Author Archives: Ananth Ramaswamy

the last few

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Updates

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Here are a few updates images, Oliver helped me A LOT with the text today, and it reads MUCH better. Thank you Oliver! Working on presentation and hopefully another a few more images.

 

 

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Update

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images and diagram

These obviously work with the text- as i continue working on presentation.

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Extended Introduction

My project is titled between mind and matter- And I believe the work of the architect is a negotiation between desire and reality. This shadowy region is the space that the surrealists sought to fill in the 20’s 30’s, but did not go far enough.  Architecture then, was occupied with formal and technical breakthroughs, leaving no room for questions about the unconscious. The questions that remained unanswered, I raise again now. When technological inventions have been embedded into the routine of everyday design, we can go back to probing the very nature of architectural experience by rejecting the cult of the object and embracing the image.

The image is the dominant medium to conceive and perceive architecture, and hence this project makes the image operative, in order to define the space between idea and materiality, the grounds of the paper project.  The project aims to bridge the divide that separates the intuitive and unconscious processes of the mind with the material spaces of production.

How can we collapse the dualisms that limit architecture where individual and collective desire, past and present, representation and reality exist on equal terms?

The project proposes a form of factory that is activated by perception. Referenced from the 19th century theatre illusion, peppers ghost it uses a 45-degree plane of reflection to project phantasmagorical images into a stage set.  (It operates as the ideal precedent for me as it collapses the technical production, in this case the theatre, with the powerful illusion.

In literal terms, the foreground acts as the space of ideation, or the mind, the middle ground as the space of production or matter and the inclined plane as the image, that collapses mind and matter in order to create the image.

The factory is adopted as a means to challenge its associated conventions of production, where logic, scale and linearity are not the terms that define it’s output. Factories regulate the standards and measures of matter we use in order to construct architecture.  To quote Walter Benjamin  “the culture of an epoch is defined through the production methods of its time”. Therefore in order for the architect to remain relevant he must be inserted into the space of production.

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GOOD LUCK 4th YEARS!!

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Working with projection and presentation and some new ideas !!!

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Projecting text

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model progress

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still working on the sets and the composition of the images. Some views seem to work, but i need to stretch my imagination to do more !!!!!!!

I am going to work on a draft of the text and presentation for tomorrow and some drawing ideas for the weekend and next week

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Meanwhile.. Merve fits in my model.

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Stage is set, but whats the show??

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Haha anny’s theatrics. I will now work on the design of the stage set. Also this this is enormous, I can pretty much inhabit it.

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Machine

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Here is a mock up of the mind machine which uses the projector instead of the screen. I do not want it to be too large and occupy most of the table, because i will need space for the book as well. So i think the best size is about 60cm in width. It still might only be for a couple of people, but since the images that i get out of it are more important than the machine itself, i think this size is good enough.

Meanwhile i tested it out with the projector- and it seems to work

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but i will need to see what the size of the the projection is with the height being 60cm. Still need to do a few tests.

Meanwhile, iv sketched out a sort of final drawing, which will reveal all the scales and objects that are operating within the project.

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BUT, i am now working most importantly on the sets that go into this. The more i think the more i wonder, whether i should just use the existing machine i have, and concentrate on the sets (which are most important) . This is an open question.. comments??

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New peppers ghost

Well i think i have come a full circle in that i am going to make another peppers ghost box, I did test the projection out with a pocket projector today, but it did not seem to work. I will try tomorrow with a better projector, and have the 3d file ready, so i can begin to build it for early next week.

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I will try to make a version of this tupac performance on the table using a concealed projector. Hopefully if this works it can become a presentation instrument, the screen or image through which you see the project.

In terms of comments that were very helpful-

Doreen- If we take it literally.. there is a figure and a ground- The figure is the object, the background is the screen the imagery.. but then that is what i am challenging.. the figure is a projection or phantasmagoric, image in the head  but the background is objectified, in a sense that it is the factory. If you can simplify that relationship in that i am reversing it, that i am extrapolating the productiveness of that reversal.. In the factory i am trying to produce my architecture.

Palmasino- I take a art historical approach to an image, in that if something looks like something then they are the same thing. This refers to the image and the object as well.

Theo- The machine does not have orthodoxy of some kind of conventions…. I like the quote of smithson because its about creating a perceptual device..content does not matter gets processed by the way of looking at things. and some how that spits out something that amy have connotations may not.. My factory of idea, could be much more controversial if it really doesn’t have to oblige itself to meaning in a conventional sense.. i

Raised the important issue of what the 2 and a half D means in the project, and how can i make that a more useful part of the argument.

