Tag Archives: format factory

Nesting in Conversation

Hello, I finished thinking about the final presentation and I am clearer what I want to do. I will present everything with the website. There will be an introduction with the black screen when you can only hear the sound of stone cutting. The presentation then is divided into two or three main parts. In the first part, I present the different methods of formatting, regardless of their content and explain how the function of the frame. (In other words, I am explaining ways of seeing.*) In the second part, my double (which I talk to via google handout) takes over the screen and explains the role of content being format and may lay out how one could read a wandering from the quarry to the tables, situating six worlds in parallel: 1. the making of the project in school/office; 2. the making of the building as explored by modernists and an absurd clashing between form and format; 3. the making of media as in the gallery/news. At the end, all we see is a zigzaging between different frames which don’t really make sense or reveal any meaning. However, my argument is based on two main claims: Considering “the medium is the message” (McLuhan), the arrangement of frames is the format which negotiates the relationship between content and context, always working on a psychological mechanism of belonging or not belonging. As I am trying to define my subjective point of view, I propose different fragmented views on the relationship between objects which are presented to the audience nested on the screen. Since some objects stand out through their size from the screen, which presents everything as equal at first, they form the figure which removes itself from the ground on which they sit. The relationship is doubled, as revealed through my twin on google hangout. (ok I know this sounds confusing to some out there) So what is this, where is the meaning? The thing is, I am playing a Duchampian game. As the audience looks at the content of the screen, they are being recorded and live streamed. The screen is considered the door from Etant donnés, while the assemblage behind the door is but my cabinet of curiosities (a bunch of formatted things captured through my eyes). The view I am imposing is not a totalitarian one but remains fragmented through all stages. It is at the end, when the contents of the screen “granulate” into a void, that the only format which is left is the presentation screen. Turns out that it is just a large glass within which content as format and content as meaning coexist, yet never touch. Meaning lies in the eyes of the beholder and is always in transit. Only the livestream of the audience staring at a blank screen remains. The circle is closed and I leave the room. Now, there is a glitch which gives it away. One of the images didn’t change back to its original state as I switch from google hangout back to the presentation in the lecture room and reveals the duchampian setup: I nested the Large Glass, in which the physical and imagined realities never meet, inside the Etant donnés. Alright, I admit it is quite poetic and ambitious…I need to get my two acts together, rewrite the thesis to be explained, as Berger does it, exactly when I point from one thing to another. I need help with that -> Orchestration & Clarification!

Nesting Myself in Conversation, Final Jury

Nesting Myself in Conversation, Final Jury

*thanks John Berger, you saved me.

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A New Gallery

Ok, thank you. Today I had a better day and have produced minimal but high quality work. I did a tumble and here are the proportions on which to construct the plan of the new gallery.

Untitled - Rhinoceros (Educational) - [Top] to become 150320_NewGallery_Proportions plan driven by the proportions of a digital viewport screenshot at 72 pixels/inch on widescreen 1920x1080 pixels rescaled to fit scale 1:250 @A2 (actual dimensions: 50 meters x 93, 17275 meters)

Untitled – Rhinoceros (Educational) – [Top] to become 150320_NewGallery_Proportions
plan driven by the proportions of a digital viewport screenshot at 72 pixels/inch on widescreen 1920×1080 pixels
rescaled to fit scale 1:250 @A2 (actual dimensions: 50 meters x 93, 17275 meters)

UNFIT FOR THE BLOG ATM.

 

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New Ideas

At the previews a lot of different doors opened but I still don’t know which direction I should take. I don’t even know if anybody is reading this post so as long as they’re not on paper/screen, I don’t really feel like speaking about them. Brett’s comment, that I should foreground everything based on format, made the project slightly more tangible for a moment. Although  the panel was great and the discussion was rich, the constraint of placing form after format seems what has been limiting the amount and speed of production until now. We’re at the end of term 2 and I’ve felt pretty unable to design anything but an argument so far. I think it’s time for me to do what I feel is right, otherwise this project will never happen. So now, what I feel is right is to encase the White Cube. Why and How? First, I ALSO want a building, space! Second, the gallery is dead. With the loss of meaning, it suffered a loss of function. Hence its only future role can be that of a freeport which stores other art or building formats. Since I am not allowed to design form, I will let Mies do the job. The Convention Hall will encase the White Cube. The idea is sketched below, the rest will follow after AV recording.

150319_encasingtheWhiteCube

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Site Visit_day 5

WIP – marked my territory…

One of many format factories...

One of many format factories…

IMG_2895, Date taken: 03.09.2013

IMG_2895, Date taken: 03.09.2013

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Site Visit_day 3

WIP

Selecting the Block

Anouk from the Block

IMG_2901, Date taken: 03.09.2013

IMG_2901, Date taken: 03.09.2013

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Site Visit_day 3

WIP – could add some more things but moving on…

Quarrying on both sides of the road

Quarrying on both sides of the road

real site, google streetview

real site, google streetview

ps. I know my next holiday destination – who’s in?!

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Site Visit_day 4

WIP – could need adapting better to the background image. Let’s see after my first print.

