Author Archives: Anny Stephanou2013-14

Some new images

for the books.

IMG_0087 IMG_0111 IMG_0127 IMG_0145

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THANK YOU ELEANOR

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Making the book while memorizing the fourth realm!

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JUST KEEP SWIMMING

SHOT

Had to re-print a few layers…

Waiting for A2 prints to be done (thank you Katerina) to go to fantastic Eleanor’s to hand bind.

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Last tutorial…

1. Frame has reached the edges of the table, still need to double-sided-tape the layers together. The deepest point is the Manhattan layer so at the edges it reaches a thickness of about 20 layers; unsure as to whether it should be like that.

shot shot2

For tomorrow I want to have,

2. Revised text

3. Revised animation with new scale and panning around

So in the weekend I work on,

4. Book and re-drawing layers

+ text and animation

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Table

From found…

IMAG1173

to appropriated…

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to constructed (minus lot of mounting board)…

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to re-contextualized…

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Or something along those words.

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Screen

To become more precise about the borders of the screen, I’ve decided that the actual paper layers should be the same scale in the screen as well since they are in the book and table.

photo

But quite a bit of what I’ve animated so far will be cropped. I think it’s better to be able to give a reason to the screen though so I’m thinking just to re-organize the layers that exist only on screen that are cropped so they get shown. Actually this would mean that the on the screen we won’t see at all the white of the mounting board. It might even be better for some layers to appear cropped because of the screen.

PP1

 

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61 minutes

of a fantastic discussion with Merve and now I finally feel that the project does not own me.

I want to argue about the table being given/ found object, which I appropriate to create the site/ locus for the project, in other words re-contextualise the table itself. It is not enough to create the table top surface but the entire table as I argue about its inhabitation (it’s also funny for my sense of humour to take a table to tables). As the only spatial moment which is drawn in the project and that exists physically in three dimensions in true scale, I want to argue about its quality to define space and exist as a threshold as much a wall. It is inhabitable in the way we come together and collaborate around it. I used to think of the table as the montage table that Ari lead me too, but in this project it is not anymore about its quality to be editable, but its potential to be appropriated. The project argues for the need to actually re-appropriate the table to build in a sense the foundations for the unbuilt. The unit brief starts now to make sense.

The stages of the table is firstly from found to modified. This will be the transformation of the actual table top with relief moments, for the frame/ mounting board to come in. Therefore from modified, to appropriated. From appropriated to constructed in the insertion of the frame’s components. What is important here is the fact that the table top is not unified but made of parts. The banal (and honest) reason of the limits of the laser cutting machine is important and not something to conceal, because even in the construction of the project, boundaries exist not only in the objects themselves like the book, table or screen but in the process. Not only does the table have the boundary condition of its edges, but also within, of which some are given and some decide/ designed. The sequential superimposition of spaces is the re-contextualisation, where each space/ layer is the context for the next one as Eleanor said.

The screen will continue to be stated as the inhabitation, and the extent of what it depicts is decided because of the scale of the spaces (layers) that is the thread that relates the three realms.

I think it’s a shame that so many times we’ve heard the comment about the graphic, which is fair because I use the work of the unit for inspiration, and I initially thought to change it completely, but I decided to declare that comment as irrelevant and direct the conversation in a more productive direction. The axonometric even as a given is appropriated with the introduction of orthographic and perspective so that it becomes the device with which the project is executed to a certain extent. The flatness of the colours relates to the flattening of the three-dimensions to two.

Too much text in the last posts so the next one will be images!

Update:

2.1 3.1 3.2 4

In the first you can see just a little relief – it’s not absolutely necessary but I think it’s good to suggest that the mounting board is not only an addition but the table is changed to allow for this.

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THE (almost) sentence, with updated pondering

The project in a cl(Ari)fied manner aims to demonstrate, that we need to design our context in order to create our site, book being the context and table being the site, differentiating therefore the two.

Still unsure how the screen fits into the project in terms of the thesis or meta-ness, but quite happy that Barbara CL saw the voice as equal to the three realms, which became my intention after the last Charles tutorial.

In terms of the table:

table

The question is the blue part – option 1 is to be wooden and the mounting board will fit into it, it would also have CNCed on it the continuation of the red part. Option 2 is to simply have a wooden layer below and the blue part to be laser cut mounting board. I think 2 is best because the the mix between wood and board would be unequal at the top surface. That being said I still think that after all this I will go over the whole thing with paper so the very dominant 2 lines across the frame are not that visible.

I spoke as well with Will today at the workshop and he suggested the wooden tresles as it would be more stable and quicker to do than welding legs. I just need to design them so they look better.

