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
Working on the models for the scenes I’ve metioned yesterday.
Some points on yesterday:
- I particularly liked the idea that the FACTory is granting the Screen a body : The Telescape is the screen given a body by surface.
- The galleries (the Wallace Colelction and Saatchi exhibit I plan to frame within my telescape surfaces as an introdicution to the film)
- MORE footage MORE clips appearing for shorter times – exploit the viewers positon as the one making asscoiation but keeping it short enough – 5 secs max each clip – to pevrent each micro narrative from taking over (thanks Nathan!)
- Finally, the “Screen Vatican” to be way MORE COW BELL – explode it out of a room, bigger crowds and surface as an increasingly dominant medium in the urban context.
Once upon a time we used to be entitled to our own stories but never our own facts – In truth we have always been entitled to both – facts are just as constructed as fictionsWe construct worlds to tell stories. Architecture acts as the medium for staging events as well as a spatial mnemonic atlas. This is manifest in the latin word aedicule, referring to a small building particularly a temple or shrine framing an event.
From Container to Surface – The flattening of Architecture
The building as an interior of the world is ever more prominent in the glass modules of the crystal palaces; crystalline prisms that commodify everything on display – form the most banal to the most spectacular products of industry – into consumable spectacle. The newsstand – appropriately edicola in in contemporary Italian – acts as a media shrine with it’s own atlas of global information adorning it’s surfaces. With the advent of photography and film of course we have the flattening of the theatre stage. The event becomes a surface.
In the continual reduction of container to surface spectacle becomes domestic. The collective experience of the moon landing finds the president and the oval office superimposed over the celestial object. Finally the interface now allows anyone to be spectator as well as actor and the surface world can be superimposed over everything and at any moment.
Hence, with the screen as a site, the architecture of an event uses footage as a design material.
The TELESCAPE becomes a new landscape of Architectural flattening – An inter spatial region where an event is constructed from a distance – the site of contemporary memory and knowledge, fact and fiction.
“This killed That” The printing press killed the Cathedral, says Frollo in the Hunchback of Notre Dame. What has the screen done? Or what are the architectures of a purely surface world?
Banal objects become as spectacular as everything else – the telescope eradicates scale, explodes time, footage is in excess and association or editing becomes the story-teller’s apparatus. Surface visually articulates narratives by aesthetic association – scale and time are lost in flatness and content becomes wholly governed by its context.
Essentially if recordings of the recording and re-contextualising of stories is only ever experienced as a surface the world becomes akin to a multifaceted diamond that you can never enter; An architecture with only and outside. Or perhaps where the inside and the outside have become indistinguishable.
How can the experience of a room be flattened? What is the best way to articulate the condition of surface?
The Oil Age
If the material of our age is petrolium then how could it’s use as a subject not only criticise a superficial world built on a finite resource but also discuss the nature of an absolute surface world today in architecture?
All about mediating between surfaces, scales and objects. I’m putting together the narration/script that goes with the intro as I story board more.
The current idea is that our faceted world is introduced after the “death” or transition from the surface of a drawing (at the moment farnsworth house can change not sure to what) and the entry into the surface of one single screen.
The faceted diamond of screens will never appear only as we transition from surface to surface we start seeing the appearance of more screens subtly and gradually. The big diamond of all screens will then appear as the faceted cosmos/globe of screens at the very end where all surfaces construct a ‘world’ of the event/things we were looking at but with a hollow interior since there is nothing beyond the surfaces themselves.
Also introducing a ‘character’ I’m calling her Pandora for now (after all I have a few boxes from my diamonds from Mulholland Drive to Houdini) her role is to be further explored for now she is reduced to a beautiful body that the camera man uses to flatten against the oil covered birds wings in the foreground and compose the sculpture of victory on the other end. (a sort of reverse Godard situation I was trying there from her eyes to camera to the objects being filmed aligned)