 

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Head space

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I can keep working into this drawing, but i think i am going to stop, comments?- I printed most of the images which i am going to mount on A2, and an a3 book to go along with the plates, which i will present with.

Found an interesting essay by Tschumi, where he speaks about the double.

“If the double of reality was madness, the double of art, destruction, the double of Tatlin was his own tower. What is the double of architecture? ” What is my double? Peppers Ghost???

 

 

 

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HEAD SPACE

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MIND IS MATTER

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Working on the last chapter which is assembling the mind/ architect. The insertion of consciousness into the factory.

 

 

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Another Index

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This index is of the assembly of the Archive/ artefacts in the factory. I have squeezed in my beloved uranium cells into the factory.. Thats right. (Second row right hand side image) haha, thank you ari. Should have a draft of the entire book for tomorrow, and the text still remains unclear.

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Paranoid critical method

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Dali’s Paranoid-Critical Method is a sequence of two consecutive but discrete operations:

1. the synthetic reproduction of the paranoiac’s way of seeing the world in a new light — with its rich harvest of unsuspected correspondences, analogies and patterns; and

2. the compression of these gaseous speculations to a critical point where they achieve the density of fact….

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WHY IS IT SO SUNNY?

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” But for many of today’s artists this “desert” is a “City of the Future” made of null structures and surfaces. This “City” performs no natural function, it simply exists between mind and matter, detached from both, representing neither. It is, in fact, devoid of all classical ideals of space and process. It is brought into focus by a strict condition of perception, rather than by any expressive or emotive means.”

-Robert Smithson

Working on the book and drawings together- Fridays tute and Merve’s genius sentence (“The factory cannot think for itself, it can only assemble what is thought of”) have helped to resolve a lot of things in my MIND. Hope to have a set of my 9 drawings/ images for monday/ tuesday. Above is the Smithson quote iv held on to since the start of the year! Reminding myself of where mind/matter came from.

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Drawing and Book updates

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working on a plan and some more views for tomorrow! <MY TEXT IS FREAKING ME OUT>

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TExt, book, updates

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Between Mind and Matter 

“There is no architecture without dream, myth and Fantasy.”

 INTRODUCTION

This project is titled Between Mind and Matter and interrogates the architectural project as one that negotiates between the mind, which is the source of ideas and matter- the material, and theory that defines it. The ambiguous space in question is one that mediates between these oppositions. To revel this space is to reject logic, rationality and conventionalism that the profession has been bound to. Reality as we know it is no longer perceivable by an isolated objective or subjective understanding, but rather through a continuous collision of both.

The architect is the mediator between his individual desire and that that of the collective’s. In order to deliver an architectural project one that mediates between the two forces, a dialectic link between the past and present is needed, that embraces the dream logic as its new navigator. The dream offers spontaneous associations, the ability to transform the conventional reality into the fantastic through a continuous flow of images.

Architecture can no longer be described through the dichotomy of the figure and ground but rather embrace the logic of superimposition, randomized reversals and scalar leaps in order to define a new logic of reality. The role of the mind in this project will be to break down the contradictions that functionality and conventionalism pose.  The architect must embrace the mind from which the real and imaginary, past and future, the communicable and incommunicable, high and low cease to be perceived as contradictory. The work of the architect is to reduce (read remove) these oppositions, which have been presented as impossible.

(more to follow) 

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Images-

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image

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Anny and Helen gave me a crash Render course..the result is not ideal, but im working on it.

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sums it up

Comparing Breton and Benjamin

“For both writers, what is significant is not the waking state per se, which could quite easily carry on in the same drearily prosaic way, but the moment when consciousness is shocked into the recognition of possible forms of cognitive experience from which it is excluded in reality. Both writers also, therefore, develop a notion of a single material reality, in which ‘dream’ and ‘waking’ experience are both inextricably grounded, and which progresses not in a gradual, seamless, linear continuum, but instead proceeds unevenly in jolts, leaps and unexpected reversals.”

 

 

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book and modelling

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working on the project book and modelling the factory- Also thinking about how i could maybe have a drawing that i assemble as i present.

meanwhile..

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I found this on a blog, and like how all the images are disconnected but have a connection thats not obvious between them. maybe this is a format i can consider.