The aim is to have the table in two separate parts, the top and the legs, to make it easier to carry around and put together.

I’ve also decided not to have the book framed in the table, so they exist separately. This requires an improved book stand as I think the layout at the jury worked well.

EDIT: I am now thinking that I should take the legs of one table at school so that I establish this as a given, not just its dimensions. Imagine that all tables at the AA are put together to make this infinite surface of spaces. Perhaps I can just CNC a relief into the table top so it is clear that it is modified. I do like the scratches on the table surface a lot that you can see at the start. Could I assemble during the introduction the table, as in put the components of mounting board together. So perhaps I don’t actually hide that it’s made in parts. Of course the boring answer to this is the limits of the laser cutting machine but it could be interesting. In the previews actually Dora was suggesting to consider the frame/ table as compartmentalized. In this case how important would the specificity of the divisions be. I really want the table though to exist as one, not as table top and legs.

Also wondering how the edge of what the screen depicts is defined, because at the moment it shows a smaller area than the entire table.

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Glitch

I initially thought that I wanted to design a project which will suggest a perpetual continuity. This relates to a comment I found in old notes and that Cat reminded me of, that perhaps the project comments on the endless scale of the city. However, since the table is my site, when we reach its edges, that is where we should conclude perhaps. That’s a comment that’s been said in the January jury as well; when do you stop. So I think the ‘risk’ I should take is to finish the project. It can appear as neverending, but the glitch is its end.

Going back to Brett’s comment about the architect constructing the world in two dimensions but inhabiting in three (that is the move from table to room) I realized that in the project the table is what exists in its true scale. Since I describe the table as a type of threshold in that it defines inhabited space, somehow the table can become inhabitable in terms of its scale and function, which in turn will question inhabitability itself somehow.

I enjoyed the conversation about the cloud, when Evan said that it is the only element in the project that has depth and transparency, and it appears like a glitch in that it is not designed. In the January jury a comment was that the project is too neat and hermetic (which I had to google translate: insulated or protected from outside influences). I don’t think that I should have an axonometric cloud; I think that suggests that everything which exists outside the boundary conditions of the project can be translated or modified to fit into the constructed world. As the cloud is not controlled, it should remain as the element which gives an uncertainty and doubt to the project as Barbara CL said.

I am wondering whether the conclusion to the project, is the glitchy cloud or the edge of each realm; book, table, screen.

Apart from looking at the design of the table tomorrow, it would be useful to go over the text and book which are the things I’ve left behind for the animation.

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Last minute

 

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Text at the moment

THESIS_RevATHESIS_RevA2 THESIS_RevA3 THESIS_RevA4 THESIS_RevA5THESIS_RevA6THESIS_RevA7 THESIS_RevA8THESIS_RevA9

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Bit of perspective

shot2 shot3shot1

I really need to finish the animation tonight so that I can do text and model tomorrow.

And I am really really hoping that the ‘book stand’ I made on Friday does not collapse while I present…

 

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Nolli plan-ised

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Got a bit tired of so much colour so it’s nice to see this in grey!

Finishing up the frame to laser cut more layers tomorrow. It’s slow today…

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Finally

I need to finalize the text to be able to time this properly; this is only 4:24 and should eventually be as long as my presentation.

Most layers don’t have anything animated still, but at least this is a base that I can work with.

The aim is to have a collapse of movements as if this is a (moving) book with transparent pages, so that the actual book in the project deals with the complete superimposition of its pages as we flip through it, the table relies on the edges of each framed layer that are partially superimposed, and the screen deals with overlay (understanding that overlay involves transparency), so as to show the composition against time.

I think I am kind of up to speed with most ideas I had about animating; a few missing are the record player, some moments in perspective, more clouds, more moving shadows, lights switching on and off, and more spaces around the main layers so that the whole animation appears as if it’s cropped from a larger composition. Also I think what the frame gives me that is eliminated in this because I use the original digital files, are the shadows between each layer because of the thickness of the frame so this is something I need to bring to the animation. Obviously these shadows are different to the moving ones as they’re only made through the flatness of the composition.

The reason that the hands choreographing are not part of the animation is that they are the connection between the book and the table, and since the camera being the connection between the table and the screen is not part of the presentation, the hands are omitted as well.

I would really appreciate any comments you have!

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Another thing

I’m working also on the rest of the table as well as the animation.

shot

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24 °C

Animation01.Still034

:)

Working on some sun/ shadow animations and the layer that I will make a model of. This is supposed to be the sun through the window blinds if it’s not clear – working on it.

