Author Archives: Nara Ha

See the Unseen

A factory is a place where  products are manufactured. Since objects are comes into every sectors of our lives so tangibly, we easily mistaken manufacturing process would be all works like an obvious equation.  However, I argue that there are unquantifiable factor, ones will, idea, ethics and belief, which actually makes a significant difference in the way it turns out.

Therefore, this factory is built with light metaphorically representing intangibility and immateriality and literally carving infinite space out in finite and mundane space. This factory manufactures the sublime in generic space where we are hopelessly used to.

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projecting table

IMG_1940instead of giving up live installation, I made this table to deliver the way it works and suggest the mood of entire project. Refining animations for the table now.


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working on..


1. 4 moving drawings

This is one of them-outdated version(others were too big to upload). It has taken amount of time to arrange it.. but I think these will be important pieces to conclude last chapter of the project. Still working on the rest of drawings.


It is a bit hard to explain here, but I will show it as rear-projection in a frame. I prepared two frames with different sizes(50x50cm, 21x21cm) and will build a table tomorrow and finish at same day I hope.

2. Text/Video

recording/editing during the weekend

3. Drawing(hand) – when I finished the list above.


+ White book(presentation book) – weekend job

I haven’t decided format/size/anything about white book yet but it will be book version of the project and have specific aesthetics.



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2 D9-DS-zion-ele1


Trying few combinations for drawings for elevation.

Zooming out plan(animation) is going already. I might upload couple wip shots.

I ordered 50x50cm square frame and fabrics to make a ‘projected’ drawing.


ps. Have fun 4th years!


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composing chapter 4


approx 1:30






After series of trial, ‘capture perceptional space’ will be drawn as the similar way of ‘power of 10′, but more geometrical way. Now my sketchbook became a story book with final chapter’s word of my thesis. It tells where the infinite space starts, why it uses existing structural elements and so on.

I didn’t put up a photo but another drawing that I’m composing is rendering perceptional space in mixed perspectives. Drawings consistently depicted ‘the moment’ where effect happens with a single perspective, ‘the glimpse’. But as a way to suggest the fact that it reflects the greater space, show same, or similar thing in a different perspective could be a simple but effective way I think.

Recording of effect will be done during next week or next weekend.


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Three vantage points


This is a comment from Thanos on Jury:

Astonishment can also only be momentary. Belief has to be habitual – has to become a way of life.

I think it is a key to link the project back to the heart of argument, as it has been stated in introduction. To push it forward, I will keep considering that as main question and challenge of project.



– Still tempted to spend effort producing ‘master-plan’ of perceptional space. I’m giving it one more go.

– (re)Formatting White book alongside to other production. It will be fun.



– At the moment, I’m mainly planning about ‘how to present’. I had a quick chat with Natasha about availability of AA cinema on the day. I will come to Admin office tomorrow to discuss about it. Installation will be very important and at the same time very challenging as a way to present. I’m gonna bring some concrete thoughts at tute to find a way.


Two more weeks to go!

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For Friday

Screen Shot 2015-05-25 at 7.49.00 PM

This will be setup for friday’s jury. It will be nice to go through presentation video tomorrow for final edit. Looking forward for Final Jury day!

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working on



Fixing Drawings. It can take forever to make it ‘real’ and surreal at the same time.

Constructing presentation video alongside to script(text).

You will see second chapter of video,wip of course, tomorrow.

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Game Plan

It was very helpful to go through presentation today. Orders of presentation was revised and clarified important points of thesis.

I booked a room, 32 FFF, twice this week for a short time to measure and plan for final jury day.

Started drawing plan view of the infinity..



plan of infinity – beginning from clash


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32 First Front Middle room – Vertical reaching


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Image to be materialized in 32 Rear Morwell room. wip


I will replace with draft version of photoshoped image in space.




Possible venues(generic space) with geometry apart from structural elements..


super restricted space


front chambers

Memorial Hall

with slight vault





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out to tangible world




I’ve entered into the stage where things are clear in mind yet it does not know how to express itself. I will try.


The perceptional space is where it is never fully understood by human’s perspective at once. By stitching up facets of moments of encounters, we can barely grasp the nature of it. And yet it is not an illusion; it is reality. It is a space where does not belong to any earthly rules, but it has contact with the world you exist. The perception in the space is infinite; bigger than the biggest, higher than the highest, brighter than the brightest.


