Screenplay by
Oyler Wu Collective

| 6 comments

Architects Oyler Wu Collaborative wound more than 13,000 metres of rope through steel frames to create this screen wall for Dwell on Design 2012 in Los Angeles (+ movie).

Screenplay by Oyler Wu Collective

From some angles the wall appears to be organised in a pattern, but from other directions the surface seems distorted and irregular.

Screenplay by Oyler Wu Collective

The rope is also tied around the framework of a bench, which protrudes from one side.

Screenplay by Oyler Wu Collective

Oyler Wu Collaborative's previous projects include a moving installation for the LA Forum for Architecture and Urban Design and an aluminium staircase in the SCI-Arc gallery in Los Angeles.

Screenplay by Oyler Wu Collective

The movie is by Them Too Productions.

Screenplay by Oyler Wu Collective

Photographs are by Oyler Wu Collaborative and Clifford Ho.

Screenplay by Oyler Wu Collective

Here's some more information from Oyler Wu Collaborative:


Screenplay by Oyler Wu Collaborative will be on view from 6/22 to 6/24 at Dwell on Design 2012 at LA Convention Center.

Screenplay is conceived of as a ‘play’ on one’s visual perception. This 21-feet-long screen wall is constructed of 45,000 feet of rope strung through a series of lightweight steel frames.

Screenplay by Oyler Wu Collective

The wall is designed with the intention of provoking a sense of curiosity by slowly revealing its form and complexity through physical and visual engagement with the work.

Screenplay by Oyler Wu Collective

The wall is made from a repetitious steel framework with rope infill that varies over the length of the wall in three dimensions, forming a thickened undulating screen made up of dense line-work. In its orthographic, or ‘straight on’ view, the wall forms a meticulously organised series of patterns easily recognised by the viewer.

Screenplay by Oyler Wu Collective

As the viewer moves around the wall, its three-dimensional qualities reveal a more complex system of deep sectional cavities, twisting surfaces, and material densities.

Screenplay by Oyler Wu Collective

The experience is meant to build on an ‘on again/off again’ system of pattern legibility, using optical effects as a means of provoking engagement in the work.

Screenplay by Oyler Wu Collective

Project Design and Fabrication Team: Dwayne Oyler, Jenny Wu, Huy Le, Sanjay Sukie, Yaohua Wang, Qing Cao, Farnoosh Rafaie, Jie Yang, Clifford Ho, Joseph Chiafari, Tingting Lu, Qian Xu, Mina Jun, Vincent Yeh, Kaige Yang, Shouquan Sun.

  • Jay

    What a mess. Just because it looks good on the computer, does not mean that it looks good built. Again.

  • Mack

    This is one of those rare cases where I think the images of the actual piece are far better than the rendering or drawings. I think it’s a gorgeous design piece. Awesome video.

  • Tim

    Why?

    So tired of useless objects masquerading as architecture.

  • Mies

    Golly it sure is fun to play with rope, but I bet they couldn't detail a real building to save their lives.

  • Nick

    I wonder if the rope could have been a bit thinner so as to assist in taking on the more elegant character of the drawings (very nice by the way). Something about them seems out of scale to the frame thickness, but maybe that was the idea. Besides, the thinner the rope, the more needed to build up a sense of enclosure. I'm sure they have their reasons.

    I'm having trouble understanding this as a "useless object". That's a pretty lame comment.

    Also, it's not really fair to insist that the architects couldn't "detail a real building" based on this project. I don't see anything wrong with playing with rope, and the scope of this project didn't call for a building so your comments aren't grounded here.

    And one more thing, what does that fact that it was designed on the computer have to do with anything? So, if it were drawn in graphite it would have come out to be a better built work? Your connection between the success of how something "looks" when built, and how that differs from a particular form of representational media is tired and useless. Obviously, things look different in actuality than how they are drawn – hasn't that been the case for centuries? What is your point exactly?

    • Tim

      Take a look at their body of work, Nick, and you’ll see they are sculptors masquerading as architects. Due to its utility, architecture has a fundamental ethical responsibility to the public; art has so such responsibility and indeed should not. The attempt at “use” in the form of the “bench” and the “wall” is a red herring for what is really just a wilful piece of sculpture. They set themselves up for this kind of criticism; clearly its real functionality is secondary and tenuous.