Sunday, February 14, 2010
just a quick thought. assuming many cities have fallen into desolation, they are not able to shift into the gear which have driven modern technology and the modern notion of travel. So what happens, they become dilapidated and discarded by human engagement. They are lucky enough to be notice at the speed of modern travel which accelerates by but inquire more time if expected to pierce the consciousness. They are not able to accommodate for the changes which occurs around them.
...
The insides of the architecture may support its function if the exterior is able to draw in the crowd.
Maybe a modern coating.... something poetically condensing, abstracting, and bringing acknowledgment needed to engage the traveler.
Saturday, January 30, 2010
Within the voids of place, one is able to differentiate place by the absence of understood place. One acknowledges and communicates back to place.... participation on the level of directed perception is thus elicited but not forced. One is given the opportunity to participate and within the intent to participate with place, one is able to establish a sense of place.
The equation for communication
I had an idea for the next film, perhaps you may have a thought on it.
For the next film (concept), I decided to be more precise and construct the storyboard to figure and organize my thoughts which I had not done before. I felt you were right that the site is necessary to identify as part of my process which led to the bigger idea. So from that idea, I thought I may utilize the environment of the site (the land mass and bridge between tampa and st. petersburg)\ to represent the concept proposal. So I am substituting all these components of communication which includes the line of communication and the person/object which those lines are communicated between and substituting them with the existing context of the site. The land mass of Tampa and St. Petersburg will act as the communicator and the bridge is the line of communication, communicating movement across. so where the first movie is about the physical lines of communication between people (telephone poles and lines), the second movie will be about the lines of communication between place.
So as the land mass represent the communicator and the bridge, the communication, opportunity for interception by the third person who passes through is then made possible within the betweenness of place. Interception/participation of the communication occurs when one is able to realize that they are not here or there but in between and in which being between allows one to reflect from afar. So now the various moments within the experience of place is collectively generated to be a single iconic image... perhaps this is in turn a communication on the part of the perceiver back into place.
I guess this is still all obtuse but i think if I use the equation of the communicator and the resulting communication represented in the experience of the site then this idea of being able to intercept and participate by acknowledging can lend to a system for designing a final proposal.
Tuesday, January 5, 2010
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Sunday, January 3, 2010
Damn this is great.
http://www.rottentomatoes.com/dor/objects/14322233/1217219-inception/videos/inception_trlr_123009.html
Saturday, January 2, 2010
Notes While in Chicago
...point in which communication is either disparsed or concentrating into a collective whole through an attempt to reach the other side.
...advertising activities, experiences, which rises above the perceived image of sameness.
...advertising activities, experiences, which rises above the perceived image of sameness.
I have been imagining these architectural pieces not originating from the earth but plugged in and lightly touching the earth; concentrating as the building moves up in height. They reflect something that cannot be built from current condition but on top of it. The problem of passing through is unchangeable without drastic measures, without a violent architecture to act against the pressure of movement. Their structures touches the ground where it looks to funnel in communication, while the peak acts to redirect and send our line of communication over and across. The physical manifestation of communication is made to be acknowledged and accessible to the third party who often passes through. Upon acknowledgment, the third party may enter into dialogue, communicating and thus participating to his city, the city that have been broken into halves by accelerated movement.
Friday, January 1, 2010
Concept Perspective
heres a quick rendering i did a little time ago ... it shows the two telephone exchange towers .. each of its legs are tapered inward as a means of carrying inward the various lines of communication; to reroute and communicate over the highway.
of course there will be more but right now, it just represents the bare concept.
Wednesday, December 30, 2009
I have been talking about this folding and condensing of site context to be brought into our line of movement to bring an awareness of place. After spending some time with the film, I began to take notice of telephone lines as maybe a physical embodiment of communication that occasionally crosses over our line of movement. These telephone lines represented to me the physical form that communication must take in order to connect two parties. I began to think of cities and place constantly communicating and connecting by various means but to which modern travel have obscured by hiding these moments of communication from our line of sight. So the propose architectural implication will allow these lines of communication to solidify, become physical and visible to the perceiver in his/her mode of passing through. If the architecture may condense these lines of communication, allowing it to reach a hierarchical point before crossing our line of movement, the driver who must cross through, may be able to visually identify these points signifying communications of cities. So as an allegorical approach, I was considering designing a telephone exchange building (physical building used to house inside plant equipment which make telephone calls "work" in the sense of making connections) which can be used to concentrate, condense, and re-route various lines of communication in cities and carry these communication over and against the pressure of movement.
For example, consider a person passing through two other people speaking on a phone attach by telephone lines. The third person passing through is able to see this physical manifestation of communication and thus may enter into dialogue, participating with the conversation. Modern technology however have rendered these lines of communication invisible to the third person. Now consider two people with cell phones and a third person passing through, him not being able to physically see this line of communication attaching the two people causes him to pass through, never grasping and participating and thus not allowing him to attain this sense of place/moment. So for one to achieve a better sense of place, he must be able to visually see his cities and place communicate on a physical level, through his automobile. I plan to do this by designing two separate telephone exchange towers/offices on opposite sides of an interstate... each telephone exchange offices will be used to gather and concentrate lines of communication attained from its side of the city in order to be brought over the pressure of movement.
I don't know if any of that made any sense...
For example, consider a person passing through two other people speaking on a phone attach by telephone lines. The third person passing through is able to see this physical manifestation of communication and thus may enter into dialogue, participating with the conversation. Modern technology however have rendered these lines of communication invisible to the third person. Now consider two people with cell phones and a third person passing through, him not being able to physically see this line of communication attaching the two people causes him to pass through, never grasping and participating and thus not allowing him to attain this sense of place/moment. So for one to achieve a better sense of place, he must be able to visually see his cities and place communicate on a physical level, through his automobile. I plan to do this by designing two separate telephone exchange towers/offices on opposite sides of an interstate... each telephone exchange offices will be used to gather and concentrate lines of communication attained from its side of the city in order to be brought over the pressure of movement.
I don't know if any of that made any sense...
Telephone Exchange Building
In the field of telecommunications, a telephone exchange or telephone switch is a system of electronic components that connects telephone calls. A central office is the physical building used to house inside plant equipment including telephone switches, which make telephone calls "work" in the sense of making connections and relaying the speech information.
The term exchange can also be used to refer to an area served by a particular switch (typically known as a wire center in the US telecommunications industry). It is sometimes confused with other concepts of telephone geography, such as NPA or area code. More narrowly, in some areas it can refer to the first three digits of the local number. In the three-digit sense of the word, other obsolete Bell System terms include office code and NXX. In the United States, the word exchange can also have the legal meaning of a local access and transport area under the Modification of Final Judgment (MFJ).
Architectural Implication
I will propose a communication tower/building which will condense and concentrate the many lines of communication to be stretched across the pressures of movement.... allowing communication to return to primitive means of crossing over to become physical, visible to the traveling perceiver in that he will be able to see, associate, and enter into dialogue.
it is a means of participation place against the act of movement.
it is a means of participation place against the act of movement.
