Working on TS, adding more spreads regarding the actual design… This double page is about material and volumes of the Icelandic site.
More is on the way…
Working on TS, adding more spreads regarding the actual design… This double page is about material and volumes of the Icelandic site.
More is on the way…
Quick update, I was making these during the week-end. Currently working on the final design of these two blocks, that will be stacked one on top of the other.
If things go according to schedule, the first one should be CNCed by Friday, and the second one by Monday (as I need to consider approximately a week for drying).
I was processing feedback from the jury, here are the few points I will focus on for the coming weeks :
– “Do the thing” : making a large plaster block, 40cmx40cm that will be a 1:500 of a 200m x 200m site in Iceland likely – this will be documented accordingly through all four phases : scan, extract, move, add. I will “mesure the hell out of it” to quote Nacho.
– Looking at few ways to improve my booklet researches, I notably checked the ICE Frederico was mentioning – also to finish certain parts (pouring materials) and reorganising others (scan, extract); making the point more clear overall.
– Working on the narrative in parallel and working on imagery accordingly – I am considering a scenario in which a mysterious stone is the trigger. The stone was found in Peru although it seems to be from a Carrara marble quarry. Yet the stone has been engineered in a very advanced way and was sent to the British Museum for deeper investigation. From this point on, researches will be done in Carrara and we will start to understand an existing network of places that has been active but yet no one paid attention to it (in a rather Kafkaesque way).
The next part of the story needs to be more precisely thought but it will be about discovering these places and seeing what they depict, how they relate to current flux, events, anything etc.
Finally, a rather atmospheric reference I found recently, in a similar spirit that Virilio’s Bunkers – Marc Wilson “The Last Stand”
A small transportation of matter, yet with cultural and historical implication.
Currently working on calculating volumes and such for TS, will show more tomorrow.
Quick update on my work –
1. As suggested, I have been storyboarding the TS booklet, figurig out what I need, what I should do etc. it doesn’t aims at being 100% accurate but at least guide me toward what I need to produce.
2. Also, some progress in few panels … starting my part 3 and 4.
Trying to convey the spirit of such places appearing here and there – working on moments such as this one :
I am also thinking on imagery regarding the place where all monuments gather – the screen environment.
Considering using rather neutral landscape that I could later on rework to create this ‘other’ place where people externalise their thoughts. I was looking at imagery from the moon; although I don’t know if I should not create this virtual space from scratch …
Imagining countless monuments in this type of atmosphere :
Here is the final set of images that I produced for the monument in perpetual construction.
I will right know try to focus more on the content of such monument – as an external piece of memory (A well shaped head, instead of a full head !) and a displacement of volumes.
1. Iceland, Near Reykholt
2. Peru, near Nazca
3. Japan, near Naoshima
4. UK, London, Woburn Sq.
5. US, Imperial Valley, California
6. US, Manhattan, Church St.
7. UK, London, British Museum
8. Algeria, Grand Erg Oriental Desert
Working on where to locate my monuments – Trying to convey the “Arrival” spirit. Although I am working on more, and those located in urbanised environment.
These monument are meant to represent out of space moments. They constitute a network of connected entities evolving together – one influenced by the others, all influenced by their context and but not only. They perpetually reorganise themselves notably by using 3D scanning, excavation and 3D print related technologies (my TS).
…more to come.
1. Iceland, around Reykholt
2. Peru, around Nazca
3. Japan, around Naoshima
4. UK, London – Woburn Square
Working of diagrams in order to study scanning technologies. I have been looking at Profilometry (Atomic Force Microscopy here), just for understanding principle behind roughness (high precision surface scanning) as well as LIDAR, for scanning entire territory (still work in progress).
Need to update on project … monuments, sites etc….
Currently working on TS, the case of Petra and its rock carved architecture. Making diagrams ..
