Author Archives: Anouk Ahlborn

Unit Book

Anouk, Djordje, Nara

Anouk, Djordje, Nara

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You have 1 new message!

Hi Dip9’ers,

first: Good luck to all the 5th years, one last factory sweat! Go go go!

second: I sent you a .pdf with instructions of how to sumit your images (.jpg or .pdf) to Miruna and myself OR upload to Dropbox. I uploaded the Indesign File of the instructions to the dropbox folder where you can even copy into the structure if that saves you time. Feel free to call or email us if you have questions. (whatsapp messages easily get lost in an ocean of emoticons)

third: double check spelling in your text documents.

and : please remember never to cut but copy the things on the dropbox folder.

Thank you

Dip9 Book image submission

Dip9 Book image submission

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Collective Dip9 Exhibition Design_wips

exhibition wip model

exhibition wip model

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Exhibition Model and Drawings

Check dropbox for drawings @ 1:50

(my autocad’s out of date, so I put Illustrator files in)

Exhibition

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Final WIP

I am working on this image below, a room full of ideas. It would be wrong to assume that I would manage to synthesize the year’s work in one final drawing. Therefore I decided to just play around with the things I have. I have to go to school now to test the website but I ll post an updated version of this image later. Suggestions welcome! Good luck to everyone!

we were never tidy

we were never tidy

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Website Interlinking – done!

Hello, took me a while to export the images for web and update all the links in each htm file but it’s done now. Every button brings you somewhere else, sometimes nowhere. Now back to my unfinished room drawing which I will post soon…

Let's begin again!

Let’s begin again!

Who's the Maker ? - Videos embedded in The Architect's Format

Who’s the Maker ? – Videos embedded in The Architect’s Format

error

error

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Polishing the Website

No more need for drama! Today I am back amongst the living! That annoying big yellow thing in the sky (quoting Oliver) makes my room feel like a sauna but my laptop’s resisting the heat. I tried to find codes to make my panning a little less boring but I couldn’t implement it. I interlinked the pages but I will have to keep working on it tomorrow as well. I also started a final drawing to distract me from the boring html and css coding.

 

150604_Website_WIP

The creation of architectural projects is stuck in a mode of simulation and repetition rather than ideation and experimentation. Although the architect’s tools are as expansive as never before, we are limiting our means to produce objects which are, if at all, just good enough and instantly obsolete. Furthermore, the world of electronic informational media involves all of us at once and no detachment is possible. Content is irrelevant and it is time to look at formats as framing devices in the production of knowledge, architecture and identity.

Format is essential to creating the little order which protects us from chaos. In the projection from ideas to drawings and translation into buildings, architects combine single impressions into an imaginative whole. It is a subjective process and objective product. Every step in their thinking consists in understanding the relations between disparate narratives and objects by taking them out of and deconstructing and reconstructing new contexts. This process constantly challenges the notion of originality in order to create new myths. But more importantly, the architect is constantly altering between ways of seeing and ways of arranging the cultural and physical world. He shapes his own identity through his relation to the objects by formatting them in a constant negotiation between opening up or framing them as content. The architect can now misuse the techniques of a linear narration and dualistic oppositions in order to exceed the ontological, epistemological and methodological frameworks imposed by history in favour of his own, more intuitive, fictional truths. He is reading and assembling figures on and as ground, presenting a sequence of events within a vertical plane and a constellation of images on a horizontal plane. He is creating a living reciprocity between the act of knowing and the object of knowledge, which approximates the message and the medium.

Format Factory is therefore seen as a project which could stand for an epistemic model which allows us to dissolve obsessive frameworks, bridge the abyss of non-meaning and face reality as it may be for youth today. The process of subjectivation is fundamental for more autonomous architecture practices which will need to understand material and immaterial labour and an architecture beside itself in the age of allatonceness.

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1400 words – done!

150604_finalwords

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Typing up and rewriting

I was never good at writing but I think at least I have a better idea of what I am trying to describe now. My problem is that I am surrounded by notes covering my bedroom walls which I need to edit down into a coherent thesis. I am trying to shake the devil off because I really want this year to end well. I learned so much.

This stuff sounds a little radical so please just don’t read it. (jeez, I really had the nerve to write this)

The creation of architectural projects is stuck in a mode of repetition rather than ideation and experimentation. Although the architect’s tools are as expansive as never before, we are limiting our means to produce objects which are, if at all, just good enough and instantly obsolete. Furthermore, the world of electronic informational media involves all of us at once and no detachment is possible. Content is irrelevant and it is time to look at formats (as opposed to enclosure) as framing devices in the production of knowledge, architecture and identity.

In the projection from ideas to drawings to buildings, architects combine single impressions into an imaginative whole. Every step in their thinking consists in understanding the relations between disparate narratives and forms by taking them out of and deconstructing and reconstructing new contexts. This process constantly challenges the notion of originality in order to create new myths. But more importantly, the architect is constantly altering between ways of seeing and ways of arranging the cultural and physical world. He redefines his own identity through his relation to the objects through formatting them in a constant negotiation between opening up or framing them as content.  He is assembling figures on or as ground, presenting a sequence of events or a constellation of images.

Format begins when we create a little order to protect us from chaos. It is therefore a subjective process and objective product. Identity sits…where the edges begin to blur.

The notion of format differs from the notion of enclosure in that it offers the possibility of an active interplay between elements rather than constraining them.

Architecture needs to tell contemporary time.

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Forever WIP

I had stopped listening to music all year. I just turned it back on. With babysteps to the jury…1…2…3…

the last generation to die, heh!?

