Author Archives: Liz Tatarintseva

Updated Drawings

 

I’m going to print these first thing in the morning so any comments would be great!my clarify drawing 4

energy even more zoom out shadow cropped

 

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Landscape model

The landscape slots into the quarry model, which has the sandstone colour. The model is first shown from the landscape (natural) side and then flipped around to reveal the quarry (artificial) side. So far I have made it white and I am worried that if i add colour to the landscape, it will look super tacky… If you scroll down to the bottom of the post, there is a colour test.

So if any one has any comments as to whether I should keep it white or do it in colour, please let me know!

photo 3 photo 2 photo 1

photo (1)

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Final Edited Text

The project approaches the architecture of the Unbuilt as one that does not sit in isolation, but rather holds the power of transformation. Extending its presence to construct alternate realities beyond the confines of a singular object. In my journey Through the Looking Rock, I have found an uncanny ally in the form of Zaha Hadid’s winnig entry for the 1983 Hong Kong Peak competition.

Tucked away on the mountain slope, the Peak leisure club acts as a threshold between the visionary and the real. Shattered, extruded and compressed – this was Zaha’s vision of Hong Kong drawn through the lens of her project. By breaking away from the shackles of reality, she abstracts the city and transforms its state to situate her building. What originally intended to be a proposal for a leisure club, became her self-referential painted world of Hong Kong. In this we learn that the only way to fully describe her project is to describe the city.

We flip the coin to see what happens on the other side. By materializing the project in its physical form, the portal connecting the visionary and the real is broken. The peak goes back to its true physicality – a part of the mountainous rock formation no longer exuding the power of manipulating the world around it. In its journey from idea to form it has lost its connection to the context of the city, changing its state to become a rock.

The project interrogates the spaces of transition, in my case the landscape, through the lens of a glass factory. The site takes us on a journey of state change that constantly evolves and works in a feedback loop with the factory, through a series of chemical, physical and optical transformations.  Unlike Zaha, who forces her transformation upon the city, Through the Looking Rock transforms within. The factory acts as an internal trigger in the cycle of landscape evolution.

Starting with a blank slate, we take a point which we rotate to see that it becomes a line, and then we take the line to flip it to reveal a corner, which when turned again on its side becomes a plane. Taking this plane and flipping it’s side reveals a cube, to finally arrive at the site. A mountainous landform – the result of the first sequence of state change from abstract to real. It is a familiar situation where we as architects go through different means of representation, molding our ideas and translating them into form, going from lineform to landform to builtform.

This isn’t just an ordinary landform. As we familiarize ourselves with its rocky landscape, we encounter visual clues to its hybrid nature that acts as both the site and the building material. Nested in the folds of the landform lie the mounts of limestone, sand and crushed glass becoming the artificial extension of the mountain. These mounts indicate the presence of an industrial activity with their colorful reflective appearance.

As we continue to follow the initial clues, we traverse around one of the Peaks only to discover a portion of it missing. Transformed and consumed, this elusive quarry reveals perfectly sliced marbling strata of sandstone. A natural facade of an artificial landform.

Unlike Zaha’s ruthless transformation of Hong Kong through the Peak leisure club, the landscape is manipulated to be perceived as either natural or artificial, swapping its appearance depending on the way it is viewed.

Time goes by and the physical transformation of the site is coupled with the constant building and unbuilding of the landform. Carving its way down, the quarry inverts the positive space of the mountain with the negative space of the extracted material. The landform is never fully built, it is in constant process of transformation by the external forces. To study its form is to study change.

Carved into the rocky grounds of the mountain sits the glass factory – the ultimate laboratory of state change. It is a space where raw ingredients get mixed, molded and transformed to become their translucent alter egos.

We now enter the factory. A space of critical threshold where Built and the Unbuilt coexist. It is the space where ideas are translated to form and where coarse qualities of the rock are gradually replaced with the refractive qualities of glass.

Materials such as limestone, soda and dolomite are mixed with the main ingredient – sand, which is extracted from the site in the form of sandstone. They then undergo a chemical transformation by a series of heating and cooling actions to finally come out of the factory in the form of translucent glass sheets.

Traditionally architectural profession has been dealing with the extensive properties of matter and space. These are properties that you can measure and subdivide, such as length, area and volume. The fluctuating nature of the project calls for a shift from extensive to intensive properties, which describes speed, temperature and density among others. The factory becomes the living organism, the homage to the cycle of architectural transformation.

Operating at the level of seen and unseen, the subterranean factory disguises itself but leaves us clues as to its presence. Simultaneously with the consumption of the mountain, the raw materials are stored on the surface indicating the presence of the underground transforming machine. Leaving behind an artificial regurgitated mountain of raw materials. Working in a continuous feedback loop with the factory.

