Author Archives: Liz Tatarintseva

State change from 2d to 3d

A quick exercise of turning the catalog into a sequence. I hoping to have a storyboard sketched for tomorrow’s tutorial.

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Quote from The art of looking sideways

Space is substance. Cézanne painted and modelled space. Giacometti sculpted by ‘taking the fat off space’. Mallarmé conceived poems with absences as well as words. Ralph Richardson asserted that acting lay in pauses. ‘I collect silences’, said Heinrich Boll […]   Isaac Stern described music as ‘that little bit between each note – silences which give the form’. Frank Kafka warned that ‘[…] Sirens have a still more fatal weapon than their song, namely their silence … someone might possibly have escaped from their singing, but for their silence, certainly never. […] The Japanese have a word (mafor this interval which gives shape to the whole. In the West we have neither word nor term. A serious omission.

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A – B

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Thinking Outside the Box and Plane

I have decided to do a quick exercise on the topic of Ha ha’s and Fez game, where the state change happens when changing the view and shifting from 2d to 3d.

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State Change

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State Change experiments with geometry, landscape and city

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State change of water

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State change of Park de la Villette

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Declaration

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. My project embraces the split personality of the Unbuilt, by stating that nothing can be described in one term. Malleability, transformation and change of state, therefore become the key attributes for the conceptual and material ground of my project.

When changing the state from visionary to real, the project often looses its visual, experiential and spatial qualities turning the magical into mundane. Conceptual malleability then relates to the state change of ideas and means of representation. Like in the case of Zaha’s visionary Peak competition entry, the project in it’s painterly form distorts the context of the city in order to describe her project. On the other hand the physical version of it relies heavily on being a singular object nested on the hillside. Change of state therefore happens in terms of context and building, distorted and orthographic, as well as in terms of scale. But most importantly, the change of state happens from chameleon to lion and back again.

From material standpoint, the change of state is manifested in material’s reaction to external forces, such as heat, light, electricity, water e.t.c. as well as how it transforms with time, such as weathering and rusting. The breakdown of essential processes involved it the material transformation will allow for a creation of language of physical state change. By working in tandem with the two states of change I am hoping to come to a meeting point of conceptual and real.

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Smoke and Mirrors

Having wiggled in and out of the states of Hyper Visionary and Hyper Real and related it back to the Bot and Dolly installation, I am wondering if the answer lies in perception or better to say magic. I am currently researching into the different principles of magic which include: production, vanish, transformation, restoration, teleportation, escape, levitation, penetration and prediction. I am mainly interested in the kind of illusion effect that can be produced with a magic trick as well as how is this space constructed. In relation to my previous post what I was hoping to explore is the idea of bringing enclaves of smooth space into the city through staging of magic. This might be a long shot, but could be fun to research.

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SITE – Smooth v.s. Striated space

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Zooming out of the metafiction diagrams, I have been thinking on the issues of site and how the opposition of Hyper Real and Hyper Visionary can translate into it. What could be the site of opposition? This lead me to thinking of thresholds (threshold being the wiggly line in the metafiction diagram 3) and boundaries. How the space of a city is defined by these scars and thresholds. This space can be described as striated space. On the other hand we have the smooth space, a space that allows freedom of movement, yet the space that can be hard to navigate in.

I am not yet sure how these spaces could play a role in my project, but in terms of the site I am curious to see how the opposition or blending of the two can come together in a project.

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Metafiction Diagrams

Since the tutorial yesterday, I have gone back to drawing the metafiction diagrams of my project and tracing what are the entities and relations between them to come up with something I would like to call a vessel for the ontological space of the project.  There are four of them, so not to loose my trail of thought I will go through them one by one.

METANARRATIVE DIAGRAM 1-01

 

1. I am sandwiched between the space of the Hyper Real and Hyper Visionary. I am going along the path to explore the two opposites. The Hyper Real is limiting and concrete. It is more of an object. The Hyper Visionary is sparse and leaves gaps to be filled by the viewer. It is more of a field. Through the space of the Hyper Visionary I see the fragments of Alternative Reality. If we were to occupy the space of a flatland, what would the view through the Hyper Visionary onto the Alternative Reality be? This leads us to the second diagram.

METANARRATIVE DIAGRAM 2-01

 

2. This is the flatland view from the path onto alternate reality. The Hyper Vision is overlapped and leaves gaps for the viewer to fill. We don’t yet know what happens at the threshold. Should the threshold then be less prominent, wiggling in and out of the reality and vision. This leads us to third diagram

METANARRATIVE DIAGRAM 3-01

 

3. Before me are the materialized versions of the Hyper Visionary and the Hyper Real. While the two models are fundamentally doing two different things, their animal instincts are fluctuation from being a Lion to being a Chameleon and other way round. The threshold is fluctuating with them, squeezing in the diagram number 1 into the space of fluctuation. The Hyper Real crosses onto the Hyper Visionary and the other way round. However, the threshold is still a line and not a space or even a territory. To visualize this fluctuating territory we turn our attention to diagram 4.

