INSTALLATION: GEO-COGNITION (2012)

GEO-COGNITION is based on the geometric concepts of projective geometry (duality principal) and the convergence theory, and the fusion of the four main geographic locations that had the most significant impact within the artist’s career and life.

The supervening confluences, which occur through transitional developments between the cities, are formalized by utilizing a form of projective geometry, and attach itself within an underlying cognitive geometrics theory.

The confluences of the cities, through its linearity and dynamics, are representations of both durational and formal natures of the transitions. These factors are carefully developed and linked to the artist’s respective influences and the relative time spent within the period of that city, resulting in the dynamic affects which transition between the axioms of the different skylines and planes. Formally speaking, the different skylines merge (converge) from one into another, creating a morphogenesis between the planes.

 Projective Geometry is the branch of geometry dealing with the properties and invariants of geometric figures under projection. In older literature, projective geometry is sometimes called “higher geometry,” “geometry of position,” or “descriptive geometry” (Cremona 1960, pp. v-vi).

The most amazing result arising in projective geometry is the duality principle, which states that a duality exists between theorems such as Pascal’s theorem and Brianchon’s theorem which allows one to be instantly transformed into the other.

More generally, all the propositions in projective geometry occur in dual pairs, which have the property that, starting from either proposition of a pair, the other can be immediately inferred by interchanging the parts played by the words “point” and “line.”

 

MATERIAL EXPLORATION:

The material exploration of GEO-COGNITION was made possible by utilising the byproduct of an architectural construction site. Fact shows that most US construction sites and construction managers overstock on more than 30% of building materials for construction.

Over 70 million tonnes (155 000 million pounds) of waste is produced in the construction industry each year. This amounts to 55 LBS per week for every person, about four times the rate of household waste production.

The EPS DOW insulation foam used to CNC mill, produce, and fabricate GEO-COGNITION was made possible through donations from an actual construction site (a commercial building on the campus of the University of Houston), whereby the site manager offered us to take the overstocked material.

Through reusing the overstocked insulation material, it provided us (the artist) complimentary materials for production, while also lessening the waste creation and dumping cost for the contractor. This type of cradle to cradle/grave approach to design allows an innovation of creation, and amalgamation between art and architecture.

Different material explorations, including the use of HIPS and MDF, and several prototypes were made before finalising on the EPS DOW insulation.

 

PROJECT CREDITS:

Designer:
Wendy W Fok | atelier//studio WF

 

Project Team:
Jose Aguilar & Michael Cutulle

 

Technical Consultant:
Tommy Joe

 

CONTACT:
info@studio-wf.com

WEBSITE:
http://studio-wf.com

 

EXHIBITED:
Come Up To My Room 2012
Toronto Design Week - Offiste
the Gladstone Hotel, Toronto, Canada

 

AWARDS:
Design Lines - Love Tags (1 of 100 selected best designs from Toronto Design Week)

 

PUBLISHED:
DesignLines Magazine
AZURE Magazine
CBC Television
ART Toronto Television

 

SPONSORED IN PART BY:
Burdette Keeland Jr. Design Exploration Center

Gerald D Hines College of Architecture, University of Houston
Saifee Signs & Graphics, LLC
Solid Apollo LED Lights

ARCHITECTURE: CFS WALL MODULAR - PROTOTYPE A (2011)

Cross-Fabricated Scaled (CFS) is an investigative prototype of experimental cross-fabrications between geometry and materials research, serving as a crossover between architecture and art?with a high concentration on the developmental nature of experimentation and details, relating to the scalability of a singular, yet repeated, patterning unit.

The emphasis of this piece is the seamless transition between scales of a composite geometry, which is an evolution of topologies, exploring the physical properties intrinsic within the technique of digital and analog design experimentations.

 

 

In fostering the synthesis of repetition and variation within a scalable logic, Cross-Fabricated Scaled anchors its design experimentation in exploring the challenges of producing a continuous surface condition through a composite unit which has the ability to seamlessly scale up through the minimized connection of parts.