The physical transformation of the site is consuming one peak at a time, slowly depleting its raw materials. Once the resources run out, the factory tunnels its way further down the landscape on a predetermined trajectory, travelling at the rate the factory can produce. Wherever it goes the site is transformed with it. The factory does not simply occupy a given site. Instead it constructs the site itself, by constantly carving and depositing raw materials around it.

We surface back up. Confronted with the vertical plane of sandstone being covered with a reflective veil of glass. Reaching the bottom of the quarry we find ourselves at the core of the transformative space. Where the glass veil becomes the backdrop for the alternate fragmented realities, a reflective canvas of dynamic illusions.

What used to be the slow physical process of consuming and digesting the landform is now replaced with the reflective qualities of glass. The illusionary façade amplifies the extent of transformation as the steps of the consumed landform are reflected to fill in the surroundings.

Through the Looking rock blurs the boundary of the effect and reality, material and immaterial, built and the unbuilt, hiding and revealing the true nature of the site. It allows us to experience the embedded power of glass getting chunks of earth to appear and disappear. Ultimately this power lies in the difference between the evolved glass and its sandstone predecessor – the molecular difference transforming the dense solid rock into thin translucent glass.

From lineform to landform. From natural to artificial. From surface to subterranean. From material to immaterial.

Weaving its way through the project is the underlying energy of transformation. Whether it is the heat the glass will produce in terms of embedded energy in the atmosphere, powering the turbines of the solar updraft tower, which in turn powers the factory. Or the energy that went into the transformation of the fictional site through the lens of the factory. Or the energy that Zaha expended to transform Hong Kong into her vision. It is this energy that closes the loop of production, powering the project and allowing for the system to evolve.

It is seven o’clock in the evening on a warm summer’s day. The hot air is rippling above the glass mountain, hinting at the concealed transformations simultaneously happening within. As the sun starts to go down the reflections of the glass façade slowly start changing to reveal the marbling sandstone cliff. We look around to realize the extent of the transformation as a whole city triggered by the factory’s activity emerges before us. Fuelled by the energy of transformation, the factories frequencies extend beyond the site, channeling its presence in the construction of the unbuilt worlds beyond.

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Photoshopped Peak Models

visionary model small

real model small

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Project Framework drawings updated

my clarify drawing 3

zaha's clarify drawing 2

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Energy Drawing

energy zoom out small

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Video Final Version

The main corrections are:

1. Contour lines are now corrected in the eye level to plan quarry part

2. Added – a transition between the radar like plan and the section

3. Slowed down –  the glass facade sequences

4. Added – Energy sequence

5. Exported and broken down the video into 5 parts for the presentation.

Please feel welcome to comment, as I think I’m otherwise finished with the video.

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Aaaand another Video Update

So most of the parts in the video are down, there are still a few more corrections towards the end of it. I am also missing the energy part, so I have found this plug in for After Effects called particular, where I could visualize the energy through flow lines and overlay them with the rendered video

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Portfolio Pages

5th year portfolio.pdf

test portrait

Starting to organise all the information that I have accumulated. The drawings are going to be in 3 different sizes, slightly smaller that A2, slightly smaller than A1 and panoramas. All the drawings except for the panoramas will have a white border and the portrait ones will have extra wide border on the bottom to have a title on it. All the pages will be printed on 150 gsm cartridge paper, with glass parts printed on glossy and cut into place.

 

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Video as it stands

I feel like I need to take a zoom out and really see where the video is going, so any comments or suggestions would be really appreciated!

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Underground Transforming Machine

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New Video Portion

Look out for ripple effect, change of reflection on the glass facade and the city lights changing. This video also gives me two new panorama drawings.

day panorama night panorama

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Project Framework drawings WIP

I am thinking to start the presentation with these two drawings, to situate the project. Obviously work in progress

clarify drawing me clarify drawing zaha

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Post Jury Thoughts – Butterfly Effect of Architecture

Butterfly

The key comment that I would like to address after going through the jury notes is situating the project. Bringing the hierarchy to the presentation so that the essence of the project is backed up by all the intricacies of the transformations happening simultaneously.

I think the project is about the butterfly effect of the landscape and the object (these two elements being mutually interchangeable). For me, the landscape is the organic mountain, for Zaha it is the city. For me the butterfly wing or the object is the factory, for Zaha it is the leisure club. The actual effect that the object or the metaphorical butterfly wing will produce is done through the lens of the architect.

I think the presentation needs to start by clearly setting out this relation of the landscape or the context and the object. Perhaps having a singular drawing of a larger format (so far all of my drawings have been quite small and leveled in terms of their importance and hierarchy) that reveals just enough for the viewer to be seeking these elements of transformation. I will work on a sketch of what this drawing could be for Friday, as well as working on the rest of the film.

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Trippy Night View

trippy night view

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Section + Panorama WIP

section lines 03 panorama artificial mounts drawing

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Video Update

Now with sound, to keep it exciting :)

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Text – Done!