Saturday, December 26, 2009
Invisible Communication
Product of modern travel have rendered communication invisible. Imagine two cities as people conversing to one another with phones connected by lines. We understand one person to be conversating with another because the line of communication is made visible, tangible to the eyes. If a third person was to transgress through unaware at first of the communication occuring between the initial parties, the third person may then enter into conversation upon awareness of communication which have taken physical form; the person may then participate and thus establish his presence within the larger scope of dialogue being exchanged. Participation is thus elicited with the physical embodiment of communication. If one were to replace the idea of modern travel with modern communication, such as the cell phone, the scenerio may then expose the idea of invisible communication. The communication that once vibrated back and forth between a physical line is now tranfsormed by the modern machine into frequencies carried through radio waves. If we return back to the scenario of two people conversating back and forth and replace there tool of communication with the cell phone, the physical form of communication is then made invisible to the eye. As such communication is made invisible to the eye, the third person which travels through is not made known of such conversation and is thus not allowed to be made aware of the opportunity to participate and enter into dialogue.
Now if we replace the scenerio of two people as cities and place seperated by the pressures of movement, onto which carries the third person, we can now understand why the third person does not enter into dialogue, as he is not aware of the present communication that is occuring.
Now if we replace the scenerio of two people as cities and place seperated by the pressures of movement, onto which carries the third person, we can now understand why the third person does not enter into dialogue, as he is not aware of the present communication that is occuring.
Thursday, December 3, 2009
New title?
Communicating Architecture or Communication Architecture. I don't know what the difference is...
I have realized that the problem I am speaking of is simply this lack of communication on the frequently traveled road.
I have realized that the problem I am speaking of is simply this lack of communication on the frequently traveled road.
Wednesday, November 11, 2009
Animate Form by: Greg Lynn
Animate Form by: Greg Lynn
(1) Unfolding of an internal system
(2) Infolding of contextual information fields
"The context of design becomes an active abstract space that directs from within a current of forces that can be stored as information in the shape of the form."
Such forces may include environmental conditions (wind and sun), contextual phenomena (pedestrian and vehicular movement), urban vistas, configuration, patterns and intensities of use... etc...
"... above all, a space for mobility, a container in which movement was prefigured."Ignasi de Sola Morales
ARCHITECTURE OF MOTION, not architecture of movement. Preconditions of motiont to trigger the formal. formal is prioritized over space.
(1) Unfolding of an internal system
(2) Infolding of contextual information fields
"The context of design becomes an active abstract space that directs from within a current of forces that can be stored as information in the shape of the form."
Such forces may include environmental conditions (wind and sun), contextual phenomena (pedestrian and vehicular movement), urban vistas, configuration, patterns and intensities of use... etc...
"... above all, a space for mobility, a container in which movement was prefigured."Ignasi de Sola Morales
ARCHITECTURE OF MOTION, not architecture of movement. Preconditions of motiont to trigger the formal. formal is prioritized over space.
Thursday, November 5, 2009
Quick Thoughts 2
These forces means to act on the traveler but with complete disregard, the place leaves no impact on the traveler. And because they have no where else to go, these forces, building up, gathering tension with no means to subside, causes strain on the bridge. The bridge is always in tension, as it strings together two land masses.
Quick Thoughts.
So once I have these lines drawn on a model, i am looking at the natural and the artificial lines, what they mean. I think of internal and external forces, acting upon one another, they have no where to go, no means of transitioning. so they diminish. Mode of travel, lets us forget them. The architecture must counter the lost of place, by understanding these forces and concentrating them into a point of knowing. This is where things pivot, centers, align. This is where the traveling remembers the land he travels on.
Tuesday, November 3, 2009
Sunday, November 1, 2009
One Place After Another by: Miwon Kwon
One Place After Another: Site Specific Art and Locational Identity
by: Miwon Kwon
To be "specific" to such a site, in turn, is to decode and/or recode the institutional conventions so as to expose their hidden operations- to reveal the ways in which institutions mold art's meaning to modulate its cultural and economic value; to undercut the fallacy of art's and its institutions' autonomy by making apparent their relationship to the broader socioeconomic and political procecsses of the day. Again, in Buren's somewhat militant words from 1970:
Art, whatever else it may be, is exclusively political. What is called for is the analysis of formal and cultural limits (and not one or the other) within which art exists and struggles. These limits are many and of different intensities. Although the prevailing ideology and the associated artists try in every way to camouflage them, and although it is too early- the conditions are not met- to blow them up, the time has come to unviel them.
pg14
by: Miwon Kwon
To be "specific" to such a site, in turn, is to decode and/or recode the institutional conventions so as to expose their hidden operations- to reveal the ways in which institutions mold art's meaning to modulate its cultural and economic value; to undercut the fallacy of art's and its institutions' autonomy by making apparent their relationship to the broader socioeconomic and political procecsses of the day. Again, in Buren's somewhat militant words from 1970:
Art, whatever else it may be, is exclusively political. What is called for is the analysis of formal and cultural limits (and not one or the other) within which art exists and struggles. These limits are many and of different intensities. Although the prevailing ideology and the associated artists try in every way to camouflage them, and although it is too early- the conditions are not met- to blow them up, the time has come to unviel them.
pg14
The Mutuality of Movement by: Doreen Massey
Serpentine Gallery Pavilion 2007
Olafur Eliasson and Kjetil Thorsen
The Mutuality of Movement
by: Doreen Massey
"What is interesting is the desire that this ambition evinces, and also the lack of acknowledgment of the importance of the journey itself, and not just the arrival." p75
"On the other hand, the notion that distance (and thus the journey) is only unwelcome friction displays a desire to transcend our earthboundness, to dematerialize into that virtual world of instantaneous communication that allows us to escape the friction of intervening encounters- precisely that element of surprise, the event of unexpected interaction, and thus the need to negotiate, that is inherent to space." p75
Olafur Eliasson and Kjetil Thorsen
The Mutuality of Movement
by: Doreen Massey
"What is interesting is the desire that this ambition evinces, and also the lack of acknowledgment of the importance of the journey itself, and not just the arrival." p75
"On the other hand, the notion that distance (and thus the journey) is only unwelcome friction displays a desire to transcend our earthboundness, to dematerialize into that virtual world of instantaneous communication that allows us to escape the friction of intervening encounters- precisely that element of surprise, the event of unexpected interaction, and thus the need to negotiate, that is inherent to space." p75
Wednesday, October 28, 2009
Architecture... Apertures.... Between-ness
Suspending the moment of isolation, the city, landscape... place is revealed to us in a different format, rather than confronted with the architectural monuments up front, we are brought to a distance, to examine our place in clusters of form, geometry, and somewhat vagueness. By suspending this moment, which is often pass swiftly in travel across the bridge, the architecture may stabilize the visual.
Further, brought to the midpoint of the bridge, where political lines defines our implied place and territory, architecture that is created to be erected from these implied lines offers opportunity to be within the liminality of place, allowing us to experience here and there, from the between.
What the architecture is, in literal terms, may be an aperture to place, as one is viewing place while being separate from place. The sense of knowing that is to arise will come in the manner of being in between the lines, of which enhancing the sense of entry and exit of place as one lingers in between.
Simple terms: architecture: community space: park: various aperture created through teh architectural forms: pedestrian path.
Further, brought to the midpoint of the bridge, where political lines defines our implied place and territory, architecture that is created to be erected from these implied lines offers opportunity to be within the liminality of place, allowing us to experience here and there, from the between.
