Not the same as unfolding the real thing but here some animated versions of the maps:
(if they don’t move click on them!)
Not the same as unfolding the real thing but here some animated versions of the maps:
(if they don’t move click on them!)
So amongst everything else this book should be happening
I am imagining a book that works somehow like this:
There will be a continuous narrative of the villain and hero (white paper)
There are time jumps, history (orange tab)
and references (blue tab)
ken adam and james bond ( grey tab)
Map, props and argument (gold tab…i m not printing metallic! might just be painted gold after binding)
You should be able to read the book from start to finish to go through my presentation narrative. Or choose to read only the villain and hero story, or just the history, or just deleuze.
Perhaps a map for a table of contents?
A little sneak peak (or the whole reveal?) of the book!
Better pics will come soon.
Go 5th Years !!!
Is imagination merely a talent, such as a good singing voice, the ability to ‘make things up’ or ‘get ideas’? Or is it, like science, a way of knowing things that can be known in no other way? We have much reason to think that it is a way of knowing things not otherwise knowable. As the world itself suggests, it is the power to make us see, and to see, moreover, things that without it would be unseeable. In one of its aspects it is the power by which we sympathize. By its means we may see what it was to be Odysseus or Penelope, or David or Ruth, or what it is to be one’s neighbour or one’s enemy. By it, we may ‘see ourselves as others see us’. It is also the power by which we see place, the predicament, or the story we are in.
Models/props set up. Waiting for tomorrow to assemble stuff and start seeing things coming together!
Ok I have to admit tut yesterday was awesome. Even though i lost total control over it.
So I am working on details for the villain model, dyeing more bits of the big map and sorting out my story.
The villain props are:
His glasses ( magnifying glass to read the map, circular shape etc) – OWNED
The ladder ( to climb and steal the painting) – FOUND
The painting ( the connection between real/imagined) – ACQUIRED
The architects props are:
A business card of an architect student (he got it in venice. The student knows about the villain’s plan and draws a treasure map on the back of it to hopes to save the architects from their fate) – OWNED
The deleuze Book – FOUND
The retaining wall (built as he moves forward in search of the continent)- ACQUIRED
All these are work in progress (in my mind as well as actually on making them as models)
Also the big map should be a prop…not sure how yet
Any comments/ suggestions welcome
Anny just suggested the business card is the book marker thingy! Cool!
yesterday was and today is too a 3d day. I am preparing laser files to finish the base of the 3d map and the villains crater as well as the architects retaining wall. Theo’s comments on the ladder becoming an actual tool made o much sense in my head as to why i now need some 3d ness happening on top of the drawing. (sorry it took me so long Natasha!)
to start cutting tomorrow hopefully!
Also re visiting Deleuze s text to follow up on Palmesino’s comments and make the architect’s narrative more meaningful.
all this will (i hope) tie my project together in the 1 line narrative (as suggested by Manolis)
To infinity and beyond!!!!
Made a frame for the 3d map. This will be something to re-start after the jury as well as a 3d Perspex model of the lair.
Still printing and drawing …
Text tomorrow and Monday
Tuts yesterday were super helpful! Nats for helping putting stuff together and charles for making sense of my text.
Here’s an outline of the index map. The project starts with the idea that we must find place and so we must look in the map. So this index map will be all the maps put together constructing this world and in the end – this place.
Now working on the Hero and Villain’s zoom in drawings for friday and tidying up the text. Also making a box for the maps! the idea is that: because all these map connect with each other at some point: narrative, meta site..etc it wont matter on which order you read them. Even though i will present it in an order i defined ultimately you as the project reader and the searcher for place could find it regardless of how you read the maps.
Ok drawing/ text updates later!
So i finally figured out what is that i am zooming into on the architect’s island.
The architect is not hoarding sand (that would be stupid i know…). The architect, who arrived deserted and unreferenced on this island, reclaims the territory in search for the knowledge he/she has been stolen.
