The thesis is about exploring the discipline of architecture through an unproductive, hedonistic lens, about shaping spaces such that interacting with it is instinctive, primal and not predefined. It is about letting one’s body move and interact with its surroundings intuitively. The thesis is about provocation, inducing a certain type of play and imagination both through materialistic exploration and spatial movement. The thesis asks questions about pleasure, desire, seduction, senses, imagination, and curiosity in the discipline of architecture. The thesis is also about gently nudging architecture off its pedestal and taking it a bit less seriously by playing, toying, and experimenting with reality and fantasy.
A total of 21 follies are manifested as my architectural consequence. They were moulded through an intuitive and exploratory process with emphasis on materiality, atmosphere, and the way they provoke movement and curiosity. It aims to defend public spaces and work quietly with it to empower the public.
The layer of the object is the physical form, the clay, the layout. The layer of event being the moment when one interact with the follies, and most importantly, the layer of fantasy is the appropriation and the creative process when one impose their imagination upon the follies.
“Good architecture must be conceived, erected, and burned in vain. The greatest architecture of all is the fireworks; it perfectly shows the gratuitous consumption of pleasure”.
– Bernard Tschumi
Ultimately, the thesis has through various means of research and development to visualise, probe, invite imagination and eventually manifest these concepts in space. The thesis is driven by a personal fascination – one that is eager to engage architecture in an intimate and provocative way. In its process realising the inexplicability of architecture, where objectivity meets divine, reason meets madness and reality meets fantasy.
Imagine a city that does not believe in sensuality, play and creativity; that spaces of delight, seduction and desire are only servitude to education, purpose and productivity. Han Yi’s agent provocateur frames sensuality as a notion of space-time, a projection of the mind, as well as a construct of permissions and transgressions manifest in a corporeal affordance in everyday urbanism; one that has been robbed from our homes and civic space. Her thesis pares back space-form-society into our basic instincts and fantasies, and celebrates what seems like a narcissistic indulgence of all human want, where in fact, it is these unspeakable instincts, the illogical delight and the irrational attraction that makes for the most human of all engagements.- Adj. Asst. Prof. Wu Yen Yen