The form-finding investigation and evaluation included active lab testing of physical models, in conjunction with computer simulation and optimization processes through a CNC (3D) milled prototype of each individual module, which attaches to a framing system.



In addition, the fragility of the forms and differentiated materials were conceptually assessed through experimentation during the design development research process. The final [whole] wall is constructed of modular self-supporting aggregates that seamlessly unite through a minimal connection of parts, creating a gradient of tessellation across scales.


The collective units could possibly scale ad infinitum, yet the perception of its parts is diffused through its design that expresses a maximum variation for a minimum amount of parts, which also allows for ease of transportation and construction. In order to fully express the effect of the scalar transition, the repeated units are best viewed as a formalized wall partition system, which can divide or constructed within a taciturn space.



Credits:

Phase I - Design & Project Team:
Wendy W Fok, Sue Biolsi

Phase I - Technical Consultant:
Daniela Kroenhort

Phase II - Design & Project Team:
Wendy W Fok
Jimmy Tong - Fabrication Consultant

Phase II - Material Consultants:
+ DuPont Corian Asia Pacific
+ LG Hausys - HI-MACS Asia Pacific

Copyright © atelier//studio WF + WE-DESIGNS.ORG, LLC

MATERIAL EXPERIMENTATION: CNC Corian (2010)

Method:
CNC 2D Milled, Thermo-Mold
Construction prototype

Material:
36mm Corian (Binded)

Design:
Wendy W Fok

Material Consultant:
Speedtop DuPont Corian - Asia Pacific

Date:
2010 - Present



Copyright © atelier//studio WF + WE-DESIGNS.ORG, LLC

INSTALLATION: Athens Fringe Festival 2009 - Mapping Networks ATTIKO (2009)

CONCEPT:
The ongoing mediation between the ever proliferating networks and the international boundary of maps has mediated the collective media of transportation as an additive mean of responding to the possibility of generating community and diversified understanding of visualization through understanding scale and media.

This installation of the hanging Attiko Metro tickets are to show the diversity in a site specific context, deliberating and identifying the importance of the collective which mediates the public, and how the public utilizes infrastructure. Through collecting old/used metro cards, the tickets will be hung in a manner where by it would represent the ATTIKO Underground Map.

The initial map would not be noticeable until someone stands parallel, underneath, the installation itself—then the clear perspective of the Athens Underground map would be revealed. Otherwise, from a distance, the tickets, hung in a poetic forest of transparent fishing lines, would look to the stranger like a repetitive diagram of an impermeable network/infrastructure.

FUTURE CITY MAPPING: NEW YORK, PARIS, VIENNA, & BEYOND

Title: Mapping Networks-ATTIKO

Design & Fabrication:
Wendy W Fok

Installation Team:
Natalia Kastravell, Vasilis Raptis


Completed:
15 - 21 JULY 2009
Location:
Gazi, Technopolis

Copyright © atelier//studio WF + WE-DESIGNS.ORG, LLC 

INSTALLATION: UNBUILT | ATHENS Mapping Communications Soundscape (2008)

CONCEPT:
Mapping sound is forming a place where sound becomes as much a part of auditory experience, as the material of sound itself. Architectural form hence, is a product of place-based sound features within a spatial experience of opportunities to situate a listener with an intensification of immediate experience that expands beyond a point of focus to an environmental situation.

This project is a discussion and negotiation where mapping communication is the mapping of sounds which cannot be built, but effected by the built. The aural geography and locational mapping becomes less a place-holder of spatial urbanistic viewpoints, but a broad theme of global listening points—thus, to listen to a sound, is to listen to the entire body of the sound world in microdetail (footnote).

