The level of sensation and the deformation of continuitySensation is what passes from one "order" to another, from one "level" to another, from one "area" to another -- Francis Bacon
Movement in this project occurs as a transition between two entrances that are formally agitated to have the quality of a spasm.
This movement contracts in the interior between these entrances. The flow of the semi-circular path creates a stretched form which attaches to one of the adjacent arcades and influences the movement and the action of the passer-by. The [order] of information inside behind the creases provides a second gesture. The movement from the ground level to the upper levels follows the deformation to the upper [level]. the upper level contains more constrained creases which produce a specific sensation while referring to the others through the characteristics they have in common. The constrained creases influence the light controlled programs and the spatial pocket structure. The light effects from the creases and specific voids indicate the transition of the spaces and convey a new sense of use such reading carrel to storage and exhibition space. Different interior spaces derived from the formal qualities of the exterior envelope require a certain amount of light, that is, the aperture sizes in the envelope simultaneously affect the interior and exterior in a reflexive manner. According to the stretched grid originally developed by D’Arcy Thompson, the stretching influences the entire form and creases rather than breaking it into discrete parts. The variable repetitions of the creases as distinct features formulate sectional continuity of the spaces as a whole.
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