Add To Collection
Add to Collection
Spatial Metaphor as Methodology
Spatial Metaphor as Methodology
Guangzhou, 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
Other Projects by JXY Studio
Spatial Metaphor as Methodology
Guangzhou, China
Firm
STATUS
Built
YEAR
2023
SIZE
0 sqft - 1000 sqft
BUDGET
$0 - 10K
In a broader cultural sense, if it is acknowledged that contemporary society is undergoing a universal shift of ideological trends, which is more diverse and complicated, polysemous and ambiguous relative to the early modernization process, JXY Studio’s multidimensional explorations of architecture as a unique medium, showcased in the exhibition "Spatial Metaphor as Methodology", could be regarded as the various and divergent possibilities within such context, which are not directly related to the iteration or ontological development of the discipline itself, but rather to indirectly involve the reconsideration of its vocabulary, the reevaluation of its influence, and the reexamination of its boundaries.
Part I | The Architectonic Blueprint of Art
Bound by certain rules and conventions rooted in power and status, capital and roles, and constrained by the physical limitations and material shackles in a narrow sense, contemporary architecture within the local context, situated in the so-called post-radical era, has long seemed to be passively trapped in a blind, stagnant, and even silent state, except for the focus on functional micro-improvements, unable to establish structural creative connections with other fields, particularly the discipline of art.
However, if one traces back the ideological roots of architecture as a macro-discipline, speaking of certain cross-disciplinary creative ideology that regards it as a powerful structure within the framework of art, then architecture itself should possess its unique potential as an enormous, sophisticated, ever-changing vessel, not confined to physical space, incorporating the methodologies concerning representation and even integration of various fields and disciplines.
It is worth noting that the fading of this ideology emphasizing synthesis and integration rather than differentiation and boundaries, though universal under the Anthropocene background, is not homogeneous across different geographical and regional contexts. In contemporary society, there still possibly exists the not yet fragmented and polarized demand for material architecture, while also the reevaluated and repositioned architectonics, not aiming for material utility as the ultimate goal, able to reconstruct its expansion potential as a macro-theoretical structure.
Part I, serving as a manifesto, an idealistic possibility, provides a series of comprehensive examples and attempts to raise questions: under the nourishment of the economic environment behind the local contemporary architecture, while also the constraints imposed by the social development stages that it simultaneously faces, what powerful yet inclusive, spatial and relational approaches could architectonic thinking showcase, and what diversified yet integrated, creative methods could it provide for the art field constructed based on its blueprint?
In this part, experimental architectural explorations and research into representation forms are introduced as a departure point for understanding and perceiving spatial creative thinking, which further progresses towards abstract forms spatialized and structured through various digital media, and ultimately derives purely subjective and expressive visual imagery representation installation based on spaces, relations, architecture, and metaphors.
Part II | The Possibilities of Historical Reinterpretation
The remaining historic architectural entities are commonly serving as tangible material remnants and archival records, reflecting and documenting the past, while the disciplinary background they entail, as well as the schools and trends of thought they had followed or derived, also comprehensively and profoundly, whether actively or passively, transmitting the intangible changes of the times, social transformations, and cultural evolution.
However, when considering their renovation as architectural structures or reconstruction for new demands, required to view them as guiding frameworks and employ their disciplinary logics or ideological roots as leading principles for spatial strategies, one often faces a certain dilemma that, apart from the habitual generalization of grand narratives, appropriation of value symbols, or piling up of figurative materials, it seems challenging to extract principles and methods that can be reinterpreted without losing the essence directly from their tangible or intangible values.
The nature of such lack of guiding functionality is first related to the medium used for recording and documentation, which includes a significant amount of materials that have been re-abstracted and transformed, including records in the form of calligraphy, painting, and poetry; while the resulting complexity in interpretation and research leads to superficial borrowing and collaging being considered as practical methods; furthermore, this kind of habitual thinking leads to an excessively homogeneous contemporary tendency towards the pursuits of inductive generalization and symbolic translation, as well as associated industry habits, which in turn affect the guidance of public perception and social identity.
Part II, encompassing various explorations of issues related to the renovation and restoration, reinterpretation and reconstruction of historic architecture, and through such diverse design research and theoretical depictions, provides examples concerning urban and spatial potentials as well as humanistic and historical reinterpretation possibilities within the realm of contemporary architectural design, aiming to enrich its methodology and vocabulary, ultimately leading to more profound and diversified practices.
