Author Archives: Miruna Mazilu

WHITE BOOKS + Dip 9 Book status_ 21.06.2015

Everything is collected, revised and put together in 1 indesign file. It is in the process of quality control hehe…. and we will export as .pdf and uploaded on dropbox. So you can see it there if you are curious.

White book update:

Miru, Sabri, Cat, Anny, Maridia, Oliver - ALL PRINTED

Anouk, Djordje, Sasha, Felix, Nara - NEED TO PRINT!!! -before 11 am tomorrow .

We are going to collect everything at 11am and go to bind them.

If you have specific instructions for example – “this side up, bind on this side, cover colour+ lettering etc etc”.. please include this note clearly on top of your print stack ( and put your name on it too!! …. So there is possible confusion :) – We will talk individually anyway but it’s better to have it written.

Good luck everyone! see ya tomorrow – thanks for collaborating today. 

xx

Posted in Uncategorized | Comments Off

UNIT BOOK

Maridia’s and mine

miruna page

maridia pages

Posted in Uncategorized | Comments Off

Tables presentation text

FROM FL to FI

The on rolling project and its fragmented reveal

 

Taking the studio as point of departure, the project presents itself as a continuum, challenging the instances of permanence within a collection of work, in relation to place. My factory animates the conversation between the fleeting moment and the fixed in this context, operating across the spectrum of mass, fixity, performance and time.

            The studio is a factory of both culture and mass. Here, identity is crafted through the constant exchange between the ephemeral and concrete, which transitions between different physical and cultural landing contexts. In this factory, the method of making and assembling of a whole is fragmentary and resembles an archipelago. I call it an archipelago as each piece of work can be read as a singular independent element although it is part of a larger collection of work.

The primary precedent for the project was Donald Judd’s 101 Spring Street house which is an example of a landform, in this case his house, bringing together a series of independent objects in a permanent installation.        He vehemently argues against the way art is being showcased and rejects the ephemeral quality of art (having to be installed and taken down) emphasising on the need for art to connect to site.

I disagree with Judds sole frame in which the project should be placed and experienced and consider he neglects the alternative set of contexts which accompany the artefacts as part of a project.

My factory projects a speculative ground, which doesn’t fix these fragments to a site. The logos of the archipelago is developed as a ‘dia-logos’ of collisions which reject the proposal of a sole placement for the artwork. It acknowledges itself as a mimesis of thinking, situated at the scale of the table it is presented on and at the scale its narrative implies. In this sense the factory is forming a counterpart to the traditional gallery space, where objects were de-contextualised but existed in fixation to each other and to the physical space in which they were exhibited. We need to come to terms with the fact that the podium is rejected, and replaced with spectacle, interaction. SMASH!

  1. Nauman says  “…[if] I was an artist and I was in the studio, then whatever I was doing in the studio must be art. At this point art became more of an activity and less of a product.”

WHAT WE MAKE:

Fascinated with Judd’s radical approach and somewhat utopic Marfa Foundation, it is interesting to consider the clash with another major ideology that was taking form in New York at that time. While Judd was transforming the building into a home, a studio and most importantly a laboratory of ideas, the explosion of consumerism reverberated in Andy Warhol’s “Factory”.

For Warhol, the factory is the space of the momentary, generating 15 minutes of fame and the nomad artwork assembly line. The impermanence of The Factory exists through a set of memories of events hinged on parties where the only constant becomes the iconic image and the sofa as place of gathering and happening – Here event becomes simulation of place.

Pairing the two, whom both impose their beliefs and appropriate objects of others to form their own identity, I question the issue of identity within the spectrum of the different states of the objects we make. Clashing the fleeting with the fixed, on a material level, these experiments interrogate the issue of identity through:

– the visual of the object as representation

– the figure of the object (the object itself)

– the formal object (geometry, materiality, form)

– the behavioural implication of the object (the event)

            The archipelago of objects become tools with which you think of and understand the artist/author. It projects the behavior, showing intention. The factory takes this assemblage of fragments which drift and collide, revealing how the project oscillates between states of fleeting and fixed throughout its existence. With these absurd scenarios, I test the act of encasement rendering it redundant.

 

            When placed back into its original context, the place of gathering becomes an artefact. It is stripped down of its social purpose and by enhancing its formal quality, the issue of placement is palpable as it challenges the dynamic of the event. By trying to permanently maintain the event, the event doesn’t take place.

 

HOW WE MAKE: ARCHIPELAGO AT INFINITE SCALE

            The archipelago constructs immediate collisions, moments of tension between artefact and event which critique Judd’s proposal of a sole context for the project. Judd doesn’t acknowledge the spectacle intention in his actions. His complete orchestration and doesn’t negotiate its apparent fixity. In truth, the outcome of his ideology is in constant change depending on its site (conditions) and can only be experienced temporarily.

Similarly, while Warhol’s work is founded on fleeting events, his superstars survived past the 15 min of fame. While the Factory was destroyed its image is permanent.

ARCHIPELAGO AT TABLE SCALE –        PAGE TURNER

The apparent fixity is present throughout the different landing points of a project. The ideations of architecture in the architectural student’s projects perform interminently, episodically. The Perpetual Project installation presents the project as an event with a predefined rhythm and predetermined lifespan after which it is left redundant. The act of placing this installation becomes the focus of the exercise as attention shifts from the result of the project to the activities that are supposed to produce that result.  “The documentation of the virtual and real steps necessary to realise the project becomes the main object of interest”. – The objects become scaffolding for fictions. – brings us again to think of the spectacle.

 

WHERE WE MAKE: PLACE/SITE – CULTURAL VS GEOGRAPHICAL

Place becomes a key term to interrogate, both in terms of site and context, in relation to the current form of architectural project. It offers the viewer different possibilities of perceiving & relating to the work, and negotiate their own position towards the object & its location.

PANORAMA:  ARCHIPELAGO AT NO-MAN’S LAND SCALE

 

If building has traditionally been assigned the job of keeping out the rain, as Sylvia Lavin states,”architecture loves a cloud”. From Brunelleschi’s famous perspective apparatus which captured the movement of a cloud in a mirror to the atmospheric spectacle characterising contemporary architects (such as Sanaa/herzog), the traces of weather have permitted architecture to animate building materials. The effects are its inhabitants, spectatorial stand-ins and this is becoming architecture’s place. Neither a site or context, but a landscape of events wherein visibility of individual constituent objects become clouded by their performance within a manifold/ continuum. The focus becomes the interaction between event and environment.

 

When encasing, the archipelago displaces the subject in ‘No-man’s-land’. The continuous landform, where objects are reintroduced in tension with each other is revealed in the form of a continuously changing panorama view which discloses the unexpected. It is potentially infinite and in constant redefinition through the different interactions.

