Device of Perception Nofoaga Tuufaatasi o Aganuu e Yuting Zhang

O le mamanu Device of Perception Nofoaga Tuufaatasi o Aganuu e Yuting Zhang o se manumalo maualuga tele o le fa'ailoga mamalu 2022 A' Design Award Apamemea i le Vaega Tauva Mamanu Fausaga Fale.

ApamemeaFausaga Fale· 2022

Device of Perception Nofoaga Tuufaatasi o Aganuu

na mamanuina e Yuting Zhang

Tagata Fa'atau: Yuting Zhang

Manumalo o le A' Design Award Apamemea i le Vaega Fausaga Fale

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Manumalo Fa'ailoga Fa'amaonia

Fa'amaonia le Tulaga o le Fa'ailoga mo #138650

Asiasi i le Saite Va'ai i le A' Design Award Fa'asalalauga Pailesi o le Fa'ailoga

Lanu

Le Mamanu

E Uiga ia Device of Perception Nofoaga Tuufaatasi o Aganuu

O le Device of Perception o se nofoaga tuufaatasi o aganuu i Mexico City, o loʻo tuʻu i le va o se pitonuu tuai maualalo ma se atinaʻe pisinisi maualuga. E aofia ai le nofoaga pe tusa ma le 4500 mita fasitetele ma e iai se potu lauga, se fale tifaga laitiiti, avanoa faʻaaliga, ofisa, potu teuoloa ma se kafe. O se malae ulufale maulalo ifo o loʻo vavaeeseina le fale mai le alatele pisi ma avea o se faalauteleina o le tulaga i totonu. O fola taitasi o le olo puupuu ua liliu i le kuata liliuga, ma fausia ai se ala faaali lautele pi'o ma vaaiga faavaa o le aai. O loʻo faaaogaina le sima faamalosia ma uʻamea faʻasaʻo tau.

Le Fa'ailogaina

E Uiga i le A' Design Award Apamemea

O le A' Design Award Apamemea na manumalo ai Device of Perception Nofoaga Tuufaatasi o Aganuu, o se faamaoniga matuā mamalu e tuuina atu i mamanu ese e iloga i le fatufatuaʻi, le atamai ma le poto. O ē manumalo i le Apamemea o mea e iai le tomai atoa ma fatufatuaʻi mataʻina e faamaonia ai le poto masani tele, le mafaufau ma le atamai o tagata mamanu. E faamoemoeina Device of Perception Nofoaga Tuufaatasi o Aganuu e avea ma mea e vivii tele, ua pelepelea, e iloga i le tomai faapolofesa ma mea fou. O lenei mamanu na manumalo i le A' Design Award Apamemea e tuufaatasia ai faiga sili i le faatufugaga, saienisi, mamanu ma tekonolosi ma e sili ona lelei i le mataituina o mea itiiti. Device of Perception Nofoaga Tuufaatasi o Aganuu e faamalieina matagofie manaʻoga, pa i manaʻo, faalataina lagona ma faaosofia le fia iloa.

I Tua o le Mamanu

Pepa Fa'asalalau

Fa'amaoniaga, sui o le 'au ma fa'amatalaga fa'atekinisi na saunia e le tagata mamanu.

Uiga Fa'apitoa: 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.
Fua & Fa'apipi'i: Approximate total area 4500 square meters, with main conference/lecture hall, small theater hall, exhibition space, offices, storage, cafe.
Fa'ailoga: cultural center, gallery, theater, exhibition
Tekonolosi Gaosiga: 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.
Lu'itau o le Mamanu: 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.
Su'esu'ega: 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.
Fa'aosofia: 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.
Umi o le Poloketi: 2017 in Mexico City
Fa'agasologa o Galuega: 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.
Sui o le 'Au: Yuting Zhang
Fa'aaloaloga o Ata: Yuting Zhang