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Ideas

150514_MyMeaningVoid_square1 150514_MyMeaningVoid_square2

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Nesting in Conversation

Hello, I finished thinking about the final presentation and I am clearer what I want to do. I will present everything with the website. There will be an introduction with the black screen when you can only hear the sound of stone cutting. The presentation then is divided into two or three main parts. In the first part, I present the different methods of formatting, regardless of their content and explain how the function of the frame. (In other words, I am explaining ways of seeing.*) In the second part, my double (which I talk to via google handout) takes over the screen and explains the role of content being format and may lay out how one could read a wandering from the quarry to the tables, situating six worlds in parallel: 1. the making of the project in school/office; 2. the making of the building as explored by modernists and an absurd clashing between form and format; 3. the making of media as in the gallery/news. At the end, all we see is a zigzaging between different frames which don’t really make sense or reveal any meaning. However, my argument is based on two main claims: Considering “the medium is the message” (McLuhan), the arrangement of frames is the format which negotiates the relationship between content and context, always working on a psychological mechanism of belonging or not belonging. As I am trying to define my subjective point of view, I propose different fragmented views on the relationship between objects which are presented to the audience nested on the screen. Since some objects stand out through their size from the screen, which presents everything as equal at first, they form the figure which removes itself from the ground on which they sit. The relationship is doubled, as revealed through my twin on google hangout. (ok I know this sounds confusing to some out there) So what is this, where is the meaning? The thing is, I am playing a Duchampian game. As the audience looks at the content of the screen, they are being recorded and live streamed. The screen is considered the door from Etant donnés, while the assemblage behind the door is but my cabinet of curiosities (a bunch of formatted things captured through my eyes). The view I am imposing is not a totalitarian one but remains fragmented through all stages. It is at the end, when the contents of the screen “granulate” into a void, that the only format which is left is the presentation screen. Turns out that it is just a large glass within which content as format and content as meaning coexist, yet never touch. Meaning lies in the eyes of the beholder and is always in transit. Only the livestream of the audience staring at a blank screen remains. The circle is closed and I leave the room. Now, there is a glitch which gives it away. One of the images didn’t change back to its original state as I switch from google hangout back to the presentation in the lecture room and reveals the duchampian setup: I nested the Large Glass, in which the physical and imagined realities never meet, inside the Etant donnés. Alright, I admit it is quite poetic and ambitious…I need to get my two acts together, rewrite the thesis to be explained, as Berger does it, exactly when I point from one thing to another. I need help with that -> Orchestration & Clarification!

Nesting Myself in Conversation, Final Jury

Nesting Myself in Conversation, Final Jury

*thanks John Berger, you saved me.

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thesis – first draft _wip

Architecture has shifted its role from producing buildings to embarking on a cultural enterprise. According to this, architects are facing the challenge to design architectural frameworks which will contain and through which they can construct their identities. As the relationship between object and subject is redefined, different forms of arrangement are put into question and create the context of the project.

The shift from the analogue to the digital formats has made knowledge sources omnipresent and immediate and encouraged an open source approach to learning. Although new formats of production have enabled architects to translate their design intention and sensibilities into a construction language, the outcome has been constrained to a formal language and limited the architects creative role to a subdivision of tasks within an office culture. The process of formatting and reformatting helps the architect extract paradigms resulting from their insight development during design activities. This process shouldn’t be at the expense of the architects but help to redefine the relationship to the clients. The delivery and formatting of content is as important as content itself.

By helping to turn intangible ideas tangible projections, formats are used to mediate between cultural and material grounds. In response to epistemological, ontological and methodological questions, the very action of arranging, ordering and selecting content reflects our preferences and values and shapes our cultural dialogue. While the content can be fixed and formatted, meaning is always in transit. The only meaning inherent to format is that the medium is the message. The way in which content is formatted and the materiality of that format create a psychological and physical environment which effects the way in which the message is perceived. Hence formats which nest other formats often display a layering of material which suggest a certain depth to content. The finite format suggests an infinite arrangement of content.

The reorganisation of the practice itself invokes format as a tool to reconceptualize the portfolio, the portable container of unbuilt projects which the student is arguing for. In this project the dissimilar objects relate to one another to form a larger whole, which, upon interaction between the different constituent parts, reveal a pattern of movement. Formats could now be used as a didactic tool to understand spatial and temporal relations and effects. In order to perform the orchestration of the objects, the presentation and speech need to be formatted to a limited amount of time.150511_image2

 

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The tutorial with Manoli was great. We both knew that the little abstract up there wasn’t very explicit so I will rewrite it for next week. He told me I should read Derrida on The truth of painting and look at the Large Glass and Étant donnés by Marcel Duchamp. I felt understood in my intention. It will be tricky to achieve the same effects in my projects as master Duchamp but since I ve wasted about two quarters of the year ignoring graphics and neglected my drawing skills in favour of refining my language and way of reasoning about format, content and context, I may as well try. As a conceptual mechanism, I hope I can create some sort of delay effect woven into my work on the jury titled “The construction of the obstruction of meaning”; so formatting the presentation is still one of my main priorities. Its either going to be a complete failure or a partial success but hey, nothing is ever perfect or true.

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Unfinished business

 

 

 

 

 

 

150507_wip

Alright…I didn’t work on unit yesterday because I did some volunteering and AV again. Natasha, you officially allowed to kick me tomorrow. Today I’ll let my many thoughts on presentation and project structure rest and perhaps finish some drawings which were left unfinished…(I am off to AV again but I’ll update tonight)

 

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A leap of mind

Do we really learn from our mistakes? Do we really take feedback from our critics? As open as one might think one is, one can never be sure how much advice one can understand. For years, I have been presenting my work, half sketchy, half sophisticated, struggling to find the right words. In hindsight it all seemed much easier than it was. This year I am aware that not even the project structure can give me any control over my words.  In previous years, just making new things pushed the project forward but didn’t necessarily clarify my intention. This weekend I felt that in order to give the big picture I needed to get an objective understanding of my own logic by indulging into selected readings. Since I am always too inarticulate to even utter the meaning of the theories I read, nobody will ever really know if I actually did spent the first weekend after jury in term 3 with books and ipad. Though it is exactly this inarticulateness of mine which pushed me to get an understanding of my own inner workings, my logic, my knowledge. So… shall I write about it? I think that will just be a waste of time since my notes feel much better scattered on little papers around me. I ve been shifting them around in order to find a way of organising my chess board in accordance with a Trojan Horse (metaphorically speaking). So far these moves haven’t found any form of representation other than text on blank paper speaking for the visions in my head but I am confident that they will help me draw a new index drawing. A strange feeling of lightness indicates that I was a little successful. My priorities are clear, the sequence of steps not so much. See you tomorrow, perhaps…

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Leaps or Heaps

Hi, I am on the way to record a lecture in school tonight. I am a little frustrated that I haven’t been able to formulate my intention yet. Although I feel that I understand the my past process of production, the relationship between my ideas and objects, I know that it hasn’t lead me to a rounded-off conclusion. (I mean something close to a conclusion) The past days I have reconsidered the notes from the two last juries. I got excited about many ideas but I need to internalize them somehow and see which one’s are worth exploring. So tonight I will try to define both a visual material and ideological answer to my questions through storyboarding once again. I ll try to post before the sun sets.

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Architects’ Format is ready to be changed into my own design!

I guess I should still edit the buttons…but tonight it’s bedtime!

The Architects' Format_update

The Architects’ Format_update

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White Book Draft Submission is printed and ready for comments

White Book Draft Submission_Printed Versions

White Book Draft Submission_Printed Versions

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Customized Scaleruler, Marble on 3Dprint

3dprinted scaleruler

3dprinted scaleruler

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Website is clickable! Whoop

I refined the html code and css, which I showed in the last jury, to be identical to the Architect’s Journal. Today I will replace the text with the headlines of my project and fill in the blue rectangles with the content of my project. By ripping of the open source html and css format off the AJ, I don’t want to point towards the content of the page (that is my project) but raise the question: “In how far are you allowed to appropriate or steal formats if they are openly accessible?” The same way in which one may copy the stucture of a book, can one copy the structure of a website? I saw Miruna had a similar idea but hopefully a different motivation. I’ll still continue reformatting my project into an online magazine. I’ll update later.