 

The series of events become the physical space that it inhabits, thus the event gets displaced. They are the site of the permanent installation. ( Beatles reference) – The permanent installation is attained in the recording of the insertion.

 

THE SEA:

My factory examines what we make, how we make and where we make it. While exploring the space of production where identity is shaped through the making of immaterial or mass; What sits between making event and artefact?

Nothing. I believe the two are interchangeable as they rely on the spectacle, following the transitions of its various landing places (from space of production to place of installation). They are in constant exchange, knitting the ground on which I, as an architect, navigate, oscillating between  ways of arranging the cultural and physical world.

The project brings this spectacle forward as a process rather than a result or an effect, where the edges of the notion of ‘place’, of belonging, are blurred out. They are becoming slowly intangible as the relationship dynamic between the physical environment and the individual is in constant movement.

THE END OF THE SERIES – TABLES PRESENTATION PHOTO – photo

Posted in Uncategorized | Comments Off

I think this is interesting!

- somehow I feel it close to my project.

 

http://www.timeout.com/london/art/theaster-gates-freedom-of-assembly

Posted in Uncategorized | Comments Off

someone is trying to tell me something..

DSC_0143

the view from my desk

photo (1)

 

yey! white book is bound :)

photo (3) photo (4)

Posted in Uncategorized | 1 Comment

… where are u conclusion?

diagram

Posted in Uncategorized | Comments Off

Hello again!

soo… starting now I will focus on presentation.

– all drawings printed, hopefully they finish binding the white book today and I will pick it up, model ready to smash,panorama panning done (it will be playing in a loop after I finish presenting so they can still see it – as I will unroll the print on the ground again).

Felix and Sabri, will you PLEASE PLEASE help me tomorrow with bringing my things in the room and plugging everything in quickly? – the page turner and laptop- screen, + hang the plaster block?

aaaaand…..bde-bde-bde that’s all folks!

plan map2 plan map

 

Posted in Uncategorized | 1 Comment

UPD working on maintenance plan

 

 

 

plan 3

PLAN 4

Posted in Uncategorized | 2 Comments

Sabri – next time you run off to Italy -

3_1140-682x1024

 

too bad I imagine it is cold and dark… + no windows…

 

http://inhalemag.com/church-offices-cls-architetti-studio-milano-2014/

Posted in Uncategorized | Comments Off

UPDT working on the event ‘maintenance’ plan

PLAN 4

 

WIP

WIP

PLAN  plan 1

 

I’m not sure what scale to draw it at… Judd’s existing sheds aren’t in the frame now because it’s a large area to cover. I would like to have a view over the whole thing but maybe I need to bring all the things a LOT closer? – This is A1 at the moment.

I’m throwing all the elements in, aprox. where they should be according to panorama, but will re-arrange once everything is in. Should I add more detail to the buildings themselves? or leave them at roughly  the detail they have at this stage and draw the indications/maintenance markings, dimensions, pathways etc. ? 

 

so much slower than I thought… some layers are switched off but still…a long way to go to make me proud.

Posted in Uncategorized | 1 Comment

Post Final Jury – moving forward

combined Jury comments:

Accidents within the linearity – showing true notion of fragmentation ( like example of Judd vs Warhol in Soho) – what if panorama gets folded to create different relationships? -maybe make that for the plan? -The point regarding what happens when elements come together needs to be declared. PLAN DWG IDEA?

– talk about relationships between all objects. – why chosen? why come together?

– the podium kills Mies /Judd – Judd/Warhol wouldn’t have acknowledged the podium.

– Inventing your genealogy – how can you work on them, how they can have a place in your project other than as celebrities. – They are both massive corporations.

– CLAIM A CONCLUSION – (do a Warhol) Orchestrate the production – show with PLAN DWG 

– Make the sea, the field in-between  – YOU ARE THE SEA. –  show with PLAN DWG 

 

TO DO:

I am re-writing presentation text, working on my White book which I want to print in 3 copies for tables +bind and working on a booklet which will incorporate my Berlin photo series and my UCS installation photos around the AA from recon.

I decided to re-make the Spring street model to crush it at Tables as I thought it made the most sense. – rather than choosing another building. Do you guys agree? – I am laser cutting and assembling it tomorrow.

Tuesday and Wednesday I want to finalise a drawing and documents mentioned above. Wednesday and Thursday I want to work on text + Conclusion and finalise printing.

Posted in Uncategorized | 1 Comment

Ready for tomorrow’s photo shoot! – planning my next victim

updated editing +extra sounds on animation

Posted in Uncategorized | Comments Off

pam pam!

IMG_7104

final jury – model set up ( post smash)

IMG_7099

final jury – model set up ( post smash)

IMG_7106 IMG_7110 IMG_7116 IMG_7117 IMG_7118

 

as shown at jury – the animation

Posted in Uncategorized | Comments Off

My next victim is ready…

photo

Posted in Uncategorized | 4 Comments

Better??

Untitled

how about the dirt now? better? more spread around? – something is stopping me from making the scene “messy” haha

does it look more like a screen? + added tarmac for gas station, subway sign and desaturated some stuff..(cranes, machines etc.)

2

1

Posted in Uncategorized | 2 Comments

Ideas for what to smash?

Thank god I remembered I need to make another model to smash hahaha….

So lasercutting and assembling tomorrow… any ideas? – for Friday and for previews?

These seemed interesting to me but a bit hard to lasercut nicely and make in 1 day?

Guggemheim NY - Frank Lloyd Wright

Guggemheim NY – Frank Lloyd Wright

Savoye - but it's not a gallery space

Savoye – but it’s not a gallery space

p5

Niemeyer _Modern art museum

 

Posted in Uncategorized | 3 Comments

update archipelago animation…

It is faster and each close-up is animated now. Including sounds now…

Panorama update coming up soon as well.

 

Beatles recon-ed..

beatles recon

 

Posted in Uncategorized | 9 Comments

I don’t think we mentioned the puffer fish the other day!

Puffer fish build too!

mystery-1

Posted in Uncategorized | 4 Comments

WIP

Finalised archipelago drawing in progress of animation – will upload video later.

archipelago 1

 

Posted in Uncategorized | 2 Comments

UPDATE_Working on finishing the panorama..it’s getting longer

For the next few days I’ll be focusing on the panorama and aerial view/ plan of it.

panorama 4  panorama 45

 

Trying to cross things off the list. – Finding myself back to thinking of the exquisite corpse and McClouds drawings  – McCloud-icon

 

Posted in Uncategorized | 4 Comments

and keep going…

I still need to animate elements within the groups + add a last sequence and an “end”.

but so far..

