He Liang and Chunxiao Wu
Vauxhall Firework Park
a visual entertainment park to explore the spatial pleasure of firework and its art.
The first semester was the analytical phase, after the disjunction of the three fireworks-related forms of architecture. Our apparatuses were evolved and tested in two imaginative sites. One of the two apparatuses is to create a new tool to translate fireworks linguistics on architecture. Our translation is based on direction, force, and route to generate a static structure capturing multiple sequential still images of the moment they burst.our proposed apparatus enables folies to be the ‘frozen fireworks’.
The other apparatus was the spatial qualities Green park was semiotic that architecture as a firework machine which carries firework, simple arrangement, architecture as a backdrop with theatre-like sight and experience. Whitehall(the themes) had a more three-dimensional arrangement of firework structures, and a more diverse viewing angle with an immersive experience on the boat and both sides of the riverbank, where architecture fades out in the background. Vauxhall Garden was the rehearsal place for the actual royal fireworks event without the rehearsal of firework, however, the event left a trace and triggered the development of entertainment facility in the 18 century introducing a spatial contrast between solid and columns, between dark and bright walks.
In the second semester, we derived three kinds of spatial qualities from the events and reconstructed them with firework-like folies, from the first semester, in Vauxhall Garden in the present time. The design facilities both outdoor and indoor space for people visually and physically experience firework and firework-related architecture. The indoor gallery space is evolved from the apparatus of firework-related spatial quality. Learning from Bernard Tschumi’s way to archive Architecture Montage in Parc de la Villette, we find our way to inform a cinematic architecture language and experience. Instead of the conventional way of viewing firework, we introduced restrained (framed) eye-sights to view and participate in an immersive experience. The outdoor grand talk was extracted from Vauxhall Garden (18century)’s supper boxes and other colonnades gallery. Another contemporary approach of ours could reference to Chinese pyrotechnic artist Cai Guo-Qiang with the use of gunpowder to trigger explosion on monumental architecture in outdoor space and to draw in the paper.
The conceptual and theoretical idea was always about contrast. Fire(work) itself is self-contradictory existence. Back in the 18century, gunpowder was used for war and the celebration of victory. The scary sound and extraordinary color scene cheer people as a political tool. The canvas dark night can be suddenly lighted up by these mixed chemicals. everlasting event; while architecture and firework are born to be consumed.