As well as some researches on LIDAR and overall scanning technology. The notions of “digital profilometry” and “roughness” – meaning high-definition scans that can operate at the scale of a landscape using planes or drones, down to the smallest scale of matter and its texture.
(Profilometry of a diamond optic)
Quick reference from last jury – beautiful concrete model, a series called “artificial landscape” by David Umemoto :
Another one from Israel, Kikar Levana by Dani Karavan, Tel Aviv, Israel, 1977 :
Currently working on my TS precedents …
Still work in progress as it is just drawing drawings, I will have more drawings drawn later. Drawings.
I have been mostly working on TS, mostly trying to figure out the direction my project will take. In that sense, I investigated the production and reproduction of the space I create.
Therefore I had a look at both way of excavating and recreating space, almost as if “teleported”. The possibility to create and recreate disregarding distances and context.
To put it differently, I aim at creating anti-spaces that can constantly reconfigure themselves.
I was then looking at technologies of excavation, carving, pouring but also scanning.
I got inspired by a reference mentioned by Georges during last jury, Isamu Noguchi. Really like his work as they seems like timeless breathing point within the city. He worked mostly with gardens and playgrounds. This image I believe convey what I mean :
All in all, I believe the screen become the interface by which space is virtually and physically transported. The consequence of perfect reproduction and transmission of information is the possibility to recreate anything and therefore nothing. Architecture as a framework for things to exist by articulating the monolith, a physical and fixed presence and bits, its reconfiguration.
Currently working on to big models, putting forward the capability of the spatial language. These were at being more playful with the alphabet itself, more incremental.
There are 2 models in preparation in the DPL so I can only show this render for now.
I will more likely have at least one of the two for tomorrow.
Still working on the organisation of the TS – I found references and started the booklet.
Mark Burry – in charge of the Sagrada Familia. He did a lecture at the AA few years ago, in which he explained his process. Burry has been studying Gaudi work and approach to sculpting stones and proposed to use digital manufacturing in order to produce the missing parts of the church. He is currently still working on it.
Cedric Price, John Frazer – the generator project. As far as I know, the first project that bring an AI within the building. The main concept was that the user shapes its environment. The project in itself has no begining or end, it was in constant change. The base was a 2D grid for the floor that could contain elements to be clipped on it (such as walls or services). The elements were displaced by a crane guided by an AI which was developed by Frazer.
I have been thinking more about the interactivity and language – I cured my current amnesia and looked back at my thesis notably.
At the moment, I would like to explore how materials can complement themselves and be readjusted with space. For December’s jury, I am considering producing a larger piece that would combine my language with different material. I did a quick sketch to start thinking about it (different shades are different materials, considering CNCed plaster and 3d print at the moment, with perhaps a wood base that would be a kind of topography). The idea would be that the piece could be conceived through the screen and have the potential to evolve constantly according to the user.
Working on the structure of the TS booklet as discussed – still thinking about it though. I must admit that I am not sure yet on how this year should unfold and what would be the outcome of this approach. My later part 2.4 and 2.5 notably needs to be extended, I need to be more precise on how to enter the screen and language. Definitely needs to think more about the effect of Alberti’s cipher notably. I also added Orpheus’s mirror, it was still in my mind, and is my main reference at the moment for entering the screen.
