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Working on stitching together the very rough outline of the film now. Some more scenes are going in – some will be animated, some not… I have the animated sequences set up for all these scenes below, but won’t have time for them all to be rendered by tomorrow.
For tomorrow the plan is to present the film as a previsualisation/animated draft. I’ll describe each scene with a mix of narrative, character dialogue and explanation as required to fill in the gaps where visuals aren’t yet ready.
The protestors who march through the city’s newly emerging districts overlay their world view of a pre-human landscape – solidifying an augmented view of Leviathan here. Buyers who move into this area will be greeted by the sight of this prehistoric landscape, interwoven at street level with the buildings; and it will take time for the influence of this group to wear off.
As Leviathan starts to forget about a recent obsession with a climate report concerning extreme desertification, the sand dunes that for several days filled the city, begin to blow away. (This is a timelapse – will be animated tomorrow).
Seen from a satellite view, over the course of a day districts of the city shift in colour, form and organisation. While Leviathan, as the aggregate of all culture’s dreams, fears, whims and aspirations, may seem chaotic, there is a definite and observable order in her rhythms. (This is also a timelapse – will be animated tomorrow). Like neurons flowing through a brain, we might think of ourselves as thoughts passing through Leviathan’s mind as we walk the city streets.
i’m in the process of finishing this transition so unfortunately no video just yet but the aim is transition out into the space of my screen in R0.
Reviving our great experience in Huacachina with this oasis.
above more of an atmospheric render test from cinema4d
ACT I: A condensed version of what I read as an intro in studio where we are moving from spaces inside the screen to set up the argument [exhibit, billboards and the War 20 000 hrs / 800hrs]
Part Narration / part screenplay description:
The Built envirnment is all Surface we zoom out to see the whole telescape (part of the image above but with activated screens)
The future of the architect is curator of the world – master story-teller.
In a hyper-mediated world public spaces are taken over by vast structures – Telescapes – An infrastructural framework that has no purpose other than powering architecture’s ultimate medium – surface.
The recorded world and it’s image fall-out are the material of the Information age feeding the surfaces of the Telescape. Space on either side of the gargantuan surfaces is irrelevant – a mere plinth for bodily existence to flow past – the surface is our only aesthetic nourishment – these aesthetics however defy every design convention in an age where time and scale are useless. The only rules are: the spectacle = beauty, the boring = ugly. From wars to cat videos, fact or fiction, the appeal of the visual content only matters in it’s delivery and it’s apparatus of display – the surface.
The volumes of the city lie in tedium – stacks of un-editable space, vessels of the population whose gaze is always beguiled by the Telescape.
Fluid Surface – conclusion reinforcing the argument
The spectators stare at the Telescape’s surfaces, twinkling stars of light glow amidst the gilded ornaments framing the spectacles. Clusters of people gather closer to where their reflections occupy a display. Few are physically there, awe-struck by the shear scale of it all– others experience it from home – they watch the surfaces from another surface. (the neflix living room expirience)
A girl walks up to the surface and reaches out, her hand suspended in space seemingly too far to actually reach the display – until the very air separating them ripples.
Skin, eyes, fabric, are slowly consumed by liquefied media – when the surface transcends the screen into an overly for just about every from.
Architecture no longer deals with volume – the outside is always shown on the inside and vice versa – The Telescape is fluid covering everything – interior is exterior is interior – all hail surface!
I found this website (link above), which I found it quite funny. The author’s comments after every render show how renders sometimes show absurd and weird moments.
For me, focusing on standardisation, it also shows the standard features of selling a project through a render. Perhaps it’s the legacy of Julius Shulman? Green rooftops, light transparent structures, bright spaces, etc. There is also a small selection of occupiers that seem to repeat themselves in different renders, as they are all found online.
The same idea was also conveyed by the work of Aaron Williamson who was part of yesterday’s lecture at the AA. He created the “Average Jo/e Modelling Agency”, where he tried to show the absurd standards of users portrayed in renders. According to him, there is always someone looking inside a shopping bag, someone on his phone, and people sitting together but not looking at each other. The two photos below are from his work.
Image in progress –
Motel bar scene in progress –
Working on this scene – animated version to come.
I read the report in the morning
and as soon as I stepped outside,
I knew that thousands of other
people had obviously read it as
well. My view showed sand
everywhere. It was like the
entire Sahara desert blew into
EXT. THE SANDY CITY – DAY
Flying over the city, the roads in between the buildings are covered in sand. Dunes roll between skyscrapers and over parks. Speckles of sand in the air sparkle in the sunlight.
SARA (V.O.) CONT’D
The data was apocalyptic –
extreme desertification within 50
years.Investment in renewables
doubled. The report was all
anyone could talk about –
Leviathan was obsessed for days.
When the panic resided and
Leviathan forgot about it, then
the dunes mostly disappeared, but
it still nags on my mind, and I
still see sand in my things.
WHAT // Surface World
WHY // The FACTory of memory/history in Telescapes – The eradication of space by surface
HOW // A film on the architecture of a surface universe
We are far beyond other mediums usurping architecture as the prime conveyor of information. Architectural form as a representation of memory has radically shifted. What we are moving towards is the flattening of space altogether.
We constantly curate and perceive our world on screens. Six and a half hours per day is the average screen-time of 5 to 16 year olds (3 whole years by the time one is 20) – tv, game consoles, mobiles, computers or tablets. The atlases of the world.
The spectacular nature of media is a condition that turns the images (be it of distant war, of a Trump/a Putin/or Kardashian) into an aesthetic overlay – a spectacle that we receive in state of distraction – how Walter Benjamin referred to the state in which the masses perceive architecture. Or how Frank Lloyd Wright described the television as chewing gum for the eyes.
The discussion surrounding the Telescape is not to fetishize technology, to be technophobic or to consider devices as visual gimmicks within architectural discourse. It is about the SITE of surface itself becoming an increasingly dominant place via which our perception of the world is conducted and where memory and knowledge are formulated today.
The factual origins of stories become irrelevant in the screen. The relativistic argument that often fascinates and drives conceptual projects on what is real or not is done. It was the matrix, it was the 90s. Today the exercise is one of omitting visual information and condensing the fragments into a curated narrative of surfaces.
The aesthetic nature of fact-creation in the Telescape relates back to a scene in Victor Hugo’s Hunchback of Notre Dame, where Frolo realises how ‘This will kill that” when he refers to the printing press killing the cathedral, as a mnemonic device. If we parallel this to the Telescape it is a case of surface killing volume – a world minus the z-axis.
I’m working on the film narrative structure and storyboard, the issue I am considering is how my rendition of a surface universe is to avoid my argument falling into something akin to the gimmicky add by LG below.
The future of Screens – 2020 Olympics in 8K
After having made the puzzle template of the narratives, inspired by the tree of codes, I’m working on 4 worlds on which the project sits in: World 1: Lisette and Sami’s normal life routine // World 2: the Cosmic Crime // World 3: The black hole world // World 4: The book and it’s library.
World 1 consists of the everyday places and activities : coffee shop, ponga jungle, lighthouse, bathroom, kitchen, bedroom , sea ..
One problem i came to realise recently is the fact that Dan’s World, his room and his neighbours lack one fundamental element – people.
I’ve spent the last few days creating and adding these figures to the rooms within my film, where they are programmed to perform a few tasks as the camera pans through the 5 rooms.
