BusterKeaton, Marcel Duchamp, Joseph Cornell and Alberto Giacometti all made play a component of the surreal house. Dali took this playfulness one step further, creating an amusement hall that was the first and perhaps only—until now, that is –dwelling actually conceived as a surrealist house. His dream of Venus pavilion for the New York World’s Fair of 1939 has long been overlooked; indeed for many years it was written off as being in the worst possible taste. Only recently recuperate in the post-Warholian era of excess and transgression, Dali’s funhouse transforms systematic confusion into carnival.
The next step, after taking apart of all internal elements in architecture is to recombine these pieces. One reason to combine these fragment elements together is try to blur the boundary of definition in architecture. For instance, most works of the American pop artist Robert Rauschenberg are called “Combines.” Rauschenberg's Combines imitate the arbitrary accumulations of objects to be found in museum collections. Positioned between the culture of the mass media and the museum, the Combines point towards the massive information that makes our experience in everyday life. Rauschenberg's work repeatedly pulls the realms of art and the everyday into close proximity, yet we must recall that he attempts "to act in the gap between the two." In many ways the viewer is placed in that gap, a space in between the cast-off commodities of yesterday and the high art to be preserved for posterity . However, the meaning of a process combined with different architectural elements could also seem to blur the definition boundary; all opposite definition such as: interior and exterior, modern and classical, pass and present, breakdown through recombination. The observers, also as viewers, become breakers who watch or pass through them.
There is a similarity here between the mechanical aspect of the car that can relate to Micromages a series of drawing describes Daniel Libeskind’s ideal that takes part the forms of architecture and filters these elements to the purely geometry precise. In his drawings, looking as though they might have been visual texts produced by the machines; they depict a new and ambiguous spatial world emerging from an older, familiar one of architectural form and representation. In his book, “this is presentation, but always according to the mode of imperfection; an internal play in which deferred completeness is united with mobilized openness.” Via the process of purifying, people can reconsider objects with no-conceptual experience that is the source of programs, forms, and responses that were here explored. Imagination, in outpacing this experience, provides alternative solutions to problems without defining architecture. Therefore, the definition of internal architecture would be explored and redefined it.
How to take apart the images or objects of internal architecture and obtain these elements are also important to this project. The processes of art exhibition “Breakdown” (Figure 18) in 2001 in London could provide a similar way to take apart components inside of architecture. Although Michael Landy, the artist of this exhibition, focused on the core ideal that the meaning of consuming, the way he catalogued, defined, and re-organised all his properties in his 33 years life (7,227 items) is another big issue in his work. Before breakdown all his properties, he have to classify different items, take apart of them, and reorganised the fragments. The whole process reverses the way of production, and purifies the daily objects in the real world. Therefore, every interior images, items, and decorations belong to historical buildings in London could be take apart through this same process, which is like the mechanical operation beneath these buildings.
WHAT? The project is about Inversion the culture translation altered in the future London, to hallucinate the London’s cityscape development, which deals with the operation machine device just like a city, in order to prospect the potential of the future architecture. By reversing the way of examining the cityscape of contemporary China and a contemporary Britain; I potentially open up the subversive lateral and hidden future image of the city. I visualize London city as an organic and kinetic system full of chaos to be interpreted. The idea is to fuse the mechanical devices and the scenes from inverse cityscapes as a new landscape to treat London as a giant factory.
WHY? Last century, West countries exported their culture value and system to Asian areas via colonizing and disseminating; on contrast, East countries exported their labors and sacrificed the environment to West in order to chat up with backwardness the progress that since industrial revolution in eighteen century.
This century, Economical recession, globe warming, energy crisis, and climatic anomalies not only test the traditional social system, but also blur the boundary of the west and east culture. For example more and more people notice humble and harmonious systems from ancient Asian concepts. Business and residential district system is no longer to stratify the city development that suffers the shortage of energy crisis in the future.
In the past, London was an important port to export the culture, thoughts, and traditional system and imported the different manufactures from all over the world. However, in the future, the situation might be revered totally because of the globalization and economical recession. Asian culture and value might be the mainstream which domain the world. As a gate to the Europe market, London might be imported many system, culture, and vale which been transportation from East. At the same time, London might be like a factory, export technology, design concepts, and labels to Asian countries just like Shanghai as the biggest manufactory in China provide labors to West countries during 19th.
HOW? Science fiction film “ Blade Runner”, provide the vision of the future west city scene which mixed with Asian culture mainly. In this movie, we are able to see neon signboards or giant commercial boards attached to facades of building and the English person spoken is mixed with strong Asian accent to predict many Asian events happened in West city. “the raining taxi”, which made by the artist Salvador Dali, a safe taxi interior which shrouded uncomfortable effects creates a new vision to push people rethink about the event we were used to. “Rose Selavy”, a women played by Marcel Duchamp, is totally a hybrid mankind lady. Via these references, treating London is a factory that produces the latest design concepts or new technologies to conform the future demand in China might create the new cityscapes to survey the prospect architecture. Since London is a factory, where is the assembly line? Where are the goods packaged? Where are they shipped off? I try to rearrange and anticipate this city’s potential in the future.