The project approaches the architecture of the Unbuilt as one that does not sit in isolation but rather holds the power of transforming its surroundings, extending its presence to construct alternate realities beyond the confines of a singular object. In my journey Through the Looking Rock, I have found an uncanny ally in the form of Zaha Hadid’s winnig entry for the 1983 Hong Kong Peak competition.

Tucked away on the mountain slope, the Peak leisure club acts as a threshold between the visionary and the real. Shattered, extruded, compressed and inclined – this was Zaha’s Hong Kong drawn through the lens of her project. By breaking away from the shackles of reality, she abstracts the city, transforming its state in order to situate her building. What originally intended to be a proposal for a leisure club on the mountainside became a self-referential painted reality of Hong Kong, where the only way to fully describe the project is to describe the city.

We flip the coin to see what happens on the other side. By materializing the project in its physical form, the portal connecting the visionary and the real is broken. The peak goes back to its real physicality – a part of the mountainous rock formation no longer exuding the power of manipulating the world around it. In its journey from idea to form it has lost its connection to the context of the city, changing its state to become a rock.

My project interrogates the constructed reality of the space of transition through the lens of a glass factory. Through a series of chemical, physical and optical transformations, the site takes us on a journey of state change, constantly evolving and working in a feedback loop with the factory. Malleability, transformation and state change, therefore become the key attributes for the conceptual and material ground of my project.

We start with a blank slate. Through a series of rotational iterations going from a point to line, to corner, to plane, to cube we finally arrive at the site – a mountainous landform – the result of the first sequence of state change from abstract to real. It is a familiar situation where we as architects go through a series of means of representation, molding our ideas and translating them into form, going from lineform to landform to builtform.

This is, however, no ordinary landform. As we familiarize ourselves with its vast rocky landscape, we encounter visual clues to its hybrid nature of acting as both the site and the building material. Nested in the folds of the landform lie the mounts of limestone, sand and crushed glass becoming the artificial extension of the mountain, giving themselves away with their colorful reflective appearance, indicating the presence of an industrial activity.

As we continue to follow the initial clues, we traverse around one of the Peaks only to discover a portion of it missing. Transformed and consumed, this elusive quarry reveals perfectly sliced marbling strata of sandstone, a natural facade of an artificial landform.

Unlike Zaha’s ruthless transformation of Hong Kong through the Peak leisure club, the landscape is manipulated to be perceived as either natural or artificial, swapping its appearance depending on the way it is viewed.

Time goes by and the physical transformation of the site is coupled with the constant building and unbuilding of the landform, carving its way down, inverting the positive space of the mountain with the negative space of the quarry. The landform is never fully built, it is in constant process of transformation by the external forces. To study its form is to study change.

Carved into the rocky grounds of the mountain sits the glass factory, the ultimate laboratory of state change, a space where raw ingredients get mixed, molded and transformed to become their translucent alter egos.

We now enter the factory, a space of critical threshold where Built and the Unbuilt coexist. It is the space where ideas are translated to form and where coarse qualities of the rock are gradually replaced with the refractive qualities of glass.

Materials such as limestone, soda and dolomite are mixed with the main ingredient – sand, which is extracted from the site in the form of sandstone. They then undergo a chemical transformation by a series of heating and cooling actions to finally come out of the factory in the form of translucent glass sheets.

Traditionally architectural profession has been dealing with the extensive properties of matter and space; properties that you can measure and subdivide, such as length, area and volume. The fluctuating nature of the project calls for a shift from extensive to intensive properties, describing speed, temperature and density among others. The factory becomes the living organism, the homage to the cycle of architectural transformation.

Operating at the level of seen and unseen, the subterranean factory disguises itself but leaves us clues as to its presence. Simultaneously with the consumption of the sandstone mountain, the raw materials are stored on the surface indicating the presence of the underground transforming machine, producing an artificial regurgitated mountain of raw materials, working in a continuous feedback loop with the factory.

The physical transformation of the site is consuming one peak at a time, slowly depleting its raw materials. Once the resources run out, the factory tunnels its way further down the landscape on a predetermined trajectory, travelling at the rate the factory can produce. Wherever it goes the site is transformed with it. The factory does not simply occupy a given site. Instead it constructs the site itself, by constantly carving and depositing raw materials around it.

We surface back up only to witness the vast vertical plane of sandstone being covered with the reflective veil of glass façade, as the consumed landform gets injected with the product of its transformation. The slow physical consumption of the mountain is being replaced by the dynamic illusory effects of glass, amplifying the extent of transformation as the vision is mirrored back onto itself.