 

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Love this drawing by eva leroy.

Lastly, heres are great quotes from none other than Magritte-

“To be a surrealist means barring from your mind all remembrance of what you have seen, and being always on the lookout for what has never been.”

“Only thought can resemble. It resembles by being what it sees, hears, or knows; it becomes what the world offers it.”

My painting is visible images which conceal nothing.. they evoke mystery and indeed when one sees one of my pictures, one asks oneself this simple question ‘what does that mean?’ it does not mean anything because mystery means nothing either, it is unknowable.”

 

 

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MIND MATTER

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Apparently, all thinking processes happen in two different ways. Each is claimed to be the only way in which thought processes occur in science, art and philosophy.

1. The first is commonly known as the empirical way of thinking. It is limited to the study of physical phenomena. The actual concern is with facts that can be measured and justified. This intellectual concern concentrates on separate elements and isolated facts, deriving from direct practical experience. Thinking is strictly limited to technical and practical processes as they are most strongly formulated in the theories and methodologies of pragmatism and behaviourism.

2. The other way of thinking seeks out phenomena and experiences which describe more than just a sum of parts, paying almost no attention to separate elements which would be affected and changed through subjective vision and comprehensive images anyway. The major concern is not the reality as it is but the search for an all-around idea, for a general content, a coherent thought, or an overall concept that ties everything together. It is known as holism or Gestlalt theory and has been most forcefully developed during the age of humanism.

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Working on the factory, modelling everything that goes into ‘assembling’ a project (my project), the project being the eventual output of the factory.

 

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Answering questions!

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Post the jury- I need to answer what the project is trying to do? What the fuction of the dream is? and how assembly is used to break linearity?

I went back into the project to extract the main elements that i move through. This is the from the paper- screen (laptop)-table- studio-factory-landscape

To break this sequence, its interesting to move the reverse direction where the landscape is assembled in the factory, which is within the studio (a model) upon the table as a image in the screen, printed on paper (the image) . Eventually architecture is its image, which is conceived in the mind.

I want to focus now on 5 key drawings that are in the dream state (or the transition between one scale/ object to the next. There are the moments of awakening between one state to the next. I would really like to make a series of 5 physical models of these moments. Will try to make a sketch plan of this for tomorrow!

 

 

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Drawing update

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Working on another drawing that zooms into this one, and also a drawing similar to the one of fritz kahn (dreaming of the automobile). In the meantime i am also re writing parts of my text!

 

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ARTIFICIAL TERRAIN

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http://www.bbc.co.uk/news/science-environment-26764950

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Presentation

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WIP

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Been working on my text. Here i have a reference of plato’s cave which moves from the space of illusion (mind), to the space of material (matter) and finally to the space of ideology (space outside the cave). In my version of this the final space is back within the studio in, on the paper, where the idea is drawn.

Hoping to have a sequence of drawings that show this transition from one layer to the next, for tomorrow.

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world views

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Really like this reference, worlds within worlds within worlds! Going back to basics- mind and matter.

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Updates

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Working on the details of the factory, and hopefully the model( !?!) , been formatting the book too.

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assembly of the factory

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screenshotssss

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Working on spreads of the room and factory views

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some spreads and references

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I like this image because the set is placed in a real context, but would be interesting if even the context was a set and so on..

Will finish this off tonight, and start with the room tomorrow, which  ill FINISH by tuesday. Also i was thinking of the architect as an assembler within this warehouse/ factory/theatre , which is his stash of architectural elements. I need to keep thinking about the narrative, so i can work with more focus! Suggestions??

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Updates

I had a tutorial with Javier today, and i ran through the sequence of assemblies i explore in the project (which he liked). When it came to the assembly of the room, we both thought it would be interesting if it were built in forced perspective, like the Palladio stage. He also made me think of the structural supports the room will need, for it has to be hung.

Im going to design it along the lines of this image. PIC-05

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Some other things that i will have to look into are how the assembly of the factory can begin to create the feeling of endlessness within the space ( Turrell style), also will be doing spreads on space frame structures, for the large span of the warehouse.

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Incomplete spreads, but working on finishing the assembly of the rock for tomorrow as well as the table!