Posted in Uncategorized | Comments Off

I don’t know how I forgot about these…

The photos from the last Jury set-up + video!

before

before

after

after

Posted in Uncategorized | Comments Off

tandem between animation and panorama UPD

update 2

update 2

update 2

update 3

update

update

before..hah

before..hah

the background for the rest of the moments… Since this drawing will continue I have to work on the landscape and make it not look so repetitive. Before I was filling it in around the drawing, I didn’t make a full landscape background behind them ( if that makes sense). – So I’m doing this to be able to move anything around without problems.

background

 

Posted in Uncategorized | Comments Off

WIP

Any ideas of sound? – I was thinking of adding the opalka box as the next sequence and its animation. – Maybe when I zoom in something should move in each of them? or not?

f.e the ice could melt, superstar could pose + flash etc.

– I’m leaving this for now and continuing with panorama.

ANY IDEAS OF IMPROVEMENT APPRECIATED.

 

Posted in Uncategorized | 3 Comments

Editing UPDATE

As I talked with Natasha on Friday, instead of having the archipelago drawing and panorama shown all the time I will reveal it slowly. I’m working on that edit and on what to add into the continuous panorama. Is this too slow? – I thought maybe not since you don’t see the drawing – but maybe it’s painful…

 

Posted in Uncategorized | Comments Off

The 400 words/ 5 images. +MANOLIS EDIT

In the same way in which one’s personal identity requires a digital counterpart, architecture is negotiating more and more for a position in-between reality and its representation. Art and architecture take on the character of a project formed of ephemeral and concrete. The physical is accompanied by representations of these artefacts, mediated by photographs, texts, film etc. They are not just documentation though, they become part of the project. The author is therefore faced with the absurd situation when work takes on the character of a project,  where thinking is potentially infinite while the space of installation is finite.

Place becomes a key term to interrogate, both in terms of site and context, in relation to the current form of architectural/art project. They offer the viewer different possibilities of perceiving & relating to the work of art/architecture, and negotiating their own position to both the object & site its located in.

Taking the studio as point of departure, the project presents itself as a continuum, challenging the instances of permanence, within a collection of work, in relation to place across the spectrum of mass, fixity, performance and time. The studio is both a factory of cultures and mass. In this factory, the method of making and assembling of a whole is fragmentary and resembles an archipelago.

I call it an archipelago as each piece of work can be read as a singular independent element although it is part of a larger collection of work. A collection of fragments constructing an iteration of formalised thinking. Similarly to how contemporary art requires a further understanding of the authors intention/behaviour in order to negotiate a position, while classic architecture requires text to clarify context, contemporary architecture needs text to clarify content.

I propose to make a landform, a speculative ground, which doesn’t fix these fragments to a site. The logos of the archipelago is developed as a ‘dia-logos’ of collisions which reject the proposal of a sole placement for the artwork. The archipelago of objects become the tools with which you think of and understand the author.

Questioning place allows the attention to shift from the result of the project to the activities that are supposed to produce that result. “The documentation of virtual and real steps necessary to realise the project become the main interest”. – architecture becomes more of an activity and less of a product.

document 9_Page_1 document 9_Page_2 document 9_Page_3 document 9_Page_4 document 9_Page_5

– factory creates places of tension between fragments. -> how? panorama is the medium – why? looking at space of production to space of exhibition.

Manolis’ edit: The factory is composed by fragments which exist in isolation with each other forming an archipelago. The objective of the factory is to choreograph/design ‘places’ where these objects have a dialogue in tension. In this sense the factory is forming a critique or a counterpart to the museum/ traditional gallery space, where objects were de-contextualised but existed in fixation to each other and to the physical space in which they were exhibited.

How? The factory operates in two levels.

First is by processing each one of the objects. This primary process aims to reintroduce the object in a more absurd condition to the one it was initially found in. f.e. the soup -> soup inside resin.

The second level is the design of a continuous landform/ landscape where the objects are reintroduced in absurd relations with each other. This landscape is where the places of tensions is revealed in the form of a panorama view which is continuously changing, disclosing the unexpected.

Plus got this reference which I’m checking out – Pages from 778224_Page_2 Pages from 778224_Page_1

 

Posted in Uncategorized | 2 Comments

Tempted to post

As my brain is scrambling to find its way into my project, I am writing notes, statements about how my chess pieces move, trying to see the BIG PICTURE.

I am tempted to post my text asap, so that you guys could crush it and in doing so maybe help me make the big picture clear…

photo (10)

Posted in Uncategorized | Comments Off

still trying to get the hang of this- UPD

noooONONOoooo….

yweey

 

Cat or Felix, can I steal a couple of minutes of your time and ask some AE questions tomorrow? – maybe I’ll shadow you a little bit while you edit

animation

 

tutorials are fun…..but time flies by to quick!!

animation2

 

 

Posted in Uncategorized | Comments Off

finally finished!

yeeey….done with the soup casting….at least until final tables :)

drawing/animating mode now.

photo (9)

 

Posted in Uncategorized | 4 Comments

Good morning

I haven’t animated anything since 1st year… and although that intimidates me a bit I really want to do it for the Opalka drawing I was talking about. I’ve been looking at animation tutorials and installing software and hopefully I’ll have something nice to post soon.

Also might do an animation for the archipelago as a way of revealing it slowly rather than seeing everything from the start.  If all goes well I might do it with idea of the presentation space as well….incorporating the footage of the smashing with the different contexts of presentation. ending with this projects review drawing.

Pages-from-A2_studio-and-web-context_moment

Posted in Uncategorized | Comments Off

… will post more soon. – not home yet

IMG_6703[1] IMG_6712[1]

Posted in Uncategorized | 2 Comments

The project in different contexts

These are 2 drawings in which the context provided is that of the studio, the first one isn’t just a printscreen…I was thinking of printing it like that. – maybe I’ll change the framing but in that one Photoshop becomes context.

drawing in photoshop while still 'WIP'

drawing in photoshop while still ‘WIP’

studio-context-moment-2

 

In the one below the context of site – I’m not sure if for that one I should have it as the original ( as a photograph of the project on site) or like this – as a google earth street view.

site-context-moment-2

 

the next two are Publication context? or web?…documentation? — haven’t made up my mind yet.

A2_web-context_moment-2_2 A2_web-context_moment-2

 

Last one…gallery context

A2_gallery-context_moment-2_2

Posted in Uncategorized | 2 Comments

Opalka’s distructive assembly line -WIP_UPT

First…some rough thoughts.

After previews looking at my work I realised my project is critiquing the role of the presentation space within the lifespan of a project from its conception stage to its preservation stage, or after-life.

In the same line with my long panorama drawing, I want to focus my project on creating these immediate collisions, these moments of tension between artefact and event. To make a point that the attention shifted from the result of the project to the activities that are supposed to produce that result.

