Author Archives: Djordje Stupar

Exhibition – behind the scene

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Conveyor belt

Here are few images of the conveyor belt evolution. I will be updating this post with new images tomorrow. We were missing few bits but all pieces are now cut and ready and are at the exhibition space. We are meeting tomorrow at 09:45 to finish it!

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Its going to look AWESOME!

D

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Project Reviews – wallpaper

I spoke to Photious (print shop) today and asked about the quote for printing our wallpaper on canvas. I gave him the dimensions I got from Sabri.

I got the canvas samples from him with prices. We discussed with Sabri and there are two types we need to choose from:

– Production Polyester Canvas 260gsm, roll 914mmx30m at a price £44.97
– Finetex Polyester Canvas 280gsm, roll 914mmx30m at a price £61.00

I know it might seem obvious to go for the cheaper one but I remember Natasha mentioned that few years ago they printed on canvas and because it was ‘thin’ it melted and drawings stretched, so let me know what you think I shall place an order of one roll which will be delivered on Friday as Photious said.

As for the quote for printing, once we decide which type of canvas to use Photious will work out the price tomorrow morning for us, I am doing my best to get a good discount on that :)

I will be helping Sasha tonight with his presentation. Tomorrow morning I am finishing Nara’s box and will need to help her set it up for tables. All for now.

Good luck 5th years tomorrow!!!

D

P.S. Anouk, thanks for putting the list together :)

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Pre tables

Been rehearsing the presentation before school closed. I am now trying to memorise the text..

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This is the layout for tomorrow, all drawings are nicely formatted and reprinted, there will not be a mess on the table after I finish presenting, its all clear and structured now :)

Good luck everyone tomorrow!

D

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Three acts of imprisonment WIP

I’m working on the drawings showing stages of imprisonment of the building. Went back to the Park House in Oxford str. .

Its crime is its ugliness, so lets arrest it first, take it to the court and imprison it if necessary.

Act I - Arrest

Act I – Arrest

Building is arrested and cleared of any type of inhabitation. All activities within the building are now put on hold. #CrimeSceneDoNotCross

Act II - Court

Act II – Court

During the court procedure and before jury have returned a verdict, the building is placed in a temporary jail in a form of scaffolding structure. #JailNotScaffolding

Act III – Imprisonment (in progress)

After a verdict ‘guilty’ is reached the concrete is poured to form a permanent cell. #ByeByeUglyBuilding

I have also started a drawing to illustrate the idea of escapism that I keep mentioning. Long night ahead. Tomorrow morning re-printing and the rest of the day presentation.

D

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No more Nostalgia_update

Working on my presentation for tomorrow’s rehearsal.

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I must agree with Maridia who said that we either design a detailed object/building or we design an argument for the project, both is ideal of course. Since my object/building is a series of concrete blocks in the city, which in one way might seem simple, then I must design a strong argument in order to make this project clear. I started by questioning myself why did I use blocks in first place.

Originally I was placing these concrete blocks as markers of my presence within the city context, just like I did by inserting myself within the history of the AA. I chose concrete as a material as it suggests something permanent and heavy in opposed to Cedric’s light and transparent structures. I decided to stick to it and find a use for those blocks. I took blocks across scales and different contexts in order to find answers on what these blocks are, I ended up with fragments that aren’t linked. Finally the block found its function in the city.
In simple words I am encasing buildings in concrete. I like to think of that as an act of imprisonment of ‘modern’ architecture. The idea of imprisonment reminds me of Rem’s final thesis Exodus, but mine is different. Rem had a huge wall that divided London into 2 parts that voluntarily imprisoned people bla bla, we all know about it. Mine however consists of multiple concrete prisons that permanently imprison buildings. I really see them as prisons rather than anything else.

I like to think of it this way. When people break the law they are arrested and taken into custody, then there is court and depending on the decision they are placed in prisons. The project questions why can’t buildings be arrested and imprisoned just like people? But in this case the prisons are built right on the spot where the buildings are. One example would be the Walky Talky building, we all know the damage it caused and the amount of attention it had. In the world of this project that building broke the law and it must be imprisoned, therefore the prison is built around it! I feel that this brings that exact irony to the project that Natasha kept mentioning lately.

On the other hand by imprisoning architecture I am creating moments of escape for the society. Few words from my last Jury on escapism: ‘Escapism is the idea of escaping the modern city to a place where architecture is not a part of complex relationships of work, function and society. It is a need to visit places such as historical sites, the ‘remote southern European village’, Havana or even the Coliseum. The block is an architecture that society can not use, they can only interpret. It becomes a cultural relic in the city allowing for that escapism.’

After many hours of reading my notes since the beginning of the year I have briefly summarized my thoughts above. I am now working on my presentation and shaping the thesis by incorporating this idea of imprisonment into it.

Few questions that I am struggling to find answers to and thought maybe you guys could help me out here:

What are the laws that buildings brake? Who decides if building has to be imprisoned or not, me, or the society or….? There are more but I can not summarize them now.

I would very much appreciate if you could comment and let me know what you think. I personally feel that the project is becoming alive and starting to make more sense.

Thank you!

D

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Operating room

When shifting from an identity of the Architect to the identity of the city Shard’s viewing platform becomes an operating room of this factory – the city.

I am now working on that drawing. The idea is to somehow incorporate all fragments of my project and find their presence within one drawing.

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Update later..

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Post Jury, pre tables

Notes from the Jury:

– you need to practice speaking/presenting more slowly!
– be ironic when you talk about ‘blocking’ future development of London
– you shouldn’t be in a position where someone asks you ‘How do you build it?’, ‘How do you get planning permission?’
– you are bouncing from one piece to the next so it is very difficult to read the project
– if you mean literal, then it is not working. If its fictional you need to reframe the work and state what you expect to achieve
– how you present is very fragmented: identity book, block, block in graphic form, blocks in … and each time the block is a different status
– refer to Gropius/Cedric image and identity where you are looking
– time
– the block is mute
– negative utopia

These are some notes from the Jury that I am going to address. I am now listening to the recording of my Jury to see see if I missed any valuable comments.

