Device of Perception Kikowaena Moʻomeheu na Yuting Zhang

ʻO Device of Perception Kikowaena Moʻomeheu na Yuting Zhang he mea lanakila hanohano loa o ka 2022 A' Design Award Keleawe ma ka Māhele Hoʻokūkū Hoʻolālā Hale, Kūkulu a me Hōʻuluʻulu.

KeleaweHoʻolālā Hale· 2022

Device of Perception Kikowaena Moʻomeheu

na Yuting Zhang

Mea Kūʻai: Yuting Zhang

Mea Lanakila A' Design Award Keleawe ma ka Māhele Hoʻolālā Hale

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Mea Lanakila i Hōʻoia ʻIa

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Kipa i ka Pūnaewele Nānā ma A' Design Award Hoʻolaha Nūhou Hōʻailona Makana

Nā Waihoʻoluʻu

Ka Hoʻolālā

E Pili Ana iā Device of Perception Kikowaena Moʻomeheu

ʻO ka Device of Perception he kikowaena moʻomeheu ma Mexico City, e waiho ana ma waena o kahi wahi kahiko haʻahaʻa a me kahi hoʻomohala kālepa kiʻekiʻe. Ma luna o 4500 mika huinahā ke kikowaena a loaa ai kahi keʻena haʻiʻōlelo, kahi hale kiʻiʻoniʻoni liʻiliʻi, kahi wahi hōʻikeʻike, nā keʻena hana, wahi mālama waiwai a me kahi hale inu kофи. Hoʻokaʻawale ʻia ka hale mai ke alanui paʻa i ka hele ʻana e kahi pā komo i hoʻohaʻahaʻa ʻia, a lawelawe ia ma ke ʻano he hoʻonui ʻana o ke kahua ma loko. Hoʻohuli ʻia kēlā me kēlā papahele o ka hale kiʻekiʻe pōkole i hoʻokahi hapahā huli, e hana ana i kahi hale hōʻikeʻike lauwili lehulehu me nā ʻike wahi kaupoku o ke kūlanakauhale. Hoʻohana ʻia ka concrete hoʻoikaika ʻia a me ka mea hao ʻula (weathering steel).

Ka Hoʻomaikai

E Pili Ana i ka A' Design Award Keleawe

Ua lanakila ka hoʻolālā Device of Perception Kikowaena Moʻomeheu i ka A' Design Award Keleawe, he ʻike hoʻohanohano nui loa i hāʻawi ʻia i nā hoʻolālā kūʻokoʻa i ʻike ʻia ma o ka hana noʻeau, ka akamai a me ka makakoho. He mau hana mākaukau a hana noʻeau kupaianaha nā lanakila Keleawe e hōʻoia ana i ka ʻike nui, ka noʻonoʻo a me ka maʻalea o kā lākou poʻe hoʻolālā. Manaʻo ʻia ʻo ka hoʻolālā Device of Perception Kikowaena Moʻomeheu he mea i mahalo nui ʻia, hoʻohiwahiwa ʻia a aloha ʻia, he ʻoihana a hou loa. ʻO kēia hoʻolālā i lanakila i ka A' Design Award Keleawe e hoʻohui ana i nā hana maikaʻi loa o ka hana noʻeau, ka ʻepekema, ka hoʻolālā a me ka ʻenehana, a maikaʻi no kona nānā ʻana i nā kikoʻī. Hoʻokō maikaʻi ka hoʻolālā Device of Perception Kikowaena Moʻomeheu i nā pono, hoʻopā i ka makemake, hoʻohiwahiwa i nā manaʻo a huki i ka makemake e ʻike.

Ma Hope o ka Hoʻolālā

ʻEke Nūhou

Nā hōʻoia, nā lālā hui a me nā kikoʻī ʻenehana i hāʻawi ʻia e ka mea hoʻolālā.

Nā ʻAno Kūʻokoʻa: The site is in between the low rise colonial historic quarter and the high rise commercial development, as an intersection node full of complexity in Mexico City. The cultural center is not only an exhibition space for Mexico City but could also be regarded as the device of perception. The perception is twofold in this project. One is that exterior plaza as the extension of the interior stage, the other is that a spiral path with various scenery frames as the narrative to understand the city.
Nā Ana a me ka Hoʻopili: Approximate total area 4500 square meters, with main conference/lecture hall, small theater hall, exhibition space, offices, storage, cafe.
Nā Lepili: cultural center, gallery, theater, exhibition
ʻEnehana Hana: The cultural center is constructed using reinforced concrete. Informed by “stereotomic” architecture, the board-marked concrete walls of the center are treated as a found object. Corten is another material been introduced to the project. The use of the weathering steel creates an immediate visual link between past, present, and future.
Pilikia Hoʻolālā: The selected site is adjacent to Zarco Plaza, public plaza alongside the Church of San Judeas Tadeo, near the convent of San Hipolito, located on Reforma Avenue at Avenida Hidalgo, which is an intersection node full of complexity in Mexico City. The design challenges are how to use space to fully interprete the surrounding urban context and the rich cultural and history narratices.
Noiʻi: Explore how experimental miniature stage was used as a space in which objects, 2-‐dimensional drawings and 3-‐dimensional constructions of different scales could coexist in a seemingly unproblematic way, to see how the same spatial base was used to accommodate different scenarios and situations, just by moving props around, adding surfaces and changing backdrops.
Hoʻoulu Manaʻo: Aldo Rossi's Project the Small Scientific Theatre from 1978 is taken as a starting point to reflect upon the relation between architecture and image, and between object/ prop and space/ stage. The theatrino models made for the project then have borrowed this primary idea from Aldo Rossi to explore how does the Zarco Plaza could be regarded as the extension of the stage of the auditorium. The definition of performers has been extended in the exploration.
Ka Lōʻihi o ka Papahana: 2017 in Mexico City
Kaʻina Hana: The sunken entrance plaza of the cultural center creates a tranquil start of the narrative, separating the cultural center from the heavy traffic La Reforma Avenue. The lower ground floor surrounding the sunken plaza houses the art storage facilities and a cafe, maximizing publicly accessible space continues from the plaza into the lobby of the building.
Each floor of the short tower is twisted a quarter turn, which creates a large spiral public gallery as the extension of the interior exhibition space. The story of the city has been told through the switch-over between the interior gallery and different compositions of historical layers from the breaking points/openings in the cube of the spiral path. Two auditoriums have been embedded in this spiral discourse, with lectures, talks, debates, conferences, and film screenings conducted in front of the urban backdrop.
Nā Lālā Hui: Yuting Zhang
Nā Kuleana Kiʻi: Yuting Zhang