What the architecture is, in literal terms, may be an aperture to place, as one is viewing place while being separate from place. The sense of knowing that is to arise will come in the manner of being in between the lines, of which enhancing the sense of entry and exit of place as one lingers in between.
Simple terms: architecture: community space: park: various aperture created through teh architectural forms: pedestrian path.
Tuesday, October 27, 2009
Monday Development
Suspending One's Isolated Perception of Distant Objects, midpoint between County Line.
The Tampa Bay, which the Howard Franklin Bridge is crossing is just not enough to indicate sense of transition from one body of land to another. Why? It's vastness does not offer a sense of immediate crossing as perhaps a monument or a pronounced border crossing would. Because the body of water stretches for some miles across the bridge, distinctiveness is less apparent, as one fluidly travels across.
Large bodies of water does not offer a sense of place, it is the objects that we bring to the water (boats) that makes the fluid and constantly changing, stable. There is no sense of particularity in large body of water, in something that is constantly moving, rising, falling, moving in, moving out. As humans, we seek for objects, things of geometry that allows to make quick distinction, quick mental notes, of forms. We seek for that which is stable that may indicate position of self as well as position of the world around. Water does not offer this. But however, it does remind us of the things that is stable, perhaps amongst the things which is not. Bringing Clarity.
Figure out what place and space is?
There is the Political maps which define unnatural means of defining place and than there is the natural, the water currents, wind circulation, land mass, ... maps which may define a more natural means of defining place.
By extruding what exist as unnatural, the design may erect that which is invisible and render it visible, so what is defined as political territories is defined within the extrusion of land mass and architectural intervention. This will offer what is typically absurd (as a line drawn in the waters, defining territory) to be revealed as such territories within the landscape rather than just within signs and hand drawn maps.
The Tampa Bay, which the Howard Franklin Bridge is crossing is just not enough to indicate sense of transition from one body of land to another. Why? It's vastness does not offer a sense of immediate crossing as perhaps a monument or a pronounced border crossing would. Because the body of water stretches for some miles across the bridge, distinctiveness is less apparent, as one fluidly travels across.
Large bodies of water does not offer a sense of place, it is the objects that we bring to the water (boats) that makes the fluid and constantly changing, stable. There is no sense of particularity in large body of water, in something that is constantly moving, rising, falling, moving in, moving out. As humans, we seek for objects, things of geometry that allows to make quick distinction, quick mental notes, of forms. We seek for that which is stable that may indicate position of self as well as position of the world around. Water does not offer this. But however, it does remind us of the things that is stable, perhaps amongst the things which is not. Bringing Clarity.
Figure out what place and space is?
There is the Political maps which define unnatural means of defining place and than there is the natural, the water currents, wind circulation, land mass, ... maps which may define a more natural means of defining place.
By extruding what exist as unnatural, the design may erect that which is invisible and render it visible, so what is defined as political territories is defined within the extrusion of land mass and architectural intervention. This will offer what is typically absurd (as a line drawn in the waters, defining territory) to be revealed as such territories within the landscape rather than just within signs and hand drawn maps.
Sunday, October 25, 2009
Program Statement
The stigma that has been cast upon these infrastructures is that they disconnect landscapes, constricting sight and movement while being a thing for movement. As there is already a subconsciously inscribe understanding attach to these infrastructures, a sensible implementation should run along the grains of what is prior understandings in order to formulate the proper functions deemed necessary. Specifically as these infrastructure coincides with the notion of movement and connectivity, than it is such that movement and connectivity must be fluent throughout the design; in fact, it must be the concept for design. Positioning the design within the foundation of preexisting beliefs, will furthermore allow for such a design to read into the landscape without becoming an intrusive object that is instead alienated into disregarded existence.
In realizing a proper spatial intervention that will bring clarity to the senses that define our mental image of place, the elicited experiential sense produced by the propose design will root from the experiences made to exist by the presence of vehicular infrastructure. The condition of experiencing space as a linear sequential reveal of landscape and architecture will act as the existing mode of experience to give cause to the formal and spatial quality of the propose design. Within the mechanical experience of driving, what the architecture will attempt to do is interject a piece of humanity against the hollow experience induced by driving. The moment of perceptual juxtaposition will act as the window of which place is defined; reintroducing place as something to be distinguished, to be explored on a tangible level in order that the quality of movement may be punctuated and define. Thus the design looks to create a phenomenal interruption between specific points of movement, in order to realign the senses of the experiencing self back to the physical plane. In order to provide for these experiential awakening, the position for the architecture within the existing condition road experience will be to; organize points of reference, punctuate movement and travel to allow one’s acknowledgement of spatial distinction, and embrace the isolation to unravel a network of knowing.
(1) Design Objective One: Organizing Points for Reference
As the current traveled environment bounded by vast body of water does not lend to a clear means of differentiating space, the experience must rely on other factors of orientation such as movement and active visual perception. Of movement, road alignment generates the motion of the person, in which drama may be released in sharp turns, kinks, or sudden sheering off. Seeing that the current state of the driven bridge is given as an even continual path, movement will not be as much of a factor to the design as one’s active visual perception. Of the visual perception, a play with scale and distance within the length of the road may act to help the person negotiate the position of him or herself within the bridge. Organization may be issued with points of reference in which progress and distance may become measurable to the perceiver. Consistently planting these points of reference within the traveled road will differentiate the path, adding successive parts of distinction in which a sense of moving forward and journey transgressed is made recognizable to the person experiencing the space. During which, the self may be able to orient themselves within the given environment, visually scanning and locating the space’s principle feature and discovering their own position in relation to them. Also including are the opportunity of placing important landmarks of which comes into conjunction, to give a powerful sense of being “on line.” These landmarks will furthermore offer a sense of goal and represent one’s traveled journey while also signifying civilization from the distance.
Program Specificity:
Spatial Consideration:
(2) Design Objective Two: Punctuating and Defining Movement
Currently, the bounding body of water bridges the landmass of separate county’s together, of which the experienced separation allow’s one to understand the departure of one county only to enter into another. Gradual slopes and approaching landmass gives a sense of reveal and entry, while the space in between offers one an opportunity to linger and float within the lines. As the interstate transitions from body of water to city context, a “steady gathering of building mass and density around the car” occurs at the grace of the road, reinserting the person back into the experience of knowing, of which the realignment of senses is brought back into place. The gradual pace of one’s travel however offers little for one’s orientation, causing the experience to sometimes become unnoticed. As a result the architecture aims to intervene in a manner of exposing these underlying edge and border condition that have been establish for quantitative intent, to allow them to be read in a qualitative manner as to reinsert distinctive qualities back into the driving experience. As an ideal background, the architecture will act as a readable platform in the landscape, transcribing the qualities of the old grounds and emerging them as new information. These layers, identified as what Edward White calls portals, will create apertures that may channel our vision into urban place, orchestrating the unfolding of our view, and of which place, we determine our next move. The layer of information overlaid over existing site context will allow one to read and identify place, in turn enriching one’s overall sense of place.