LaBelle, Brandon - Background Noise: Perspectives on Sound Art
Introduction to Part 5: Soundmarks: Environments and Aural Geography Pg: 197

FUTURE SOUND MAPPING: PARIS, VIENNA, TOKYO, & BEYOND


Title:
Mapping Communication: Soundscape

Design & Fabrication:
Wendy W Fok

Installation Team:
Natalia Kastravelli, Vasilis Raptis

Dates:
(2nd Tour)

15 - 21 JULY 2009
Location: Gazi, Technopollis

(1st Tour)

8 - 18 SEPT 2008
Location:
Byzantine Museum

WEBSITE: we-designs.org/soundscape/

Copyright © atelier//studio WF + WE-DESIGNS.ORG, LLC  

INSTALLATION: La Machine à écrire (2008)

Produced through the likes of a type-writer or player-piano this performative installation critically explores the technologies of the analog and the digital—while juxtaposing music through mechanical recital.

This piece is based on a pneumatic mechanism within a feedback loop which examines whether the artist is controlled by the music or the music s directed by the artist.

Definition:

Une machine à écrire est une machine permettant d’écrire des documents avec des caractères imprimés. Elle se présente sous la forme d’un clavier comportant un certain nombre de touches représentant les caractères qui seront imprimés sur le papier.

Elle a été utilisée de la fin du XIXe siècle jusqu’à l’apparition de l’ordinateur et des logiciels de suite bureautique, qui sont aujourd’hui principalement utilisés. Les écrivains Max Gallo et Pascal Bruckner utilisent toujours des machines à écrire.

 

Commissioned by:
Mme Marion Tournon Branly, AA
Ecole D’art Americaine, Fontainbleau, France

Completed: 2008

Location: Fontainebleau, Paris, France

Size: 5 m2

Type: Performance / Installation

Medium/Format:
Mixed-Media / Video /2D / 3D / Prototype

Design Team:
Wendy W Fok

Performance Team:
Wendy W Fok, Sue Biolsi, Gen Tomuro (Piano), Lorin Torbitt (Electronic), Bianca Clayton (Video)

MATERIAL EXPERIMENTATION: m4 (2007)

Method:
Single-Layered Lasercutting + Stacked construction prototype

Material:
0.25 inch cream paper

Design & Fabrication:
Wendy W Fok

Date:
2007

Copyright © atelier//studio WF + WE-DESIGNS.ORG, LLC


PUBLISHED:
Middle East Architects
March 2009, Vol.3, Issue.3

MATERIAL EXPERIMENTATION: m1 (2007)

Method:
Layered Lasercutting

Material:
0.5 inch foamcore

Design & Fabrication:
Wendy W Fok

Date:
2007

Copyright © atelier//studio WF + WE-DESIGNS.ORG, LLC


PUBLISHED:
Middle East Architects
March 2009, Vol.3, Issue.3

MATERIAL EXPERIMENTATION: m5 (2007)

Method:
Multi-Layered Lasercutting + Stacked construction prototype

Material:
0.5 foamcore + 0.5 corrugated box

Design & Fabrication:
Wendy W Fok

Date:
Fall 2007 - Present

Copyright © atelier//studio WF + WE-DESIGNS.ORG, LLC 


PUBLISHED:
Middle East Architects
March 2009, Vol.3, Issue.3

INSTALLATION: GEO-COGNITION (2012)

GEO-COGNITION is based on the geometric concepts of projective geometry (duality principal) and the convergence theory, and the fusion of the four main geographic locations that had the most significant impact within the artist’s career and life.

The supervening confluences, which occur through transitional developments between the cities, are formalized by utilizing a form of projective geometry, and attach itself within an underlying cognitive geometrics theory.

The confluences of the cities, through its linearity and dynamics, are representations of both durational and formal natures of the transitions. These factors are carefully developed and linked to the artist’s respective influences and the relative time spent within the period of that city, resulting in the dynamic affects which transition between the axioms of the different skylines and planes. Formally speaking, the different skylines merge (converge) from one into another, creating a morphogenesis between the planes.

 Projective Geometry is the branch of geometry dealing with the properties and invariants of geometric figures under projection. In older literature, projective geometry is sometimes called “higher geometry,” “geometry of position,” or “descriptive geometry” (Cremona 1960, pp. v-vi).