Through the Looking rock blurs the boundary of the effect and reality, material and immaterial, built and the unbuilt, hiding and revealing the true nature of the site. It allows us to experience the embedded power of glass getting chunks of earth to appear and disappear. Ultimately this power lies in the difference between the evolved glass and its sandstone predecessor – the molecular difference transforming the dense solid rock into thin translucent glass. The glass veil becomes the backdrop for the alternate fragmented realities, a reflective canvas of dynamic illusions.

From lineform to landform

From natural to artificial

From surface to subterranean

From material to immaterial

Weaving its way through the project is the underlying energy of transformation. Whether it is the heat the glass will produce in terms of embedded energy in the atmosphere, powering the turbines of the solar updraft tower, which in turn powers the factory. Or the energy that went into the transformation of the fictional site through the lens of the factory. Or the energy that Zaha expended to transform Hong Kong into her vision. It is this energy that closes the loop of production, powering the project and allowing for the system to evolve.

It is seven o’clock in the evening on a warm summer’s day. The hot air is rippling above the glass mountain, hinting at the concealed transformations simultaneously happening within. As the sun starts to go down the reflections of the glass façade slowly start changing to reveal the marbling sandstone cliff. We look around to realize the extent of the transformation as a whole city triggered by the factory’s activity emerges before us. From linefrom to landform to builtform and back again we zoom out to find ourselves back on the sheet of paper where we began with the blank slate.

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Exciting Word – FILM

Film as it stands! WhoopWhoop!

P.S. Since the video has been exported, I have made the transitions much smoother!

 

 

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That Scary Word – FILM

Since yesterday’s tutorials my thought trail was as follows

-The model was too constrained by the format (cubes) and was two theatrical (one view for the spectator rather than immersive experience)

-Thinking of a more cinematic model of my world made me rewrite the sequence of how the story of my project is being told

-The story of the project works on the levels of what you see and how it operates

-This led me to start drawing a storyboard, which in turn led me to realization that my project would really benefit from having both model and a FILM.

Yes, it is ironic that I am planning to achieve one thing I am most petrified of – FILM. On a positive note, here is the storyboard. I believe it can be done, but with a lot of youtube tutorials.

Comments and suggestions are welcome, as I feel completely out of my comfort zone…

P.S. In terms of the model I though it could be the model of the film set so to say (e.g. panorama shots could be done as 180 degrees screen, 3d elements become 3d). In this case what becomes interesting are the moments of transition and how the model grows according to the film

film storyboard 1 film storyboard 2 film storyboard 3 film storyboard 4

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Model Storyboard

So after testing out how the model could work in Rhino, I thought it would be useful to approach it through a storyboard, with each scene telling a continuous story of state change. Here are the 5 scenes I have so far:

1. Lineform to Landform Transformation1

 

2. Material Transformation2

3. Physical transformation3

4. Optical Transformation4 

5. Context Transformation5

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Plan Drawing – Factory Consequence

landform to builtform new viewpoints [Converted]-01

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Model Update

overall view view1.1 view1.2 view1.3 view2.1 view2.2 view2.3 view2.4 view2.5 view2.6 view 3.1 view 3.2 view 3.3 view 3.4 view 3.5

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Beginnings of a model

So far the idea for the model is to work with views and inserting 2d and 3d screens to perform transformation. More updates tomorrowexploded axo sequenceplan model sequenceaxo model sequence

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Museum of Childhood

Some photos from Museum of Childhood. Was mainly looking for stage sets and flattening distance in a model (to flatten the transformation factory – glass – quarry – landscape – city – viewing platform).

P.S. I could not figure out how to rotate the portrait photos, sorry… If anyone knows how to do that, please let me know :(

photo 3 (2) photo 1 (2)

photo 2 (2)

photo 1

photo 1 (1)

photo 2 (1) photo 3 (1)

photo 5

photo 5 (1)

photo 4

photo 3

photo 2

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TS Submission Video

Here’s a combined version of the three videos I’m going to show on the Ipad tomorrow.

http://youtu.be/-rvKHNR5S0s

Tags: >
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Working away on the plan

 

Working on the plan of the consequence of the factory based on setting up the views.2 landform to builtform lines 2 [Converted]

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Some more TS and Consequences of the factory

 

Here are some more updates on TS, how the hot air would travel through the tower.TS BOOK Chapter 4 170-171 TS BOOK Chapter 4 172-173 TS BOOK Chapter 4 174-175

I have also been trying to respond to the questions that were raised on the previews and the jury. These are the points that I believe will be important for me to address:

1. What are the external consequences/feedback loop of my intervention/industrial presence? I think I need to step out of the isolation of the quarries and introduce urban context. The work in progress screenshot shows the beginnings of the plan showing the emergence of a city with the quarry becoming the inverted infrastructural energy monument, a modern step well, a carved monument to production and transformation.