All are equipped with a VR headset, they are immersed in the worlds we will enter through the screen.
textures are temporary – I’m still in modelling stage and haven’t figured them out yet. It is probably going to be metallic and SHINY af. Also possibly smoggy and desaturated. Gardens are also almost done!
Just finished the 3D model of the mechanism and continuing with constructing the machine mechanism to rotate and raise ring #0 and #1. So far ok, but wood has warped, so new plywood must be cut. Hands full of grease and the mind could use some lubrication too..
Further ideas for the stage include a hidden layer in which a screen can be seen, on the screen is a live video of what can be seen on the other side of the model. The screen is at 1:100 transporting the people interacting on the other side into the model. Also now layer #2,#3 and #4 have to be lifted through cooperation of two viewers, they each have to rotate their respective crank at the same time in order to operate the machine. (sketches to follow)
I am continuing my work, according to the comments from last time’s tutorials.
Some progress …
I am continuously working on the map, adding more detail, more resolution, more recognisable elements – here is where I am at :
Also a first render on the larger cipher that appeared in the red Australian desert – (Edit : this one is better already) :
And other parts of the city can be found nearby :
Here are a sequence of new images. I will put some more later on, trying to work on the captions for now. There are all still in the making…
Dead body at the Tate
The tate Modern entrance on july 20 and july 21, 2021
The Evening Standard from page on july 21
2030, #therealDonaldTrump wall have finally come to end.
You say to a brick, ‘What do you want, brick?’ And brick says to you, ‘I like an arch.’ And you say to brick, ‘Look, I want one, too, but arches are expensive and I can use a concrete lintel.’ And then you say: ‘What do you think of that, brick?’ Brick says: ‘I like an arch.’
Here’s a test animation of the first of the UN scenes. Still got to add people for the final, but I’ll work on some other scenes first for the coming jury.
A big part of the jury’s feedback was to improve on the structure of presentation, the ”WORDS”, and the camera used in the animation sequence.
For the duration of term3 ( around 7 weeks ? ) , I’ll be focusing on :
- producing a new sets of POV camera animation to add in with the previous drone footages.
- ”Words” to describe the project . In paragraph or two.
- Scripting out in writing for presentation structure.
- Hopefully that physical model that in promised since term 1. =P
A test on the new POV camera.
For the format of the POV camera animation, I’ll stick to an aesthetic of an old super 8 film camera with the nice grain, film scratches and burn. Here’s two example of the Anton Tammi’s work with that beautiful grain, scratches and burn !
Nothing related but check this out!! a really well done 360 video on fragments of Tokyo city floating in the dark skies.
Rephrasing of project
My project is re-examining the landscape through identity.
The focus of the unit being the continuum, the project that I’m presenting to you is the continuum of a series of machines culminating in the ‘landscapes of the I’ The design is focussed around understanding space, in specific landscape, in a new way that is relevant to the contemporary context in which I argue landscape is not only bound to its geographical limits but perceived as an experience, transcending the material into the ephemeral and immaterial. I see our identity as being a continuum of landscapes, of sites. Each of our lives consists of many sites, mine exists at the AA, my flat in London, in The Netherlands, my commute over Waterloo bridge, on a holiday, in a way the site is a very disparate and disconnected landscape and yet it is connected through the continuum of my life. Our personal landscapes come into contact with identity other defining landscapes and start to collide and intermingle. My designed landscape is a multiplicity of sites taken from different people, essentially a collective landscape. The model that you see here is my current investigation of how to make these places spatially meet, interconnect and how they are displaced forming a space that is ever in flux. The apparatus of my project is landscape (the site) and the machine is the delivery of the it.
My designed machine reflects our identities as I see them, a string of landscapes merging and meeting with other(‘s) landscapes forming new spaces with each action.
Why I think this is of importance to architecture, is because how we see and understand our environment is how we shape it, our cities and our landscapes, and in turn our environment shapes us, thus becoming an ever changing portrait of the collective self.
Current: Ghost in the Shell and why it’s relevant
The following is an excerpted transcript from Ghost in The Shell: Identity in Space, a video essay by Nerdwriter. It’s a good analysis of the ideas behind the movie and and quite relevant to my topic of identity and space. For inspiration purposes:
[…] Since most bodies in this future world are at least partly artificial, people locate their identities in their ghosts or their minds, but with the troubling knowledge that these also can be hacked. Memory, identity and humanity are all called into question. “All your memories about your wife and daughter are false, They’re like a dream. Someone’s taken advantage of you.” So how can a meditation on space illuminate the problem and theme of identity in Ghost in the Shell? Well, maybe the first thing we should say is that spaces, like identities, are constructed. Though space often feels neutral or given, like we could move anywhere within it, our movements, our activities, our life, is always limited by the way space is produced. In most places, but especially in big cities that production is controlled, not by the people, but by gigantic moneyed interests, state governments or both. And the same is true for identity. Spaces and identities are constructed and not always by ourselves. […] Cyberpunk has always featured these uneasy composites of multiple cultures. These are not utopias, but they don’t have to be imagined as dystopias either. The philosopher Michel Foucault called spaces like this heterotopias, places that exist in a dynamic state of layered and changing meanings. Heterotopias don’t succumb to those forces that try to make everything the same. They are marginal spaces for the voiceless to construct identities for themselves.
I’m in the process of updating the city that Dan lives in. A generic and highly densed landscape of compartmentalised apartments. In the foreground, rapid construction is taking place, building more apartments in this new residential area. In the background, finished towers are being prepared for their first inhabitants to arrive.
I’ve added this into the context the apartment creating a much more focal point out of the window than what it was before. It would also be a nice contrast to what will be shown on the screens, where we’ll enter in R2.
I’ve also decided to change the time of the day from night to day. I think this could be more compelling in regard the culture and lifestyle of Dan and his fellow neighbours.
I’m now the process of creating a narrative structure that will guide the levels of R1, R2 and possibly R3 much more effectively.
Below is a test video i rendered quite quickly to see the new background and how it works with the rooms i am panning through.
I’ve been mainly working on polishing/resizing the book in A2 square format (more like 40 cmx40cm) . I finally got hold of the book the tree of codes again , I will be carving out all of my 16 designed narratives for the book following a similar strategy.
I am also working on a final pop city of Lisette’s world that will have the same format 40×40 cm square( as the laser-cutting template is 800mmx450mm). A world without transportation where there are no streets, no stairs, no roads… it only has different rooms, landscapes, and places that emphasise on the unexpected jumps …
The aim for this piece is to be a tool that enacts the world that I am talking about rather then a representation of it. Similarly to how you can construct multiple stories in my book, the pop will aim to unfold in different directions and collapse around itself.
Another test (low quality) of the scene with the building site being occupied by ‘historical activists’ who see the world as it was before human intervention. The colours aren’t really working yet… I think it needs to prioritise the landscape view more – so I might try taking the red out of the cranes and adding more reflection/glass. Hopefully will look more real as I continue to build on the textures.
Also working on the 3D model for the scenes in the UN – been modelling and texturing the UNSC chamber – need to add the augmented environments now.
After last Friday’s tutorial I decided to add four new suits to the cards set, so that the players will be able to decide which ones to use at the beginning of the game. The new suits will be Gardens, Infrastructures, Interiors and Informal settlements. The new suits will also be helpful to start introducing the research on drawing methods and their symbolic meaning, which I started doing last week and I’m continuing now.
