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Models in Model, museo de modelos arquitectónicos

Fengyuzhu le encargó a Wutopia Lab el diseño del primer museo de modelos arquitectónicos en China para predecir la ciudad futura.

Modelos en modelo

El cliente, fundador de Fengyuzhu, esperaba exhibir los modelos arquitectónicos de todos los famosos arquitectos chinos contemporáneos en este museo. Su inspiración provino de Archi-Depot, un museo de modelos arquitectónicos situado en un almacén en Tokio. Cuando miré a través de las fotos de Archi-Depot, se me ocurrió una idea: dado que el museo se enfoca en modelos de varios proyectos construidos o no construidos, si miramos estos proyectos muy diferentes desde una perspectiva macro e ignoramos la diferencia en la región y período de tiempo, pueden formar un mundo juntos. Por lo tanto, decidí convertir todo el museo en un mega modelo de ciudad futura. Los modelos recopilados se convierten en componentes diferentes del tejido de la ciudad futura, y cada uno de ellos predice de manera divergente un futuro diferente. Tal museo de modelos arquitectónicos es verdaderamente significativo a nivel de arquitectura, y lo definí como «Modelos en Modelo».

Teorema de 1909

“Todas las comodidades del país sin ninguna de sus desventajas”

Los modelos densos en los estantes de Archi-Depot me recuerdan el cómic de A.B Walker citado por Rem Koolhaas en Delirious New York, que se publicó por primera vez en una revista en marzo de 1909. Koolhaas pensó que representaba una imaginación utópica de los rascacielos. En 2011, mi tesis doctoral sobre ciudades verticales citó esta parte del texto y la imagen en el libro de Koolhaas. Creo que la imaginación diversificada de los rascacielos en Europa y América del Norte a principios del siglo XX dio forma al prototipo de una ciudad vertical. Esto me inspiró a hacer del museo un modelo de futura ciudad vertical.

Zenobia, que se construyó por completo en las altas apuestas mencionadas en «La Ciudad de la Luz II», parte del libro Ciudades invisibles de Italo Calvino, me ayudó a determinar la estructura básica de la futura ciudad. Espero que las modelos, como parte de la futura ciudad, floten sobre su interfaz, pero no quiero literalmente imaginarme esta futura ciudad. Para resaltar los modelos físicos de los arquitectos, la ciudad debe ser abstracta. Finalmente, decidí construir esta futura ciudad con barras redondas altas con un diámetro de 32 mm como elementos básicos. Llamé a la ciudad futura The Last Redoubt, que se deriva de The Night Land, una ciencia ficción publicada en 1912.

El último reducto

Construcción de estructuras invisibles.

Se utilizaron un total de 5,653 tuberías de acero para construir la ciudad vertical de Last Redoubt. Hice pilares estructurales y decorativos uniformes en tamaño e impresión visual, para debilitar deliberadamente la existencia de las estructuras. Estas tuberías de acero continuas juntas forman un ritmo y componen interfaces que dividen diferentes áreas en la ciudad vertical.

El diseño del último reducto considera plenamente tanto las escalas humanas como las escalas modelo. Desde una perspectiva de escala modelo, el último reducto tiene una altura de más de diez niveles, con todas las placas modelo en voladizo y soldadas en las barras redondas. Diferentes modelos se encuentran en las placas de soporte a diferentes alturas, formando colectivamente la forma del último reducto. A escala humana, el museo tiene un entrepiso que abarca todas las áreas de exhibición. El entrepiso está suspendido por tubos redondos de acero blanco con un diámetro de 32 mm. Oculto el entrepiso entre interfaces formadas por barras de acero, para evitar conflictos visuales entre las dos escalas. Los visitantes pueden caminar entre los modelos de una manera vagamente visible y observarlos, lo que forma una circulación importante para experimentar el museo y constituye una parte del modelo general: el sistema de tráfico tridimensional del último reducto.

Acrópolis

El hall de entrada se llama Visionary City, que lleva el nombre de una elegante pintura de la futura ciudad creada por el pintor estadounidense William R Leigh a principios del siglo XX. Visionary City es la acrópolis del último reducto, y es más como un desierto vacío. Solo los Stacks (derivados de la película Ready Player One) se mantienen solos en un lado, y las arquitecturas en él son reticentes. Sin embargo, cuando se enciende el vidrio circundante, la gran ciudad vertical detrás de él aparece de repente, y las sombras proyectadas aparecerán en el suelo, haciendo que el área se llene de experiencias ilusorias, una Ciudad verdaderamente visionaria.

3 zonas principales

La ciudad interior del Último reducto, es decir, el área principal de exhibición del museo, se divide en tres secciones principales, incluyendo Tijuana (de la película Cowboy Bebop), Ironia (El nombre se deriva de la Ciudad del Hierro en la película Alita: Ángel de batalla Y acorté y transformé «Ciudad de hierro» para que sea «Ironia») y Pod bay (2001: Una odisea del espacio). Tijuana e Ironia difieren en su disposición espacial en función del tamaño del plano original, mientras que la bahía de Pod es como una plaza en la ciudad, que también es la intersección de Tijuana y Ironia.

