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project description Wu-Lung Lu

Life of Water

“Everything flows, and nothing stays.”……Greek Philosopher Heraclitus “The highest excellence is like water.”……Tao Te Ching

The Context Water is a vital element of this planet. It constitutes our bodies and plays a primary role in nature, but we seldom treat it consciously. It is often seen as an exploiting resource, and we built our environment under this idea of control. This gives us insufficient possibilities to engage with water in different manners. More problematically, this mindset distances human beings from nature, creating a false impression that we lead our lives in an envelope that does not belong to the ecosystem. From ongoing effort by many environmental groups, we can already see opposition to this notion that humans are apart from and in control of nature. Thus, how architecture can join these discussions become an urgent question.

Instead of a site-specific approach, this project starts from broad researches on water itself. This process embodies transitory and receptive gestures of water. It includes how we represent water in media, how we perceive water to shape cultural meanings, how water appears in diverse states, and how water performs on objects. All these researches reveal the fact that despite the variety of forms in which water is presented to our eyes, it is bound to have its oneness. This project argues that if architecture can situate us to grasp this oneness, it can arouse our awareness that humans are part of the one.

The Project This project is intended to evoke a reverence for nature and a reminder of the cycle of life. It proposes to reimagine a new form of dwelling. The architecture is designed not only as a shelter for a three-person family but also as vessels (philosophical context) that water performs or influences. This dwelling is located in a remote natural environment, near a mountain lake, which has four distinct seasons. This project is a manifesto to see architecture as water, in a state of flux.

Narrative as method This project is centred around a narrative including five moments happening in the dwelling - from spring, summer, autumn, winter to spring. Each moment unfolds several fragments- a stage of this family, a part of their lifestyle, their perceptions or actions water triggers, water effects on architecture, nature phenomena process. As time spreads out, it tells evolvements, interactions, and relations throughout the presence of water among three interdependent and interrelated entities- humans, built environments (vessel), and natural environments (water). Together it reflects the oneness of water, a recurrent essence of ourselves and surroundings.

Dwelling Innovation This dwelling consists of five architectural elements, which inherited the essence of five selected objects from the research phase. Each element has its own material gesture that water interacts with in relation to the narrative. Collage is used as a technique for assembling them as a whole.

1. mesh 2. well 3. roof 4.wall 5. shingle Wu-Lung Lu

Reflection on diploma program

The diploma program seems far away from the later project. I believe that it is more like a starting point of a journey rather than a map for the whole path. This project starts with curiosity of “How can water form spatial narrative?” It clearly says I am more focusing on its process rather than a proposing agenda. With no intention to form or follow a formulated program at the beginning, this project has manoeuvred into many directions, not only in the research phase but also in the design phase. I believe this is an appropriate way to tackle water, following its flow, and to see where architecture arise. The diploma program is a part of understanding water within different narrative contexts, and it does influence how the later designed project is considered and told. Tales of Water - a narrative in flux among language, film, and architecture

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Wu-Lung Lu Bergen Arkitekthøgskole 2020 diploma program Tutors: Cristian Stefanescu, Andrea Spreafico bibliography Appendices- cv+bas projects Appendices- 13 WHEN-schedule thoughtsaboutstudytrip 12 thoughtsabout1:1approach 11 thoughtsaboutsite potentialpaths HOW- methodology 10 MediumIII:Architecture MediumII:Film 09 MediumI:Language 08 SocialScienceEssay Excerpt 07 Exploration- Primary mindmap 06 WHY- thesource 05 WHAT- core questions 04 Introduction- keywords 03 02 | Table of Contents| | Table of lexicon water-themed films list of illustrations list of concept model concept 05 06 07 08 09 10 04 03 02 01 13 12 11 cover

01 | Introduction |

This project is to explore how to create space through a flux of water-themed narrative among “ Architecture is not only different media, such as language, film, and archi- functional object but also tecture. It was born from not only my predilection for both narrative and water but also practice in film

symbolic object, which and architecture disciplines. WATER is profoundly 02 and materially a system of poetic fidelity. It is the functions as a form of theme, the site, and the narrative. It gives birth to spaces. By the possibility across media and ponder mass communication. ” on the multifaceted meanings of water, I am in search of how WATER can form spatial narrative.

| Keywords |

Narrative / Media / Water rephrase from Umberto Eco’s article “Function and Sign: Semiotics of Architecture” Language / Film / Architecture core questions core

What role can the notion of narrative play in space making?

