Xinrui Li (Ariel)

28/10/2020

As a welcome project, that means I am allowed to create anything which is related to my comprehend of space, in my opinion, space not only exists physically, but also has the meaning of field, gap, and contact, so the connection is also an important issue I have always been interested in.

I have considered space as a part of my body consciousness, which helps me explore and recognize myself, and, it is a method to recognize the world and tells the connection between the surroundings and ourselves, and I’m inspired by the “particle architecture” theory which is put forward by Kengo Kuma: the material world is composed of organic matter and inorganic matter, and they are all particles at the micro-level.

If we use particles as the intermediary to make buildings into particles, explore the relationship between the world and people, and through the concept of particles, let the architecture present a seamless state, then the building can be released from the isolated substance.

In my understanding, space is composed of particles, which is a collection of various particles. Therefore, in this project, I want to return space to its essence and find the relationship between space and people and surrounding things from the particle level. Back to the nature of the human body, we are composed of a variety of cells, and it is the brain nervous system that controls all our behaviours and thoughts. Therefore, I also refered the mode and structure of neural system signal transmission, combined with the concept of partial bionics, and formed the prototype of the project.

Reference bionics, on the material selection I consider the combination of inorganic and organic as the concept of the project, I found a plant on the morphology of the neural network and the branch that the dendritic structure is very similar, so I want to use the branches as the foundation, a form of nerve cells – dendritic bionic axonal signal transmission basic unit, based on the concept of organic and inorganic combination, I chose PVC hose as the material of “axon”, and use the needle put into the red pigment, for a certain visual impact, and very intuitive feelings: When you see this installation with me, you get the illusion that it’s a part of my body, so my body is also an important part of this creation, and it’s also an exploration of myself.

After a series of attempt and exploration, as well as the cognition and understanding of organic & inorganic fuzzy boundaries, in the choice of the shooting area, I chose the midnight-forest, in the original state in the darkness, with the sound of camera flash “cut”, to capture to the combination of an organic and inorganic mixture, with a certain story-telling, to show my whole conception and creation.

Reviews the whole creation process, I spent about eight hours of time, from collecting materials, production installation, to complete the photography, but there are still many shortcomings, such as gear form and concept also need more scrutiny and precise logic, only from the form and structure to carry on a simple, lack of depth of creation, is the place that I most regret, is beginning to research, if I can do a broader, more fully will have better thoughts.

Ian Cuming / Getty Images

References

1.LIVING SCREENS The Foraging of Atmospheric Patterns RSIII – Digital Matter – Intelligent Construction

http://www.iaacblog.com/programs/living-screens/

2.Biography

Born in Yokohama in the Kanagawa prefecture, Kengo Kuma (1954) is considered one of the most significant contemporary Japanese architects.

https://www.floornature.com/kengo-kuma-103/