White Book Layout in final stage before draft submission

White Book Layout in final stage before draft submission

website format ripped off AJ, content needs replacing_ interactive html

website format ripped off AJ, content needs replacing

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Scale ruler

The scale ruler is being printed. The first version was overdesigned and too thin so I updated it to slot a laser cutted or printed card ruler into the plastic frame…let’s pray

scale ruler 1:1

scale ruler 1:1

test print of scale ruler

test print of scale ruler

file is 3d printing

file is 3d printing

the scales of my project

the scales of my project

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White Book Draft Submission

Hello Term 3,

I’ve been trying hard not to bite my tongue off and worked on the things I really wanted to get out of my way over the Easter break: The White Book (now including two sections: 1.Format Factory 2. Mnemosyne Atlas of Images), the Structure of the Website (I copied the open-source html for layout only from the Architect’s Journal) and a session of photographing models in the photostudio. Besides working on the content for the analogue and digital magazine, design development and white book,  I want to take a few hours to double check the text and the images of the book so that I can print the draft submission. Hopefully I will be able to print my personal scale ruler in time before the jury.

White Book Draft Submission

White Book Draft Submission

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Architect’s Format – Architecture News from Format Factory

LOGO

Architect’s Format – Architecture News from Format Factory

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Wipping

150325_magazinewip

MAGAZINE (based on AJ Student Starchitects) – WIP

150325_reformattingplans

REFORMATTING PLANS

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What’s your technique?

I just have to go for it…unlearn and relearn…

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A New Gallery

Ok, thank you. Today I had a better day and have produced minimal but high quality work. I did a tumble and here are the proportions on which to construct the plan of the new gallery.

Untitled - Rhinoceros (Educational) - [Top] to become 150320_NewGallery_Proportions plan driven by the proportions of a digital viewport screenshot at 72 pixels/inch on widescreen 1920x1080 pixels rescaled to fit scale 1:250 @A2 (actual dimensions: 50 meters x 93, 17275 meters)

Untitled – Rhinoceros (Educational) – [Top] to become 150320_NewGallery_Proportions
plan driven by the proportions of a digital viewport screenshot at 72 pixels/inch on widescreen 1920×1080 pixels
rescaled to fit scale 1:250 @A2 (actual dimensions: 50 meters x 93, 17275 meters)

UNFIT FOR THE BLOG ATM.

 

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New Ideas

At the previews a lot of different doors opened but I still don’t know which direction I should take. I don’t even know if anybody is reading this post so as long as they’re not on paper/screen, I don’t really feel like speaking about them. Brett’s comment, that I should foreground everything based on format, made the project slightly more tangible for a moment. Although  the panel was great and the discussion was rich, the constraint of placing form after format seems what has been limiting the amount and speed of production until now. We’re at the end of term 2 and I’ve felt pretty unable to design anything but an argument so far. I think it’s time for me to do what I feel is right, otherwise this project will never happen. So now, what I feel is right is to encase the White Cube. Why and How? First, I ALSO want a building, space! Second, the gallery is dead. With the loss of meaning, it suffered a loss of function. Hence its only future role can be that of a freeport which stores other art or building formats. Since I am not allowed to design form, I will let Mies do the job. The Convention Hall will encase the White Cube. The idea is sketched below, the rest will follow after AV recording.

150319_encasingtheWhiteCube

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Presentation Update_2

(1/2 way through first edit) Can you see the pattern of the text changing?

150310_blog

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Presentation_Update

 

I think I need more than one tutorial to sort me out. I lost my courage. Please make tomorrow a better day!

150309_presentationsheets_update

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Don’t repeat, improve!

IMG_9118---Copy

IMG_9098---Copy

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Stick to time…

 

Yesterday’s layout looks like a lot of work done but I haven’t been able to work much on my text yet. I have tons of unfinished drawings which I want to finish. With or without them, the thesis will change. NEED TO MOVE! I can’t bite on my teeth no more…

150309_presentationsheets

 

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Urban Format

For the next presentation, I would like to use a little ipod mini to let you listen to my discussion with the construcion workers who were cutting stone infront of my window until 3 am, ironically while I was projecting myself into the quarry. Here the architecture student is caught between his speculative ideas of a distant site and the shrill realities of  living in London. Over Easter I will fine tune it, introduce fades, remove chunks of my voice but this should be enough for now. Any suggestions?

150307_newpavement 150307_newpavementtile

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Storyboarding

Since I don’t want to include the little thumbnail sketches in my presentation, I found another way of including the storyboarding as a design tool in my documents.

Mies Sketching, 1960s © hedrich-blessing courtesy chicago historical society (source: www.designboom.com)

Mies Sketching, 1960s
© hedrich-blessing
courtesy chicago historical society (source: www.designboom.com)

Anouk Storyboarding

Anouk Storyboarding

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Updates_3

 

I’ve been trying to rework some of the images which I didn’t feel comfortable with. I handed in the CNC file and finished casting the plaster for my superheavy model which will be placed on the map below to jump formats from site to site, from 1:25000 to 1:2500. This weekend, I will set up some missing photographs, draw the quarry plan, etc etc… I have a huge list of things to do in my head and it frustrates me that I don’t work as fast as they weigh on my mind.

(trying to work that ugly duckling)

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Updates_2

150305_framedXerox_update

150305_gallerycollage_Plinth_update

 

 

150305_WhiteCubeLeaflet

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Updates_1

from the Strip to the Square

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Casting

I’ve been making the boxes (400mm x 400mmx50mm) and casting the plaster for the CNC model at 1:2500. The model will be place on at map which will be 1:25000. I will post more later.

IMG_4156.JPG

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Model Update

WIP – should this become a bluefoam model?!

Carrara x Estremoz

Carrara x EstremozXtreme

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Site Visit_day 5

WIP – marked my territory…

One of many format factories...

One of many format factories…

IMG_2895, Date taken: 03.09.2013

IMG_2895, Date taken: 03.09.2013

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Site Visit_day 3

WIP

Selecting the Block

Anouk from the Block

IMG_2901, Date taken: 03.09.2013

IMG_2901, Date taken: 03.09.2013

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Site Visit_day 3

WIP – could add some more things but moving on…

Quarrying on both sides of the road

Quarrying on both sides of the road

real site, google streetview

real site, google streetview

ps. I know my next holiday destination – who’s in?!

