I was typing in my browser an somehow the blog came up as a suggestion… So I thought, why not? /i was thinking what can I post really? what did I work on? .. not that exciting but here’s my sample portfolio haha..
Goodbye Dip9 blog,
I was typing in my browser an somehow the blog came up as a suggestion… So I thought, why not? /i was thinking what can I post really? what did I work on? .. not that exciting but here’s my sample portfolio haha..
Goodbye Dip9 blog,
Thank you Tash for all the help in putting this together!
Video in progress….
Revised presentation in progress….
New drawings in progress….
The good news is that inspiration is still coming in, so… some final output is bound to come out.
Why does my heart rate accelerate whenever I see installations ? – This is the most important thing I learned about myself within Dip 9.
It all began with taking action ” to judd” … and escalated into a world of faux terrain. Thank you so very much Natasha, I have found it, now I have to push it!
Haus-Rucker-Co were a Viennese group founded in 1967 by Laurids Ortner, Günther Zamp Kelp and Klaus Pinter, later joined by Manfred Ortner. Their work explored the performative potential of architecture through installations and happenings using pneumatic structures or prosthetic devices that altered perceptions of space
“Belief in the age of disbelief”?
Why can’t I pin it down….
” Back to the Faux terrain” ?
After the final jury and the discussion with Manolis I looked at my project as a whole ( the projects review setup also helped! ) and have been re-jigging my presentation trying not the reduce my work with the words I was using & shape it better.
My project is not an allegory and I think it was ending up becoming one… So the next 2 weeks are dedicated to tackling this.
I will upload MY STORYBOARD later as it’s not very legible as a photo now… + new work.
I think Fred was also very helpful at the jury in his comments and some good references emergeeed!
Dunno how I ended up making 2 options for this one .. – The battle of 2 grounds ( WIP)
Something is bothering me about the image but can’t put my finger on it… no more ” river-moving” as Nats would say… off to finish the next one. BUT INPUT IS MUUUCH APPRECIATED. xx
Suddenly 7 years seem like a dream…
– CNC file sent !
– 3d print files done ( to be sent tomorrow morning)
– Bubble collages getting there… along with long section.
– 1:1 photo frame done ( need to reprint image – suggestions on what to print it???)
– image of displacement and scale absurdity on 3rd platform
– relation to city ( 2nd platform)
– the edge ( Philip Johnson style obscure transitions as you look towards the city)
– panorama vs simple point pesrpective
AAAAAAAAAH PUSH THE PEDAAAL!!
The cascade is giving me a headache….Working on defining the moments more clearly..what does each platform do?? What does each one address ? – more specific.
I WANT TO KEEP THE LONG SECTIONS I HAD AS LINE DRAWINGS THOUGH. – just touching up the close-ups
YEY! – The new resin lake is on its way as well… hopefully will be finished on Monday.
Tomorrow I will mend some bits on the landscape model and add some finishing touches and moving on to drawings.
Also working on the plan we discussed & retouching the drawings ( will pe posted soon).
This week I want to progress with all of the above & finally finish my fragmented landscape model for it to become a WOW! piece on its own ( not just via photos).
Thresholds are crucial in defining the extension of our context & how we perceive it. I was reminded of the feeling I got in Barragan’s house. There is a linear/circular route through the building with many moments in which you get cross-cut readings through sections of the house. The threshold leads you to a different world every time in a very considered way. Made me think of designing my ground/landscape with this idea in mind, where you don’t quite comprehend the whole body but you get vistas which cut through, breaking it’s linear experience.
The pleasure garden, ‘Sensorium’, will explore how we view and experience the world around us, whether through everyday technology, or through our physical presence in a space. HASSELL and HÅG will play with smells, textures and sound, leading visitors to question how the senses influence their experience.
At the heart of the Sensorium will sit a mysterious black space which offers guests unexpected – even voyeuristic – perspectives of the surrounding pleasure garden. Perceptions are altered and manipulated through a series of ‘peep holes’ and senses are heightened or removed to provoke visitors to question what makes their viewpoint unique.
Classified as part of the second wave of the Mexican muralism movement, Soriano’s work include painting, sculpture, ceramics, graphic works, illustrations, tapestries and set and costume design for works such as those by Eugène Ionesco, Pedro Calderón de la Barca. Etc.