Program Specificity:
Spatial Consideration:
Design Objective Three: Embracing the Isolation, Creating a Network of Knowing
Momentary isolation on the bridge allows one to break from intent, emotion, and ideas, directing and often enhancing one’s knowledge of place through a different perceptual filter. In such cases, an experience absent of the essential human qualities creates an impulse to search these qualities out. The spatial happening sculpted out and inserted within the beneath voids of the bridge will allow for the moment of isolation to linger between the edge of the cities, of which these voids become physical networks of seeing, knowing, searching, and understanding. As one is brought into a new aperture of seeing, objects in the distance are met with new meanings, of which cities seen as clusters of protruding orthogonal forms, becomes symbolic references. These spatial happenings will occur as isolated pedestrian spaces brought to the midpoint of the bridge, between the bordering edges of Hillsborough and Pinellas County and will become accessible through paths and boats.
Program Specificity:
Spatial Consideration:
In realizing a proper spatial intervention that will bring clarity to the senses that define our mental image of place, the elicited experiential sense produced by the propose design will root from the experiences made to exist by the presence of vehicular infrastructure. The condition of experiencing space as a linear sequential reveal of landscape and architecture will act as the existing mode of experience to give cause to the formal and spatial quality of the propose design. Within the mechanical experience of driving, what the architecture will attempt to do is interject a piece of humanity against the hollow experience induced by driving. The moment of perceptual juxtaposition will act as the window of which place is defined; reintroducing place as something to be distinguished, to be explored on a tangible level in order that the quality of movement may be punctuated and define. Thus the design looks to create a phenomenal interruption between specific points of movement, in order to realign the senses of the experiencing self back to the physical plane. In order to provide for these experiential awakening, the position for the architecture within the existing condition road experience will be to; organize points of reference, punctuate movement and travel to allow one’s acknowledgement of spatial distinction, and embrace the isolation to unravel a network of knowing.
(1) Design Objective One: Organizing Points for Reference
As the current traveled environment bounded by vast body of water does not lend to a clear means of differentiating space, the experience must rely on other factors of orientation such as movement and active visual perception. Of movement, road alignment generates the motion of the person, in which drama may be released in sharp turns, kinks, or sudden sheering off. Seeing that the current state of the driven bridge is given as an even continual path, movement will not be as much of a factor to the design as one’s active visual perception. Of the visual perception, a play with scale and distance within the length of the road may act to help the person negotiate the position of him or herself within the bridge. Organization may be issued with points of reference in which progress and distance may become measurable to the perceiver. Consistently planting these points of reference within the traveled road will differentiate the path, adding successive parts of distinction in which a sense of moving forward and journey transgressed is made recognizable to the person experiencing the space. During which, the self may be able to orient themselves within the given environment, visually scanning and locating the space’s principle feature and discovering their own position in relation to them. Also including are the opportunity of placing important landmarks of which comes into conjunction, to give a powerful sense of being “on line.” These landmarks will furthermore offer a sense of goal and represent one’s traveled journey while also signifying civilization from the distance.
Program Specificity:
Spatial Consideration:
(2) Design Objective Two: Punctuating and Defining Movement
Currently, the bounding body of water bridges the landmass of separate county’s together, of which the experienced separation allow’s one to understand the departure of one county only to enter into another. Gradual slopes and approaching landmass gives a sense of reveal and entry, while the space in between offers one an opportunity to linger and float within the lines. As the interstate transitions from body of water to city context, a “steady gathering of building mass and density around the car” occurs at the grace of the road, reinserting the person back into the experience of knowing, of which the realignment of senses is brought back into place. The gradual pace of one’s travel however offers little for one’s orientation, causing the experience to sometimes become unnoticed. As a result the architecture aims to intervene in a manner of exposing these underlying edge and border condition that have been establish for quantitative intent, to allow them to be read in a qualitative manner as to reinsert distinctive qualities back into the driving experience. As an ideal background, the architecture will act as a readable platform in the landscape, transcribing the qualities of the old grounds and emerging them as new information. These layers, identified as what Edward White calls portals, will create apertures that may channel our vision into urban place, orchestrating the unfolding of our view, and of which place, we determine our next move. The layer of information overlaid over existing site context will allow one to read and identify place, in turn enriching one’s overall sense of place.
Program Specificity:
Spatial Consideration:
Design Objective Three: Embracing the Isolation, Creating a Network of Knowing
Momentary isolation on the bridge allows one to break from intent, emotion, and ideas, directing and often enhancing one’s knowledge of place through a different perceptual filter. In such cases, an experience absent of the essential human qualities creates an impulse to search these qualities out. The spatial happening sculpted out and inserted within the beneath voids of the bridge will allow for the moment of isolation to linger between the edge of the cities, of which these voids become physical networks of seeing, knowing, searching, and understanding. As one is brought into a new aperture of seeing, objects in the distance are met with new meanings, of which cities seen as clusters of protruding orthogonal forms, becomes symbolic references. These spatial happenings will occur as isolated pedestrian spaces brought to the midpoint of the bridge, between the bordering edges of Hillsborough and Pinellas County and will become accessible through paths and boats.
Program Specificity:
Spatial Consideration:
Monday, October 19, 2009
Thursday, October 15, 2009
The Metapolis Dictionary of Advanced Architecture
The Metapolis Dictionary of Advanced Architecture: City, Technology and Society in the Information Age
Bridge(s)
A Bridge is a factory or device - usually a platform - used to connect two separate territories // To build a bridge: to create a physical or virtual relationship. Of articulation or complicity. To effect a link. To Link.
Infrastructures (as networks)
Communication and transport infrastructures (motorways, railways, air lanes) emerges as te most evident lines of the current "urban territorial" system. Lines are converted into neutral directrices for future organization of the land. Bases of reference, independent of construction are marked by velocity and sequenciality (and no longer by continuity and contemplation) as supports for new activities, not only along their lengths but even over the latter as well: over formerly hierarchially and monofunctionally seperated plots of land that have begun to absorb, progressively complex and stratified programmes, defined through complicated superimposition of vertical and horizontal sectional use of structures.
Landstrategy
Refer to Book
Limit
Refer to Book
Plateaux (for platform)
Refer to Book
Platforms
As an attempt to summarize the qualities of the new grounds it is interesting to point out their fundamentally active, operative nature; these emerging grounds are closer to the contemporary meaning of 'platforms' as operating systems neutralize and erase the field of operation to produce an ideal background for architecture to become a readable figure.
Tableland
Refer to Book
Bridge(s)
A Bridge is a factory or device - usually a platform - used to connect two separate territories // To build a bridge: to create a physical or virtual relationship. Of articulation or complicity. To effect a link. To Link.
Infrastructures (as networks)
Communication and transport infrastructures (motorways, railways, air lanes) emerges as te most evident lines of the current "urban territorial" system. Lines are converted into neutral directrices for future organization of the land. Bases of reference, independent of construction are marked by velocity and sequenciality (and no longer by continuity and contemplation) as supports for new activities, not only along their lengths but even over the latter as well: over formerly hierarchially and monofunctionally seperated plots of land that have begun to absorb, progressively complex and stratified programmes, defined through complicated superimposition of vertical and horizontal sectional use of structures.
Landstrategy
Refer to Book
Limit
Refer to Book
Plateaux (for platform)
Refer to Book
Platforms
As an attempt to summarize the qualities of the new grounds it is interesting to point out their fundamentally active, operative nature; these emerging grounds are closer to the contemporary meaning of 'platforms' as operating systems neutralize and erase the field of operation to produce an ideal background for architecture to become a readable figure.
