Customutation /4(X+Y)=WORLD has been collected into the latest studio publication "total fluidity" documents ten years book

Customutation /4(X+Y)=WORLD has been collected into the latest studio publication "total fluidity".

The book collects 10 years of academic design research conducted at the Zaha Hadid master-class at the University of Applied Arts in Vienna. Under the leadership of Zaha Hadid and Patrik Schumacher the studio developed a distinct contribution to the emerging style of Parametricism. All elements of architecture become fluid, ready to engage with each other and with divers contexts leading to an overall intensification of relations. This style is architecture’s response to 21st Century network society. The radicality and consistency with this style is being pursued across all scales and programmers results in an impressive body of work. Academic design research can go deeper and farther than professional work in probing the consequences of a radical design hypothesis. Within academia architects can be more experimental. They can afford to be more principled and more self-critical, avoiding pragmatic compromises. The creative work of the Zaha Hadid Vienna studio testifies to this.


Landscape Garden for LA Residence

Painting from the Client

Coming soon...

Building Type: Landscape
Office: BLUA
Client: LA Resident
All pictures Copyright © 2011 BLUA


Resident Chroma Ⅲ

"Resident Chroma” contains the following 4 major sections: Resident Chroma origins, I, II and III. Each section has its own principle redefine “color”. They are mutually independent as well as mutually related.


Resident Chroma origins is about the research works on the understanding about the color structure and drawing technic from the original artist and scientist, in that way searching out the problems and potential qualities to become the architectural issues.

Resident Chroma I is more about to explore the new opportunities for Material intelligence controlled by color.

Resident Chroma II is a discipline thesis research on the methodology creating the illusion through color effects.

Resident Chroma III is the final chapter to do the global onsite color application in order to achieve new complexities by changing the architectural space from flatness to depth and depth to flatness.


Back to the classical “Unite d’Habitation” by Le Corbusier, the agenda for the onsite application is to rebuild the colorful façade which become both a thick surface and the new communication platform on the vertical way of the building in order to create the architectural illusions which makes exterior space inside and interior space outside. Surface patterning, color, relief, and materiality are used to heighten the sense of irresolution between flatness and depth as well as correlate graphic/pattern effects with mass inflections.



Resident Chroma Origins

“Color becomes contemporary as it moves away from indexicality, symbolism, codification, and ideation because this move away from signification allows color to register traces of a much more complex series of historically specific conditions and forces: those of technology, sensibility, capital, taste, materiality, manufacture. In other words, when working through the field of effects, color can do more to engage contemporaneity than when it works through the structures of meaning.”
Sylvia Lavin “What Color is it Now? 2004”

Sylvia Lavin “当今的颜色是什么?”,2004

“Color can be used in different ways: thin or thick, one-dimensional or layered. The thicker the color and the more layers the greater the variety of impressions and effects.”
Liisa Aholainen & Bas Gremmen “The Thickness of Color”, 2009

Liisa Aholainen & Bas Gremmen 颜色的厚度, 2009

Left to right: drawings by Joe Sacco, Bill Plympton and Richard Sala. Stroke patterns in many sketch drawings like these are laid out in image space and do not follow the 3D shapes depicted by them. They control the painterly effects subjectively.

从左到右:绘画者Joe Sacco, Bill Plympton 和 Richard Sala。排线图案在很多像这样的手绘图中都被展现出空间感,它们没有跟随刻画的三维造型。他们主观地控制着绘画的特效。

The Five star Stories by Nagano Mamoru
As a tool color has been practiced directly by artists and designers in order to develop their own styles. In architecture color is an important means of expression.

五星物语 Nagano Mamoru

zebra’s tattoo patterns
The color of zebra’s tattoo patterns disrupt its volumetric surface, but also encase and delineate. Marking a change in direction at the juncture delicately change scale to conform to the narrowness of leg.


Left to right: Hand-carved by a Maori craftsman,depicts traditional facial tattoos;Papua facial ornamentation;Chinese opera facial masks ornamentation.

The Papua facial treatments, the craftsman’s tattoos and the Chinese opera facial masks work with the accentuating enhancement of facial features. Both sets of enhancements serve as mediums of distinction. In the case of the craftsman’s tattoos, there exists an elaborate system of typical characters. All of the surfaces are topological diagrams, an expression of organic structure. Color both conforms and transforms, sometimes it transforms by conforming.



Chiaroscuro describes an invention in the art of painting to create the illusion of volumes in space. The gradation effected from the light to the shadowed side of a three dimensional object. For example in the Clarinet Player, by Picasso, a pyramidal form implies an image. The pyramid has a strong contour to give the sense the figure is standing in a deep space. The Portuguese, by Braque, uses a highly developed interlacing of horizontal and vertical gridding created by gapped lines and intruding planes that create shallow spaces. Only gradually is the observer able to invest this space with depth permitting the figure to assume substance.