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Site Visit_day 4

WIP – could need adapting better to the background image. Let’s see after my first print.

Marble Church Polishing Station

Marble Church Polishing Station

IMG_2980, Date taken: 03.09.2013

IMG_2980, Date taken: 03.09.2013

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Site Visit_day 2

WIP – could need a little more fine tuning. Right now, there’s a bit too much dust but I want to move on and edit once I’ve seen it printed.

Square Valley

Square Valley

real site, google streetview

real site, google streetview

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Site Visit_day 1

Here is one of the series of snapshots I took during my site visit last week.

site on site

site on site

real site, google streetview

real site, google streetview

 

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Flooring

I am trying to get some more things done before the lecture tonight – wip. I appropriated Mies’s tiling pattern of the Barcelona Pavilion and use some polished concrete plates of the White Cube Bermondsey. The challenge is to make that ugly map change into format factory. Right now I am just filling in randomly with no particular arrangement of the pieces.

wip, flooring

wip, flooring

source: https://chrisnsue.wordpress.com/category/architecture/page/3/

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A little erasure…

A little erasure for the plinth…

In this collage I decided to keep the Carrara quarries as a location. After a bit of fiddling around I managed to set up the view of my rhino file and satellite bird’s eye view to resemble that of the aerial view used by Mies for his IIT Campus or Convention Hall. But rather than designing into the windy streets of the existing context, I went back to the technique of erasure. In hindsight this reminds me of my third year project in which I revealed the lost river Walbrook in the City of London. However that project let me work into the existing urban fabric by removing, demolishing and keeping buildings. This time I will not engage in a historical analysis of the site but it is the raised and lowered ground that I am interested in. I removed 1 km of ground from the Marina di Carrara to my quarry, starting at sea level and ending with a 400 m high wall, which seems to be the average height of NY scryscrapers.

150222_CONVETION-HALL 150222_CarraraMiesView_BW

 

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Mapping_WIP

 

 

 

 

 

 

 

150219_mappingJust lost 2 hours of work while saving crashed. I will post later…

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My week in Italy!

I worked a bit on this map, 3d modeled some fragments of the project which I prefer not to screenshot and am sketching out a drawing on A1-. Just keep sketching, the drawing needs to be come to life!

Carrara Quarry

Carrara Quarry

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Storyboard_revised

I translated my storyboard laid out on a grid into a spiral. Initially I just played around with it until I realized that I was subconsciously arranging something like a game of goose. Now I can tell the story either in a linear way working my way toward the end of year tables or I can make cross-associations as you may be able to see in the lower diagram. After the next tutorial this needs to become a drawing!

Storyboard in January

Storyboard in January

Storyboard in February

Storyboard in February

Storyboard in February_explained

Storyboard in February_explained

Storyboard in February_explained

Storyboard in February_explained

Storyboard in February_explained

Storyboard in February_explained

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Fortitudo mea in rota!

My plan is to draw the section based on the plans of the many places which will make up my factory: the architect’s office, marble quarries, paper factory, gallery and jury space. For the site, the marble block or polished plinth, to extend its terrain to be looked at in section, I started drawing the topographic lines of these breathtaking marble quarries near Torano in Italy.

Quarries near Torano, Province of Massa and Carrara, Italy

Quarries near Torano, Province of Massa and Carrara, Italy

Quarries near Torano, Province of Massa and Carrara, Italy

Quarries near Torano, Province of Massa and Carrara, Italy

Edward Burtynsky's Carrara Marble Quarries # 24 & 25 (Diptych), Carrara, Italy, 1993

Edward Burtynsky’s Carrara Marble Quarries # 24 & 25 (Diptych), Carrara, Italy, 1993

I also started drawing Mies Van der Rohe’s unbuilt Convention Hall and Gene Summers’ McCormick Place, 1958. Hence Gene Summers, Mies’ “right hand man”, built the largest convention centre in North America. TBC

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Science

To Oli, an extract of Only Lovers Left Alive by Jim Jarmusch (2013):

Eve: “What about all your blessed scientists?”

Adam: “Scientists … well look at what they’ve done to them. Pythagorus? Slaughtered. Galileo? Imprisoned. Copernicus? Ridiculed. Poor old Newton pushed into secrecy and alchemy. Tesla? Destroyed and his beautiful possibilities completely ignored. And they’re still bitching about Darwin … still. So much for the scientists … And now they’ve succeeded in contaminating their own ****ing blood, nevermind their water.”

Eve: “Yeah, well, if we’re going to have a litany of all the zombie atrocities of history, we’ll be here till the sun comes up.”

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Factory or Gallery

I started drawing, started something different and dumped it all. So I made a model of a typical polished concrete gallery floor which I then filled with little bluefoam cubes which just arrived. In top view the surface of the plinth is as polished as the concrete floor on which it sits in its raw and refined state. Now that the site is somehow defined, I want to turn more towards the factory and less the display of things.

gallery or factory?

gallery or factory?

gallery or factory?

gallery or factory?

There are a number of things on my list to do or consider after the jury:

– make storyboard presentable and use it as a “navigational tool”

– draw presentation formats (juries)

– define the architectural context to construct

– rethink factory processes

– search Sotheby’s (our neighbours)

 

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Jury Sprint

Good morning,

the past days I’ve been busy carving bluefoam, recording my tutorial and editing the footage. The Youtube tutorial and Recon Videos are almost done (had to install trial version of Adobe CC because mine wasn’t working grrr). I’ve touched up some images, rephotoshoped myself into the quarry and I am now preparing the presentation slides (the black edge will disappear), prints and White Book. After printing, I should be able to render my videos simultaneously. There are still a lot of things to fix so just forward.

Presentation Slides

Presentation Slides

See you tomorrow.

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Polished Site

Good evening,

today I fully recovered and one of my online orders arrived so I could start making the polished version of the marble plinth. I tried a letter transfer on a temporary name plate. It’s not the fastest process but it does the job for now. Tomorrow my spray paints should arrive and I hope to make the youtube tutorial for the fake cut marble block (the raw site) before it gets dark outside. There is tons of work to complete. Tonight I can chose between reworking photographs and images on photoshop and illustrator, compressing and finishing the Recon Video or reshuffling the presentation slides/prints and thesis/text.