Gardens and artificial landscapes will be in a gradient from formal compositions to more natural ones. It will start as a completely abstract bi-dimensional geometrical pattern, which will gradually transform into a three dimensional drawing. The main switches in the construction of the drawing will be from 2d pattern in plan, to 3d pattern in axo, to a perspectival vista when the landscape transforms itself into a more natural setting.
Medium: Hand drawing
I’m thinking of drawing a suit based on infrastructures, which will probably be represented into an axonometric format and have some kind of ‘technical’ look. The infrastructures will go from the scale of a microchip all the way to dams and power plants.
Medium: CAD drawing or maybe 3chrome drawing Chernikov-style
This suit will be the only one set completely into interior spaces. It will have a gradient mainly based on scale, starting from a single room and going up to the scale of a movie set/amazon warehouse. I’m imagining this suit as a series of interlocking perspectives rather than axonometric, which will help me introduce the perspective vs axo theme that I have been researching in the past few days.
Medium: Photoshop Collage
For this suit I was thinking of rearranging the composition of the camp miniature that I did in term 2, in order to fit it into a card suit format. This suit will be particular because of the density of human figures, which are pretty much absent from all the other sets. I’m seeing this suit as a Where’s Wally type illustration.
Medium: Hand drawing.
For tomorrow we can discuss the progress on the model together with the new script I’m writing for the next version of the film [to post later]
Some references to start bringing into the wider argument of fact/fiction, surface and nested screens:
The bizarre world of Netflix VR and the nesting of virtual screens within screens.
They Live (1988) which I mentioned before where the main character can ‘read’ the truth behind the media/advertisements we are exposed to – clip below:
Here is a film, realised by Ramin Bahrani in 2009 called Plastic Bag, where a plastic is embodied as living being and filmed throughout his life. Werner Herzog’s voice accompanies the narration.
– – – – – – – –
Narrating the rubble bonanza seems now, for me, the most crucial thing i have to define in order to fully deliver my project. Until now, it has mainly been presented under an infrastructural and economical lens – which it is, but the idea of economy have to be seen i think throughout the narrative without being explicitly mention.
The other crucial thing the project have to deliver is the reflexion that i have undertake for quite some time now on the paradoxe aesthetic-function of rubble/waste. A paradoxe between objects that have already thoroughly been aestheticised [almost to the limit of fetishism] (detroit ruins, greek unfinished construction,…) and the general idea that waste only exist nowadays under the spectrum of recycling [disposal and transformation into powder]
What the project does is to speculate on the use (as ‘usage’) of rubble outside the traditional recycling cycle. It speculates that a radical change in the economic market could give an impetus for a reverse or a disruption of this cycle.
Economy needs to be the plinth for rubble to exist both outside an aesthetic fetishism and useless unfunctionnal object.
I started to imagine the story of a brick [or its travel during a certain period of time] that would happen because of an important economic change :
 : Image of demonstration. Hundreds and hundreds of people, carrying European flag, big images of important buildings, images of their house printed on cardboard,.. some of them are holding bricks, pieces of stone, pipes… with banners saying : ‘we want our bricks back’, ‘ After Brexit, now Brickxit’, …
[2021, 21 july] : A picture of the front facade of the Tate modern
[2021, 22 july] : Picture of the same point of view, on the first page of a national newspaper, with a huge hole in the facade. The title talk about an important robbery of bricks last night at the Tate. The first line of the Editorial on the right goes : Now they’re attacking the culture,…
[?] : On a CCTV stills, somewhere in the city, at night, two person are exchanging what seems to be a brick. A brick for money.
 : A brick sits on a chimney in what seems to be a very bourgeois house. The image is a sort of still shot, the chimney is seen in a frontal view. The brick is next to a small frame with a family picture and on the right what seems to be a small gold sculpture. A huge painting in a golden frame sit above the black marble chimney.
 : Tryptic. We have a close-up of a brick that sits among other bricks, rubble, waste. A zoom out reveals that we actually are in what seems to be an important landfill. The last zoom out reveals that we were on a boat – a supertanker, at sea.
[?] : A world map on a computer shows the trajectory of a dozen of supertankers in the international water.
 : Official instagram account of the white house. A picture with a supertanker near a port. The caption “The USA have sign today an agreement with [boat company] in order to buy the total capacity of their next 6 supertanker in order to finish the construction of the wall on the mexican border by 2030. #DonaldTrump”
 : A wall in a desert, looked like an elevation. A super long structure crossing the picture and the landscape. A few white banners, one of them saying : “Fuck the wall, give our money back”
 : People destroying a wall
 : 3 bricks, old and grey sit on a plinth at the center of a exhibition room. A picture of the tate modern behind it, hang on the wall. Someone reading the booklet of the exhibition titles : ‘The show must go home’
I am continuing with my work on the video game. This is introductory scene.
The character/architect starts in his garden shed office. He leaves and starts wondering in the city around him. In the next scene, we introduce the suburbs. Here, we talk about standardization in the form of arraying. What is considered “special” is becoming a standard. The idea of house ownership, of building one’s own castle, creates suburbia.
EDIT : Big oops, just saw Nathan mentioned it in his post last week … sorry about the doublon. This is still a good reference for me, for the reason mentioned below.
Currently, I keep working on my video (more on finishing the story board and doing the script so I will update another time) as well as the map for all my ciphers.
I found this fantastic reference recently that I will take inspiration from to do this map. It is similar in some aspects to the Million Dollar website that Natasha mentioned to me back in term 2.
The 1st of April, a social experiment started on reddit, a new subreddit called r/place. The rule was simple – a square space was given to all redditors (name given to people having an account on reddit), and each of them could add only one pixel per 5 minutes. What started as potential disaster became as real anarchist success. The following image sum up the evolution of the project :
Also, an atlas was made to keep this final map, with annotations added by the community that explain each single icons (glyph/emoji ?), most of them being part of pop/internet culture.
One particular idea I like (apart from the incredibly symbolic moment between France and Germany), is the “Rainbow road”. It embodies the connection between these icons that transcends the boundary given by the icon itself. I would reuse the same strategy on my ciphers too. It is another way to make ciphers interact together.
So I started to work on my “atlas”, although I want to have both plan and axonometric view as it is not only “2d pixels”. It is still in progress but I tried first in black, as mysterious cipher that we can hardly distinguish from one another. In that case I could use a similar technique as the previous atlas to highlight a cipher with location, material etc.
Then I tried with colours, using the same color palette as the illustrations I made for my thesis :
The idea behind the use of colours is to highlight different moments in the making of these ciphers. Many individuals collaborating via internet, like a website, by adding an extra shape here and there, using the alphabet of space I once did in the very beginning.
I plan on doing a line drawing of the final map later on too. More Campo Marzio looking.
Fundamentally the principle is : the cipher spread around the world, but relates to this strange website where they appears to be conceive.
Particularly happy to receive comments and ideas on these, references, aesthetic…, I have been looking at Paolozzi so far but maybe something else ?
The Diamond Motel is a shared universe where elements from the world of one fragment glide into the worlds of other fragments. The motel imagery should relate to the fictions of the three different forms of site (the book, the model and the screen).