I am hoping that working on my thesis will help me find out potential relevant outcome…
1. [OVERALL THESIS] From language to space
1.1 Genesis of today’s space production and reproduction
– Alberti’s descriptio disk : space coordinate (equivalent to today’s G-code)
– Alberti’s veil : division of space into grid cell (pixels)
– Alberti’s cipher disk : conversion of language (binary language)
=> conversion of space into language
1.2 From reproduction to creation
– Michelangelo : block and potential for creation
– Victor Hugo : language left the block for the printing press
=> block is where language is contained
1.3 Universality and interaction
– defining a language of space – alphabet
– first experiments : b&w drawings
– Orpheus : entering the screen – from reflection of the same to singularity
– Diamond Age’s primer : language for interaction
=> space reduced to language, it can easily be combined – can interact with us
2. [OVERALL TS] From static glyph to interactive experience
2.1 Block and chisel, primal extraction
– first excavations of language : Standing stone
– carving rocks : Ethiopian castle/church
– hand/tool interface = language process within the brain
=> slow processing, rudimentary language, material is the main constraint
2.2. Machine and automated exctraction
– mechanical tools and automated tools
=> faster processing, but simple language, material is a constraint
2.3 Digital manufacturing : shift from excavation to casting
– CNC to 3D printing
– computer become the new interface for language
– possibility to produce anything
=> fastest processing, most complex language, material bends to language will
2.4 Screen casting
– inputing alphabet within the screen
– generating space via alphabet
– working according to material constraint highlighted before
=> generating space at its source
2.5 Screen interaction
– language evolve according to our personal input
– possibility to share the language
=> interacting with space
I am pursuing my research on language through two mediums so far – film and material.
Regarding the film, 4 parts (and a 5th ?) are considered so far as I am exploring the language of space :
1. Manual excavation [of the glyph] – architecture through its primal aspect, the first instinct, meaning extracting the idea within the block, excavated by hand.
FILM SHOTS : (image below for indication only) me excavating the glyph from granit rock, doing some rudimental stone carving OR working with plaster and trying to excavate a precast plaster casted within another caster block (if possible ?)
3. Computerized excavation – the speed is even greater, language has taken over matter by being able to reproduce sets of coordinates in space notably. Machine is now automated and not manual, space is generated.
FILM SHOTS : (image below for indication only) I plan to record sequences from the CNC tomorrow, while it shapes plaster blocks – various angle shots, if I can I would like to record the G-code (the name of the language used for telling spatial coordinates to machines)
4. Digital ‘excavation’, or ‘the new excavation is casting’ – the screen has become the new block in a metaphorical way, as the though process does not operate via the materiality. The more a material can bend to screen desire, the more it would be used. And material now becomes the materialisation of language, but does not house it anymore. Reversal of the process at some point, the material block is a ghost of itself.
FILM SHOTS : not quite sure yet, but something involving the fabrication of a glyph on my computer screen – a screen capture of me building it ?
5. Digital casting – 3d printer is the ‘ultimate’ process so far, as the material is reduce to a plastic filament, it is reduced to its greatest flexibility. Or now, robotic arms pouring concrete. The process is comparable to the pen and the ink, material is requested to have the fluidity of the ink to be used, and the machine is the pen.
I said the 3d printer, but most fundamentally it is the process of casting in space through linear paths.
FILM SHOTS : the glyph 3D printed ? Not sure yet.
I think more part could be added to this storyboard (like I need a conclusion for instance) but it should be a good starting point.
[The blocks will be updated tomorrow when I have the actual object.]
Currently working on the language through materiality.
I did a couple plaster blocks and will send them to be CNCed. Sadly, Angel has his hand full of people needing the machine these days so I won’t get my models before Friday.
Will explain more about it tomorrow though.
Following the jury, I have stepped back a bit from production and consulted references that were proposed to me.
One is a Belgian architect and designer mentioned by Ricardo – Isaïe Bloch – who works with digital tools and come up with truly beautiful work.
The other was mentioned by Charles and is a philosopher, mathematician and logician – Charles Sanders Peirce – notably considered as the founder of semiotics (the study of signs and symbols in communication).
Believe it or not, they have something in common.
Isaie Bloch founded a practice called Eragatory (http://www.eragatory.com/) – focusing on digital manufacturing and craftmanship. He has a great sense of both matter and form, and how digital tools can combine and enhance both, making them interact.
Here are samples of his work :
But one of the project I particularly found interesting was the one called lexICON. He kind of moved from a more abstract symbol to something more architectural – until reaching a sort of composition with recognisable and non-recognisable elements :
This connect surprisingly (or not) very well with Peirce’s writing ‘What is a Sign?’.