METANARRATIVE DIAGRAM 4-01

4. Shape shifting of the two realities allows for mapping them out in a three dimensional space. The crossing over is mutual, therefore allowing for creation of the 3rd Space – Tolerance Space. The diagram serves as a schematic vessel for the ontological space of the project, where the entities of Hyper Visionary and Hyper Real fluctuate creating a territory for the project.

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Bot and Dolly – The Box

I thought I would post this video, even though I am sure some of you might have seen it already. I found it really interesting how the installation is constructed around very specific viewpoints, or rather view paths to create an illusion of the built with the use of projections and kuka robots. I am thinking maybe the medium of projection could act as a bridge for the gap between the built and unbuilt, but who knows. I just think it mindblowingly cool and if I am not wrong, these are the kuka robots we’ve seen on our visit to UCLA.

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Richard Galpin – Viewing device

Following Manijeh’s suggestion, I had a look at the work of Richard Galpin, which I thought was really inspiring/beautiful both graphically and conceptually. Here are two videos from the skyline project as well as his working methodology, followed by a few images of his work. Going back to the theme of transition space between real and visionary, built and unbuilt he used technique of reduction and erasure to achieve the transitory effect.

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Booklet + Post Jury Thoughts

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Since the jury on Friday I have been working on putting the booklet together which summarises the area of investigation of my Re-Con – the opposition and the third space between the Built and Unbuilt. The booklet will cover the following points:

_Introduction – Third space between the built and unbuilt.

_Building/Context – Two opposites that both represent the Peak project.

_Field/Object – While the project is a single building (as mundane as a case study house), a level of complexity is introduced through re-describing the city.

_Chameleon/Antichameleon – Zaha needs to fabricate the context in order to situate the building.

_Eye/Lens – To achieve the shattered, extruded, compressed and inclined effect, Zaha uses an exaggerated camera angle, that further distorts the city.

_Static/Dynamic – As a result the city and the project feels dynamic and in motion, while the reality of it is static and rooted.

_Suspended/Grounded – The static V.S. dynamic qualities reflect in the materialisation of two opposing realities through the medium of physical models.

_Artificial/Natural –  In case of Zaha’s vision for the Peak the layers of natural and artificial fabric of the city weave together into one continuous fabric.

_Material/Immaterial – The physical materiality is only achieved through the materialisation of the hyper-real version of the Peak.

_Reflective/Matt – The mutable material quality of the visionary reality os opposed to the static and matt quality of the hyper-real version of the Peak.

 

I have also gone back to the introduction that I have written for the presentation and had a few thoughts on how I can carry it on into the Brief 2 part of the project. The introduction goes as follows:

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 Unbilt with a promise to be eventually Built. 

My response was to attempt constructing my brief in a form of a competition with the site of either Hong Kong or London. It would require writing the competition brief, criteria, constraints, competition panel and of course the competition entry itself. As a result the competition can be the format to tackle the brief of Architect as Project 1.

In terms of the jury comments, I am drawn towards several of them. First one being the idea of a lens or instrument that I can use to perceive the city. Second is the relation of the context and the building and what is this relation for me (i.e. Zaha transforms the context in order to describe her project). Finally, I am wondering about the scale I would like to work with, whether it is a building or a masterplan.

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Finished Models

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The models are finally done. Going to spend the rest of the day writing the presentation and making the research booklet.

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Materialising the realistic model

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Casting the second model

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Materialising Visionary Peak. Work in Progress

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Thoughts of the day

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Materializing the Reality of the Built Peak

secreenshot model 2 perspective secreenshot model 2screenshot model 2 planscreenshot model 2 elevation I have decided to put aside the first model for a few days to catch up with the second one. The two models will be presented side by side to illustrate the opposed qualities of the two materialized states of the peak – the unbuilt and built. Unlike the first model, the second is going to be hyper realistic with the base CNCed of blue foam and then spray painted and populated with trees and greenery. The building itself will have the textures of the real materials as if the Peak were to be built. I am also planning on swapping around some of the elements in the models to start a conversation of what would happen if the visionary space were to invade the built space and other way round. I am hoping to send the file for CNC first thing tomorrow morning.

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Working away on the model. Part 2

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Working away on the model

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Preparing the Physical Model no.1

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Currently working on the preparing the files for the first physical model – the materialization of Zaha’s anti-chamelion reality. It is going to consist of two 5mm perspex sheets with holes to thread through the suspended HK of Zaha. The actual buildings will be lasercut out of reflective card, so they catch the reflections of Zaha’s painting (printed on tracing paper attached to the back of the model), Hong Kong bird’s eye (printed on tracing paper attached to the bottom of the model) and the real time reflections of the surroundings. I am hoping to have it more or less finished by friday night and crack on with the second physical model – the materialization of the Peak in Hong Kong reality (i.e. how it would look look if it were actually get built). I am hoping for this model to be hyper realistic with material textures, landscape and greenery.

