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DRAWING: Mappings of A Lover - MPL Series (on-going)

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Mappings of A Lover (MPL): This series of hand-drawings is a continuation of past projects that investigated both the technical and given information to devise an aesthetic value to “information”. More importantly, MPL is a series of drawings that explore the development of “a given set of information” (aka: constraint), and redefining the points which are translated through the interaction of a constraint.

DESIGN CONCEPT:

A cross-breed of novel mathematical logic of the Mandelbrot set and the hand of Kandinsky, the MPL series could be interpreted as a set of notations, network mapping, data mapping, flight patterns, and potentially the graphical representations of Edward Tufte. Nonetheless, the underlying artistic representation of “Mappings of A Lover (MPL)” intrinsically relates to the drawings and early to middle 1920s works of Kandinsky, the musical influences of Paul Klee, and/or the studies made by Oskar Schlemmer.

This series of drawings are currently produced as an Open Studio Artist Residency Research work towards the Cité Internationale des Arts Paris. The final work will be produced for an Exhibition in Paris, and further publication of a book based on the drawings.

All drawings were done by hand.

The total series consists of 120 drawings, and on-going.

NOTION:

+ based on the concept of mapping the body on the basis of twenty-eight points (moles) on the body of A lover—along with three fixed points (2x nipples, 1x belly button).

CONSTRAINTS:

+ each point does not cross twice/thrice, and always leads to an opposing point.

RE-ESTABLISHMENT:

+ based on the established points within a system, and regenerated lines through a guided opportunity of rules, each regenerated point connection is ‘mapped’ on an executed basis due to this system.

Mapping:

Peter Hall has once wrote in his Critical Visualisation Article for the Design of the Elastic Mind, Museum of Modern Art, that Visualization is “an empirical science” and “as a technology, information visualization is theoretically aimed at developing new solutions and selecting the best ones, according to the criterion of usefulness.” Nonetheless, the history and the basic understanding of cartography, surveying, and photogrammetric diagramming is nothing new.

The oldest known maps are preserved on Babylonian clay tablets from about 2300 B.C. Cartography was considerably advanced in ancient Greece. The concept of a spherical Earth was well known among Greek philosophers by the time of Aristotle (ca. 350 B.C.) and has been accepted by all geographers since. While the oldest Chinese maps were dated to the Xia Dynasty, 21 century BC, four thousand years ago.

Greek and Roman cartography reached a culmination with Claudius Ptolemaeus (Ptolemy, about A.D. 85-165). His “world map” depicted the Old World from about 60°N to 30°S latitudes. He wrote a monumental work, Guide to Geography (Geographike hyphygesis), which remained an authorative reference on world geography until the Renaissance.

Definition of MAP:

A map is a graphic representation or scale model of spatial concepts. It is a means for conveying geographic information. Maps are a universal medium for communication, easily understood and appreciated by most people, regardless of language or culture. Incorporated in a map is the understanding that it is a “snapshot” of an idea, a single picture, a selection of concepts from a constantly changing database of geographic information (Merriam 1996)

ARTIST:
Wendy W Fok

DATE:
May 2008 - Present

LOCATION:
Vienna, Austria / Paris, France / New York, NY, US

TYPE:
Art / Architecture

MEDIUM/FORMAT:
Pen & Ink / Vellum

SIZE:
Site Specific

CLIENT:
(Private)

Copyright © atelier//studio WF

PUBLIC ART: Corporeal Geometrix - CGX (2014)

Corporeal Geometrix (CGX) for ARTS First Festival (2014) from WE-DESIGNS on Vimeo.

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Above: Detail of interior at night

PROJECT TITLE:
Corporeal Geometrix - CGX

PROJECT DATE:
1 - 5 May, 2014

CREDITS:
Design Lead: Wendy W Fok
Creative Producer: Evelyn Tilney
Design Team: David Goujon 
Music: James Lealand - DJ Roo “Deeper Underground” Shanghai Remix

CLIENT: 
Harvard ARTS First

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Above: CGX onsite @ Harvard Yard

MADE POSSIBLE BY: 
Office of the Arts at Harvard
GSD RealTimeCities 2014 Grant
Cambridge Public Arts Grant

Copyright © atelier//studio WF  | WE-DESIGNS, LLC

PUBLIC ART: Times Square Transformation - WE MAKE NEW YORK (2014)

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WE MAKE NEW YORK is a collaboration with WE-DESIGNS, LLC that joins both the macro level street view of the metropolis with the words of notable New Yorkers or admirers of New York, to illustrate the forces that come together to make NYC. Not only the identifiable networks of streets and avenues, nor just the individuals that inhabit the city, New York exists when the structure and the people come together to generate an organism that in turn generates and regenerates itself. It is easy to argue that the built environment makes the urban fabric, but equally easy to argue that the people do, and we hope to unite the distant and up-close to let New Yorkers see, and literally reflect on, themselves as essential parts of an ever-evolving metropolis.

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This proposed design has two main components- (1) cropped street systems taken from all five boroughs and (2) short quotes about the city of New York from individuals across many professions, ethnicities, neighborhoods, languages, and backgrounds.  This artwork takes abstract parts in plan view of NYC’s streets, and illustrates these neighborhood segments in reflective mylar on solid colored vinyl banners.  The design is lightweight, durable, and easy to execute.  Additionally, interspersed between these street plans will be quotes by New Yorkers or admirers of New York, that speak to the humor, drama, madness, and joy of the city.


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The subtle but impactful poetry of this large scale artwork comes through with the reflective materiality of the piece- New Yorkers and visitors alike will see themselves reflected in the words and streets of the great city they love.  Instead of solid type, or static artworks that stay the same from moment to moment, these artworks are constantly being transformed by the visitor stopping in front of them, or the businessperson walking by. 

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The simple act of viewing changes the text and changes the streets, because the reflection is no longer the same as it was a second ago.  In this way, the project builds upon the already existing materials and assets New York has to offer, and includes the momentary influence of any and all passerby, however brief.  This momentary exchange between static and kinetic, temporal and permanent, underscores the changeability of New York, but gently reminds us that New York endures through each of its unending iterations.


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PROJECT TITLE:
WE MAKE NEW YORK

PROJECT DATE:
November / December 2013
Competition (Shortlisted)
 
CREDITS:
Lead Designer: Wendy W Fok
Producer: Evelyn Tilney
Design Team: Jenny Chow
Consultant: Jung Ahn
 

CLIENT:
Times Square Arts
NYC Dept of Design + Construction
Public Art Program of the Times Square Alliance

SPONSORED BY:
Time Square Transformation
Time Square Alliance
New York Department of Design and Construction


JURY:
The jury included: Barry Bergdoll, The Philip Johnson Curator of Architecture and Design, MOMA; Sherry Dobbin, Director of Public Art, Times Square Arts; Tom Finkelpearl, Executive Director of Queens Museum of Art; Wendy Feuer, Director of Urban Design & Art, Department of Transportation; Ellen Goldstein, VP of Policy, Planning and Design, Times Square Alliance; Kate Howe, Head of Graphic Design, NYC Dept. of Design and Construction; Victoria Milne, Director of Creative Services, NYC Dept. of Design and Construction; Sara Reisman, Director of Percent for Art, Department of Cultural Affairs; Jennifer Lantzas, Public Art Coordinator, Department of Parks, City of New York; and Willy Wong, President of AIGA NYC and Creative Director for NYC & Co.

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Copyright © atelier//studio WF  | WE-DESIGNS, LLC

RESEARCH: DIGITAL NOVELTY - CRYSTALLISED GEOMETRICS (2013)

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Over 100 iterations and studies which challenges, and produced through, the premise of digital production and analogue tooling, Digital Novelty is a series of design-research that is an intersection between of platonic solids and the notion of basic geometric shapes, assisted by 3D modelling software (Rhinoceros 3D), 3D printing technologies (additive manufacturing processes), and hand-drawn inked on vellum exercises. The research and development of Digital Novelty – Crystallised Geometrics reveals itself through a feedback system that carefully interrogates a simple method of production and design.

The topic is most relevant where the discussion around production (i.e.: rapid-prototyping) now encompasses a larger (more public) commercial audience—discussions about reducing the labour force and production line to enable the greater diversity and dissemination of digital and systematic design technologies to the individual. 

Although the computational design community has in the past two decades concentrated on the ‘style’ of the ‘form,’ from ‘parametricism’ to ‘algorithmic’ design, current discussions have moved beyond form: indeed, the discussion has surpassed form: where form is largely irrelevant within this new horizon and generation of self-organised designers. Logic and the possibility of developing with consequence could potentially become the new ‘form’.

The larger predicament within the new form of open-sourced computational design is the ability to control the corporate dealer within the production of larger grass-roots developers.  From the standpoint of commercialisation and commoditisation, even to the point of capitalization of resources, there is a serious impediment within the architectural and computational design community of open-sourced digital development.

Digital Novelty – Crystallised Geometrics are a series of novel experiments produced as an Open Studio Design Residency Research work towards the Cité Internationale des Arts Paris. The final work will be produced for an Exhibition in Paris, and further publication of a book based on the research/designs.