In order to define what is a sign, Peirce compares the three different type of signs with three different state of mind – both are related.
States of Mind are divided as follow :
– Feeling : state of mind in which “something is present, without compulsion and without reason” – it is just there and we can feel it (e.g. contemplating the color red)
– Reaction : ” it comes upon the breaking of one feeling by another feeling” – it is two things acting one upon another (e.g. a disturbing noise makes us cover our ears with our hands)
– Thinking : a state of being “aware of learning, or of going through a process by which a phenomenon is found to be governed by a rule” – beyond the primal reaction, we learn through analysis (e.g. the noise is related to a door, when I close the door, the noise cease; the door is then some kind of switch for the noise)
Thinking includes reaction, that includes feeling.
Then Signs operates in a similar way and it is possible to distinguish three types :
– Likeness : convey an idea through its imitation (‘itself’)
– Indication (or index) : convey an idea by pointing at it (indirectly ‘itself’)
– Symbol : convey an ideas by sharing a common understanding of a representation (understood as ‘itself’) [for instance a word such as ‘bird’ is a symbolic representation of the idea of a bird, using alphabetical character, or symbols]
Symbol includes indication, that includes likeness.
I summarised these connections in the following diagram :
Most fundamentally, Peirce and Bloch strangely relate as the later – consciously or not – tends to use these three conditions in his work, and I think it is particularly visible in his lexICON.
Felling/Likeness : The top part of his model (yellowish blob) can be understood a the feeling – a rather primal idea, a sensation.
Reaction/Indication : Suddenly the feeling is understood as part of an elevated interior, it is to be accessed as related to space, a universe – here present within a geometrical figure.
Thinking/Symbol : A staircase is a way to access it – having a staircase is the mean by which I can connect this interior to space, and it is an understood spatial typology of connection to higher spaces.
I will come back to all this tomorrow with the group, but these highlight some really exciting fields of investigation for me.
Glyph emerging from the stone via man-made excavation.
Three bad photographs for the posterity – the 3 main plateaus.
Assemblage drawings will be placed at the bottom.
Here is my current presentation – it may be updated tomorrow too.
Feel free to comment if you find it obscure at some point …
I went to see Arrival this week-end (film was released 3 days ago) and I really encourage everyone to go and see it. Pretty minimalist yet well explored plot of “12 weird unknown massive objects appeared all of a sudden on Earth, and we need to find out what ‘it’ wants”.
For me it was particularly good as the film revolves around trying to communicate with these aliens, meaning understanding their language (a strange and complex circular glyph).
These glyphs were rather interesting as the intention of the director was to create a language from scratch that would refer to none of our current existing languages – which was pretty successful. Each of these circle had then ‘bigger’ parts within it that are the meaning, and therefore words are created from association of ‘bigger parts within the circle’.
Another fundamental point of the film was about how we, humans, interact with language, and how we shape our thinking from our language; and therefore learning a different language change the way we think. Then imagine how the main protagonist reacts through the learning of the alien language …
Other key thematics were developed such as communication between nations or time-space related events but I let you discover this on your own.
Ultimately, there is a question that may burn to be released from certain people lips. Should we call this language …. alienmoji ? …. NO.
The trailer :
A good summary on how the film developed the thematic of language :
I am currently working on more advanced drawings combining ideas from the glyphs that I showed last time, my alphabet.
Still work in progress, but here are some :
I pushed this week the first part of my narrative, previously called Codex, now called Alphabet.
It consists in defining a set of spatial glyphes through language to be used in order to generate or alter space.
Here are two of the glyphes :
I was looking at Hejduk references on Google (precisely “Hejduk wall house”) and ended up back to the blog after scrolling down a bit.
I found it amusing, so I decided to do a post so that another person looking for Hejduk, will see a post of someone looking for Hejduk.
PS : I voluntarily mistyped the name of Hejduk in the tags to increased the chance of dragging someone here.