 

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finally the storyboard

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Quote

“Today (…) it is up to us to recompose “New Ghost Stories,” a task incumbent on artists, philosophers and historians alike. One that needs to be constantly redone in order to enable us to understand that we only experience our present through the combined movements, the montages of our memories (gestures we make toward the past) and those of our desires (gestures we make toward the future). The images should then be considered as potential crossroads of all these combined gestures.” (Didi Huberman)

Anny has also just told me that the two things that make me happy are socks studio and pod- so true.

Here are a few crazy little models

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Assemblies

I am working on various scales of Assembly

The assembly of the Image (Magritte)

The assembly of the Object (The table)

The Assembly of the Room (Studio)

The assembly of the World (The Factory)

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Working on the exploded view of the Studio, Table and Image

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amazing set of Life of pi

 

 

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More incredible video’s here

http://www.fxguide.com/featured/life-of-pi/

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Clarification

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Luis Deobard collages

I think, that collapse is tricky word, hence i’m not going to use it anymore. Instead i think my explorations have been about “means to access an image” and this means to access the image is really what my plant is doing.

The precedents are about methods of viewing, therefore they still hold value for what I am trying to do.

In terms of the views i am going to frame in this factory, this is something i will storyboard tonight. I am also thinking about the bigger question to raise about production and the factory-

Can a factory be used in both physical and abstract means?

 

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definitions

I have been trying to think about what i mean by collapse, and looking at the most basic definitions. This was the most useful definition i found.

  1. Collapse
    fold or be foldable into a small space.
    “some cots collapse down to fit into a holdall”
    • compress a displayed part of (a spreadsheet or other electronic document).
      “tabulation programs can be used to collapse this list in various ways”

    The definition of assembly:

    1. Assembly Line

    An assembly line is a manufacturing process (most of the time called a progressive assembly) in which parts (usually interchangeable parts) are added as the semi-finished assembly moves from work station to work station where the parts are added in sequence until the final assembly is produced. By mechanically moving the parts to the assembly work and moving the semi-finished assembly from work station to work station, a finished product can be assembled much faster and with much less labor than by having workers carry parts to a stationary piece for assembly.

    Assembly lines are the common method of assembling complex items such as automobiles and other transportation equipment, household appliances and electronic goods.

     

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a few spreads

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references

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( Thank you Maddy for this!)

Michael Landy- Visualising an Idea

As an idea, setting up a disposal facility to destroy all one’s possessions is pretty unusual and it’s certainly not one that conjures up an immediate image in the mind. There would be many ways to go: a big crushing machine perhaps, or maybe some sort of funnel and an industrial scale waste disposal unit like the ones you sometimes see in kitchen sinks but huge, or, well all sorts of other possibilities really.

The idea of using a production line – a strategy more usually associated with making than unmaking – to manually destroy objects is one of many possibilities so in proposing the project it makes sense that Landy would draw out his vision as he developed the idea and chased the commission that allowed him to realise the idea. The drawing carries a sense of thinking the idea through and identifying the stages necessary to complete the process. This is, in essence, drawing as narrative. It’s the sort of drawing that takes time to read, yielding up new information with each look.

 

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This image i love, for it frames

 

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Updates

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TSTSTSTSTS ARIARIARI

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Images alongside TS spreads

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Thoughts

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Looking back at these images that i produce (which iv always struggled to talk about), i think they are moments in the process of the production of architecture, where the surreal collapse of elements of architecture occur.

 

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World Building

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Been working on how my plant could begin to assemble an artificial world within itself, through the process of production.

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Breaking Linearity with Perception

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Ts Spreads

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Working on the TS overview, table of contents and Spreads

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Image!

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I have a tutorial at 9pm (the latest one i have ever had) I will post updates after

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Factory view update

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Making a few images alongside my TS spread. Looking at the movement of 3D printers, and bridge cranes, which are essentially a scaled up version of the 3D printer.

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TSTS

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And some inspiration.. perhaps the great revel at the end of my project is that, all this time the factory has really just been the mind of the architect.

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This is what occurs in our head when we see and say “Auto” 1943 Fritz Kahn

 

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Whilst this reference reminds me a little of Oliver’s plan (the void in the centre). It also is an interesting precedent, for my plans.. Leon Ferrari started  a series of plans using heliography, the technique traditionally employed by architects,until the advent of the computers, in order to reproduce their drawings. Combining letterset icons to hand sketches, he invented labyrintic worlds which became part of a series called “The architecture of Madness”.