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GEOMETRIC THEORY:

“The cognition of spatial objects involves the construction of a consistent and meaningful overall picture of the environment. Gestalt Psychology (Wertheimer 1912; Köhler 1929; Koffka 1935) argues that human perception is holistic: instead of collecting every single element of a spatial object and afterwards composing all parts to one integrated picture, we experience things as an integral, meaningful whole. The whole contains an internal structure described by relationships between the individual elements.”

Angela Schwering, Kai-Uwe Kühnberger, Ulf Krumnack, Helmar Gust
Spatial Cognition of Geometric Figures in the Context of Proportional Analogies       

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INFORMATION:

This series of novel experiments were produced as an Open Studio Artist Residency Research work towards the Cité Internationale des Arts Paris. The final work were produced for an Exhibition in Paris, and for further publication of a book based on the research/designs.

EXHIBITION: 
DIGITAL NOVELTY - CRYSTALLISED GEOMETRICS (2013)

DATE:
20 June, 2013 

LOCATION:
Open Studio - Atelier 8314
Cité internationale des arts Paris
18 Rue de l’Hôtel de ville  75004 Paris, France

DESIGNER:                 
Wendy W Fok | atelier//studio WF      

Assistant:
Kevin Hai Pham 
 

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MADE POSSIBLE IN PART BY:
+ Academie d’Architecture (Paris, France)
+ Fontainebleau Schools - Architecture Premier Prix Grant
Mairie de Paris (City of Paris)
+ Ministère de la Culture et de la Communication (Ministry of Culture and Communication)
+ Academie des Beaux-Arts (Academy of Fine Arts)
+ Cultures France - ministère des affaires étrangères et européennes (Ministry of Foreign and European Affairs)
Cité internationale des arts Paris

 

PRESS:
+ Rhino3D News

+ Solidoodle

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COPYRIGHT © atelier//studio WF | Wendy W FOK

ACADEMIC INITIATIVE: VITREOUS - Gerald D Hines CoA / Judd Foundation (2013/14)


VITREOUS - Gerald D Hines CoA / Judd Foundation from Wendy W Fok on Vimeo.

OFFICIAL PROJECT WEBSITE:
URL: http://vitreous-uhcoa.tumblr.com

"A shape, a volume, a color, a surface is something itself. It shouldn’t be concealed as part of a fairly different whole."- Donald Clarence Judd (1928–94)

The collaboration between the Judd Foundation (Marfa, Texas) and the course is to further investigate, critically examine, and apply both theoretical study and practical design-research into the highly debated idea of ‘delegated fabrication’, within the context of design-fabrication, in the field of architectural design. It has been widely publicized that most of Judd’s work from 1964 onwards was delegated rather than fabricated by the artist himself. Rather than constructing his work personally, Judd had it industrially fabricated—a practice criticized at the time but emulated today by many contemporary artists.

The course ambition is to develop an active prototype, whereby the cluster of fifteen students will work together to design, fabricate, and discuss the potentials of hands-on digital and analogue learning, while undertaking an active role of understanding the current contemporary role of fabrication in architecture, versus the available means of production during the time of Judd. The concept of the course is not to replicate the Minimalist works of Judd, but rather, to further the theoretical and practical understanding infused by the two, and investigates on the potential use of innovative means of delegated fabrication within architecture and design.

Students will be expected to investigate formal, geometrical, scalar, and material effects, along with understanding the larger potential of teamwork and practical applications of physical large-scale prototyping, and installation. A course trip to Marfa, Texas will be part of the expectation, while also collaborating with the Judd Foundation’s Programs Director.

Students who are participating in this project are expected to work with the Director of Development and myself at the Gerald D Hines College of Architecture to allocated sponsorships and funding opportunities around the region, and also initiate national partnerships with the USA Artists Project Campaign and Kickstarter Campaign. This opportunity will encourage students to be entrepreneurial, learn about project management, project development, fundraising and crowd-sourcing, as well as project construction, design-fabrication, and installation.


STUDENT DESIGN STATEMENT:

Title: VITREOUS
Definition:
adj.
1. Of, relating to, resembling, or having the nature of glass; glassy.
2. Obtained or made from glass.
3. Of or relating to the vitreous humor.

Vitreous is a design proposal that incorporates the vantage points of the natural landscape, and the technological advancement of digital fabrication and media technologies. The project is a collaborative feat between fifteen graduate and undergraduate students working towards the goal of a self-funded architectural installation.

The faceted panels disguise and blend the unbounded Marfa landscape with reflective images causing a perceptual distortion between the viewer and the surroundings and between the real and the virtual. Vitreous contends to be a visual/spatial experiment that poses a blurred line between the real and the virtual, the subject and the object. It works to deconstruct that separation and guide the subject’s perception toward the third domain in between—the domain of relation.

The interactivity of the LEDs and the interchangeability of the colours will be determined by data-sourced information through an APP (application) developed by the student team. The APP will be available for download online and will be available for both iPhones and Android phones. This APP will be user-interacted and the data-sourced and gathered will interact with the colour scheme of the installation itself.

 


CREDITS:
Institution: Gerald D Hines College of Architecture, University of Houston
Faculty Lead: Prof Wendy W Fok

STUDENT TEAM:

Business - Stephanie Balbin, Hai Luu, Katie Dominguez, David Yao, Megan Hartensteiner, Natalia Sanchez

Design - David Rodriguez, David Regone, Christopher Al-Jumah, Brian Chiu, Ross Rudolph

Technical - Kevin Pham, Tiger Lyon, Philip Bridges, Paul Suttles, Alexander Martin

Video Editing:
Alexander Martin


Made Possible in part by:
+ Judd Foundation, Marfa, Texas

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GRASSHOPPER DEFINITION:

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UPDATES: May 2013

PROTOTYPE A - 1:50 Scale Modelimage

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Copyright: Gerald D Hines CoA | atelier//studio WF

SCULPTURE: Imminent Domain - Asia Society (2013)

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DESIGN STATEMENT:

Piece: “La Technologie Culturelle d’Objet”
Designer: Wendy W Fok
Original: 18 November, 2012 | Updated: 24 January 2013


spatial / geometrical / mathematical / material processing

La Technologie Culturelle d’Objet was a sculptural piece commissioned by the Asia Society Hong Kong Center, invited by Chief Curator Fumio Nanjo (Director of Mori Art Museum), as part of their inaugural “Imminent Domain” exhibition with eight other Asian designers. The piece is subsequently reinstalled at the Chinese University of Hong Kong as an addition to their sculptural collection. 

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“L’anthropologie des techniques est une branche de l’anthropologie qui s’intéresse à l’histoire, à l’usage et aux rôles des objets techniques, y compris leur rôle symbolique. L’étude ethnologique des techniques et des objets ne se limite pas aux techniques et aux objets considérés comme « traditionnels » ou anciens mais également aux faits contemporains.”

Grounded within the concept of the “material culture” and the basis of “technology and object”, the driver of this design is interfolded through data-sourcing and data-housing. The stainless steel “objet” (installation) itself is an interpretative piece that focuses on the contemporary examination and contextualization between the theory of the technicity, ethnicity, and the milieu of André Leroi-Gourhan.

While geometrically, the piece is inspired by the “impossible objects” theory. An impossible object (also known as an impossible figure or an undecidable figure) is a type of optical illusion consisting of a two-dimensional figure which is instantly and subconsciously interpreted by the visual system as representing a projection of a three-dimensional object although it is not geometrically possible for such an object to exist (at least not in the form interpreted by the visual system).

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The LED lamps held within these interactive transparent acrylic rods represent the interchangeable activators and attractors of the city and its citizens, mapped into a singular location to be viewed at the Asia Society Hong Kong Center. Each LED is embedded in an acrylic rod and is accentuated individually or clustered into “units” of stainless steel geometrical modulars. The ultimate aim is to critically analyse the contemporary state of urban cities and their landscapes, the citizens within the cityscape and a progressive understanding of their roles within each metropolis.

According to Leroi-Gourhan, in Milieu et techniques (1945), he develops a general theory of the relation between the technical (as universal tendency) and the ethnic (as specific, differentiated concretisation). The human group, according to Leroi-Gourhan, behaves as though it were a living organism, assimilating its exterior milieu via “a curtain of objects”, which he also calls an “interposed membrane” and an “artificial envelope”, that is, technology. The milieu of the organism is divisible into the exterior milieu (geography, climate, animals and vegetation) and the interior milieu (the shared past of the group, thus “culture”, etc.). This division enables a clarification of the concept of technical tendency. A tendency, according to Leroi-Gourhan, is a movement, within the interior milieu, that gains progressive foothold in the exterior milieu.

French philosopher Gilles Deleuze frequently cites leroi-Gourhan in the two-volume collaboration and psychiatrist Félix Guattari entitled Capitalism and Schizophrenia. The hand/tool and face/vocalization couplings of Leroi-Gourhan play an important role in the development of Deleuze and Guattari’s concepts of becoming and deterritorialisation.

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Data-Transfer:

Interactive information gathered from different nodes within the city that is activated through media controlled LED lights are embedded within housing units in an acrylic cube (2000mm x 2000mm x 1000mm). Each LED is accentuated as clustered “units” of reflective geometrical forms, which mimics and breathes with the beat of the city. 