What does WATER mean to spatial narrators? 03

How can WATER form spatial narrative? WHY

| The Source |

This project was born from my predilection for both narrative and water. On the one “ Water is a complete hand, I am fascinated by the power of narratives, such as novels or films, and I was poetic reality. A poetics also involved in several ways of practicing narratives, such as prose writing in manda- of water, despite the rin, film-set designing engagement, and, 04 unquestionably, space making in architec- variety of ways in ture training. On the other hand, as a swimmer and sauna addict, water creates which it is presented to intimacy through my bodily experiences. It is a form in flux, carries various meanings our eyes, is bound to within given contexts, and can be interact- have unity. ” ed with human bodies in many ways.

Water and Dreams: an essay on the imagination of matter, Gaston Bachelard | Mind Map | Primary Exploration

This diploma project starts from a personal curios- In other words, to analyse narrative in one film is ity of correlations between film and architecture to establish a new way of understanding spaces. fields. Through architecture academic training On the other hand, the form of the film introduces and film set designing engagement, I noticed some a new way of representing or creating space. discussions have pointed out potential in-between connections. At first, I used mind maps to explore Lastly, film sets function as an actual space for these findings, and it raised two questions concern- shooting and acting with peculiar spatial quali- ing subjectivity. ties— sensuous, evocative, ephemeral, decayed, characteristic, and changeable. They record the How do I grasp my existence? How do I engage myself in trace of time in the ageing process to achieve the space? convincing illusions. They are framed as filmic

spaces but also exists in architecture spaces. They 05 As an architectural profession who tackles “space”, are both present and absent. soaking in film, both as an audience and as a set designer, expands my epistemology of space. I As the mind map drew two axes of architecture believe the two ends should inform each other so as space and filmic space, I further introduced Water to open up more possibilities of space making. as a central place where two ends interact. This Film can be considered as visual art that conveys comes from my predilection of Water and it shows narrative and has its own unique form. Narrative how my subjectivity constructs this diploma. Swirl decides how we (re)view our existence and links Mind Map (fig.7) is the last attempt within this strongly to the experience of space. Form decides mindmap exploration series. As the following how we communicate what we (re)view and relates drawings, you can see clearly how it evolved to the representation and the creation of space. successively from reflections of conversations. fig.1 First draft about diploma fig.2 1027 Talk with Cecilie Andersson 1028 Feedback and Reflection fig.3 Second draft about diploma fig.4 1101 Talk with Tom Chamberlain 1101 Feedback and Reflection 05-1

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fig.7 Swirl Mind Map | Social Science Essay Excerpt | Social Science Essay ExcerptSocial Science Essay This essay is to explore what narrative means to space Narrative is a fundamental human phenomenon, and it making. At first, I introduce the general idea of narrative, means the representation of an event or a series of events. mainly based on H. Porter Abbott’s book “The Cam- It has characters and setting, expressed through media bridge Introduction to Narrative”. It talks about narrative selected by a narrator to covey a story. It strongly connects as a fundamental human phenomenon, and how narra- with time and recipients can interpret it thereafter. Its tive functions and how it is constructed through different main driving force is conflict and it moves with recipients’ media. expectations or questions. It ends with the closure of conflict. And then, “Across Media” explores how the same story, in which water as its theme, is being told through three Through different attempts and analysis across three different kinds of media— language, film, and architec- media— language, film and architecture, which centred ture. As for the architecture part, I reference Umberto in the image of water. Its unity embraces all information 06 Eco’s article “Function and Sign: The Semiotics of Archi- as a whole and represents my fluid mind. I see some tecture”. And this part also includes my first attempts in potentials applying narrative in space making. One is to Concrete Poetry and narrative analysis on Kieślowski’s consider architecture as a symbolic object, the other one is film. And then, next part explains my intention to choose to apply cinematic experience into spatial sequences. water as the central theme and contains some thoughts from reading Gaston Bachelard’s book “Water and If architecture does function as a form of communication, Dreams: An Essay on the Imagination of Matter”. to what extent can an architect leave for users free to inter- pret? and how to make that happen? If the experiencing Lastly, I end up this essay by comparing different media, of architecture accounts for the more important role and raising some important questions such as “how can while making space, how does the story come from? More we create space out of narrative?” importantly, how can we create space out of narrative? Narrative is a fundamental human phenomenon.

