Tag Archives: plan

Narrative Poster & Narrative Landscape


“Some truths are better kept behind a screen,
Especially when they would look like lies”
 
Lord Byron, Don Juan
 

scanscan-1

Above is a diagram in sequence of the narrative through the screens. We maintain a split screen set-up for the background with several screens moving over as we construct the story. One screen begins the first video call session then within that we have other calls to other screens until we loop through 3 different sites back to our split screen set-up.

scan

Some thought-sketches developing a story that could feature both the “notes” that caused a stir on the news which we discussed yesterday (see link below) as well as some of my diamonds.  We also see the locations that the screens will take us through. Essentially the screens become an apparatus for constructing a drawing.

I am developing the set up for the screens to accomodate the story but the idea is that this time as the screens set up the narrative we are having the “narrative poster” appear in parts as the story is constructed.

Minister dismisses ‘have cake and eat it’ Brexit notes

3ad63c0500000578-3979302-the_notes_were_being_carried_by_an_advisor_to_mark_field_an_infl-a-31_1480375364631

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Entry level

Screen Shot 2014-03-15 at 19.18.32

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And more…

Screen Shot 2014-03-13 at 19.11.39

 

Couldn’t upload .jpg files for the longest time, so this is low res screen shot. Sorry.

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Oliver D.C.

One-big-cut copy
Click for larger

“Chaos is the basic prerequisite of today’s city”
–Kazuo Shinohara

(Currently cutting and puzzling)

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Needs Colour

Big-All-Over copy

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Entrance to Metropolis

soft-shadow-plan-small

Stuck far too long in rendering experiments.
Maya refuses to snapshot my motion path.
Time is running away.

Floating borders; what is a strong demarcation between houses?
What does it mean to traverse one edge condition into the next?

The Labyrinth hides The Diamond. It is shy (like me).
There is not one door, but many. There is no right perspective, except the plan.
The larger I become, the more rooms I find that challenge me to be inhabited.

Unlike Hejduk’s Diamond, there is no stacking.
There is just the flow of one floor plan, with one glass roof.
In need of a context; thinking of the Serpentine pavilion.
What is there that is temporary about the Diamond?

Soundtrack: Detroit Techno Classical

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Building Stories

diamond-3d-big copy

To build has to be to build for one like us, we reveal ourselves
in the process of design, our prejudice, our leanings, as much
as we try to think of what would be appropriate, through discussion.
Only that which is living is worthy to be contained, it was said, but what then
of the dam, the elevator service room, the electrical powerplant, the pyramid?
To contain only the living is to devalue that which is needed to support the living
perhaps it is even wrong to think of it as “support”, as it should be valued
for its own being, for its consequences as well as its unfamiliar manifestation.
No-one lives in the roof, but the roof is home to our lights, to our chimneys
and no-one lives in the technical basement, where pumps and servers
buzz on through night and day. Is this not the house? Is this not form?

The site that was only one site reveals a building which longs to be situated
in another place than the white space of the paper. It wants New York
so it claims the Empire State Building, a replica of its art deco interiors.
It wants Tokyo, so it steals the pachinko halls and the bubble massage rooms
and paint them like a cloak over its naked body. It wants London, so it takes
the pubs, the tube and the overstated football arenas. Whatever is a piece
of architecture that we want instead of purity, will be set in a place
that is unlike everything this building has seen before. It is placed
in the Nevada desert, on the Atlantic ocean, on the Persian steppes.
Eventually, it will grow into the entire planet, a point when there is
no more context, only emptiness.

The overarching narrative of the Diamond house is its craving
for difference and similarity; it takes on the same vices and virtues
that we see in ourselves, when we wake up early to a cloudy sky
or when we frown at postmodernism on show in the gallery.
The house wants dirt, it doesn’t know the joy of diving into mud.
The house wants colour, it is tired of its own monochromatics.
The house wants curves, it has seen itself in the concave mirror.
The house wants volume, it has grown scared of its own flatness.
The house wants company, it has lost its friends in the white space.
The house wants partners, it is a swinger in love with a chair.

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The Hole

Empty sandstone hole vs. Full hole (containing just over 1.5 million people – yes, I counted)

The newer part of the city uses quarried rock from the hole so is red. The excavating truss divides the crowd according to which side they support.

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Manipulating Scale

The stage has no scale until the actor arrives. Much like each of the plinths in Yamasaki’s gridded city. Ever wondered what Yamasaki’s gridded city would have looked like if each of the plinths had been drawn to the same scale?

Perhaps this plan can be used somehow to inform the plan of the stage…

 

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box plan WIP / drawing some toll booths…

slow process, but enjoying it quite a bit..

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Backstage Views

The Re-Con stage was designed to be viewed straight-on. Like Yamasaki with his monograph, it was arranged in a specific way to exhibit the argument. Similarly presentation drawings and models are often controlled to show the client exactly what the architect wants them to see. Here are a selection of images exploring the stage from views that the audience were never meant to see:

1. The Short-Section

In the short-section everything that can be seen front-on is obscured, obliterating the argument. A series of void spaces come to light. When viewed straight on the void is representing everything that the drawing board is obscuring (“Reality”). The image of this in the imagination is extremely powerful, making it quite surreal that in our immediate reality it is just a void space.

2. Plan View (the anti-yamasaki view)

The ruined plinths take centre stage. Yamasaki would not have liked us to see this one!

3. Window Cleaner View

Looking into the plinth it becomes immediately clear that we are on the plinth – in a sense the script plays backwards. The ruined buildings are not visible, but the disengagement between architecture and public (or Reality) is evident.

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