The plinth

NAME SURNAME – Format, 2015 – Paper, Card – 120 x 120 x 60 mm

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Youtube Tutorial Script

Hi all, this is my script for the youtube tutorial I will be making. I read it out loud and timed myself to three minutes, which I think is too long. Please let me know which parts I should skip. Thank you :)

Hi, my name’s Anouk and today I am going to show you how to make a fake cut marble block look like from the Carrara marble quarries in Tuscany, Italy. Fake rock is an imitation of real rock used in architectural modelmaking, theatrical scenery, film sets, decorative arts or even science projects. It is lightweight and therefore easy to transport. Now, there are many ways in which one could fake marble but this is the quickest technique. So – let’s get started!
The tools you need for making the fake marble block are: bluefoam, glue, a hammer, a chisel, a wirebrush, spraypaint, acrylic paint and paint brushes. The bluefoam is essentially a closed-cell extruded form of polystyrene that is commonly known by the trade name of “Styrofoam”. I use three blocks of 200 x 200 mm x 75 in order to create a perfect cube. Because glues, especially superglues, cannot adhere to foam, it will actually dissolve it. Therefore I use Uhu por , a special expanded polystyrene glue, for gluing the sides of my model together. I apply one layer of glue on the two sides which I then press, pull apart and press back together again. While waiting for the glue to work, I am getting the steel claw hammer. First, I hammer the 6 sides of the cube to take irregular form. I turn the tool around and use the claw to hammer indentations. Second, I place the chisel on the edge of the bluefoam block at a horizontal angle in order to carve out thin strips. These will later imitate the marks left on the freshly cut marble by the chain saw machines. This will take some time so I will fast forward…Once the carving is done, the block still looks quite amateurish. In order to refine the texture I use a wire brush to brush along the grain of the stone, here the direction of the cut. Make sure you vacuum away the small bits of blue foam which will fall off. Now the sculpting process is done and we can begin the fun part: painting! As with the glue, you should be careful about the choice of paint as it may melt the blue foam. I already spray painted my block with two layers of special spray paint from my local DIY shop outside. Please make sure that you read the instructions written on the back of the spray can, spray in the direction of the wind and don’t breathe in the toxic vapours. Back inside, you can use white and grey acrylic paint to fill in the indentations which the spray paint couldn’t cover. Personally, I like to add different grey tones into the indentations in order to improve the effect of depth of the carving. Once you are done, let the block dry at room temperature and you should soon be ready to use it for your own projects!
Ok – well, that’s how you make a fake unpolished marble block look like cut and imported from the Carrara quarries. It was a pleasure to share my tricks with you today so- thank you for your attention. My name is Anouk and if you like this tutorial, please don’t forget to subscribe.

youtube tutorial wip

youtube tutorial wip

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White Book & Presentation Captions

Good evening,

Still sneezing, I decided not to leave the house and take the day to work on the presentation sheets and White Book. I want to write the captions for the format in technical terms but structured according to painting titles (title, artist, (artist date), date made, medium and support, dimensions, inscription summary, acquisition credit, etc.). As I looked at the description of the Arnolfini Portrait and advert of Ryman’s Post-it Note appeared. A side question: What is it that you see in the mirror?

High art vs. Post-it Note

High art vs. Post-it Note

That’s it. Caption: pack of 200 removable self-stick notes, Post-it ®, 3M, recyclable paper, 70 gsm, 100 x 100 mm, Canary Yellow, Matte Finish

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Making Format

I am currently gathering all the materials which I had lying around at home and went to buy and ordered some more. I know that there is a lot to do until the jury on Friday so I am trying to multitask with little visible results…

materials for making format

materials for making format

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Plinth Base

(image 1 source: http://ajm029.blogs.bucknell.edu/2012/01/31/www-acounterexampleexists-com/)

(image 2 source: www.damienhirst.com)

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Totems: Positions & Formats

During the Unit trip to Berlin and Basel, I brought a red felt dot on which I stood whenever I needed to find position towards something, both physical or intellectual. As an active tool, I used masking tape in order to unformat certain objects or spaces. I looked for the notions of shape & gestalt, dimensions & scale, materiality and imagined (re-)placing, moving, composing, copying, fitting and cropping. I finally selected the following four photographs in David Chipperfield’s Neues Museum (Museum Island Berlin, 1997-2009) and Peter Eisenman’s Holocaust Memorial (Friedrichstadt, Berlin, 2004). Here I am finding position toward the contentless format of the plinth and I am challenging a reference by drawing the perimeter of an absent concrete slab. The images are now ready to find their place on the wall of totems!

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Raw Materials for Construction of the Site

I am currently getting the raw materials for the construction of my site! I thought that I, Anouk Ahlborn, should check the quality of marble in a quarry in Colorado. One of the workers shot a picture of me in which I looked much like Dominique Francon in a granite quarry in Connecticut.

marble quarry, Colorado

marble quarry, Colorado

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Storyboard_WIP2

What is...?

What is…?

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150120_image2

150120_image3

150120_image4     150120_image5

150120_image6

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Storyboard_WIP

I am currently working on the realization of my storyboard and model tests. I drew a new sheet of questions which I will try to respond to in the project and will upload the full storyboard once I am at home. The first scene is  filmed and photographed and I hope to discuss the materials I used tomorrow. The little fake marble blocks are testing the textures of marble if cut in the quarry or polished for a plinth.

 

 

Here’s the scene which inspired me while chisling and painting the bluefoam:

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Maxmachine

My first shot at using 3ds Max. I want to animate a machine which emerges out of nothing, spits out dots and draws its own ground. A little special: the camera motion shows us that the machine isn’t a circle but an ellipse…(may sound familiar to some of you) ;) For now, I call it the ‘Big Spit’ but it shall soon turn into something like a volcano shaped concrete mixer. I’ve also been working on my White Book but left in work in process…

The Big Spit

The Big Spit

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Animated Mnemosyne

CONTENT

Animation of the Mnemosyne Atlas, A, B, C + 79 panels

Animation of the Mnemosyne Atlas, A, B, C + 79 panels

FORMAT

Animated Palimpsest of the Mnemosyne Atlas

Animated Palimpsest of the Mnemosyne Atlas

I thought that these two gifs could sum up the madness of the Mnemosyne Atlas as a project which would have always remained stuck in progress. Enjoy!

 

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A New Year’s thesis

During the break, I have read through the pile of old notes, a swamp of information which sometimes repeats itself. Unable to synthesize everything, I decided to write down a thesis from memory, trusting it to remember the most essential bits. Having gained some distance I can see that my arguments just add up to about five steps; in my mind it had been many more. When I realized that I wasn’t moving on with my book “The Future of the Image” by J. Ranciere, I moved on to reworking the White Book. There were a few gaps to be filled for me to be a little more satisfied with Term 1, so I squeezed out a few more drawings. After having rethought the thesis, I am currently reformatting the White Book, changing lineweights, etc. If I get the time today, I will play around with my video, which I cut and timed, and test out a couple of background images or footage replacing the green screen. The bad news are that, although I have thought about it conceptually, I still haven’t been able to design a machine…

150112_thesis

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What I mean when I talk about format.

What I mean when I talk about format, from the point of view of architecture.