Based on the concept of space above, ‘frame’ does a interesting role as medium between ‘drawn/projected’ space and real/substantial space. Infinite plan(as I aim to draw now) will begin on the paper will extend its line on the frame, and yet (maybe) in a distorted state. It breaks out the boundary of ‘fiction’ and flows out to detached reality. (it’s chess pieces between vapour and board)


Two weeks until final jury. This week is all about preparing ingredients(look of space, images to project, video footage, etc.) and next week will be about execution(projection, words, etc.)


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32 ground REAR MORWELL


it brings really strange confusion in full scale


‘drawing in space’


I’m inhabiting in 32 ground REAR MORWELL(if you can find..) this week expanding and enhancing space in full scale. Now I understand how it works and it works(!), so it is time to design beautiful space to create. I’m going home now to work on the design but it will be great if you can come down and visit the space to give any feedback.  I will be here tomorrow almost all day and maybe weekend as well?



ps. the reason why I need an absolute absence of natural light.. I can’t beat the real.


‘awkward moment’ – when actual sunlight does far better job than projection light..

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Do you like Yellow?

pantone-minion-yellow Pantone-Minion-Yellow

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make instruction..





I’m taking chance of updating TS book as an excuse to make general instruction, ‘how to create sublime’. I took a plan and section of the place that I’ve been dealing with and making assumption of vantage point, choreograph, projector installation.. To be honest I was a bit lost, but I think in anyways set of instruction will be helpful to deliver thinking process..


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geometric repetition can create sublime?

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pink for viewpoint

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red for ‘transition’

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1 month(added references)



I was sitting down and going through feedbacks since last term and realized now we’re entering into the last month to make it happen. I spent time planning out towards Final Table. Everything should happen at the same time : Thesis update, Design, Presentation(possibly installation), Documentation at the same time.

Among lists of things to do, I want to prioritize designing space of ‘the infinite’ first and steps of transformation of space.





James Turrell(inseparable)’s Backside of the Moon, 1966 – Transition/Experience

– you have to stay in the darkness about 5-8mins until your eyes are opened to see very subtle lightings in the room




Erasure of Horizon

Bridget’s Bardo, James Turrell, 2009



7 prints of Deep Sky, James Turrell, 1984 – Vantage Point/Perspectives



Utzon House, Jørn Utzon, 1952 – Thick wall/ physical transition


utzon house


Edge Summer House, React Architects, 2010 – Geometry / Scalelessness




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‘See the Unseen’ 



I’ve been working on constructing thesis over Easter. Although it always has been in my mind, I could not give attention to it properly during term time. Holiday was great opportunity to actually dedicate amount of time to shape it. There will be new bits and pieces in presentations, yet there will not be an installation for tomorrow Looking forward for tomorrow for tomorrow.

Screen Shot 2015-04-27 at 2.32.39 PM



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1:1 installation planning


possible venue


After I went to venue to present and calculate throw distance for projection, I noticed it has too much limitation to create the effect. I have to discuss with Natasha, but I would like to use graduate gallery corridor which we can take a quick walk through front door of lecture hall. (can we?) It has much nicer quality of space and better environments to create the effect.(I can hide projection from the view, and also enough depth of space to project.. etc)


quick size matching test

On the day and time that I’m presenting, the sky will be covered with cloudy following weather forecast.

Currently working on making footages to be projected.(50% done so far)


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preview arrangement



I picked specific drawings to print out for preview presentation out of every works that I’ve done so far. I divided what I want to say in table and wrote texts for presentation(as concise as possible). First chunk is ‘intro/argument’, second is ‘(optical) perception of space’, third is ‘expanding space’ and last will be ‘constructing space with light’.

I want to formatting simple booklets that I can flip over while I’m presenting and white box on the side to project most of tests that I’ve done in miniature scale..

And I felt need to revisit drawings of last tests at church with what I’ve learned from tests. I’m working on it, and we will see how it goes. I will update once I have image to export.



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back on track


‘how to deliver experience through drawing’ Drawing for Church of Light, Tadao Ando


‘delicacy of drawing’, Sectional perspective drawing for Church of Light



Since I’ve been freed from goal for submission, I spent time on re-directing bigger picture of the project and purpose of the project.

Light has been used as importance source, almost the only elements, to describe majesty and mystery of God. It gives familiar warmth to everyone and also supply powerful source of life in everyone lives. Light controls over the way people feel and act. Human eyes can catch even a glimpse of light in a second naturally. And that is the only material which this project is constructed from.