/0#)1 It means the representation of an event or a series of events. Even a simple sentence “She 3"*4*51#4 !#11')2 swims in a pool” qualifies narrative. (fig.8)

Narrative conveys story through media. In this !"#$$$%&'(%$$$')$$$*$$$+,,-. case, it conveys an event through written language. English. Events always have character, and

mostly, have setting. Setting is what we, architects 6#7'* or spatial narrators, care about.

If many events, causation is the most effective skill for a narrator to link them together. But not every 06-1 narrative has. Recipients actually have the capacity 6-2(-4&/, to fill in the gaps themselves. !"#$%&'#() !"#$123(4($/24$/5 $*-4#3) Conflict is a driving force, makes recipients wonder and question, motivates them to go through the narrative. But not every narrative need. !"#$$$(*&+($$$&,$$$-$$$.//0) !"#$$$(*&+($$$&,$$$-$$$.//0)

Besides, sequence sometimes matters.

!"#$123(4($/24$/5 $*-4#3) !"#$%&'#() The purpose of narrative is to breed meaning, understand our condition, and allow us to commu- nicate, not only to others but also to ourselves.

fig.8 Narrative Structure Interpretation is the process of carefully select- gaps. This is certainly because so much of the art ing, inflating or neglecting information within of film is an art of gap management that Eisen- narrative and makes another narrative sensible for stein called “montage.”[1] Montage motivates the recipients themselves. dynamic hybrid of connotation among events.

Adaptation allows stories to travel from one Many architectural studies have pointed out narra- medium to another, usually a novel first and film tive relations. Bernard Tschumi says, “There is no adaptation thereafter. architecture without action, no architecture with- out event, no architecture without program.”[2] In Due to the characteristics of each medium, we can Sergei Eisenstein’s book “Montage and Architec- see the process of adaptation as creative destruc- ture”, the Acropolis of Athens has an equal right to tion. It cultivates multiple layers of the same story, be called the perfect example of one of the most activates diverse meanings and expends wide ancient films.[3] Based on these thoughts, we can possibilities for various interpretations. apply narrative into the spatial experience, treat 06-2 the sequence of space as a series of events. In some Language, written language in particular, such as existing spatial types, we can already see examples. poems, novels and so on, can provide a primary In the cases of Chinese or Japanese gardens, the script. It normally lacks visual information and principal of space making gives users strong hard to access the essence of narrative quickly in cinematic experiences with the technique of comparison to the medium of film. Film has lots of borrowed scenery[4] or enframed scenery. control over how to narrate the story by the essence of framing. I consider this interpretation and adaptation across media beneficial not only for the project but also Gaps between events might be another vital for space making, just like how montage technique difference between language and film. Written creates a film, bringing about potential paths for language narrative can’t feel so much presence of the next steps of my diploma project.

Medium I

What does WATER mean to us? language? of medium the by constructed narrative a is How narrative. as well. isthestartingpointof This sounds and signs acknowledge us the surroundings allow beings expressing thoughts and feelings. Conversely, human these utterance, first their gave ancestors our since Ever meanings. particular to signs particular relatethat rules of consisting tion, communica of system structured a is Language | Language| I -