Barragan, J. Wall, Eisenman and Don Judd (his room has a poster of New York – as he’s boxes change their location in the model from Marfa to New York)Kubrick’s room – (1) the spaceship’s crash is broadcasted on TV (2) the context of the desert, which leads to Kubrick in the book, is a poster on the wall (3) The bellhop (moi) is bringing him … what?
Shared universe goals – Tarantino’s films relate to one another
Been working on a few new landscapes for the updated animation.
I’ve been doing some work on the white book and im in the process of producing some drawings that i have not been able to do in term 2. Here is one drawing of Dan’s apartment building. i tried to show a sense of individuality and character in each unit throughout the whole building.
Some additional spreads:
After our amazing trip to Peru, what was clearly striking is the drastic change of landscapes within a close proximity. It was incredible to be in the amazon jungle of Machu Picchu, so wet and green, and a couple of days later in the dry desert while understanding their closeness in scale!
Probably one of the the craziest shifts of worlds on our plant earth ….. To juxtapose these opposite landscapes together is a form of Black hole. It is an unexpected jump from one world to another within a short distance. Something that helps understanding the gateway within a black hole and the scale of the journey ….
I am working on representing that shift/moment within my book with a black funnel connection.
What I am thinking about for this term is to make a new book that unfolds into a space… still thinking of the overall connecting shape of the fragmented scenes/pops. The shape will be of a possible architecture that reflects the knowledge and ideologies of the black hole.I’m still thinking about carving as a visual language , where you always see the negative of the paper , the void of the drawing .
You don’t fully understand a universe, without the importance of it’s black holes. Every universe or world is governed by it on a big scale and a small scale . I will try to transcribe the qualities of the bh on different scales and it will take different forms in my world such as: -The flip of the page //the unexpected jumps//An actual black hole funnel//Black hole circle (literally)//The cut outs of paper within the pages, the voids within the library//The narrative …
What are the condition for a rubble bonanza ? or to say in another way, under which circumstances an environnement become profitable for a new economic market, which in our case want to make rubbles [construction waste] a product of primary interest.
An interesting one would be that for a certain amount of time [20-30 years], the city london cannot produce any more new construction material. The total and absolute stoppage of any production.
From this point the city of london becomes similar to what the gold market context is : the gold market has this particularity that, within its main environnement, the world, the quantity of good [gold] is known, stable and finite. The quantity of gold on the planet has been almost the same for the last 20 years. And that’s why gold is a very interesting ‘currency’ for economic systems to base their value on, because it is a known and stable market.
No more production means that the city becomes a finite environnement, at least in the ‘materials’ it is composed of – not in its form; which is what is interesting because it calls for new urban policies based on rubble – a policy made so that there cannot be unused rubble anymore. And that rubble becomes the primary and ultimate product of construction.
But on the contrary to gold, because we deal with the city and its many uncontrollable faces, on top of which the fact that it remains an environnement inhabited and socially charged, it is finite but remains to a rather unstable stage, and here refers to an economic system much closer to what the bitcoin is.
For me, this situation/condition calls for a lot of interesting practices, agendas, under-conditions,.. that will define and exhibit a rubble bonanza :
 A construction becomes the immediate follower of a deconstruction.
 Acknowledging London’s real estate boom, the real estate market in London would become very instable – wealthy investors and contractors having the potential power / money to turn down existing building in order to be able to construct theirs.
 It should be cost effective not to move material too far away form the place they have been demolished to the place a new building is constructed, leading to a slow ghettoisation of materials : a brick district, a concrete one, a wood one, a plastic one,…
(2045) : Oxford street now separate the concrete district with the brick district. Although it has remain one most touristic street of london, the clear difference between the two district is visible from the street itself.
 The almost immediate birth of a black market where material are taken out of building to be carried to other places for a lower price. Holes (they are back) therefore become almost an economic and politic statement of resistance.
(2032): Seen through several CCTV stills the robbery of important quantity of stone and concrete. Headline of the Tabloid on the following morning […] :
 Other demolition practices are needed in order to re-use rubble as easily as possible
Architecture – as gold being melt and reform – enters a continuum where non of its part can be considered as being lost. The city’s construction is a never ending loop – and can be embodied by the diagram i presented during the last tables where, rather than having a production – consumtpion – disposal – recycling cycle, we can trace a line of use and re-use, and re-use, again and again,…
I also think that this new condition can be associate with a reflexion on the aesthetization of waste. what a rubble bonanza does is to make rubble a product that we can make profit out of. And therefore tends, because of the nature of rubble themselves (un-necessary objects, leftovers) to eliminate rubble. By giving it a potential value we are giving them a [urgent] function. A rubble bonanza means
the end of rubble as we know them.
Now one can argue that another way to resist the bonanza is to save rubble from being functional objects. And it might be where rubble could be value for their pure aesthetic (surely link, in our case, with its history). Let say that, in order to build a new building, an investor manage to demolish the left wing of westminster. We can suppose that, due to the history of westminster, some people could be ready to keep, as a souvenir, a fragment, a brick, a piece of ceramic, a pipe, which belonged to the building, before it gets to be use for another one.
(2050) : ‘a pile of bricks are exhibit on a white plinth at the Tate Britain. The caption says BRICKS OF WESTMINSTER, 2023.
The role of the architect ?
The role of the architect is less the one of the designer than it is the one of politician. Or of a curator for the city. Because from this emerge the notion of a perpetual arrangement of part, of building fragment. Perhaps in a very stupid way even. Perhaps a new housing building is made with the window frame of the Shard, but could only afford polycarbonate sheets as windows…
To be defined further
London is therefore a sort of testing ground for the rubble bonanza, which then needs to be speculate in other cities in the world. it needs to play on the space that exist between a critic of our society of consumption and a sort of grand projet at the scale of Europe (at least).
Ultimately, the project can be read as a sort of provocative bad case scenario for the Brexit, which, in any case, but even more if the E.U decide to go for hard negotiations toward UK. Brexit will tend to withdraw UK into itself. Having, I believe, our tables on the 7th of june, a day before Theresa May called for anticipated election in order to sit even more her government majority before the Brexit negotiations officially start, it will be a perfect time to present the project under this condition.
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After the previews it became clear that the main thing to work on for now would be to figure out the conceptual framework/continuum in which my project sits. So I did a bit of research in these days. Below is what I have so far, together with some ideas on future drawings.
The project situates itself in the continuum of drawing as a way to describe and depict space, but also as a metaphor of a specific way of understanding our reality.
In the history of representation it is possible to identify two currents that have dictated and influenced the methods artists used to describe our world. On one hand one can talk about drawing as a direct way to express the physiological way in which humans see their surrounding reality. This current finds its origin in the classical age, and it roughly coincides with the study of optics and the science of vision.
On the other hand drawing can be a way of depicting the world from a different viewpoint. Rather than focusing on the way our physical eyes perceive the world, this current is more concerned with a metaphysical understanding of our reality, focusing on a psychological aspect of vision rather than a physiological one.
The two currents roughly coincide with other historical divisions of geographical and theological nature. The first one was mainly developed in christian Europe, as it followed a south east to north west axis throughout the ages. It originates in classical antiquity and culminates with the advent of linear perspective in the fifteenth Century.