Tableland
Refer to Book
Tuesday, October 13, 2009
We reference that which defines us, of which we reference the name of our cities, county, state, and country. These names attach themselves within the physical core of the edges that bounds them and though they do not exist within the physical realm, they conjure up stories of events, history, and identity that are very much physical or characteristics of a ...
out of the voids beneath the bridge, formal and spatial qualities will be extracted to bring awareness of these existing edges.
out of the voids beneath the bridge, formal and spatial qualities will be extracted to bring awareness of these existing edges.
Monday, October 12, 2009
Monday Criticism October 12, 2009
Liminality: (from the Latin word līmen, meaning "a threshold") is a psychological, neurological, or metaphysical subjective, conscious state of being on the "threshold" of or between two different existential planes..
(wikipedia)
Reference Transportation, "the act of stopping causes one to renegotiate their surrounding."
"Going through a tunnel allows one to become disoriented, in the process of being disoriented, the experiencing self looks to reorient himself/herself, during which the person scans the environment looking for landmarks, relating himself, of his position within physical place.
The liminal state is characterized by ambiguity, openness, and indeterminacy. One's sense of identity dissolves to some extent, bringing about disorientation. Liminality is a period of transition where normal limits to thought, self-understanding, and behavior are relaxed - a situation which can lead to new perspectives.
People, places, or things may not complete a transition, or a transition between two states may not be fully possible. Those who remain in a state between two other states may become permanently liminal.(wikipedia)
Reference Transportation, "the act of stopping causes one to renegotiate their surrounding."
"Going through a tunnel allows one to become disoriented, in the process of being disoriented, the experiencing self looks to reorient himself/herself, during which the person scans the environment looking for landmarks, relating himself, of his position within physical place.
Origin and Home
Thought: We long to position ourself within distinct territory. This defines the sense of home or origin for us.
Sunday, October 11, 2009
Crossing Bridge
One crosses the bridge and any complexity of the perceivable environment withdraws into minimal silhouettes of forms swaying left and right, signaling the driver of his movement that is forgotten with the stillness of the road. Downtown landmarks and skyscrapers dissolves into a flat image of orthogonal figures appearing, disappearing, blending, and occasionally acknowledged. The embodied experience that exist within the bridge, allows for the multiple elements of the city or cities, to be displayed all at once, from the distance of the bridge. Through which one creates
Articles: Sensing Architecture
Can Architectural Features Help Your Brain
http://sensingarchitecture.com/577/can-architectural-features-help-your-brain/
The Significance of Surface for Architectural Design
http://sensingarchitecture.com/411/the-significance-of-%E2%80%9Csurface%E2%80%9D-for-architectural-design/
Human Movement Influences How You Perceive Buildings
http://sensingarchitecture.com/1863/human-movement-influences-how-you-perceive-buildings/
http://sensingarchitecture.com/577/can-architectural-features-help-your-brain/
The Significance of Surface for Architectural Design
http://sensingarchitecture.com/411/the-significance-of-%E2%80%9Csurface%E2%80%9D-for-architectural-design/
Human Movement Influences How You Perceive Buildings
http://sensingarchitecture.com/1863/human-movement-influences-how-you-perceive-buildings/
Isolation, Seeking
The isolation that is fostered through the environment and my need to embark upon it allows me to discover the images of things that I have forgotten to be personal to me and through this realization of myself within the vast complex landscapes of my city, place, and home, I realize my need to return.
Saturday, October 10, 2009
Book Unknown (Vikas Reading)
"... bring people together and they create a collective surplus of enjoyment; bring buildings together and collectively they can give visual pleasure which none can give seperately." ( ,9)
"In fact there is an art of relationship just as there is an art of architecture. Its purpose is to take all the elements that go to create the environment: buildings, trees, nature, water, traffic, advertisements and so on, and to weave them together in such a way that drama is released. For a city is a dramatic event in the environment." ( ,10)
"And yet... at the end of it all the city appears dull, uninteresting and soulless, then it is not fullfilling itself. It has failed. The fire has been laid but nobody has put a match to it." ( ,10)
"The upshot is that a town could take one of several patterns and still operate with success, equal success. Here then we discover a pliability in the scientific solution and it is precisely in the manipulation of this pliability that the art of relationship is made possible. As will be seen, the aim is not to dictate the shape of the town or environment, but is a modest one: simply to manipulate within the tolerances.
This means that we can get no further help from the scientific attitude and that we must therefore turn to other values and other standards.
We turn to the faculty of sight, for it is almost entirely through vision that the environment is apprehended. If someone knocks at your door and you open it to let him in, it sometimes happens that a gust of wind comes in too... Vision is somewhat the same; we often get more than we bargained for. Glance at the clock to see the time and you see the wallpaper, the clock's carved brown mahogany frame, the fly crawling over the glass and the delicate rapier-like pointers." ( , 11)
"In fact, of course, vision is not only useful but it evokes our memories and experiences, those responsive emotions inside us which have the power to disturb the mind when aroused. It is this unlooked-for surplus that we are dealing with, for clearly if the environment is going to produce an emotional reaction, with or without our volition, it is up to us to try to understand the three ways in which this happens." -Optics, Place, Content ( ,11)
OPTICS:
"The significance of all this is that although the pedestrian walks through the town at a uniform speed, the scenery of towns is often revealed in a series of jerks or revelations. This we call SERIAL VISION.
Examine what this means. Our original aim is to manipulate the elements of the town so that an impact on the emotions is achieved. ... The human mind reacts to a contrast, to the difference between things, and when two pictures are in the mind at the same time, a vivid contrast is felt and the town becomes visible in a deeper sense. It becomes alive through the drama of juxtaposition. Unless this happens the twon will past us featureless and inert." ( ,11)
"Although from a scientific or commercial point of view the town may be a unity, from our optical viewpoint we have split it into two elements: the existing view and the emerging view. In a normal way, this is an accidental chain of events and whatever significance may arise out of the linking of views will be fortuitous. Suppose, however, that we take over this linking as a branch of the art of relationship; then we are finding a tool with which human imagination can begin to mould the city into a emotional drama." ( ,12)
PLACE:
"The second point is concerned with our reactions to the position of our body in its environment. ...
Since it is an instinctive and continuous habit of the body to relate itself to the environment, this sense of position cannot be ignored; it becomes a factor in the design of the environment. I would go further to say that it should be exploited." ( ,12)
"If, therefore, we design our towns from the point of view of the moving person (pedestrian or car-borne) it is easy to see how the whole city becomes a plastic experience, a journey through pressures and vacuums, a sequence of exposures and enclosures, of constraint and reliefs." ( ,12)
CONTENT:
"In this last category we turn to an examination of the fabric of towns: colour, texture, scale, style, character, personality and uniqueness." ( , 13)
"In fact there is an art of relationship just as there is an art of architecture. Its purpose is to take all the elements that go to create the environment: buildings, trees, nature, water, traffic, advertisements and so on, and to weave them together in such a way that drama is released. For a city is a dramatic event in the environment." ( ,10)
"And yet... at the end of it all the city appears dull, uninteresting and soulless, then it is not fullfilling itself. It has failed. The fire has been laid but nobody has put a match to it." ( ,10)
"The upshot is that a town could take one of several patterns and still operate with success, equal success. Here then we discover a pliability in the scientific solution and it is precisely in the manipulation of this pliability that the art of relationship is made possible. As will be seen, the aim is not to dictate the shape of the town or environment, but is a modest one: simply to manipulate within the tolerances.
