Welcome to the conceptual laboratory of Diploma 9 – the world in which students invent, manufacture and design their identities alongside their architectures. Unit Staff: Natasha Sandmeier, Manolis Stavrakakis
Working in text while admiring the Yugoslavia structures commissioned by former Yugoslavian president Josip Broz Tito in the 1960s and 70s to commemorate sites where WWII battles took place…and Venturi’s Bill Board Building…
By making the split image on the left in order to show both sides of the Megalith, I realised how horrible was the idea of reducing my firm believe on the green screen to just an two/dimensional appearance. And how awesome could be to, rather than go towards, or around the Megalith to actually dissect and enter into it. Therefore the architect stops being a painter to become a surgeon. From now on the split drawing will show the inside of the Megalith, which is full of green screen, a green screen world, the image becomes the very core of the Megalith, … what does it mean to dissect an image?
I don’t think i have enough time, but it might be worthy to start the draft of the trailer that the project will end up being at the end of the year for previews…plus, crazy!! most of the testing grounds have films…horrible films…
This very early spread will be the first one of a sequence of demolition. In Red, edge condition-machinery needs to be used, in Blue, controlled implosion, in Black, massive explosion… The there methodologies will have different effects on the ground, formwork. Today David suggested to pull the MEGALITH from Hampstead Heath Hill, as I located the testing ground in green park… he seems to be crazier than Natasha!!
Ok. Now that I understand how this […. ] works, I’m planning to draw, half image-half technical the entire sequence and set up of the first event that takes place, the orchestration of the implosion of an entire patch of the city.
Audiences are need it. Put your headphones, and mask, and come along to feel the vibration of the ground, immerse yourself into the cloud of dust, and don’r forget to bring your iPhone to create an awesome high-res footage! Don’t be late, it’s just gonna last for 12” . ah!! and don’t bring animals sensitive to noise!! Although a specialise crew of veterinarians will be around to attend unexpected incidents
[this sort of text need to be written in an invitation for the event format] And with this invitation, another one for the smashing of the paper models that I did…
So absurd, so funny! I was googling to start drawing a diagram of how a building implodes inwards it’s own footprint for TS, and I found this application in Apple Store, such a cool game! The more rubble you get the best you are!! haha
The Project inverts the relationship between figure and ground. Figures should no longer be define by shapes. Therefore the project proposes a generic form generated by using the fabric of the city as the only possible material resource. The City becomes a testing ground for architects, a playground for audiences and a launch pad for architecture. The ground is literally the formwork for the MEGACRETE, which once cast and curated, will be lifted, and standing. As much as all cities have different densities, urban tissues, and soil compositions, the footprint created by the testing ground will always be unique, creating a family of urban glyphs, as singular as the materials which compose the MEGACRETE itself. Consequently the figure goes one or two steps father, from being conceived to shine extravaganza by it’s shape to be desire by it’s formation.
The project proposes to create a 300x200x20m Megalith [great stone] in five sites, grounds, with five different soil conditions. By carving the ground, the site itself becomes the formwork, resulting in a sequence of different footprints depending on the martial volume required to generate the same sized Megalith. The challenge here is to just use the extracted rubble, recycled or virgin, to generate the material to pour in the ground-formwork and generate the Megalith. Once the Megalith is cured the second challenge is to go from horizontal position to vertical position. The project will study different lifting methods for each Megalith depending on the sites and the material output. Finally once the Megalith is standing the project will focus on the decay, and the process of how this Megalith is unbuilt by nature to become ground again.
1. Megalith Horizontal
1. The Ground
1.1 Selection of 5 sites
1.1.1 Soil Study
1.3 Carving the Ground to generate the Formwork
1.3.1 Techniques and Machinery
1.4 Measuring the amount of rubble and material taken away
1.4.1 Recycling Material
1.4.2 Creating the aggregate
1.5 Foot Print differences depending on material needed to generate the same megalith in volume
2. Megalith Vertical
2.1 Precedents Erecting systems for megalithic structures
2.2 Different types of lifting method depending on the site
2.3 Reinforcement, voids, treatment of the Megalith before cast…
This is image is to remind myself that from last year what I keep with me is not the movie as a technique, but the editing as a methodology. As much as last year I was continuously re-editing the city that we have in our minds, this year I will be re-editing the ground for a future architecture. It is through the act of montage that I will explore the new role of the architect.
and finally a present from our friend, Richard Serra, Verb List, 1967-1968.