The second current developed itself mainly in the Eastern part of the world, from the Byzantine empire in western asia all the way to China and the far east. As it is less concerned with realism, this current incorporates drawings and paintings that use parallel projections as a way to construct and project reality.
A series of important figures, from mathematicians to painters, will be the characters through which the story of this visual opposition is narrated.
Each player will have to chose a character at the beginning of the game, and his personality and peculiar view of the world will influence the way in which the cards, and subsequently the drawings, are read. So far there are six characters, which were selected for their peculiar way of seeing and depicting the world.
Alhazen – The Geometry of Light
Ibn-al-Haytham, latinized into Alhazen, was an Arab and Islamic scientist and mathematician, known for his translation and update on ancient Euclidean theories of vision.
He was the first scientist to recognize the existence of light rays, and also the first to construct and operating camera obscura.
For Alhazen, aesthetics and mathematics are expressions of the same thought, therefore his way of representing the world is through pure and abstract geometries, focalised on filling empty surfaces.
His is a world of geometrical correspondences and mirroring: each point of an object is projected through light rays into another point inside the eyes of an observer. The projected points, however are not reconnected as an image, but rather as an abstract geometric mosaic.
Keys: Iconoclast, Geometry, Mosaic, Correspondences, Rays, Psychological View
Giotto – The Natural Perspective of Everyday Life
While poets were rediscovering the qualities of vernacular language as opposed to Latin in the Italian Trecento, Giotto was bringing the subject of sacred painting back to the level of the human eye. After centuries of sacred art featuring figures floating on holy golden surfaces, Giotto paints scenes from the life of the saints in order to bring the city and architectural backgrounds into his compositions, while still retaining a religious subject. In doing so, he adopts a style defined by his contemporaries as naturale. This style involves the use of some kind of perspective, although not yet an accurate one. One painting may have several focal points, as opposed to the single one of linear perspective, developed only two generations after Giotto by Brunelleschi and Alberti.
Giotto is among the first artists to create systematic space through the use of checkered tile patterns for floors (which could be described as the first example of a coordinate system).
Giotto’s spaces are systematic also because they are specifically designed in order to contain the actions of the figures; like a theatrical setting, the architecture of his paintings helps to ground the actions depicted into a specific time and location.
Keys: Floor Tiles, Set, Natural Perspective, Ground, Physiological View
Behzad – Images and Narrative
After the conquest of Persia by the Mongols in the thirteenth Century, many aspects ofthe far eastern style of painting got incorporated in the culture of the Islamic world. One of the main contributions of the eastern invasion was the introduction of images in a culture that had historically banned any realistic depiction of the world. It is at this time that we can observe the flourishing of the art of the miniature in Persia.
Behzad was one of the most prominent miniaturists of his time, known for his ability to carefully orchestrate how a viewer sees an image. His architectures, constructed in rigorous parallel projection, become the tool used to lure a viewer into a composition, and at the same time to unfold a narrative within the image.
The buildings appear flattened onto the page, allowing the painter to represent them from different viewpoints. This multiplicity is used as a tool to collapse a story or a narrative into a single image.
Keys: Narrative, Parallel Projection, Unfolding, Pattern
Van Eyck – The Multiple Perspective
Following the Hockney-Falco thesis, according to which optical instruments such as curved mirrors and the camera obscura were in use since the Renaissance, Jan van Eyck’s work is particularly relevant for its display of multiple perspectives within the same painting.
According to the thesis, painters in the renaissance used small curved mirrors to project images onto surfaces, which were then traced and used as a basis for paintings. However, the size of the projections was only about 50×50 cm, which posed the problem of how to deal with bigger compositions. Van Eyck’s way was to divide the painting into different sections to be traced and then stitched together to form a larger composition. This led some of his larger paintings to have a slightly distorted look, due to the slight alterations in perspective of the different traced sections. The result is striking because it has the ability to really drag the viewer into the painting, making him feel like he is living inside of it.
Keys: Tessellation, Mirror, Tracing, Large Format, Physiological View, Immersive
Brunelleschi – Architecture of the Image
Brunelleschi is widely credited for the invention of linear perspective. Although also a distortion of reality, it has been used for centuries by western artists as the only true way of seeing the world. Linear perspective presupposes the existence of a privileged viewpoint, through which its effect on a viewer would be maximised. The very idea of the single viewpoint had an enormous influence in figurative arts, but also was able to impose itself on the way in which we organise and design space.
Again following the Hockney-Falco thesis, the perspective developed by Brunelleschi was not only an organisational tool, but also a projective one. As opposed to Van Eyck’s tessellated use of image projections, Italian artists used a single projection at the centre of a large painting as a basis to construct geometrically accurate extensions, resulting in pictures which look more geometrically calibrated and balanced, though lacking the immersive qualities of northern European paintings.
Keys: Linearity, Distortion, Order, Projective, Single Point
Apollo 17 Crew – The Orbital View
The Crew of the NASA mission Apollo 17 are credited to have taken the first picture of a fully illuminated view over our planet, titled by the astronauts Blue Marble.
This hugely influential picture almost represents a point of arrival in the history of how we perceive our world. This view is somehow unbiased and free from any theological or metaphysical significance, it is an objective and total vision of our world.
This view, at least in its contemporary digitalised version, enables two fundamental movements -panning and zooming- which have been up until this point in history unused and unseen.
Keys: Pan, Zoom, Total View, Planar View
While the construction of the drawings– the underlying geometry – is based on the conflict of perspective vs anti perspective, the suits, with their conceptual transpositions serve as a basis for the contents of the illustrations, and are what can deliver the narrative of the composition.
The cards and their combinations will become the way to talk about the miniatures/drawings. The awkward juxtapositions of different cards suits will become fluent transitions in the drawings.
The four suits will be used as conceptual units, each having several layers of meaning.
Jungle – Saturation, overlap, fight for survival, verticality, layered view, fast paced cycles, renewal.
Desert – Blankness, big gestures, satellite view, exposure, emptiness, horizontality, scale.
City – Renewal, network, conflict, perspective view, radial, planned, sprawl.
Mountains – Guerrilla, oblique view, barrier, protection, size, surveillance.
Hi everyone !
Happy to be back, although it means less sun, less fun, less Peru. More oxygen though, more CO2 too.. but less piscot sour and more coffee.
Anyway, I have been mostly planning what to do for the last 6/7 weeks ahead :
1/ Making more ciphers – having a larger “inventory”, working with high-res photomontages and so on, to convey the story. These will be used notably for 2/.
2/ Making a video – I don’t know if I should aim for a 5 or 10min format yet; it depends how much I want this video to convey the story. My goal is to shape it a bit like a documentary or a report from a man investigating the cipher.
3/ Mapping – by this I mean two things : 1. reworking on my existing TS map to make it track all the relationships between ciphers etc. 2. I really want to do a more “campo marzio” type of drawing, in which all ciphers will be reunited in one frame.
These days I was working on 2/. It took me a bit of time to edit my footages and so on, but I am testing insertions (like the video below) and trying to figure out the narrative.
I look forward to see you all tomorrow !
Back to the telescape, by constructing the new urban-scaled “room” that is all about surfaces. These surfaces (to be a series of 10? variations that we will travel across as the space and the film it is displaying merge as the film itslef progresses)
The design of this surface and the way we view the contents it displays will tie into the next iteration of the film, taking on the feedback from previews.