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Form/Fabrication:

The geometric formation of the LED lamps embedded within reflective modular units, represent the interchangeable activators and attractors of the city and its citizens, mapped into a singular location to be viewed at the Asia Society Hong Kong Center. The stainless steel geometric “objet” is to critically analyse the contemporary state of urban cities and their landscapes, the citizens within the cityscape, and the progressive interpretation of their roles within the city.

The different combinations of LEDs are controlled by the interfaced information from the citizens, while the technological balance of the “objet” itself is a contribution piece activated by the user. The feedback from the space and the citizens will cross-pollinate and illuminate during the evenings, while the stainless steel geometric modular combined with the surfaces blurred together formed by the myriad of LED lights is the formal housing that represent the “reflexive” nature of activated milieu.

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Background:

André Leroi-Gourhan has devoted much of his work in anthropology techniques, releasing both theoretical principles (concepts of trends and developments techniques, technical environment, supportive environment of the invention and the loan), methodological frameworks (methods of analysis of the degrees of fact and the operating chain) and a general classification of technical action. These fundamental contributions to the epistemology of the disciplinary field gathered in the works of Leroi-Gourhan: The man and matter (1943/1971), “Environment and Technical” (1945/1973), Gesture and Speech, vol. 1, Technical and Language (1965), Gesture and Speech, vol. 2, memory and rhythms (1965).

 

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展品介紹

 

意念:

“L’anthropologie des techniques est une branche de l’anthropologie qui s’intéresse à l’histoire, à l’usage et aux rôles des objets techniques, y compris leur rôle symbolique. L’étude ethnologique des techniques et des objets ne se limite pas aux techniques et aux objets considérés comme « traditionnels » ou anciens mais également aux faits contemporains.”

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我們的設計意念來自物質文化,以科技與物件為基礎,經過數據搜尋及數據存庫程序的交錯摺疊。參展作品(裝置)可以被視爲對André Leroi-Gourhan有關技術、種族及環境理論當代重新演繹及運用。

根據Leroi-Gourhan 著作Milleu et techniques1945年),他提出技術(廣泛傾向)與種族(特定、不同的具體)關係理論。他認為人類這個群組的行爲就像生物一樣,會透過一系列物件吸收外界環境,他稱為中介薄膜人造封套既是科技。生物的環境可分為外界環境(地理、氣候、動物植物)與內部環境(群組的共同過去或文化等),這條界線可以釐清技術傾向的概念Leroi-Gourhan 認為傾向即是一種運動,內部環境開始,然後逐漸踏足外界環境。

法國哲學家 Gilles Deleuze與精神病理學家 Félix Guattari 作寫了一套兩冊的Capitalism and Schizophrenia,其中重複引述了 Leroi-Gourhan 的理論。Leroi-Gourhan 提出的手/工具/發聲組合對兩位學者發展出轉成破除疆界等概念起了重要作用

 

數據移:

從城市的不同據點搜集得來的互動訊息牽動著媒體控制的LED燈。整套LED燈管會放入丙烯酸的膠立方體內2000 x 2000 x 1000毫米),每個LED獨立群組形式不同單位的幾何形狀反光面結構

 

形狀/製造:

展品的互動式透明立方體帶有裝著LED燈的反光結構,代表城市中可替換的啟動者吸引者與居民的關係,再整體亞洲協會香港中心的單一展示位置。本裝置旨在批判地分析當代都市及景觀、城市景觀中的市民,以及各自對自己在城市中的角色的理解

展品集了不同的LED燈組,由市民發出的訊息控制,而展品(裝置本身的技術平衡則由使用者啟。四周和市民的動靜會透過作品在晚上亮起來而互相交錯它的幾何形光面代表了受干擾的環境的反射本能。

 

背景:

André Leroi-Gourhan 一生鑽研人類學技術,學術著作範圍包括理論原則(趨勢與發展技術的概念、技術環境、發明與借物的支持環境、方法論架構真實度及連鎖操作的分析方法,以及技術活動的常用分類。這些理論歸納成他的多本著作The man and matter (1943/1971)Environment and Technical(1945/1973)Gesture and Speech, vol. 1, Technical and Language(1965)Gesture and Speech, vol. 2, memory and rhythms(1965)

 

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CREDITS:
Commission: “La Technologie Culturelle d’Objet”
Designer: Wendy W Fok
Assistant: Kenneth Chi-Kan Wong
Chief Curator: Dir. Fumio Nanjo (Mori Art Museum)
Asst Curators: Amy Chow / Dominique Chan
Engineering Consultant: Wing Dik Engineering Co. Ltd (Hong Kong)
 
EXHIBITION:
Venue: Asia Society in Hong Kong
Exhibition: Imminent Domain
Dates: 31 January 2013 - 31 March 2013
Opening Party: 30 Jan, 2013 / Press Opening: 28 Jan, 2013
 
MATERIAL:
Stainless Steel Frame / Variable LED configuration
 
PRESS: 
今日家居  Today’s Living Magazine
+ a+a Magazine
 
SPONSORED BY:
Create HK
Hong Kong Design Centre
the Hong Kong Institute of Architects
Asia Society

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Copyright © atelier//studio WF

INSTALLATION: MINIMAL RELAXATION (2012)

The design of this temporary installation reinterprets the traditional Chinese garden to activate the roof terrace of the MoCA Shanghai as an undulating and responsive multi-layered landscape.  The upper (canopy) layer simultaneously produces gradient spatial conditions and framed viewing portals which curate views of the surrounding hi-rise towers, while the lower (landscape) layer articulates a series of back-lit sculptural ground forms which subdivide the terrace and provide atmospheric effect through responsive color-changing LED lighting affects. Inspired by the work of Frei Otto, the entire project extends his body of design research into physical and digital form-finding processes for minimal surface structures through dynamic mesh relaxation techniques. 



The canopy examines the potential of gravity forces and internal tensions to derive geometry by relaxing a tensioned net, in which every web member reveals its load path to express its funicular form in multiple dimensions. It is further articulated by a series of carefully calibrated apertures, each oriented to frame a specific view out of the roof terrace to frame a selected tower in the surrounding skyline. Each aperture responds to a corresponding landscape feature which swells out of the ground plane of the roof terrace.  The landscape explores the minimization of surface curvature between edge conditions by shrink-wrapping CNC milled profile structures.  

The combination of the spatial acrobatics of the canopy in confluence with the emergent landscape swelling out of the ground plane creates a series of gradient spatial conditions which articulates the continuous roof terrace space into series of relaxation zones, each focused on a curated view spectacular views.  The final installation was realized through a series of tensioned net structures to articulate an undulating roof canopy and a series of shrink-wrapped plastic skins which articulate a generative landscape. The undulating landscape is embedded with color-changing LED’s connected to motion sensors, with color changing responses to express intensities of occupation. The highly successful installation activated the previously under-utlized roof terrace into a popular summer evening destination, while also serving as highly visible civic landmark viewable from surrounding highrise towers.



The temporary installation is a commissioned work for the exhibition “MoCA Mockups: The Architecture of Spatial Art”.  The entire project was designed, fabricated, and installed by a team of graduate and undergraduate students from the University of Southern California’s American Academy of China summer studio. 

PROJECT INFORMATION:

Project: Minimal Relaxation
Program: Temporary Canopy and Landscape Installation
Client: MoCA Shanghai
Location: Rooftop Terrace @ MoCA Shanghai, Shanghai, China

CREDITS:
Designed, fabricated and installed by the USC AAC Summer Studio 2012
Faculty - Neil Leach (USC/AAC Program Director), Wendy W Fok (Univ. of Houston/atelier//studio WF), Alvin Huang (USC/Synthesis Design + Architecture)
Students -  Ethan Barley, Chi Bhatia, Gabby Gertel, Ty Harrison, Luya He, Justin Kang, Michelle Kraintz, Arjun Mahesh, Nicole Stizel, Yimeng Wang, Sahar Youdai, Chaoxun Zhang, Xiaoyun Li, Xiaojin Mi, Xinyue (Amber) Ma

PRESS:
Dexigner
suckerPUNCH
Architect’s Newspaper

INSTALLATION: SYSTEMATIC NARCISSISM (2012)

SYSTEMATIC NARCISSISM:

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*Update: Systematic Narcissism has been selected as a Finalist for the Architizer A+ Awards 2013. Please show your support and vote for the Public Vote Award.

Systematic Narcissism is a hybridization through the notion of the planetary grid system and the symmetry of narcissism. The installation is based on the obsession of the physical reflection of the object/subject relationship, created by the idea of man-made versus planetary projected planes (grids) of which humans have made onto the earth. I.e.: Pierre Charles L’Enfant plan 1791 of the golden section projected onto Washington DC.

The fostered form is found based on a triacontahedron primitive and developed within the family according to the primitive angles. Every angle has an increment of 0.25m and is based off a logic-based system of derivatives. As indicated, the geometry of the world (or the globe) is based off the planetary grid system, which is a hexakis icosahedron grid system of the earth according to Bethe Hagens and William S. Becker; thus, the formal mathematical aspects of the installation are created by the offset within a basis of that geometric form.

The base of the planetary grid and narcissus reflection of the modular pieces act as intersections that operates as a system to shape the devised geometry of the interfacing modular, which upholds the installation.