Marble Church Polishing Station

Marble Church Polishing Station

IMG_2980, Date taken: 03.09.2013

IMG_2980, Date taken: 03.09.2013

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Site Visit_day 2

WIP – could need a little more fine tuning. Right now, there’s a bit too much dust but I want to move on and edit once I’ve seen it printed.

Square Valley

Square Valley

real site, google streetview

real site, google streetview

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Site Visit_day 1

Here is one of the series of snapshots I took during my site visit last week.

site on site

site on site

real site, google streetview

real site, google streetview

 

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Fortitudo mea in rota!

My plan is to draw the section based on the plans of the many places which will make up my factory: the architect’s office, marble quarries, paper factory, gallery and jury space. For the site, the marble block or polished plinth, to extend its terrain to be looked at in section, I started drawing the topographic lines of these breathtaking marble quarries near Torano in Italy.

Quarries near Torano, Province of Massa and Carrara, Italy

Quarries near Torano, Province of Massa and Carrara, Italy

Quarries near Torano, Province of Massa and Carrara, Italy

Quarries near Torano, Province of Massa and Carrara, Italy

Edward Burtynsky's Carrara Marble Quarries # 24 & 25 (Diptych), Carrara, Italy, 1993

Edward Burtynsky’s Carrara Marble Quarries # 24 & 25 (Diptych), Carrara, Italy, 1993

I also started drawing Mies Van der Rohe’s unbuilt Convention Hall and Gene Summers’ McCormick Place, 1958. Hence Gene Summers, Mies’ “right hand man”, built the largest convention centre in North America. TBC

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Factory or Gallery

I started drawing, started something different and dumped it all. So I made a model of a typical polished concrete gallery floor which I then filled with little bluefoam cubes which just arrived. In top view the surface of the plinth is as polished as the concrete floor on which it sits in its raw and refined state. Now that the site is somehow defined, I want to turn more towards the factory and less the display of things.

gallery or factory?

gallery or factory?

gallery or factory?

gallery or factory?

There are a number of things on my list to do or consider after the jury:

– make storyboard presentable and use it as a “navigational tool”

– draw presentation formats (juries)

– define the architectural context to construct

– rethink factory processes

– search Sotheby’s (our neighbours)

 

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Raw Materials for Construction of the Site

I am currently getting the raw materials for the construction of my site! I thought that I, Anouk Ahlborn, should check the quality of marble in a quarry in Colorado. One of the workers shot a picture of me in which I looked much like Dominique Francon in a granite quarry in Connecticut.

marble quarry, Colorado

marble quarry, Colorado

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Format Factory_Second Attempt

I forgot to upload the rest of last weeks drawings. Here they are:

Plan of the Reading Room of the Warburg House, After The Plan by Gerhard Langmaack, Hamburg, 1925/26

Plan of the Reading Room of the Warburg House, After The Plan by Gerhard Langmaack, Hamburg, 1925/26

 

An approximate drawing of the Warburg Haus Library Reading Room

An approximate drawing of the Warburg Haus Library Reading Room

Format Factory Plan, v02

Format Factory Plan, v02

 

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Format Factory_square vs ellipse

The square arrangement of the factory, which set the department of invention of format at its heart, allowed for a circular movement around the other departments. After it was pointed out to me, I realized that this format indeed resembles more a library setup and encourages an exploration rather than production of the history of format.

The new plan of Format Factory will be based on an elliptical perimeter which I intend to intersect with tangents to create openings. I tried to think of the interior as a three-dimensional space, perhaps similar to the Fiat Lingotto Factory in Turin. Rather than radiating from a center, the production process of format is linear. It follows a spiral into the center where there is a possibility of being carried back outside again or the other way around.

Since I don’t know which processes, tools and human labour are required for the production of format I thought about borrowing from a double helix structure to create the production flow with some bridges. I will keep that idea in mind whilst playing around with openings and trying to accomodate the programs which I already embraced.

Format Factory Plan02

Format Factory Plan02

As I am still working on my thesis and architectural designs my drawings remain quite simple. However I hope that in a couple of weeks, I will be able to work more on my graphics in order to communicate other aspects of the project.

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Format Factory_Playing Ping Pong with an Architect

I really enjoyed last weeks tutorial. Although I once again finding myself in a situation of trial and error, I feel that I internalize the conclusions drawn. Shortly after drawing my square plans, Cedric Price’s Fun Palace popped up as a reference which I could use to question my own direction/intention. If the Factory of Culture was a scaffolding structure designed to produce event spaces and promote an exchange of content, what would Format Factory be? Which format did he employ in 1960? How did the project not only shape his own but also a cultural identity? Here is my image which gave that food for thought:

food for thought: Cedric Price's Fun Format

food for thought: Cedric Price’s Fun Format

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Format Factory_testing strategies