” The documentation of the virtual and real steps necessary to realise the project becomes the main object of artistic interest”. – The objects become scaffolding for fictions.

Today, in the same way in which one’s personal identity requires a digital counterpart in order to be noted by others, physical ar(ch)tworks are accompanied by representations of these artefacts, mediated by photographs, texts, film etc. – THEY ARE NOT DOCUMENTATION, THEY ARE PART OF THE PROJECT. – they offer the viewer different possibilities of perceiving & relating to the work AND negotiating their own position to both the object & site its located in. In a time where a great deal of our experiences of the world takes place in virtual dimensions , this position in-between reality and its representation = extremely relevant. – This is a point which I would like to materialise within my project.

 

I decided to make a series of drawings contained in my UCS. These drawings will be placed in different frames which will provide context for the UCS drawing. The frame thus becomes a sort of scaffolding for fictions. For now, I am thinking to place the drawing in the context of – the site / the gallery/ the studio/ the documentation/ the web .

 Opalka’s distructive assembly line

opalka

 

 

In his project ( 1965 / 1 – ∞),  the boards of numbers that get born every day stop when he dies. Each number encases a second, encases a part of the author and materialises it. It’s a “momentary coordinate” if we can call it that. The background colour fades a shade for each new board and the author begins to include a photo (a selfie) with each one. For me, this emphasises the permanent characteristic that the artwork holds  – a form of encasement. Things transform and change, the number is the same (white). The number is permanent and it contains this change.

Basically, I call it distructive because to maintain the perpetual activity and progression of the project, (the board moving upward as Opalka progresses with it) after one board is finished it rolls over being erased by the sponge on the top. The permanent becomes ephemeral, the event is maintained but the artefact diluted through it’s recording.

This drawing might be more awesome as an animation where the context around the UCS changes and the ” assembly line” moves…so you can see the board being finished and erased by the sponge.

Opalka-colaj2diamond_context frame_interior_OPALKA_6 Opalka-colaj3  Opalka-colaj

 

Posted in Uncategorized | 2 Comments

Random

I like the neons… also came up when googling andy warhol haha

v92793083 copy

 

I’ve also been looking at the Centre for Land use interpretation, I’ve visited their center in LA (…3 years ago already!?!?!) and thought it was interesting in terms of exploring the importance of place, placement…use of place in the artistic practice as well as artwork. Also intriguing as I was thinking of the digital counterpart of site/location and the need to be accompanied by representations, mediated by photographs, texts, film etc. – THEY ARE NOT DOCUMENTATION, THEY ARE PART OF THE PROJECT.

I will write an understandable text a bit later… for now I leave you confused maybe.

CLUI

http://clui.org/page/american-land-museum

Posted in Uncategorized | Comments Off

Plan of action

Hello!!!

Unfortunately I focused more on financial aid during the break ( aka job) but no more this term!

So far I’ve remade my Mies model ready to get smashed….hopefully recorded this time hehe. photo (9)

I’ve also progressed with the resin soup cast. – Its been sanded on the inside and levelled. Soup poured in and lid glued on.

It needs to dry for a day and then I need to cut it to make it a perfect cube (unfortunately cannot do that until Monday when workshop opens) – and then I need to sand all the sides nicely. This kinda’ ruined my plans as I was hoping to finish it tomorrow.

So moving forward with my Nemesis and thesis re-arrangement. – Will post some thoughts  about the project and some reading I’ve been doing during the break.

xx

Posted in Uncategorized | 2 Comments

Before and after

IMG_6070 IMG_6072 IMG_6074 IMG_6077.. to be continued and finished in the break

Posted in Uncategorized | 1 Comment

Wanted to try something

I wanted to see if maybe the archipelago format could be the same as the panorama…. I’ll see how it looks printed

A1archipelago22

 

Also played around with the idea of the construction of the archipelago

MAKING 2

MAKING

Posted in Uncategorized | Comments Off

what’s going on Post-Previews

I want to re-stage the whole set up I had for previews to take some better photographs and record the smashing of the gallery.  I lasercut the pieces I need to redo the model and I’m planning to re-stage and record during the weekend.

DSC_0003  DSC_0006

 

DSC_0005

THE MOMENT of sabotage is captured!!

DSC_00292DSC_00215

I have also proceeded with casting soup. I made a silicone version of the can which is being cast in a resin box up to the brim. Then I will ( hopefully) squeeze out the silicone can to get the void into which I will pour the soup. I cast the lid separately and then stick it on top after I poured the soup in.  Got it?

Some photos of the progress:

IMG_6021

The lid

IMG_6019

Posted in Uncategorized | 2 Comments

working on this drawing

yayay

from left to right the archipelago starts to shift, drifting and creating formations.

Tomorrow working on presentation.

Posted in Uncategorized | 1 Comment

update2

Adding models made on the shelves and introducing the buildings in the first 2 moments of the panorama, but at model scale :)

gogogoog what do you guys think? more editing? – I’d like to print the full thing tomorrow.

total

gogo

Posted in Uncategorized | 1 Comment

Presentation take 2

presentation2

still top heavy :(

Posted in Uncategorized | Comments Off

Running out of time

med_casstech010-jpg

Posted in Uncategorized | Comments Off

Ready for action!

IMG_5937

IMG_5938

 

Posted in Uncategorized | 1 Comment

WIP

Working on the panorama moment no#3 … Long way to go still to make it look nice.

need to add the interior… work on saturation, add proping system for the walls work on shadows etc etc etc.

pfpalpdelf

dadasd

Posted in Uncategorized | Comments Off

Full speed ahead

Finished all the main parts for the table installation. – Frame welded and plaster cube cast… all ready to smash the gallery. – also updated the white book and printed the pages for the perpetual-portfolio-page-turner.

Need to do final tweaks tomorrow and then full focus on presentation drawings and printing… Just praying for no major printing issues :)

How do you like my destruction factory frame?

IMG_5933 IMG_5934

Posted in Uncategorized | 6 Comments

Oliver! check this out

Reminded me of paper facebook.

http://www.thisiscolossal.com/2015/03/the-analog-memory-desk/

desk-1

Posted in news | 3 Comments

Full speed ahead

Finished all the main parts for the table installation. – Frame welded and plaster cube cast… all ready to smash the gallery. – also updated the white book and printed the pages for the perpetual-portfolio-page-turner.

Need to do final tweaks tomorrow and then full focus on presentation drawings and printing… Just praying for no major printing issues :)

How do you like my destruction factory frame?