Tonight I am aiming to come up with a plan for the next 7 days and also will revisit my presentation text for tomorrow’s discussion.

Think we made some awesome project reviews photos today!

See you all tomorrow

D

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Getting there

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Working on my presentation, few paragraphs left..

Good luck everyone tomorrow :)

Go Dip 9!

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Evolution

The block preserves two things: the identity of London as I perceive it as well as (thanks to Natasha for inspiration) the architecture that I am killing. In other words I am encasing the modern (globalised) architecture into concrete to preserve the identity of the city but by doing that I am preserving that exact architecture too. Might sound confusing but with drawings to come it will become more clear.

I am working on a series of drawings that will show the stages of the evolution of the block in future. Lots to do but here is my idea. The concrete block starts dissolving in time (something like this). The block is an egg and the Walkie Talkie in this case is a chicken. Below is that first stage when the block starts to  dissolve (crack), the next stage will show these pieces of concrete coming off until the ‘chicken’ is  re-born.

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Will update later tonight, need to do some proper writing now.

D

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Building content

This was a veeeeery long and exhausting day…….

Ok! Since I developed the format of my presentation, I am now building the content for it. Below are some of the larger images I have worked on that I mentioned in the earlier post. Still needs some editing of course.

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There is lots to be done in the next few days, but I am really aiming to have most of the stuff done by Tuesday so I can set up the exhibition to test and see how it looks/works.

Good night

D

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Weekend update

I have chosen to use the photography as a dominant media through which I will be presenting my project. In order to do so my presentation will take a format of the photo exhibition. I have booked a room (32SFB) for the day of the Jury. It’s a bit too large and there is this massive AA model there so I have to see how to deal with the space.

So the exhibition will consist of several parts:

1) Introduction + shaping the argument

Here I will introduce the project and shape my argument on what is London’s architectural identity and how has it been changing under the effect of globalisation. I will have many (still deciding on the quantity) small format photos of London showing the facades of traditional architecture, modern architecture as well as the facades from globalised cities which I am claiming London is becoming alike.

2) Re-con of Fagus

I will talk about the Re-con project. I will have 6-8 larger photos on the wall and the AA photo book on the table.

3) My response to the argument (fragments)

Here I will show and talk about the role of the blocks and how they transform the streetscapes of London. The format will be similar to the Re-con part, 6-8 photos on the wall and the photo book on the table for further discussion.

4) New London

This is the part where the larger image of the project is revealed. If earlier you can see the fragments of the blocks in the streets, here you get to see the panorama photos of London with blocks in place. These photos will be in a large format.

 

This is the brief explanation of the upcoming exhibition. I went up to the Shard’s viewing platform on Sunday and took nice panoramas of different parts of the city, they are to be collaged soon. Here are some of the images:

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I am working on few things at the same time now, modelling the exhibition room, gathering images for the Intro and collaging the panoramas.

D

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THE BLOCK

I’ve been thinking and working on expanding the idea of my blocks. The shape of the block might seem like the most generic shape in the world and I somehow like to stick to it.

obama-block

 

4 blocks

 

multiversity block

 

This is one of the fragments of the language I was mentioning in my earlier posts. This language becomes in a way a meta-layer in interpreting the blocks. I am working through some other ideas for discussion tomorrow.

I have looked at some references from my previous tute in regards of my thesis and I thought I would revisit those during the weekend. I feel like I have a plan of what I want to achieve in the next 2 (3) weeks so its just a matter of me doing it on time!

See ya all tomorrow

D

P.S. Apologies for the late post, just got home…

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Block interpreted

I’ve been experimenting with the interpretation of the blocks. As a starting point I thought I would physically scan the blocks.

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The results can be interpreted as art pieces, that way the block can be interpreted as an art object.

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I made a copy of the exact concrete block out of paper. Not sure how, but I thought that could become another interpretation of the block.

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I have also 3d scanned the block to see what that gives me. I like how it picks the real texture of the surface.

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I am in a way trying to design and create a language through which these blocks can be interpreted. Without that language it is just a block, but designing the language is something I find interesting.

It has been an interesting tutorial today, thank you all. I will revise the thesis and start making images that follow it, need to as Natasha says ‘image the scenario’.

Update soon!

D

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Carrying on

Following on from the idea in my previous post of how even scaffolding can take on social and cultural implications if it is placed in the context of the language of the streetscape – I now want to look at DESIGNING a language for the blocks. The blocks are a Djordjefication of London – they are not neutral – but they are the base around which I am designing a language that can relate to culture in the city.

I think a major part of this language can be the idea of the blocks as an art[chitectural] movement. Some thoughts are below.

From interview with Rachel Whiteread on House:

“It is like making a building within a building. There would be just this rather strange kind of concrete object standing in the middle of the park that people would come sit and look at, but then it was knocked down. It’s a shame that it didn’t have a chance to become invisible like the Architecture becomes invisible. It did have that fight for life and now its a park with closed gates and people sort of throwing their dogs over the fence to have a shit in there. That’s sort of what that place is now and it’s kind of ridiculous, it is really ridiculous. There are probably few countries in the world that would do that to the art work that had been such a success in many ways.”

I came across an art movement called Concrete Art:

“A term coined by Dutch artist and architect Theo van Doesburg in 1930 to describe abstract art based on mathematic or scientific principles, the visual expression of which was an emphasis on planes and color. Concrete Art has since been associated with other schools of abstraction that spurned expression or gesture, such as the Bauhaus and Constructivism. Later to be called “cold abstraction,” this style was often criticized for its transcendental bent and failure to confront the world. Lucio Fontana, for example, though associated briefly with the Italian Movimento Arte Concreta (M.A.C.), ultimately found his practice to be at odds with the “sterile and empty” formalism of this tendency. A central concept in much of Concrete Art was the idea of “real space,” which was further explored in its Latin American iterations like Arte Concreto-Invención, Arte Madí and the Grupo Neoconcreto. After flourishing for some 20 years, by the 1950s the cerebral concerns of this art—its exploration of pure form and universal principles—were being eclipsed by the more expressive gestural abstraction coming out of the New York School and the School of Paris.”