I wanted to sort out my thesis a little. After model making later today, I will also try to think about my presentation and book chapter titles before Friday’s Interim Jury.

In order to design the Format Factory, I need to distinguish between different types of format and the spatial norms they entail.

  1. S – Format:

The small format, an interface and/or device, which we can read messages on and communicate messages with. It is both the instrument of advice (a plane consulted to access knowledge) information (an arrangement or sequence of facts). Thus the role of format can be defined from the point of view of content as well as from the point of view of format.

In Format Factory, the aim is to analyse the latter before the former, format before content, in order to define their degrees of difference and avoid equation. The interface is designed in correlation with the device which provides the technical process by which a certain type of content can be displayed. Please note, that this instrument has not yet been emphasized on in my instruction manual for the production of format. In short, the production process and production machine have not yet been designed.

As a starting point, I chose to think about the book, electronically reformatted, and the billboard, its blown up complice. Since format can reformat, physical properties can be readjusted in scale and proportion, a physical format can contain an electronic format. The incorporation of the one in the other, lets us read through a layering of bound and wired up material and structure: paper and ink; screen and electronically charged particles (which would require a technical study of the working principles of electroluminescence).

In Format Factory, there is a glitch in the system of communication and blurrs the content on the screen. Format is thus physically stripped of content. Format is regarded as an auxiliary prop* which serves the formation of our identity by providing the space to mediate messages (*For now, I use the word prop due to the common use of format templates and standards.). Subformats may be arranged in spatial formats, where they are accompanied by mobile elements, such as pieces of furniture, to enter to social domain.

  1. M – Format

The attribution of subformats to a place, such as the location on a shelf inside the British Library, is defined by the overall arrangement and organisation of programs through so-called functional architectural elements within a building. Format accomplishes its task of providing people with a sense of orientation once the black canvas, the blank page, the green screen or the void has been arranged in a compositional and formal language which is mutually understood. However reasoning (in relation to flat formats) and performing (in relation to three-dimensional formats) are two different types of activities. Both actions entail different consequences and thus shift the meaning of format.

Although it is questionable whether the relation of things placed in space can be read as a regulatory device for social interaction due to format or content at all, one cannot deny the fact that space is rendered through delineation. One may say that our spaces are carefully delineated, by accident or by will, for us to find our position. The organisation of space may thus be compared to a physical manifestation of our identity, individual or collective. In case of union the material and immaterial boundaries are mutually respected, in case of disagreement they may be subverted. As an initial understanding, the arrangement and spacing is dependent on function and use but can equally be a mirror of identity in space. In a highly speculative and manipulative context, the space is formatted to accomodate function to information.

In Format Factory, internal arrangement is unformatted. There are no internal walls and no hierarchy of movable elements such as furniture or machines, which people can interact around. The internal walls which end up hiding the formats it immures shouldn’t conceil or compartmentalize a potential relation to a larger set of formats. The furniture or machines currently repeat all over the factory floor. The drifter can thus navigate or enter between the elements but will not be able to identify an ultimate position. Although he can see each single element, the experience of a sequence of different places is undone. Like a mirage, the distance is dissolving infront of him. This is an initial attempt to provide directionality within the unoriented larger format.

  1. L – The Building

Since format provides us with a set of dimensional norms, the dissolving of traditional architectural formats (currently worked out in the building’s plan) may be achieved by blowing up the proportions and scales in relation to the human body (enabled by the powers of ten). The buildings perimeter may be altered to challenge the internal subdivision of space. The elliptical perimeter can open up to allow or deny access, to protect from or exposing the interior to exterior conditions. Pushed to an extreme, the plan may be enlarged up to the point that the perimeter disappears on the paper surface. After countless efforts in trying to find the edge of the building, the drifer gets either exhausted or lost. His focus shifts from the floor plan to the ceiling plan, where format is experienced in its purest form: a grey London sky cut out of white paper surface.

The traditional figure/groud relationship becomes inverted into a figure/sky relationship. It is a short moment of rest in which format is liberated from both form and content and defines itself merely through shape rendered identifiable by color. There are no Saints and Angels painted to suggest a subordination to content, no figures rendered to convey a sense of depth. This is the point at which I find myself in the crater of a volcano clearly distinguishing between the works of the land artist James Turrell and the work of Nancy Holt, Richard Fleischner and Mary Miss.

  1. XL – Questions:

Over Christmas, I intend to rethink my initial arguments about the Atlas of Images and The History of the Image of the Future. To respond to the notion of the factory, I want to think about my product and production cycle as an object or service by relating to Amazon, Ebay and other service-orientated industries and the material and immaterial things which they store, market and distribute. To respond to the notion of identity, I will dive into the zone of publishing and self-publishing as an instrument of formatting ideas. If the factory worker of the 19th century identified with or against the object he produced, does the man of the future identify with the idea, alledgedly the product of the future?

 

Note: Please comment on my argument/question: The more I think about format the more I come to the conclusion that, although relating to past architecture and life, I cannot see the word “format” used before modernism. I come to the conclusion that the word may be an invention of the recent past. Do you think that format became part of the architectural vocabulary through an increased engagement with a process of digitization or have I just been ignorant?

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Format Factory_Second Attempt

I forgot to upload the rest of last weeks drawings. Here they are:

Plan of the Reading Room of the Warburg House, After The Plan by Gerhard Langmaack, Hamburg, 1925/26

Plan of the Reading Room of the Warburg House, After The Plan by Gerhard Langmaack, Hamburg, 1925/26

 

An approximate drawing of the Warburg Haus Library Reading Room

An approximate drawing of the Warburg Haus Library Reading Room

Format Factory Plan, v02

Format Factory Plan, v02

 

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Format Factory_square vs ellipse

The square arrangement of the factory, which set the department of invention of format at its heart, allowed for a circular movement around the other departments. After it was pointed out to me, I realized that this format indeed resembles more a library setup and encourages an exploration rather than production of the history of format.

The new plan of Format Factory will be based on an elliptical perimeter which I intend to intersect with tangents to create openings. I tried to think of the interior as a three-dimensional space, perhaps similar to the Fiat Lingotto Factory in Turin. Rather than radiating from a center, the production process of format is linear. It follows a spiral into the center where there is a possibility of being carried back outside again or the other way around.

Since I don’t know which processes, tools and human labour are required for the production of format I thought about borrowing from a double helix structure to create the production flow with some bridges. I will keep that idea in mind whilst playing around with openings and trying to accomodate the programs which I already embraced.

Format Factory Plan02

Format Factory Plan02

As I am still working on my thesis and architectural designs my drawings remain quite simple. However I hope that in a couple of weeks, I will be able to work more on my graphics in order to communicate other aspects of the project.

