Flatness White
Study
Installation
Installation
Bristol paper models are an essential part of the architectural design process and embody a fundamental paradox of architectural practice: they are both abstract and real. As exploratory tools, these models reduce designs to their spatial essence, removing material distractions and provoking speculative engagement. The stark neutrality of white Bristol paper provides a visual flatness that emphasizes the spatial and volumetric qualities of the design, while maintaining any clear material character. For our project, titled “Flat White,” we aimed to explore how the purity and abstraction of the white paper model could be transformed into a real building material, in keeping with the theoretical framework discussed in the seminar’s topic “Imposters.”
The project explores how “flat white” embodies the notion of the architectural impostor by challenging traditional notions of material authenticity, interacting with the representation of the scene, and proposing new possibilities for architectural experimentation. By bridging the gap between imagination and reality, our project examines how the inherent qualities of flatness and neutrality can foster innovation in design while simultaneously questioning the constructed relationship between appearance and reality.
White has long been considered a “neutral” color in architecture and design, often acting as a blank canvas upon which spatial creativity can unfold. In the context of architectural modeling, white Bristol paper provides a material flatness that enhances spatial clarity. This flatness resists the visual noise of color and texture, allowing the model to convey volume, proportion, and spatial relationships without prematurely invoking material or finish details.
Our project begins by embracing this neutrality and asking how it can transcend the limitations of the model and inform the design of real built spaces. Can the conceptual clarity of the blank slate—its abstraction and openness—be rendered in architectural form without sacrificing material authenticity? This question positions “Flat White” as a critical exploration of architectural imposters, where the visual impression of a material’s authenticity can differ from its physical reality.
Architecture often derives its cultural authority from the perceived authenticity of materials and tectonics. Stone should look and behave like stone; wood should convey warmth and texture. Yet, as the seminar highlights, architectural history is replete with examples of “faking.” From trompe-l’oeil painted ceilings to modernist facades concealing steel structures, architecture routinely constructs the appearance of authenticity over its reality.
In Flatness White, we propose to embrace this tension by using materials that suggest the visual and tactile qualities of white surface while functioning as robust architectural elements. This approach aligns with the seminar’s research on copies, fakes, and analogues, positioning our project as a contemporary reimagining of architectural representation. By prioritizing the aesthetic and conceptual qualities of flatness over the “truth” of materials, we challenge the conventional hierarchy that privileges material authenticity as a marker of architectural integrity.
2024 Dec 01, UC Berkeley
Instructor: Aaron Forrest
Collaboration: Yushao Wu, Momoka Takeshima