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02/16/2016

Casting Doubt

Sean Soo Hyuk Choi, Kevin Gurtowsky, Yunzhi Ou (website)
University of Michigan, Taubman School of Architecture and Urban Planning
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Casting Doubt generates ambiguity in the architectural relationship of solid/void and figure/ground. Using Gestalt principles of perception as a primer, the project explores the potential reading and misreading of volume, mass, and figure. Three-dimensional forms created through the extrusion and revolving of geometric profiles are composed to create a variety of spaces ranging from small, nested niches for individuals to large, open zones for gathering. All are devoid of conventional registrations of occupation and seamlessly blend the habitable and interstitial. This massing strategy alternates between subtractive and additive readings, gradually building up and unifying disparate pieces. Overall, the building appears as both an eroded mass and an agglomeration of smaller, abstract figures.

Referencing the historic building type of the Italian palazzo, the building has three-stories and an interior courtyard. Conventional features of the palazzo such as symmetry, cornices, vertical facade, and portico appear and disappear as the modified figural blocks form a porous yet coherent whole, from which silhouettes emerge and fade depending on the viewer’s perspective. The plasticity of form encourages meandering as one traverses the terrain of the palazzo of objects. Casting Doubt produces a bewildering atmosphere of solid and void – and casts the subject as simultaneously within and out.

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This project is an exploration of ambiguity between figure and ground, solid and void, novelty and history, curiosity and recognition.

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Using Gestalt principles of perception as a primer, the project investigates potential readings and misreadings of volume, mass, and figure.

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With human proportions and activities in mind, a set of revolves and two-way extrusions are created as building blocks for inhabitation. This is our alphabet.

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Pieces are combined to create characteristic moments resembling elements in the historical palazzo. These are our words.

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Moments are then linked to construct sequences of varying experiences ranging from small, nested niches for individuals to large, open zones for gathering. Strung together, these are our sentences.

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They are devoid of conventional registrations of occupation and seamlessly blend the habitable and interstitial.

07_casting-doubt_ou-etal

Alternating between subtractive and additive readings, this massing strategy gradually builds up and unifies disparate pieces.

08_casting-doubt_ou-etal

Overall, the building appears as both an eroded mass and an agglomeration of smaller, abstract figures.

09_casting-doubt_ou-etal10_casting-doubt_ou-etal

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Referencing the historic building type of the Italian palazzo, the building has three main stories and an interior courtyard.

12_casting-doubt_ou-etal

Conventional palazzo features such as symmetry, cornices, and portico appear and disappear as the modified figural blocks form a porous yet coherent whole, from which silhouettes emerge and fade depending on the viewer’s perspective.

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Each facade also produces a distinct approach to the building, allowing for different levels of enclosure, openness, and recognition.

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The plasticity of form encourages meandering as one traverses the terrain of the palazzo of objects. Engendering a bewildering atmosphere of solid and void, this project casts the subject as simultaneously within and out.

  15_casting-doubt_ou-etal 16_casting-doubt_ou-etal 17_casting-doubt_ou-etal 18_casting-doubt_ou-etal 19_casting-doubt_ou-etal 20_casting-doubt_ou-etal 21_casting-doubt_ou-etal 22_casting-doubt_ou-etal 23_casting-doubt_ou-etal 24_casting-doubt_ou-etal 25_casting-doubt_ou-etal

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