07 07-1

fig.9 Principles of formation of Chinese Characters WATER 07-2

fig.10 Chinese Characters WATER as Concrete Poetry 07-3

fig.11 A Pool Here I explore the principles of formation in creat- the symbol of “flux” in Seal Script (the blue square), we ing Chinese characters[5] to see how ancient see it is combined with two components. The left, mankind expresses the notion of WATER. which depicts “water”, together with the right, which depicts “an upside-down infant with hairs”, (fig.9) The basic unit of Chinese character system expresses the meaning of “flux”. In short, this is one character, which carries a symbol, sound(s), symbol denotes an upside-down infant with hairs and meaning(s) altogether. If we look at the earliest floats in the water, and connotes “flux”. This is symbol of “water” (the top red square), which inscribed exactly a simple narrative to address one story. on oracle bones, we can see how they mimic the image of water, and this makes the first principle— Later on, I applied a set of Chinese characters, Pictograms. It is simplified pictures of material related to the meaning of water, into making Con- objects. And then if we look at the symbol of crete Poetry (fig.10) , a style of poems in which the “river” in Seal Script (the second red square), we see it is meaning or effect is communicated partly by using combined with two components. The left is the patterns of words or letters that are visible on the 07-4 water symbol we just saw, what linguists called page. These signs provide recipients two scales of semantic component, suggesting the general stares and express meanings respectively. They meaning of the compound character, while the hold some extent of unity in just one symbol but right, phonetic component, suggests the pronunci- share meanings in a transcultural way. They all ation of the compound character. This is Pho- represent different narratives of WATER. no-semantic compounds, which include the most numerous characters. And then, I apply Chinese characters into archi- tecture drawing, to convey the idea of “a pool” The third principle, Associative idea charac- (fig.11) , considering their meanings and forms. ters (compound conceptual characters) is to com- These water-themed characters involve different bine two or more pictographic or ideographic condition of human bodies. characters to suggest a third meaning. If we look at

Medium II

What does WATER mean to us? film? of medium the by constructed narrative a is How the in era. contemporary medium influential more and more the into itself distinguishes it now but plays, stage or novels,stories, famous fromadaptations many has and beginning the in theatre with associated was It “narrative”. embodied perfectly that fields art over a hundred years invented ago, it the has become one was of it since Ever stimulations. sensory other with along images moving of sequence a by that communicate stories, perceptions, atmosphere experiences simulate to used art visual a is Film | Film| II

08 fig.12 WATER scenes among Selected Films

Stalker, Andrei Tarkovsky, 1979, Russia

Three Colours: Blue, Krzysztof Kieslowski, 1993, French/Poland

The River, Tsai Ming-liang, 1997, Taiwan

The Tree of Life, Terrence Malick, 2011, USA

08-1 08-2

fig.13 WATER scenes in Kieślowski’s “Three Colours: Blue” 1:20:11

1:20:07

1:20:01

1:20:15 08-3

1:19:43

fig.14 A Pool According to Gilles Deleuze’s book, film contains to convey the recovery of the character’s social three main principals— Frame, Shot, and Mon- interaction with diverse angles of shots. tage.[6] With these, a narrator (a director) is capa- ble to operate a camera to shoot a series of events (fig.14) The last scene in the pool only has one long to tell a story. take, starting with “She dives” in the right, and camera slowly slowly rotates, even shaking in the I explored further by selecting several famous films middle, creates tension, and wonder of “where is from different regions in which WATER plays an she” and suddenly ends with “She bursts out of important role in narratives. I collected all water” in the left. The absence of “She swims in a WATER scenes from selected films. WATER has pool.” diverse functionality in their narratives. (fig.12) A pool is not just a pool. Here I used “Three Colours: Blue”, directed by Polish director Krzysztof Kieślowski, as my first For her it is normally a place to heal, but this time 08-4 example. It is about a woman who struggles to find becomes a place to suicide. a way to live her life after the death of her husband and child. Eco says there are “losses, recoveries, and substitutions” in architecture’s function and From this image (fig.13) , we can notice WATER has symbolic meanings.[7] various states in the story. Besides, a pool appears four times and is shot elaborately according to how By different distances of framing and camera the director narrates it. movement in relation to actors and settings, a director is allowed to emphasise surrounding, emo- First, to convey surroundings and the character’s tions, and action depends on different modes of interest with long shots. Second, to convey the narrative. character’s frustration with close-up shots. Third,

Medium III

What does WATER mean to spatial narrators? architecture? of medium the by constructed narrative is How narrators? tive mean to architecture? Can we see architects as narra does whatdiscourse, human narrative all in lies truly if However, in”. living for machine a “Aquote,Corbusier’s famous haveLe is we house So needs. various meet environmentsbuildto and design we think often we profession, architecture ity, and it is to construct built environments. As the art, science,knowledge technology,of and human spaces, and the Architecture is about the notion of | Architecture| III - -