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BACKGROUND:

Poetics:
Narcissus is the origin of the term narcissism, a fixation with oneself. The Greek myth which depicted a prince who sat by a reflective pond for days being self-absorbed by the beauty it contained, as he looked at the reflection of his own beauty.

Mathematics:
In 1978, Professors William Becker and Bethe Hagens extended the Russian model, inspired by Buckminster Fuller’s geodesic dome, into a grid based on the rhombic triacontahedron, the dual of the icosidodecaheron Archimedean solid. The triacontahedron has 30 diamond-shaped faces, and possesses the combined vertices of the icosahedron and the dodecahedron.

Their new model, which they later title “The Ring of Gaia”, revealed 15 great circles, 120 scalene right-triangles (with no equal sides or equal angles) and 62 node-points. The great circles divided each rhombic face into four right-triangles. Although having no interest in Earth grids, Fuller had previously noticed that these triangles and recorded their internal angles in planar and spherical notations.

The model was eventually developed into the “Unified Vector Geometry” (UVG) projection, a connection of all of the vertices of the five Platonic solids placed inside a sphere, using Fuller’s “great circle sets” from Synergetics II. A total of 121 great circles appeared, increasing the number of vertices to 4,862. They proposed that the UVG grid could be a new geometric model for Gaia.

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DESIGNER:                
Wendy W Fok | atelier//studio WF       

PROJECT TEAM:                
Jose Aguilar / Dillon Philips               

PRODUCTION CONSULTANTS:            
Tommy Joe / Julie Truong       

CONTACT:
info@studio-wf.com

WEBSITE:
http://studio-wf.com

VENUE:
the Old Truman Brewery, London, UK

EVENT:
TENT, London Design Festival 2012

DATES:
18 - 23 September, 2012 

SPONSORED IN PART BY:
Burdette Keeland Jr. Design Exploration Center
Gerald D Hines College of Architecture, University of Houston
Saifee Signs & Graphics, LLC 
atelier//studio WF

PRESS:
+ GLASS MAGAZINE
+ DEZEEN (interview)
+ Art Served
+ suckerPUNCH
+ Architizer A+ Awards (Finalist)

AWARDS:
+ Architizer (Architecture+Fabrication) Shortlisted 2013
+ AIA Dallas Women in Architecture ‘Express Yourself’ Award 2013

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PRESS RELEASE:
Download / Postcard

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Copyright © atelier//studio WF

INTERACTIVE: MECHANICAL GARDEN (2012)

MECHANICAL GARDEN:

EVENT:
MOCK-UP: MoCA - Mechanical Garden Installation (2012)

VENUE:
Museum of Contemporary Art in Shanghai (MoCA)

TITLE:
Mechanical Garden

PROJECT LEADS:
Wendy W Fok, Michael Fox, Alvin Huang, Neil Leach, Philip Yuan

ARDUINO CONSULTANT:
Michael Fox

PROJECT TEAM:
Rungu Lin, Mei Zhang, Zhenghao Lin, Yuan Jin 

MADE POSSIBLE IN PART BY:
Tongji University, AAC Institute, SCUT

MoCA - Mechanical Garden Installation from (C)ODE-(C)OLLECTIVE on Vimeo.

Copyright © atelier//studio WF 

INSTALLATION: TETRA V.2 (2012)

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TETRA V.2 is an urban design installation reacting as a commentary to the contemporary state of economic, sustainable, and environmental developmental local (Hong Kong) and international issues, surrounding the state of utility within our urban and socio-political function of citizenship within the urban environment.

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Using modular system that functions at a variety of scales, from the object scale all the way up to the urban scale, the design is based off of a fractal geometric logic creating an urban architectural intervention “without end”. TETRA V.2 becomes an urban addition within the city, formulated by architecture.

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The assembly of modules is based on a concept from fractals and the continuing nature. The sets defined themselves as portraying self-similarity in different scales, mimicking the organic nature as growth of plants. The flexibility allows the sets to vary in size and number. By alternating the combination of the pieces and the urban settings, it could be anything from a self-standing furniture piece to a social interaction hub. It provides a definitive addition and discussion between human and nature, generating a continuum between the human scale and that of the building or urban space.

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The basic module of TETRA V.2 is inspired by the elegant and simple form of a tetrahedron. Each family of tetrahedrons is made up of three different sizes, but all with the same size opening at the points of connection. The slight changes in the parameters of these different pieces allows for variation, without losing the relationship between them. By truncating the edges of the tetrahedron and developing a concaved form, the reinvented shape breaks the uniform geometry of the pure tetrahedron. The craved out space becomes porous enclave for interaction, redefining space within the urban Kowloon Park.

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展品「積.聚」是一個以融入城市環境的實用性為基礎,並呼應現今經濟體系,本地(香港)及國際可持續發展,及公民於社會政治體系裡的功能角色的結構系統。 

展品的整個系統由多件不同尺寸的固體表層結構模件「積組」而成,而系統的靈活設定亦使其結構和功能帶來無限伸延的可能性。它可以是公園裡劃佔成較私秘空間的座位,同時把小尺寸的模件改裝成燈具以配合公園環境 ; 它也能是圖書館裡的書架連座位的組件。 

「積.聚」是一個能多方向複製組裝的城市裝置。從結構的系統性到當中功能變化的不確定性,「積.聚」以建築邏輯重展城市與人之間的互動性,並以不同組裝提供新的負空間予途人休憩與交流。 

此展品亦曾於早前8月份由尼你.里奇及袁烽教授共同策辦的上海展覽數字未來DigtalFUTURE中展出。

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PROJECT CREDITS:

DESIGN LEAD:                       
Wendy W Fok
| atelier//studio WF             

DESIGN TEAM:                                 
Michelle Lok / Ivan cheung /           
Kenneth To / Dave Cheung /
Marco Chan / Kathleen Johnson

WITH SPECIAL THANKS TO:
Professor Marc Aurel SCHNABEL / Director Puay Peng HO

VENUE:
Kowloon Park, Sculpture Garden, Hong Kong

DATES: 
14 February, 2012 - 23 April, 2012

EVENT:
Tri-Ciprocal Cities -
2011-12 Hong Kong & Shenzhen Bi-City Biennale of Urbanism \ Architecture

 
CONTACT:
info@studio-wf.com

 
WEBSITE:
http://studio-wf.com

PRESS:
suckerPUNCH

MADE POSSIBLE IN PART BY:   
+ atelier//studio WF
+ the Chinese University of Hong Kong - School of Architecture
+ Art Lab Limited - Hong Kong (Contractor)

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

 

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INSTALLATION: GEO-COGNITION (2012)

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*Note: Shadows produce Cityscape

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.

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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.

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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.”

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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.

 

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PROJECT CREDITS:

DESIGN LEAD:
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:
2013 The 7th Arte Laguna Prize Finalist (Exhibited at the Venice Arsenale)
2012 Design Lines - Love Tags (1 of 100 selected best designs from Toronto Design Week)

PUBLISHED:
DesignLines Magazine
AZURE Magazine
CBC Television
ART Toronto Television
Trend Hunter
 

 

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

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Copyright © atelier//studio WF

ARCHITECTURE: CFS WALL MODULAR - PROTOTYPE A (2011)

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Cross-Fabricated Scales (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.

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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.

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In fostering the synthesis of repetition and variation within a scalable logic, Cross-Fabricated Scales 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.

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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.

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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.

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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 Partnerships/Consultants:
+ DuPont Corian Asia Pacific
+ LG Hausys - HI-MACS Asia Pacific

Exhibited:
+ digitalFUTURES Shanghai 2011 (prototype v2 launch)
+ Asian Design Forum - Singapore, 2010 (prototype v1 launch)

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PRESS: 
+ The Creators Project (2012)
+ Fabricating the Future (Tongji University Press)
+ Contemporary Digital Architecture Vol.2 (LINKS)
+ Twenty & Change 03 (Riverside Architectural Press)
+ CONCEPT Magazine vol 8, 2011

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

DRAWING: Mappings of A Lover - MPL Series (on-going)

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Mappings of A Lover (MPL): This series of hand-drawings is a continuation of past projects that investigated both the technical and given information to devise an aesthetic value to “information”. More importantly, MPL is a series of drawings that explore the development of “a given set of information” (aka: constraint), and redefining the points which are translated through the interaction of a constraint.

DESIGN CONCEPT:

A cross-breed of novel mathematical logic of the Mandelbrot set and the hand of Kandinsky, the MPL series could be interpreted as a set of notations, network mapping, data mapping, flight patterns, and potentially the graphical representations of Edward Tufte. Nonetheless, the underlying artistic representation of “Mappings of A Lover (MPL)” intrinsically relates to the drawings and early to middle 1920s works of Kandinsky, the musical influences of Paul Klee, and/or the studies made by Oskar Schlemmer.

This series of drawings are currently produced as an Open Studio Artist Residency Research work towards the Cité Internationale des Arts Paris. The final work will be produced for an Exhibition in Paris, and further publication of a book based on the drawings.

All drawings were done by hand.

The total series consists of 120 drawings, and on-going.

NOTION:

+ based on the concept of mapping the body on the basis of twenty-eight points (moles) on the body of A lover—along with three fixed points (2x nipples, 1x belly button).

