Architecture: Erhard An-He
Kinzelbach KNOWSPACE Client: Jindong New District
Government, JinhuaMasterplan Park: Ai Weiwei
/FAKE Design, BeijingConstruction administration: Ai
Weiwei /FAKE Design, BeijingStructural
engineering: Hou Xinhua, BeijingGeneral contractor: Beijing Fangxiuyi Construction Co. Photography: Iwan Baan, Erhard An-He KinzelbachCONTEXT: The Multimedia Pavilion is part of Jinhua Architecture Park, located in the City of Jinhua, China. The park was masterplanned by chinese artist and curator Ai Weiwei who invited 17 architects from 7 different countries to design different pavilions in the park. PROGRAM: The design of the pavilion interprets multimedia in its broadest sense and the programmatic content aims at addressing the individual as well as the collective application of multimedia. The screening of a movie, with both sound and moving image, constitutes the most basic form of multimedia, with a high potential for collective experience. The open air cinema maximizes this potential. ERGO-TOPOGRAPHIC SURFACE: Two idealized projector cones act as space constituting elements which deform an initially tubular box. The virtual space of the projecting light becomes the generating moment for the physical space. The single surface is transformed into an ergonomic landscape that renders additional furniture unnecessary. As a result, a versatile and polyvalent space serves not only the various aspects of the multimedia experience, but also as a gathering and lounging space in the middle of the park, superimposing the digital with the physical realm. DIFFERENTIATION & PARAMETRIC STRATEGY: In the applied parametric design strategy, an iterative process was decisive for the form finding, without the primacy of an ideal form preceding the design process. Although a base geometry is embedded as an invariant into the initial massing, the projection cones of the screenings, the specific programmatic properties, orientation of lighting and the ergonomics of physical use influence the model as generative parameters and thus manipulate and differentiate the initial volume. As a result, performative criteria such as the potential appropriation of the topographies or the indirect artificial lighting in walls and ceiling can continuously influence the morphogenesis of the project.
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