Through the project, I want the impact of the light to be emphasized as max in space which people can physically ‘enter’, ‘embraced’ and ‘experience’.


Questions that I asked myself.

– why communal experience?

– why projection light?

– fixed or mobile?


Topics that the project can bring up.

– interior vs exterior

– how to perceive space (space representing ‘image/feeling’)

– question on actual construction vs virtual construction


Considerations for output of project

– ‘How to present’

– ‘How to deliver(draw)’


I’m writing thesis again with these perspective and arranging preview table..


‘Why people are allured to majestic light?’, Rainbow Church by Tokujin Yoshioka

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1:1 Test

Quick test of ‘glowing door’ in a room

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model test




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TEST Model





This is test model with rear-projection. Fabric is very thin so it passes light through, but it is still dark enough for projection to be focused on the surface.

I will update with right projected image later on.

Good luck for everyone!

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TS update


This is how chapter 5 developed. It’s being printed now and gonna go to binding process.

Next step is jumping into tests..for web3for web32for web33for web34for web35for web36for web37for web38for web39 for web315for web310for web311for web312 for web313

for web314

for web316

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brief update




Most of things are all happening at the same time so I will just briefly update on what I’ve been clinging on.

1) applying calculation from optical ray tracing program as last post.

2) hemisphere dome mirror arrived. it will be used for real-size test during weekend.


3) updating all drawings in different views at the same time. Technical parts, prediction of size of projections and rendered images soon to be followed..




Every updates will be nicely dropped in TS spread pages as soon as they are nailed down.



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optical ray tracing calculation



Screen Shot 2015-03-04 at 9.53.46 PM


This program OpticalRayTracer allows user to calculate path of rays through lens/or mirror. It’s just what I need to predict what to put where to enlarge projection. Optical science..

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[edited]TS spread update



Few TS spread for now.(only for moment 1, option 1) I’m calculating image size by using concave and convex mirror and for me it seems very tricky to control variables. I will spend more time on it and upload how it went.


for web32 for web3 for web33




I paused TS calculations which I was stuck and spent some time to draw section. Now I’m setting up scene for moment 2 in section,plan. And technical study will be followed up. Not easy.



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(edited with better image)




I’m designing the moment of light that I want to create in church. The first will be application of light coming through edges of window before you enter the place of worship as preparation. I’ve drawn rendered version of installation(it might need to be updated yet) and I’m gonna draw construction drawing for TS spread from now on.




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dome strategy


Current usage


I’ve been writing what has been in my head in terms of project. It explains a lot about why I do what I do. Very rough yet, but it helps me to decide contents of installation.

I’m trying to jump in actual context to apply all i’ve researched and tested through TS. Plan below is Methodist Church at NJ which potentially I can install design with. Even if it would not happen in the timescale that we want, it is also nice small-middle size of church to study and design through. Still trying couple of rough configurations in space.

2 MirrorSys



To compensate short throw distance and projection angle, I researched some ways of combining reflection/projection/projection mapping at the same time. Reflection on convex mirror is how planetarium projects on surface of dome. It should be included as a page in TS book too.



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TS Spreads

TS spreads wrapping up latest tests, projection in daylight.

These will be last few spreads of chapter 4, tests in space.

I’m a bit doubtful about having full size installation tomorrow at room. But I think bringing white-cube and demonstrating it in a box will be necessary.

I think i will spend few more hours revising old-spreads and writing TS statements. And if I have time create few more spreads on filling up just one page about ‘psychophysics’, but let’s see how it goes.



for web32

for web33 for web34 for web35  for web36 for web37 for web38 for web39 for web310 for web311 for web312




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Test photos






Here is photos of test in 32 FFF.

Through test, I felt that I have to wrap up these tests without contents, and just should scale up and go straight into ‘project’.

From now to tomorrow’s tutorial, I will keep revising TS book.

I will update pages once I’m done.




(test 1 w/o editing)


(test 2 w/o editing)


(test 1 with colour edit)


(test 2 with colour edit)

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late Post(edited)



I’m sorry about late posting. Over the weekend I spent time on planning for future. Image below is isometric view of 32 FFF, where TS interim jury will happen.

By planning what kind of installation to be done, what had to be considered as important was choreograph of viewer and angle of viewpoint as a group. I can only make the moment when I almost predict and design those factors.


