Tag Archives: presentation

My hands are multiplying


This hand is for the part in my presentation where I first reveal (through a paper Facebook update) that I’ve been engaged to my partner, and later when we finally get married. I’m not so sure yet how it can be used interactively in the presentation in the same manner as the like hand, but I enjoy drawing these. Tomorrow I will bring together the presentation, and perhaps draw a poke hand. I thought it could be quite useful when I create a new paper event, to poke the jury into attention.

Also, presentation text as it stands. I’m trying to find a balance between pursuing a thread through the project which the posts argue for, without referring too much to Sebastian Shuto and the things he does. At the same time, I feel that I don’t want to settle the thesis for the project too definitely. I want there to be a bit of idea sprawl. Am I falling into the Brussels sprouts trap again?


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Found it easier to rewrite the text rather than cutting and pasting everywhere, or rather, after I had cut and pasted everywhere, I sat down and read it out loud (feeling very demagogic) and then rewrote the text in order for it to have a more pleasant flow.

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Working on presentation text, while also revisiting plan and section drawings.

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Dressed to Kill

(Image: Post-Eden Garden of Eco-Delights. Click to view large.)

Pres intro:

Hello, I’m Oliver, a 4th year student, and I’m here today to fight fire with fire, together with you. The great question I’m wrestling with throughout my golden days of school is: “where does architecture begin?” rather than “where does architecture end?” In my work, I’m out on a wild goose chase for the potential of architectural beginnings, how they tie up to the end – if we even want them to tie up – and if there ever is an end to architecture, or if the end is just a new beginning. My weapon of choice for exploring the nature of the architect, his unbuilt agenda and the forging of his identity is to go the opposite way of the original, and warmly embrace the architectural stereotype, or cliché. The board is set; the pieces are moving. Here I take you on a 80-day around the world voyage for the potential of the overstated.

I will begin by opening a can of worms, by identifying the tritest, most overdone procedures in contemporary architectural design and culture. But to know the present, you must know the past, which is why my project departs from a precedent, the one who inspired it all: John Hejduk’s Diamond House. I approached this isolated piece of nostalgia for the formal by building it a house. The house gets a house for itself, it is a mouse who has found a house. Come to think of it, Hejduk himself is a cliché of the famous architect: one who begins with a radical house (it’s always a radical house!), who has a penchant for good literature and who enjoys a visit to the art galleries once in a while. Thus, I surrounded his house with everything the house would want to have, all the modern conveniences as well as the irrational fantasies. From this point the house gets a taste of its own medicine. It requires, first and foremost, a discourse to sit in, hence the house of words, some horrific, some fittingly odd. From there, we descend into the church, where the house can marry itself, together with its seemingly contradictory being of an American laid-back teacher with a taste for Continental European intellectualism.

To be continued later this evening; I plan to have a working draft by tomorrow’s tutorial (along with an A0 print of my plan so far).

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writing my presentation….

and i cant wait to get back to drawing!

Update with complete text sooooonnnn

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Presentation notes

Ok! I have a plan! A journey. Some stories. I think I need 2 to 3 tables on the day of the jury.
I will start with a blank- the table, and take you on a journey through my places. Each map will go on the table one at the time as I tell its story and no map gets chucked away. (Like anny’s drawing we build up this collection of maps that all relate -an atlas of some sort)
I conclude the presentation by revealing the map of the project. That summarises the journey and the main ideas to retain.
And then we discuss.
Draft text coming tomorrow (in the afternoon /evening) and then back to drawing.


Ps: the maps are still to be compiled in the book format previously shown, along with the stories written and research etc but i don’t know how realistic that is for next week.

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Presentation text


Built and the Unbuilt. Two opposing realities leave a big question mark on what happens in the third space – the space of transition. Or rather why do the two realities end up being so oppositional? There is no better project that attempts answering this question than a competition – a project that is pushing the boundaries of the Unbuilt with the promise to be built.

1983 was the year of the Hong Kong Peak competition attracting 1700 participants including Zaha Hadid’s winning entry. Tucked away on the mountain slope, the Peak leisure club acts as a threshold between the visionary and the real. Shattered, extruded, compressed and inclined – this was Zaha’s Hong Kong drawn through the lens of her project. By breaking away from the shackles of reality, she abstracts the city, transforming its state in order to situate her building. The conceptual and physical malleability empowers the architect and her architecture to return to the animalistic instincts of the lion and the chameleon, forcing her seamless vision of the city upon the viewer.

We flip the coin to see what happens on the other side. By materialising the project in its real form, the portal connecting the visionary and the real is broken. The peak goes back to its real physicality – a part of the mountainous rock formation no longer exuding the power of manipulating the world around it. In its journey from idea to form it has lost its connection to the context of the city, changing its state to become a rock.



The project interrogates the constructed reality of the space of transition through the scales of the mountain, the glass factory and the molecule. It embraces the split personality of the Unbuilt by stating that nothing can be described in one term. Malleability, transformation and state change, therefore become the key attributes for the conceptual and material ground of my project.

We start with a blank slate. Through a series of rotational iterations going from a point to line, to plane, to cube we finally arrive at the site – a mountainous landform – the result of the first sequence of state change from abstract to real. It is a familiar situation where we as architects go through a series of means of representation, moulding our ideas and translating them into form, going from lineform to landform to builtform.

Traditionally architectural profession has been dealing with the extensive properties of matter and space; properties that you can measure and subdivide, such as length, area and volume. The fluctuating nature of the project calls for a shift from extensive to intensive properties, describing speed, temperature and density among others. The landform is never fully built. It is in constant process of transformation by the external forces. “To study its form is to study change.”

This is, however, no ordinary landform. As we embark on our journey to its Peak, we encounter visual clues to its hybrid nature of acting as both the site and the building material. Carved into the rocky grounds of the mountain sits the glass factory, the ultimate laboratory of state change, a space where raw ingredients get mixed, moulded and transformed to become their translucent alter egos. The factory does not simply occupy a given site. Instead it constructs the site itself, by constantly carving and depositing raw materials around it.

We now enter the factory, a space of critical threshold where Built and the Unbuilt coexist. It is the space where ideas are translated to form and where coarse qualities of the rock are gradually replaced with the refractive qualities of glass. The factory becomes the living organism, the homage to the cycle of architectural transformation

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