These surfaces both as ornamental props merged with screens are part of the story as well as the story itself.
Currently working on the room itslef. A new narrative I am piecing together will be less about a specific topic (oil, war etc.) but interweaving several as “News topics” to set up the argument about media as aesthetic texture in a world of pure surface where facts and fictions sit alongside each other in a constructed ocean of ever growing information.
Telescapes Under Construction:
Welcome back everybody! We are now entering Term 3, also known a the Ghost Term, as we only have about a month to finish the year. Term 3 is the time to take decisions, putting uncertainty on the side, becoming detail-orientated and abandoning superficiality.
Over the Easter break, I did online tutorials on making video games, trying to perfect the art of video game making, so by the end of the year I will have a complete and functional game. New character! At last I replaced the default character, with one that I created myself.
This is not a new project, I am collecting all my previous games and putting them together on this one. It is an endless running game, based on arcade-style games like Temple Run. I decided to go with a simple idea, as it can be enjoyable to play but at the same time be a white canvas through which I can introduce satire, critique and little scenes, like dioramas on the sides. This is my simple alpha game, which randomly spawns a path, and uses Schumacher’s face as obstacles, and doric columns as coins which increase the player’s score.
The idea of an endless run becomes symbolic and metaphorical of the fast pace and process of life, but also of architectural production.
I am trying to go beyond architecture, and talk about a larger phenomenon that moves beyond BIM. Architecture is not anymore a series of decisions but of choices. Architecture has become a series of parameters. Our software defines our buildings. The building products overpower architectural forms.
In the same way, our life has become a multiple-choice exam. Our personalities are set by a series of sliders; left for optimistic, right for pessimistic, left for frugal, right for spendy. Our life is standardised like our profiles on facebook. We have friends, and non-friends. Our status is married, in a relationship or complicated. Our lives resemble more and more the video game. Collect likes, collect followers, make linkedin connections.
The game starts simple; collect coins, avoid obstacles. As we move further a more complicated structure is revealed. I am arranging all those spaces that I have made since the beginning of the year, on a path.
Architectural production has widely become a design of two levels. An arrangement of volumetric programmes that need to satisfy economic interests, but also the construction of an image of a project. A collection of references, that are studied only as a surface, an image, become transformed to that model. BIM is manifesting that problem by the levels of detail, that is used. The massing model transforms into one with defined building elements, and then becomes one of textures.
“the new digital workshop … looks less and less like an incubator of new forms of participatory creativity, and more and more like a playground of corporate interests, bureaucratic opaqueness and technocratic megalomania.” ~Mario Carpo
My goal within the game is to show my manifesto of how architectural production could be. The coins that the player collects would become bit by bit replaced by fragments. The player wont be collecting coins that would increase his score, but he would be assembling fragments that carry cultural references. In the end of the game, the score wont matter but the assembly of those fragments, that would be stacked, creating small models.
I havent made the mechanics for that last part of the game as it is more complicated. In simple terms, I imagine it as the combination of temple run and 3d tetris, but instead of blocks I have a list of fragments.
I have an ambitious three-part plan of production till the end of the year:
Part 1: Create the game (approx. 3-4 weeks)
-assemble sequence of spaces
-figure mechanics of fragment assembling
Part 2: Physical model of fragment-stacks (I want to actually have these final products made) (aprrox. 1 week)
Part 3: Create an arcade box (approx. 1 week)
-how awesome would it be if I had an actual arcade machine for the final presentation?
I did not make this box below, but it could be what I present in the end of the year.
The image above is the end result of /r/place – a reddit social experiment run for 72 hours from April 1st. Each user who logs into the site is able to colour pixels, one at a time, on this thousand by thousand pixel site. Collectively, the entire audience adds content to the site. It begins in chaos, but very quickly groups emerge, attempting to take territory, and create coherent images.
For me this is essentially a 2D version of the AR city I propose – and may be useful as a way for me to introduce the project from this point. A timelapse of the event can be seen below – as well as a good explanation (worth the watch if you have the time).
I have also developed a new screenplay over the break, attempting to respond to tables feedback as well as trying to find ways to use footage from Peru. Below are some early compositing tests from scene 2 – one low res render to see how composited objects were sticking to the drone footage and another is just a screengrab of the updated scene as I continue to populate/texture.
Inspired from our amazing amazing amazing trip, I tried to think of the different views in my project –
I’ve been trying to focus on two things – refining some of the rough parts of the films, and thinking how can I change the book which was received as being the ‘weak link’ of my project at preview tables as it appeared to not be dissimilar enough to the other continuums.
Also tried to film the new paper Barragan towers so they connect the drone footage to the desert in Film #1 (what used to be the shaky footage of me in the actual desert). Now there is no sand, but a printed wallpaper of desert —
And the part that causes me the most frustration in the project – trying to smooth the tower in the aerial view which since it became slower seems like impossible to make perfect –
In the film of the model – the zoom in
Really struggling to think what can be done with the book to distinguish it from the rest. Trying to emphasise the narrative-based connection between the fragments, as with this image of the MoMa shop with Eisenman tote bags (on the left) which then found their way to Jeff Wall’s tableau etc….
DIPLLAMA IS BACK
I wish we were still in peru having tiny ice creams (crying emoji face)
Here is a tiny concept model as a test for maybe doing a pinhole model of the spaces within the building, using a door peephole stretches and distorts the space to make it look a lot longer than it is which could be interesting.
The take away from previews was that I have a lot of images but the conceptual framing of the project is lacking to say the least, so therefore I have been and we be mainly focussing on how to present and frame the project and then making work as needed to illustrate the concept.
The project either needs to be a con-temporised version of THE ARK and the presentation needs to sit within the historical continuum of the concept of the ark as it has been addressed by artists and architects and pay reference to those people.
OR the project is an Ark but the presentation is a narrative that reveals the purpose and spatial qualities of environment created and what that means for inhabitants.
Therefore I have been having a go at writing the presentation in these two formats.
All 3 plates produced during Antoine’s workshop :
Create language (interaction, conversation, exchange, transfer, …) : Its most fundamental aspect : making possible communication between two entities – screen (individual(s) as creators, enactors – a portal to access any space) and block (matter in becoming, the potential emergence of a meaning)
Resist language (monologue, self-centered/referential, hermetic, …) : Language that finds sense in itself only – econonomical, political, cultural etc. without relation to any other. An input that provides meaning to an phenomenon albeit self-referential.
Reveal language (marker, glyph, spatial figure, trace, … ) : Without any sort of input – the transformation and transportation of matter ‘as it is’; an articulation of spaces devoided of meaning. They are only marquers of a human activity that fail to be understood, absurd ciphers of endless transformations.
LANDSCAPE OF THE I
In the unit we are given no context and no site but only the task to link things, objects and concepts. In the absence of a place to work with I am simply making my own site, comprised of ‘self portraits’. Each of our lives consists of many sites, mine exists at the AA, my flat in London, in Holland, my commute over Waterloo bridge, on a holiday, in a way the site is a very disparate and disconnected landscape and yet it is connected through the continuum of my life. Our lives also continuously come into contact with other people, with other self-portraital landscapes. My designed landscape is a multiplicity of sites taken from different people, essentially a collective landscape. The model that you see here is my current investigation of how to make these places spatially meet, interconnect and how they are displaced. The apparatus of my project is landscape (the site) and the machine is the delivery of the it.