My last presentation introduced my intend into defining a personal, yet sharable, language in order to make space interactive – as a shared experience that can evolves with the users.
The narration would follow a sequence according to these 4 stages.
The conceptual framework in which all apparatus operates and relates, anti-chamber of the mind – a fortress.
A lexicon in which an individual inputs its own grammar, an editable tool meant to evolve. (inspired by Eisenman, Codex = Code (rewrite) + index (list) ) – each page is a glyph (set of characters shaping a a visual representation of a word)
The interpreter and simulator; it become a personal interface if used with the codex. A space-time universe (monad) that can house others universes (monads) – it is where glyphes from the codex can
When what is developed via the screen can be applied and shared by leaving glyphes notably – space is where the codex can evolve through the encounter of other glyphes and more complex shapes.
Following the previous post, some stilts that I presented last time.
Alberti realised that the combination of disks he invented were at the genesis of what today we call computer. The perspective and its associated grid became the screen.
However, this were not an ending point in creation, just tools of reproduction. Michelangelo intervened to talk about creation and Stephenson about interaction in order to move forward a different architectural language.
The following are part of a work in progress in which I investigate Alberti Cipher disk and Descriptio disk impact – the first one encode language, the second one encode space.
What Alberti started but could not finished …
(Above : Cipher Disk, Below : Descriptio disk)
My current experiment on the affect of multidimensional experience.
How architecture may transmit, despite itself, different timeline and space – working with montage within the frame.
Polygon is a series of photographs shot at the Semipalatinsk nuclear test site in Kazakhstan, also known as ‘The Polygon’. From 1949 to 1989, 456 nuclear tests were made by the Soviet Union in this primary testing venue.
The photographs are made on analogue medium format film, and submitted to radiation before their development. Thus they both depict the site of nuclear radiation and bear the actual trace of radioactivity’s effects. Charrière’s journey to the Polygon was inspired by J.G. Ballard’s short story “The Terminal Beach”. It oscillates between art, science and fiction and brings us to one of the most remote and inaccessible places – to the beginning of the nuclear age.
My interest in this work lies in the interaction between two ‘dimensions’, the subject is not only figurative but expressive.
Tlön is an imagined universe based on a mysterious encyclopedia. Borges relates his discovery of this encyclopedia in “Tlön, Uqbar, Orbis Tertius”. One of the main interesting aspect of this universe is that time is conceived as one, or perhaps non-existent according to one school stipulating that “present is undefined and indefinite, the future has no reality except as present hope, and the past has no reality except as present recollection.”.
Tlön people reject the possibility of space and matter too.
Overall, space and time are conceived as a series of mental processes.
The following is an amusing extract on defending the possibility of continuity and materiality against a conception of space and time as one, as a ‘monism’ :
“Of all the doctrines of Tlön, none has caused more uproar than materialism. Some thinkers have formulated this philosophy (generally with less clarity than zeal) as though putting forth a paradox. In order to make this inconceivable thesis more easily understood, an eleventh-century heresiarch conceived the sophism of the nine copper coins […].
On Tuesday, X is walking along a deserted road and loses nine copper coins. On Thursday, Y finds four coins in the road, their luster somewhat dimmed by Wednesday’s rain. On Friday, Z discovers three coins in the road. Friday morning X finds two coins on the veranda of his house.
From this story the heresiarch wished to deduce the reality—i.e., the continuity in time—of those nine recovered coins. “It is absurd,” he said “to imagine that four of the coins did not exist from Tuesday to Thursday, three from Tuesday to Friday afternoon, two from Tuesday to Friday morning. It is logical to think that they in fact did exist—albeit in some secret way that we are forbidden to understand—at every moment of those three periods of time.”
The language of Tlön resisted formulating this paradox; most people did not understand it.”
– Extract from Tlön, Uqbar, Orbis Tertius, in “Fiction” by J.L. Borges