Inspiration by Adam Simpson.

illustration-inspiration-adam-simpson-rapimento

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tomorrow tomorrow

we will look at text - tutorial with Charles was super duper useful in how to speak about the project.

I couldn’t not work on the animation as it’s quite fun to do so I am a bit behind with model making but I promise one space for tomorrow!

The frame/ table is under process as well as it works parallelly (which is a new favourite word THAT ANANTH TOLD ME) with the animation.

Frame as Table!

Animation01.Still022

Here’s a tiny bit of movement; you might need to look for it!

Animation01

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working working

I have been working on the animation which is moving with a slow and steady speed as usual but I am more happy with it now – hoping to be able to finish the parts I have been working tonight.

I have also been working on text to make sense of the project for tomorrow.

Here’s a little bit of movement.

Animation01_1

 

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Messy references

Animation01_2

terrible quality but I cannot upload a bigger file.

This shows the facade moving, to the film strip of the Manhattan Transcripts, to the film strip transforming into spaces, which are then part of one drawing from my previous post, which shows simultaneity of events, or non-events as I think I will call them from now on.

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socks-studio strikes again

http://socks-studio.com/2014/05/06/diane-berg-doesnt-work-as-an-architect-anymore/

“The city is the simultaneity of various situations, even antagonistic, all claiming legitimacy. To capture these heterogeneities is to take cavalier perspectives, “à vol d’oiseau”, axonometric views.” – Diane Berg

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Animating

shot

shoot

shooot

…but very slow as I am watching tutorials.

I am aiming to build relationships across the table frame. From now on any additional layers will not be taken from the book but only inserted within the context of the animation; like Elena was saying perhaps there can be moments within the spaces to break the predictability of the axonometric.

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Amazing amazing amazing!

http://www.tomngo.net/wp-content/uploads/2009/11/tom-ngo-the-dinner-address-2008.pdf

I am reading this for inspiration especially for the thesis; could be useful for a lot of us as it’s quite dipnine-ish!

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Inhabitation

The next step is to inhabit the table. This I thought the screen would accomplish but instead we observe. What was a common point raised both in the previews and the jury is the fact that the presentation is disengaging. The table moment of the project is rigid and I think it should be more unpredictable or editable.

I found the discussion about the axonometric being rational and the perspective being narcissistic extremely intriguing. As with the axonometric we rely on plan view to create the rational, in perspective a moving point of view relates the to central/ peripheral argument.

So what I want to do now is:

AXONOMETRIC -> PLAN -> PHYSICAL -> PERSPECTIVE

Updated drawing post to come after Tschumi’s lecture!

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Extraneousness

Animation01.Still009

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Bit of movement

Snap

^ download to see

BOOK is the context of references –

TABLE is the architectural composition

SCREEN is the in-habitation of architecture –

Thinking on the above statement to help me write.

4

Drawing by Tom Ngo – thanks to Natasha and Ananth.

“Producing his absurd structures by transforming the ordinary, Ngo reveals a unique perspective of the normal and implores that the ordinary should not be left undisturbed at the risk of being redundant.”

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A city of extraneous narratives

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which will be animated during the break!

 

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Drawings by Jeff Konigsberg

jeff-konigsberg-manhattan-03jeff-konigsberg-manhattan-01

“In the days following the flooding of NYC, I began this series of drawings. The first 7 of these images are directly in response to the effects of Hurricane Sandy. I decided to take the concept of sea walls to the extreme.The remaining drawings reflect a more paranoid outlook. They’re about walling off sections of any city into self-governing City States. The walls contain and prevent damage from a range of real and perceived threats.”

I find it extremely difficult to read these walls in the huge scale that they are meant to be, and for me especially the first image is almost merging the two scales, of the urban and the domestic, as somehow I understand the walls as interior divisions.

Working on the text for tomorrow to have a conversation about the THESIS part of the presentation and what I want to do over break.

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Contents Spread

THEBOOKprint14_Page_1 THEBOOKprint14_Page_2

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Frame

IMAG0956 IMAG0964 IMAG0967 IMAG0973

photo #3 with the bookreader above the frame, the projection on the screen is not the right rotation and I need to find out whether I can change that.

photo #2 to have the correct rotation the bookreader is on top of the frame so I am not so keen on that.

One less thing to do at least!

EDIT: After a chat with Ari I decided to do photo #2 because the frame IS the table and so, it makes sense.

 

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Never ending list

SHOT

Sorry for yet another screenshot – nothing is finished at the moment…

I am working on finishing the pages you’ve already seen so I can print them for tomorrow which will hopefully be a final print.

Also making now the laser cut file for the frame – it will be on white mounting board this time and I will cut it tomorrow, fingers crossed I will get hours and hours of slots and Paperchase does not run out of material.