This means that we can get no further help from the scientific attitude and that we must therefore turn to other values and other standards.
We turn to the faculty of sight, for it is almost entirely through vision that the environment is apprehended. If someone knocks at your door and you open it to let him in, it sometimes happens that a gust of wind comes in too... Vision is somewhat the same; we often get more than we bargained for. Glance at the clock to see the time and you see the wallpaper, the clock's carved brown mahogany frame, the fly crawling over the glass and the delicate rapier-like pointers." ( , 11)
"In fact, of course, vision is not only useful but it evokes our memories and experiences, those responsive emotions inside us which have the power to disturb the mind when aroused. It is this unlooked-for surplus that we are dealing with, for clearly if the environment is going to produce an emotional reaction, with or without our volition, it is up to us to try to understand the three ways in which this happens." -Optics, Place, Content ( ,11)
OPTICS:
"The significance of all this is that although the pedestrian walks through the town at a uniform speed, the scenery of towns is often revealed in a series of jerks or revelations. This we call SERIAL VISION.
Examine what this means. Our original aim is to manipulate the elements of the town so that an impact on the emotions is achieved. ... The human mind reacts to a contrast, to the difference between things, and when two pictures are in the mind at the same time, a vivid contrast is felt and the town becomes visible in a deeper sense. It becomes alive through the drama of juxtaposition. Unless this happens the twon will past us featureless and inert." ( ,11)
"Although from a scientific or commercial point of view the town may be a unity, from our optical viewpoint we have split it into two elements: the existing view and the emerging view. In a normal way, this is an accidental chain of events and whatever significance may arise out of the linking of views will be fortuitous. Suppose, however, that we take over this linking as a branch of the art of relationship; then we are finding a tool with which human imagination can begin to mould the city into a emotional drama." ( ,12)
PLACE:
"The second point is concerned with our reactions to the position of our body in its environment. ...
Since it is an instinctive and continuous habit of the body to relate itself to the environment, this sense of position cannot be ignored; it becomes a factor in the design of the environment. I would go further to say that it should be exploited." ( ,12)
"If, therefore, we design our towns from the point of view of the moving person (pedestrian or car-borne) it is easy to see how the whole city becomes a plastic experience, a journey through pressures and vacuums, a sequence of exposures and enclosures, of constraint and reliefs." ( ,12)
CONTENT:
"In this last category we turn to an examination of the fabric of towns: colour, texture, scale, style, character, personality and uniqueness." ( , 13)
My Site, My Car
I am always aware of the presence of my car, as landscapes and objects float by me, my car is visually intact with all that I see. The image is enclosed by the frame of my vehicle and the city, landscape, or buildings that becomes the subject of my viewed image is first made significant through those frames. Thus my sense for place is incomplete without the body of my car to create the emphasis.
My Home, Road
Crossing the Howard Franklin Bridge, momentary isolation occurs when the physical closeness of our man made objects distance itself from our visual sight, appearing and disappearing far into the distance like objects dancing in and out of our line of vision. The only thing that accompanies us is the never changing repetitive form of the roads and light post that's planted in them but there lack of solidity as they constantly swift by our sight keeps them from defining place as a solid matter but rather one of constant fluidity. The neighboring driver that passes by or lingers behind, only adds to the feeling of isolation, as their similar experience of the bridge puts them in their own bubble and when we're not seeking them out, we're enclosed by ours. Yet there is something that yearns for this isolated journey that we've embarked within physical vastness, as if this particular moment of the day was the final ingredient to render the overall day complete. The few minutes that is shared with the bridge, our body of thoughts becomes vacant where the bounding body of water becomes the depository for any human emotion. What we long to feel is nothing and within the landscape of nothingness, the mechanical mode of experiencing, observing, knowing, takes over, and our instinct commands the wheels to our vehicle. Swaying left and right, our bodies are dictated by the line drawn before us. We have forgotten to be humans and yet as we are deprived of such vacancy of thoughts throughout our daily ritual, forgetting allows one to seek for those human attributes.
Friday, October 9, 2009
Wednesday / Friday Critique
Wednesday (mid term):
PROGRAM! PROGRAM! PROGRAM!
WHAT THE HELL ARE YOU DOING?
Friday:
There are two things you can do:
-Embrace the emptiness in order to create a moment in which one is reconnected from isolation.
-Create an experience (within the filmic quality)
-Points of experience of non isolation
-External connection - radio, cell phone
-Connections / lack of / what to interject.
-Extract yourself from the immediate
-"Not within the realm of something happening"
-Speaks of Theoretical
Complete Sensorial Experience
-Not distract but disrupt
-Experience has to incorporate the physical environment and the car enclosure... The site is your car.
PROGRAM! PROGRAM! PROGRAM!
WHAT THE HELL ARE YOU DOING?
Friday:
There are two things you can do:
-Embrace the emptiness in order to create a moment in which one is reconnected from isolation.
-Create an experience (within the filmic quality)
-Points of experience of non isolation
-External connection - radio, cell phone
-Connections / lack of / what to interject.
-Extract yourself from the immediate
-"Not within the realm of something happening"
-Speaks of Theoretical
Complete Sensorial Experience
-Not distract but disrupt
-Experience has to incorporate the physical environment and the car enclosure... The site is your car.
Thursday, October 8, 2009
Tractatus Logico-philosophicus: http://www.goodreads.ca/tractatus.pdf
A Prospectus For the Triumph of Realism (first 3 chapters): http://books.google.com/books?id=Ik_6pUDSF8sC&dq=a+prospectus+for+the+triumph+of+realism&printsec=frontcover&source=bl&ots=lbfdQ3ZKcv&sig=5K8-qv4j8iZfSXCP6hCOFtB0FYg&hl=en&ei=uAXKSvnxNoW_twfkkpWzBg&sa=X&oi=book_result&ct=result&resnum=1#v=onepage&q=&f=false
A Prospectus For the Triumph of Realism (first 3 chapters): http://books.google.com/books?
Monday, September 28, 2009
Auther: Wittgenstein
"Frame within a frame" "Frame (the movie) within a frame (the theatre)"
"the main intervention may be the bridge, secondary interventions may occur from various distance to present that which frames, to be framed from the distance to present how we may see our environment."
= "Network ways of "knowing""
Questions: What are you identifying, creating?
"Frame within a frame" "Frame (the movie) within a frame (the theatre)"
"the main intervention may be the bridge, secondary interventions may occur from various distance to present that which frames, to be framed from the distance to present how we may see our environment."
= "Network ways of "knowing""
Questions: What are you identifying, creating?
Friday, September 25, 2009
Are you criticizing or are you making a positive of it?-Lidiya
How is someone who is driving (something mechanical) to remember those actions that reminds him that he is human?-Lidiya
Create a juxtaposition against the mode of driving, in order to reawaken the senses.
Ex: To be driving within a repetitive environment (which causes you to turn off your senses) and then be interjected with a seen action (walking) which awakens your memory to these actions.
Ex. Howard Franklin Bridge: As I drive for 40 minutes across the Howard Franklin bridge, the mechanical feeling of the car and of driving, makes me forget that I am human. When I see from the distance, that someone is walking, running, swimming, skipping, talking, standing, wandering, conversing I am reminded that I am human and with this, an onslaught of memory floods my thought, awakens me from my short slumber.