In this part, the focuses range from central historic urban blocks to contemporary historical urban districts in Guangzhou, and even broader indigenous areas in China, covering examples from the renovation of specific conserved architectural entities, the evolution of historical urban neighborhoods, to the reinterpretation of abstract principles from Chinese traditional architecture, and the further introduction of propositions for the revitalization of representative post-industrial areas in the United States.
Part III | The Compression and Expansion of Images
The compression in terms of time and space through static images is reflected in their two-dimensional nature, that they overlap and project single three-dimensional spaces and the internal material entities, while apart from limited technical expressions with minimal degrees of variance, lacking dimension in the temporal aspect. The seemingly fixed nature within them, in terms of the creators’ scenic thinking and depiction patterns, as well as the spectators’ viewing experience and perception approaches, is also closely associated with the limitations of their representation dimensionality.
Moving images then, filling the gap regarding time as the fourth dimension, by performing another layer of compression to spatial imagery that has undergone compression in static images, and due to the freedom from the constraints of single view frames, have derived more diversified and comprehensive techniques and methodologies, concerning sequence arranging, visual impression controlling and emotion manipulating, enabling the two dimensions of time and space, mutually exclusive yet complementary, to simultaneously impact on the spectators’ perception experience.
Within such generic definitions of images, though there might be possibilities that the given compressions could be further enriched and varied, the outcomes still struggle to escape being represented as slices or excerpts of the given spatiotemporal objects. However, would it be possible to challenge and break the representation methods regarding characters, matters, and stories, through subsequent spatial operations including structural repetition, sequential rearrangement, and analogous recombination, making the outcome itself be seen as a broader and more multi-dimensional content and system, surpassing the given object in a deeper sense, thus serving as the expansion of time and space?
Part III, from the perspective of discussing the compression and expansion towards time and space, reexamines the changing potentials regarding image creation and representation methods, perception and viewing approaches, as well as reflection and logic, explores the spatial concept expression capabilities of static and moving images as subjective creative media, aiming to broaden the boundaries of images as representation mediums from this value.
In this part, film photography static images act as the basis, including multi-image groups with spatial and porous metaphors, digitally collaged space-expansion image combinations, and prose-style independent image paper-based publications; experimental moving images captured with Super 35 digital cinematography are further introduced, including a silent short film installation and two sound short film installations.
Through such three parts of exploratory creative practices that are seemingly unrelated yet interconnected, they have observed and become aware of a faintly hidden motivation, an emerging thread, a pervasive methodology: the re-narration of spatial metaphor.
Part I | The Architectonic Blueprint of Art
Bound by certain rules and conventions rooted in power and status, capital and roles, and constrained by the physical limitations and material shackles in a narrow sense, contemporary architecture within the local context, situated in the so-called post-radical era, has long seemed to be passively trapped in a blind, stagnant, and even silent state, except for the focus on functional micro-improvements, unable to establish structural creative connections with other fields, particularly the discipline of art.
However, if one traces back the ideological roots of architecture as a macro-discipline, speaking of certain cross-disciplinary creative ideology that regards it as a powerful structure within the framework of art, then architecture itself should possess its unique potential as an enormous, sophisticated, ever-changing vessel, not confined to physical space, incorporating the methodologies concerning representation and even integration of various fields and disciplines.
It is worth noting that the fading of this ideology emphasizing synthesis and integration rather than differentiation and boundaries, though universal under the Anthropocene background, is not homogeneous across different geographical and regional contexts. In contemporary society, there still possibly exists the not yet fragmented and polarized demand for material architecture, while also the reevaluated and repositioned architectonics, not aiming for material utility as the ultimate goal, able to reconstruct its expansion potential as a macro-theoretical structure.
Part I, serving as a manifesto, an idealistic possibility, provides a series of comprehensive examples and attempts to raise questions: under the nourishment of the economic environment behind the local contemporary architecture, while also the constraints imposed by the social development stages that it simultaneously faces, what powerful yet inclusive, spatial and relational approaches could architectonic thinking showcase, and what diversified yet integrated, creative methods could it provide for the art field constructed based on its blueprint?
In this part, experimental architectural explorations and research into representation forms are introduced as a departure point for understanding and perceiving spatial creative thinking, which further progresses towards abstract forms spatialized and structured through various digital media, and ultimately derives purely subjective and expressive visual imagery representation installation based on spaces, relations, architecture, and metaphors.