I am now working on elements through which I will design the language for the blocks.

D

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Thesis _update

 

How do new globalised architectures fit into the street-scape?

Language in human speech is the structural form acting to format human thought. In the same way, the language of a building is the form-al manifestation of the culture and social phenomena that made it happen. Traditionally this is reflected in the facade of a building. In this sense, I am very interested to see the street-scape context in which the two interventions sit, in the photos below. (Thank you Sasha for referencing me this text) Alejandro Zaera Polo says that ‘globalisation has neutralised [the] language [of buildings]’ and I think that Park house on Oxford Street is a great example of this. It seems abandoned by language. Reflecting the volume of Selfridges across the road and promising to regenerate the area, it is built around concepts that do not relate to architecture or the city. If any language at all, it speaks the language of globalised commerce, but not at the level of the city. It’s funny that it looks like a capsule – since that is precisely its specification – as long as it is new [regeneration] and of a certain volume [commercial value and status] it has fulfilled its brief.

My idea is that when land parcels become available in London they are set aside into the cultural preservation reserve of the city. The idea however is not to simply put the land aside but to transform it through the act of pouring it in with concrete. I loved hearing about the effort it took to create the void for the swimming pool in the Boros collection. This is what inspired me to use concrete for these cultural sites.

I want to highlight the duality in my decision to intervene with concrete. From one perspective pouring the land with concrete is like putting it in a vault. Yet from another it is an architectural intervention in itself. The concrete sites will become enriched by the culture around them. Not because they are programme-less, but because they are programmed to be interpreted.

Click me to play

Click me to play

Speaking of anonymous volumes undergoing a process of transformation, I like this example on Marylebone High Street. I like how from one perspective it has clipped off a section of the street facades, discontinuing that ‘language’ that I mentioned. From another it is a structure that allows the transformation of the site it encloses. It allows people to contribute to the transformation of the site. From another perspective, when one notices how the top of the scaffolding cube is just higher then the roofline of adjacent buildings, one immediately imagines that it encases a similar building, rather then just being a volume of scaffolding. I like how noticing this brings to mind the playfulness of SANAA’s New Museum in NYC. I also like that realising that this is scaffolding – a structure of process – implies the idea of contribution of society & work to the site. The site becomes enriched by the labour put into it. Even though that any transformation/outcome is entirely hidden, it still stands out as something ‘contributed to’, the cultural ‘enrichment’ is projected towards an imaged point of final completion.

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So in this sense the volume does speak to the street-scape, symbolically. What can the architectural language be? Do I claim the block as a single architectural expression in itself (that is the same across all sites I choose in London)? Does the language become adaptable  along with the adaptation of the meaning of the block?

In the spirit of running adjacent processes of work at the same time and letting them inspire each other (thanks to that video by Adam Furman, Anny!), I want to move on and do some experimental pieces of work tomorrow that I hope will interestingly carry on the ideas brought up in this post.

I hope these thoughts bring up a discussion and comments are welcome!

D

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Post Jury

I think the most important part of the project which is the thesis driving it isn’t clear so I want to work on clarifying that. I am going through all my notes and comments received at the Preview tables and last Jury and earlier in the term and trying to clarify what is my thesis. I am quite certain that this is now a crucial part as without a clear thesis I am just going to be producing drawings/images which will bring more confusion and more questions and directions to the table (please correct me if Im wrong).

By placing those monoliths into the city context, I am somehow changing the identity of surrounding buildings, streets, places. The question is how and why? I liked Mike’s comment where he said that instead of solid concrete blocks they might be fake, some sort of skin representing and masking something. It reminded me of how during the World War II military hid the entire airport by strategically placing a camouflage netting which made it seem from air like a rural subdivision (pictures below).

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I’ve also looked at OMA’s project on historic preservation in Beijing (2003) which has a lot of interesting points. I’ve been also reading on protected vistas (views) in London.

I do like the fact that my project has a lot of historical and black/white imagery, I feel that this must be a part of my thesis too.

I will spend the rest of tonight writing down notes for thesis and trying to link those together.

Hope everyone is good!

See you tomorrow

D

 

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Hello Term 3

In continuation to my last presentation I am working on the set of drawings that begin the discussion on what this concrete block might become or what role does it start to play when placed within an existing context of the city.

Inspirations:

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Looking at the construction of the drawings of de Chirico’s paintings I began creating the world where concrete blocks evolve into something more. Needs adding textures and shadows. The idea is to keep it empty and mysterious.

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Update:

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I remember Natasha’s comment regarding the last drawing and I fixed it, the blocks are now spread wider around the city. You actually have to spend some time in finding them.

London Panorama

 

Missed you guys and looking forward to see you all tomorrow.

D

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New City of London

City of London

 

From previews. There were some good and constructive comments and suggestions about the trajectory of my project. Need now to analyse them and make decisions.

In the meantime I have worked on the TS papers, one of which I based entirely on Concrete. I think the experiments I have done might also help push the project.

See you tomorrow

D

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Presentation and the rest

I am working on my presentation, putting a caption next to the image, still lots to refine but it’ll get there. Today I also made moulds for my concrete blocks, will cast those on Monday.

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My main priority is to sort out the presentation, format the drawings I have and have them printed. Once that is done, I will continue working on the last drawing so hopefully will manage on time!

I wanted to ask your opinion on how should I present books(images)? The thing is that only one of them is bound and I am finding the size of it not ideal for presentation. Do you think it will be better to print all pages larger and flick through or project on the screen and have an original size on the table? Thanks.

This is it for now.

Bye

D

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Drawing

I am working on a Rossi style drawing. Adding bit by bit, still many more to come… The idea is to create this one plate showing all parts of project in one so it could be like an introduction to a project.

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At the same time I am analysing ideas of other drawings that I am aiming to produce, thinking of internal spaces too if there are any.

