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Shinjuku Tokyo

Alice

Taipei, Taiwan
Collaborated with ARMU Design, MUD and UTA 

In 2011, the intense nine weeks of Occupying Wall Street in Zuccotti Park not just draws people’s attention to the social and economic crisis, the exercise of protest between physical space and social network─which once conceived as two parallel domains─gives us a lesson of reconstructing public domain in New Media age.

The project “Alice’s Occupying” is trying to explore new possibilities of public space with this premise. It isn’t totally physical nor virtual but integrates the two, and allows citizen to engage in the making of the public sphere through different places, media and networks.

The proposal is a group of temporary structures that are constituted of numerous balloons of 24” in diameter that floats over the plaza of Taipei Fine Art Museum. Everyone can buy balloons on site, it’s app or website, then release them to the suspended nets that are propped up by seven balloon towers with different programs and functions like social forum and classroom. With citizens’ engagements, the balloons will gradually form “clouds” that can be shelters, works of art resulting from collective action or, a playscape full of joy.

After the 3 months’ exhibition, the reusable balloons will be sent to their owners’ place. It aggregates and emerges in the city with people, declares it’s capricious but absolute essence and opinions, and in the end, disperses into the city again.


Today at work I told someone I was a history major when they asked what I was studying in college…. they then looked at me like I was stupid and said “What in the hell are you going to do with History”…. and I stood there thinking wow could you imagine thinking the greater narratives of history don’t matter and don’t directly effect how today is….

vimeo

CLAS & ARMU Design, Alice, Taipei (2013)

“Art, be it painting, literature, or architecture, is the remaining shell of thought. Actual thought is of no substance. We cannot actually see thought, we can see only its remains. Thought manifests itself by its shucking or shedding of itself; it is beyond its confinement.“

─John Hejduk, "Evening in Liano,” in Elizabeth Diller, Diane Lewis, and Kim Shkapich, eds.,Education of an Architect (New York : Rizzoli International, 1988), pp.340-341

“Though modern society does not recompense its intellectuals judiciously, it still tolerates the old arrangements as to property which are a serious barrier in the way of transforming the town or the house. Established property rests on inheritance and its highest aim is a state of inertia, of no change and of maintaing the status quo. Although every other sort of human enterprise is subject to the rough warfare of competition, the landlord, ensconced in his property, escape the common law in a princely fashion: he is a king. On the existing principle of property, it is impossible to establish a constructional programme which will hold together. And so the necessary building is not done. But if existing property arrangements were changed, and they are changing, it would be possible to build; there would be an enthusiasm for building, and we should avoid Revolution.”

—Le Corbusier, “Towards a  New Architecture” (1931), In Architecture or Revolution, (London: J.Rodker, 1931), pp.280-281

Josef Hoffmann, Stoclet Palace, Brussels, 1911

“Photography was born at almost the same time as the railway. The two evolve hand in hand─the world of tourism is the world of the camera─because they share a conception of the world. The railway transforms the world into a commodity. It makes places into objects of consumption and, in doing so, deprives them of their quality as places. Oceans, mountains, and cities float in the world just like the objects of the universal exhibitions. “Photographed images,” says Susan Sontag, “do not seem to be statements about the world"─unlike what is written,or hand-made visual statement─"so much as pieces of it, miniatures of reality that anyone can make or acquire.” Photography does for architecture what the railway did for cities, transforming it into merchandise and conveying it through the magazines for it to be consumed by the masses. This adds a new context to the production of architecture, to which corresponds an independent cycle of usage, one superimposed upon that of the built space.“

—Beatriz Colomina, Privacy and Publicity: Modern Architecture as Mass Media, p.47

“Loos realized that modern life was proceeding on two disparate levels, the one of our individual experience and the other of our existence as society. For that reason he renounced both the delusion of masks and the invention of esperantos. For Loos it was hopeless to try to render the outside in the experiential terms of the inside. They are two irreducible but interdependent systems. The interior speaks the language of culture, the language of the experience of things; the exterior speaks the language if civilization, that of information. The interior is the other of the exterior, in the same way as experience is the other of information, culture the other of civilization.”

—Beatriz Colomina, Privacy and Publicity: Modern Architecture as Mass Media, p.37

*Adolf Loos, Rufer House, Vienna, 1922.