Guess who’s back?

YES, you got it! it’s the fisheye drawing!

Ok so i decided to actually get back to this drawing (i tried some animation tests, amongst other things and i concluded that there is no need to reintroduce a new medium when there is one that i used before that hasnt been glorified enough in the portfolio) – maybe not exactly this composition – im not entirely sure yet – but the idea is for it to be as it is and then fold/slide (watever the technique is) walls and floors, etc to go further and further connecting into this world and unwrap/explode the drawing physically

so below is the drawing in all its former glory – and underneath it is some geometry tests:

the last two are how the drawing’s perspectival construct could be instead of the top one. this might not make a lot of sense just yet – but hopefully tmrw i will have it better visually explained.

and this is an updated version of my “conclusion/end bit” of my text:

The forms of connectivity conventionally understood as the corridor or the open plan where all ultimately compromised. We had relied on the corridor as a connector however it is not its form that is the enabler. The corridor is a non-space constructed between two walls, ground, ceiling and a particular viewpoint. It is a state of uncertainty which sits between two spaces.

Connectivity is a concept. The corridor’s form, its visual representation and its definition all change as the understanding of the concept changes. Like with Kosuth’s three chair, the concept is independent from its mode of presentation (as an object, as a visual representation or a written definition). The way we understand connections has changed: ideologically and physically our perspectives have changed.

What enables us to connect is the combinations of all the architect’s tools: the wall, the ground, the perspective, the event and time.

The wall and the ground are understood as something that forcefully limit space and it is through those limits that we are capable of connecting and yielding new spatial combinations and connections. The wall particularly is an element that suggests the existence of another room – and through that wall we physically and artificially move and look through.

The product is the image of the event and not the object. The perspectival construct, the view, the event becomes the medium through which we can begin to understand the relations and connections between spaces. The form of the drawing and its ever expanding view as perspectival constructs of connectivity.

 

 

peace and love, g

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