I had this idea for another drawing where concrete blocks overtake one part of London and it starts looking like a Berlin Holocaust Memorial in an enormous scale. On the other hand it reminds me of Manhattan, dematerialised Manhattan. Just a thought that I wanted to write here.

Let me know please if you have any thoughts or comments.

D

 

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Progress

Few more images from Book 2.

1955

1955

1955

1955

1957

1957

1984

1984

D

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Happy International Women’s day!

 

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Dip9 ladies, I hope you are having a wonderful day!

D

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Old London

1907

1907

1912

1912

1919

1919

1967

1967

1979

1979

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Plan

I’ve been absent for a while and I’m back online now! There is a lot to do until the upcoming previews so the work plan is following: finish the Concrete book; progress with the factory model; cast concrete blocks in different scales; write as much about the project and the idea as long as it does not prevent from doing other stuff.

Concrete book

I have worked on more images but the plan is to have as much as the first book had. Already found most of the photos to work with so its a matter of photoshop speed now!

Factory model

Have researched and looked at enormous amount of concrete plants around the globe, from the mobile ones to the largest one (Antoine’s). There are few things I have to consider when creating my factory but the most important one is the location, the factory must be located within a radius of 20-30 km from the work site when taking into account concrete’s setting time. Therefore the idea is that the factory will sit on  the Thames and will be mobile. Still so many ideas that aren’t here yet but they will come eventually. For now, I am modelling the concrete plant..

Casting

I will make soon the moulds and cast concrete blocks of different scales to show the idea of transformation, from small to large. This is kind of an extra thing and I will to leave it as last.

Writing

I keep looking at my notes and comments from tutes and that all is helping me formulate and push forward the thesis of the project.

I realise there isn’t much time left but I do not regret at all attending both Bjarke’s and Ricardo’s lectures, it was super interesting! Looking forward to see Rem on Monday.

Hope everyone is doing well!

D

P.S. I’ll be updating the blog with images and screenshots on the go.

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What is this and where does it come from? (editing)

After several attempts to go out there and take my own photos to work with, I am using only few and the rest are from other sources. I think if I use someone’s image and edit it , then it becomes mine, right Sabrina?

I am working on another book in continuation to my Identity (AA) book. It will consist of images within the city with the monolith (identity machine) being present in each of them. I am trying to bring in the mystery to the images, some of them work, some don’t..

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Today’s TS seminar on concrete was very interesting yet inspiring. I realised I do not have a factory still, so I thought I would start with looking at concrete plants and similar stuff to start with, could start modelling that and see where it takes me. Because the main questions are: what is this mysterious monolith? (that will be defined soon) and where does it come from? (here is where the factory comes perhaps)

See you all tomorrow

D

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Progress

Experimenting on how monoliths can interact with the city.

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Guess now not only the Great Wall of China can be seen from space.

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I am working towards tomorrow’s tutorial to produce as much as I can of what has been discussed on Friday. I have been working on few things at the same time and they are all unfinished at the moment. I have also revised my notes and wrote and abstract about my Identity book. Will update here on the go. Long night ahead!

Bye now

D

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In the City

Exploring interactions with public spaces.

King's Cross

King’s Cross

Somerset House

Somerset House

Covent Garden

Covent Garden

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Everything and Nothing

Note: Obelisk is just a name I gave this thing for now so it is more clear when reading.

Obelisk is an identity machine, a concrete architectural object colliding with the existing context creating a new condition, a new context. A collision between these two becomes an area of exploration. It is unplaced but at the same time every-placed. It is constantly drawn in isolation. Perhaps all of these collisions together might form some kind of a super grid, I don’t know. Looking back at my Recon and my identity book. One image is like ‘haha, what is this?’, but all together make the story. I’ve travelled time, I’ve travelled cultures and all sorts of histories. Obelisk is Djordje, by architectural means. It constantly changes scales, from small, to medium to the enormous. It is like everything and nothing at the same time.

Very interesting reference that Natasha gave me, click to watch. There is a suggestion that the bottle came from the future, and it kind of is except they are operating in a continuous timeline, but one culture is in a completely different history. What can Obelisk become as an Architectural totem? Like the Coke bottle is emblematic of so many things, What is an architectural equivalent of the Coke bottle?

I am drawing few possible collisions now, still raw but will update with the progress soon.

In Sahara

In Sahara

Into space

Into space

D

P.S. I am not sure what is my argument at the moment. Few questions for thought:

If Superstudio’s continuous Monument was an argument against Modernism, like a single modernist object taking over the world, what is the bigger picture of the Obelisk? What does it argue for? Do we know whats inside?

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Inverted City

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In simple diagrammatic drawings I am trying to explain the idea of the Inverted City. Private becomes public and public is privatised.

D

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Formation of the Factory

Formation of the factory

NYC

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Grid-ing (edited)

All red everything

All red everything

Ney York

Ney York

Washington D.C.

Washington D.C.

Chicago

Chicago

Barcelona

Barcelona

Been laser cutting today, want to finish these tomorrow, paint them (maybe in red) and add the base.

D

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Grid vs. Wall

We’ve had a good discussion on Tuesday and now I am trying to work out few things simultaneously.

On the one hand I am proposing a grid structure for my factory. I like the idea of the grid because it sets certain rules, it becomes a machine for order, a context machine encapsulating spaces/events. The content of the grid becomes in a way an identity machine.

To test the grid idea and the scale of it I decided that I would cast parts of grids of existing cities such as New-York, Washington D.C., Chicago, Barcelona. There are certainly many more than these, but I thought I’d start with something and picked few. To be honest I don’t know where this will lead me but maybe I shouldn’t think of it at this stage, I decided to just give it a go!

Questions to myself:

Where does this machine come from? Does it build itself or does it rise from water/ground? What is it made out of? Is it cardboard, is it concrete or…? How do the walls connect?..

Lets leave the grid for now. I loved Natasha’s comment ‘What would it mean to not just consider spaces but the in-between stuff too – walls’. That way the wall itself becomes space, yet it becomes a factory. The wall becomes an architectural project. What matters now is what is inside that wall? What if it is just a gigantic wall with no filling? Cause if the wall itself carries the meaning, does it matter what it contains?