The most amazing result arising in projective geometry is the duality principle, which states that a duality exists between theorems such as Pascal’s theorem and Brianchon’s theorem which allows one to be instantly transformed into the other.

More generally, all the propositions in projective geometry occur in dual pairs, which have the property that, starting from either proposition of a pair, the other can be immediately inferred by interchanging the parts played by the words “point” and “line.”

 

MATERIAL EXPLORATION:

The material exploration of GEO-COGNITION was made possible by utilising the byproduct of an architectural construction site. Fact shows that most US construction sites and construction managers overstock on more than 30% of building materials for construction.

Over 70 million tonnes (155 000 million pounds) of waste is produced in the construction industry each year. This amounts to 55 LBS per week for every person, about four times the rate of household waste production.

The EPS DOW insulation foam used to CNC mill, produce, and fabricate GEO-COGNITION was made possible through donations from an actual construction site (a commercial building on the campus of the University of Houston), whereby the site manager offered us to take the overstocked material.

Through reusing the overstocked insulation material, it provided us (the artist) complimentary materials for production, while also lessening the waste creation and dumping cost for the contractor. This type of cradle to cradle/grave approach to design allows an innovation of creation, and amalgamation between art and architecture.

Different material explorations, including the use of HIPS and MDF, and several prototypes were made before finalising on the EPS DOW insulation.

 

PROJECT CREDITS:

Designer:
Wendy W Fok | atelier//studio WF

 

Project Team:
Jose Aguilar & Michael Cutulle

 

Technical Consultant:
Tommy Joe

 

CONTACT:
info@studio-wf.com

WEBSITE:
http://studio-wf.com

 

EXHIBITED:
Come Up To My Room 2012
Toronto Design Week - Offiste
the Gladstone Hotel, Toronto, Canada

 

AWARDS:
Design Lines - Love Tags (1 of 100 selected best designs from Toronto Design Week)

 

PUBLISHED:
DesignLines Magazine
AZURE Magazine
CBC Television
ART Toronto Television

 

SPONSORED IN PART BY:
Burdette Keeland Jr. Design Exploration Center

Gerald D Hines College of Architecture, University of Houston
Saifee Signs & Graphics, LLC
Solid Apollo LED Lights

ARCHITECTURE: CFS WALL MODULAR - PROTOTYPE A (2011)

Cross-Fabricated Scaled (CFS) is an investigative prototype of experimental cross-fabrications between geometry and materials research, serving as a crossover between architecture and art?with a high concentration on the developmental nature of experimentation and details, relating to the scalability of a singular, yet repeated, patterning unit.

The emphasis of this piece is the seamless transition between scales of a composite geometry, which is an evolution of topologies, exploring the physical properties intrinsic within the technique of digital and analog design experimentations.

 

 

In fostering the synthesis of repetition and variation within a scalable logic, Cross-Fabricated Scaled anchors its design experimentation in exploring the challenges of producing a continuous surface condition through a composite unit which has the ability to seamlessly scale up through the minimized connection of parts.


The form-finding investigation and evaluation included active lab testing of physical models, in conjunction with computer simulation and optimization processes through a CNC (3D) milled prototype of each individual module, which attaches to a framing system.



In addition, the fragility of the forms and differentiated materials were conceptually assessed through experimentation during the design development research process. The final [whole] wall is constructed of modular self-supporting aggregates that seamlessly unite through a minimal connection of parts, creating a gradient of tessellation across scales.


The collective units could possibly scale ad infinitum, yet the perception of its parts is diffused through its design that expresses a maximum variation for a minimum amount of parts, which also allows for ease of transportation and construction. In order to fully express the effect of the scalar transition, the repeated units are best viewed as a formalized wall partition system, which can divide or constructed within a taciturn space.