The rhino file shows 24 layers (excluding the cloud, hand, shadow sequence which I think will remain in the book). There’s only 1 layer – the one with the frame that hasn’t been completed yet.

I will be printing therefore 9 layers of which some are re-drawn since the jury – fire escape is now aligned for instance.

And the last thing missing (I hope) are lots of spreads which I will spend the weekend doing.

EDIT:

I HAVE JUST REALIZED how much laser cutting the frame requires so there is a possibility that I do the first layers in the frame and then at some point they start layering up. Maybe this is not bad as it will make it look under process and suggest the idea that some layers don’t have a specific location within the frame.

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Sideways movin’

Untitled-1 Untitled-2 Untitled-3 Untitled-4 Untitled-5

Desperate to get out of rhino!

Also I am NOT starting a new page until I’ve finished what I’ve already started!!!

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The Book of Extraneous…

…narratives

fictions

moments

spaces

contexts

fragments?

I’m thinking contexts now instead of narratives.

I would like to laser cut the cover on monday friday along with the frame.

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+1 layer

Frame

 

Left image to be an iteration, right image to be part of the drawing.

Perhaps this is extremely literal in terms of the idea of the frame? Thanks Ananth for the Magritte references.

I’ve also been working on the book to be re-printed for tomorrow!

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The Book…

THEBOOK

Book slowly coming together now – will be printed for tomorrow but still loads to do until then!

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swamping through

shot2 shot1

1. BOOK, and story of this city that I am drawing. I aim to have 3 chapters for tomorrow, from the city, to plan, to axo, to the extraneous, as a way to declare these interests before going into the extraneousness of it.

2. Axonometric cloud? I am wondering whether I should change everything to fit my language whether in axo/ plan/ (perspective from models) like the axonometric cloud or whether I should appropriate some layers with a different language, so I will test the palimpsest layer as a photo collage.

I think that the PLAN that I’ve been obsessing over might be useful as the cloud starts to re-appear in the project.

3. Layers layers layers and one idea that I will show tomorrow.

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Drawings update

drawing progress drawing progress

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Drawing through thoughts

Drawing-Progressskittles

 

CLICK IT!

(Can someone please teach me how to export a gif so that it works without having to click?)

Taking a break from drawing new layers because I want to focus on this move between axo and plan. This is the first sequence in trying to create the plan so that it separates the layers in terms of their location – maybe I’m being too realistic? I will break this down into separate drawings for tomorrow so that it becomes more clear.

What is important is the height of the layers (in shear mode which makes up the axo in plan view using rhino language) defines the distance between the spaces in plan view (non-shear mode) … Drawings will say this better than words I agree!

I also want to work on a storyboard for the book which I have left behind for a while.

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Third dimension

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Layers

SHOT2

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Excited for tomorrow!

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Working on a booklet of the jury presentation (Jan 28) and inspired by the diagrams drawings of relationships we’ve been drawing, I’m working on one for my project, keeping a few layers on the side for now and creating the main story.

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FRAME

3

ready to be CNCed on wood.

I’ve been working on the BOOK which sets out the STORY for the first layers.

New layers are also under way.

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Very WIP Storyboard

SUM02-01

 

which should develop less linearly and more chaotically!

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Between 2D and 3D

2D3D-01

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Two faced layers

1-01 3-01 8-01 10-01

Thinking of the other side of the layer as the other side of the floor/ wall/ ceiling that creates the space.

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Brian Eno Lecture

Eno

Map of his lecture realizing that he hadn’t spoken about half of it. I will attempt to draw one as well which will somehow need to develop into the map of my city.

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Mind everywhere

03 04 0501

Before I start to draw or re-draw layers, I feel the need to experiment to discover hopefully something more and to understand exactly what this gives me that another method of working doesn’t. Working in 3D, perhaps I should test with paper models. Plan is important but for what I am not sure. Tomorrow I will have a text to organize my thoughts and decide where I want to take this, for now. And something resolved from these experiments.

 

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Some references

Nigel Coates during a lecture about Narrative at the AA, said that the technique in narrative is when you layer on multiple narratives and the process of design becomes one that tries to fit them all together like pieces of a jigsaw puzzle.

Evan Wakelin writes about the drawing below, “The intention is to represent these spaces in a form that can be explored, not framed. In isometric projection, nothing disappears into the distance, you can walk through the drawing as you would in reality.”

wakelin-01-b

By Tom Hudson, I like this in-between model/ drawing in axo:

SONY DSC

Aand I like this quote by Gerard Taylor:

taylor-03

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Reverse

JuryPres

 

Perhaps I should test presenting the layers starting from the whole composition leading to Manhattan, and maybe with each subtraction of a layer the process could build another ‘city’ in parallel.