(1935), Soriano moved to the Mexican capital and soon entered into a lively visual and personal dialogue with Rivera, Frida Kahlo, Orozco, Siqueiros, as well as the more vanguard artists and writers who composed the famous Contemporáneos group.
Mexican painter and sculptor who, was an exponent of the Mexican School cultural movement, which flourished after the ouster in 1910 of Mexican dictator Porfirio Díaz and drew on Expressionism. Soriano was known primarily for his self-portraits and portraits, notably a series of Lupe Marín, Diego Rivera’s first wife. Soriano later shifted to sculpting, and his huge bronze doves and moons graced a number of plazas in Mexico. A prodigy, he first began exhibiting at the age of 14, and he later moved to Mexico City to pursue his art. For a time he was a member of the League of Revolutionary Writers and Artists, who protested against fascism in Europe and against the U.S. involvement in various Latin American countries. He travelled extensively in Europe and found inspiration in everyday life and the people with whom he lived.
He uses sculpture, architecture, video, performance and participation. His works aims to increase individual or collective agency in social, environmental or educational situations.
He is a big fan of spanish artist Francisco Goya.
After studying Architecture, Reyes founded “Torre De Los Vientos”, an experimental project space in Mexico City which operated from 1996-2002. Together with Joseph Grima he was co-founder of and “The Urban Genome Project”. In 2015 Reyes was named aFord Foundation Art of Change Fellow.
His work is a socio-political critique on contemporary society and our responsibility towards it. His projects are catalysts for communal and psychological transformation, triggering group interaction and creativity.
The exhibition at Lisson Gallery includes musical instruments created from firearms, including revolvers, shot-guns and machine-guns, which were crushed by tanks and steamrollers to render them useless. These were offered to the artist by the Mexican government following their confiscation and subsequent public destruction in the city of Ciudad, Juarez.
Started to look through the list of architects we will meet! – sooooo exciting! YEY
Frida Escobedo – AZTEC INSPIRED V&A PAVILION 2015 -
A really nice pavilion that gives you playful ways in which to enjoy the courtyard!
description excerpts :
A pavilion should be something that is activated and asks questions,”
- what questions were you considering when designing it?
Using the landscape of Tenochtitlan – an Aztec settlement that has since been engulfed by Mexico City – as a starting point, the architect planned a system of curved and rectangular steel-frame platforms that sit over the courtyard’s lawn, paving and shallow pool. Each has adjustable feet so it can adapt to different levels.
Together, they are intended to represent the many multicultural influences that coexist in contemporary Mexico.
The whole idea was about this notion of wearing a mask,” she added. “This is an appropriation of a space and it changes the face of the space temporarily, like a mask. And that generates different characters, just like in theatre.”
“It is a pavilion that embraces itself as much as it can,” added Escobedo. “This is not who we are, this is my interpretation of what Mexico is, and it’s more important for me to generate activity than to just present our culture.”
DO YOU THINK MEXICO CITY GENERATES ACTIVITY? how?? – and by activity what do you think of?
ALSOOOO..FINAL QUESTION…ANY JOBS AVAILABLE?
I’ve been thinking about the form of the Whitebook. I want it to be a presentation book, following the speech… I also want to add a chapter of various forms of FT ( like Sabri’s ( possessive apostrophe) encyclopedia of hands from her HTS Thesis.
I’m building up a folder of images which would go there, divide them into themes which I would then caption relating to different parts of my argument.
I’ll also steal some bits from the book “The function of the oblique” by Parent and Virilio ( size / format etc)
uuuuuuuuuughh it’s hard to focus when I’m already thinking of packing for the trip!
Comments from Previews:
– Do you reveal ” the trick” or not? do we just experience it and take what we see as truth?
– If you reveal it, what conversation does the reveal bring? that is different from the illusion. What is the reading of what is there & not there.
– At the moment the sequence is very linear. Does it stay that way?
– Levels of resolution from the FLY-BY / WALK-BY / RING THE DOORBELL.
– NO specific site
I’m storyboarding the holiday to plan out what to do before term 3.
thinking of how the panning happens gave me some problems with the hills I need…but I think I sorted that now…so life is good again.. trying to finalize this asap.
should I make the field longer before I hit the hill? I’m afraid this will become suuuuper long though. still need to add the city on the right.
