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PASSENGER CONTROL TERMINAL BUILDING
PASSENGER CONTROL TERMINAL BUILDING
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PASSENGER CONTROL TERMINAL BUILDING
Type
The control of borders, wherever it
is exerted, comes in a pair of vectors: the entering and exiting. These two
antithetical arrows usually mirror one another. They organize materials,
logistic systems and job posts around a rigid axis of symmetry. Nothing escapes
the order of the two opposing trajectories, and the whole -as with no
particular orientation- serves as a mere combination that exhausts the
directionality of the components. Our design constitutes an opportunity to
navigate a form that is conceived as asymmetrical, specific and vectorial, in
order to differentiate the space of entering and exiting. Now, the memory can
record each and every location of this anisotropic architecture.
In order to diffuse the border
between Shenzhen and Hong Kong, we decided to monumentalize the flows that
permeate it. In order to do that, our solution is inspired by the humble valve.
At this scale, men are treated as nebula, and rivers as lines. Though
predetermined, the paths that converge are coiled up in a manifold building.
The terminal building is to the wider urban geographic context, what an artery
is to the extension of the human body.
Our contemporary industrial world
falls short in open spaces with the potential to reanimate the act of building
roads anew, grafted on an untamed landscape, connecting the two points with a
concrete path. In China of the 21st century, the infrastructure is already there,
requesting for extension and intensification. Our terminal building is an
extension and extrusion of the peripheral high-ways: It becomes a sign in an
undifferentiated Chinese landscape, as it monumentalizes the existing circuit
of roads.
The forms involved are inspired by
speed of the moving articles and bodies. The space is to be observed from the
point of view of the holder of the velocity, bestowed by the systems of
transportation. Even our skylights are fashioned like linear openings to track
the trajectories of the moving vehicles. In a space circumscribed by speed,
transits and flows we can no longer afford the single window opening, the
corner, the detail, or the ‘here’ -anything that jeopardizes the continuum from
A to B. Our elements had to be smoothened into meshworks, curves and a multiple
‘nowhere’ to better facilitate the act of conveyance.
is exerted, comes in a pair of vectors: the entering and exiting. These two
antithetical arrows usually mirror one another. They organize materials,
logistic systems and job posts around a rigid axis of symmetry. Nothing escapes
the order of the two opposing trajectories, and the whole -as with no
particular orientation- serves as a mere combination that exhausts the
directionality of the components. Our design constitutes an opportunity to
navigate a form that is conceived as asymmetrical, specific and vectorial, in
order to differentiate the space of entering and exiting. Now, the memory can
record each and every location of this anisotropic architecture.
In order to diffuse the border
between Shenzhen and Hong Kong, we decided to monumentalize the flows that
permeate it. In order to do that, our solution is inspired by the humble valve.
At this scale, men are treated as nebula, and rivers as lines. Though
predetermined, the paths that converge are coiled up in a manifold building.
The terminal building is to the wider urban geographic context, what an artery
is to the extension of the human body.
Our contemporary industrial world
falls short in open spaces with the potential to reanimate the act of building
roads anew, grafted on an untamed landscape, connecting the two points with a
concrete path. In China of the 21st century, the infrastructure is already there,
requesting for extension and intensification. Our terminal building is an
extension and extrusion of the peripheral high-ways: It becomes a sign in an
undifferentiated Chinese landscape, as it monumentalizes the existing circuit
of roads.
The forms involved are inspired by
speed of the moving articles and bodies. The space is to be observed from the
point of view of the holder of the velocity, bestowed by the systems of
transportation. Even our skylights are fashioned like linear openings to track
the trajectories of the moving vehicles. In a space circumscribed by speed,
transits and flows we can no longer afford the single window opening, the
corner, the detail, or the ‘here’ -anything that jeopardizes the continuum from
A to B. Our elements had to be smoothened into meshworks, curves and a multiple
‘nowhere’ to better facilitate the act of conveyance.
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