Note: One of the reasons I chose Tatlin’s tower for the recon was to gauge the circumstances that promote radical invention. In the case of the Recon, it was through the reassembly of Tatlin that I reconstructed his architecture. Now, I am assembling architecture, in order to re-situate the architect?

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TS PRECEDENTS

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Unbelievably large parts of ships, wind turbines, airlines are transported by a complex and carefully managed system of trucks which are modified such that every tyre can be rotated individually !!

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Stezaker Inspiration

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updates

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Updates

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Trying to draw the collapses within the factory.

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Argument images

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PRESENTATION TExT

Good morning my name is Ananth and I am a fifth year student. hah

My project is titled Between Mind and Matter.

Architecture manifests in an endless negotiation between what we imagine, and what we build. If we consider the “built” as a mere representation of what we draw, where then are the grounds for real architecture, and what is the role of the architect in this mediation?

This project seeks to re-assemble lost architecture and its architect by addressing the un-built ground that drifts between what we imagine and create, draw and build, our mind and matter.

Tatlin’s tower is arguably one of the most recognizable un-built monuments. So iconic that it’s presence feels physical. Choosing Tatlin as a precedent was to discern the archetypal visionary project- one that is polemic in its outset, transcending time and its own architect, to become a platform for present and future architectural discourse.

The tower however was not built, and what was left of it were just two simplistic elevations, but its presence in our world still resounds.  Where then does the tower exist? Defining this un-built ground occupied by the tower began with the reconstruction of Tatlin himself; the grounds he occupied, the roles he dawned and the events that built up his life. The tower was collapsed in anecdotes and memories deeply entwined with its architects subjectivities.

The magic lantern- an 18th century theatre trick, was a way of collapsing the many parts of the tower, back into the context of its architect. Breaking Tatlin down into his four personas was only to gradually, re- assemble the tower, grounding it in specific circumstances. The mast of a ship that Tatlin sailed, whilst a sailor, would become the symbolic, inclined column of the tower.. so on and so fourth, each piece of the tower was echoed in a set in Tatlin’s theatre, until the final stage sees the architect made redundant, engulfed by his own failed inventions, as the vision lived on. This vision, like many other unbuilt projects drift in flux between their inception and their inability to be realised.

94 years later, the architect awakens from a dream to find that sleep has never really come. Still preoccupied by appearance rather than substance, he watches from the ground as a plane takes off, but Tatlin’s tower still remains unbuilt.

When human endeavour has made planes fly, and ships sail, why does architecture still struggle to occupy, arguably the most basic surface, the ground?  Beneath the veneer of the new is an all too familiar world. All appears different, yet is in fact the same.  Tatlin’s tower still cannot be built as we happily settle for mediocrity,( in the form of its re-make in the RA in 2012).

 

To be continued into my plan and its images.

 

 

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PLANPLANPLAN

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keep drawing

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The drawing is coming along, theres quite a bit of space left to draw into!

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Argument plates

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Text to follow..

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Cheating with Hatches- Still drawing

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First of some more views

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A view of the massive concrete plinths moving along the assembly line.

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So much to PLAN

FOR BLOG

 

The highlighted bit is of a concrete block production unit. Going to draw in a wood workshop, a metal assembly unit, loading bays, and a massive inventory with a lot of STUFF

The space of drawing, will have a sketching zone, drafting, modelling, photography and rendering Zones.

 

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Updates

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Drawing the conveyers and the assembly production- Alongside, im forming a list of spaces, parts and stuff that will go into the plant and my schedule.

Meanwhile cat gave me a great reference of the Monsters inc factory, where doors are flying around on conveyors!

monsters inc1 monsters inc

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PLAN- and PLAN for the Jury

For the JURY,  I am going to have a BIG plan, of the production unit, which assembles architecture, by questioning its sequentiality of production.

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1.I have started by defining the boundaries of the building (which at the moment is huge 1600m X2000m), then drawing the various zones of the plant.  The loading bays, the architectural inventory, the space of drawing,  the assembly line, and the space of installation and experience. Parts of this plan will be done is “my style” of drawing.

2. Overlaid on the plan, will be an excel schedule, with a (detailed) account of the logistics.

3. Finally a set of 4 photoshop images that will suggest the spaces within the production unit of architecture.

4. My revised recon and text.

 

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Production of Architecture

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Drawing plans of the different sections of the production plant of architecture. Alongside im trying to write a few key sentences for the argument.