Also got an idea for another view which I’m hoping I can squeeze in my schedule tomorrow!
Picking up the book at 5.30pm…. will post updates then
the window scale will be added on the bound book
not so sure about it yet…. -I will add a street view of city on the sides, water filling in the foreground and sky etc.
maybe some people going up the ramp?
Working on 2 views for the upside-down landscape at street view level at the moment.
– one looking outward and one looking inward. I WILL UPDATE LATER.
I’d also like to make:
1. a view from a side, where you see the the thick landscape “facade” against the city
2. spread with section of double-sided landscape.
3. view from top landscape with skylights popping through.
4. the ” google earth”-scale spread showing sequence of platforms in the city.
5??. spread with close-ups on skylight type 1 & 2 with their corresponding section – maybe not important
THESE WILL ALL HAVE TO BE DONE / ANNOTATED AND INCLUDED IN THE TS BOOK BY FRIDAY NIGHT.
If all goes well that means I can begin preparations for the window-scale model in the weekend and finish editing the book to send it to the binders on Monday and start making the model.
Pile of salt
also this is cool
Working on 1 of the extremes, the large scale of the city to plant my FT into.
These are a few landscape morphologies in Mexico City. While I’m inserting my FT here, it will not be site specifiv. What I mean is that the conditions it reacts to and generates aren’t exclusive to that city, it can then be found in other high density cities – where you can find similar situations in London/ NY /Tokyo etc.
Will update on this later.
Went through the whole document again and finalizing things up to now. Need to take a big leap by Friday… Fonts for text aren’t showing on my indesign..only in the computer room….so nvm the font for now.
This is a part of the landscape I wanted to work on but maybe I will pause it for now… Where I wanted to design revealing events that happen when the platform inclines. And tested how the lake would work for example.
– I 3d printed one version to test if water spills out when I incline at the 9 degree.
I also went through my ts document and made notes on what I have done so far and storyboard will be online soon!
Also been doing some reading and started some texty stuff….but it’s still all over the place for now.
I want to thank my mom, my dad, the academy, but a special thanks goes to all the 4th yearers for all the support and help without which our books would definitely not be as glam as they are now!
LET’S HEAR IT GUYS!
As discussed yesterday, working on the 3 elements.
1. The incline planes
2. The structure
– The water
– The blocks
– The vegetation/landscape
Found this artist , Alexandra Kehayoglou. She makes some crazy carpets.
Also, I have emailed Ben Johnson’s studio and asked whether it would be possible to visit it. would be awesome
- I WANT TO FINISH THESE 6 SPREADS
a. MATERIALS ROLE PLAY
b. STAGING THE MODEL ( CAMERA POSITION/ RESOLUTION / SCALE)
c. EFFECT VS CONSTRUCTION
d. THE 1:1 – weight of river/ earth / plants
e. SUPPORTING STRUCTURE
f. INCLINING GROUNDS
not sure about this 7th one:
g. AUGMENTED SCENERY or THE SKY SCREEN ?
I need to work on the water for this model, but for now I am focusing on finishing some TS spreads concerning the model.
Notes from jury:
Sabri… I think u should check this out… it is a bridge in Leeuwarden
kind of like experiencing the impossible.
not spending too much time explaining now ( cos worky worky time) , but the first moment will be nature as retreat – a landscape hidden behind a street facade which seems endless when looked at in conjuction with other plates ( which I will build).
Questions I pose – what size does the landscape need to be to stop being part of the city and be defined as its own place?
– Question the boundary condition
– constructing a place/landscape continuum from an assemblage of different scales and seemingly separate plates/islands which form my archipelago.
the base is assembled and spray painted….drying now while I begin to make the landscapes on top.
is this a place??
Working on moments & landscape as discussed Friday.
Planned the trip to Stour Head and researched about it. Not sure if it would be better to go this weekend or the next (after the jury)..
Also speaking of archipelago and the continuum this reminded me of our timeline, from ” atlas day”, we did at beginning of 1st term.
aaaw…researching central park I found one of the rejected entries from the initial competition, very fru-fru no?
I can’t believe I forgot to post this.
How about this for a TS?!?