I will update couple more thoughts after I put those in TS pages.


TS-PMT-32 Room(drawing of 32FFF room and natural light direction)

TS-PMT-32 Room2(drawing of 32FFF with position of viewer and designated viewpoint for projection)

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I’m trying to figure out what to deliver through project still.

At the same time studying more about ‘value’ for quality of experience, lighting, acoustic, temperature, etc.

In terms of direction of project, I’ve been researching broadly about 1) history of church architectures, not so much about exterior, but more about interior formation, 2) Sublime(view of Edmund Burke). Also kept thinking about what I want to deliver, and how I want to deliver.

It is a slow going process, but good to jump between thinking and producing of TS book.



The numinous experience also has a personal quality, in that the person feels to be in communion with a wholly Other. The numinous experience can lead in different cases to belief in deities, the supernatural, the sacred, the holy and/or thetranscendent.(Wikipedia)

Quotation from C.S. Lewis, citing Rudolf Otto, described the numinous experience as follows:

Suppose you were told there was a tiger in the next room: you would know that you were in danger and would probably feel fear. But if you were told ‘There is a ghost in the next room’, and believed it, you would feel, indeed, what is often called fear, but of a different kind. It would not be based on the knowledge of danger, for no one is primarily afraid of what a ghost may do to him, but of the mere fact that it is a ghost. It is ‘uncanny’ rather than dangerous, and the special kind of fear it excites may be called Dread. With the Uncanny one has reached the fringes of the Numinous. Now suppose that you were told simply ‘There is a mighty spirit in the room’, and believed it. Your feelings would then be even less like the mere fear of danger: but the disturbance would be profound. You would feel wonder and a certain shrinking–a sense of inadequacy to cope with such a visitant of prostration before it–an emotion which might be expressed in Shakespeare’s words ‘Under it my genius is rebuked’. This feeling may be described as awe, and the object which excites it as the Numinous.[1]




[TS pages on projection/materials of screen]

for web3for web32






Spatial interpretation of Elements of Sublime from explanation of Edmund Burke(literal)

for web for web2

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Create the scene could work more naturally during the day. It is not very strong but merged into brightness quite naturally.


TS-PM-Casted Light

But I feel like direction of test keep expanding horizontally without clear direction showing, so from now I should pause testing (for today) and get direction with research and decisions


Simple test with moving surface in consideration of design of cube, or application in wider space. Design of model, cube, or first attempt, will be on the table tomorrow to discuss.



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I’ve been filling TS pages with more information through annotations and stuff. Not much of new ideas or stuff rather post-rationalizing processes, but I think for me it is a time to focus on nailing down project on pages.

Drawings and image below shows second test’s setup-and designated spatial effect.


1. test shot




2. Setupin my roomTS-B1-window


3. What you see (perceived space)TS-B1-window2

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creating tactics(edited)


Post jury process has been focused on being a master of light.

From natural light and architecture to projection mapping methods, try to map out the harmony and play of light/shadow/space.

I’m studying what makes our eyes/brain perceive spatial experiences through references. I’m gonna do quick test projection when the sun goes down in my room. If I make it work, I will post it right away. And also drawing some simple description from new references and writing basic tactics that I can use. It will be all nicely sit on pages in Technical Study book (and white book) and also at the same time shape out project further.

I’m posting couple of tasters of references on blog in relation to my direction of project for now.


1. Drawing in the air

(tool : beam laser/reflection)

Light Installation by James Nizam




Laser Forests by Marshmallow Laser Feast



2. Carving/extruding space out

(tool : projector/surface)


Box by Bot & Dolly


3. Casting shadow

(tool : natural light/object)


Photography by Serge Najjar

REF-TS-serge najjar-serjios-03-tt-width-612-height-612-crop-1-bgcolor-000000-except_gif-1




Photo of today’s test


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I brought a prism to Berlin.

(having little fun during breaktime)

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This is what I’m doing right now.. testing projection on model(room), making correspondent drawing of that. Projecting light to create deeper spatial experience.(Feeling like there is wider space behind the wall.) It is sad that It’s hard to be captured as video because of interference of light from projection and camera.

Does it work alright?