I looked at various historically important walls around the globe, their importance, meaning, sizes etc. . Here are some of them:

The Western Wall, Israel

The Western Wall, Israel

 Berlin Wall, Germany

Berlin Wall, Germany

Walls Of Troy, Turkey

Walls Of Troy, Turkey

Hadrian’s Wall, England

Hadrian’s Wall, England

Walls Of Babylon, Iraq

Walls Of Babylon, Iraq

Sacsayhuaman, Peru

Sacsayhuaman, Peru

Vietnam Veterans Memorial Wall, United States

Vietnam Veterans Memorial Wall, United States

The Great Wall Of China, China

The Great Wall Of China, China

 

This might sound silly, but maybe there is still room for larger wall than The Great Wall of China.

This is where I am at the moment. Tomorrow I will laser cut the files and make the cast moulds and plan to cast if not tomorrow afternoon, than Saturday.

D

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WIP_edited

Google > find image > place > crop > repeat…..

Screen Shot 2015-02-02 at 00.02.11

Rhino screenshot for now.. Few more things to add here and taking it to Illustrator and Photoshop to add colour and textures.

Briefly:

I am the operator of the factory. Events are happening behind each wall which aren’t complete without my presence in them. Here we have and Operating Room, a Recon Jury (2014), Gropius’s visit at the AA (1961),Dip 9 Unit space (2013), Library (1968)

Have to formulate all my thoughts clearly asap!

Screen Shot 2015-01-28 at 23.15.14

 

Want to finish this as soon as possible. Tomorrow is printing and preparing the presentation. White book is very behind so I will try to work on it after I finish the most recent stuff.

Need Sabrina’s speed!

D

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Update_edited

The plan below isn’t very informative as all it needs to show is the symmetrical grid and spaces within the factory. I finished this Axo at 1-100, don’t know which colour option to choose, think I’ll stick to less red one…

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I am finishing this plan and axo soon. Next – zoomed in detailed Axo.

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D

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Drawing the Factory

Lately I’ve had a lot of thoughts and doubts about how to proceed further with this project. I’ve spent way too much time thinking, overthinking and giving up ideas without any output. I decided to take a step back in order to move forward. I have returned to my initial idea of the factory of events (factory of red cloth), but now I am actually drawing it! I forced myself not to think where this will lead me like I always did in the past – but just do it!

I am working on few drawings at the same time that I will later take in to Ai and Ps for editing.

Screen Shot 2015-01-27 a

Screen Shot 2015-01-27

Go Dip 9!

D

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Complete the Incomplete

Collage

This image is slightly provocative and extreme because I used Parthenon and The Walking City, but it communicates my idea of a mobile factory – moving machine, that travels and completes the incomplete Architecture. I am now concentrating on the design of it, use, functions etc. Nothing to show yet but will update as the work progresses.

The question I ask myself if whether the machine will operate (build) using new technologies such as 3D printer or it should be inhabitable and people would be the ones to do the job, or maybe both?

Hope everyone is good,

D

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Towards a Complete Architecture

Corb at Notre Dame du Haut

Corb at Notre Dame du Haut

Mies at Seagram

Mies at Seagram

Tange at his House

Tange at his House

Gropius at Fagus

Gropius at Fagus

I am a little lost in my thoughts and am just trying to move forward through visualising them. I am basing my thesis on ‘Completion’.

Question of this term: When is Architecture complete?

Any comments are welcome!

D

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New Year, new Term, new thoughts

Hi everyone and Happy New Year!

I have dedicated time working on my text/brief which will drive my project in this coming term. It is still being edited and I will bring it tomorrow.

Here are some images from Berlin where I found time to work on my totem.

Praying to Mies - God of Architecture

Praying to Mies – God of Architecture

Meditating

Meditating

Platform for event

No event happening

Unfortunately I did not find time to work on my totem anymore during our Unit trip, but I am waiting for a nice sunny day in London and have few ideas on how to continue.

Looking forward to see everyone again tomorrow and to have a productive tutorial!

D

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Drawing update

Done with this for now…

Screen Shot 2014-12-09 at 00.47.58

Am working at the same time on schematic plan and perspective view(s). Really looking forward to have a good and productive conversation tomorrow.

Good night

D

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Analyses of Cedric’s Fun Palace + Drawing in progress

The Fun Palace was not a building in any conventional sense, but was instead a socially interactive machine, highly adaptable to the shifting cultural and social conditions of its time and place. It was a constantly shifting cultural landscape. It represented a new kind of improvisational, interactive, performative architecture, adaptable to the varying needs and desires of the individual. An architecture of constant activity, in a continuous process of construction, dismantling, and reassembly. It would be a vast framework where the working-class population could assemble their own learning and leisure environments, where people might escape from everyday routine and serial existence and embark on a journey of creativity and personal development.

It was not a museum, nor a school, theatre, or funfair, and yet it could be all of these things simultaneously or at different times.

Extract from Cedric’s notes on Fun Palace:

“Flexibility within the complex is not confirmed to the variation of the form and disposition of the enclosures and areas provided, but also by the ability to vary the public movement patterns through adjustment of mechanical movement aids (escalators, travelators etc.). Environmental control is achieved not only by movement of screens, ‘walls’, roofing panels, but also by warm air screens, ultra-violet lights, optical barriers, station wapour zones etc. The whole structure can if required be roofed and ‘walled’ in”.

Cedric thought of the Fun Palace in terms of process, as events in time rather than objects in space, and embraced indeterminacy as a core design principle.