Such a fascinating book Duchamp’s – Etant Donnes – the mysterious book Manolis and George were referring to at the last jury.
I think my presentation was a bit scattered due to the diversity of mediums, so I want to change it up a bit to make it flow more – I quite like the movement around the room I need to find a way in which the jury setup can be an immersion into the space of my project, I like how it takes up the room and I visualise it it like a corner of curiosities.
Otherwise have been absorbing a lot from almost daily exhibitions and been very disappointed by some… including the Natural history museum displays …
Also been testing layouts for the White book and TS – I would like them to have a visual conversation though distinct language. – thinking half-sies.
If this week is book(s) week…. the next is model making. NEED TO MAKE THE FILMS FROM LAST TERM BEAUUUUUUTIFULL ! – and I want to link them more…
I want to pick on how the FT can reveal our innate desire for belief and how the display can shape our cultural assumptions and expectations.
Henry Rousseau’s best-known paintings depict jungle scenes weren’t inspired by any firsthand experiences of such locales (the artist reportedly never left France), but by frequent trips to the Paris botanical gardens and museums.
Stories spread that his army service included the French expeditionary force to Mexico. which were much later disproved.
I’m also learning more and more about these dioramas…. their role in our understanding of the world beyond our immediate environment.
“Individual dioramas often took years to complete, as scientists and artists physically traveled to each place to take photographs, render sketches and collect zoological and biological specimens, sometimes staying for months at a time. Each plant and animal then had to be shipped back to New York City and artificially recreated for display.”
- Freaky -The Hall of African Mammals is actually named for Akeley, who replaced the old method of stuffing animals with the more realistic technique of affixing their skin and features to an accurately measured mold of their musculature. The revolutionary approach became the difference between a shoddy-looking lion and one that seems real enough to kill you.
EXTRA FREAKY The rugged outdoorsman was also notoriously cavalier in his quest to obtain certain animals, like the time when he killed a leopard with his bare hands after it tried to eat him. Akeley actually jammed his fist down the leopard’s throat to gag it, then fatally body-slammed it on the Sahara floor. Today the beast’s skin can still be found in the museum’s library.
baby steps at this point… going through references regarding
– Fake terrain
– forced perspective
I am also making TS pages for all my FT models…
Found these images – I think they’re so cool!! – I can’t find any about how to build it… – the technique though
I will post photos of the finished model later.
For now I am plotting my 1to1 installation for the jury…Had a great conversation yesterday in the unit space and lovely references.
Also had a pizza celebration as I said farewell to HTS and PP! Last submissions evaaa’
I am working on 3 ideas of experimenting with FT.
– One in which the Background legitimises the foreground – to try to turn the tables around from my previous 1:1 experiment (pun intended)
– one as a forced perspective model
– another combining the 2D/3D and 1:1 background.
Epic fail in trying to adjust the 1:1 image in the room to align the floor…. the image looks too distorted…so proceeded to retake the shot so it would line up with the wall.
original Las Meninas
Also if you’re interested in Alexander Calder – Tate modern
I thought this was interesting too – The installation represents a mirroring, in which parts of the movable walls and the changing rooms behind the walls are reflected and reconstructed.
Faux terrain blurs the boundary between object and image.
I have been taking in the comments and I want to set up a presentation to introduce the fake terrain, define it and argue for it as a thesis.
I have been gathering references, ideas and booked photo-studio tomorrow to photograph the models I have so far.
Building beyond the ” fake-to-the-fake” idea…I’d really love to get to something like this !!
I thought it would be nice to talk about the construction of the image…. So therefore should make a model which explains how the previous Glass House collage came about from the physical.
Architects project ideas by inhabiting the false terrain before proposals get built, some reach their potential within this territory while others are fated to never leave it.
Until Tuesday I will explore it by staging different conversations:
– The model
– The render
– The plinth
– Technology & design
– the green screen?
All of the above will be images providing the theme as context while the false terrain I build around the image will make it uncertain whether it is real or not.
With each one I would also like to experiment with the viewpoint :
– top view
– 1 and 2 point perspective
I like the idea of designing a model which I never build…. but always present through the faux terrain as if it was made.
any ideas for the rest are welcome! – lubetkin and the penguins ,steve jobs and the mouse? With lubetkin I want to talk about the podium. With Steve Jobs about creating an extension of the body into a different realm? not sure… My ideas are to literal so shoot whatever u got!