Click as usual.

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Transcripts now in lace

 

DSC_0271

 

I still have a few layers left to draw/ paint/ print/ cut/ glue before I finish. AYAYAYAYAY!

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Updates II

shot

 

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Updates

1. Book of Clippings has been renamed Book of Extraneous Narratives – printed and ready to be bound tomorrow.

2. Smallest laser cut file done – to be laser cut today or tomorrow.

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3. Quick snapshot of the drawing progress.

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Need to finish the sequence, keep adding details, finish making 3D to render shadows and add colour!

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Colourless

colouless1

Been formatting the layers so they work better together – now working to add the sequence of subway, steam, cloud , (hand?).

Click to see

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Opinions will be rewarded with CANDY

table2

 

I really want to make a frame for the drawing(s) so that it will look like this:

DSC_0255

But actually now that I see it drawn on the table it makes it look finished which is not at all the idea. I just like these shadows that the paper makes when there’s a gap between the perspex and the table top surface, almost preparing me for the next step to go 3D. Shall I make it or no? And what about the size? Maybe if it’s bigger and it doesn’t actually center the drawing(s) it will be better? Fellow dipniners today said it will take ages to do and I should bring my ikea table instead! HA!

Thanks guys!!

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Working on Book

shota shotb

 

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Click it!

SEQ3

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Layer On

SHOT

Title inspired by Vids’ weekend post.

Wanted to make a proper post with the layers painted and words to go with each as well as pages from the book where appropriate BUT as always it’s taking longer than planned. Gonna be a long night!

At the moment I have – elevator level – doors lead to subway tunnel – leading to window of the interior spaces of the movie set, and the back of the record layer is now a television room looking into the movie set. I want to make the top half of the staircase a separate level which will be the fire escape. Need to also draw the steam coming out of the grille and becoming a cloud.

 

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Frame is Context

shot

New frame context – the red tiled (bath)room, which is the back of the record room paper layer, working with the idea of reusing frames. Also working on a subway layer where I want to draw the steam coming out of the street grille. Perhaps the steam will also appear to be a cloud on the city satellite layer.

 

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Short Text

Architecture, as the design of thresholds simultaneously fragments and creates relationships between them.

The Manhattan Grid works in such a way, in that its repetitive character allows for the simultaneity of events and the relation between them.

“The grid is both the connection and the separation that New York provides for its inhabitants.” – E. B. White

 

The Frame exists in multiplicity within the Grid.

What is extraneous to one Frame, is the point of focus in another.

The Frame exists simultaneously in two realms. – Jacques Derrida

 “The city becomes a mosaic of episodes, each with its own particular life span, that contest each other through the medium of the Grid.” – Rem Koolhaas

 

The Everyday event through its repetition it claims permanence, in that it exists regardless of context, whether time or place.

A narrative unravels through time, and a Grid rejects a sequential reading. – Rosalind Krauss

“The event is what appears in disappearing.”  – Alain Badiou

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Multitasking

DSC_0255

Working on the white book and so for the first time that I’m printing these in colour I am also going to test one way that they can be arranged as double sided pages within the book; this is half the size than what I’ve shown before.

This is useful also for the Re-Con book of clippings, because I want to have the acetate pages as part of that one book so it is not considered as something separate; the book of clippings give the contexts, narratives, and ideas which are taken forward in the ‘paper movie’ such as using one frame to tell more than one story. The acetate pages give the technique of working in layers and in using ‘frames’ as a sequence to constantly recreate the context for the narratives by hiding and revealing.

plan

I am intrigued by the plan of these spaces when constructed in 3D which is not so comprehensible in the drawing so I want to draw it and see how it can be taken forward.

axoplan

3d

Starting point for model making is the above image. I only did these to be able to render shadows for the paper layers but I am now hoping that testing a couple of the spaces as physical paper models will develop what I use models for so it’s not only the spaces in 3D.

Lastly, I am working on the book of clippings so as to make it more dense. Stories are inspired by Here is New York by E. B. White and Delirious New York which I am still reading. I think now the book of clippings is a way to think about the narratives of the ‘paper movie’ so that each layer becomes an argument in itself. For example, I added an article about the Grid and about the Otis elevator.

TEXT to follow.

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Paper Movie

Collage5

Please Click !

Collage1

With subtle shadows – in progress, thank you Liz !

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Update

10-01

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Progress and Reference

shot1

The thickness of the pink wall of the record room becomes the corridor width for the staircase level. The furniture of the record room becomes the walls for the purple spaces, which I want to relate to the movie that was the last pages of the recon clippings. So I also drew some movie sets because I like the lack of enclosure especially of the street sets.