Susan:
Howard Franklin is an Edge Condition much like flying in an airplane, a train... it's about getting from one point to another (the destination), not about the journey.
How is someone who is driving (something mechanical) to remember those actions that reminds him that he is human?-Lidiya
Create a juxtaposition against the mode of driving, in order to reawaken the senses.
Ex: To be driving within a repetitive environment (which causes you to turn off your senses) and then be interjected with a seen action (walking) which awakens your memory to these actions.
Ex. Howard Franklin Bridge: As I drive for 40 minutes across the Howard Franklin bridge, the mechanical feeling of the car and of driving, makes me forget that I am human. When I see from the distance, that someone is walking, running, swimming, skipping, talking, standing, wandering, conversing I am reminded that I am human and with this, an onslaught of memory floods my thought, awakens me from my short slumber.
Susan:
Howard Franklin is an Edge Condition much like flying in an airplane, a train... it's about getting from one point to another (the destination), not about the journey.
Thursday, September 24, 2009
4/4: Program
Program Statement:
In realizing a proper spatial intervention that will bring clarity to the senses that define our mental image of place, the elicited experiential sense produced by the propose design will root from the experiences made to exist by the presence of vehicular infrastructure. The condition of experiencing space as a linear sequential reveal of landscape and architecture will act as the existing mode of experience to give cause to the formal and spatial quality of the propose design. Within the mechanical experience of driving, what the architecture will attempt to do is interject a piece of humanity against the hollow experience induced by driving. The moment of perceptual juxtaposition will act as the window of which place is defined; reintroducing place as something to be distinguished, to be explored on a tangible level in order to bring spatial distinction. Thus the design looks to create a phenomenal interruption between specific points of movement, in order to realign the senses of the experiencing self back to the physical plane.
Program Considerations:
What accumulates into this specific point of perceptual disruption will be the result of several elements that will direct the design. These elements include but are not limited to; ones preconceived conception of the driven infrastructure, the physical composition of the driven space that causes the senses to be less susceptible to the environment, and finally, the experiential juxtaposition that will pull the experiencing self back into a state of conscious sensibility.
The stigma that has been cast upon these infrastructures is that they disconnect landscapes, constricting sight and movement while being a thing for movement. As there is already a subconsciously inscribe understanding attach to these infrastructures, a sensible implementation should run along the grains of what is prior understandings in order to formulate the proper functions deemed necessary. Specifically as these infrastructure coincides with the notion of movement and connectivity, than it is such that movement and connectivity must be fluent throughout the design; of which will allow the propose space to be accessible and approachable from various viewpoints. Positioning the the design within the foundation of preexisting beliefs, will furthermore allow for such a design to read into the landscape without becoming an intrusive object that is instead alienated into disregarded existence.
The perceptual disruption must also rely on the immediately visible context of the driven space to the extent that what exist will aid formally into that which is proposed. The repetitive appearance of specific elements within the driven space that dulls the senses into passivity must be accounted for in order to conceptualize a counter weight of which pulls the experiencing self back into the physical realm. Awareness of these existing elements will help to blend the design into the existing moment of transition and fluidity that occurs at the surface of the road, without leaving those experiencing the space disoriented or distracted as they transition through.
Jux:
In realizing a proper spatial intervention that will bring clarity to the senses that define our mental image of place, the elicited experiential sense produced by the propose design will root from the experiences made to exist by the presence of vehicular infrastructure. The condition of experiencing space as a linear sequential reveal of landscape and architecture will act as the existing mode of experience to give cause to the formal and spatial quality of the propose design. Within the mechanical experience of driving, what the architecture will attempt to do is interject a piece of humanity against the hollow experience induced by driving. The moment of perceptual juxtaposition will act as the window of which place is defined; reintroducing place as something to be distinguished, to be explored on a tangible level in order to bring spatial distinction. Thus the design looks to create a phenomenal interruption between specific points of movement, in order to realign the senses of the experiencing self back to the physical plane.
Program Considerations:
What accumulates into this specific point of perceptual disruption will be the result of several elements that will direct the design. These elements include but are not limited to; ones preconceived conception of the driven infrastructure, the physical composition of the driven space that causes the senses to be less susceptible to the environment, and finally, the experiential juxtaposition that will pull the experiencing self back into a state of conscious sensibility.
The stigma that has been cast upon these infrastructures is that they disconnect landscapes, constricting sight and movement while being a thing for movement. As there is already a subconsciously inscribe understanding attach to these infrastructures, a sensible implementation should run along the grains of what is prior understandings in order to formulate the proper functions deemed necessary. Specifically as these infrastructure coincides with the notion of movement and connectivity, than it is such that movement and connectivity must be fluent throughout the design; of which will allow the propose space to be accessible and approachable from various viewpoints. Positioning the the design within the foundation of preexisting beliefs, will furthermore allow for such a design to read into the landscape without becoming an intrusive object that is instead alienated into disregarded existence.
The perceptual disruption must also rely on the immediately visible context of the driven space to the extent that what exist will aid formally into that which is proposed. The repetitive appearance of specific elements within the driven space that dulls the senses into passivity must be accounted for in order to conceptualize a counter weight of which pulls the experiencing self back into the physical realm. Awareness of these existing elements will help to blend the design into the existing moment of transition and fluidity that occurs at the surface of the road, without leaving those experiencing the space disoriented or distracted as they transition through.
Jux:
Hard Landscape in Concrete By:Michael Gage and Maritz Vandenberg
"Cities consist of buildings. But, equally important, they consist of the connective web of open space between those buildings, linking them and interpenetrating their interiors.The art of urban landscape lies in manipulating these external spaces so as to form a continuous yet varied urban landscape that is both functionally sensible and aesthetically satisfying" (Gage, 5).
"It is helpful to think of cities as consisting of two kinds of external space- paths and places.
Paths cater for movement. They enable us to get from where we are to where we want to be. They must not only facilitate physical movement (by vehicle or on foot), but tey must also help us to orient ourselves, guide us and help us find out way. By 'paths' we mean the roads, pavements, alleys, lanes, footways, steps and ramps which form our routes through the urban web.
Places, on the other hand, are the nodes where movement comes to stop. They are the parks, squares, courtyards, gardens and (at the smallest end of the scale) sitting areas where we can work, play, rest, or chat with friends.
The division of urban space into paths and places is not, of course, clear-cut- the two function is usually primary and the other secondary, and this influences design" (Gage, 7).
"Moving through the city, the urban dweller therefore traverses a series of paths each of which has a sequence of places strung along its length like beads on a string. The aim of landscape design should be to realise the latent character of each path and place to the full, bringing out its unique possibilities, and exploiting contrasts in function, scale, and character. Ideally, a 'plastic experience' - a journey through a sequence of pressures and vacuums, constraints and reliefs, exposures and enclosures as the pedestrian or passenger moves from teh constriction of the alley to the wideness of the square, from the containment of the street to the sudden relevation of the fly-over, in a constantly changing series of the emargentviews" (Gage, 8).