The project questions a method of production was established during the industrial revolution; the assembly line. How has this method influenced architecture? Why is the 21st century architect and architecture still bound by sequence? The linearity of the architectural profession and its production?

If the dream is a disjointed set of times, place and events, why does reality get ordered?

 

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Beginning of a drawing

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“The city performs no natural function, it simply exists between mind and matter”

Architecture manifests in an endless negotiation between what we imagine, and what we build. If we consider the “built” as a mere representation of what we draw, where then is the “real” architecture?

This project seeks to reinstate lost architecture: the un-built world that drifts between imagination and creation, drawing and building, mind and matter.

In this transient state between what is real and what is fictional, is where the true nature of our existence and experience exists. Architecture lies in the realm of our perception. Our perception is the trigger that brings about a flash-like recognition, connecting the past with the present in a short circuit, which reveals the dreams and ideals of the people and its phantasmagoria.

The project proposes to establish a space of assembly where the individual has the ability to intervene in the liner practice of production. The assembly however, is not governed by sequence, but by the orders of time, place and scale. Interchanging these three paradigms gives rise to unforeseen moments of creation, resulting in a dream scape, so vivid that it alters perceptions within the confines of the plant.

Since i do not know what i am assembling, iv just started to draw from intuition, hopefully the drawing creates moments, i can then backtrack and use for the TS. The text remains incomplete.. Hopefully i can add more to it tonight. Comments??

Tags:
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Project diagram/ TS spreads

 

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Im still in the process of writing the text, and drawing. Hopefully will have more updates later in the evening

 

 

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Airbus A380 Assembly

http://www.youtube.com/watch?v=EePIzla2GGs

The link above is a documentary about Boeing’s assembly process.

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Iv been reading and watching documentaries about the assembly process of the Airbus A380 and Boeing 747 ( THE BEST). The Everett Boeing factory is the largest building in the world and here are some facts about it-

Largest Building on Earth?
Guinness World Records list the Boeing Everett factory as the largest building in the world by volume at 472 million cubic feed (13.3 million cubic meters).

Boeing in Everett is a City
The Everett factory is like a small city, requiring its own fire department, security force, fully equipped medical clinic, electrical substations and water treatment plant.

The Boeing Factory has its own weather system
When the factory was first built, clouds actually formed near the ceiling. The weather cleared when an air-circulation system was installed.

AMAZING.

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MANIFESTO

“The city performs no natural function, it simply exists between mind and matter”

Architecture exists in an endless negotiation between what we imagine, and what we build. If we consider the “built” as a mere representation of the drawing, where then is the “real” architecture?

In this hybrid state between what is real and what is fictional, what is built and what is not, is where the true nature of existence and experience lies. Architecture lies in the realm of our perception. Our perception is the trigger that brings about a flash-like recognition, connecting the past with the present in a short circuit, which reveals the dreams and ideals of the people and its phantasmagoria.

Freud once said that the dream is a trick to keep us sleeping, but now its time to wake up, and escape the phantasmic representations of the mind in favor of a way of seeing, that investigates our relationship to the physical world.

If the act of sleeping resulted in the phantasmagoria, then what does the act of awakening create? Awakening means to dissolve the phantasmagoria into a swamp of cables and lights, fragments and ruins, technicians and robots facades and sets, thereby uncovering the artifice behind the imagined reality.

The project will set up the world of awakening. Where the dreams and visions of the collective become a tangible and physical reality.

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“The imaginary is that which tends to become real”

stezaker-mask-xxxv-2007Photo Collage by John Stezaker- Makes a good reference for “Between mind and Matter”

 

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Updates

1. Introduction

Rio_de_la_Plata_BA_2

The project explores architecture and the city as an estuary- a zone of mixing. (Need to elaborate more)

1.1 Recon

The Tower Tatlin conceived in 1917, was not a product of a single moment in time, rather it was the accumulation many narrative of his life, both past and future. The spaces that Tatlin occupied and the personas that he dawned, are deeply embedded in every part of the towers creation. It is this level of subjectivity that is most often overshadowed by the objective realities of Russia at the time. Bringing the subjectivities to the forefront reveals the lesser-known narratives of the project, thereby completing it’s story. The phantasm of the tower exists within the many “sets” of Tatlin’s life, completing the frame with its dominant, yet transient image. The set is completed when the two worlds are mixed. In this way, the built reality, is only ever created, by that which is not yet determined, the un built.