These drawings are by Mathew Borrett – what I like is that the frame becomes a space, the wall, and the shifts in scale which seem to be quite random and not in sequence.

mathewborrett-04 sleeping

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Words and Shadows

shadow33D

Testing this in 3D because I want to have shadows in the drawing. It’s just gradients now because I forgot how to render!

Points to be written in the TEXT

– non-linear, simultaneous narratives

– interrelated spaces, moments and figures

– extraneous, focus on the unfocused, everyday

– change of scale, interior/ exterior ++

Ideas to be worked out

– The drawing should imply infinity both to its graphical and narrative extends.

– Connections must be both linear in terms of layering but also across the page.

– Some layers can exist more than once – cloud

– Typologies, corridor, staircase, window, door ++

Couple of sentences

– The purpose of this drawing is to tell narratives through interrelated spaces, moments and figures.

– Narrative in this case and non-linear and must be perceived as simultaneous situations within the scope of this drawing (which are spatially related).

– The window as a visual threshold both masks and reveals at the same time. What is framed is perceived as part of an infinitely larger fabric.

NOW to continue with the drawing for more context layers to be added moving away from the Transcripts!

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Model ?

Desperately on a mission to finish HTS as soon as possible!

In the mean time I’ve made plans to digitally build this part of the drawing for tomorrow as a way to start thinking about this more spatially so that I can make a model later on. I chose this part because of the intersection of different scales. I thought that I can spend the weekend working on the drawing for the narrative, the spaces, the connections, and the aesthetic quality (which will exclude shades of grey) so I wanted to test something different for tomorrow’s discussion. I hope it will prove to be useful…

Also here is a quote which I would love to understand:

 “But the notion of myth I am using here depends on a structuralist mode of analysis, by which the sequential features of a story are rearranged to form a spatial organization.” – Rosalind Krauss on Grids

Update: Actually maybe I am rushing and I should use my time more wisely by continuing with the spaces of the drawing and worry about the model over break.

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Cloud

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Something silly instead of HTS …

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Slightly less messy drawing

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Extremely messy drawing

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It’s not making much sense here but I’m aiming to have it clear for tomorrow + printed in four different layers of context and scale + an explanation especially on the connections between the four stories.

Will hopefully blog later tonight something more presentable!

I’m also getting a bit obsessed with drawing staircases …

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Drawing context

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^ now in Rhino and drawing over the collage with context (record player at the moment)

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A quote

“My intention in putting the stories together in an unplanned way was to suggest that all things – stories, incidental sounds from the environment, and, by extension, being – are related, and that this complexity is more evident when it is not oversimplified by an idea of relationship in one person’s mind.” – John Cage, Silence: Lectures and Writings

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Drawing/ Collage in progress

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Happy December 1st

I am working on the drawing we discussed about last tutorial. The aim is to present the extraneous narratives in a non-linear manner. It will be in three layers – like the three levels of abstraction, Tchumi’s, Anny’s, Manhattan’s. I think the idea about the newspaper had nothing to do with the format but more the fact that events are ‘collaged’ together.

Update:

shot

^ They are not in the correct order at the moment. I will incorporate the collages I did for the clippings book like the photograph through a window or the vinyl. I will also make a similar drawing for the acetate sheets to show the hiding and revealing with each layer, or this can be part of this drawing so they’re not separate like in my presentation. I think I’m moving away from the idea of using the ‘re-contextualized’ fictional Manhattan so that I eventually move away from the transcripts completely and what I continue with are the invented events.

I feel a bit brainwashed from reading Krauss’ Grid for my essay so I made an axonometric grid for the transcripts to be arranged on (like the sketch). On the side I did this very quick and simple experiment, just to imagine the space of the frame of the transcripts outside of its two dimensions.

shot

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Cloudscape

by Mia Pearlman

cloudscapeXI

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One long sentence

Contrary to a unique event that is marked in history with its significance, creating its permanence through transcription, it is those which are repetitive and extraneous that describe the city because they exist regardless of context, time or place . . .

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Inspiration

Table Manners – Sarah Wigglesworth & Jeremy Till

wigglesworth the layout

“The Lay of the Table
An architectural odering of place, status and function. A frozen moment of perfection”

wigglesworth the meal

“The Meal
Use begins to undermine the apparent stability of the (architectural) order. Traces of occupation in time. The recognition of life’s disorder.”

wigglesworth the trace

“The Trace
The dirty tablecloth, witness of disorder. Between space and time. The palimpsest.”