IMG_5933 IMG_5934

Posted in Uncategorized | Comments Off

UPDT Assembled model and moving to panorama drawing

panorama 3 moment 3

IMG_5914

IMG_5919

 

TECH 5

tech 3

 

IMG_5907 IMG_5904

Posted in Uncategorized | 1 Comment

UPDT Finished with the 3d model.. now making the lasercut file

After I finish the lasercut file I’ll move on to the panorama drawing to make the last moment.

mies3 mies

 

lasercut files ready… moving on to drawing now

lasercut files

 

Posted in Uncategorized | Comments Off

UPDT 2 What I’ve been up to

I have talked to Tris about casting the soup and together found a way. I need to cast some silicone and then the resin in 2 stages. Istarted the process but then thought maybe it isn’t that necessary for the preview tables. sooo…. I left it for now, I could do it right after previews.

Otherwise I have been working on the table installation – making a base and finding a way to hide the printer without it apearing that I have a box sitting on the table..

photo(9) photo(8)

IMG_5861IMG_5864IMG_5867

I’ve also worked out a project diagram and a skeleton for my presentation – to help me make it more coherent and to the point. I will work on that later.

photo(6)

Posted in Uncategorized | Comments Off

updt. Slow weekend..

working on presentation

presentation

 

also worked on Tech dwgs.

techs

Posted in Uncategorized | Comments Off

Edited dwg

I edited as discussed on Friday, I will also add more people.

Maintaining-the-event19_total

 

zoom

Next I will begin the Indeign presentation. I’m also continuing the series of technical drawings for the machine, and starting the edge drawing we talked about.

Tomorrow I will finalise the layout of the table installation and next week proceed in making it.

Posted in Uncategorized | 1 Comment

Edge conditions.

I’m not feeling like I can talk about this drawing yet… it’s WIP

I wanted to make the drawing jump from plan to section elevation etc. and different cities and conditions. After I started to draw each fragment I thought it would be interesting if the compiled drawing itself could be read both in plan and elevation.

Not sure if I’m happy of how it’s working yet but basically but so far I’m thinking it’s no man’s land in plan and if you think of it as being an elevation I tried to give the impression of them being objects on a wall ( or carved into the wall, or on a shelf etc.)

edge-condition_city-scale

does anyone see it?

 

These were references I’ve been looking at ( looking at my attempt maybe it was best if I kept them secret hah)

c-mcewan-2013-school-cemetery-montage

aldo-rossi-la-citta-analoga-1976

Posted in Uncategorized | 1 Comment

UPDT Technical dwgs for the Perpetual portfolio

 

 

AA01_200_01 Technical drawings

RW

Posted in Uncategorized | Comments Off

Fragments

These are fragments I’m making and working to combine in a drawing talking about place and different edge conditions – jumping to city scale.

 

gagagaass

gagaas

gGsd

gaafassd

 

gafgagas

Posted in Uncategorized | 1 Comment

Update 2

archipelago-outside-view3

I’ll have to print and see which option is better…. I like the left half on option 2 and the right side on option 2 but not sure if the details will be too small if I shrink the second drawing to fit….

option 1

option 1

aha

dada

gG

faf

ee

WIP

WIP

I’ve been working on the 2 collages we talked about on Friday , rethinking the thesis and how things tie in together to design the the archipelago at the scale of the table installation and at ‘No-man-land’ scale.

I have also found this amazing reference which helps me make the technical drawings for the roof runway. – It won the engineering equivalent of the Oscars hah

cwglt-2008-01-16-airport-runway3a

Madeira Airport runway extension

plane

cwglt-2008-01-16-airport-runway3f cwglt-2008-01-16-airport-runway3e

 

Sooo…this is where I waas before I found out how thick the slab should roughly be:

aa

Afterwards…I realised things need to change – to something like this..

bb

Posted in Uncategorized | 5 Comments

WIP update Absurd drawing no 2. and 3

 

I’m working on 2 drawings now about maintaining the event.

This drawing will be about maintaining the party, the focus shifting to the present.

event

wwww

RHINO Q2

If before I was talking about Marfa placing permanence in isolation, now I will use it in the opposite way. It transforms in a “duty -free”-like  real no-man’s-land.

The event is the presentation of the portfolio. On a table will be the installation with the turning-page machine, which keeps presenting it inside a room/ amphitheatre. To create access the roof becomes a long runway. no visa’s needed, fences surround the area to define the US border.

I want to have all the jurors and unit arriving and getting off the plane.  I’m trying to arrange the drawing so it can be joined with my other large collage. plane-drawing

 

Posted in Uncategorized | Comments Off

For Maridia

http://www.metalocus.es/content/en/blog/mies-pavilion-without-doors-second-reconstruction-jordi-bernad%C3%B3

Posted in Uncategorized | Comments Off

turning the page machine

This was the first idea:

securedownload photo-(4)

Take apart an old printer and using one part to lift the page and the another part to rotate and flip it, in order to turn the page.

After adding the motors and testing actually you don’t need the second part… So I was thinking of using the configuration shown in the video  – this would also work for my white book which is square…so I can print on A3 and the rolling bar ( not sure what to call it) can sit on the extra white. What do you think?

 

I still need to make a nice base for it and tweak it ..

Posted in Uncategorized | 6 Comments

Revised drawing

So I’ve re-edited the top view including the view from my own window and compartmentalised the WC and added a mirror , hopefully now it’s less of a prison ?

Defining a sense of place. The apparent place, the non-place and the displaced.

Defining a sense of place.
The apparent place, the non-place and the displaced.

The apparent place is located in the view outside the window, in my case London. While working on my Marfa drawing (of which you can catch a glimpse in the laptop screen) I am displaced in Marfa. The laptop becomes the means of displacement which creates the collision between the apparent place and the displaced. While the laptop is the non-place it acts as a mediator? – trying to tie in how our more and more islandary lifestyle requires connectors ( or displacers) in order to create a sense of place.

I moved on to something along the line of what Maridia is doing as well.

Posted in Uncategorized | 1 Comment

yesterday – Kosuth ‘Amnesia: Various, Luminous, Fixed.’ exhibition + ‘Post Pop: East meets West’

Joseph Kosuth’s RECON of JUDD -

IMG_5671

‘Five Fives (for Donald Judd)’

This piece “attempted was to make a Judd’ but in Kosuth’s terms, using his own working methods as an artist”.

Kosuth encasing Freud -

Here Kosuth took a page from Freud’s corrected galley proof from his book on fetishism. His handwriting constitutes expression through a moment in Freud’s own production of meaning.

IMG_5672

Otto Rank creates a link between the practice of psychoanalysis and the project of meaning constituted by the artwork : ” The neurotic is not merely someone who failed to adjust to the world, but a potential superior individual who fails at being creative. A good therapeutic result means that the patient adjusts himself and also sometimes the circumstances – which involves creativity. His task is ‘ to create himself’ and then go and create externally”. 

Kosuth and the mission of art – 

IMG_5675

Side note for Sabrina: ” Proof of ownership of his work is established by a Certificate, which also contains the fabrication instructions”.

