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ART-CHITECTURE: The Extensible Spatial Metaphor
ART-CHITECTURE: The Extensible Spatial Metaphor
Shanghai, China
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Other Projects by JXY Studio
ART-CHITECTURE: The Extensible Spatial Metaphor
Shanghai, China
Firm
STATUS
Built
YEAR
2023
SIZE
3000 sqft - 5000 sqft
BUDGET
$0 - 10K
In the broader context of a more macroscopic era, as the relative relation between stability and instability continues to evolve, the once seemingly immutable sense of safety is influenced by a certain ever-changing sense of crisis. The social environment, in turn, appears to move from accommodating changes to resisting them, attempting to counteract the external evolutionary processes.
For the disciplines of architecture, such context has shifted the delicate balance between the materiality and immateriality within. The traditional, constant operation modes seem to gradually become opposed to the diverse and divergent extensions again, while the non-material representations of architecture then become more of the transitional objects with the same rigid nature.
However, as the ontological foundations of architecture are also simultaneously subjected to intense upheaval, and while navigating through this tumultuous flux, prompting a search for conceptual changes that involve interweaving and permeation, which then allow the disciplinary methodologies to serve not only as mediums to access objects but also as the target objects themselves, could be presenting a potential proactive response.
Further, as material practices gradually seek clearer languages to develop more complex concepts and propositions, relating them to the world of thought and actively dematerializing the objects, enabling the abstract expressions of spatial perception to act as metaphors bridging the gap between materiality and thinking, should then become a certain multifaceted extension again.
Revisiting the expressive potential and interpretative possibilities of architectural thinking, as a system with the capability of directing artistic and intellectual practices, it may extend beyond the material construction in a traditional sense and could explore broader multimedia realms to establish direct connections between notions and reality, also between visual representations and narratives of conceptual thinking, thereby directly generating expressions.
This allows for the ideologies derived from it to react dynamically, rather than merely as a priori theoretical self-consistency, and may even potentially be stimulated and amplified by the creative thinking outputs themselves. Thus, the imaginative capacity of artistic expression metaphorically signifies the content of imagination, and such transference or interpretation need not point to external materiality but shifts the focus to internal imagination only through the experiences gained from external practices.
Departing from the explorations of the aforementioned possibilities, the exhibition comprises three parts of intermediaries with limited materiality, including paintings, drawings, and images, serving as abstract representational symbols associated with intellectual concepts, also inviting a re-examination of the connections and distinctions in creative and experiential approaches between art exhibits and architectural exhibits in a universal cognitive sense through juxtapositions and contrasts.
At the same time, widening the limitations of the existing display and storage patterns through the appropriation of transport devices, the exhibition then introduces a discourse on solidified carriers and extended transplantations, which also faithfully mirrors the analogous architectural thinking framework, endeavors not only to dematerialize the creation of spaces but also to further become a nexus between reality and non-reality, exploring and advancing the balance between authenticity and fictional imagination, ultimately revealing the extended spatial metaphor.
For the disciplines of architecture, such context has shifted the delicate balance between the materiality and immateriality within. The traditional, constant operation modes seem to gradually become opposed to the diverse and divergent extensions again, while the non-material representations of architecture then become more of the transitional objects with the same rigid nature.
However, as the ontological foundations of architecture are also simultaneously subjected to intense upheaval, and while navigating through this tumultuous flux, prompting a search for conceptual changes that involve interweaving and permeation, which then allow the disciplinary methodologies to serve not only as mediums to access objects but also as the target objects themselves, could be presenting a potential proactive response.
Further, as material practices gradually seek clearer languages to develop more complex concepts and propositions, relating them to the world of thought and actively dematerializing the objects, enabling the abstract expressions of spatial perception to act as metaphors bridging the gap between materiality and thinking, should then become a certain multifaceted extension again.
Revisiting the expressive potential and interpretative possibilities of architectural thinking, as a system with the capability of directing artistic and intellectual practices, it may extend beyond the material construction in a traditional sense and could explore broader multimedia realms to establish direct connections between notions and reality, also between visual representations and narratives of conceptual thinking, thereby directly generating expressions.
This allows for the ideologies derived from it to react dynamically, rather than merely as a priori theoretical self-consistency, and may even potentially be stimulated and amplified by the creative thinking outputs themselves. Thus, the imaginative capacity of artistic expression metaphorically signifies the content of imagination, and such transference or interpretation need not point to external materiality but shifts the focus to internal imagination only through the experiences gained from external practices.
Departing from the explorations of the aforementioned possibilities, the exhibition comprises three parts of intermediaries with limited materiality, including paintings, drawings, and images, serving as abstract representational symbols associated with intellectual concepts, also inviting a re-examination of the connections and distinctions in creative and experiential approaches between art exhibits and architectural exhibits in a universal cognitive sense through juxtapositions and contrasts.
At the same time, widening the limitations of the existing display and storage patterns through the appropriation of transport devices, the exhibition then introduces a discourse on solidified carriers and extended transplantations, which also faithfully mirrors the analogous architectural thinking framework, endeavors not only to dematerialize the creation of spaces but also to further become a nexus between reality and non-reality, exploring and advancing the balance between authenticity and fictional imagination, ultimately revealing the extended spatial metaphor.
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