1.2 Project manifesto

We are constantly and simultaneously negotiating between built and imagined architecture. In this hybrid state between what is real and what is fictional, what is built and what is not is where the true nature of our experience and existence lies.  Our perception triggers a flash-like recognition, connecting the past with the present in a short circuit, which reveals the dreams and ideals of the collective and its mirages and phantasmagoria. It is the confluence of past and future, that determine the present, and it is this moment in time, that the real architecture of the present generation is imagined.

1.3 Technical Studies statement

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The built world remains incomplete without the halo of unbuilt projects that are omnipresent in the city. The project speculates on ways to materialise the transient state of the unbuilt, defining ways to bring together the two masses in a moments of assembly. By materialising their presence, they bridge the gap of our vision, allowing for the phantasmagorias to become real spaces.

The TS will work around the idea of an ASSEMBLY PLANT- One that unites both built and unbuilt fragments into a series of assembled realities.

These assembled fragments will then be inserted into Various terrains of projection, grounding them in ‘objective nature’.

1. Dessert

desert

2. Aquatic

ocean

3. City

city

4. Zero Gravity

space

 

 

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TS Contents WIP

Between Mind and Matter

TABLE OF CONTENTS-

1. Introduction

The project explores architecture and the city as an estuary- a zone of mixing.

1.1 Recon

The Tower Tatlin conceived in 1917, was not a product of a single moment in time, rather it was the accumulation many narrative of his life, both past and future. The spaces that Tatlin occupied and the personas that he dawned, are deeply embedded in every part of the towers creation. It is this level of subjectivity that is most often overshadowed by the objective realities of Russia at the time. Bringing the subjectivities to the forefront reveals the lesser-known narratives of the project, thereby completing the story. The phantasm of the tower exists within the many “sets” of Tatlin’s life, completing the frame with its dominant, yet transient image. The set is completed when the two worlds are mixed. In this way, the built reality, is only ever created, by that which is not yet determined, the un built.

1.2 Project manifesto

Architecture exists in a hybrid state between what is real and what is fictional, what is built and what is not.  Our perception triggers a flash-like recognition, connecting the past with the present in a short circuit, which reveals the dreams and ideals of the collective and its mirages and phantasmagoria. It is the confluence of past and future, that determine the present, and it is this moment in time, that the real architecture of the present generation is imagined.

1.3 Technical Studies statement

TO BE FILLED

2. Staging Tatlin: Stage sets and the observer

2.1 Phantasmagorias and Magic Lantern

2.2 Holographic Principle and Holography

 

3. Materialising the Transient

3.1 Carlo Scarpa ? SUGGESTIONS?

3.2 Mies Museum building

3.2.1 50 X 50 house by Mies (unbuilt)

3.4 James Turrell Observatory

3.5 Olafur Eliasson- Weather Project

(Any more suggestions of these types of buildings with the Lightweight/ light becoming material??)

4. Terrains of Projection

How each terrain can hold/ground the unbuilt project

4.1 Aquatic Terrain: This is an environment where water is the dominant medium. Submarine scenarios, seas, lakes, rivers, marshes, mangrove swamps (jungles covered by water), etc.

4.2 Desert Terrain: A terrain where heat and sand prevail. Game Zones with Desert Terrain could be dune deserts, stony areas, desolate savannas, etc.

4.3 Mountain Terrain: This encompasses zones at great height over the sea level, with rocky formations and little vegetation, and those territories typical of arctic and sub arctic regions. Mountain Terrains are the high, medium and low peaks, defiles, fjords, rocky slopes, ice and snow plains, tundra, etc.

4.4 Jungle Terrain: These characterize very solid woods. Rain forests, jungles, thick forests, groves, etc.

4.6 City as Terrain: This is characterised by dense concrete mass that are sometimes deep under the ground, or towering above the ground. This terrain is densely populated.

4.5 Zero-G Terrain: This is where gravity force is very weak or non-existent, requiring a different sense of direction and movement. Zero-G Terrain includes zones with atmosphere and pressure and also exterior vacuum. Possible Zero-G scenarios would be freight zones of great spacecrafts, the exterior rings of space or orbital bases, the corridors of spaceships or bases with disabled artificial gravity, etc.