Kosuth’s RECON of MUSIL -

IMG_5677

This work recontextualizes as it decontextualizes a diagram used by Musil.  – Musil was interested in the reduction language made of the complexity of our experiences. He was concerned that writing would reflect the discontinuity which comprises much of lived experience.

An extra fun one I saw:  IMG_5673

 ‘Post Pop: East meets West’ : 

Sabri, this might be interesting for you too! The images below are not done by Warhol…. but does that matter?

IMG_5719

Cat opened pandora’s box of selfies in the gallery hahahaha….Sabri you should go to the gallery and stamp that!! (read below).

'Not Warhol'- Mike Bidlo

‘Not Warhol’- Mike Bidlo

SABRI —  ” My work is an extreme example of this strainof art which references other art because it directly mirrors the image, scale and materials of the original .Whatever diferences appear in my work are a consequence of my working method and not an attempt at projecting a personal style.” – Mike Bidlo 1984-86

 ——————————————————————————-

The painting below is one out of a series of six which show works of Warhol, Lichtenstein, Phillips, Indiana and Wesselman as if they had survived wars, natural cataclysms and restoration work.

Andy Warhol saw his “Post Soup” for the first time in 1976 in a gallery and apparently turned green. When Warhol met the artist 2 year later, he said “You copied my can and I copied your hammer and sickle.” Komar asked “why?” and Andy replied ” Maybe because I’m Czech…”.

They then colaborated in 78-79 on “We buy and sell souls” ( attached photo below)

IMG_5717

Vitaly Komar & Alexander Melamid , 1973

We buy and sell souls

We buy and sell souls

funny one –  IMG_5724

Maridia – these are doors:

IMG_5690

Four doors I by Gary Hume (1989)

Anouk – 1:1 Marble sculpture of a sofa  IMG_5679

Posted in Uncategorized | 1 Comment

For OLIVER

Hearing your last tutorial reminded me of my unit trip during 2nd year. We went to Salton Sea, USA .  ( build the infrastructure “and they will come” – gone wrong)

They have street names, plot numbers, electricity and water….and palm trees

IMG 01

Salton Sea, Salton City - 1929

 

74300033

 

Dallas

Posted in news | Comments Off

uhuuu production

I am excited of drawing all the ideas in my head right now. There’s a bit of a flood going on in my head and have been sketching them out so I don’t forget.

I have 4 drawings I want to finish by next Friday, fragments of which will collapse to form the “Via Appia” archipelago drawing/model I talked about with Natasha last tute.

photo (1)

 

I also want to have a working iteration of the page turner by next Tuesday.

Also been thinking about the presentation format / portfolio and sketched a layout for it.

photo (2)

Defining a sense of place. The apparent place, the non-place and the displaced.

Defining a sense of place. The apparent place, the non-place and the displaced.

Posted in Uncategorized | 1 Comment

Soo… I had this idea

I want to make an installation ( if you can call it that) called ” The lifespan of a project”

I was thinking of making a page turner which would continuously flip through my white book, while a recording of my voice presents the project. I quite like the idea of having the whitebook slowly disintegrate with the constant flipping and maybe the recording deteriorates as the batteries run low (or maybe not) ….

Next to it, I want to present the whitebook in a preserved state ( kind of same way I casted the photos of the superstars in resin) Not sure if it’s a casted white book or not. But I’d like these two things to create a conversation regarding permanence in isolation ( #whitebook artefact) and fleeting in interaction ( #whitebook event) .

Maybe talk about the apparent fixity and apparent fleeting – and also bring time into the conversation.

What do you guys think? ….maybe stupid to build it, maybe it should just be a movie or animation. But I think it would be so fun to have it physically in the room.

 

This is what I found when googling ” DIY page turner” … internet never lets you down

Newspaper-Page-Turner-Rube-Goldberg-Machine

http://www.incrediblethings.com/entertainment/the-page-turner-a-rube-goldberg-machine/

 

Posted in Uncategorized | 6 Comments

The potential ground for the materialisation of infinite thinking #the desert

Texas border with Mexico

Texas border with Mexico

This drawing refers to what I was saying in my previous posts.  ( The focus is found in the “invisible”. The portfolio becomes a fragment of formalised thinking. It is a fragment of reiterations and works towards transforming thinking into image. )

The absurdity of the image is that it tries to “complete” Marfa’s fragment. The desert is full of all the iterations of Judd’s concrete structures.

Posted in Uncategorized | 1 Comment

In continuation to Thursday

Judd-at-Warhol-party2

The Judd event?

playing with Hiroshi Sugimoto's landscapes

playing with Hiroshi Sugimoto’s landscapes

framing-in-water-2

Posted in Uncategorized | 4 Comments

Forgot to ” publish” this heh…been working on this drawing as well….

not found a good way forward yet, but have got a couple of trials.

ababc aba

Posted in Uncategorized | Comments Off

No comment

hehehe… judd-eating-soup-4_1   judd-eating-soup-5-with-soup-background

judd-eating-soup-1 judd-eating-soup-2judd-eating-soup-4 judd-eating-soup-3.2

Posted in Uncategorized | 3 Comments

UPDT 2 The collision between an infinite project and its finite presentation

Art and architecture take on the character of a project. Although this tendency began with the avant-garde period, this understanding of creativity was further manifested in the 60’s with artists creating independently of any skilled craft – by means of creative decision. In this sense the creative process of art has a direct dialogue with that of architecture.

” The formulation and documentation of various projects is the main activity of contemporary society”.

A nice example I found is John Baldessari, Commissioned Paintings. Where he finds artists to paint something from a series of slides he would show them. “Pick out any one of these and paint it, but don’t try to make art, just paint it as straight as you can, and the art will take care of itself.” Then he is photographed pointing at the painting.

John Baldessari, Commissioned Painting: A Painting by Jane Moore, 1969. Acrylic and oil on canvas

John Baldessari, Commissioned Painting: A Painting by Jane Moore, 1969. Acrylic and oil on canvas

704N09141_7BDQ6

 

The attention shifted from the result of the project to the activities that are supposed to produce that result. ” The documentation of the virtual and real steps necessary to realise the project becomes the main object of artistic interest”.

In “DANCE OR EXERCISE ON THE PERIMETER OF A SQUARE” ( SQUARE DANCE) Bruce Nauman  made a square on the floor of his studio with scotch tape and beginning at one of the corners he moved methodically, to the rhythm of a metronome, through the perimeter of the square, sometimes looking inside and sometimes out.

The video enables him to present a narrative with no beginning and no end and to capture the strange continuum of his own life.

This was part of a project looking at the artist and the studio, for which he made a series of studio films. B. Nauman says  “My conclusion was that [if] I was an artist and I was in the studio, then whatever I was doing in the studio must be art. At this point art became more of an activity and less of a product.”