1. “Philip Johnson builds a house in which to die.”
2. “Tommie Smith and John Carlos raise their fists at the 1968 Mexico Olympics medla ceremony”.
Not sure if I’m going about it the ‘right’ way… but I am taking each grains’ sentence and creating a 2-sided ( or is it 3?) drawing.
For each one I am thinking of how the sentence relates to the image I select for it as well as the transformation it leads to.
I am wrapping my head around articulating my argument. How the ‘state of uncertainty’ defines the future and past of a project and establishes a set of relations and contexts which allows us (the viewer) to engage and adjust to it.
If I am talking about projection or prediction ( might be a better word) then I think the archidonkey model should later on reveal a prediction/ speculation it was making which allows the audience ( jury) to read a later piece or part of my project.
does that make sense? – so the model prepares the audience and gives hints which allow you to understand something that you see later on it the presentation. Those hints and predictions from the model should be acknowledged when the later piece is revealed.
Worked on the animation a bit more – I have an idea of how I would want it to progress.
Found some interesting references to help me design my own element.
Read “A tour of the monuments of Passaic”. Smithsons’ essay is written in such a deceiving way… entertainingly though.
I have attached a link below in case you haven’t read it – not very long but filled with elements you could extract. Thanks Natasha!
For now I leave you with my horse.
Not what I promised but…..
PS – It’s not even funny how fast I forgot AE
finishing the animation today and designing the ouroboros moment!
The conundrum of the ruin, which seduced aristocratic tourists on the Grand Tour of Europe in the 18th century and continues to appear in twitter feeds, captured through the romantic filter of Instagram.
After the last tute I looked into the references we discussed, such as Joseph Gandys’ Bank of England’ commissioned by John Soane. It’s a very interesting one in terms of viewpoint ( I want to draw my terrain in axo) and in terms of thinking of ruins for the future, and idea of prediction, speculation and imagination. – Linking back to Piranesi as well as Steve Jobs.
Some lingering questions that came out of the ouroboros ( snake eating its tail):
– History as continuity vs history as frozen?
– How to create loops where there aren’t?
There was an exhibition last year ” Ruin Lust” at Tate Britain. By Brian Dillon , it features works from Turner to Tacita Dean, across painting, film, and sculpture, it explores the idea of the ruin “of the mind” as well as the real human history that underscores them.
The turning point for the ruin postwar is also depicted in the exhibition.
“Following the mass violence of two world wars, the smoking, nightmarish cities left in their wake, the ruin was no longer an aesthetic ideal, viewed from a distance. It was no longer picturesque, but an immediate reality for those bombed out generations who were forced to rebuild their lives from nothing. To aestheticize such disaster without awareness would be wrong.”
I can’t stop this feeling ( pam param pam pam)
Where is the true treasure? – It’s only half of the story :(as I forgot my hard-drive in the computer room but I will add the other half tomorrow!
Humphrey Repton, a british landscape architect from 1800’s . He documented his commissions in books, called Red books. He made 400 of them!!
What I like about him is that, later on, he uses his Red Books to shape his ideology and approach to landscape.
Therefore he ends up publishing 2 very popular books which drew on material and techniques used in the Red Books. – ‘Observations on the Theory and Practice of Landscape Gardening’ and ‘Fragments on the Theory and Practice of Landscape Gardening’.
Sorry for blabbing on about him, I found him interesting – as well as the parallel between Red books and DIp 9 White books.
I think we all aspire towards building projects which do not just tick the box of what we did in our 2015-2016 year… but rather lead towards something. Speaking in terms of portfolio as content but also envelope, it should give us something back we can refer to again and again.
The Red Books’ structure :
– He begins with an introduction of the commission —-> BRIEF
– Introduction of site and location
– He concludes by arguing why the client should go forward with his proposal.
When you look at it we haven’t gone too far from 2 centuries ago.
Also, different things….but wanted to post the links to force myself to talk about them… (sorry – I’m using the blog as a sketchbook atm.)
For now, that’s it . – text will follow
A glimpse into the breaks I’m taking while burning my brain as I try to define my territory.