Add To Collection
Add to Collection
Flooded House
Flooded House
Shenzhen, China
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
Flooded House
Shenzhen, China
Firm
STATUS
Built
YEAR
2023
SIZE
0 sqft - 1000 sqft
BUDGET
$10K - 50K
The project is a commissioned installation for the 9th Bi-City Biennale of Urbanism/Architecture (Shenzhen), part of the section “Cosmic Cities” located at the main venue this year, Jinwei brewery factory. Together with eight other groups of Chinese architects, the artists Tianying Li and Haotian Zhang reflect on the living condition of human and non-human inhabitants in the post-Anthropocene and respond under the subtheme of water.
As an antithesis to the modern domestic space, the installation is analogous to an “aquarium” as opposed to a “submarine.” The house as the submarine protects the indoor space from its nemesis, water. Despite being unable to tame the exterior weather, it is capable of retaining the bubble of the comfort zone inside. Instead, the installation is an aquarium. The transformations of water in nature - evaporation, filtration, condensation - are sealed in multiple transparent walls, which the exterior of architecture folds into. A dehumidifier embedded in the wall continuously absorbs water from the exhibition space, which is then pumped, filtered, and stored, until it evaporates or inflates the chair at the end of the cycle.
The project divides the 7*7 m space under a brewery tank into four chambers through a cruciform plan. The audience can walk between the four chambers yet cannot enter the fifth one, the space enclosed by the plastic membrane right underneath the tank that symbolizes the unattainable nature beyond the boundary of architecture.
Under Construction
The spotless surfaces that otherwise conceal the pipelines and structures in architecture are contrarily canceled in this installation to expose the hidden veins and organs of the building. As a result, the installation brings an experience of precarity, which stingingly speaks out a true condition of architecture: it is fallible, despite its painstaking effort to seal and retain a stable indoor space. The comfort zone that embodies the belief in warmth, hygiene, safety, and other modern myths about domestic living is no more than a bubble strenuously sustained by a frail layer of plastic.
Drawing
The installation is almost entirely composed of ready-made objects, which raises another challenge: the miscellaneous products could barely be adequately represented in an architectural drawing as they are too irregular or complex to be portrayed sufficiently.
The artists draw the products and their combinations as symbols, the constellation of which serves as a drawing. It puts into question the purpose and definition of drawing and model in architecture, as they are not a preview of the appearance of this project but a 3-dimensional index keeping a record of the product information.
Ready-made
The installation is an ad hoc assembly of parts with diverse origins. They are collected from disparate scenarios, as they used to be cattle ear tags, tile liners, air cushions, or rubber bands for elastration before they are repurposed as architectural components. The peculiar formal attributes resulting from their functions in their forelives serve for new tectonic relationships – they pinch, squeeze, or stretch each other to form structural integrity. On the other hand, the ready-made parts are not merely functioning structurally but also aesthetically. These playful objects together compose a collage of dazzling icons.
Project title: Flooded House
Year: 2023
Team: Tianying Li, Haotian Zhang, Chris Shing Chun Iu, Xingdi Li
Installation at the 9th Bi-City Biennale of Urbanism/Architecture (Shenzhen), Urban Cosmologies
As an antithesis to the modern domestic space, the installation is analogous to an “aquarium” as opposed to a “submarine.” The house as the submarine protects the indoor space from its nemesis, water. Despite being unable to tame the exterior weather, it is capable of retaining the bubble of the comfort zone inside. Instead, the installation is an aquarium. The transformations of water in nature - evaporation, filtration, condensation - are sealed in multiple transparent walls, which the exterior of architecture folds into. A dehumidifier embedded in the wall continuously absorbs water from the exhibition space, which is then pumped, filtered, and stored, until it evaporates or inflates the chair at the end of the cycle.
The project divides the 7*7 m space under a brewery tank into four chambers through a cruciform plan. The audience can walk between the four chambers yet cannot enter the fifth one, the space enclosed by the plastic membrane right underneath the tank that symbolizes the unattainable nature beyond the boundary of architecture.
Under Construction
The spotless surfaces that otherwise conceal the pipelines and structures in architecture are contrarily canceled in this installation to expose the hidden veins and organs of the building. As a result, the installation brings an experience of precarity, which stingingly speaks out a true condition of architecture: it is fallible, despite its painstaking effort to seal and retain a stable indoor space. The comfort zone that embodies the belief in warmth, hygiene, safety, and other modern myths about domestic living is no more than a bubble strenuously sustained by a frail layer of plastic.
Drawing
The installation is almost entirely composed of ready-made objects, which raises another challenge: the miscellaneous products could barely be adequately represented in an architectural drawing as they are too irregular or complex to be portrayed sufficiently.
The artists draw the products and their combinations as symbols, the constellation of which serves as a drawing. It puts into question the purpose and definition of drawing and model in architecture, as they are not a preview of the appearance of this project but a 3-dimensional index keeping a record of the product information.
Ready-made
The installation is an ad hoc assembly of parts with diverse origins. They are collected from disparate scenarios, as they used to be cattle ear tags, tile liners, air cushions, or rubber bands for elastration before they are repurposed as architectural components. The peculiar formal attributes resulting from their functions in their forelives serve for new tectonic relationships – they pinch, squeeze, or stretch each other to form structural integrity. On the other hand, the ready-made parts are not merely functioning structurally but also aesthetically. These playful objects together compose a collage of dazzling icons.
Project title: Flooded House
Year: 2023
Team: Tianying Li, Haotian Zhang, Chris Shing Chun Iu, Xingdi Li
Installation at the 9th Bi-City Biennale of Urbanism/Architecture (Shenzhen), Urban Cosmologies
Product Spec Sheet
Were your products used?
Join as a manufacturer to add your products.