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A impactful second









REF-James Turrell.163123304

James Turrell’s






belief/ light

Very subtle yet fundamental argument can be risen from the series of drawings on installation of light. If there is the least way in which I want to put this argument will be ‘hallucination/reality’. Rather I would like to develop this as the moment of belief. Person simply cannot live without religion; here, what I mean by religion is ‘belief’ in something. Although one might say he does not believe in anything, itself is already an another form of belief. And that is factor makes you to make numerous decisions in daily lives, whether willingly or not, based on what you believe.  In spite of its explodable impact, it might be a matter of a powerful second of experience to bring one the moment of acknowledgement. I do not say considerately written words or intelligent speech cannot change one’s life, however, spatial experience of encounter can approach to one’s heart impressively. That’s what I want to explore further with various studies through the project.


what you perceive                                       construction/production

TS-james-turrell2-2 TS-james-turrell2






(few images for now, more to come for tomorrow.)

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Light(installation) / Light(expanding reflection)












Keep focusing on the materiality of light – which can projected on top of everywhere with its characteristic.



REF-New National Gallery

New National Gallery by Mies van der Rohe, Berlin

(interesting image showing cloud of sky dropping over entire glass facade.)



REF-Jenny holzer-neue-ng_jh-2

Jenny Holzer’s Installation at New National Gallery in Berlin

(infinite reflected projection of light of her word)





Reflected Ceiling Plan of NNG(new National Gallery) – Not in scale (Yet)TS-Jenny-Holzer-1


Reflected Ceiling Plan of NNG with (Material) Light InstallationTS-Jenny-Holzer-2


Reflected Ceiling Plan of NNG showing maximum expansion of light through reflection



Indication of pattern of reflection.

(I guess the fact needs to be explained that projection of light varies depending on viewer’s perception.. Tricky to explain)TS-Jenny-Holzer-4


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How does it work





Started making series of explanatory drawings for how light installation works.


Re-writing manifesto in light of identity(immateriality) and product(materiality) as below. Still partial but here is so far;


Question for all : What forms your identity?

In abundant flow of products, we play both roles as producer and consumer at the same time. But one thing we are often missing is that whatever we produce or we purchase, product itself will never be our identity, whether it is small or large.

Rather how we do in what we do could makes us to consider distinctive from others. Immaterial idea, or will, from heart drives us to decide the way we live, the way we exist on the earth.

Therefore product, which we create in whatever shape, is a result of our identity, even though it will not be seen to any visible eyes.

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TS begins

I began chapter of Construction with Light for Technical Study with GCSE level Science. I started materialising light what I can do with light to construct a building or any form of object.  Polishing manifesto is another issue.. I will bring revised version tomorrow.


TS Book export TS Book export5 TS Book export4 TS Book export3 TS Book export2



TS Book export11TS Book export10TS Book export7

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Happy new year


Happy new year to everyone.

I’m dropping a line about what I’ve been hanging during winter quickly. (I dont have computer with me now. I will replace post with some spreads as soon as I get access to my file.)

It was more important for me to be clear about what I want to do and why I want to do. Therefore I tried to weave thoughts and attempts under one umbrella. Even aim for TS submission is part of further research alongside to project development which eventually will go into White book. But I kind of mapped out how I will spend the rest of year. Many writings, much thoughts, some researches but no drawings.


I want to have discussions and feedback about the vision and argument that ive been revising. I will make sure to have all printed. I’m looking forward to having a very productive day tomorrow.





(Revised)Table of Contents:

TS Book export2

Research on NUUMI

TS Book export7 TS Book export8 TS Book export9

Research on sacred cities :

TS Book export11TS Book export12

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Channel 4 Idents for Cat

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WIP drawing


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TS table of contents




I mapped out TS plans with table of contents. I think it will inevitably be consist of two parts, one is ‘building the ark’, but through the glass of ‘meaning’ behind contents, structure, materials in close relation to the given word from God, and also as elements saved for the new beginning. (The ark plays a role as a temporary city itself.) And it will cover mainly about ‘how would you build’ ‘how would you inhabit’ ‘how would you maintain’ rather that ‘what was actual ark like’. Second part will be forming new cities from the ark. It will show studies about how to form cities with different skills, elements, materials based on two different identities. In the second part, it should deal with couple of good references of cities built with purposes. (could be Auroville, Jerusalem, El Escorial.. to be updated)

TS Book

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Updated Plan of Ark

1. Plan of the Ark(wip)

accommodating incasement based on categories given from the instruction, Bible.




2.Section of the Ark(wip)

inhabiting three decks of Ark into vertical arrangement




– showing how two drawings related to each others.