Carey Young (an artist whom was directly influenced by Nauman’s performace) explained: ‘it is ambiguous whether the artist is moulding to the landscape or exploring ways of resisting it.’ (‘Body Techniques’,http://www.careyyoung.com/past/bodytechniques.html )

This is also true in the context of the architectural student project. Any work/action or undertaking is reliant on formulating a corresponding project.

Term 2 Jury  30/01/2015

Term 2 Jury 30/01/2015

DSC_0076

The most important aspect is actually found in the “invisible”. The portfolio becomes a fragment of formalised thinking. It is a fragment of reiterations and works towards transforming thinking into image.

The absurdity is exactly this….. as in trying to produce the image architecture stops dealing with reality. ( something I found happening for example at Mies’s New Gallery in Berlin)  IMG_4680

Also, this ‘invisible’ which I talk about is the progression of thinking. Another reason for the “project”… – The single image cannot incorporate infinity of thinking (#archipelago!). If thinking progresses from one image to the other it could also suggest why in the present architecture is becoming more and more performative, as if using the medium of the installation (which recreates this progressive movement).

I think this is where my project can begin to talk about something to consider in architecture. This disruption caused by the thinking ( which could be replaced with designing/ conceptualising) and the output (in reality – where it appears as a fragmentary construct).

Similarly, the students project oscillates between instances of fixity (or apparent fixity) and of flux (or apparent fleeting).

The architect, same as Judd, finds himself in the collision or absurdity of the fact that : thinking is potentially infinite, while the space of installation is finite.

Or as B. Groys puts it,  the artwork instead presents itself from the outset as a fragment of potentially infinite progression that, while it can be understood, grasped and even continued at will, cannot be completely realised. —  Can the artwork be replaced with the building? the proposal? the project?

Maybe this is why Marfa becomes sublime. The juxtaposition between Judd’s installations and the desert. It provides not only the infinite space giving the viewer a sense that all the imaginable iterations or repetitions could actually become reality here. It also provides a perfect ground , the dead, permanent and infinite desert with no dimensions, no scale.

MG_9216

I know….a lot of writing. I love this book!! ( Open Systems) cleared my head in some aspects, opened some doors…simultaneously made some other parts blurry- photos and references to be added but need to dash to TS.

Please challenge this! or say it doesn’t make sense to you… For me this is how I make sense of the archipelago….of the collected fragments and the progression of images ( which the archipelago forms)

 

Posted in Uncategorized | 4 Comments

UPDATE latest additions to the white book

ef

dc

a

I’m currently planning steps ahead in response to the jury!

Jury notes:

  • The project should be oscillating between “here is permanence…now it’s gone”
  • FI disrupting FL & viceversa
  • Make Judd eat soup inside the wireframe cube
  • Work seems static – need to incorporate time into the drawings and in the framing act
  • Convey the absurdity of the image content (absurdity of permanence, absurdity of event) vs the beauty of the reality of image as site of permanent ( – absurdity between site of event vs real site)- Beatles walking on crossing, Yves Klein falling of wall ….) – because art doesn’t deal with reality
  • Make video of Fenna Cafe photograph
  • Bring Warhol to Marfa, make the collision more symmetric? – use him to challenge fixity of Judd, but don’t ignore the ephemeral, sublime tension between Judd’s artwork and the landscape, desert vs cube!
  • Argue the apparent fixity of Judd and the apparent ephemerality of Warhol
  • Bring in the issue of permanence within the arch. Student project – the instance of presenting which is the instance of permanence of the project after which it falls back into a fluid state of change. – instance of collision between fleeting and fixed
  • Create an event for maintaining the photograph => the inefficient factory

Look at : – Vito Acconci , Dan Graham, Yves Klein, Marcel Duchamp,

OPEN SYSTEMS:

Cubes and Rooms –

EVA HESSE – Accession ( 1967) – she used grids and searialised structures but unlike Judd her intent was on retaining expressive look of the handmade structures. Her interest was “finding out through working on the piece some of the potential and not the preconceived”. => absurdity of life – contradictions and oppositions. Her structure can be read organically as something fixed yet opened.

http://www.stephaniebuhmann.com/rail_hesse_lewitt.html

Helio Oiticica doesn’t do static sculpture – BOX BOLIDE 9 is a painted wooden box containing openings and drawers filled with pigments and is intended to be opened and explored.

 

Mimesis of thinking –

The infinity of thinking cannot be represented by an individual image. Thinking progresses from one image to another in a systematic way without any conceivable end. Thinking is the infinite progressive movement, the infinite et cetera. Therefore it can be represented in art only in the form of an installation that recreates this progressive movement. Like Rene Magritte distinguished between the pipe and representation of the pipe, a representation of thinking through artistic installation is not yet thinking.

 

Some food for thought:

The Void by Yves Klein

  (April 1958), Klein chose to show nothing whatsoever, called The Specialization of Sensibility in the Raw Material State into Stabilized Pictorial Sensibility, The Void: he removed everything in the gallery space except a large cabinet, painted every surface white, and then staged an elaborate entrance procedure for the opening night; The gallery’s window was painted blue, and a blue curtain was hung in the entrance lobby, accompanied by republican guards and blue cocktails. Thanks to an enormous publicity drive, 3000 people were forced to queue up, waiting to be let into an empty room.
Leap into the void

Leap into the void

Posted in Uncategorized | 3 Comments

The archipelago and the formations UPDATE

So the other pages will be printed and  some boxes will be cut out. Then the page is placed on top of the archipelago drawing ( the first one on the left).

hard to explain this way.

cccccc

 

dddd

Posted in Uncategorized | Comments Off

going crazy here

bbb

this is what happens when you keep moving these boxes for so long trying to figure out how to fit them together!

aaaaaaaaaaaaaaaaaaaaa

Posted in Uncategorized | Comments Off

So far so good :)

I’ve modified this drawing after Monday’s comments:

A0_Judd facing architecture 28_3 copy

A0_Judd facing architecture 28_33

What do you think about the swept sand ( under the hanging glass panels) does it look ok?Also did a couple of different options ( a more desaturated sky for the colour print option) I will see which one looks better printed.

I’ve also been editing the White Book and adding work from this term and finalised 2 booklets about Judd – Marfa and Spring Street (which will be included inside the white book).

white book 4

I figured out a nice way to present the archipelago for Friday and I am working on that right now. (will post updates later today).

archipelago

Tomorrow will be printing, mounting, binding and presentation day.

Posted in Uncategorized | Comments Off

lunch break @ work update

I forgot some files so cannot update the latest versions… It is meant to be a triptych, but here is one for now.