This is useful in showing the event without actually having to draw it.

 

case no 00-17163 (fragment) by dillerscofidio

Case no 00-17163 (Fragment) by Diller Scofidio

Robin Evans: “If anything is described by an architectural plan, it is the nature of human relationships, since the elements whose trace it records – walls, doors, windows and stairs – are employed first to divide and then selectively to re-unite inhabited space.”

Peter Ackroyd: “Contemporary theorists have suggested that linear time is itself a figment of the human imagination.”

CJ Lim: “Pieces of a collage or assemblage are only ever half-assumed into their now context, bringing with them a wealth of connoted meaning from their original time and place.”

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Feedback Notes

Main points raised:

Instead of placing one story within another – the extraneous narratives are introduced/ uncovered, making the event of the murder obsolete/ irrelevant/ one of many.

Manijeh: The project is made out of multiple readings and this needs to be made clear – Manhattan’s rule, Tschumi’s rule, Anny’s rule

Doreen: The act of layering re-enacts another story – the replacement of one story by another. The presentation should be simultaneous, choreographing the inner layers of the story (book) with the physical layers (drawing).

Ari: There is an overlap of these narratives because there is no space between the frames.

What is the relationship/ instruction from one frame to the next.

Natasha: The ordinary/ mundane can infiltrate in our reading of architecture, such as the cloud which makes it disappear. To describe architecture through the everyday events – when these transform the way we view architecture.

It is about the simultaneity of events rather than a unique narrative – in the city.

Merve: That particular way of describing or representing with the frame is unique to Manhattan – because of the way the grid works things can be happening simultaneously.

Tyen: Connecting to the everyday event is also a way of disconnecting from it.

What is the conclusion that you draw from the project.

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Manscripts … Murdered ?

DSC_0124

13 layers at the moment. If I have time I will do more. I need to finish the book completely and print it and put it together now.

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Sequence

The white lines become hidden with the addition of a sheet (acetate with white paper to be hiding the previous sheet and adding with what is printed on it). I don’t know yet how many layers there will be, or the scale of the sheets (probably between A2/ A1). Also I will add events mentioned in the book – already you can see the Haussmannian Manhattan bit.

sequenceams

Here’s the reference with the clouds – “Google’s Earth and Maps have had an update that “virtually eliminates clouds” for most of the world.”

saudi-arabia

Saudi Arabia ^

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Update

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Progress on the drawing with the collapsed frames ^ I am a bit worried about this because there is no logic in how I put them together – only one rule – to find one common element to determine the positions of each frame.

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^ These are some of the pages from the book – the aim is to test the frames within narrative contexts, either fictional or real, public or personal, ordinary or extraordinary, which exist as a reaction to the selectivity of what the frames depict.

 

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‘Fiction and the City’

Inspirational reference in bldgblog – the book Short Stories: London in Two-and-a-Half Dimensions by CJ Lim and Ed Liu

“The short stories of this book’s title are set in different time periods of London, intentionally locating themselves in the liminal territory between fiction and architecture to provoke an engagement between readers and their two-dimensional counterparts occupying the depicted city. The stories are neither illustrated texts nor captioned images; the collages represent a network of spatial relationships, and the text, which splices genre such as science fiction, magical realism and the fairy tale, a thread that links some of the nodes of that network together.”

cjLim88

“The Celestial River”

cjLim104

 

“The Baker’s Garden”

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Clarity (hopefully it will last for more than a day)

Had a really helpful tutorial today (thank youuu) so I want to blog the important bits to remember. I need to work simultaneously on the book – the drawing – and the presentation.

The presentation will cover 4 interests, 3 of which are chapters in the book of clippings and 1 is the drawing (which might be folded in the book if there’s a reason to).

1. EVENT

Is the context

“Shock must be manufactured by the architect, if architecture is to communicate.”

However,

“…the archetype of murder”

archetype:
a very typical example of a certain person or thing.
2. FRAME
Is the graphic technique

Creates extraneous narratives

3. SPACE

Is a fictional Manhattan

The 20th century city

where fictions stories are made – in newspaper, books, film, music, handrawn maps of directions +++ I want to exhaust this! If anyone has ideas they are very welcome!

4. DIAGRAM

Is the transformation, the abstraction, the de/re-construction

“Architectural representation implies a logical reduction of architectural thought to what can be shown, to the exclusion of other concerns.”