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Revised Plan of Incasements


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Plan of Incasement








Started to draw a plan (1:100) of Ark. Image above is just 2/5 of whole drawing.. I think I’m more interested in thinking and figuring out through following instructions. Started to plan out kinds of animals in the ark based on dimensions and weight of those first, and movements for feeding and taking care of animals later. But I want to see this drawing as starting points of ‘saved elements’ for the city after flood. I’m just blogging this first draft, and I will try to update before tomorrow’s tutorial. Looking forward for productive conversation for tomorrow.

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Storybook of Noah’s Ark






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Screen Shot 2014-11-24 at 6.32.56 PM Screen Shot 2014-11-24 at 6.33.21 PM



So I’m using the White Book as a format to fill gaps between inspirations to idea. I extracted verses from Genesis showing relationship between Instruction from God, Noah’s obedience and execution, the Ark as a ‘product’ and the flood in the context of ‘usage’ or ‘performing’.  I will spend the rest of the day to think more and start drawing or building the Ark as a starting point of something..

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Table of Contents

The White Book


I guess its the first attempt to bind all stories that I’ve been going through.

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Embodiment of Idea



“None of our men are ‘experts.’ We have most unfortunately found it necessary to get rid of a man as soon as he thinks himself an expert because no one ever considers himself expert if he really knows his job. A man who knows a job sees so much more to be done than he has done, that he is always pressing forward and never gives up an instant of thought to how good and how efficient he is. Thinking always ahead, thinking always of trying to do more, brings a state of mind in which nothing is impossible. The moment one gets into the ‘expert’ state of mind a great number of things become impossible.” – Henry Ford, My Life and Work (New York: Doubleday, Page, & Company, 1992)


With a manual of factory, the space of production, hundreds of workers or a craftsman can produce exactly what they were given to do. They are ones who actually touch and form the outcome of product, and yet authority of it is not on them. What they are shaping can be easily overlooked as just assembling ‘a product’, yet in fact, it is process of making a physical embodiment of the idea transposed as the given instruction.



Part 1. Reproduction of identity -> Sameness


We as, potentially, architect easily incline to admire and want to pursue steps of few role models, known as star-architects, who we have been impressed by throughout years and years of studies. Many times with respect and sometimes with hatred. However, architectural graduates who dare to take step on path to become their stars, the very first task to be given to them will be more or less of ‘follow to the instruction’. Whatever will be produced by them, methods, forms or strategy, based on existing manual, (it is not tangible, but you know what I am talking about), in many cases visual identifiable but not necessarily. What you produce would be replication of given instruction with a tiny room of creativity depending on minor frictional issues. But it will never be your identity.

If some of them want to say ‘I will create my own identity by myself so that I do not need to reproduce under someone else’s identity.’, I would say also it would not make the situation much different. Once you set up your identity with eccentric design, new theory or whatever means and approved by world that you are identifiable from others, then your lifelong journey of reproducing your identity to become identifiable from others begins.

If ‘identity’ means something that makes somebody, or it, notifiable from others, once he or she think himself or herself set up his or her own ‘identity’, his or her true identity as a being, will immediately vanishes under shadow of the ‘produced identity’. But if one decides to follow the instruction intentionally, the story can be heard differently. Marcel Duchamp, during a span when he stopped making art for 25 years, he chose to live with an identity of chess-player, which he was in love for his life, and he put himself under his manual to reproduce Boîte, a small box containing his identity as an artist, endlessly and diligently. And with no doubt, he was freed from making any new work to keep claiming his persona as an artist by submitting himself under the manual.

I see this as exit-less loop of sameness. If your identity becomes something that you painfully and rigorously try to form it just to be differentiated from others, whether it is shape, theory, strategy or whatever comparable, ironically ‘creativity’ will be no more than factory of sameness of ‘creativeness’. As long as the mater of finding identity comes from competition or comparability, it will not make you identifiable from else. Screen Shot 2014-11-17 at 5.36.27 PM




Part 2.  Manual -> the Idea

Untitled from Squares with a Different Line Direction in Each Half Square

Untitled from Squares with a Different Line Direction in Each Half Square, Sol LeWitt. Instruction as the title.


“The idea becomes a machine that makes the art.” – Paragraphs on Conceptual Art, Sol LeWitt


Sol LeWitt, one of most known conceptual artist who used written instruction to produce art, knew that whatever results come out from draftsman, people who execute his instructions, as long as they followed manuals, those carry his ‘idea’ which he wanted to produce as ‘product’. What is important for him was neither his own ‘identity’ nor ‘authority’ but ‘the idea’ carried over the production of ‘product’.