Layout:

Newby and Price devised a structural system consisting of 14 parallel rows of service towers, 60 – feet apart, forming two 60 – foot side ‘aisles’ flanking a 120 – foot wide central bay. The resulting plan was a pattern of interlocking squares of different sizes, which Newby referred to as the ‘tartan grid’, providing both stability and programmatic flexibility. Stairs, elevators, electrical cables, and mechanical ducts were located in the square towers, leaving the wide bays free of obstructions. The structural frame would be 780 – feet long and 360 – feet wide. There would be two overhead gantry cranes spanning the full 240-foot width of the central bays, which could travel the entire length of the structure to move modular elements into place. (Frank Newby, interview by author, tape recording, London, January 22, 1999)

Pivoting escalators and moving walkways would provide internal circulation. A membrane roof suspended from a cable grid covered most of the central space, with operable ‘skyblinds’ over the central ‘rally area’. Between the roof and the ground level in the central 120 – foot bays, floors, walls, and modules could be lifted into place by the overhead cranes that ran the length of the building. The users could improvise and change their own spaces, using the cranes to assemble prefabricated walls, platforms, floors, stairs, and ceiling modules. The internal structures and elements consisted of plastic and aluminum inflatable and standardized modular units which could be positioned and relocated anywhere within the overall structure. There would also be a complex system of environmental controls, generating ‘charged static-vapour zones, optical barriers, warm-air curtains, and fog dispersal’. (Cedric Price, notes, January 28, 1964, Fun Palace document folio DR1995:0188:526, Cedric Price Archives)

Virtually every part of the structure was to be variable, with the overall structural frame being the fixed element. Its behaviour would be unstable, indeterminate, and unknowable in advance, even without a specific programme or objective. An unspecified programme and indeterminate form are antithetical to normative architectural practice, which requires specificity of programme and physical configuration. It was really only ‘a kit of parts, not a building.

According to Gordon Pask : “A ‘virtual architecture’ like the Fun Palace, has no singular programme, but may be reprogrammed to perform an endless variety of functions.

The ‘programme’ of the Fun Palace was therefore not the conventional sort of diagram of architectural spaces, but much closer to what we understand as the computer programme: an array of algorithmic functions and logical gateways that control temporal processes in a virtual device. The three-dimensional structure of the Fun Palace was the operative space-time matrix of a virtual architecture.

That the Fun Palace would essentially be a vast social control system was made clear in the diagram produced by Pask’s Cybernetics Subcommittee, which reduced Fun Palace activities to a systematic flowchart in which human beings were treated as data. The diagram produced by the committee described the Fun Palace as a systematic flowchart.

The Cybernetics Subcommittee outlined plans to use an array of sensors and inputs that would provide real-time feedback on use and occupancy to computers, which would allocate spaces and resources according to projected needs. Space allotted for a popular event would grow, then shrink once interest had waned. Thus, the Fun Palace would be a sentient entity, a virtual architecture, which could learn, anticipate, and adapt.

The organization of the Fun Palace was a divided into six organizational zones. Zone 1 was dedicated to the various types of teaching machines that Pask and his Systems Research team had already developed. In Zone 2, users could participate in new forms of expression, including but not limited to theatre, music, and dance. The cinemas and studios in Zone 3 gave young directors a chance to make their own films, while in the Zone 4 laboratories, users could conduct their own scientific experiments. Zones 5 and 6 provided studio space for painting and sculpture. This was just a preliminary list as it felt that the variety of activities could never be precisely forecast.

Questionnaire from 1964 had revealed a list of potential activities that Fun Palace might have housed:

Eating, Ski practice, Drinking, Bowling, Go-karting, Dancing, Music concerts, Resting, Country dancing, Drama and operatics, Archery, Sound and Light, Swimming, Photography, Restoration of vintage cars, Voice patterns, Finger painting, Mutual admiration (requires pocket mirrors and the ultimate activity)-(sex?)

Fun Palace Ideas Group chair, psychologist John Clark submitted his own ‘List of 70 Projects for a Fun-Palace’, which describes various virtual realities, which might be created within the Fun Palace. Below are some of those provoking suggestions:

The inhabited universe

Why not try a trip around the moon in our realistic space-capsule Simulator?

Captain Nemo’s cabin: An underwater restaurant

The grotto of kaleidoscopes

The Camera Lucida

The maze of silence

The cybernetic cinema

The fantasy generator

Climb the tree of evolution

The calligraphic cavern

The committee also suggested methods of identity-shifting and role- playing. Artist and cybernetic theorist Roy Ascott proposed an ‘identity bar’ which would dispense paper clothing, enabling people to try on different and unfamiliar social personae or even gender roles. Ascott cited the need for providing, ‘physical and emotional thrills for satisfying the individual’s desire to exhibit himself and to extend his sense of power and feel the sensation of sinking into a group’. Another innovative part would have been a ‘Pillar of Information’ – a kind of electronic kiosk which could display information of all sorts, based on the model of the Encyclopedia Britannica.

 

Looking at my factory as a Factory of Events. What events will it house? I don’t know yet, its too early to say I suppose. I felt like I had to examine extensively Cedric’s Fun Palace in order to get a good overview about the project. I am currently working on the idea of the structure/framework/base where different sorts of events could be fitted in. Below is a drawing in progress of the possible arrangements of spaces. I have got ideas for other drawings to show the concept better and am working on them for tomorrow’s tute.

Screen Shot 2014-12-08 at 16.52.52

The main target for me is to get a clear understanding of which direction my project is going to before we break up for Christmas holiday, actually I don’t like calling it holiday, its not a holiday, it is extra time to improve what has been done and work on new stuff!

Will post updates later on the go, probably late-late tonight.

See you soon!

D

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Factory of Events

Looking at Cedric’s Fun Palace as a main precedent for my future Factory. I am concentrating more now on the structure rather than a content. The idea is to juxtapose Cedric’s lightness (scaffolding) of the overall structure, and to bring mass to the structure using structural walls, floors, etc. (from light to heavy, from transparent to solid)

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I am working on a series of sketches/diagrams/drawings which are still raw to show so will update on the way.

See you all tomorrow!

D

 

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Visit to Freud’s Museum

 

 

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Thanks everyone!

D

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Model Update

Finally finished the model! Well, at least for now :)

Photo 02-12-2014 20 34 36

 

Moving on to factory plan/section/axo…

D

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Experimenting with Inversion

Inversion – a reversal of position, order, form, or relationship ( and scale?)