2. Who is the viewer? This relates back to the first question, where the city would go through two lifespans: the industrial village for workers (emerging while the factory is in operation), and the spiritual land art esque town with the viewing platform (a mix of Turrel’s volcano, Grand Canyon and Shenzhen). Both of the responses need to be sharpened in terms of the argument, but I believe they will bring the project out of it’s isolation.Untitled-1

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Understanding the loops for the project

I am hoping that with the help of these loop diagrams I can organize the model and supporting drawings showing how the different loops of the project interweave as well as showing the system/transformative nature of the project

unravelling loops of the project-01 individual loops of the project [Converted]-01-01

 

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TS Energy / Back from Easter

Here are some updates for the energy chapter that I am currently working on for the TS. I am thinking to generate energy by looking at a simple fact that hot air rises. I am also looking at the different techniques of collecting solar energy, solar updraft tower working on the principle of hot air. More updates to come tomorrow.

I have also been trying to figure out how to approach the model + video for the final tables (comments from the previews). I have set out a rule set for the model which hopefully will help me orchestrate it’s content/construction/story.

TS BOOK 154-155 TS BOOK 156-157 TS BOOK 158-159 TS BOOK 160-161 TS BOOK 162-163TS BOOK 164-165 TS BOOK 166-167

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Project Drawing

unfolding drawing 2 [Converted]

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Sunday Morning Sketch Session

Sketch for the transformation drawing. Going to have is as a line drawing with gradients of colour and hatches, constructed from different perspectives.

IMG_3440

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Factory Moving through the Mountain

warehouse with factory cropped warehouse with rails

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What happens in the quarry?

So I felt that I have not yet addresses the question of what happens with the vast space of the consumed quarry and I was hoping to try and address it by the previews. This is the first attempt at drawing it and while I feel that it is a bit banal and not yet tied into the thesis, it’s still the first attempt. I feel like whatever happens in the quarry needs to push the ideas of transformation and state change further, whereas right now it is just populating the steps of the quarry. So if anyone has any suggestions how the space could be approached please comment.

1to500 plan [Converted]-01

P.S. The idea so far are:

  • Viewing platform (furthering the illusion, setting up viewpoints)
  • Landform to builtform (Pushing that further, like in Zaha’s case they become intertwined. The builtform being the transformation of the context in order to situate the factory)
  • Spaces that produce energy for the factory

 

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Overview Render WIP

render full landscape 1

I wanted to include myself in the corner of the drawing holding a photo of before the transformation. Otherwise this is work in progress.

render full landscape 1

P.S. This is the before image that I will be holding

render full landscape 1 before

 

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TS Conclusion Image

1

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Final TS Updates! Whoop Whoop

TS BOOK 128-129TS BOOK 130-132 TS BOOK 132-133 TS BOOK 138-139 TS BOOK 140-141 TS BOOK 142-143

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TS Updates

TS BOOK 24-25 TS BOOK 80-81 TS BOOK 96-97 TS BOOK 98-99 TS BOOK 126-127 TS BOOK 128-129

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Project Chapter Diagrams

00/Introducing the Plymorphous Rock

TS BOOK 00

01/Chemical Transformation

TS BOOK 01

 

02/Physical Transformation

TS BOOK 02

 

03/Optical Transformation

TS BOOK 03

 

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Sun Studies

I will figure out which option works best once I receive the two way mirror to test reflections and transparency based on time of the day and North orientation.

TS BOOK 104-105 TS BOOK 106-107

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Model WIP

It fully dismantles according to point to line to plane etc + the 3d print will be ready tomorrow

20140305-181659.jpg

20140305-181720.jpg

20140305-181736.jpg

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Transformation Sequence

The line drawings to be printed on tracing paper

TS BOOK 96-97 TS BOOK 98-99 TS BOOK 100-101 TS BOOK 102-103

TS BOOK 108-109

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Mirroring in the studio

photo 5 photo 4 photo 3 photo 2 photo 1photo

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2-way Mirror

I have decided to look into glass and it’s reflective optical properties to further the thesis argument of transformation. So far the natural to artificial landform transformation process is very slow, so I was hoping to speed it on a daily basis with the help of the optical properties of glass as well as changing natural light conditions through out the day. The effect could be somewhat similar to Robert Smithson’s mirror and spoil sculptures.

CRI_210214

The mirror in this case though is always reflective, where as I would like to achieve a changing effect, almost like a mirage. This brought me back to the Dan Graham artwork, where he uses two way mirror to confuse the viewer.

article_1924-2Finally, I have found that it is possible to buy two way acrylic mirror ( which I can lasercut and handle much easier). Going to order it now, to do some physical experiments. In the mean time, here is a video two way acrylic mirror changing appearance based on lighting.