 

4. Materialising the Transient

 

5. Mixing Terrain and Transience

 

6. The Un/B/uilt

 

 

 

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Translation

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Drawing testing the translation (of views)

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sketch model studies

photo 2 copy

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While content is still weird, iv started drawing a few translations. For now i’m working with a few scale shifts, from object to room, to building, to block, to city, to terrain. I think an interesting drawing will come out of the collapse of all these translations (or a big ambiguous mess)

photoThe unbuilt (fiction) crushing the built (real)

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Quarry of Ideas

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“Architecture has become a setting for the unaccountable.”

“What remains essential for a true architecture of surrealism, is to avoid the chic surrealism of the shop window. The architect must reach down into the black hole of its own unconscious and work directly within it.”

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Post Tutorial thoughts

Some thoughts from yesterday’s tutorial-

1. All projects exist on paper, they do not become real, they are all proposals or function as paper architecture. I’m working with the unbuilt, and the presence it has in the real world.

2. The city is incomplete in its built physical form and the unbuilt completes it.. As a fifth year project i need to do something with this. How do we use this to BUILD?

3. How can the surreal become the device to enable this switch between what is unbuilt and what is real? Why is the surreal relevant today?

4. The crossing over of the imaginary and the real, the surreal could be a useful in the form of a  visual, or condition to explore the slippage between built and unbuilt, real and non real- They are collapsed into a singular plane.

5. Between MIND AND MATTER. What happens in that shift is where the project lies. The moment when the idea, is projected into the real. Projection is tool to explore and build a type of architecture with a presence which is not yet there. In the way that, most library classifications, account poorly for that which they do not know at the time of their founding.

6. That which the library does not know, is in the zero’s. The Salk is an example of how a building draws its future. How do you design an architecture that leaves space for the future?

7. In libraries, all unknowns are zero’s.

8. The uranium mound- Its a place holder. The cell, is an absolute, its crushed by the mound, we cannot do anything with it. It does not coexist with the past or the future.

9. With the phantasmagoria set up, we don’t know whats in the paper state, and what is real. Zero is dislocated, because we are dealing with the unbuilt. They are overlapped, what is the split, between the planes of existence?

10. What do I do about content?

11. The rock is a good start, its the absolute opposite to paper. To get to the rock we have to go through paper. From one you get to the other. The paper becomes marble, which then literally becomes the building material of the project.

12. Texture and materiality, changes our perception of paper. Content is the question to resolve. The empty space, is the quarry of ideas, which spews material to create the unbuilt works. What is this unbuilt work?

13. Paper to rock to WHAT? to ground, to quarry, we want to make the quarry, or make with the quarry. The quarry was both real and unreal, a fictional space.

14. How do i use the drawing to flip state? one is the idea state, another the material state, one thing gets folded into the other and changes state?

15. What is interesting, is that its flipped and broken (in the small model).  The split, where neither state is complete, and exist independently.

A STEEL FACTORY? A BANK? A CLOWN SHOE FACTORY?

 

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Peppers ghost and peep shows

photo 3 photo 1 photo 2

 

Just about finished HTS, and been working on ways of collapsing the image, to make it less fragmented. The peep show accordion is one way, im also making small peppers ghost sketch models to see how i can multiply the set up, so its not just one ‘projection’ but the relationship between many.

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Sectioning

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Im drawing the section of the projection set up, this then opens up the various level differences of the device, revelling the real and the projected surfaces. The ‘real’ being below, and the projection above.

Right now im working with the city and terrain, seeing how they can be interchanged and how one influences the other.

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masolino the foundation of santa maria maggiore c15th

 

Miracle of the Snow: Foundation of Santa Maria Maggiore

The painting depicts a clearing in the ground, that is awaiting a church to be built.

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Trying to draw and make a few images

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Richard Estes

estes

estes1 

 

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Richard Estes’s paintings capture three planes, the interior, the exterior, and the third, which is the reflection. Sometimes these are all collapsed into one image (like the second image) and other times, these are defined more clearly. My stages exist within these similar boundaries and at times are collapsed into a single frame- when the image is projected. It unites both sides of the theatre.

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7 points

Eleanor encouraged me to break down the project to its absolute basic, here it is:

1. The Unbuilt project-  subjective truths of its author as well as its objective, physical reality

2. Social change fuels the unbuilt

3. Unbuilt =2D

4.  The hologram is a 2d Image with a 3d quality

5. Construction is just another means of representation

6.The idea is the only built form, everything else is representation

7. The unbuilt is between tangible and intangible

8. The unbuilt is not measures by its volume, but the surface area it occupies

thankseleanor!

 

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