The base material before painted it matters, the material quality itself is important. Painting the materials is also changing the material properties as well as painting.


Color is One/Resident Chroma Ⅱ

Color is One ------ Resident Chroma Ⅱ

Bin Lu This thesis is a discipline research about painting. It investigates the architect and the painter, trying to figure out architecture out of painting. In architecture color has been used as a final application to geometry, a last layer on tectonics, used as a lighting device, media, bringing out qualities of materiality, ornamental and generally decorative. Using color from the beginning in a generative way, one can gain the freedom to design architectural functions as multiple conditions in space rather than limited to objects.

In painting, color invokes the illusion of space, creating depth from flatness, while architecture wants real space to become illusion.

Robert Slutzky argued that color is primary. He studied color structure and then transposed it into a 3-D formal structure. In his Chube/Chrome project, he started a system of color relationships derived from Goethe's Farbenlehre, which he used to generate a series of conceptual models of architectural space, but he ended up with white and black. To extend his idea, I created special effects. First painting a flatten surface that had the painterly effect of depth from flatness to create 3-D geometry. By using color to paint the emergent patterns I discovered they either disappeared or conformed with the graphic patterns. Second I recreated the same surface with graphic figure on the flat parts and flipped the bottom surface to the top with red color. Color both conforms and transforms, sometimes it transforms by conforming. Hybridizing the graphic and the 3-D dimensional, hybridizing the depth of space, and hybridizing shade and shadow affects that reverse color gradient. The building is artificial, but the color is real.

The result of the thesis is the possibility of a goal oriented sketching (painting) process using color throughout the whole process of the design in a generative way that achieves new complexities between flatness to depth and depth to flatness.

Color is one.

这个毕业设计是一个关于绘画艺术在建筑学领域运用的学术性研究。它研究建筑师和绘画艺术家之间的关系,尝试将建筑从绘画之中解放出来。在建筑中,颜色被作为最后形体上的运用,构造上的最后一层,被使用作为一种灯光设备、媒体,不再具有材料的质感,具有装饰性和通常的修饰性。 从设计的开始就使用色彩属性以一种创造性的生成设计方式,可以从中获得自由,在空间中不同的条件下去设计建筑的功能,不仅仅只是局限于建筑形体。

建筑师罗伯特斯鲁茨基认为颜色是主要的。他研究颜色结构并将它转化成三维的空间结构。在他的《盒子/色彩》项目中,他开始于一系列的颜色关系从歌德的《Farbenlehre》所获得,他利用来创造一系列的建筑空间概念模型,但是他最终以黑色和白色完成。 为了扩展他的理念,我创造了一些特殊效果。首先,在一个平面上绘画,这些绘画将平面变成一些具有绘画效果的从平面到景深的三维物体。使用颜色来绘饰产生涌现的图案,我发现它们消失于平面之中或者融合于平面之重的图案。其次,我重新在相同的表面绘制平面上所具有的图案在平正的区域并且用红色把底部的物体表面置换到最顶层(幻觉)。颜色同时顺应或者改变,有时候它通过顺应来改变。混合平面图案和三维空间,混合空间景深,混合光影和阴影效果来反转颜色渐变。建筑是人工的,但是颜色是真实的。 最终的课题是可行性的完全手绘(绘画)主导的通过使用颜色贯穿整个设计过程以一种创造性的生成方式完成新的复杂性介于平面到景深与景深到平面之间。

Dimension:30"X10" Dimension:30"X10" Dimension:65"X32"
Special thanks to all my friends and SCI-ARC woodshop: Qing Cao,Monica McKay,Woody Wang,Zifan Liu,Shaochong Zhou,Cheeyoon Chun,Tiffany Liu,Gabriel Huerta,Brent Lucy,Jinming Feng,Xiaofeng Mei,Ye Li,Jiarui Liu,Liu Jing,Chuchen Feng,Yuhao Yang


SCI-ARC Graduate Thesis Final Review

Final Jury:
Patrik Schumacher(Partner at Zaha Hadid Architects, Co-director AADRL)

Michael Speaks(Dean, College of Design at the University of Kentucky)

Hernan Diaz Alonso(Xefirotarch, Graduate Programs Chair, SCI-ARC)

Tom Wiscombe(Emergent, Applied Studies Coordinator, SCI-ARC)

Marcelo Spina(Patterns)

Elena Manferdini(Atelier Manferdini)

Florencia Pita(fpmod)

John Enright(Griffin Enright Architects,Undergraduate Program Chair, SCI-ARC)

Tom Kovac(Kovac Architecture)

Todd Gannon

Especially,thanks to Jeffrey Kipnis, he influenced me a lot on this thesis project.

"There is nothing wrong with painting, painting is good!"
Jeffrey Kipnis