 

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more TS…

TS BOOK 94-95 TS BOOK 96-97 TS BOOK 98-99

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Spread sketches + WIP plan

140226_Spread Sketches WIP appreach to the site [Converted]-01

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Imaginary Site Somewhere in the Mid West

I am going to start drawing my artificial landform tomorrow using this imaginary site, which is a mix of a mountain and Grand Canyon

terrain 3d

terrain plan terrain contour lines

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Lineform to Landform

Here is a short GIF and TS spread (the landform part will come tomorrow). The gif is based on a 3d model that I am modeling so I can 3d print it with colour (i.e. contour lines or landscape texture).

lineform-to-landform-2

TS BOOK12-13

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Project Sketches

1.1 2.1 3.1 4.1

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aaaaand TS

TS BOOK 24-25 TS BOOK 26-27

TS BOOK 62-63 TS BOOK 64-65 TS BOOK 68-69

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My Site

I have decided that my site should be located somewhere with sandstone mountains. Sandstone, when pulverised, is just like sand as is the main component in making glass. After a bit of googling I am hoping to find a site that is similar to the ancient city of Petra, that was carved into the sandstone rock. Any suggestions, opinions comments on this matter?

Jordan_-Petra_1403420i Sandstone Patterns

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TSSSS

TS BOOK 46-47TS BOOK 48TS BOOK 50-51TS BOOK 52-53TS BOOK 54-55

TS BOOK 46-47 b

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Alan Watts. Organism-Environment Field

“You cannot describe the behavior of a living organism without simultaneously describing the behavior of that organism’s environment. One does not describe an organism in an environment; rather one describes a unified field that is an “organism-environment.”

Alan Watts

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Factory eating the site around it – Moat?

MOAT-LANDFORM-2

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Engineered Landscapes

Some images of limestone quarrying. What is interesting is how the landform is carved out in blocks or chiseled away creating new occupied grounds.photo 3 (1) photo 3 photo 4

 

Carving into landscape on a scale of paper to keep me thinking of model options.

photo 1 (1)ambe3

 

 

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More TS Spreads

ts spreads

Tags:
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TS Spreads

ts spreads

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Jury Script

Now all i need to do is rehearse rehearse rehearse140128_jury slides 140128_jury slides 2 140128_jury slides 3 140128_jury slides 4

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Caution: State Change in progress

caution state change in progress A2 copy

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State Change Argument Drawing

timeline 2,3 [Converted]

 

This drawing will need a lot of editing after the jury, but I guess it’s ok for now…

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More updates + State Change Argument Drawing

axo geo cells  + HATCH A2 timeline drawing overview

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Updates

Hong Kong Built Unbuilt A2 point to rock (double sided) A2_Page_1 point to rock (double sided) A2_Page_2 Point to Mountain A2 QUARRY AND CULLETS A2 warehouse A2

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Light at the end of the Glass Factory

Now I just need to figure out what happens pass the elusive yellow warehouse door…

Industrial-warehouse-inside portrait

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3 versions of the next drawing

Neither of which i am too keen on, but need to move on to the next two. Updates to follow.

section geo and batch colour and lines section geo and batch section geo and batch colour

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Sketching out the next drawings

sketch of plates

I have sketched out the possible options for the next few plates that i am planning to do (hopefully, to have first draft by Friday). All of them have a bit of an unfold action going on, where I start by showing one side of the drawing and then flip it open. Here’s a short description of each numbered drawing:

1. The storing cells part of the drawing (on the left) unfolds to the geology drawing, all done in a geology map style with the bath house where all colorful materials get mixed.

2. Energy and heat drawing showing temperature and texture change in furnace and refinery. This drawing will have a Philip Rahm aesthetic.

3. Cold end of the factory, with the conveyor belt appearing from the refinery. The scene is photorealistic with Kuka robots, glass storage and people. At the end of the perspective is the warehouse sliding door, half open, with ???? (need to figure out what) happening behind it.

I have also been having some trouble finding information of geological stratification (the layers of landform) that my “rock” will consist of, so for now I will believably fake them.

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GEO design section axo – material sorting cells

Update for the section axo, the left part which talks about the artificial part of the landform, acting as material sorting facility. I still need to put all the textures in (concrete, glass, sand, limestone, dolomite) + draw the realistic geo layers (now it’s just a sad brown colour).

axo geo cells

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Axo Section – Geo Design

Beginnings of the Section/Axo that will unfold out. The left side is meant to be the artificial structure of the mountain, acting as the sorting facility, retaining wall and to give topography to the site. The right side is then blending into the “real” artificial landscape – one that has not yet been excavated, so the structure of it depends more on the material properties and the size of the material particles (ranging from a giant block to sand particles). In terms of representation, I am thinking left could either be line drawing with hatches or a photoshoped with the different cullets, sand, limestone etc. The right one is probably going to be colourful, like the geo maps, so illustrator filled colourful layers of soil.