The architect is hoarding architecture. I m imagining a treasure hunt. A treasure map. The island becomes this ever growing room where the architect builds/excavates/finds (i don’t know yet) the references he/she lost.
I found this project by Tadao Ando: Naoshima Island. Which just reminds me of an architect’s architecture collection. This gave me the idea of the treasure hunt.
Ok so I am diving into this drawing/map will post an outline/composition later today.
i m not gonna lie. this text / thesis whatever is being dragging me down. i feel like i have it all there but i cant puzzle it together. Still going at it but now i m jumping between that and drawing.
Tomorrow we zoom into the villains lair.
No printscreen cuz you are tired of it and i am too. we shall see tomorrow what comes out of my head.
The Making of a desert island was interesting. Charles gave a silent lecture. that was unexpected. but cool.
anyway see ya tomorrow
I’m sorry for the iPhone pic. I have been submerged in all year notes and thoughts. I m getting there !
I’m sorry Natasha but we shall have a thesis tut tomorrow.
Feeling inspired today.
Friday tut was very helpful in clearing my mind of what i was saying. I guess even after all these months i still blab nonsense.
So I am working on my thesis. Text mostly. I am still scared of zooming in but i will.
I see the idea of a place, and it being on a map as the way to make it true. What is there that is true and it is not on a map? Unchartered territory, forgotten places, fake places (made up, put on a map and then taken out) and places imagined and yet to become real.
These last places are the places that the architect creates. The unbuilt.
The idea and sense of place is essential for humanity. Even for nomads. Actually it might be even more important to them.
“Place is the fabric of our lives; memory and identity are stitched through it. Without having somewhere of one’s own, a place that is home, freedom is an empty word.” The contours of human experience are flattened; place is dismissed with platitudes.”
(To be continued….)
After the jury and the comments i realised that i am not presenting my project well. Having a conversation on the drawing and zooming in was really not what i was looking for. But on the bright side that really made me think about what wasn’t i explaining well enough.
My project is about the map. The map as an architectural tool. A device to construct places. The map, my map, has 3 scales: the real, the representation and the narrative.
These 3 scales form The Map and The Map is the device/format for architecture.
The Map that I am arguing for wont work without the 3 scales. And this is what makes My Map a new map and not just a map.
I believe that the strength of my argument is that I am drawing this Map to look like just a regular map. However, it is its details that reveal how it differs from just a map.
I sketched this after the jury and it is what i am trying to do. Ultimately it is not just about the hero or the villain, it is not just about the jumping between maps or scales.
It is all these that create this format – the map. And how they relate to one another.
For example: the real scale (paper) clashed with the narrative when the villain breaks the border and leaves the map. The narrative clashed with the representation when I reclaim more paper to be able to keep on drawing. The real clashes with the representation when we zoom out and realise we were not in an archipelago but just a slice of a bigger island.
Does this make sense? It is very clear to me. The project is the map. Not the island! The island is an invention. I am using it for its meaning and to drive the project.
Anyway, I am working on more bits of drawing to grow the map.
After some intoxicating perspex dyeing last night i decided that i should focus on adding detail to the drawings so i can dedicate tomorrow to the thesis.
Here s a quick snapshot of the final drawing (still WIP of course). Added all the details that tie it back to the archipelago and crab key to allow the story/thesis jumps.
will aim to update my presentation text tomorrow which will be the previews text with modifications on the Crab Key and Duke stories (that were too short) and with an added part on the endless land reclamation and the ideas of context/self reference/ desert island/ escape / looking for a link to the continent ( the context) …. To be developed
oh and try to explain the 3 scales and how they reveal the story/thesis/architecture
Fixed the gradient on the water plates. Will cut some of the land layers tomorrow.
Here’s today’s photo
As mentioned by Eleanor, we have been trying like lunatics to dye perspex. After some success (amongst loads of confusion) we managed a sort of way to make it work so I have cut the first layer of my future map model: the water.
here are some snapshots of the work in progress and as it stands.