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Format Factory_Playing Ping Pong with an Architect

I really enjoyed last weeks tutorial. Although I once again finding myself in a situation of trial and error, I feel that I internalize the conclusions drawn. Shortly after drawing my square plans, Cedric Price’s Fun Palace popped up as a reference which I could use to question my own direction/intention. If the Factory of Culture was a scaffolding structure designed to produce event spaces and promote an exchange of content, what would Format Factory be? Which format did he employ in 1960? How did the project not only shape his own but also a cultural identity? Here is my image which gave that food for thought:

food for thought: Cedric Price's Fun Format

food for thought: Cedric Price’s Fun Format

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Format Factory_testing strategies

After reading Typical Plan by Rem Koolhaas and A-typical Plan edited by Jeannette Kuo , I started drawing the format factory as a physical structure. So far, I had been looking at the 2d analogue and digital formats, which use the flat/curved screen as an interface, and 3d formats, which are composed of subformats, to create more specific spaces of production and, perhaps, identity. The Format Factory reconsiders, redefines and produces formats and opens a dialogue between the “man with nothing to say” and the “man with no skill to say”. Considering the ideas of Archizoom, I wanted to use the potentially endless grid and impose intersecting walls (mainly to avoid getting trapped in the essential but overrated discussion about endless possibilities). The circular arrangement of libraries and the rectangular computer screen which I had been staring at all day, prompted me to chose the square as a paper format which I could use as a blank canvas for the factory. The square didn’t impose a hierarchy on directionality and would allow me to reconfigure and suffle around my subsquares instantly. I had been doubtful of the linear arrangements of traditional production lines so I decided to put _the department for the invention of format in the center of the factory and organised _the department of the mechanization of format (leaving room for machines), _the department for the post-production of format (ranging from bookbinding to a digital fabrication laboratory), _the department of the digitization and testing ground of formats and finally, _the enclosed department for the destruction of format (perhaps the clash of content and format) around it. So far, I borrowed from existing spatial setups such as the open-plan, studio unit and various office layouts. My next step will be to rethink the plan in relation to a refined definition of format. There are only certain branches I can pick up in the Amazon of history (here: forest) in order to find a way into and construct a part of the future.

Format Factory v01

Format Factory v01

Format Factory v01 (Basement, Ground Floor, First Floor and Second Floor Plans)

Format Factory v01
(Basement, Ground Floor, First Floor and Second Floor Plans)

Format Factory v01 (view into showroom)

Format Factory v01
(view into showroom)

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Format Factory_contemporary theory

Sometime in the future, let’s say in 2035, format factory would have been a project of the Future of the Image. In advance of retrospect, it will be The History of the Future of the Image. But let’s have a look at what one of the former pupils of the AA says about some of my titles:

The History1 of the Future2 of the Image3

Format4 Factory5

AA (as initials) 6

1. History

This is what you get as a result of this belief in history: a building that mimics history, but through its scale and volume alone radically breaks through the scale of history and is neither really new, nor really historical.

2.a. Future

We were seeing the future and we knew it for sure. I saw people walking around in it without knowing it, because they were still thinking in the past, in references of the past. But all you had to do was know you were in the future, and that’s what put you there. The mystery was gone, but the amazement was just starting.

2.b. Future2

Cyberspace will provide not only a one-way path into screenland but special effects at your table. The future is here, it just hasn’t been evenly distributed (yet).

2.c. Future3

But the future comes not by itself. Only if we do our work in the right way will it make a good foundation for the future. In all these years I have learned more and more that architecture is not a play with forms. I have come to understand the close relationship with architecture and civilization. I have learned that architecture must stem from the sustaining and driving forces of civilization and that it can be, at its best, an expression of the innermost structure of its time.

2.d. Future4

Imagine the person you love saying to you, “Ten minutes from now you are going to be poked with a sharp stick. The pain will be excruciating and there isn’t a single thing you can do to prevent it.” Well then – the next ten minutes would be next to unendurable, would they not? Maybe it’s good we can’t see the future.

  1. Image

A picture esp. in the mind.

  1. Images1

Here I am in the presence of images, in the vaguest sense of the word, images are perceived when my senses are opened to them, unperceived when they are closed.

  1. Format
  2. Factory
  1. Identity

I do not believe in some “new identity” which would be adequate and authentic. But I do not seek some form of liberation from identity. That would only lead to another form of paralysis – the oceanic passivity of undifferentiation. Identity must be continually assumed and immediately called into question.

“Definitions” from the left columns on the right side of 3 of 1355 pages bound as hardcover book measuring 18.3 x 7 x 23.9 cm, published by Monacelli Press; 2nd edition edition (22 Oct 2002), titled S, M, L, XL and constructed by Rem Koolhaas, Bruce Mau, Hans Werlemann and Jennifer Sigler at O.M.A.

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Format Factory_I lost it…

We’re nearing the end of the term so things speed up a bit…

In the new format factory I somehow tried to squeeze in all the different crazy ideas I had on format. Without a site, I decided to plan out different spatial arrangements and their subformats of images according to an orthogonal grid, the basis for a typical plan. Since my programs aren’t fixed, the squares could be shifted around or superimposed. I guess it’s time to clarify, strip back, limit and spatialize, both conceptually and in terms of drawings. I need to work on communicating thoughts, process and direction. Please feel free to comment! :) More work tomorrow…

Format Factory Plan 01_wip

Format Factory Plan 01_wip

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Format Factory_first attempts

After intuitively sketching out a plan for the first version of the Format Factory, I looked at some more references:

– Typical Plan, Rem Koolhaas S,M,L,XL, 1995

– Tres Grande Bibliothèque (Very Big Library), SMLXL, 1995

-Projects in A-typical Plan, Jeannette Kuo, 2013 (which was partially done in response to Typical Plan)

-Projects in Factory Design, Chris van Uffelen, 2009

So far I have only scratched the surface of the latter and hope not to remain too fixed on the plan in the next phase of development.

Format Factory Plan v01

Format Factory Plan v01

I hope to post an update after the AA evening lecture.

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White Book_Gutter?

Dear Unitmates,

I have been trying to find out how to add a gutter to my facing master pages in Adobe InDesign CS6. I’ve tried to use Layout>Margins and Columns…>Gutter (with enable layout adjustments switched on) but nothing changed. Any similar issues or solutions?

Thank you.