09 09-1

fig.15 A Pool fig.16 A Pool afterthoughts | Concept model |

Ever since the first person built a pool, an “idea of the pool” has taken When I showed these models during my presentation, I poured in the shape. Then soon it becomes a model or a type, we can recognise water on the spot, combining with oral explanation, which is a perfor- other built environments as a “pool” through the understanding of mative way to present it. this type, then we can communicate, design or build a pool thereafter. In other words, the sign of pool gives us the overall shape, and signi- Comments from Cecilie pointed out the distinguishment between "a fies the existence of possible functions, and promote the act of using pool" and "water". Although pools appear very different, the mean- the pool. It communicates the function to be fulfilled. ing of water remains quite the same. However, comments from Pavli- na are "They are not pools until you pour in water." "It is the agency Architecture forms its sign within its social context. Its meaning is of water to create a certain identity of these two models." originated from its usage and later established not only by way of denotation but also by way of connotation. Eco uses window as an While doing these models, I was actually thinking “a pool” rather 09-2 example, and talks about “false windows” whose denoted function is than “water”. Next step I should focus on how to express different an illusion but function as one part of aesthetic rhyme in the meanings of WATER via the medium of models or other media. facade.[8] Recipients can enjoy a certain formal play in the sign vehicles’ contextual juxtaposition. When I cleaned models, I happened to discover an amazing fact that the brick (fig.15) can slowly absorb WATER, making “a pool” disap- Here I attempt to convey the idea of “a pool” via these two models. pear. If I can play this inner quality of material, mixed with subtle (fig.15, 16) The left one is made of one brick with an embed hole, while details, let “a pool” reveal or disappear under different spatial condi- the right one is made of an uncanny material between metal and tions, it will be a dramatic action not only beneficial for the whole plastic, which is foldable forcibly by hand. spatial narrative but also emphasise the essence of WATER. HOW

“ A being dedicated to water is a being in flux. ” 10 Methodology How will I continue? How will I continue?

Water and Dreams: an essay on the imagination of matter, Gaston Bachelard | Potential Paths | | Thoughts about SITE |

It is expected to further developed through cyclical The meaning of a site can vary in different types of diplo- approaches, not linear thinking or stubborn hierarchy. It ma projects. To me, a site functions as a given context to holds its fluidity, constantly reflects itself, redefines itself ground spatial response. With this definition, I consider on the way. Media such as language and film are seen as WATER, through a philosophical or phenomenologically main working media to permeate further steps. understanding, is the site of my diploma project for this phase. Working material: “Water and Dreams", Gaston Bachelard / Chinese Char- It is my feeling, consciousness, and awareness of WATER acters bank / Selected Films to shape this site, together with different meanings of WATER under different social or architectural condi- Potential Paths: tions. What I have to do is to unfold these relations, under- * To reconsider new meanings of WATER when it is seen stand these contexts, and act upon it. as medium, characters, or setting or under diverse 10-1 contexts. Site, spatial response, narrative will not develop step by step. It is not just a causation relation. It is more like * To explore language, like Chinese Characters(or Con- constantly searching in-between correlations to utilise crete Poetry), as the primary medium of narrative. Make materials so far to permeate new meanings. the first script of meanings of WATER. Make water-themed spatial events. Or other possibilities can be considered depends on what I define the role of WATER in the later phase. An existing * To explore film, via its different modes (frame, shot, site may be introduced if it is necessary for the narrative montage), as the secondary medium of narrative. Gener- or discover or communicate meanings of WATER. ate, fragment, reassembly, weave, reconnect of water-themed spatial events. Narrative creates a situation, a context, a site. | Thoughts about 1:1 approach |

1:1 approach is a way of involving bodily experiences to understand, reconsider and acting on the situation. Out of my weekly routine, I interact with water via swimming and saunaing. In addition, I visited many pools or baths while traveling across different regions of Europe. I have already stored many water experiences in my memory.

I will further attempt two new ways of touching WATER, one is diving, and the other way is floating tank.

For one period in my life, WATER means a great fear to me since I almost drown when I was a child. These two years, I endeavor swimming again and reconnect with 10-2 WATER. However, I can only stay on the surface and will be nervous about area where I cannot touch the bottom. I want to practice diving to understand how it will be like when the human body goes down to a certain depth.

Other than that, floating tank is a sensory deprivation tank. It is filled with shallow water which contains enough salt to create a specific gravity so as to float effortlessly. The primary function of the isolation tank is to eliminate as many of the external senses as possible. I want to expe- rience it to understand its condition.

fig.17 Diving - the depth of WATER fig.18 Floating - the surface of WATER | Thoughts about Studytrip |

The main stop of the study trip will be in Venice, Italy.

