Tag Archives: sketches

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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Mnemosyne Atlas – Recon, In the Making

Modeling the Olivetti Underwood Factory Column

Modeling the Olivetti Underwood Factory Column

Testing different spatial arrangements of my Atlas of Images using Captions

Testing different spatial arrangements of my Atlas of Images using Captions

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Mnemosyne Atlas – Recon Step 1

TUTORIAL TIME:

Another iteration of Panel C of Aby Warburg’s Mnemosyne Atlas at the scale of its photographic reproduction (ca. 18 x 24 cm). What if you’d insert a circle? Too abstract! A banana? Well, it’s got enough particularities to fit in.

Rather than a serious proposal, the potential insertion of a banana, as a generic object, into the pathos-laden historiography, reveals the absurdity of responding to Warburg’s subjective approach to mapping the past through a constellation of images, ranging from Antiquity to the 1920s.

Mnemosyne Atlas, Panel C goes B!

Mnemosyne Atlas, Panel C goes B!

REDEFINING THE QUESTION:

That stated, I will still attempt to challenge the notion of orientation both within physcial and intellectual space, multiple interconnected worlds. If I am to provide a reconfigured index outside the Warburg Institute and within a global pool of resources, I should rethink how to montage such a network. Instead of imposing my subjective logic onto Aby Warburg’s sense of reasoning within the existing set of images of the Mnemosyne Atlas, I consider making use of a form of collective judgement as a means to ascribe objective value to contextual items.

The question redefines itself to: “How do I, as an architect, use the world around me as an objectifying filter to construct, communicate and guide through a temporal and spatial constellation of knowledge which challenges Aby Warburg’s emotional logic, medium and format?”

 

Please feel free to comment!

 

BACKGROUND INFORMATION:

“Together with panels A and C, panel B provides an introductory ‘grammar’ or ‘syntax’ with which to read the subsequent 60 panels.”
Title: “Various levels of transferring the cosmic system to humanity. Harmonic correspondence. Later reduction of the harmony to abstract geometry instead of to cosmically conditional [geometry] (Leonardo).”

(source: http://warburg.library.cornell.edu/panel/c)

 

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