I will post the update of it tomorrow.

storing

 

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Project Title Options – Please Vote/Comment

Through_the_Looking_Glass__by_Sugarock99

1. Through the Looking Glass

2. Transitory Grounds

3. Shifting Grounds

That’s the best I could think of so far. Votes and comments pleeease. Thanks :)

 

 

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Visual Clues – Cullets and Quarry

visual clues cropped

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Landscape in 3d

Thanks to 3ds Max tutorials, I managed to get the landscape in 3d, so it will be easier to set out the views and moments for the narrative.

landscape 3d

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Representation State Change

TOPO LINES [Converted]

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How Float Glass Factories Work

TS spread of how glass factories work. Next step – start drawing a section through my site + the factory.

TS BOOK test page 22-23

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Visual Clues

glass factory visual clues

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Glass Mountains

I have been briefly looking into how glass factories operate and one of the interesting ingredients in making glass is cullet (broken often recycled glass). Here are some interesting images of cullet ‘landforms’ + a visually stimulating rock :)

backlot4-727 Industrial_WSP_2011_05_13_CulletPlant-11932-Edit-VIV2backlot1-727 Gabbert-Photo-019 tumblr_mx5fhyzyjx1qzg3euo1_1280 tumblr_mx5fir43cn1qzg3euo1_1280

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Getting to the Site

peruvian landscape google earth small

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Presentation text

Recon

Built and the Unbuilt. Two opposing realities leave a big question mark on what happens in the third space – the space of transition. Or rather why do the two realities end up being so oppositional? There is no better project that attempts answering this question than a competition – a project that is pushing the boundaries of the Unbuilt with the promise to be built.

1983 was the year of the Hong Kong Peak competition attracting 1700 participants including Zaha Hadid’s winning entry. Tucked away on the mountain slope, the Peak leisure club acts as a threshold between the visionary and the real. Shattered, extruded, compressed and inclined – this was Zaha’s Hong Kong drawn through the lens of her project. By breaking away from the shackles of reality, she abstracts the city, transforming its state in order to situate her building. The conceptual and physical malleability empowers the architect and her architecture to return to the animalistic instincts of the lion and the chameleon, forcing her seamless vision of the city upon the viewer.

We flip the coin to see what happens on the other side. By materialising the project in its real form, the portal connecting the visionary and the real is broken. The peak goes back to its real physicality – a part of the mountainous rock formation no longer exuding the power of manipulating the world around it. In its journey from idea to form it has lost its connection to the context of the city, changing its state to become a rock.

 

Project

The project interrogates the constructed reality of the space of transition through the scales of the mountain, the glass factory and the molecule. It embraces the split personality of the Unbuilt by stating that nothing can be described in one term. Malleability, transformation and state change, therefore become the key attributes for the conceptual and material ground of my project.

We start with a blank slate. Through a series of rotational iterations going from a point to line, to plane, to cube we finally arrive at the site – a mountainous landform – the result of the first sequence of state change from abstract to real. It is a familiar situation where we as architects go through a series of means of representation, moulding our ideas and translating them into form, going from lineform to landform to builtform.

Traditionally architectural profession has been dealing with the extensive properties of matter and space; properties that you can measure and subdivide, such as length, area and volume. The fluctuating nature of the project calls for a shift from extensive to intensive properties, describing speed, temperature and density among others. The landform is never fully built. It is in constant process of transformation by the external forces. “To study its form is to study change.”

This is, however, no ordinary landform. As we embark on our journey to its Peak, we encounter visual clues to its hybrid nature of acting as both the site and the building material. Carved into the rocky grounds of the mountain sits the glass factory, the ultimate laboratory of state change, a space where raw ingredients get mixed, moulded and transformed to become their translucent alter egos. The factory does not simply occupy a given site. Instead it constructs the site itself, by constantly carving and depositing raw materials around it.

We now enter the factory, a space of critical threshold where Built and the Unbuilt coexist. It is the space where ideas are translated to form and where coarse qualities of the rock are gradually replaced with the refractive qualities of glass. The factory becomes the living organism, the homage to the cycle of architectural transformation

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Hybrids are Often the Most Robust Sorts of Creatures

chameleon.lion

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Blurring the thresholds of State Change

Layering and blurring the thresholds

 

While doing some research for TS, I realised I missed what I believe is an important aspect when talking about state change. That is the notion of threshold. For instance, water starts turning into ice when reaching the critical threshold of 0° C. Critical threshold allows for the state of water to change from liquid to solid, hence the unexpected absurd moment that I was missing in the animations.

This threshold, however is not an instant shift from one state to another; it is a space where both realities can exist. With this collage I attempted at drawing this condition of the city and landform occupying the same space at the same time. Like in Gerhard Richter’s paintings (which i went to see in Tate modern on the weekend) the different layers of paint occupy the same space of the canvas, revealed and hidden at the same time, blurring them into a singular space.

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What Kind of State Change am I Addressing?