 

Judd-facing-architecture-26-bw

 

Untitledjudd

Posted in Uncategorized | Comments Off

working on a sequence to talk explain the archipelago formation

I’m working on this set of drawings jumping through scales. Zoom-ing in, each drawing shows a more and more distorted state of the archipelago. Going from the overall grid-masterplan to an absurd moment captured within these formations ( created through the drifting fragments) .

IMG_5541

 

Untitled1

Posted in Uncategorized | Comments Off

WIP update 3

I’m also trying to figure out how to draw the archipelago. This is another idea:

arhipelago try 1

arhipelago try 2

Judd-facing-architecture-13

So Judd is raising his arms when he sees Allan Kaprow ( the author of the ice structures) cutting the cables of his cooling machines. What do you guys think?

OR Should it be the other way around – Kaprow with his arms up as he sees Judd plugging all the equipment ? – can’t believe this is version 11.psd :))

WIP 2

 

Feedback is welcome!!

PS: I still need to add shadows and cables and it will be B&W in the end.

Posted in Uncategorized | 1 Comment

the un-mentioned refference

I don’t know how come I never included this somehow in my white book yet.

“Everything Is Illuminated” has a dreamy feeling that links perfectly with this sentence by Jean Baudrillard: “just as the function of dreams is to ensure the continuity of sleep, objects ensure the continuity of life”.

I found out that Jean Baudrillard included a chapter called “A Marginal System: Collecting” in “The System of Objects. He wrote:

Among the various meanings of the French word objet, the Littré dictionary gives this: ‘Anything which is the cause or subject of a passion. Figuratively and most typically: the loved object’. It ought to be obvious that the objects that occupy our daily lives are in fact objects of a passion, that of personal possession, whose quotient of invested affect is in no way inferior to that of any other variety of human passion.
[…]
The object pure and simple, divested of its function, abstracted from any practical context, takes on a strictly subjective status. Now its destiny is to be collected. Whereupon it ceases to be a carpet, a table, a compass, or a knick-knack, and instead turns into an ‘object’ or a ‘piece’.

 

05

Told-by-Design-Everything-is-illuminated-Collector-Safran-Foer-family-keepsakes

4848771222_09d53ecb4b

Posted in Uncategorized | 2 Comments

It gets better

While searching for photos for my photo montages I ‘bumped’ into these.

images

Posted in Uncategorized | 1 Comment

Update WIP

Find platy :)

room-in-the-object-8

The architect is in the room

 

WIP

 

Playing with the photos

Playing with the photos

 

Posted in Uncategorized | 2 Comments

I just love this :)

what-would-Judd-do

 

room-in-the-object5_2

Posted in Uncategorized | Comments Off

Light bulb

While going through the white book, ideas popped up and I’m beginning to visualise what the archipelago might be or look like!

For now, some statements I wanted to get out here and expand on, crystallise later.

Thinking of Judd as an artist who misunderstood or misidentified architecture as something necessarily regional, which is fixed in place and fixes things in place. He didn’t see that actually this aim has ” long since drifted off”. Let’s make Judd the character of my narrative, make him the event. An absurd example…. I can see Judd in the predicament of dealing with Allan Kaprow’s piece:

kaprowfluids1

 

Judd-facing-architecture-5-bw-all

Maybe then Judd helps provoke the archipelago, also using ‘techniques’ from the Berlin photographic experiments.

Completing the object IMG_4951

Digging the object        IMG_4595

Extending the object   PC166731

 

Incorporating my previous thoughts ( previous post), the last chapter which was blank : “PROJECTING” takes place at the moment of death – archipelago is permanently formed. We are only left with the traces as the author is gone. This leaves the room open to appropriation and reassembly – creating new narratives through extending, joining, completing, breaking or digging. That’s when the archipelago becomes image.

If I take Judd as a character whom is part of the field which crafts cultures in rooms, then the story begins in the room.

room in object

The architect is in the room.

The architect is in the room.

Room is in the object.                                                    Collecting

Object is in the factory.                                                 Sedimenting

Factory = archipelago -> creating the site in the mind; which in turn, at the death of the architect, provokes the image.                                      Projecting

 

I’m not sure if it makes sense yet in writing but drawings will follow and I think the tutorial talk could be exciting!

Posted in Uncategorized | 2 Comments

Text – Brussels sprouts

FACTORY – INPUT / PROCESS / OUTPUT

IDENTITY – PAST/ PRESENT/ FUTURE

In the same way in which a factory works through the iteration of input, process and output; we can look at crafting identity through collecting (from the past), sedimenting ( in the present) and projecting (in the future).

Architectural identity occupies an interstitial space between a mode of production and mode of signification. It is an element in constant movement and redefinition.  In my mind, its formal status can only be fragmented assembly, resembling an archipelago.

 

            COLLECTING

The memory or permanence of the artists’ identity and collection of work becomes a phenomenon which can be investigated only through the record of its past.

 

Therefore the archipelago of objects become tools with which you think of and understand the artist. If the reality of the past is constructed through fragments, then the assembled new whole provides the opportunity for fictional narratives.

 

            SEDIMENTING

Architecture students operate on both the temporary and fixed planes. They have a double status; The ideations of architecture in their projects perform interminently, episodically; while the interrogation is permanent acting as sedimentation. We witness the formation of the arch student as an archipelago of units and obsessions.

Is this archipelago the factory for his identity? or the factory  of the output? With permanent aspirations and a fleeting/ temporary mode of production the architecture student is concerned with the contemporary.

It is difficult to discuss the fleeting and transforming present without relating to a current or a form of historical thinking, but as Sylvia Lavin puts it “If even architecture – the proverbial medium of slowness, stillness and permanence – can be made to move lithely with the present, then contemporaneity in general may be possible.” A contemporary which is not historically determined or temporally bound, providing a speculative terrain. This leads you to think that it is defined by temporary features.

How can we take this conversation into the context of the present? What is the contemporary archipelago?

 

            PROJECTING

SCALE – OBJECT / AUTHOR / ROOM / INSTITUTION? / CITY / ….?

 

Posted in Uncategorized | 1 Comment

Platty goes to Berlin

IMG_4537

IMG_4385

 

Posted in Uncategorized | Comments Off

Berlin experiments

IMG_4595       mermorial-1

memorial-frame

IMG_4951

IMG_4963

mies-framed2

mies-framed1

 

building-framed

church-fully-framed

shadow-frames

 

 

Posted in Uncategorized | Comments Off

Looking forward to a very productive trip and a busy busy “break”

You know how you always wish you were in Berlin and that you had an extra week at the same time ? nevermind…

section city

 

platy

21-scorpodianharborfromabove2cpotloodoppapier2c50x70cm28201029 Looking at different forms of encasement

Posted in Uncategorized | Comments Off