Why architects still don’t have a common ground to experiment and launch their actions? A place where possibility is unregulated by the weight of history nor gravity, a place for wild propositions…to advance and response to the culture of the present.
The projects is conceived as the same way as the CNC bed as a testing ground for an architecture that responds to the demands of the present.
This CNC bed image is much more near the testing ground that I want to create than the image below…which is a bad first attempt…
OUT OF CONTROL
There is no need to wait for a grand finale to generate a new beginning, this proposition is an experiment of maximum freedom and it’s ambition is to prepare the world for a future architecture. The project liberates architecture from obsolete obligations and responsibilities and proposes a series of surfaces where architecture can start again.
Continuously bombarded with architectural interventions, this surfaces are conceived as a plastic space for they free play of thought and conjecture. A testing ground for architecture a playground for architects and a launch pad for audiences, an open space to reshape once more the reality of this world. [a ground for the unbuilt to be built]
The ambition of this text it’s to liberate myself from Fun Palace, which is my imposed constrain during this year as an architectural student in DIP 9. The mission is to force myself to move onwards without placing my precedent’s background as my only possible forward yet allowing it to exist as the testing ground. In order to achieve this new condition Fun Palace becomes my site, moving away from a theoretical discourse, it becomes my very physical terrain, a Launch Pad for future journeys.
The diagram , my site, my ground, my physical realm, my mindscape…
Price rejected all sort of formalistic tendencies of architecture, by reducing architecture to form, we reduce architecture to a mere representation, where the only relevant elements are the object, the tectonics, the light and the shadow… Architecture ceases to committee with the old form follows function movements to become an instrumental vehicle, a [LAUNCH PAD] capable of generating new conditions and it’s own content [context], it becomes an apparatus of montage that generates the connections to re-assemble and re-organise the programatic instability generated by technology.
If technology is the answer, what is the question? The sixties suggested for first time, that architecture, will be the first solid that melts into air. [Marshall Berman] Technology has aggressively conquered the terrain of Architecture, from now on…it is the surrender to technology the only way for architecture to survive? What’s left? If technology is the answer, which is the new role of architecture? In a landscape of technological domain and expiry date, nothing is older than 10 years, planning is like tearing the wallpaper off the wall, peeling form away. In this apocalyptic terrain, I wonder which is the new role of architecture…but whatever it is, I’m sure it will be full of colourful delight!! ahahahhaa!!
A magma of colourful anxiety from our friend, which I saw on TATE two years ago! and an extremely beautiful anticlimax diagram as rich orchestration of chaos from another friend, Awesome!
“Technology is the Answer, but what was the Question?
Enter the Madness!! “Architects,” Price once said, “are the biggest whores in town. They talk in platitudes about improving the quality of life, and then get out drawings of the prison they’re working on.”
Have you changed your job?Did you want to?Do you enjoy routine? Do you suffer from boredom?Do you enjoy disaster?
We are building a short-term plaything in which all of us can realise the possibilities and delights that a twentieth first century city environment owes us!! WHY ALL THIS LOT? ‘If any nation is to be lost or saved by the character of its great cities, our own is that nation.’ Robert Vaughn 1843
I really, really want to do the Promotional Film of Fun Palace, I can’t say exactly why, I just feel extremely tempted! At the end of the day, I got the most important advice from Cedric! Make Architecture Fun!!
Text of the film extracted from Tomorrow Land festival!
Super quick and absurd collage to see the impact of the fragmented diagram of Fun Palace in the topographical surface of London. I was just wondering if a Network of Launch Pad’s to generate a dynamic system, ready to be activated by it’s audiences will make sense…