CONSTRAINTS:

+ each point does not cross twice/thrice, and always leads to an opposing point.

RE-ESTABLISHMENT:

+ based on the established points within a system, and regenerated lines through a guided opportunity of rules, each regenerated point connection is ‘mapped’ on an executed basis due to this system.

Mapping:

Peter Hall has once wrote in his Critical Visualisation Article for the Design of the Elastic Mind, Museum of Modern Art, that Visualization is “an empirical science” and “as a technology, information visualization is theoretically aimed at developing new solutions and selecting the best ones, according to the criterion of usefulness.” Nonetheless, the history and the basic understanding of cartography, surveying, and photogrammetric diagramming is nothing new.

The oldest known maps are preserved on Babylonian clay tablets from about 2300 B.C. Cartography was considerably advanced in ancient Greece. The concept of a spherical Earth was well known among Greek philosophers by the time of Aristotle (ca. 350 B.C.) and has been accepted by all geographers since. While the oldest Chinese maps were dated to the Xia Dynasty, 21 century BC, four thousand years ago.

Greek and Roman cartography reached a culmination with Claudius Ptolemaeus (Ptolemy, about A.D. 85-165). His “world map” depicted the Old World from about 60°N to 30°S latitudes. He wrote a monumental work, Guide to Geography (Geographike hyphygesis), which remained an authorative reference on world geography until the Renaissance.

Definition of MAP:

A map is a graphic representation or scale model of spatial concepts. It is a means for conveying geographic information. Maps are a universal medium for communication, easily understood and appreciated by most people, regardless of language or culture. Incorporated in a map is the understanding that it is a “snapshot” of an idea, a single picture, a selection of concepts from a constantly changing database of geographic information (Merriam 1996)

ARTIST:
Wendy W Fok

DATE:
May 2008 - Present

LOCATION:
Vienna, Austria / Paris, France / New York, NY, US

TYPE:
Art / Architecture

MEDIUM/FORMAT:
Pen & Ink / Vellum

SIZE:
Site Specific

CLIENT:
(Private)

Copyright © atelier//studio WF

PUBLIC ART: Corporeal Geometrix - CGX (2014)

Corporeal Geometrix (CGX) for ARTS First Festival (2014) from WE-DESIGNS on Vimeo.

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Above: Detail of interior at night

PROJECT TITLE:
Corporeal Geometrix - CGX

PROJECT DATE:
1 - 5 May, 2014

CREDITS:
Design Lead: Wendy W Fok
Creative Producer: Evelyn Tilney
Design Team: David Goujon 
Music: James Lealand - DJ Roo “Deeper Underground” Shanghai Remix

CLIENT: 
Harvard ARTS First

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Above: CGX onsite @ Harvard Yard

MADE POSSIBLE BY: 
Office of the Arts at Harvard
GSD RealTimeCities 2014 Grant
Cambridge Public Arts Grant

Copyright © atelier//studio WF  | WE-DESIGNS, LLC

PUBLIC ART: Times Square Transformation - WE MAKE NEW YORK (2014)

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WE MAKE NEW YORK is a collaboration with WE-DESIGNS, LLC that joins both the macro level street view of the metropolis with the words of notable New Yorkers or admirers of New York, to illustrate the forces that come together to make NYC. Not only the identifiable networks of streets and avenues, nor just the individuals that inhabit the city, New York exists when the structure and the people come together to generate an organism that in turn generates and regenerates itself. It is easy to argue that the built environment makes the urban fabric, but equally easy to argue that the people do, and we hope to unite the distant and up-close to let New Yorkers see, and literally reflect on, themselves as essential parts of an ever-evolving metropolis.

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This proposed design has two main components- (1) cropped street systems taken from all five boroughs and (2) short quotes about the city of New York from individuals across many professions, ethnicities, neighborhoods, languages, and backgrounds.  This artwork takes abstract parts in plan view of NYC’s streets, and illustrates these neighborhood segments in reflective mylar on solid colored vinyl banners.  The design is lightweight, durable, and easy to execute.  Additionally, interspersed between these street plans will be quotes by New Yorkers or admirers of New York, that speak to the humor, drama, madness, and joy of the city.


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The subtle but impactful poetry of this large scale artwork comes through with the reflective materiality of the piece- New Yorkers and visitors alike will see themselves reflected in the words and streets of the great city they love.  Instead of solid type, or static artworks that stay the same from moment to moment, these artworks are constantly being transformed by the visitor stopping in front of them, or the businessperson walking by. 

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The simple act of viewing changes the text and changes the streets, because the reflection is no longer the same as it was a second ago.  In this way, the project builds upon the already existing materials and assets New York has to offer, and includes the momentary influence of any and all passerby, however brief.  This momentary exchange between static and kinetic, temporal and permanent, underscores the changeability of New York, but gently reminds us that New York endures through each of its unending iterations.


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PROJECT TITLE:
WE MAKE NEW YORK

PROJECT DATE:
November / December 2013
Competition (Shortlisted)
 
CREDITS:
Lead Designer: Wendy W Fok
Producer: Evelyn Tilney
Design Team: Jenny Chow
Consultant: Jung Ahn
 

CLIENT:
Times Square Arts
NYC Dept of Design + Construction
Public Art Program of the Times Square Alliance

SPONSORED BY:
Time Square Transformation
Time Square Alliance
New York Department of Design and Construction


JURY:
The jury included: Barry Bergdoll, The Philip Johnson Curator of Architecture and Design, MOMA; Sherry Dobbin, Director of Public Art, Times Square Arts; Tom Finkelpearl, Executive Director of Queens Museum of Art; Wendy Feuer, Director of Urban Design & Art, Department of Transportation; Ellen Goldstein, VP of Policy, Planning and Design, Times Square Alliance; Kate Howe, Head of Graphic Design, NYC Dept. of Design and Construction; Victoria Milne, Director of Creative Services, NYC Dept. of Design and Construction; Sara Reisman, Director of Percent for Art, Department of Cultural Affairs; Jennifer Lantzas, Public Art Coordinator, Department of Parks, City of New York; and Willy Wong, President of AIGA NYC and Creative Director for NYC & Co.

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Copyright © atelier//studio WF  | WE-DESIGNS, LLC

RESEARCH: DIGITAL NOVELTY - CRYSTALLISED GEOMETRICS (2013)

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Over 100 iterations and studies which challenges, and produced through, the premise of digital production and analogue tooling, Digital Novelty is a series of design-research that is an intersection between of platonic solids and the notion of basic geometric shapes, assisted by 3D modelling software (Rhinoceros 3D), 3D printing technologies (additive manufacturing processes), and hand-drawn inked on vellum exercises. The research and development of Digital Novelty – Crystallised Geometrics reveals itself through a feedback system that carefully interrogates a simple method of production and design.

The topic is most relevant where the discussion around production (i.e.: rapid-prototyping) now encompasses a larger (more public) commercial audience—discussions about reducing the labour force and production line to enable the greater diversity and dissemination of digital and systematic design technologies to the individual. 

Although the computational design community has in the past two decades concentrated on the ‘style’ of the ‘form,’ from ‘parametricism’ to ‘algorithmic’ design, current discussions have moved beyond form: indeed, the discussion has surpassed form: where form is largely irrelevant within this new horizon and generation of self-organised designers. Logic and the possibility of developing with consequence could potentially become the new ‘form’.

The larger predicament within the new form of open-sourced computational design is the ability to control the corporate dealer within the production of larger grass-roots developers.  From the standpoint of commercialisation and commoditisation, even to the point of capitalization of resources, there is a serious impediment within the architectural and computational design community of open-sourced digital development.

Digital Novelty – Crystallised Geometrics are a series of novel experiments produced as an Open Studio Design Residency Research work towards the Cité Internationale des Arts Paris. The final work will be produced for an Exhibition in Paris, and further publication of a book based on the research/designs.

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GEOMETRIC THEORY:

“The cognition of spatial objects involves the construction of a consistent and meaningful overall picture of the environment. Gestalt Psychology (Wertheimer 1912; Köhler 1929; Koffka 1935) argues that human perception is holistic: instead of collecting every single element of a spatial object and afterwards composing all parts to one integrated picture, we experience things as an integral, meaningful whole. The whole contains an internal structure described by relationships between the individual elements.”

Angela Schwering, Kai-Uwe Kühnberger, Ulf Krumnack, Helmar Gust
Spatial Cognition of Geometric Figures in the Context of Proportional Analogies       

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INFORMATION:

This series of novel experiments were produced as an Open Studio Artist Residency Research work towards the Cité Internationale des Arts Paris. The final work were produced for an Exhibition in Paris, and for further publication of a book based on the research/designs.