Throughout the year I’ve been making different machines that deconstruct space through vision and investigate the relation between viewer and viewed.
- From the peepshow box called the Wonderbox that confines it and distances it from the viewer,
- to the Mirage periscope that still confines it inside but starts to turns space back and around through mirrors and transports the viewer into the constructed space
- to the Mirror telescope that turns space back inside the viewer.
- The viewer thinks he’s viewing his surroundings but actually observes his insides, the interior of the eye, the blood vessels are projected on top of the view.
- to ultimately the Landscape Orrery, which combines and connects the landscapes gathered through the previous machine. Here the viewer is in front and around the space, able to see it from many different angles.
Further explaining the last two machines I start with the Mirror telescope. The reference for this machine is the story of the Canals of Mars, in the early nineteenth century a popular theory was that there was life on Mars. Scientists were looking through their telescopes and seeing lines on the surface of mars so geometrical and distinct that no environmental phenomenon could have caused them, Schiaparelli drew them and further popularized the theory. What the scientists were actually seeing was the shadow of the veins in their eyes overlaid onto the image in the telescope. I think this is a great story about how we constantly project our own interpretation onto the things we see, and based on our identity and experiences this is different for everyone, it forms essentially a self portrait, much like my machines does.
The Mirror telescope is the device through which I captured the pieces of my landscape. It is a product of self portraiture and interpretation or imagination.
The process behind the construction is as follows.
- By looking through the Mirror telescope I observed and drew my self portrait.
- I showed other this seemingly abstract drawing and asked the question:
‘What is this a drawing of and at what scale?’
- I noted down their interpretations, subjective views which became their self portraits
- All the collected ‘self portraits’ are compiled in an imagined architectural site.
Each person’s subjective view sees a different part of reality, together they form the whole picture. Collecting these subjective views into collective sight forms my contemporary architectural site
The landscape orrery is based consists of several landscapes, the rice paddy fields from the interpretation of the canals of Mars, the landscape of mars itself and central park from both sides as a landscape showing the theme of man-made vs nature and incorporating the interpretation of tree canopies and city diagrams.
I argue that landscape is comprised of a disconnected array of sites taken from our lives. Landscape doesn’t just exist in one set of coordinates anymore but in many places at a time connected through vision and memory. In my project I attempt to spatialize this concept through the Landscape orrery.
For further development of the project I aim to expand the landscape orrery and investigate in what other ways it can perform, working with another dimension of movement, possibly incorporating some of my former machines effects, using mirrors, and or screens.
Sorry for the late post, was watching the debate for the french election until now…
Here are the workshop images. More tomorrow !
Writing the presentation, most of the images are printed, thanks to Nicholas and his plotter!
Here are the images I have for the storyboard so far – a few more to come to flesh out the supermarket, toilet cubicle, apartment and urban palimpsest. The idea is to compose these images in a 8-10 minute/semi-animated storyboard – like the ‘Mirrored Eyes’ storyboard from the 2nd jury, incorporating the bits of animation that I have done.
I’m working on the presentation text/narration now. After the workshop with Antoine, I think there might be a couple of new scenes needed, to further elaborate more positive changes in group behaviour provoked by this scenario, as well as better illustrating the spatial ‘averaging’, but I think given time I will aim for developing these after the tables (although I will describe my ambitions for them and their purpose of course).
Hopefully tables can act as a review to make any final changes to the screenplay/scene sequence/image tone and atmosphere so that in the 2 weeks of holidays after Peru I can really get into shooting as much of the film as possible. The idea would be to use third term mostly for post production/rendering and getting the film as slick as possible!
New scene – (to replace the preserved house). Cemeteries of the future are dedicated monuments in the landscape where people’s augmented profiles are kept. When entering one of these mausoleums one’s own overwriting mechanisms are temporarily disabled, preserving those who have passed in little samples of their worlds forever.
At the moment I really believe in my presentation and my thesis, but I lack the collection of imagery. So, I decided to produce some last minute Stuplages (Stupid Collages). I think that stuplages are a successful component to have successful previews. GO! GO! GO!
The last few days have been very helpful in clarifying what I want to Create, Resist and Reveal!
The reality of Dan’s world is ultimately what I am arguing for, the room, the city and the screen. All these elements are starting work with each other much more efficiently in comparison to the previous videos i have worked on. The inevitability of living a standard life in standard homes amongst standard buildings in standard cities is much more evident than it ever has before. The project does not aim to solve this but to simply provide an alternative with the very elements of Dan’s standardised room.
If the 19th century enfilade provided a framework for the viewing and display of culture in the context of a museum or for the display of wealth and power in the context of the palace, what does the 21st century do?
I will begin to ask myself this question more as i feel that it would be crucial to find a good definitely of the contemporary enfilade, whether it is physical or purely digital.
Here are some thoughts regarding each aspect of the project:
The video still requires a lot of work in the coming months. I need to find a way to make these experiences much more effective than they have been. This will be tested by creating a variety of new spaces to journey through and out of. So far, i’ve spent very little time in R2 and the next step would be to create a denser and much more immersive experience of “Delta”. This will hopefully be achieved by moving around the spaces in R2 rather than the strict rule of only moving forward that i’ve applied so far. I think this will definitely make the viewer feel more trapped in this never-ending enfilade.
So far the narrative acts like a documentary/ ad for Delta. I think the narrative can definitely expand on the condition of reclusiveness by moving beyond just the culture of gaming that i’ve focused on so far. The Hikikomori in japan are a good examples of this, where young teenagers and adults voluntarily isolate themselves in their rooms, watching movies, anime, playing games and probably never leaving the house.
The Hikikomori are always gamers, majority of them have found life in the real world to be too difficult and have simply withdrawn into their individual rooms, mulling in self pity. For many of them, the screen and the world of cyberspace have created refuge, allowing many of them to never leave the room.
The hikikomori is an interesting condition that is becoming much less of a niche today as we find many of these instances globally.
The next model i’ll be doing will be much more specific than the latest one that i produced. It was however through this model that i have learnt what would be much more effecting in the next one.
I’ve started to test how series of layers can be built up through the framework of the model. With the 45 degree mirror, the ability to manipulate and re-construct will be expanded on much more where a less rigid framework will replace the grid or matrix that i have been relying so far.
I will begin designing the model soon.
A reference i came across to think about is Liam Gillick’s piece, Hamilton.
It is a mirrored room with a screen in the middle projecting a variety of scenes for 27 minutes. One scene that caught my eye is a rendered video of a room with screen in it playing another video. Im still trying to find the video online but it doesnt seem to be around.
Im in the process of updating the pages and spreads of the whitebook with new images of spaces from the latest video. I also aim to do a few drawings of the spaces in R1 and R2 to be added into the book.
Few images I have been working on regarding the narrative of my project.
Overall my plan for previews is try a different way of presenting by simply reversing the way I used to present up to now. Overall :
1. The story
I will start by introducing the story : matter being transfered from one place to another, this seemingly anodin act will start to catch people attention until they start to question it.
The stone found in the desert will trigger the story.
2. The explanation
After that, I will introduce the various element behind this : how a language (political, economical, cultural) define the logic of an act, covering its potential absurdity. My project stands then as the creation of a language that breaks through these logics by simply being about space awaiting to be appropriated.