1 panteón

Hay un espacio circular en la esquina suroeste del plano original. Decidimos usarlo para espectáculos de realidad virtual, descanso o comunicación. Es el único espacio socializador en el museo, como el Panteón de la ciudad. Aunque lo llamé The Thunder Dome (de Mad Max), es un lugar tranquilo lleno de luz divina.

Homenaje inesperado

En el costado de la cúpula se encuentra la escalera que conduce al entrepiso. Originalmente tenía la intención de convertir el espacio de abajo en una sala de almacenamiento. Pero cuando me paré en esta habitación, vi las losas de piso perforadas que fueron diseñadas originalmente para reducir el peso del entrepiso dejando que la luz penetre en los agujeros y se filtre en la habitación. La luz me conmovió, así que decidí hacer de esta sala una sala de exposiciones especial, que se llamaba Tyrell para rendir homenaje al gran Blade Runner.

3 espacios sagrados

El último reducto se incrustó en el plano irregular original como una ciudad cuadrada completa, que dejó algunos espacios de esquina fragmentarios en el avión. Marqué esos tres espacios como espacios especiales de exhibición en rojo, amarillo y azul, que también funcionan como espacios sagrados de la ciudad para conectar el último reducto (es decir, el museo de modelos arquitectónicos) con el mundo real. Rojo, azul y amarillo representan respectivamente Olympus (Appleseed), Asgard (Thor) y Arrakis (Dune). De hecho, esos colores simbolizan una cosa: los espacios puros eventualmente atravesarán los límites y expandirán los campos desconocidos de manera más magnífica para lograr un desarrollo sostenible.

3 puertos

Había 3 balcones en el avión original, podría haberlos ignorado. Sin embargo, pensé que cualquier gran ciudad y civilización ciertamente ampliaría su frontera para explorar lo desconocido. Por lo tanto, consideré esos tres balcones como naves espaciales en los tres puertos aéreos del Último Reducto. Son respectivamente The Eclipse (Star Wars), que representa la ambición de conquistar, The Covenant (Star Trek), que simboliza la curiosidad y la exploración, y The Serenity (Firefly) al lado de la bahía de Pod que representa coraje y suerte. Prueban que mi último reducto no es lo mismo que el último reducto esperando la muerte en la ficción. Después de todo, los humanos salieron de la fortaleza sin temor a explotar el mundo en general.

«No entres gentilmente en esa buena noche,
La vejez debe arder y desvanecerse al final del día;
Rabia, rabia contra la muerte de la luz.»

La tierra de la noche

Más allá del último reducto blanco está la tierra de la noche. Como pareja antitética, diseñé el vestíbulo del ascensor para que fuera negro, como si fuera de noche. El árbol de durazno (Juez Dredd), es decir, la ciudad negra y silenciosa que se erige en la noche, es el otro lado de las pilas blancas en Visionary City. Mirándose en Stargate, son dos mundos diferentes. Directamente frente al elevador hay un enorme muro de control digital negro que puede mostrar información, incluidos patrones en él. Se parece más a Monolithic (de 2001: A Space Odyssey), lo que implica la estrecha relación entre el glamoroso Last Redoubt detrás de la puerta y Night Land.

«Abril es el mes más cruel, la cría
Lilas de la tierra muerta, mezclando
Memoria y deseo, revolviendo
Raíces opacas con lluvia de primavera.

Manifiesto

Originalmente quería usar cortinas para aislar el museo y convertirlo en un espacio completamente interno e intacto. Sin embargo, después de que se erigieron las varillas redondas, la luz del sol se filtró y cayó al museo, haciendo que parezca real pero irreal al mismo tiempo. Entonces parecía posible disolver la entidad. Esto me conmovió profundamente y cambió mi idea.

La disciplina de la arquitectura necesita usar arquitecturas como herramientas para pensar sobre el destino futuro de la humanidad. Debe enfrentar el futuro y no debe esconderse detrás de la cáscara de la historia, el contexto y el regionalismo, sino que debe tomarlos como un punto de partida para crear un futuro más ambicioso o divinidades más humildes. La firmeza y la eternidad pueden ser siempre una ilusión en la que insistimos. Sin embargo, la apertura, la temporalidad, la diversidad, el azar, el accidente o la amnesia temporal, la inspiración instantánea, la belleza efímera y la ligera fragilidad también merecen atención para la profesión de Arquitectura, y podemos crear algo con ella. Sí, considero el museo de modelos arquitectónicos como un manifiesto arquitectónico.

«No debes tener miedo de soñar más grande, cariño»

Leé la nota original en inglés > https://arqa.com/en/architecture/models-in-model.html

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