EXHIBITION: 
DIGITAL NOVELTY - CRYSTALLISED GEOMETRICS (2013)

DATE:
20 June, 2013 

LOCATION:
Open Studio - Atelier 8314
Cité internationale des arts Paris
18 Rue de l’Hôtel de ville  75004 Paris, France

DESIGNER:                 
Wendy W Fok | atelier//studio WF      

Assistant:
Kevin Hai Pham 
 

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MADE POSSIBLE IN PART BY:
+ Academie d’Architecture (Paris, France)
+ Fontainebleau Schools - Architecture Premier Prix Grant
Mairie de Paris (City of Paris)
+ Ministère de la Culture et de la Communication (Ministry of Culture and Communication)
+ Academie des Beaux-Arts (Academy of Fine Arts)
+ Cultures France - ministère des affaires étrangères et européennes (Ministry of Foreign and European Affairs)
Cité internationale des arts Paris

 

PRESS:
+ Rhino3D News

+ Solidoodle

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COPYRIGHT © atelier//studio WF | Wendy W FOK

ACADEMIC INITIATIVE: VITREOUS - Gerald D Hines CoA / Judd Foundation (2013/14)


VITREOUS - Gerald D Hines CoA / Judd Foundation from Wendy W Fok on Vimeo.

OFFICIAL PROJECT WEBSITE:
URL: http://vitreous-uhcoa.tumblr.com

"A shape, a volume, a color, a surface is something itself. It shouldn’t be concealed as part of a fairly different whole."- Donald Clarence Judd (1928–94)

The collaboration between the Judd Foundation (Marfa, Texas) and the course is to further investigate, critically examine, and apply both theoretical study and practical design-research into the highly debated idea of ‘delegated fabrication’, within the context of design-fabrication, in the field of architectural design. It has been widely publicized that most of Judd’s work from 1964 onwards was delegated rather than fabricated by the artist himself. Rather than constructing his work personally, Judd had it industrially fabricated—a practice criticized at the time but emulated today by many contemporary artists.

The course ambition is to develop an active prototype, whereby the cluster of fifteen students will work together to design, fabricate, and discuss the potentials of hands-on digital and analogue learning, while undertaking an active role of understanding the current contemporary role of fabrication in architecture, versus the available means of production during the time of Judd. The concept of the course is not to replicate the Minimalist works of Judd, but rather, to further the theoretical and practical understanding infused by the two, and investigates on the potential use of innovative means of delegated fabrication within architecture and design.

Students will be expected to investigate formal, geometrical, scalar, and material effects, along with understanding the larger potential of teamwork and practical applications of physical large-scale prototyping, and installation. A course trip to Marfa, Texas will be part of the expectation, while also collaborating with the Judd Foundation’s Programs Director.

Students who are participating in this project are expected to work with the Director of Development and myself at the Gerald D Hines College of Architecture to allocated sponsorships and funding opportunities around the region, and also initiate national partnerships with the USA Artists Project Campaign and Kickstarter Campaign. This opportunity will encourage students to be entrepreneurial, learn about project management, project development, fundraising and crowd-sourcing, as well as project construction, design-fabrication, and installation.


STUDENT DESIGN STATEMENT:

Title: VITREOUS
Definition:
adj.
1. Of, relating to, resembling, or having the nature of glass; glassy.
2. Obtained or made from glass.
3. Of or relating to the vitreous humor.

Vitreous is a design proposal that incorporates the vantage points of the natural landscape, and the technological advancement of digital fabrication and media technologies. The project is a collaborative feat between fifteen graduate and undergraduate students working towards the goal of a self-funded architectural installation.

The faceted panels disguise and blend the unbounded Marfa landscape with reflective images causing a perceptual distortion between the viewer and the surroundings and between the real and the virtual. Vitreous contends to be a visual/spatial experiment that poses a blurred line between the real and the virtual, the subject and the object. It works to deconstruct that separation and guide the subject’s perception toward the third domain in between—the domain of relation.

The interactivity of the LEDs and the interchangeability of the colours will be determined by data-sourced information through an APP (application) developed by the student team. The APP will be available for download online and will be available for both iPhones and Android phones. This APP will be user-interacted and the data-sourced and gathered will interact with the colour scheme of the installation itself.

 


CREDITS:
Institution: Gerald D Hines College of Architecture, University of Houston
Faculty Lead: Prof Wendy W Fok

STUDENT TEAM:

Business - Stephanie Balbin, Hai Luu, Katie Dominguez, David Yao, Megan Hartensteiner, Natalia Sanchez

Design - David Rodriguez, David Regone, Christopher Al-Jumah, Brian Chiu, Ross Rudolph

Technical - Kevin Pham, Tiger Lyon, Philip Bridges, Paul Suttles, Alexander Martin

Video Editing:
Alexander Martin


Made Possible in part by:
+ Judd Foundation, Marfa, Texas

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GRASSHOPPER DEFINITION:

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UPDATES: May 2013

PROTOTYPE A - 1:50 Scale Modelimage

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Copyright: Gerald D Hines CoA | atelier//studio WF

SCULPTURE: Imminent Domain - Asia Society (2013)

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DESIGN STATEMENT:

Piece: “La Technologie Culturelle d’Objet”
Designer: Wendy W Fok
Original: 18 November, 2012 | Updated: 24 January 2013


spatial / geometrical / mathematical / material processing

La Technologie Culturelle d’Objet was a sculptural piece commissioned by the Asia Society Hong Kong Center, invited by Chief Curator Fumio Nanjo (Director of Mori Art Museum), as part of their inaugural “Imminent Domain” exhibition with eight other Asian designers. The piece is subsequently reinstalled at the Chinese University of Hong Kong as an addition to their sculptural collection. 

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“L’anthropologie des techniques est une branche de l’anthropologie qui s’intéresse à l’histoire, à l’usage et aux rôles des objets techniques, y compris leur rôle symbolique. L’étude ethnologique des techniques et des objets ne se limite pas aux techniques et aux objets considérés comme « traditionnels » ou anciens mais également aux faits contemporains.”

Grounded within the concept of the “material culture” and the basis of “technology and object”, the driver of this design is interfolded through data-sourcing and data-housing. The stainless steel “objet” (installation) itself is an interpretative piece that focuses on the contemporary examination and contextualization between the theory of the technicity, ethnicity, and the milieu of André Leroi-Gourhan.

While geometrically, the piece is inspired by the “impossible objects” theory. An impossible object (also known as an impossible figure or an undecidable figure) is a type of optical illusion consisting of a two-dimensional figure which is instantly and subconsciously interpreted by the visual system as representing a projection of a three-dimensional object although it is not geometrically possible for such an object to exist (at least not in the form interpreted by the visual system).

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The LED lamps held within these interactive transparent acrylic rods represent the interchangeable activators and attractors of the city and its citizens, mapped into a singular location to be viewed at the Asia Society Hong Kong Center. Each LED is embedded in an acrylic rod and is accentuated individually or clustered into “units” of stainless steel geometrical modulars. The ultimate aim is to critically analyse the contemporary state of urban cities and their landscapes, the citizens within the cityscape and a progressive understanding of their roles within each metropolis.

According to Leroi-Gourhan, in Milieu et techniques (1945), he develops a general theory of the relation between the technical (as universal tendency) and the ethnic (as specific, differentiated concretisation). The human group, according to Leroi-Gourhan, behaves as though it were a living organism, assimilating its exterior milieu via “a curtain of objects”, which he also calls an “interposed membrane” and an “artificial envelope”, that is, technology. The milieu of the organism is divisible into the exterior milieu (geography, climate, animals and vegetation) and the interior milieu (the shared past of the group, thus “culture”, etc.). This division enables a clarification of the concept of technical tendency. A tendency, according to Leroi-Gourhan, is a movement, within the interior milieu, that gains progressive foothold in the exterior milieu.

French philosopher Gilles Deleuze frequently cites leroi-Gourhan in the two-volume collaboration and psychiatrist Félix Guattari entitled Capitalism and Schizophrenia. The hand/tool and face/vocalization couplings of Leroi-Gourhan play an important role in the development of Deleuze and Guattari’s concepts of becoming and deterritorialisation.

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Data-Transfer:

Interactive information gathered from different nodes within the city that is activated through media controlled LED lights are embedded within housing units in an acrylic cube (2000mm x 2000mm x 1000mm). Each LED is accentuated as clustered “units” of reflective geometrical forms, which mimics and breathes with the beat of the city. 

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Form/Fabrication:

The geometric formation of the LED lamps embedded within reflective modular units, represent the interchangeable activators and attractors of the city and its citizens, mapped into a singular location to be viewed at the Asia Society Hong Kong Center. The stainless steel geometric “objet” is to critically analyse the contemporary state of urban cities and their landscapes, the citizens within the cityscape, and the progressive interpretation of their roles within the city.

The different combinations of LEDs are controlled by the interfaced information from the citizens, while the technological balance of the “objet” itself is a contribution piece activated by the user. The feedback from the space and the citizens will cross-pollinate and illuminate during the evenings, while the stainless steel geometric modular combined with the surfaces blurred together formed by the myriad of LED lights is the formal housing that represent the “reflexive” nature of activated milieu.

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Background:

André Leroi-Gourhan has devoted much of his work in anthropology techniques, releasing both theoretical principles (concepts of trends and developments techniques, technical environment, supportive environment of the invention and the loan), methodological frameworks (methods of analysis of the degrees of fact and the operating chain) and a general classification of technical action. These fundamental contributions to the epistemology of the disciplinary field gathered in the works of Leroi-Gourhan: The man and matter (1943/1971), “Environment and Technical” (1945/1973), Gesture and Speech, vol. 1, Technical and Language (1965), Gesture and Speech, vol. 2, memory and rhythms (1965).