After reading Typical Plan by Rem Koolhaas and A-typical Plan edited by Jeannette Kuo , I started drawing the format factory as a physical structure. So far, I had been looking at the 2d analogue and digital formats, which use the flat/curved screen as an interface, and 3d formats, which are composed of subformats, to create more specific spaces of production and, perhaps, identity. The Format Factory reconsiders, redefines and produces formats and opens a dialogue between the “man with nothing to say” and the “man with no skill to say”. Considering the ideas of Archizoom, I wanted to use the potentially endless grid and impose intersecting walls (mainly to avoid getting trapped in the essential but overrated discussion about endless possibilities). The circular arrangement of libraries and the rectangular computer screen which I had been staring at all day, prompted me to chose the square as a paper format which I could use as a blank canvas for the factory. The square didn’t impose a hierarchy on directionality and would allow me to reconfigure and suffle around my subsquares instantly. I had been doubtful of the linear arrangements of traditional production lines so I decided to put _the department for the invention of format in the center of the factory and organised _the department of the mechanization of format (leaving room for machines), _the department for the post-production of format (ranging from bookbinding to a digital fabrication laboratory), _the department of the digitization and testing ground of formats and finally, _the enclosed department for the destruction of format (perhaps the clash of content and format) around it. So far, I borrowed from existing spatial setups such as the open-plan, studio unit and various office layouts. My next step will be to rethink the plan in relation to a refined definition of format. There are only certain branches I can pick up in the Amazon of history (here: forest) in order to find a way into and construct a part of the future.

Format Factory v01

Format Factory v01

Format Factory v01 (Basement, Ground Floor, First Floor and Second Floor Plans)

Format Factory v01
(Basement, Ground Floor, First Floor and Second Floor Plans)

Format Factory v01 (view into showroom)

Format Factory v01
(view into showroom)

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Format Factory_contemporary theory

Sometime in the future, let’s say in 2035, format factory would have been a project of the Future of the Image. In advance of retrospect, it will be The History of the Future of the Image. But let’s have a look at what one of the former pupils of the AA says about some of my titles:

The History1 of the Future2 of the Image3

Format4 Factory5

AA (as initials) 6

1. History

This is what you get as a result of this belief in history: a building that mimics history, but through its scale and volume alone radically breaks through the scale of history and is neither really new, nor really historical.

2.a. Future

We were seeing the future and we knew it for sure. I saw people walking around in it without knowing it, because they were still thinking in the past, in references of the past. But all you had to do was know you were in the future, and that’s what put you there. The mystery was gone, but the amazement was just starting.

2.b. Future2

Cyberspace will provide not only a one-way path into screenland but special effects at your table. The future is here, it just hasn’t been evenly distributed (yet).

2.c. Future3

But the future comes not by itself. Only if we do our work in the right way will it make a good foundation for the future. In all these years I have learned more and more that architecture is not a play with forms. I have come to understand the close relationship with architecture and civilization. I have learned that architecture must stem from the sustaining and driving forces of civilization and that it can be, at its best, an expression of the innermost structure of its time.

2.d. Future4

Imagine the person you love saying to you, “Ten minutes from now you are going to be poked with a sharp stick. The pain will be excruciating and there isn’t a single thing you can do to prevent it.” Well then – the next ten minutes would be next to unendurable, would they not? Maybe it’s good we can’t see the future.

  1. Image

A picture esp. in the mind.

  1. Images1

Here I am in the presence of images, in the vaguest sense of the word, images are perceived when my senses are opened to them, unperceived when they are closed.

  1. Format
  2. Factory
  1. Identity

I do not believe in some “new identity” which would be adequate and authentic. But I do not seek some form of liberation from identity. That would only lead to another form of paralysis – the oceanic passivity of undifferentiation. Identity must be continually assumed and immediately called into question.

“Definitions” from the left columns on the right side of 3 of 1355 pages bound as hardcover book measuring 18.3 x 7 x 23.9 cm, published by Monacelli Press; 2nd edition edition (22 Oct 2002), titled S, M, L, XL and constructed by Rem Koolhaas, Bruce Mau, Hans Werlemann and Jennifer Sigler at O.M.A.

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Format Factory_I lost it…

We’re nearing the end of the term so things speed up a bit…

In the new format factory I somehow tried to squeeze in all the different crazy ideas I had on format. Without a site, I decided to plan out different spatial arrangements and their subformats of images according to an orthogonal grid, the basis for a typical plan. Since my programs aren’t fixed, the squares could be shifted around or superimposed. I guess it’s time to clarify, strip back, limit and spatialize, both conceptually and in terms of drawings. I need to work on communicating thoughts, process and direction. Please feel free to comment! :) More work tomorrow…

Format Factory Plan 01_wip

Format Factory Plan 01_wip

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Format Factory_first attempts

After intuitively sketching out a plan for the first version of the Format Factory, I looked at some more references:

– Typical Plan, Rem Koolhaas S,M,L,XL, 1995

– Tres Grande Bibliothèque (Very Big Library), SMLXL, 1995

-Projects in A-typical Plan, Jeannette Kuo, 2013 (which was partially done in response to Typical Plan)

-Projects in Factory Design, Chris van Uffelen, 2009

So far I have only scratched the surface of the latter and hope not to remain too fixed on the plan in the next phase of development.

Format Factory Plan v01

Format Factory Plan v01

I hope to post an update after the AA evening lecture.

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