We started by thinking of what is the originality of a work of architecture? What is the relationship between context and building, function and form, space and color? In this design, we took the buildings from DTLA as sources to create a new design.
The form of the design can be divided into solid and frame part. The frames are mainly acting as circulation cores. In terms of the solids, there are two layers of information: photogrammetry facade from DTLA and surface colors.
First, we investigated and scanned building facades as assets of the new design. The reason why we did this is that we want to bring feelings and experiences and recombine them at a new place, in a new way, with new functions to create a new story.
In order to blur the original form and identity, these photogrammetry facades are cut, deconstructed, reconstructed, and masked with offset outlines of the original buildings, creating some interesting moments. For example, this staircase, which came from a park is new combined with the facade of the Broad Museum. People sitting here will have a direct view of the downtown, even its original building the Broad Museum. For example, here, two arches on the different axis are aligned with each other.
The surface color is partially related to the functions. These two complementary color sets represent two types of functions: one is open to the public while another is dedicated to private users such as hotel guests or people working here. These analogue color gradients look similar but are slightly different. They are assigned across different blocks in order to blur the identity of the original facades. Therefore, the building can be read at various levels of details and by different means, giving people a journey-like experience to explore it with their memories of DTLA.
These surface features, both formal and color, are not only exterior appearances but also part of the interiority. Take the example of this plan, the negative surface of this facade from a syncretism work of architecture became an indoor climbing wall. It allows people to have body contact and a closer view of the architectural features which they can’t reach if it is the original building. Regarding the of the blocks, they are organized not simply by stacking but intersecting, which also contributes to the blurring of the original identity and the making of a new integrity.
In summary, whether it is the deconstruction of the original building or the re-application of new materials, the building itself becomes more and more difficult to distinguish. What is new? What is old? What is coping? What is creation? What is the facade and what is the space? Let’s find the new possibilities of creating a place in its ambiguity.