2015 Inception Award | Jackson Hexin Bi



IN-BETWEEN-NESS was a study of the relationships that exist between the physical forces that constitute the manifestation of interior space. The body of research was inspired by the writings of Spinoza and Affect Theory philosophy and was conducted as a series of investigations focused upon ‘material’ and ‘body’. In this approach to design, through these four material objects, four ‘capacities’ of connection (‘absorption’, ‘radiation’, ‘traction’ and ‘reconstruction’) were identi ed as ‘tensions’ through the study of material qualities and spatial experience. This exploration was an exploration into how these capacities of spaces may be utilised to enhance the spatial quality?’ The major project was an opportunity to test the previous exploratory research at a different scale, shifting the research from one to one making and body space to epic sized natural environment. Based on the notion of ‘tension’ (https://vimeo. com/130977907), the site was found in Thingvellir National Park in Iceland, which is sitting on the boundary of North American plate and Eurasian plate. Because of the plate movement, these two plates are separating and the crack in Silfra of Thingvellir national park is still expanding two centimetres every year. From the 3D evaluation of the site four unique geological tensions of Iceland were focused on in the nal design proposal: tectonic movement, geothermal energy, polar day and northern light.

Essentially there were two phases in this design. The rst was physical experiences that transform these four landscape tensions to the human body. And the second was the architectonic structure that allows all experiences to happen in one gesture.

In terms of the body installations from the thesis (https://vimeo.com/131647418), four tensions of Iceland were represented and manipulated within four interactive devices, through different strategies, which implicated the nal bodily experiences (https://vimeo.com/146070046).

The design development was broadly testing

the capacities of four tensions, and seeking a solution to merge and reform the experiences that can enhance the connection between body with tensions, tension with tension, and the design with context.

As a result, the nal project 100/2, is an experiential architectonic design, sitting across the shifting continental tectonic plates. The design expresses the geological tensions of the site, expressing the forces underlying the constant physical movement of the earth as a series of spatial encounters that engender bodily experience and sensations.

Inspired by basalt column topography, this design is a horizontal hexagonal tunnels combination, that programed for one hundred years and focusing

on two meters movements. By sitting on two sides of tectonic crack, the corten steel structure will be able to extend itself along geological movements and create different spatial moments in each experiential tunnel at different time. During the geological movement in one hundred years, the experiences will be completely changed, so visiting 100/2 is not ‘once a life’ trip. After, this design will be completely separated and become a monument to the time and capacities of geological forces.

The stack-up structure creates a vertical experience between horizontal tunnels. This is the strategy how these four tensions, ve experiences combine within one design that enhance bodily experiences of landscape tensions.

Time is one of the main concepts in this design.

A part from the experience changes along time, there are landscape-drived accessing durations

in this proposal, which are programed through the locations of gates and opposite movement between each tunnel. So visiting this design any time in the one hundred years or after will be very different experiences.

As a structural solution, 100/2 is a four dimensional experiential design that transforms and merges invisible site speci c capacities into slowly shifting physical experiences that in turn enhances the inhabitants spatial quality of the site.