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Draft Text

Contemporary perception of the Unbuilt has been transformed from the traditional paper architecture to more recently screen architecture. The digital enables to extract, manipulate and reshape data to facilitate the Unbuilt. It is through the digital medium a new relation can be fabricated between the city’s natural, built and Unbuilt landscapes.

The essence of Hadid’s winning competition entry for the Peak is this relation between the context and the project. Shattered, Extruded, Compressed, and Inclined…it is NOT the reality of 1983 Hong Kong. Rather a VISION… laid out and orchestrated to fulfil a desired effect. Hiding at the corner of the painting is the source of this fragmented and augmented reality – the Peak. It takes form of the ultimate body snatcher, the anti-chameleon, the only REAL object of the painting.

In her world, Zaha refuses to alter her vision. Rather she fits the context to her project, like a true anti-chameleon would. I believe the context should not fit to the project but feed the project. Through the use of digital technology I will attempt at extracting the essence of the real and Zaha’s Hong Kong to retell the narrative of the Peak through the eyes of Zaha, me as the viewer and the computer screen as the tool.

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Deep 2d plates – Plate no.2

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Deep 2d plates – work in progress

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Took me some time to figure out the perspective for the deep 2d, but here is a quick render of what I will turn into a series of deep 2d plates. This one is a bit plain, but the next one I am working on has got the view from the eye level inside Zaha’s world with tilted, distorted and fragmented buildings.

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The Peak (2.0.1.3) beta version. Storyboard

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Today has been a day of doodling and setting up a storyboard for my moving picture/chameleon/inseptioneque video. So far the storyboard consists of 4 deep 2d plates (which will hopefully be done out of paper and be used in the actual video). I was contemplating whether to go with a square format, but thinking to stick to portrait which is true to the original Peak drawing.

The story takes you from the interior of a gallery where Zaha’s work is being exhibited into the actual Peak day drawing from two different views, back into the gallery and into the floor of the gallery which turns into the view of HK from the peak. The more precise step-by-step camera movement and set description is in the little subtitles in the image.

If anyone has suggestions to a more trippy Peak experience or on how the story is told please comment.

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VISION is a transformation of reality through the prism of perception

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Unfortunately been ill the last few days, so had some time to read and think. I was trying to figure out how to translate Zaha’s vision into mine as a ReCon. The ideas were to use London as a location for the recon and look at the spaces in between spaces, therefore bringing forward the invisible (a play on the real unreal).  Zaha focuses on the formal aspects of the city, i thought it would be interesting to do otherwise.

I still like the idea of a chameleon and dynamic motion picture, but not sure where to begin with that. Hopefully will get better soon to have my brain 100% functioning.

 

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Where’s Waldo? Where’s the Peak?

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Peak (2.0.1.3) beta version

Shattered, Extruded, Compressed, and Inclined…this is NOT the reality of 1983 Hong Kong.  Rather, a VISION… laid out and orchestrated to fulfil a desired effect.  Manipulating and weaving multiple layers of the cities built and natural landscapes into a composition.  Forcing the viewer into Hadid’s world.

Embedded both literally and figuratively, “The Peak” challenges its audience into a game of “Where’s Waldo.”  Is it a deliberate attempt to confuse the observer? Or is it simply a clever device to guide us deeper into her world?  However you choose to decipher the image, it is clear that Hadid is fabricating the context of the city to meet her proposals vision.

Fast forward to the present day…where architectural (RE)presentation is  changing in sync with technology.  From cinematic special effects to 3D scanned environments, the architect’s toolbox is bigger than ever. What we once called a paper architect is now referred to as a screen architect. This divide has left the most basic (RE)presentational medium in architectural history in the archives.

It is from this gap between old school and new school that my (RE)con will commence.  I will question how paper and digital can interact with each other to create dynamic “motion pictures.” The outcome of this (RE)work will hopefully follow Zaha’s words in how “Drawing technique informs design technique which in turn informs building technique”.

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Field of Hong Kong

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Thinking: Zaha’s Hong Kong

Questioning: Zaha’s ego

Reading: Infrastructure as Architecture. Designing Composite Networks, Katrina Stoll & Scott Lloyd. Field Conditions, Stan Alan

Quoting: “way of working at the large scale that escapes suspect notions of master planning and the heroic ego of the individual architect”. Stan Alan

Wondering: Can field facilitate the object

Hoping: To represent and extract the field of Hong Kong

Conclusion: Need more brainstorming. Help?

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2013-14 test

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