“Ideas cannot be owned. They belong to whomever understands them.” – Sol LeWitt



I’ve been writing thesis as development from ReCon’s towards my own brief. Part 3 will talk about how buildings had dedicated to embody the idea as buildings, many times religious and sometimes methods to reproduce absolute beauty, such as St. Peter’s Basilica, La Rotonda, or Second Jewish Temple. And I will lay more direct stone to project in Part 4 and it will be about ‘how I want to define my identity’ and ‘what idea that I want to embody’. I need a break so just post former part 2. I wish to get clear idea about method of producing ‘the idea’. I will update this post as I move on to Part 3 and possibly Part 4.

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Valise opened


IMG_9219     IMG_0565

I took some shot of Valise made for experiences of receiver in my room. I didn’t exactly informed who made this box for what and neither clear grasp about each contents inside. However, I could smell, touch, read, play, move around with it. I didn’t understand this fully, yet I could sense it.


It opened with mixed scents and had some fabric maps and prohibited documents.



There was a circular mirror locked with bolt and nut. I could easily spin it and take it apart. It has few discs inside and a black board with blind slips to look through.



There was a box in a box with a clear small box. Triangular shaped device has a small peephole at the end. After I played with it for a while, I realised it is a device to look films through the light.


I could unfold fabric map and there was metal strip behind it. With folding two pages into one, I could feel the route of map by touching it’s embossing with finger tips.




I’m thinking about how to move on from ReCon box. I havent got a clear idea yet, but I have ambiguous interest about manual. I will spend some more time to make it clearer to direct tomorrow’s conversation. Goodnight.

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Kit for experiences

Experiments for setting up kit for experiences are going on alongside building up box.Things are coming up at the same time. The thing I’m focusing on now is assembling ‘experiencing kit’.


1. Support

(it has more impression than soft mockup version)

(components to be assembled)


wooden structure without rooms at the moent


2. Sense of Light

I’m making a small tool to amplify impact of light.


‘What do you see inside?’

It has a peephole to look inside closely and foldable. At the end of it, it project light through small slide film like images.


Black pocket with a peephole


3. Memory(Scent)

My small bottles have arrived at school today!


4. Fragments(touch)


I have to iron it tonight. I’m assembling touchable fabric map. It is hard to explain it with text since it is all about you experiencing as a receiver.


5. Motion

Still keep failing to animate phenakistoscope machine.. I think i should paused it for now and begin again during weekend.


6. The Finite

Documents had been scaled down in a nice format.


I will add more images as it gets done.

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Experience the box

I’ve been spending time to focus on revising thesis, finishing up list of experiences and testing miniaturising stuff. Most of stuff will be selection of readymade. I will bring it with me tomorrow.


Disc didn’t work because it was to small to look through.

(Claiming identity as producer)

As a maker, whether you are an artist, architect, writer, carpenter, he or she can create his or her persona as many as you want, but in the end his or her identity as a maker will only be valid and valued when users experience, or appreciate his or her invention, or production. A maker rigorously produces, creates or builds with hope that it will deliver his, or her theory, message and will throughout generations, across boundaries.

Therefore products immediately become artefacts to trace back who he or she was or rather what he or she tried hard to deliver. I think that is my definition of identity when others identify you as unique.

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Making boîte


sketches for how box will work.


1:1 soft mockup for boîte 35.5(w)x37.0(h)x8.0(d)

I think size of 35.5(w)x37.0(h)x8.0(d) cm is not too big and not too small and also quite overwhelming when you open on the table.

Due to nature of Valise, miniaturisation, containment, it invites audience, or opener, or finder to level of intimacy immediately. You will to look it closely, unfold it carefully, smell strange scent. In the end, it gives you deeper understanding of a person, or figure.

(Little primitive phenakistoscope machine will be in my box for reproduction of my films.)




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Set out for Valise



Valise does not necessarily carry same concept as time capsule, in regards of thinking behind the selections and purposes of being, but there are similarity to be considered. You would carefully make choice of contents (except when it’s unintentional), and finder would never completely understand any story behind. With higher chance, the one who will find and open(unexpectedly) might say, ‘what were they thinking?’. But it is precious just as it is since it survived through amount of time and get lively again in totally different context.