Still have to polish bits here and there and do another session of dyeing to tie this layer together (visually speaking)
and some process photos for fun:
I guess now is time to set our goals so below is the map of deception island (still in progress). This map adds the 3rd scale in my story. Before we had two: the archipelago and the narrative scale. Now we have ‘the whole picture’ scale… for lack of a better word. Maybe the ‘thesis scale’ ?
So the red square is the area were if we zoom in we ‘enter’ the previous archipelago map
The idea is to start with the ship, the hero and the villain and once the architect starts reclaiming outside of that map we start to get the whole picture that in fact the architect is reclaiming a circle island (just like the villain) and he stops when from where he stands he sees the point of where he was at the start.
He did a 360 and ended in the same place, so he stops before he gets there.
I think this will address the idea of self reference we are all victims of and, even having become a villain, the architect stops and will probably go somewhere else to find another ‘circle’ to build.
confusing? will work on this through the term to tie the argument together.
Anyway for this week I will be aiming to lasercut some of these topographic layers to assemble a 3d map (the beginning of one at least) and hopefully will work with some dyed perpex for the water (a little fun project i have been doing with eleanor)
Ok that’s all now
last week on a moment between TS and laziness i sketched a possible outline of my site ( as in the ‘complete’ island that will eventually emerge out of the land/paper reclamation. it looked like this:
and now i found a real island, shaped in the same way. Not only is the same shape it also has a great (appropriate) name!! Deception Island
I will redraw this map i found of the real place as real as i possibly can and develop the narrative/meta/ argument story to go with it.
Drawing an axo of the model for ts. showed it to Anny. She replied:
Anny: Drawing looks nice you should do it for nats too!
me : but it doesn’t mean anything
Anny: Push the meaning in!
just sorting out last details before start printing the maps. i want to start tomorrow and try to get the booklets to align nicely.
Also working on my text. I have re-read all my previous stuff and now trying to get the argument straight and weave the narrative of the ship in. (hopefully i ll have a draft posted tomorrow)
ps: GOOD LUCK 5th YEARS!! ALMOST THERE!
reclaiming more paper to reveal the coral reef barrier…
not sure how the scale bar will work…
ps: having an island themed day watching The Beach, Cast away and Lost marathon! wohoo!
a morning of lineweights, scales and such…
the visual language of the argument i am testing is: B&W for the meta site (paper) adding colour to enter the project site (the island) as you flip the booklets
once i reach the edge of the paper where site and meta site meet… what does it look like?
figuring it out…
Click to watch i guess…
Project map sketched..still long way to go but here is the legend/north arrow…
this is going to be an axo map. there is no north or south or northwest… see bellow…i ll explain tomorrow.
Spent some time gathering my thoughts about my project and concluded that before moving forward I have to finish what i started.
Working on the villain’s chapter and the introduction of the recon map into the story – which is achieved by subtle changes in the colour of the water. As you flip the book it goes from the pale blue we are all tired of starring at to the more ‘cartoonish’ intense and saturated blue of crab key.
I decided to go with my initial idea of growing the island to the edge of the paper – this adds 2 more chapters in my story: when the hero and the villain’s land meet and when the land meets the edge of the paper.
I dont know yet what happens when the hero and the villain meet besides what literature taught me: an EPIC battle!
When the land reclamation reaches the edge of the paper 2 spatial dimensions meet. My site – the paper sheet and the architects site – the island. What happens next?
do I/the architect fall off the page/island?
Drawing till friday non stop and hopefully writing a bit too.
How do you start something from nothing?
Once upon a time there was a ship sailing unknown waters. This ship was full of architects that had been kidnapped from Venice by a fundamentalist villain – Olivier (read with french accent like Natasha says Le Kilo). Le villain had a plan to explode the ship and all the architects in it and so as they approached this bed of rocks the villain seized the opportunity and the ship blew up in pieces and everyone died.
Well, not everyone.