Screen Shot 2014-12-02 at 13.17.02

Dip 9 inverted

 

See you soon,

D

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Model in progress… Update

Hi everyone,

I am working on the physical model right now, been laser cutting all day. Will update with photos on the way.

Hope all is well!

D

Photo 02-12-2014 20 33 11

Photo 02-12-2014 20 20 53

 

 

 

Photo 02-12-2014 18 27 59

 

Base complete.

Photo 01-12-2014 23 31 12

Walls coming along.

Photo 01-12-2014 21 12 31

 

Furniture is done. Frames are under construction. Will need to laser cut again the base tomorrow early in the morning and finish the floor, because I made a little mistake :)

Will first finish all the parts of the model independently and then put them together in one.

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Heart of the Factory

Each of the images represent a ‘time’ portal/threshold to a new space or event.

Further thoughts:

I am going to SLAP people and content in the photos, and instead concentrate on a space and image itself.

I am going to transform 2d flat images into a 3 Dimensional spaces/events…

Screen Shot 2014-11-27 at 15.51.13

 

Notes from last tutorial:

– you are in a room but all scales are messed up

– slap people in the photograph

– slap the subject out of the photograph! The content is irrelevant, you just gonna make it up

– side-ness of the views ?

– perspective, construction of the image

– the camera becomes the reader

– flat image to 3D (matrix)

– movie Divergent (mirror scene)

– take the room/space and inverse it

I am working on the physical model of the space above as well as building 3D components from the images I chose.

Hope everyone is good!

D

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Time…

Time is a measure in which events can be ordered from the past through the present into the future. It is also the measure of durations of events and the intervals between them. Time is one of four dimensions, in addition to the dimensions of space.

Some also refer to it as “time is what clocks measure” and “time is what keeps everything from happening at once”.

Inspiration:

it_is_high_time_by_monika_es-d369m0p35

The_Time_Traveler_by_xetobyte_thumbunrequited-handshake1082100405

I am working on the drawing at the moment, will update soon.

D

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White Book under construction…

Hi guys!

Been away from the blog for a while, I’m back online!  Here are few images of layout of my White (Green) Book. I kind of work back and forth, so I started writing Table of Contents, then made few pages, then got back to contents page and so on :)

Screen Shot 2014-11-20 at 18.38.52 Screen Shot 2014-11-20 at 18.39.05 Screen Shot 2014-11-20 at 19.29.17 Screen Shot 2014-11-20 at 19.29.26

It does take time to lay out things together but in my case it will definitely help me move forward once I get to see all the context together.

See you tomorrow

D

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I’m totally Zelig!

I’ve spent most of my weekend doing work and research for my HTS essays. Managed to get some important bits out of my way, still a lot to do of course.

This evening I’ve spent watching Zelig by Woody Allen, I definitely recommend it to everyone who hasn’t seen it! Loved the narrative and the 1920s style the movie was filmed in.

t2huWqMIwE9qfeK5ZKDSCaaytdB

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Hope everyone is good

D

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Recon Jury

Thanks everyone for such an inspiring day! These are all the images I have.

Photo 11-11-2014 10 38 13 Photo 11-11-2014 10 41 08 Photo 11-11-2014 10 42 48 Photo 11-11-2014 10 42 58 Photo 11-11-2014 10 45 55 Photo 11-11-2014 10 50 59 Photo 11-11-2014 11 15 46 Photo 11-11-2014 11 46 45 Photo 11-11-2014 14 19 30 Photo 11-11-2014 14 26 30 Photo 11-11-2014 14 49 57 Photo 11-11-2014 14 50 33 Photo 11-11-2014 15 42 18 Photo 11-11-2014 15 42 33 Photo 11-11-2014 15 42 39 Photo 11-11-2014 15 43 43 Photo 11-11-2014 16 00 00 Photo 11-11-2014 16 10 46 Photo 11-11-2014 16 11 11 Photo 11-11-2014 16 12 08 Photo 11-11-2014 16 12 21 Photo 11-11-2014 16 27 45 Photo 11-11-2014 17 04 29 Photo 11-11-2014 17 04 57 Photo 11-11-2014 17 07 08 Photo 11-11-2014 17 31 07

 

See you soon

D

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Drawing update

I finally finished modelling the production areas of the AA. I am now putting them together, didn’t expect this to be the hardest part as I modelled each separately.

Production areas of the AA

Production areas of the AA

D

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Drawing update

Finished the lecture hall and the library. Its going slow but well I suppose. I modelled every single details in those cabinets and shelves and other little things… To come: Brett’s office, the bar, terrace and new soft room. This is going to be a long night… Hope I will manage on time.

Lecture hall and the library

Lecture hall and the library

Do you think I should move/rotate few chairs in the lecture hall to make it seem ‘live’ or should I leave it like that.

Hope everyone is less stressed than me.

D

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Drawing in progress

I am working on a drawing consisting of different spaces/production areas of the AA where identity is manufactured. Below is the Dip9 space, there are still little things to be added like books, paper etc. Don’t judge the colour, it was just a quick sketch.

Dip9

Dip 9

I am working on the lecture hall now, others will follow. When I finish the lecture hall part, I will then sit and revise my text/thesis…

D

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Progress update

I have finally edited and finished all the images for my book, already printed them out. Trimming them now and sending to bind tomorrow morning, hopefully will collect it tomorrow afternoon if not then Monday morning.

Trimming

Trimming

 

I started working on the AA drawing which takes ages, the original plans are horribly drawn and giving me  lot of trouble. I am spending tonight cleaning those and editing and I will 3d model/extrude as much as I can tonight.

AA

AA

I don’t think there is anything to comment on, but if you have something to say, please do. As you can see I’ve made the square format go the book which I really like. Still thinking of the colour for the cover.

Hope everyone is good.

D

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How old am I?