Images I have been working on so far (I am also trying to make a quick video to work with my presentation) :
Some of the comments from the preview tables –
*****Media and place-making – how can the use of different media be used more explicitly to form a critique (about media)?
****The role of the book in the project – currently not different enough from the film and the model
***Presence of the model in the presentation – needs to be more central, and preferably include some live performance
**Notion of time in the project
*Vocabulary of cuts
Motel rooftop (Donald Judd) and lobby
Images from the model in the book –
Exhibition at MoMA –
Working on new imagery for some of the scenes that I haven’t yet visually described:
THE BUILDING SITE
The urban artisans of the future are finely tuned to the fabric of the city. They order and construct the city through precise gesture. Moving like dancers across the city’s construction sites, these architects and engineers pilot the infrastructure of the city.
THE TOILET STALL
A dramatically thin woman sits hunched in a toilet stall, head bowed. Red light… Deep blue shadows… Her skeleton shifts beneath delicate skin. The red walls bulge disgustingly like swollen flesh.
‘I remember that the worlds that protect and express us, can also imprison. I see bubbles of pain; worlds of self-obsession, cast from our own desires and insecurities.’
THE CONTACT LENS FACTORY
A huge expanse of clinically white equipment. Machines move in unison. Lines of contact lenses are polished and packaged. Packets of new electronic lenses move along a conveyor belt.
More scenes and elaborations on existing images to come.
Trying to work on the narrative and how to convey the story.
Quite unsure on certain aspects still, but I did few shots from my plaster model – was trying to imagine someone discovering the inside of a glyph.
here is the manifesto that was hand-in to the jury :
bad news, Rotor, a belgian office that i referenced already a few weeks ago in 2 videos already made a website similar to mine. It is here : https://rotordc.com, (and its great). It looks like they are proposing their expertise to developper whenever they have to dismantle a building (for free) and see what they can take and sell in their online store. It’s very close to what OFFW is engaged into for now. I still think that continuing to work on the website is relevant but it needs to engage further or to follow a different narrative in the way that waste are valued.
Today i thought about blockchain and bitcoin as (perhaps) an interesting take on the project. I made the connection during the discussion with the jury. I read an article a couple of days ago about bitcoin and the fact that – if i remember, it’s a currency ( a potential value) linked to a blockchain, which, if i understand it right, is the path (or the sum of action/state) that a specific object has gone through.
it needs to be research further but it implies the notion of value linked with the precedents, the history of an object. Interesting when questioning the value of waste…
Has to be discussed.
I was thinking that it could also be interesting to choose an actual site (or a building, or maybe a typology of building) in order to be able to link the scale of the object and the one of the territory, which was also one of the civic brought to table by the jury.
+ the offshore platform geology
Once upon a time we used to be entitled to our own stories but never our own facts – In truth we have always been entitled to both – facts are just as constructed as fictions We construct worlds to tell stories. Architecture acts as the medium for staging events as well as a spatial mnemonic atlas. This is manifest in the latin word aedicule, referring to a small building particularly a temple or shrine framing an event.
From Container to Surface – The flattening of ArchitectureThe building as an interior of the world is ever more prominent in the glass modules of the crystal palaces; crystalline prisms that commodify everything on display – form the most banal to the most spectacular products of industry – into consumable spectacle. The newsstand – appropriately edicola in in contemporary Italian – acts as a media shrine with it’s own atlas of global information adorning it’s surfaces. With the advent of photography and film of course we have the flattening of the theatre stage. The event becomes a surface. In the continual reduction of container to surface spectacle becomes domestic. The collective experience of the moon landing finds the president and the oval office superimposed over the celestial object. Finally the interface now allows anyone to be spectator as well as actor and the surface world can be superimposed over everything and at any moment. Hence, with the screen as a site, the architecture of an event uses footage as a design material.
The TelescapeThe TELESCAPE becomes a new landscape of Architectural flattening – An inter spatial region where an event is constructed from a distance – the site of contemporary memory and knowledge, fact and fiction. “This killed That” The printing press killed the Cathedral, says Frollo in the Hunchback of Notre Dame. What has the screen done? Or what are the architectures of a purely surface world? Banal objects become as spectacular as everything else – the telescope eradicates scale, explodes time, footage is in excess and association or editing becomes the story-teller’s apparatus. Surface visually articulates narratives by aesthetic association – scale and time are lost in flatness and content becomes wholly governed by its context. Essentially if recordings of the recording and re-contextualising of stories is only ever experienced as a surface the world becomes akin to a multifaceted diamond that you can never enter; An architecture with only and outside. Or perhaps where the inside and the outside have become indistinguishable. How can the experience of a room be flattened? What is the best way to articulate the condition of surface?
The Oil AgeIf the material of our age is petrolium then how could it’s use as a subject not only criticise a superficial world built on a finite resource but also discuss the nature of an absolute surface world today in architecture?
I am currently working on a storyboard for the upcoming previews. I am planning on having a series of animation clips to which I will present in parallel my argument.
In the game, we have the banal city of BIMland, and at some point we will see the arrival of the viruses. I imagine them being carried within this funky megastructure, which would open up and release them over the city.
Following tutorial last Tuesday, the plan for tables is to create a beautiful chunk model of the scheme to show a more spatial 3d quality of the project.
I am planning to laser cut the beams tomorrow to get an idea of how big the chunk needs to be and then decide the materiality of the rest of the model.
Sorry for the late post… now i am mainly re-shuffling the pages in the book. I need it to be done by tomorrow beginning of the afternoon so that i can print and then arrange website.
Here are a few new / updates images
Grosvenor Square as pit n.2, Lincoln Inn fields as pit n.3.
Balloon sizes/weight lifted
another OFF-shore image
The latest version of the screenplay to direct the scenes I need to produce from here. *Scenes 10-12 (Law Courts, Apartment & Protest) all are being considerably rewritten still, so don’t pay too much attention to those.
The banal narratives of oil. The domestic reality of petrochemical dependency will be minced into the war narrative as the new iteration of the film.
The long section is an idea for a series of such images that we will be ‘scrolling’ over in the film alongside other footage. Here we have the evian freighter delivering globally.
I have seen Eduardo Paolozzi exhibition during this (very relaxing) week-end. Interesting one, it has a wide range of artwork he produced and quite relevant for me (rather ‘glyphy’) – sometimes closer to symbolism, sometimes to graphic art, but always extremely rich compositions.
New continuous shot of model –
In order to use the Blackmagic camera for its quality I mounted it on an extension from the tripod so it rotates away from the model (before the frame was too closed in).
I’ve been working on the transition from Donald Judd’s piece in Marfa to NYC’s New Museum with a long ‘sky-to-skyline’ wrap in which the lens is inserted. Still the lens is visible on camera.. I think to completely cover it will require to remake the Judd’s pieces so they are bigger. Alternatively, I can not do the change of focus to the NYC buildings – which reveals the lens more explicitly.
Also not sure about the speed of rotation – the footage seemed a bit too slow so made it faster in edit (especially in the first part until the mountain). Maybe it’s still a bit slow?
Transitions currently missing in film –
**Barragan towers scale change (in the image below they are in their ‘big’ state – in an aerial)
**House VI as a model on a plinth
**Jeff Wall’s tableau – from building scale to apartment scale (I think the GoPro attempts have officially failed)
some images of the model –