In attempt to gather my thoughts after the Holiday, I have gone through the tutorial notes, blog notes and notes from the books I have referenced. The outcome is a bullet point format of how do I define state change in my project.

– Substances can be described through physical properties of being extensive (e.g. mass, volume) and intensive (e.g. temperature, density). Material state change happens when intensive qualities reach a critical threshold, resulting in an unexpected outcome (i.e. sand/stone -> glass/concrete)

– While state change can take form of a sequence, this sequence can be reversible and can encounter moments of absurdity and surprise.

– My project addresses the question of the relation of architecture to the site. In Zaha’s case, she needed to facilitate the context to situate the building. I propose that, rather than cutting away from the site, architecture needs to emerge from the site. Buildings should no longer occupy a giver site but instead construct the site itself.

– State change is reflected in the role of the architect as both chameleon and lion in the way landform (site) and architecture (object) come together into one. “Hybrids are often the most robust sorts of creatures” Sarah Whiting

– Perhaps the unexpected moment of absurdity is the interplay of the artificial and the natural, the landform and the architecture, positive and negative space (i.e. bringing landscape into the building, quarry and artificial mountain)

– State change in the methods of representation and the role of line and texture. “Texture is the level on which abstract information and tangible sensation meet today. Computer images are based on textures, but texture is also a fundamental feature of materials… In the field of digital architecture, the importance given to texture, to the play between grain and light, goes hand in hand with the desire to reconcile the immaterial and material, the conceptual and tangible” Antoine Picon

– “The rock’s way of staying in the game is different from the way of living things. The rock, we may say resists change; It stays put, unchanging. The living thing escapes change either by correcting change or changing itself to meet change or by incorporating change into its own being” Gregory Bateson

 

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TS Contents (WIP)

0. Introduction

0.1 Project Manifesto

0.2 TS Manifesto

 

1. Small Scale – Material State Change

1.1 Atlas of Materials

1.2 Atlas of Forces

1.3 Composites

1.4 State Change Timeline

1.5 Precedents

2. Large Scale – Landform State Change

2.1 Atlas of Landforms (Natural – Artificial, flat – 3d)

2.2 Natural Precedents (Season Change, Glaciers, Tectonic plates)

2.3 Artificial Precedents (Quarries and Artificial Mountains)

2.4 Landform Materials

2.5 Excavation and Build up Techniques and Machinery

 

3. Two Sides of the Same Coin (not sure about this chapter yet, but would like to unite the first two)

3.1 Landform Building Precedents

3.2 Drawing and Reality

3.3 Positive and Negative Space

3.4 Excavation and build up Techniques

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Learning from Ipad games and Escher

In order to build up my own impossible world I decided to quickly build up others. I used one of the scenes from Monuments Valley and built it up in 3d, to see how the blind spots work as well as attempt at ‘extruding’ the monument out of a flat surface/box. The second exercise was the materialization of Escher’s impossible tri bar.

ROCK-CREATION-2

COLOUR-ROCK-CREATION-2

monuments valley axos [Converted]-01 monument-valley-construction impossible-tribar

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Forgotten books of my home library

20131215-215440.jpg

The Monument Valley Ipad game (thank you Natasha and Cat) made me remember I had these two wonderful books in my home library, dating back to my second year project. They are both about Escher’s work and I am pretty excited to look into them!

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Notes of the day / Next steps

Having critically accessed the Point to Rock animation, I had a few thoughts of where to head next:

1. I feel that simply rotating the state change cube limits me from adding layers of transition, especially when talking about the real/non real and city/landscape, which is why I would like to try zooming in and out at different areas of the cube to enter new contexts. When zooming in I was thinking to go as zoomed in as a pixel.

2. The multiplicity that was present in the Boxes and Planes catalog, Fez and the Rock inspiration image (several cubes working together in 3d) is no longer present in the animation. I am wondering whether this is something that should make it’s way back into the animation. Perhaps this could be a tool for revealing new spaces.

3. The animation is currently devoid of any human scale or presence, as well as meta fiction narrative. I think that by reintroducing it through a quick storyboard (similar to the one I did at some stage for the recon) will bring intention to the whole state change shift of view animation.

4. If I am against Tabula Rasa (Mies’s IIT campus precedent in the animation) then how do I represent the opposite. How do I draw/establish a new ground for architectural projects. What is this ground? This is the question that has been bothering me the most.

5. While drawing the rock surface, I was wondering if crests/seams can play apart in the way the state change in the animation is achieved. I feel that the surface needs to be more faceted, but maybe that is something that I could come back to later.

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Point to Rock

point-to-rock-to-anti-tabula-rasa

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State change storyboard

 

 

Key words of the day:

State change, Sequence, Algorithm, Multiplicity, Neighboring objects.

 

The image shows first attempt at drawing the state change storyboard

state change sequence [Converted]-01

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