140 i.m.material 無形與有形
2009 (competition 競賽) | Perth, Australia 澳洲珀斯Team Lee Shu-fan, Ching Wai-keung, Hung Chi-tai
設計 李樹勳, 程偉強, 熊子泰
[i.m.material] [無形與有形]
Perth is deceptively simple. Being the most isolated metropolitan city in the world surrounded by breathtaking wilderness, it is self-sufficient and apparently un-tampered by the hustle bustle of modern day city life, while asserting itself quietly as a key player in the global and Australian economy. This deceivingly simplistic composure is actually a complex mechanism at work, perfectly in sync, drawing local Australians and visitors alike who seek a diverse lifestyle with both practicality and imagination. It embeds the core values of the Australians at large as open and customary, adventurous yet sophisticated, and simple while layered. This is Perth, the Australian values at its best. And it requires multiple readings.
The proposed artwork appears to be two simple white volumes each measuring 9x9x9 metres, flanking the axial entry to Forrest Place. The volumes sit quietly without proclaiming to be the sole focal point, while their sheer sizes acquire a presence not to be missed. While examined from closer range and within, the readings of the simple volumes dramatically change and surprise. On the east side sits the ‘Pavilion of Immateriality’, a deliberately functionless ‘void’ wrapped in darkened mirror stainless steel on the whole interior. Openings to the outside maintain the views of ‘reality’ while reflections on the inside overlapped and provide a sense of absence, allowing the visitors to wonder whether the pavilion has disappeared once you stepped in. It is a place of imagination, meditation, and playfulness.
On the west side locates the ‘Pavilion of Solidity’. In stark contrast to its counterpart, this interior is covered with tactile materials of which you can feel the roughness and warmth, while skylights provide the constantly changing sun rays into the space. It is a space rooted into the ground, a predictable public room that asserts confidence, comfort, and practicality. Its location also prompts it to double as a promotional gallery for Perth, with projections, displays, benches, and WIFI. Its reach extends to the proposed Perth Visitor’s Centre on its west.
Contextually, the two pavilions frame the train station and the skyscraper at both ends of the Forrest Place. The visual axis is maintained while the front facade of the train station is accentuated by the pavilions to be the ‘postcard view’ of Perth and the backdrop of the proposed performance stage. The pavilions do not fight for positions, they merely participate and contribute to the wholeness of Forrest Place.
Perth is deceptively simple. Being the most isolated metropolitan city in the world surrounded by breathtaking wilderness, it is self-sufficient and apparently un-tampered by the hustle bustle of modern day city life, while asserting itself quietly as a key player in the global and Australian economy. This deceivingly simplistic composure is actually a complex mechanism at work, perfectly in sync, drawing local Australians and visitors alike who seek a diverse lifestyle with both practicality and imagination. It embeds the core values of the Australians at large as open and customary, adventurous yet sophisticated, and simple while layered. This is Perth, the Australian values at its best. And it requires multiple readings.
The proposed artwork appears to be two simple white volumes each measuring 9x9x9 metres, flanking the axial entry to Forrest Place. The volumes sit quietly without proclaiming to be the sole focal point, while their sheer sizes acquire a presence not to be missed. While examined from closer range and within, the readings of the simple volumes dramatically change and surprise. On the east side sits the ‘Pavilion of Immateriality’, a deliberately functionless ‘void’ wrapped in darkened mirror stainless steel on the whole interior. Openings to the outside maintain the views of ‘reality’ while reflections on the inside overlapped and provide a sense of absence, allowing the visitors to wonder whether the pavilion has disappeared once you stepped in. It is a place of imagination, meditation, and playfulness.
On the west side locates the ‘Pavilion of Solidity’. In stark contrast to its counterpart, this interior is covered with tactile materials of which you can feel the roughness and warmth, while skylights provide the constantly changing sun rays into the space. It is a space rooted into the ground, a predictable public room that asserts confidence, comfort, and practicality. Its location also prompts it to double as a promotional gallery for Perth, with projections, displays, benches, and WIFI. Its reach extends to the proposed Perth Visitor’s Centre on its west.
Contextually, the two pavilions frame the train station and the skyscraper at both ends of the Forrest Place. The visual axis is maintained while the front facade of the train station is accentuated by the pavilions to be the ‘postcard view’ of Perth and the backdrop of the proposed performance stage. The pavilions do not fight for positions, they merely participate and contribute to the wholeness of Forrest Place.
axonometric showing the pavilions flanking the entry to Forrest Place
day view of the Pavilion of Immateriality
night view of the Pavilion of Immateriality
Pavilion of Solidity-north south section
Pavilion of Solidity-east west section
view from Wellington street