Credits:

Phase I - Design & Project Team:
Wendy W Fok, Sue Biolsi

Phase I - Technical Consultant:
Daniela Kroenhort

Phase II - Design & Project Team:
Wendy W Fok
Jimmy Tong - Fabrication Consultant

Phase II - Material Consultants:
+ DuPont Corian Asia Pacific
+ LG Hausys - HI-MACS Asia Pacific

Copyright © atelier//studio WF + WE-DESIGNS.ORG, LLC

MATERIAL EXPERIMENTATION: CNC Corian (2010)

Method:
CNC 2D Milled, Thermo-Mold
Construction prototype

Material:
36mm Corian (Binded)

Design:
Wendy W Fok

Material Consultant:
Speedtop DuPont Corian - Asia Pacific

Date:
2010 - Present



Copyright © atelier//studio WF + WE-DESIGNS.ORG, LLC

INSTALLATION: Athens Fringe Festival 2009 - Mapping Networks ATTIKO (2009)

CONCEPT:
The ongoing mediation between the ever proliferating networks and the international boundary of maps has mediated the collective media of transportation as an additive mean of responding to the possibility of generating community and diversified understanding of visualization through understanding scale and media.

This installation of the hanging Attiko Metro tickets are to show the diversity in a site specific context, deliberating and identifying the importance of the collective which mediates the public, and how the public utilizes infrastructure. Through collecting old/used metro cards, the tickets will be hung in a manner where by it would represent the ATTIKO Underground Map.

The initial map would not be noticeable until someone stands parallel, underneath, the installation itself—then the clear perspective of the Athens Underground map would be revealed. Otherwise, from a distance, the tickets, hung in a poetic forest of transparent fishing lines, would look to the stranger like a repetitive diagram of an impermeable network/infrastructure.

FUTURE CITY MAPPING: NEW YORK, PARIS, VIENNA, & BEYOND

Title: Mapping Networks-ATTIKO

Design & Fabrication:
Wendy W Fok

Installation Team:
Natalia Kastravell, Vasilis Raptis


Completed:
15 - 21 JULY 2009
Location:
Gazi, Technopolis

Copyright © atelier//studio WF + WE-DESIGNS.ORG, LLC 

INSTALLATION: UNBUILT | ATHENS Mapping Communications Soundscape (2008)

CONCEPT:
Mapping sound is forming a place where sound becomes as much a part of auditory experience, as the material of sound itself. Architectural form hence, is a product of place-based sound features within a spatial experience of opportunities to situate a listener with an intensification of immediate experience that expands beyond a point of focus to an environmental situation.

This project is a discussion and negotiation where mapping communication is the mapping of sounds which cannot be built, but effected by the built. The aural geography and locational mapping becomes less a place-holder of spatial urbanistic viewpoints, but a broad theme of global listening points—thus, to listen to a sound, is to listen to the entire body of the sound world in microdetail (footnote).

LaBelle, Brandon - Background Noise: Perspectives on Sound Art
Introduction to Part 5: Soundmarks: Environments and Aural Geography Pg: 197

FUTURE SOUND MAPPING: PARIS, VIENNA, TOKYO, & BEYOND


Title:
Mapping Communication: Soundscape

Design & Fabrication:
Wendy W Fok

Installation Team:
Natalia Kastravelli, Vasilis Raptis

Dates:
(2nd Tour)

15 - 21 JULY 2009
Location: Gazi, Technopollis

(1st Tour)

8 - 18 SEPT 2008
Location:
Byzantine Museum

WEBSITE: we-designs.org/soundscape/

Copyright © atelier//studio WF + WE-DESIGNS.ORG, LLC  

INSTALLATION: La Machine à écrire (2008)

Produced through the likes of a type-writer or player-piano this performative installation critically explores the technologies of the analog and the digital—while juxtaposing music through mechanical recital.

This piece is based on a pneumatic mechanism within a feedback loop which examines whether the artist is controlled by the music or the music s directed by the artist.

Definition:

Une machine à écrire est une machine permettant d’écrire des documents avec des caractères imprimés. Elle se présente sous la forme d’un clavier comportant un certain nombre de touches représentant les caractères qui seront imprimés sur le papier.

Elle a été utilisée de la fin du XIXe siècle jusqu’à l’apparition de l’ordinateur et des logiciels de suite bureautique, qui sont aujourd’hui principalement utilisés. Les écrivains Max Gallo et Pascal Bruckner utilisent toujours des machines à écrire.