 

On another note, I am thinking about what I want to write about HTS and I want to research on things which might get incorporated into my project after Re-Con. For Ryan I want to write about psychogeography and the concept of ordinary and extraordinary events, such as the notion of the derive/ flaneur. For Doreen I was really interested in the lecture she gave the week before LA where she talked about the void/ nothingness/ zero being a mediator between positive and negative, what exists and what doesn’t, and it made me think of the frame how some stories are told and others are omitted. Somehow I see a connection to the concept of memory and amnesia in the selective remembering and forgetting. I used to think of memory (urban, collective etc) to exist on its own but somewhere I read that it works with forgetting. So it’s this idea of coexistence which is of course quite ambiguous at the moment!

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Clippings

snaps

 

I am working on the book of clippings – obviously it is under process. I will have it printed by tomorrow and I am planning to work on the drawing as well later tonight if my brain stops working.

At the moment I am trying to introduce media other than the newspaper which could contain narratives. My favourite is the directions on the napkin because it’s random and informal!

I haven’t thought of a text for presenting yet. The goal is to have as many of these fragments so as not to talk through each one individually but through chapters – which I need to think about carefully.

More points of discussion to come tomorrow!

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Writing

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Inventing stories and finding real ones. Need to search in magazines TODAY! AA files 1 in 1983. And move whatever I have into the book so it starts to look like something solid. I want to think about the presentation also for tomorrow so I am hoping to write a script soon.

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StoryBoard

The presentation on Tuesday will involve two elements – the drawing which un-frames the sequence of the Manscripts and re-frames them within their own context based on the extraneous narratives that are partly invented + a book of clippings which uncovers these narratives, and associates the fragments of times, spaces, stories and events.

Below is a storyboard of the clippings which I want to have for Friday’s tutorial. They are currently organized in two chapters – one is about the event, meaning the murder + one is about the space, meaning the 20th century city, the fictional Manhattan. The order of the pages is more or less correct so that there is a transition from one page to next.

Within these, there are three levels of abstraction – Tschumi’s interpretation of reality + My interpretation of Tschumi (‘s interpretation of reality) + Reality. Sometimes these clash, such as when I use a drawing of the Transcripts to describe a real event. Also references, both Tschumi’s and mine (unsure about these but they will deal with the abstraction of the diagram and perhaps Perec’s idea of event which is about the ordinary), will be integrated along the two chapters such as the events of ’68 in Paris or Eisenstein’s Montage and Architecture.

For Friday: current storyboard realized + updated storyboard for additional narratives for Tuesday (+ Text) + test prints of drawing to choose a graphical language (I plan to finish this over the weekend)

What I need to think about: the architecture conversation at that time (I am researching on articles, exhibitions, books) + critique on the Transcripts + legacies other than la Vilette + the role of the architect + depiction of event in architecture as diagram + how to stage the presentation + what is my conclusion

 

storyboard

 

 

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TEXT

CCF13102013_00008

 

In the course of translating reality into a transcribed event, it seems that certain stories are omitted for others to be narrated. These may be equally extra-ordinary or equally intra-ordinary. The event of one single murder is set within the everyday situations of the 1981 Manhattan, but it is the multiplication of this which creates a situation unusual enough to draw attention.

Within the pages of the book, the empty white space is overwhelming. The non-hierarchical square frames which are sequenced along the pages, cut away and select space, event and movement. On one level their borders cut off the lines that surround them, and on another they focus on a singular act. A “form of consciousness” has an intention, and is tracing the continuity of a single happening, creating a sense of curiosity as to the white space. Dotted lines which guide a direction of movement, do not say who or what is moving, and why.

One square is part of three and one cannot tell a story without the other two. The explosion of levels into space, event, and movement allow for fictional stories to emerge and the intention, the event being followed is only a chapter within a book of relationships between fragments.

KEY :

Important words

“Quoting Charles”

Words to be added – time + context

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Fictional Manhattan + Event through the eye of the observer

Following the tutorial on Friday, the next step was to remove the Manscripts from their frames, so at the moment I am drawing Tschumi’s fictional Manhattan. To do this, I need to also invent a lot of the drawing (it is in plan). It is still in rhino as it takes ages to do. Hopefully I can post a preview later. What I want to show with this drawing, is a wider context of other events happening at the same time, which at the moment are shown in the very abstract dotted lines (that I think are very reductive but I am still using anyway for now).

In the image below, I want to start introducing the position of the observer in the story using the frame as something spatial rather than a graphic tool. I think this is brutal though, I am not even sure if the person does fall from the tower! I think the third story called Tower or Fall, is about the elevator descending… This is supposed to be a photograph taken by a person in the tower.

Photo

However, I think that I don’t need to be focusing on the event that Tschumi depicts. Hypothetically speaking, I think that if I were to replace all the photographs in the book, the relation between the frame of the event and the frames of space and movement would be similar, meaning very ambiguous.

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