One architect survived and while trying to keep his mac book pro above water he swam to the nearest piece of land.
The architect arrived on a desert island.
Unlike any other human being, the architect does not look for water, food or even shelter. The architect claims that land for himself and sets up to grow it.
In his text ‘Desert Island’ Deleuze writes that “an island doesn’t stop being deserted simply because it is inhabited” which he then explains (or not) that “some people can occupy the island – it is still deserted, all the more so, provided they are sufficiently, that is, absolutely separate, and provided they are sufficient, absolute creators.”
This means that if the architect can be absolutely separate and absolutely creative he can inhabit the island without affecting its desertedness.
But lets, for a second, stop and define what is a desert island. We shall assume that a desert island means an island “without human life”
“the real desert is inhabited only insofar as it presents no conditions that by rights would make life possible, whether vegetable, animal or human”.
So, the essence of the desert island ” is imaginary and not actual, mythological and not geographical.”
Ok, now lets consider:
Could the architect become completely separate from his background (his origins, preconceptions, notions, ideas and references) and, being in his nature an absolute creator, then he would become the creature that inhabits the island and so the island remains deserted.
What you didn’t realise is that the villain had also escaped death by means of an orange lifeboat and set of to fulfil his master plan.
Having a plan already puts the villain right in his place in this story. The plan represents and predicts.
He drives his silly orange boat to an island that already has a name, which means it has already been claimed before and so it is already known by us.
Nevertheless, he arrived in Crab Key and proceeded to erase its history in order to then write his own. [to explore: the idea of tabula rasa, nothing comes from nothing, we look at the past to build the future etc]
So, going back to Deleuze’s reference, the villain on the island, cannot separate himself from the continent and so, regardless of being an absolute creator, his ” presence in fact spoils the desertedness (of the island)”.
Burdened by his references and plans the villain applies a tabula rasa to create his world, while the Architect (the hero) unburdened, creates something from nothing.
It is important to define the idea of ‘nothing’. Not in terms of matter but it terms of meaning.
If we consider Darwin’s evolution theory: even us (human life and all) didn’t really start from nothing. If we think of matter. But that doesn’t matter here. What matters is that ‘nothing’ is like the island and that is the idea of detachment and separation.
So if the desert island is the idea of nothing can the architect do something out of nothing?
As opposed to the villain that destroys the ‘nothing’ by bringing in the past as a reference?
On an island we see the world from a distance, we are separated and don’t belong to it.
An island is by definition a piece of land surrounded by water, as opposed to a lake which is a piece of water surrounded by land.
The water is what creates as destroys the island.
[enter story of the tides and how the architect reclaims the territory as the water lowers]
PS1: i came across this “anthropic principle” that says that observations of the physical Universe must be compatible with the conscious life that observes it. So I was wondering: are things the way they are because we are who we are? Is nothing invented and just discovered because we are there to find it?……
PS2:Text under construction…sorry if it is still a bit all over the place. Let me know if you have comments or questions. Thanks!
PS: Cool map of where we are in spacetime
Working on the drawing. The ship wreck and the bit of land being reclaimed.
Adding scale, zoom in bits and sections.
Sorry for the iPhone pics. My wordpress is not letting me upload stuff.
Pic 1 : claiming territory
Pic 2 : file for TS model to be cnc and then vacuum form into a mold
Than then will be cast with some
Mix of sands and stuff.
I had a chat with Evan today because I was quite unsure about the Ts course submission and what to do. They are keen of having projects developed that relate to our unit work so I told him about my archipelago and how it grows/shrinks and how the water level plays the role of setting the real and the fiction and how the architect is building the island and ultimately where we are.
So I am growing/building an island for TS.
Here s how to do it
All you need is:
The story starts with a ship that crashes on the archipelago. The only survivor is the architect that promptly starts building a wall around the island. (note: on the map, the ship arriving and the shipwreck are going to be unfolded layers. it is not meant to be all in one as it shows on the image bellow)
The wall is the architect’s first instinct. It is the way I map the boundaries of the island. The wall is being built on the edge where land meets water. (the water level is the real)
As a cast away the architect is not like others: he wont go hunting for food and water but he will use the ship wreckage to build his space.
