air is filtered into the interior. In contrast to the modernist’s articulation of surface as smooth and hygienic, these surface are soft, hairy, and have a character of their own, thereby creating a new domestic ambient experience. Different volumes and layers of the house are carved and peeled away from each other, pulling and pushing inhabitants seamlessly from one to the other.
sP: What or who influenced this project?
ZW: Preston Scott Cohen, Emmanuel Petit, Heather Roberge, and Philippe Rahm.
sP: What were you reading/listening to/watching while developing this project?
ZW: Reading: David Gissen, Subnature, Jason Payne, “Variation on the Disco Ball, or The Ambivalent Object”; Emmanuel Petit, “Involution, Ambiance and Architecture”; and J. G. Ballard, “The Thousand Dreams of Stellavista.” Watching Stalker (dir. Andrei Tarkovsky).
sP: Whose work is currently on your radar?
ZW: Young + Ayata, Endemic Architecture, M. Casey Rehm, MMA, and Achim Menges.
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