 

Commissioned by:
Mme Marion Tournon Branly, AA
Ecole D’art Americaine, Fontainbleau, France

Completed: 2008

Location: Fontainebleau, Paris, France

Size: 5 m2

Type: Performance / Installation

Medium/Format:
Mixed-Media / Video /2D / 3D / Prototype

Design Team:
Wendy W Fok

Performance Team:
Wendy W Fok, Sue Biolsi, Gen Tomuro (Piano), Lorin Torbitt (Electronic), Bianca Clayton (Video)

MATERIAL EXPERIMENTATION: m4 (2007)

Method:
Single-Layered Lasercutting + Stacked construction prototype

Material:
0.25 inch cream paper

Design & Fabrication:
Wendy W Fok

Date:
2007

Copyright © atelier//studio WF + WE-DESIGNS.ORG, LLC


PUBLISHED:
Middle East Architects
March 2009, Vol.3, Issue.3

MATERIAL EXPERIMENTATION: m1 (2007)

Method:
Layered Lasercutting

Material:
0.5 inch foamcore

Design & Fabrication:
Wendy W Fok

Date:
2007

Copyright © atelier//studio WF + WE-DESIGNS.ORG, LLC


PUBLISHED:
Middle East Architects
March 2009, Vol.3, Issue.3

MATERIAL EXPERIMENTATION: m5 (2007)

Method:
Multi-Layered Lasercutting + Stacked construction prototype

Material:
0.5 foamcore + 0.5 corrugated box

Design & Fabrication:
Wendy W Fok

Date:
Fall 2007 - Present

Copyright © atelier//studio WF + WE-DESIGNS.ORG, LLC 


PUBLISHED:
Middle East Architects
March 2009, Vol.3, Issue.3

INSTALLATION: GEO-COGNITION (2012)
ARCHITECTURE: CFS WALL MODULAR - PROTOTYPE A (2011)
MATERIAL EXPERIMENTATION: CNC Corian (2010)
INSTALLATION: Athens Fringe Festival 2009 - Mapping Networks ATTIKO (2009)
INSTALLATION: UNBUILT | ATHENS Mapping Communications Soundscape (2008)
INSTALLATION: La Machine à écrire (2008)
MATERIAL EXPERIMENTATION: m4 (2007)
MATERIAL EXPERIMENTATION: m1 (2007)
MATERIAL EXPERIMENTATION: m5 (2007)

About:

Wendy W Fok, director/founder and team member of WE-DESIGNS.ORG, LLC (Architecture) and atelier//studio-WF (Art), winner of the Hong Kong Young Design Talent Award (2009), and a selected designer of the Perspective 40 under 40 Award (2011), has a Master of Architecture & Certification of Urban Policy/Planning from Princeton University. Notably, WE-DESIGNS.ORG, LLC has been selected by Twenty+Change (co-curated by Heather Dubbeldam and Lola Sheppard) as one of twenty Emerging Canadian Design Practices (2011) in Canada.

Fok has an international background from Vienna, New York, London, Paris, Tokyo, Beijing, Hong Kong & Canada. Her art installations have been displayed in Vancouver, Toronto, Hong Kong, Shanghai, New York, Athens, Venice, & Prague, and has worked on several international architectural projects, exhibitions, & competitions--including the 12th La Biennale di Venezia 2011, the Shanghai Expo 2010, & Athens Fringe Festival 2009.

Fok’s interests are towards investigations of contextual and content-related natures of fabrication, and cradle-to-cradle material investigations that compliment scaled prototypes within architectural design. Meanwhile, her design methodology is to challenge the dynamic significance in structuring and mapping the ideals of art, architecture, and urbanism within the processes of [design | optimisation | fabrication] for sustainable planning, interactive design, material research, and alternative methods of fabrication with progressive aims within the built environment.

For more information, please contact:
Email: info@studio-wf.com
Twitter: atelierstudioWF