What happens to the wall when the sea level is lower ? or higher? the wall doesn’t belong to the ‘real’ anyore but it is now in the fiction. The speculation of the project.
I can’t believe it took me this long to read Deleuze’s ‘desert islands’. That text is what i wish i could write about my project. I am meditating on his words and bringing sense to my project.
The story of Crekbay archipelago starts with a shipwreck. I am the only survivor (sorry guys…)
Drawing the first unfold of the archipelago map. The shipwreck.
Shipwreck maps are beautiful no?
Developing this bit of the drawing + a little text for tuesday
Oi! ship coming through!
Inspired by our plan for the open jury and the way we decided to utilise the map to take everyone through a journey I thought of a ‘ narrative geography’ or would it be ‘geographies of narrative’ ?
The way i shaped my archipelago was with the intention of placing you (the reader) in a level of my story. The topography determines if you are in the real world, in the fiction or in-between. The water level determines where you are. The water level is the real world.
Like that island that got taken out of the map. It doesn’t exist anymore because of the water level rise. Where there s land now there is water.
This relates to the land reclamation we spoke last tutorial and moving islands.
While i develop my archipelago map and the folds it contains i will explore the idea of submerging parts of the archipelago, or revealing others that were submerged at some point though the narrative.
This archipelago is inserted in the context of my recon story. Like the fight club house, this archipelago exists as it is because of the “background” context.
I think my story starts when i crash into this island. Like my own version of ‘Lost”
I am not sure if I crash with Oliver’s barge or a plane… what does this islands looks like given it’s context and now me being there?
Drawing update soon
colour and annotation, line-weights (etc) in progress
To keep it simple and focus on the topography and how it tells the story of shifting from the real to the fiction I am using only black and white with a gradient of blues/greys to show water depth.
I am thinking more colour will be added to draw the stories of each island. Like a reef has all the coral and colourful fishes this reef will have the stories. 007 book, ian fleming pen, ken adam s sketches, poisonous ink, set props, the duke of wellignton, etc… (not sure how i will daw it yet…but it will come as i work the drawing)
As a constraint to focus my work i am only working on this drawing for this whole week. It has to tell the journey of the painting and encapsulate my project thesis. How do I draw the map room? how can the map allow me to achieve that?
When there is no authorship to find behind building, paper architecture can be seen as a reaction: writing the name of a place before there is an actual place to go to. The reason for paper architecture is, in this sense, not about informing the unseen reality, depicting unrealistic places, but about envisioning real places where one is not allowed to go.
modelling a proper reef…problem is this gaming software now doesnt let me export it so i can draw the new contours for the map…
figuring it out…or i will do it in 3ds max at school tomorrow.
if only i knew how to script a game….
Still in rhino but this is the beginning of a subterranean map of london. All the tunnels underground and water lines and of course the Map Room. This map will have a section as well showing the datums and tube line depth in relation to the map room. That later will link to the portal sections. The datums become a new paramenter to draw the real in my world.
Will make more sense tomorrow I hope.
We enter the site via the london underground map: where our story stopped at the jury last week.
underground storage system:
Currently drawing the site for the Map Room. It is located 30 m bellow the ground under the British Library.
The British Library has 4 basements that go as deep as 24 m underground. The Map Room is the 5th Basement. It still has a circle for a plan. that is how i see it now.
For friday i will have the site map, 1 zoom in of the area and another zoom in undergound. Also will try to start a section map.
I saw this post on the weekend that triggered old thoughts about Heterotopias.
Back in second year I wrote an essay about these non-places and somehow remembering this helped me figure out my project.