Italian writer Italo Calvino addresses the beauty of Venice through several stories in his book “Invisible city”. This book is full of symbolic meanings of Venice, a city that is constantly appearing in many artists', writers', musicians' minds. Rich in its history and hold its reverie. It is a city of water, manmade islands floating in the shallow Venetian Lagoon. Water is an ever-present agency when you travel through the city.

I am used to traveling for the purpose of self-reflecting, discovering and recreating. Roaming is an attitude of my 10-3 life and also fits in the essence of WATER, fluidity. I consider this trip as another marsh that can announce another vein of water. It will give a more empirical under- standing of how water influences human beings and how water facilitates the dynamic of a city.

During the trip, observing and recording is necessary via photographing, writing or other ways. In addition, I will also shoot WATER footage when I wandering around the city. Cinematography is a way of rediscovering condi- tions.

fig.19 "Venice" Series, photographer John Neyenesch WHEN

| Schedule |

January February March April May June

W2 W3 W4 W5 W6 W7 W8 W9 W10 W11 W12 W13 W14 W15 W16 W17 W18 W19 W20 W21 W22 W23 W24 W25 W26 W27

Study Trip

Essay Easter Holiday Exhibition Period Media Media Media Exam 0627-30

Narrative 11

Spatial Events Spatial Events 0423-24 Review Project Spatial Events External Review 0514-15 External Review Clearance Meeting 0106-07 Clearance Meeting Formulating Meanings Meanings Conceptual Presentation 0305-06 Conceptual Presentation

Social Science Presentation 0130-31 Social Science Presentation 1:1 apporach

Project Storytelling

Visualisation

Program Reprogram Finalisation

Developement Appendices

| Curriculum Vitae | | BAS Projects |

1:1 approach is a way of involving bodily experience to understand, reconsider and acting on the situation. Out

of my weekly routine, I interact with water via swimmingChristies gate 11 Lu Wu-Lung 5015 Bergen, Norway and saunaing. In addition, I visited many pools or baths1988/10/26, Age 31 [email protected] Architecturewhile Designer traveling / Film Set acrossDesigner different regions of Europe. I have+47 4058 6365

Education Bergen School of Architecture (BAS) (In Progress) Bergen, Norway already storedMaster many in Architecture experiences in my memory. 2017 - 2020

Katholieke Universiteit Leuven Sint-Lucas Gent Gent, Belgium Open Form: New Wood Open Form:

Erasmus exchange in International Master of Architecture 2018 - 2019 , Jacob , Eva Marco Tutors: I wanna further attempt two new ways, one is diving, and Course Master 2019 Autumn National Cheng Kung University (NCKU) Tainan, Taiwan Sandviken tomorrow Sandviken now the other wayBachelor is floatingof Science in Architecture/ tank. CGPA 3.76/ Ranked 2nd among 26 2007- 2011 Work Experiences Assistant Art Director Chiayi, Taiwan Father to Son (feature film) (TW), directed by Hsiao Ya-Chuan 2016- 2017 Fan’s House and Hardware store/ 383 sqm Due to the fact that I almost drown when I was swimming Associated Architectural Designer Yunlin, Taiwan at 11, , for one Refurbishment period of thein Hall my in SolarFarm life, Corporation/WATER 930 sqmmeans fear to2016

Individual Architectural Designer Chiayi, Taiwan 12 me. I tried hardBrick House/ to endeavor1,071 sqm swimming these two years2011- 2015

and reconnectAssistant with Art Director water again. However, I can onlyTaipei, stay Taiwan Silence (feature film) (USA), directed by 2014- 2015 Macao Waterfront/ 1,317 sqm The Ship on the surface.Nagasaki I wantStreet/ 2,726 to sqm practice diving to understand

Inquisitor's Office/ 1257 sqm Work For Spaces

how it will beSaishoji like Temple/ when 1235 the sqm human body goes down to a Tom Christof, Tutors: 2018 Spring Master Course2018 Spring Master certain depth.Production Assistant Taipei, Taiwan The Assassin (feature film) (TW), directed by Hou Hsiao-hsien 2013

Solo Exhibition Scenario Architecture / Taipei / hosted by Off-Site & Visualstructuringworkshop 2018