 

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展品介紹

 

意念:

“L’anthropologie des techniques est une branche de l’anthropologie qui s’intéresse à l’histoire, à l’usage et aux rôles des objets techniques, y compris leur rôle symbolique. L’étude ethnologique des techniques et des objets ne se limite pas aux techniques et aux objets considérés comme « traditionnels » ou anciens mais également aux faits contemporains.”

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我們的設計意念來自物質文化,以科技與物件為基礎,經過數據搜尋及數據存庫程序的交錯摺疊。參展作品(裝置)可以被視爲對André Leroi-Gourhan有關技術、種族及環境理論當代重新演繹及運用。

根據Leroi-Gourhan 著作Milleu et techniques1945年),他提出技術(廣泛傾向)與種族(特定、不同的具體)關係理論。他認為人類這個群組的行爲就像生物一樣,會透過一系列物件吸收外界環境,他稱為中介薄膜人造封套既是科技。生物的環境可分為外界環境(地理、氣候、動物植物)與內部環境(群組的共同過去或文化等),這條界線可以釐清技術傾向的概念Leroi-Gourhan 認為傾向即是一種運動,內部環境開始,然後逐漸踏足外界環境。

法國哲學家 Gilles Deleuze與精神病理學家 Félix Guattari 作寫了一套兩冊的Capitalism and Schizophrenia,其中重複引述了 Leroi-Gourhan 的理論。Leroi-Gourhan 提出的手/工具/發聲組合對兩位學者發展出轉成破除疆界等概念起了重要作用

 

數據移:

從城市的不同據點搜集得來的互動訊息牽動著媒體控制的LED燈。整套LED燈管會放入丙烯酸的膠立方體內2000 x 2000 x 1000毫米),每個LED獨立群組形式不同單位的幾何形狀反光面結構

 

形狀/製造:

展品的互動式透明立方體帶有裝著LED燈的反光結構,代表城市中可替換的啟動者吸引者與居民的關係,再整體亞洲協會香港中心的單一展示位置。本裝置旨在批判地分析當代都市及景觀、城市景觀中的市民,以及各自對自己在城市中的角色的理解

展品集了不同的LED燈組,由市民發出的訊息控制,而展品(裝置本身的技術平衡則由使用者啟。四周和市民的動靜會透過作品在晚上亮起來而互相交錯它的幾何形光面代表了受干擾的環境的反射本能。

 

背景:

André Leroi-Gourhan 一生鑽研人類學技術,學術著作範圍包括理論原則(趨勢與發展技術的概念、技術環境、發明與借物的支持環境、方法論架構真實度及連鎖操作的分析方法,以及技術活動的常用分類。這些理論歸納成他的多本著作The man and matter (1943/1971)Environment and Technical(1945/1973)Gesture and Speech, vol. 1, Technical and Language(1965)Gesture and Speech, vol. 2, memory and rhythms(1965)

 

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CREDITS:
Commission: “La Technologie Culturelle d’Objet”
Designer: Wendy W Fok
Assistant: Kenneth Chi-Kan Wong
Chief Curator: Dir. Fumio Nanjo (Mori Art Museum)
Asst Curators: Amy Chow / Dominique Chan
Engineering Consultant: Wing Dik Engineering Co. Ltd (Hong Kong)
 
EXHIBITION:
Venue: Asia Society in Hong Kong
Exhibition: Imminent Domain
Dates: 31 January 2013 - 31 March 2013
Opening Party: 30 Jan, 2013 / Press Opening: 28 Jan, 2013
 
MATERIAL:
Stainless Steel Frame / Variable LED configuration
 
PRESS: 
今日家居  Today’s Living Magazine
+ a+a Magazine
 
SPONSORED BY:
Create HK
Hong Kong Design Centre
the Hong Kong Institute of Architects
Asia Society

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Copyright © atelier//studio WF

INSTALLATION: MINIMAL RELAXATION (2012)

The design of this temporary installation reinterprets the traditional Chinese garden to activate the roof terrace of the MoCA Shanghai as an undulating and responsive multi-layered landscape.  The upper (canopy) layer simultaneously produces gradient spatial conditions and framed viewing portals which curate views of the surrounding hi-rise towers, while the lower (landscape) layer articulates a series of back-lit sculptural ground forms which subdivide the terrace and provide atmospheric effect through responsive color-changing LED lighting affects. Inspired by the work of Frei Otto, the entire project extends his body of design research into physical and digital form-finding processes for minimal surface structures through dynamic mesh relaxation techniques. 



The canopy examines the potential of gravity forces and internal tensions to derive geometry by relaxing a tensioned net, in which every web member reveals its load path to express its funicular form in multiple dimensions. It is further articulated by a series of carefully calibrated apertures, each oriented to frame a specific view out of the roof terrace to frame a selected tower in the surrounding skyline. Each aperture responds to a corresponding landscape feature which swells out of the ground plane of the roof terrace.  The landscape explores the minimization of surface curvature between edge conditions by shrink-wrapping CNC milled profile structures.  

The combination of the spatial acrobatics of the canopy in confluence with the emergent landscape swelling out of the ground plane creates a series of gradient spatial conditions which articulates the continuous roof terrace space into series of relaxation zones, each focused on a curated view spectacular views.  The final installation was realized through a series of tensioned net structures to articulate an undulating roof canopy and a series of shrink-wrapped plastic skins which articulate a generative landscape. The undulating landscape is embedded with color-changing LED’s connected to motion sensors, with color changing responses to express intensities of occupation. The highly successful installation activated the previously under-utlized roof terrace into a popular summer evening destination, while also serving as highly visible civic landmark viewable from surrounding highrise towers.



The temporary installation is a commissioned work for the exhibition “MoCA Mockups: The Architecture of Spatial Art”.  The entire project was designed, fabricated, and installed by a team of graduate and undergraduate students from the University of Southern California’s American Academy of China summer studio. 

PROJECT INFORMATION:

Project: Minimal Relaxation
Program: Temporary Canopy and Landscape Installation
Client: MoCA Shanghai
Location: Rooftop Terrace @ MoCA Shanghai, Shanghai, China

CREDITS:
Designed, fabricated and installed by the USC AAC Summer Studio 2012
Faculty - Neil Leach (USC/AAC Program Director), Wendy W Fok (Univ. of Houston/atelier//studio WF), Alvin Huang (USC/Synthesis Design + Architecture)
Students -  Ethan Barley, Chi Bhatia, Gabby Gertel, Ty Harrison, Luya He, Justin Kang, Michelle Kraintz, Arjun Mahesh, Nicole Stizel, Yimeng Wang, Sahar Youdai, Chaoxun Zhang, Xiaoyun Li, Xiaojin Mi, Xinyue (Amber) Ma

PRESS:
Dexigner
suckerPUNCH
Architect’s Newspaper

INSTALLATION: SYSTEMATIC NARCISSISM (2012)

SYSTEMATIC NARCISSISM:

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*Update: Systematic Narcissism has been selected as a Finalist for the Architizer A+ Awards 2013. Please show your support and vote for the Public Vote Award.

Systematic Narcissism is a hybridization through the notion of the planetary grid system and the symmetry of narcissism. The installation is based on the obsession of the physical reflection of the object/subject relationship, created by the idea of man-made versus planetary projected planes (grids) of which humans have made onto the earth. I.e.: Pierre Charles L’Enfant plan 1791 of the golden section projected onto Washington DC.

The fostered form is found based on a triacontahedron primitive and developed within the family according to the primitive angles. Every angle has an increment of 0.25m and is based off a logic-based system of derivatives. As indicated, the geometry of the world (or the globe) is based off the planetary grid system, which is a hexakis icosahedron grid system of the earth according to Bethe Hagens and William S. Becker; thus, the formal mathematical aspects of the installation are created by the offset within a basis of that geometric form.

The base of the planetary grid and narcissus reflection of the modular pieces act as intersections that operates as a system to shape the devised geometry of the interfacing modular, which upholds the installation.

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BACKGROUND:

Poetics:
Narcissus is the origin of the term narcissism, a fixation with oneself. The Greek myth which depicted a prince who sat by a reflective pond for days being self-absorbed by the beauty it contained, as he looked at the reflection of his own beauty.

Mathematics:
In 1978, Professors William Becker and Bethe Hagens extended the Russian model, inspired by Buckminster Fuller’s geodesic dome, into a grid based on the rhombic triacontahedron, the dual of the icosidodecaheron Archimedean solid. The triacontahedron has 30 diamond-shaped faces, and possesses the combined vertices of the icosahedron and the dodecahedron.

Their new model, which they later title “The Ring of Gaia”, revealed 15 great circles, 120 scalene right-triangles (with no equal sides or equal angles) and 62 node-points. The great circles divided each rhombic face into four right-triangles. Although having no interest in Earth grids, Fuller had previously noticed that these triangles and recorded their internal angles in planar and spherical notations.

The model was eventually developed into the “Unified Vector Geometry” (UVG) projection, a connection of all of the vertices of the five Platonic solids placed inside a sphere, using Fuller’s “great circle sets” from Synergetics II. A total of 121 great circles appeared, increasing the number of vertices to 4,862. They proposed that the UVG grid could be a new geometric model for Gaia.