I have being toying around with the idea of my project being a map room. This Map Room is a non-place. Like an Heterotopia. It is a place that you go to go somewhere else. It is the room where my maps and narratives live. This room needs a site and a non-place has to be a unmapped place. As i draw the section/elevation map of my narratives i came across an idea for this non-place. What is between the ground and the underground (i mean this literally: the ground we walk on and the underground where the tube runs) – the un mapped.
My map room exists(will exist …when i draw it) in the unmapped place between the ground and the underground.
“Hetero: the other, otherness. Topos: the place.
Heterotopias can be defined negatively, by what they are not. Here and nowhere, they are neither real, nor utopian but both at the same time. Places out of all places but still recorded on maps, they are the physical locations of utopias, utopias that have become matter. Their first principle of otherness is that they have an ambiguous relation to reality.”
What do you think?
Sketched the portals after our tutorial on Friday. Now going into rhino world to make this happen.
The window and the ladder take you from “real London” to “you are a thieve ” back through the window you are in crab key. The window is the the aquarium room glass wall that changes scales. Then zoom in to the copper lift (next portal) and don’t know where it goes from there yet.
Underground there is the tube that becomes the pipe in crab key.
Thought about the map parameters and how they will change in section and elevation.
Questions to think about :
What is the difference between a map and a plan?
When does the map become a plan? Or an elevation /section?
What are the architectural elements that can be read in plan and section in the same way? The window. The lift… What else?
Drawings to be a hybrid of technical section drawings and colourful illustration.
Update later or tomorrow on progress
setting out a new grid to work with. scary stuff
not sure how to draw my world in this distortion…fun!
base map following the Cahill-Keyes map projection:
the main point i d like to focus on now is the transitions between the maps. I know we have spoke about them (the portals) before. the truth is i didnt know how to do/draw them and they didnt make sense then..but i think now they do.
Doing this might be the chance to use different projections. projections that distort the world in a way we are not used to. I like this idea because is ties in well with what i am trying to say. The same way we take north is up for granted and the colour conventions (etc) we assume the mercator projection the ‘normal’. the fact is that it is as distorting as the others. just different. and the convention just makes us accept it more. and also why i use it for my maps. because its the ‘comfortable’ one to use. so i am trying something new. i am scared and dont know how to do it so i guess it is the right thing to do.
Also to think about what we put in the center of the map. How we map with an implicit hierarchy . i dont know if this an unconscious decision. but i think it is. while drawing my maps the placement of things came from what made sense to me in the context of what i was drawing. never once i thought i was going to draw something in the center because it was the most important thing … i will think about it.
Going back to the distortion that maps create and how we accept it (he same way we accept the movie as the reality) am i re-defining our acceptance or non acceptance of conventions? as in, am i drawing my world in a way for you to accept as the real? or am i setting up a new way to look at the world where we are not tainted by conventions?
There was some talk about geometry and the dominance of the plan. not sure what to do with it…maybe an elevation map? that could be cool… a map of the world i have mapped alredy in elevation… the island… the underground, the sea bellow, other worlds bellow ? the air? the space? other planets? hum…..
About the dot. i thought about this before the jury and manijeh then suggested it to me so i guess that is a confirmation that i should try it. basically my dot only makes sense if as i take you through the map and my world i take the dot along. and in the end i stand on it. it has to be a constant moving dot until i step on it. like “we arrived at this moment in time and space” otherwise we are travelling.
How to incorporate the idea of time better? no clue about this yet…..
on another note… i really want to get in the map archives of the british library…i dont know how. i have been thinking about how to formulate my research into a good enough reason to approach them with my request. In the mean time i wanted to draw this “map room” which will be part of what i can see in the documentary and part what i imagine it is like….
ok i have done enough thinking…i m going to draw something!
Here’s my final draft for tuesday. I still need to practice while unfolding the maps and polish one transition or another. In any case here it is. I colour coded the text (blue is walk through, orange is my point, green is facts or quotes)
Forgot I had bought it. Next on the reading list
Almost done with presentation text. I never thought it would take me so long.