HonoursOther & Awards than Nominated—Program that, floating X-Site 2019 tank : en route is to a resonance sensory / Taiwan deprivation2019 Scholarship of Government Sponsorship for Overseas Study 2017- 2020 tank. It is filledReceived with full fee shallow waiver and living water expenses whichfor master programme contains enough Excellent Prose—Kinmen Literature Award / Taiwan 2016 salt to createBest aNew specific Designer—The gravity National Golden so Award as forto Architecture float / Taiwaneffortlessly. 2011 Excellent—Cross-Straits Architecture Competition for Graduate Projects 2011 President Education Award / Taiwan 2004 The primaryHonoured function by President of for thestudents’ isolation determination intank adversity is to eliminate

Workshopsas many Participated of theOpen Formexternal Summer School senses / Poland as/ hosted possible. by NIAIU I want to expe-2018 Move Stimulus Workshop / Taipei / hosted by International Design Alliance Congress 2011 rience it to understandAdvanced Cinemetrics itsWorkshop/ reaction HongKong/ and Brian McGrath its condition. from GSAPP 2011

Speeches & Interviews “Scenario Architecture”, Speech at Archiculture Forum, Taichung 2019 ADOBE Project Exclusive Interview by Zhe Chan in Sister Radio, Yunlin 2018 “When Architecture meets Cinema”, Speech to graduates of Dept. of Arch., NCKU 2016 (Un)Productive Landscapes (Un)Productive Tutors: Håvard, Ådne, Stina Ådne, Håvard, Tutors: “LU WULUNG creates new values”, Exclusive Interview by ChinaTimes Newsletter 2013 Course Master 2017 Autumn