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DESIGNER:                
Wendy W Fok | atelier//studio WF       

PROJECT TEAM:                
Jose Aguilar / Dillon Philips               

PRODUCTION CONSULTANTS:            
Tommy Joe / Julie Truong       

CONTACT:
info@studio-wf.com

WEBSITE:
http://studio-wf.com

VENUE:
the Old Truman Brewery, London, UK

EVENT:
TENT, London Design Festival 2012

DATES:
18 - 23 September, 2012 

SPONSORED IN PART BY:
Burdette Keeland Jr. Design Exploration Center
Gerald D Hines College of Architecture, University of Houston
Saifee Signs & Graphics, LLC 
atelier//studio WF

PRESS:
+ GLASS MAGAZINE
+ DEZEEN (interview)
+ Art Served
+ suckerPUNCH
+ Architizer A+ Awards (Finalist)

AWARDS:
+ Architizer (Architecture+Fabrication) Shortlisted 2013
+ AIA Dallas Women in Architecture ‘Express Yourself’ Award 2013

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PRESS RELEASE:
Download / Postcard

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Copyright © atelier//studio WF

INTERACTIVE: MECHANICAL GARDEN (2012)

MECHANICAL GARDEN:

EVENT:
MOCK-UP: MoCA - Mechanical Garden Installation (2012)

VENUE:
Museum of Contemporary Art in Shanghai (MoCA)

TITLE:
Mechanical Garden

PROJECT LEADS:
Wendy W Fok, Michael Fox, Alvin Huang, Neil Leach, Philip Yuan

ARDUINO CONSULTANT:
Michael Fox

PROJECT TEAM:
Rungu Lin, Mei Zhang, Zhenghao Lin, Yuan Jin 

MADE POSSIBLE IN PART BY:
Tongji University, AAC Institute, SCUT

MoCA - Mechanical Garden Installation from (C)ODE-(C)OLLECTIVE on Vimeo.

Copyright © atelier//studio WF 

INSTALLATION: TETRA V.2 (2012)

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TETRA V.2 is an urban design installation reacting as a commentary to the contemporary state of economic, sustainable, and environmental developmental local (Hong Kong) and international issues, surrounding the state of utility within our urban and socio-political function of citizenship within the urban environment.

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Using modular system that functions at a variety of scales, from the object scale all the way up to the urban scale, the design is based off of a fractal geometric logic creating an urban architectural intervention “without end”. TETRA V.2 becomes an urban addition within the city, formulated by architecture.

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The assembly of modules is based on a concept from fractals and the continuing nature. The sets defined themselves as portraying self-similarity in different scales, mimicking the organic nature as growth of plants. The flexibility allows the sets to vary in size and number. By alternating the combination of the pieces and the urban settings, it could be anything from a self-standing furniture piece to a social interaction hub. It provides a definitive addition and discussion between human and nature, generating a continuum between the human scale and that of the building or urban space.

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The basic module of TETRA V.2 is inspired by the elegant and simple form of a tetrahedron. Each family of tetrahedrons is made up of three different sizes, but all with the same size opening at the points of connection. The slight changes in the parameters of these different pieces allows for variation, without losing the relationship between them. By truncating the edges of the tetrahedron and developing a concaved form, the reinvented shape breaks the uniform geometry of the pure tetrahedron. The craved out space becomes porous enclave for interaction, redefining space within the urban Kowloon Park.

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展品「積.聚」是一個以融入城市環境的實用性為基礎,並呼應現今經濟體系,本地(香港)及國際可持續發展,及公民於社會政治體系裡的功能角色的結構系統。 

展品的整個系統由多件不同尺寸的固體表層結構模件「積組」而成,而系統的靈活設定亦使其結構和功能帶來無限伸延的可能性。它可以是公園裡劃佔成較私秘空間的座位,同時把小尺寸的模件改裝成燈具以配合公園環境 ; 它也能是圖書館裡的書架連座位的組件。 

「積.聚」是一個能多方向複製組裝的城市裝置。從結構的系統性到當中功能變化的不確定性,「積.聚」以建築邏輯重展城市與人之間的互動性,並以不同組裝提供新的負空間予途人休憩與交流。 

此展品亦曾於早前8月份由尼你.里奇及袁烽教授共同策辦的上海展覽數字未來DigtalFUTURE中展出。

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PROJECT CREDITS:

DESIGN LEAD:                       
Wendy W Fok
| atelier//studio WF             

DESIGN TEAM:                                 
Michelle Lok / Ivan cheung /           
Kenneth To / Dave Cheung /
Marco Chan / Kathleen Johnson

WITH SPECIAL THANKS TO:
Professor Marc Aurel SCHNABEL / Director Puay Peng HO

VENUE:
Kowloon Park, Sculpture Garden, Hong Kong

DATES: 
14 February, 2012 - 23 April, 2012

EVENT:
Tri-Ciprocal Cities -
2011-12 Hong Kong & Shenzhen Bi-City Biennale of Urbanism \ Architecture

 
CONTACT:
info@studio-wf.com

 
WEBSITE:
http://studio-wf.com

PRESS:
suckerPUNCH

MADE POSSIBLE IN PART BY:   
+ atelier//studio WF
+ the Chinese University of Hong Kong - School of Architecture
+ Art Lab Limited - Hong Kong (Contractor)

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

 

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INSTALLATION: GEO-COGNITION (2012)

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*Note: Shadows produce Cityscape

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.

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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.

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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.”

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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.

 

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PROJECT CREDITS:

DESIGN LEAD:
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:
2013 The 7th Arte Laguna Prize Finalist (Exhibited at the Venice Arsenale)
2012 Design Lines - Love Tags (1 of 100 selected best designs from Toronto Design Week)

PUBLISHED:
DesignLines Magazine
AZURE Magazine
CBC Television
ART Toronto Television
Trend Hunter
 

 

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

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Copyright © atelier//studio WF

ARCHITECTURE: CFS WALL MODULAR - PROTOTYPE A (2011)

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Cross-Fabricated Scales (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.

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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.

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In fostering the synthesis of repetition and variation within a scalable logic, Cross-Fabricated Scales 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.

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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.

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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.

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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 Partnerships/Consultants:
+ DuPont Corian Asia Pacific
+ LG Hausys - HI-MACS Asia Pacific

Exhibited:
+ digitalFUTURES Shanghai 2011 (prototype v2 launch)
+ Asian Design Forum - Singapore, 2010 (prototype v1 launch)

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PRESS: 
+ The Creators Project (2012)
+ Fabricating the Future (Tongji University Press)
+ Contemporary Digital Architecture Vol.2 (LINKS)
+ Twenty & Change 03 (Riverside Architectural Press)
+ CONCEPT Magazine vol 8, 2011

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

DRAWING: Mappings of A Lover - MPL Series (on-going)
PUBLIC ART: Corporeal Geometrix - CGX (2014)
PUBLIC ART: Times Square Transformation - WE MAKE NEW YORK (2014)
RESEARCH: DIGITAL NOVELTY - CRYSTALLISED GEOMETRICS (2013)
ACADEMIC INITIATIVE: VITREOUS - Gerald D Hines CoA / Judd Foundation (2013/14)
SCULPTURE: Imminent Domain - Asia Society (2013)
INSTALLATION: MINIMAL RELAXATION (2012)
INSTALLATION: SYSTEMATIC NARCISSISM (2012)
INTERACTIVE: MECHANICAL GARDEN (2012)
INSTALLATION: TETRA V.2 (2012)
INSTALLATION: GEO-COGNITION (2012)
ARCHITECTURE: CFS WALL MODULAR - PROTOTYPE A (2011)

About:

spatial / geometrical / mathematical / material processing

The endeavours of Wendy W Fok's research-based projects are dedicated to the creation of designs interlaced within the principals of procedural-based mathematics, logics, and material studies, within the field of architecture, digital media, and design. Her designs are substantiated through explorations between the cross-pollination of spatial installation arts and novel architectural innovations embedded within urban cityscapes.


Wendy W Fok is the creative director/founder of WE-DESIGNS, LLC (Architecture/Creative Strategy) and atelier//studio-WF (Spatial Art), and winner of the ADC Young Guns 11 Award (2013), AIA (American Institute of Architects) Dallas “Express Yourself” Women in Architecture Award (2013), Hong Kong Young Design Talent Award (2009), and selected designer of the Perspective 40 under 40 Award (2011). Fok has a Master of Architecture and Certification of Urban Policy/Planning from Princeton University, and a Bachelor of Arts in Architecture with a Concentration in Economics (Statistics) from Barnard College, Columbia University.

Fok has an international background from Vienna, New York, London, Paris, Tokyo, Beijing, Hong Kong & Canada. Her art installations have been displayed in Dubai, Vancouver, Toronto, Hong Kong, Shanghai, New York, Athens, Venice, & Prague, and has worked on several international architectural projects, exhibitions, & competitions-- including the Beijing Design Biennale 2014, Asia Society Hong Kong Center 2013, HKSZ Bi-City Biennale 2012, 12th La Biennale di Venezia 2011, the Shanghai Expo 2010, Athens Fringe Festival 2009, & Lower East Side Tenement Museum 2004/05.

Fok's interests are toward the investigations of contextual and content-related natures of fabrication, partnered with 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 resilient planning, material research, and alternative methods of fabrication with progressive aims within the built environment.