Ok so i am almost there with the text but i was so stuck to continue that i am cheating and i am back to drawing.
Zoom in of cape town, south africa. The cape of good hope. where two oceans meet.
Map of the currents. This will be a mostly back and white map. will probably add blues to introduce the blue=water convention that later I subvert with the Dr no’s aquarium map.
annotation to follow
EDIT 1: (4pm) and the nameless archipelago is coming to life too:
Edit 2 (6pm): took ages to clean up a tube map but here it is ready to be worked.
data pipes > water pipes> one person pipe > subway pipe
Scales and colours to play
Edit 3 11.37pm : last of the day: Still not very pipe-y
Posting these printscreens is actually very motivating cuz you see yourself moving forward.
Ok! I have a plan! A journey. Some stories. I think I need 2 to 3 tables on the day of the jury.
I will start with a blank- the table, and take you on a journey through my places. Each map will go on the table one at the time as I tell its story and no map gets chucked away. (Like anny’s drawing we build up this collection of maps that all relate -an atlas of some sort)
I conclude the presentation by revealing the map of the project. That summarises the journey and the main ideas to retain.
And then we discuss.
Draft text coming tomorrow (in the afternoon /evening) and then back to drawing.
ok figured out the order …update later with bullet points for each drawing and hopefully the text will give me that missing connection.
print screen updates
(my blue rock island is made of sapphires, blue agate and sodalite – all blue stones) just for fun!
Currently working on my project map that will be the guide for my whole presentation.
Also, its gonna be super colourful!
zoom in of the legend so you can start seeing what this is about.
ok, so in preparing my presentation for the 28th I sketched a map.
It is kinda like a world map. but it is the world map of my project.
It has england, portugal, africa, crab key, a google data center, an archipelago that still doesnt have a name. (for the moment)
and the travel routes: as in how do you navigate from one place to another. (this map will be the center of my book! this is the current map of my project. so this will be an ever changing drawing until july. all the other maps are zoom in moments of this world i am building!
at the same time i am drawing the map of the no name archipelago which is a zoom out of my route inside the national gallery when i stole the painting.
i think i managed to weave all crazy stories into this map so i have set my goal and now i am drawing drawing and drawing.
sorry for the printscreens. everything is building up at the same time!
All narratives to be told and weaved on a mock presentation on tuesday! with nuggets of awesomeness in between!
back to rhino! Natasha can i NOT be last on tuesday???
If an event is something that happens in space and time,
If nothing exists only just in space or just in time
Everything is an event.
Architecture is an event. It happens in space and time.
My project explores the construction of space and time, and its depiction by means of a map.
A map is a map because it has a scale, an orientation and a legend.
These are my parameters to draw architecture.
When drawn on a map, architecture, as the specific depiction of space and time, is constructed.
This means that, having mapped a moment, if I change the scale, the orientation or the legend, the construction of that moment being depicted is changed – the context changes but the moment is the same.
This context is what reveals the intentions of a map – where it is.
A map tells you where you are in time and space.
So, if a map refers to a place, then this map of changing scale, orientation and legend has no fixed place.
Then HERE only exist when I AM HERE.
Take my recon map for example:
You start with a mass of land – Crab key; you unfold the map once and twice (and so on) to reveal maps of other places. These places however, still belong to Crab Key. It soon becomes apparent that all of the things drawn on the map can’t be there – which is to say, they can’t be there if you insist on clinging to your worn conventions of time and space.
You might find yourself trying to identify some parts as “real” and others “imagined” but that exercise will end in frustration. All parts are equally real. They are all going on at once, in your mind and on the map. Reading the map you agree to be there, in Crab Key, but you are always here.
Where am I?
“Maybe, architecture doesn’t have to be stupid after all. Liberated from the obligation to construct, it can become a way of thinking about anything – a discipline that represents relationships, proportions, connections, effects, the Map of everything.”