Brick House Exterior Brick House Interior Appendices pp. 177. of semiotics theory,cultural the in reader : a : architecture Rethinking architecture” sign and “Function 1997, Eco, Umberto [8] pp. 181. of semiotics theory,cultural the in reader : a : architecture Rethinking architecture” sign and “Function 1997, Eco, Umberto [7] Athlone Press. London: movement-image. The 1 Cinema (1986). G.Deleuze, [6] 21 Jan. 2020]. [Accessed Chinese_characters https://en.wikipedia.org/wiki/ at: Available[online] characters.En.wikipedia.org. Chinese [5] (2020). Jan. 2020]. 21 Borrowed_scenery[Accessed https://en.wikipedia.org/wiki/at: Available scenery.[online] Borrowed (2020). En.wikipedia.org. [4] Architecture. and Assemblage, (10),p.110. Montage (1989). M. Glenny, and Y. Bois, S., Eisenstein, [3] Tschumi,[2] Bernard 1976,Screenplays to introduction Cambridge The narrative. Cambridge:CambridgeUniversity Press, p. 114. (2002). Porter H. Abbott, [1] jneyenesch.com/venice-series/ fig.19 "Venice" Series, John photographer Neyenesch, https:// handling/floating WATER,fig.18 -thesurfaceof https://metime.no/be Floating male-cast-and-crew-in-short-film-she-back so.no/news/2019/1/7/all-fe WATER,fig.17 of https://www.ko Diving-thedepth fig.16 APool fig.15 APool fig.14 APool fig.13 WATER scenesinKieślowski’s Blue” Colours: “Three fig.12 WATER scenesamongSelectedFilms fig.11 APool fig.10 WATER ChineseCharacters asConcrete Poetry WATER ChineseCharacters of formation fig.9 Principlesof fig.8 Narrative Structure fig.7 Swirl MindMap fig.6 1113Feedback andReflection fig.5 Third draftaboutdiploma1112Talk withPavlina Lucas fig.4 1101Feedback andReflection Chamberlain fig.3 Seconddraftaboutdiploma1101Talk with Tom fig.2 1028Feedback andReflection fig.1 draftaboutdiploma1027Talk First withCecilieAndersson | List of Illustrations| | Listof | Bibliography | - - - - *Landscape in the Mist, 1988, Theo Angelopoulos,*Landscape intheMist,1988,Theo Greece BigBlue,*The 1988,LucBesson,French Don't looknow, 1973,NicolasRoeg, UK Eclipse,The 1962,Michelangelo Antonioni,Italy *Knife intheWater, 1962,Roman Polanski, Poland L’Atlante, 1934,Jean Vigo, French **Europe *Roma, 2018,Alfonso Cuarón,Mexico Water, Shapeof The delToro, 2017,Guillermo USA A Cure for Wellness, 2016,, USA Pi,2012, AngLee, USA *Life of Life, 2011,Terrence*The Tree Malick, USA of *Café deFlore, 2011,Jean-Marc Vallée, Canada Mist,2008, FrankThe Darabont,USA aGeisha,2005, Rob USA Marshall, of Memoirs LifeAquatic*The withSteve Zissou,2004,Wes USA Anderson, Big Fish,2003,TimBurton,USA Cell,2000,TarsemThe Singh,USA Waterworld, 1995,Kevin Reynolds, USA Cape Fear, 1991,MartinScorsese, USA Psycho, 1960,Alfred Hitchcock, USA **America Return,The 2003,Andrey Zvyagintsev, Russia *Stalker, 1979,AndreiTarkovsky, Russia Solaris, 1972,Andrei Tarkovsky, Russia **Russia Parasite, 2019,BongJoon-ho, South Korea *Crosscurrent( Grandmaster( The Pietà, 2012,KimKi-duk,SouthKorea WaywardThe Cloud( Bow,The 2005,KimKi-duk,SouthKorea Water, Mehta,India 2005,Deepa , 2001,, Japan *In theMoodfor Love( Suzhou River ( *The River Chungking Express( A Sceneat theSea,1991,, Japan Seven Samurai( Rashomon ( **Asia 2017,JoachimThelma, Trier, Norway Mood Indigo, 2013,Michel Gondry, French Hours, Daldry, 2002,Stephen The UK Breaking theWaves, von 1996,Lars Trier, Denmark Kieślowski, French/Poland Blue,*Three Colours: 1993,Krzysztof 羅生門 長江圖 | List of Water-themed films| | Listof 蘇州河 七人の侍 一代宗師 ), 1950,AkiraKurosawa, Japan ,1997, Tsai Ming-liang, Taiwan 重慶森林 天邊一朵雲 ), 2016,Yang Chao, China ), 2000,LouYe, China 花樣年華 ), 1954,AkiraKurosawa, Japan ), 2013,Wong Kar-wai, HK ), 1994,Wong Kar-wai, HK ), 2000,Wong Kar-wai, HK ), 2005,Tsai Ming-liang, Taiwan science, technology, andhumanity. Architecture Montage camera. the movementsof the through also but on) so and (characters,data Shot can betreated asapurely spatial composition. and system, closed relatively a is sound) implicit even and colours, Frame that communicate stories, perceptions, atmosphere. Film page the on visible are that letters or words of patterns using by partly Concrete Poetry a thirdcharacters tosuggest meaning. ters) Associative idea (compound characters conceptual charac character. compound the The character.of pronunciation the compound suggests component the phonetic of meaning general the suggests compounds Phono-semantic material objects. simplified pictures of rules that relate particular signsto particular meanings. Pictograms: Language abstract thanthelatter. Theme/motif imagination. or experience her or his from fill to upon called is reader the that Gap language, film,painting etc. Medium/Media agency, inanarrative. Setting a narrative. agency are referred to in Humanlike entities capableCharacters: of and settings. Story astory.Commonly, thetelling of Narrative : Wolfgang Iser’s term for the inevitable voids in any narrative any in voids inevitable the for Wolfgangterm Iser’s: : combining two or more pictographic or ideographic ideographic or pictographic more or two combining : o nyta hc atrsadrlae h oeeto of movement the releases and captures which that only not : : a sequence of moving images used to simulate experiences simulate to used images moving of sequence a : : a sequence of events involving entities including characters including entities involvingevents of sequence a : ta wih s ihn h fae caatr, es props, sets, (characters, frame the within is which that : ms o h rmiig niis wih o cpbe f of capable not which entities, remaining the of most : : theway theshotsare edited. te ersnain f a eet f a eis f events. of series a of event an of representation the : a tutrd ytm f cmuiain cnitn o of consisting communication, of system structured a : te oin f sae, n te nweg o art, of knowledge the and spaces, of notion the : : a repetitive subject in narrative. The former is more te eil cneig nraie written narrative— a conveying vehicle the : : in which the meaning or effect is communicated | Lexicon | Te eatc component semantic The : -

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