The conceptual design for shanghai is a theoretical exercise in thematic processes, an investigation into architectural language as a lexical device governed by thematic parameters and syntactical structures. The lexicon is rather a series of architectural devices and tectonics composed as an interface for a subject and object experiencer. These tectonics thread through an arrangement of digital art and light sculptures as a syntax of meaning and definition to the overarching architecture. The correlation between lexical properties and syntactic structures are modes of operation in which the architecture emerges. Meaning and experience are not limited by surface and material association; but when art and technology are introduced, the system of thematic structure becomes visible in its lexical and syntax relationship. The art work in the form of digital projection, light sculpture, and diverse mediums perform as aspectual properties, unlike the thematic tectonic shapes and form. They become interface entities; these entities are mediators between spaces and the architectural body. The subject experiencer correlates the differences in the art and tectonic expression, but the event in which these entities project are undefined allowing emergence in activity to develop and operate.
By choosing a site in Shanghai next to one of its largest art communities (M50), the lexicon takes on a more complicated system of thematic roles, in terms of urbanism, communities, and art-architecture relationships. Experimental art in the form of light and projection become mediators within the urban context as well as the architectural interface. When integrated, a manifestation of events and experience arise. The syntax correlation of the art coordinates, or gives an ordering to the diverse tectonic assembly. The togetherness of its system homogenizes its formal abstraction. An architecture of this kind is directed as a nexus by which entity nodes and experiential effects are magnified. The complex itself is a series of corridors, plazas, galleries, and platforms arranged in a seemingly fragmented array of steal shells. Its fragmentation is rather directed toward experiential effects. The architectural interface for art allows for an openness to new possible arrangements for viewing and experiencing new mediums. As a lexical device, the syntactical systems of art integration can thematically and programmatically give its structure meaning and definition.
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