The point of departure for the Gwangju Gazebo is Gottfried Semper's Bekleidungstheorie (principle of clothing), which defines the relationship of a building's core to its envelope or enclosure. According to Semper, is the these envelopes, with their origins in weaving and fabric screens, that constitute architectural space. The core structural system is simply a derivative of the envelope.
The Gwangju Gazebo mirrors this approach, and explores how Bekleidung (clothing) could be formed using today's computational tools. The first computational approach to clothing is arguably the Jacquard loom, which used punch cards laced in a sequence to produce of complex patterns in textiles.
With today's tools, we can go beyond such a sequential control of operations, and allow for patterns that are formed through spatial interrelations. This frees patterns from a linearity and a simple rhythm. A language develops that doesn't rely on discrete elements, and therefore creates patterns at continuous and nearly endless scales.
The Gwangju Gazebo thus uses computational to produce a contemporary ornamental cloth or envelope. Geometric motifs appear and then dissolve in larger formations. Certain constellations are unique, while others appear at irregular intervals. The resulting lace cloth - overlayed onto a simple metal structure - constitutes a rich and vibrant space, with a lively flux of light and shadows.
Gwangju Gazebo in figures
|Venue:||Installation at the Gwangju Design Biennale 2017|
|Material:||Panels of layered laser-cut LYSIN sheet (3 sheets laminated to form panel)|
|Structure:||Welded metal sub-structure|
|Geometry:||Polygonal adaptive mesh with extrusion and variable offset (~340,000 triangles)|
|Dimensions:||2400 x 1600 x 3700mm|