Here are three different examples of Time Capsules ;

1. Time Capsule for AC 7,000(Public/Representative)


Westinghouse Time Capsules II created for the 1964-1965 New York World’s Fair

2. Time Capsule from dead soldier containing his possessions(Private/Unintended)


‘Time capsule’ from soldier who died on the Somme

3. 610 Time Capsules, or passel boxes(Public/Intentional)


Andy Warhol’s Time Capsule 44

Andy Warhol’s Time Capsule 21 (Digital Archive)




I’m setting out several options for arrangements that users can choose based on their choice of identity. Aim is how to display their collections depending on different purposes. It leads to interesting aspect of ‘accommodating identity’ in given space.



Arrangement opt 1. Duchamp’s Valise


Arrangement Opt 2: Archaeologist, Architect


Arrangement opt 3: Photographer


Arrangement Opt 4 : Ordinary


Selecting 69 objects is not easy.

Figuring out metal joints for the Valise. Building up suitcase is next step for tomorrow.




Manual for DIY Valise could be very obsolete soon.

DIY is in decline because today’s men are too soft



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Curating Your Identity




miniaturised item no.1 for my valise. photo of original, miniature of item. scale 1:1.87


After last tutorial, I asked to myself. : Why would you, or people want to produce Duchamp’s Valise by themselves when you can access much more detailed photos and descriptions by library, online museum etc. In this era of abundance, manual which people might want is not the one for owning originality of masterpiece but could be manual for reproducing their own identity. As we discussed about ‘selfie’ syndrome shortly, people desire to leave their identity as the way they want to be looked from others. Then the manual for ‘how to make your own valise’ would make them to select 69 items of their ‘identity’ as to be remembered. As an artist? an architect? a student? a housewife? a business man? a traveller? a foreigner? a anonymous? a happy child?

You might ask back, then, why does it need to be in Valise? I cannot give you clear answer to that, but in reflection of what I am and where I am, person who voluntarily give up stability of place to leave, portability and expediency are friends to accompany with. To leave whenever I’m asked, or I want, I have to be ready to pack immediately and fly to other places. If you’re given one hour to pack and leave, what would you put in the valise? Your drawings? notes? photos? utilities? works? What do you want to keep and how do you want to be remembered?


manual for valise in work. showing sizes and instructions to follow to make your own.

But maybe the question underneath is this. Is curation of yourself in a Valise the way how people or history will remember you? Probably not. However as soon as you begin the process for reproduction, suddenly it will put yourself as an object who is looking your identity from detached outside. In the end you might not want to live as that identity any more, as Duchamp stopped living as an artist but a chess player and worker for his own reproduction, Boites. The only thing that will carry you on is rigour for the process that you have not the identity that you created.


I’m making a Manual for DIY Valise for the ReCon and reproducing myself bit by bit. Still lot’s of questions and glimpse of thinkings are going on, but I find that confusions are pretty helpful.

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T in a Valise

1 T in a Valise


There are two products. One is Model T, the result of assemblage of five thousands parts in 83 minutes by 50,000 workers. Another is Boite-en-Valise, the result of assemblage of 69 pre-made miniatures by one, or few men. One becomes pre-designed identity as soon as the final part is fixed perfectly as the product, while the other gives hint of the author’s identity around loosely fitted 69 parts.

What I’m and will be doing for another week would be setting up framework which blends two distinguished products, or output into each other’s ‘assembly line’. Now I’m making a lists of speculations between two different products : scale, space of manufacturing, attitudes, goals, supply, distribution etc. Once I summarise those catalogues, I will carry on juxtaposition of two by taming them down in same neutral manner of style of writing, or format, way of drawings. But let me test it first.

Eventually, my hunch begins from this. : What if Model T could be reproduced as miniature collection of  5,000 parts throughout 6 years by a man at american diner? What if Duchamp mass-produced his exhibitions of 69 masterpieces as ‘readymade’ on moving assembly line within a day?

I assume by jumping and testing within the framework it would eventually reveal interesting relationship arousing among three points, space, process of manufacturing and product, which may point back towards me, or us, to throw questions as our identity in current context.

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Duchamp’s Factory




Duchamp in his studio on 14th Street, New York (detail from a photomontage by Kiesler, Poème d’espace dédié à H (ieronymus) Duc’hamp, published in View, Series V, n° 1, March 1945)
Image source posted: 09/04/08

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