- Rem Koolhaas (I replaced the word ‘diagram’ with ‘map’)
Mapping the world of architecture ideas – the architecture of ideas
Architecture is mostly visual in its conception. It communicates ideas with drawings, images, films…
It is the construction of an architecture that expands its ideas beyond the visual world into a more tactile, eventful one.
However the visual output of architecture is highly selective, curated and edited.
You, the audience only see what I decide to show you.
You only see the “hero shot” of the project, the beautiful drawings, the best model. You see the best and most perfect version of what architecture is.
I am arguing against this reduction. Architecture is not THE building. Maybe architecture stops at the building…
Anti Reduction – the world of architecture ideas
My project lifts that editing veil, it takes you backstage. My project strives for the ideal (Oliver’s words) – the truth in architecture representation (I don’t want to use the word representation…)
My project is the unbuilt and the built simultaneously. It it’s the unbuilt in its content – the map and the text, and the built in its format – the book. (the book is the construction of my architecture: the architecture of ideas)
I use cartography as a medium to recontextualise the architecture project.
“We organise information on maps in order to see our knowledge in a new way. As a result maps suggest explanations reassure us, they also provoke us to ask more questions, consider other possibilities. “ – Simon Garfield, “On the map”
“Maps give us a reality that exceed our vision, our reach, the span of our days, a reality we achieve no other way. We are always mapping the invisible and the unattainable … the future or the past.” – Peter Turchi, “Maps of the imagination”
In the same way that the map challenges the conventions of how an architecture project communicates, the book also questions the format of presentation.
“[t]he biggest part of our work for competitions and bid invitations disappears automatically. No other profession would accept such conditions. But you can’t look at these designs as waste. They’re ideas; they will survive in books.“ – Rem Kolhaas
Here is my recon conclusion that I had from last term.
I basically worked from here and tried to understand why i did the map for the recon and tried to extract the essence of this text whitout refering to the film or the recon map specifically.
Film as medium allows us to question the preconceived ideas of the language of architecture as well as historic conventions. Film is the ultimate visionary project as it allows you to build the unbuilt.
By taking Ken Adam’s visionary world that he created for Bond’s first Villain Dr. No and mapping/drawing the spaces I am taking it out of its medium context and re-placing it on paper.
The paper medium and the map media allow an exposure of the geographical/spatial complexities/impossibilities – the unbuilt.
The film medium allows for a continuous narrative and an illusion of a parallel continuous geography. The film cut permits this illusion of continuity.
The map is set up to re-create this illusion and subvert it simultaneously. The fold acts as the film cut by allowing the map to be read in its folded form as well as at multiple levels of unfolding and ultimately completely unfolded.
It is simultaneously the break down of film space and its continuous visual output.
On the map I draw the real filming sites in their fictional context, the real film sets on their fictional film expression.
It establishes relationships between real sites and the fictional version of themselves.
He had brought a large map representing the sea,
without the least vestige of land:
And the crew were much pleased when they found it to be
A map they could all understand.
“What’s the good of Mercator’s North Poles and Equators,
Tropics, Zones, and Meridian Lines?”
So the Bellman would cry: and the crew would reply,
“They are merely conventional signs!
“Other maps are such shapes, with their islands and capes!
But we’ve got our brave Captain to thank:
(So the crew would protest) “that he’s bought us the best–
A perfect and absolute blank!”
- From “The hunting of the snark”, by Lewis Carroll
Today I am gathering all the notes, thoughts, book quotes and putting them into my book structure. 5 chapters at the moment. Focus on chapter 4 that is my year-long project map. the other chapters include research, thesis, images, references etc. It is all one book. these is no white book, project book or whatever. There is one book – the gold book lets call it for now.
1. Where are we?
2. Your are here.
3. I am here.
4. Here’s how you get there.
5. We have gone far.
Here are some pictures of the cover for my map book. Book opens in the middle.
I m going back to my pop up tests. Update on that tomorrow.
Cool bye! Enjoy the pink and bling