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Format Factory_The content is format

It’s been a while since I posted. My computer is running incredibly slow these days and I may have gotten distracted by side projects. But all of this has nothing to do on the Diploma 9 blog and I hope that I’ll be able to post more soon. This weekend, I thought a bit more about the White Book Structure and Titles as well as the crafting of the project. In recent tutorials I have been pointing out that, ironically, I felt as thought I didn’t have any content for the project titled “Format Factory”. It has happened to me before that I had a lot of material at hand but that I didn’t know how to put it together. I hope that the book structure will help me do that step. I have been jumping in between the White Book and cutting the video of my curation of the After Images recorded in the Green Room one week ago. I also photographed some bits of the model in the photostudio and hope to feed them into the White Book before and after classes and tutorials today. I know this is no new work. The next weeks will be sweat and blood…

The scrap heap of the History of the Future of the Image

The scrap heap of the History of the Future of the Image

 

The History of the Future of the Image

The History of the Future of the Image

Format Factory presenting the History of the Future of the Image

Format Factory presenting the History of the Future of the Image

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White Book_v1

Today I am setting up the structure for my White Book, which will include the Design Brief for the Factory of Formats (title still pending), the Instruction Manual for the production of format and the Code of Conduct for the people involved in the process of production and consumption. The paper format is currently set to A3 which can be cut to a square to potentially remove a sense of orientation. I want to pair up or replace the Table of Content with a “Table of Format”, which may play with Lists of Figures and Lists of Tables.

Anouk Ahlborn's White Book Structure, version 1, Term 1

Anouk Ahlborn’s White Book Structure, version 1, Term 1

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FACTORY OF FORMATS

WHAT CAME FIRST: THE CAVE WALL OR THE DRAWING?

http://www.bbc.co.uk/news/science-environment-29415716

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Recon Project: The Factory of the History of the Future of the Image

This weekend, I documented my Factory of the History of the Future of the Image in the AA’s Green Room for the first time. It took me all morning to set up the tables (ca. 2m x 2m), about an hour to fix a column and other bits of the model and a lot of battery power.

Format Factory, Documenting the curation of Image Formats

Format Factory, Documenting the curation of Image Formats

The Recon Project, a reaction towards Aby M. Warburg’s (1866-1929) Mnemosyne Atlas, (1924-1929), was attempting to recontextualize the image as a medium to a message by stripping back its content and emphasising on its format.

FORMAT

Origin

mid 19th century: via French and German from Latin formatus (liber) ‘shaped (book)’, past participle of formare ‘to form’.

noun

1.The way in which something is arranged or set out: the conventional format of TV situation comedies

1.1 The shape, size, and presentation of a book or periodical: the format is A4 on newsprint (as modifier, in combination) large-format paperbacks

1.2 The medium in which a sound recording is made available: he has just re-issued the collection in CD format

1.3 Computing: A defined structure for the processing, storage, or display of data: a data file in binary format

verb (formats, formatting, formatted)

1 (Especially in computing) arrange or put into a format: how to format a document

1.1 Prepare (a storage medium) to receive data: you will be able to format a disk

Synonyms

design, style, presentation, appearance, look;

form, shape, size;

arrangement, plan, scheme, composition, make-up, configuration, structure, set-up

(source: http://www.oxforddictionaries.com)

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Format – Wandering

The Human Condition, René Magritte, 1935

After René Magritte, Mario Game

After René Magritte, Mario Game

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Mnemosyne Atlas – Recon Project

Aby Warburg's Mnemosyne Atlas of Images, pinned in three layers, on a black board infront of 15 columns of the Olivetti Underwood Factory, scale 1:50

Aby Warburg’s Mnemosyne Atlas of Images, pinned in three layers, on a black board infront of 15 columns of the Olivetti Underwood Factory, scale 1:50

Underneath the Canopy, Olivetti Underwood Factory, Paper Model, Scale 1:50

Underneath the Canopy, Olivetti Underwood Factory, Paper Model, Scale 1:50

Quick display of the silhouettes and cutout Images, The History of the Future of the Image, The Production of Format

Quick display of the silhouettes and cutout Images, The History of the Future of the Image, The Production of Format

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Mnemosyne Atlas – Recon, In the Making

Modeling the Olivetti Underwood Factory Column

Modeling the Olivetti Underwood Factory Column

Testing different spatial arrangements of my Atlas of Images using Captions

Testing different spatial arrangements of my Atlas of Images using Captions

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Diploma 9 Blog Code

Use your smartphone QR Code Scanning App to get back to the startpage!

Use your smartphone QR Code Scanning App to get back to the startpage!

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Olivetti Underwood Factory Model in progress…

Olivetti Underwood Factory, Louis Kahn, 1970

Olivetti Underwood Factory, Louis Kahn, 1970

Unfolding 1 of 72 prestressed concrete units of the Olivetti Underwood Factory

Unfolding 1 of 72 prestressed concrete units of the Olivetti Underwood Factory

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Mnemosyne Atlas – Product+Culture Factory

It’s getting dark early these days…

In the past week, I met with the librarian as well as the archivist of the Warburg Institute. Both meetings were incredibly informative and helped me to understand more about historical and future knowledge classification systems and the figure Aby Warburg and his Mnemosyne Atlas (content and format). The librarian told me that his introduction to computers was an Olivetti typewriter which let the user program certain key combinations. Since the typewriter has a direct link to the notion of formats I think that I should use the Olivetti Factory as a space for my theatrical Atlas – After Image, leading through the History of the Future of the Image. I drew the plans and quickly modeled the interior to play around in virtual space and Make2D (rhino3d) to construct my own culture/product factory.

3d model, Olivetti Underwood Factory, Louis Kahn, 1970

3d model, Olivetti Underwood Factory, Louis Kahn, 1970

3d model, Warburg Library Reading Room

3d model, Library and Reading Room, Warburg House, Hamburg, 1925-1926, architect: Gerhard Langmaack

I will continue the day with tracing the outlines of my list of people* and formats, which I want to arrange inside the model combining the factory and library (Mnemosyne Panels). This will help me to think about my thesis (format and identity) and how I should prepare the laser cutting files to physically build the model. I will make a mock up for tomorrow. I am counting the minutes…

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People for the Mnemosyne Performance – Feel free to comment!:

Johannes Gutenberg

Jan Van Eyck

Daguerre

Paperboy

Aby Warburg (contemporaries or followers could be: his assistant Gertrud Bing and Fritz Saxl who developed the library, E. Panofsky, E. Gombrich, Albert Einstein, …Philippe-Alain Michaud, Didi-Huberman and many many more)

Stéphane Mallarmé

Louis Kahn

Bill Gates

Steve Jobs

Anouk?

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Mnemosyne Atlas – Vote!

Diploma 9 students just voted: Kahn won 7.5 vs Mies 2.5 –> Olivetti x Warburg

Olivetti Underwood Factory, Louis I. Kahn, 1970

Olivetti Underwood Factory, Louis I. Kahn, 1970

The Olivetti Underwood factory space is based on an 9×8, theoretically endless, grid system, which constrasts with the elliptical layout of the Warburghaus’s reading room. Moreover, the Olivetti typewriter is directly linked to the use of paper formats.

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