Welcome to the conceptual laboratory of Diploma 9 – the world in which students invent, manufacture and design their identities alongside their architectures. Unit Staff: Natasha Sandmeier, Manolis Stavrakakis
New sequence to connect from the desert to the physical room via the Rhino space. The Wipe feature might be out of control at the moment.. or, if it is used often, maybe it should be introduced earlier on in the film.
For the next presentation, I would like to use a little ipod mini to let you listen to my discussion with the construcion workers who were cutting stone infront of my window until 3 am, ironically while I was projecting myself into the quarry. Here the architecture student is caught between his speculative ideas of a distant site and the shrill realities of living in London. Over Easter I will fine tune it, introduce fades, remove chunks of my voice but this should be enough for now. Any suggestions?
In this collage I decided to keep the Carrara quarries as a location. After a bit of fiddling around I managed to set up the view of my rhino file and satellite bird’s eye view to resemble that of the aerial view used by Mies for his IIT Campus or Convention Hall. But rather than designing into the windy streets of the existing context, I went back to the technique of erasure. In hindsight this reminds me of my third year project in which I revealed the lost river Walbrook in the City of London. However that project let me work into the existing urban fabric by removing, demolishing and keeping buildings. This time I will not engage in a historical analysis of the site but it is the raised and lowered ground that I am interested in. I removed 1 km of ground from the Marina di Carrara to my quarry, starting at sea level and ending with a 400 m high wall, which seems to be the average height of NY scryscrapers.
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
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
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.
The yellow is my proposed barge-complex, a mirror of the real Arsenale.
My line of events:
Stage 1: Arriving; a new venue to the Biennale, suspiciously familiar.
Stage 2: Alluring; it is so fantastic, so promising, so seductive …
Stage 3: Exiting; … that we don’t realize we’ve left Venice behind.
Stage 4: Purging; the end of architects – the end of architecture.
Stage 5: Returning; what now?
Zooming out of the metafiction diagrams, I have been thinking on the issues of site and how the opposition of Hyper Real and Hyper Visionary can translate into it. What could be the site of opposition? This lead me to thinking of thresholds (threshold being the wiggly line in the metafiction diagram 3) and boundaries. How the space of a city is defined by these scars and thresholds. This space can be described as striated space. On the other hand we have the smooth space, a space that allows freedom of movement, yet the space that can be hard to navigate in.
I am not yet sure how these spaces could play a role in my project, but in terms of the site I am curious to see how the opposition or blending of the two can come together in a project.
“Duchamp chose commonplace objects as the raw material for his art because they did not have to be invented and, therefore, could be accepted by the viewer as devoid of artistic intent… Duchamp used objects to create noncompositions. His work was never meant to be admired within a traditional aesthetic context. Rather, his objects function as semaphores of information that change the spectator’s attitude toward the role of art in its environment, usually a gallery or a museum. Putting Duchamp’s uncrafted interventions in exhibition spaces that traditionally were the setting for viewing “crafted art” forced the audience to re-evaluate their thinking on every level. His work was a provocative discourse on the nature of meaning, one that simultaneously challenged questions and answers. As Duchamp himself described this research: “I have forced myself to contradict myself in order to avoid conforming to my own taste.”
Although other arts in this century were powerfully influenced by Duchamp’s message, architecture has been left virtually unaffected by the notion of art as principally a dialogue in the mind. Buildings are seen by their designers as exclusively physical intrusions in the landscape that are to be appreciated only for their formal content, their compositional and functional quality, and their evidence of rational thought processes. Until architects are able to see the product of their efforts as a collection and transmission of contextual information, an embodiment of discourse, and a distillation of psychological insight, the gulf between the profession and the public will remain.”
On Gordon Matta-Clark:
“Matta-Clark’s art seized upon the paradoxical relationship between the American dream of progress and the wilful destruction that accompanies it. Buildings are demolished for only one reason: to prepare for a more profitable replacement. Since a number of Matta-Clark’s manipulated buildings were destined to be removed, his projects became a kind of preservation by demolition.”