Part II | The Possibilities of Historical Reinterpretation
The remaining historic architectural entities are commonly serving as tangible material remnants and archival records, reflecting and documenting the past, while the disciplinary background they entail, as well as the schools and trends of thought they had followed or derived, also comprehensively and profoundly, whether actively or passively, transmitting the intangible changes of the times, social transformations, and cultural evolution.
However, when considering their renovation as architectural structures or reconstruction for new demands, required to view them as guiding frameworks and employ their disciplinary logics or ideological roots as leading principles for spatial strategies, one often faces a certain dilemma that, apart from the habitual generalization of grand narratives, appropriation of value symbols, or piling up of figurative materials, it seems challenging to extract principles and methods that can be reinterpreted without losing the essence directly from their tangible or intangible values.
The nature of such lack of guiding functionality is first related to the medium used for recording and documentation, which includes a significant amount of materials that have been re-abstracted and transformed, including records in the form of calligraphy, painting, and poetry; while the resulting complexity in interpretation and research leads to superficial borrowing and collaging being considered as practical methods; furthermore, this kind of habitual thinking leads to an excessively homogeneous contemporary tendency towards the pursuits of inductive generalization and symbolic translation, as well as associated industry habits, which in turn affect the guidance of public perception and social identity.
Part II, encompassing various explorations of issues related to the renovation and restoration, reinterpretation and reconstruction of historic architecture, and through such diverse design research and theoretical depictions, provides examples concerning urban and spatial potentials as well as humanistic and historical reinterpretation possibilities within the realm of contemporary architectural design, aiming to enrich its methodology and vocabulary, ultimately leading to more profound and diversified practices.
In this part, the focuses range from central historic urban blocks to contemporary historical urban districts in Guangzhou, and even broader indigenous areas in China, covering examples from the renovation of specific conserved architectural entities, the evolution of historical urban neighborhoods, to the reinterpretation of abstract principles from Chinese traditional architecture, and the further introduction of propositions for the revitalization of representative post-industrial areas in the United States.
Part III | The Compression and Expansion of Images
The compression in terms of time and space through static images is reflected in their two-dimensional nature, that they overlap and project single three-dimensional spaces and the internal material entities, while apart from limited technical expressions with minimal degrees of variance, lacking dimension in the temporal aspect. The seemingly fixed nature within them, in terms of the creators’ scenic thinking and depiction patterns, as well as the spectators’ viewing experience and perception approaches, is also closely associated with the limitations of their representation dimensionality.
Moving images then, filling the gap regarding time as the fourth dimension, by performing another layer of compression to spatial imagery that has undergone compression in static images, and due to the freedom from the constraints of single view frames, have derived more diversified and comprehensive techniques and methodologies, concerning sequence arranging, visual impression controlling and emotion manipulating, enabling the two dimensions of time and space, mutually exclusive yet complementary, to simultaneously impact on the spectators’ perception experience.
Within such generic definitions of images, though there might be possibilities that the given compressions could be further enriched and varied, the outcomes still struggle to escape being represented as slices or excerpts of the given spatiotemporal objects. However, would it be possible to challenge and break the representation methods regarding characters, matters, and stories, through subsequent spatial operations including structural repetition, sequential rearrangement, and analogous recombination, making the outcome itself be seen as a broader and more multi-dimensional content and system, surpassing the given object in a deeper sense, thus serving as the expansion of time and space?
Part III, from the perspective of discussing the compression and expansion towards time and space, reexamines the changing potentials regarding image creation and representation methods, perception and viewing approaches, as well as reflection and logic, explores the spatial concept expression capabilities of static and moving images as subjective creative media, aiming to broaden the boundaries of images as representation mediums from this value.
In this part, film photography static images act as the basis, including multi-image groups with spatial and porous metaphors, digitally collaged space-expansion image combinations, and prose-style independent image paper-based publications; experimental moving images captured with Super 35 digital cinematography are further introduced, including a silent short film installation and two sound short film installations.
Through such three parts of exploratory creative practices that are seemingly unrelated yet interconnected, they have observed and become aware of a faintly hidden motivation, an emerging thread, a pervasive methodology: the re-narration of spatial metaphor.
Product Spec Sheet
Were your products used?
Join as a manufacturer to add your products.