I spent all weekend working on the images representing my life at the AA from the beginning of 20th century until present time. Here are few of them:

1912. Another day at the studio.

1912. Another day at the studio.

1922. Eleanor Hughes - first female student to graduate from the AA. We were close friends.

1922. Eleanor Hughes – first female student to graduate from the AA. We were close friends.

1950. Frank Lloyd Wright visiting the AA. I am kind of stalking him.

1950. Frank Lloyd Wright visiting the AA. I am kind of stalking him.

1950. Attempt to graduate.

1950. Attempt to graduate.

1953. Corb visiting. And here I am again - stalking.

1953. Corb visiting. And here I am again – stalking. By the way, I don’t have sight problems.

1978. Carnival - fun times.

1978. Carnival – fun times.

I will bring the rest with me tomorrow, there are many!

See you soon.

D

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Selfie day

Spent all day today taking selfies, Photoshop next. My goal is to have all images ready for Tuesday, ambitious but I think its achievable.

Me

 

 

I am also planning to prepare a base for my board/model tomorrow.

Hope everyone is having a good and productive weekend.

D

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Still here…

I have been studying for almost 100 years at the AA and still didn’t graduate. What is the reason behind it?

 

1954. Preparing for the Jury, Working on the isometric drawing.

1954. Preparing for the Jury, Working on the isometric drawing.

1972. Getting another coffee at the bar.

1972. Getting another coffee at the bar.

1986. Diploma 9 Project Reviews.

1986. Diploma 9 Project Reviews.

1999. I usually try to attend most of the lectures.

1999. I usually try to attend most of the lectures.

I have been searching for more images and tomorrow morning I should receive another 30 photos I intend to collage.

I also have been thinking about how to present my work at the Jury, got some ideas but at the moment they are in my head. Will try to get it on a paper for tomorrow’s tutorial.

Hope everyone is good and see you tomorrow.

D

 

P.S. I know there are few things I need to improve in Photoshop, how to bring some noise so I don’t stand out that much etc. I will work on that in future images. I would actually appreciate if someone could teach me that tomorrow. Thanks :)

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New i-dentity

When you get obsessed with colours and can not choose…

Poster 1-1Poster 1-2

Poster 2-1Poster 2-2

Poster 3-1Poster 3-2

This is weird, almost all colours are showing slightly different than the original ones when you upload them here but you can get a rough idea.

Feel free to comment.

D

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I am a product too. Just of a different factory.

After Tuesday’s tutorial I spent some time thinking or to be more precise re-thinking the recon project. I decided to shift away from the wood (log), as it is too literal to Fagus and to be honest with you not the best or most creative idea of mines.

So I looked at my notes… and… the thoughts are below:

Last shapes the shoe, what is it that shapes Architecture? I do, we do, all of us do! If you think about it, what is the difference between the shoe last and myself? There is almost no difference but the physical appearance. Shoe last is the product of the Fagus, I am a product too, just of a different factory, in my case it is perhaps the AA(FI). Yearly thousands of lasts are produced all over the world, same with architecture students. One might say that the shoe last is a very individual product, but what about thousands of those in mass production, of same size, same shape, same material… And what about an architecture graduate? Some of us after graduating become those ‘individuals’, by that I mean setting up your own practice, leading your work, finding yourself; but many of us fall under the term of ‘mass production’, literally doing the same thing for years and years; and certainly some of us just represent those ‘old shoe lasts’ which are no longer needed – due to lack of job, or simply because they don’t ‘fit’ the profile.

Who am I and what is my Identity? Do I have one at all? How do I give shape to culture of myself? What category do I fall under?

If the AA is the factory, how would it be called?

Architectural Association School of Architecture – AASA?

or maybe

Architectural Association Factory of Identity – AAFI?

Front

I got very inspired by Zak’s seminar and by the medias and ways they work. I am also looking to reflect on Max Hertwig’s technics he used when working for Fagus. I am currently working on a drawing and probably will be able to show tomorrow. Comments are welcome.

Many thanks

D

 

P.S. Who was AA’s Carl Benscheidt in the past and who is he or she now?

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Initial ideas for my Recon

As you all may know by now, Fagus is the shoe last factory founded in the early 20th century by a very ambitious individual called Carl Bensheidt. At the age of 53 when most people begin to contemplate the retirement, Carl Benscheidt launched a new enterprise. It was his dedication to work, his pronounced social conscience, and his pursuit of a healthy lifestyle – characteristics that enabled him to take such a daring step.

But what is the meaning of the shoe last in Carl Benscheidt’s vision? Why was it the main and only thing that Fagus produced? Why did Beinsheidt fight for its production even during the war times? What would those workers he cared for so much look like nowadays? These are some of the questions that will get my Recon going. I am looking to reinvent Fagus in my own interpretation by understanding Carl’s ideologies and by exploring his identity.

Few words about media I chose to use for my recon. I thought of many ways such as sketches, drawings, maps, diagrams, magazines, posters, events and many more, but in the end I chose to produce an industrial product/model which will help me best find the answers on questions I mentioned earlier and ones I will raise in future. I thought it would very well reflect on Fagus as a factory and its final product. A beautiful tree stump will be a base point for my making. My fictional narrative will form materials, objects, spaces and performers: machinery, workers, products, Gropius, Meyer, Benscheidt and many more.

Stump

The idea is to explain each step of my making through a series of diagrams that will back up the final product and get a clear understanding of why, what, when, how etc.

Hope this makes sense to you all. Any comments are welcome. I am going to watch some videos now about wood works.

Bye

D

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Diploma 9 Atlas – the beginning

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Photo 14-10-2014 17 27 55

Photo 14-10-2014 18 24 36

It was a great session, many thanks to everyone who contributed today. It was truly motivational and inspirational. It has helped me personally to find new exciting links between projects and it was just nice to spend the whole day together at the Unit space working together. Would be great to do a similar Atlas later in the year when our projects evolve. All for now, goodnight.

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Trimming….. I’m very excited about our Dip9 Atlas tomorrow!

Photo 13-10-2014 23 44 36

Photo 14-10-2014 00 20 13

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Time-lining Fagus factory…

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