EXAMPLE: Liverpool & Grand Union Canal, London
8-12 64-74
"It is probable that some highway and motorway-building will continue for the foreseeable future (even if at a reduced scale), and the urgent issue for landscapers is how to improve their design. The examples shown in this section demonstrate that when they are constructed in sympathy witht eh local landscape they can be visually successful; and provided they are built as part of a balanced private/public transportation plan, with due regard to noise and air pollution problems, and social needs, they can make a positive contribution to the built environment. There is no reason in principle why urban highways cannot be used as positive design elements in reshaping the social and economic problems created by their construction. (Gage, 64)"
"It is helpful to think of cities as consisting of two kinds of external space- paths and places.
Paths cater for movement. They enable us to get from where we are to where we want to be. They must not only facilitate physical movement (by vehicle or on foot), but tey must also help us to orient ourselves, guide us and help us find out way. By 'paths' we mean the roads, pavements, alleys, lanes, footways, steps and ramps which form our routes through the urban web.
Places, on the other hand, are the nodes where movement comes to stop. They are the parks, squares, courtyards, gardens and (at the smallest end of the scale) sitting areas where we can work, play, rest, or chat with friends.
The division of urban space into paths and places is not, of course, clear-cut- the two function is usually primary and the other secondary, and this influences design" (Gage, 7).
"Moving through the city, the urban dweller therefore traverses a series of paths each of which has a sequence of places strung along its length like beads on a string. The aim of landscape design should be to realise the latent character of each path and place to the full, bringing out its unique possibilities, and exploiting contrasts in function, scale, and character. Ideally, a 'plastic experience' - a journey through a sequence of pressures and vacuums, constraints and reliefs, exposures and enclosures as the pedestrian or passenger moves from teh constriction of the alley to the wideness of the square, from the containment of the street to the sudden relevation of the fly-over, in a constantly changing series of the emargentviews" (Gage, 8).
EXAMPLE: Liverpool & Grand Union Canal, London
8-12 64-74
"It is probable that some highway and motorway-building will continue for the foreseeable future (even if at a reduced scale), and the urgent issue for landscapers is how to improve their design. The examples shown in this section demonstrate that when they are constructed in sympathy witht eh local landscape they can be visually successful; and provided they are built as part of a balanced private/public transportation plan, with due regard to noise and air pollution problems, and social needs, they can make a positive contribution to the built environment. There is no reason in principle why urban highways cannot be used as positive design elements in reshaping the social and economic problems created by their construction. (Gage, 64)"
Wednesday, September 23, 2009
2/2: An understanding of Experiences and an Experience
First to understand the intended experience that is to be derived from the propose architectural intervention, there must be an understanding of experiences as they exist in the now, between perceiver and environment, as well as how they are represented within the context of the subject of the thesis. For this, we reference John Dewey in Art as Experience in which he discusses the experience in which is live continuously, sometimes unnoticed and experience as they exist under realization to be recognized as an experience (Dewey 37). The composition of driver and an environment that presents itself to be unchanging at least within the realm of what is immediately seen by the driver and that which is too far to be realized to be changing, can fall into the category of general experiences. In such case, "things are experienced but not in such a way that they are composed into an experience" (Dewey, 36). This general experience is anchored by repetitive visuals confined within edges that distance the personal interaction between driver and city and thus does not allow for an experience outside of general experiences to occur. Such an experience of experiences occurs through distraction and dispersion of which allows "the material experienced" to run "its course to fulfillment. (Dewey, 36)" John Dewey further clarifies by stating that "life is no uniform uninterrupted march or flow. It is a thing of histories, each with its own inception and movement toward its close, each having its own particular rhythmic movement; each with its own unrepeated quality pervading it throughout" (Dewey, 37).
Experience as it occurs infinitely within the physical transaction of "live creature and environing conditions," is not as much desired in this case as one that arises by means of extraneous interruptions (Dewey, 36). These interruptions will allow for moments of pause and place of rest in order that within movement, distinction is allowed to occur, further defining the quality of space within context of place. Furthermore, the interruptions helps to indicate that the fluidity of space constantly moving pass the onlooker is not representative of the character of place, that cities and homes are not, within the compass of one's own understanding, uniformly organized but rather fragmented by the cities character, historical relevance, and site specific experiences. There must be a point of interruption, in which the experiencing self recognizes these separation of characteristic within the city landscape. The articulation of the in articulated will inscribe a sense of distinction in place, of which will provoke the mind to see beyond the distance that separates the bodily being from the context of the city and in turn offer a sense of closure that otherwise remains fragmented by one's physical distance from the tangible environment that they transition through.
Experience as it occurs infinitely within the physical transaction of "live creature and environing conditions," is not as much desired in this case as one that arises by means of extraneous interruptions (Dewey, 36). These interruptions will allow for moments of pause and place of rest in order that within movement, distinction is allowed to occur, further defining the quality of space within context of place. Furthermore, the interruptions helps to indicate that the fluidity of space constantly moving pass the onlooker is not representative of the character of place, that cities and homes are not, within the compass of one's own understanding, uniformly organized but rather fragmented by the cities character, historical relevance, and site specific experiences. There must be a point of interruption, in which the experiencing self recognizes these separation of characteristic within the city landscape. The articulation of the in articulated will inscribe a sense of distinction in place, of which will provoke the mind to see beyond the distance that separates the bodily being from the context of the city and in turn offer a sense of closure that otherwise remains fragmented by one's physical distance from the tangible environment that they transition through.
Tuesday, September 22, 2009
The View from the Road By: Donald Appleyard, Kevin Lynch, John R. Myer
The View from the Road
By: Donald Appleyard, Kevin Lynch, John R. Myer
“The modern car interposes a filter between the driver and the world he is moving through. Sounds, smells, sensations of touch, and weather are all diluted in comparison with what the pedestrian experiences. Vision is framed and limited, the driver is relatively inactive. He has less opportunity to explore, or choose his path with than does the man on foot. Only the speed, scale, amd grace of his movement can compensate for these limitations.” (Appleyard, 4)
“If consciously designed for the purpose, they could present the city as a vivid and well ordered image.” (Appleyard, 16)
“The image of the highway itself may also be clarified. Successive sections may be visibly differentiated so that they can be recognized in distinct parts. Thus the motorist can see that he is “in the hilly part,” as well as “approaching center.” (Appleyard, 16)
“Even where the general image of the city and the highway have been clarified and their interrelation established, there still remains the difficult task of linking the road to its immediate environs. This is most crucial where the driver is about to make the transition to the local landscape of streets and buildings. The highway and the city street are two separate worlds, mysteriously connected, and coming off the ramp of a modern highway is usually a moment of severe disorientation.” (Appleyard, 16)
By: Donald Appleyard, Kevin Lynch, John R. Myer
“The modern car interposes a filter between the driver and the world he is moving through. Sounds, smells, sensations of touch, and weather are all diluted in comparison with what the pedestrian experiences. Vision is framed and limited, the driver is relatively inactive. He has less opportunity to explore, or choose his path with than does the man on foot. Only the speed, scale, amd grace of his movement can compensate for these limitations.” (Appleyard, 4)
“If consciously designed for the purpose, they could present the city as a vivid and well ordered image.” (Appleyard, 16)
“The image of the highway itself may also be clarified. Successive sections may be visibly differentiated so that they can be recognized in distinct parts. Thus the motorist can see that he is “in the hilly part,” as well as “approaching center.” (Appleyard, 16)
“Even where the general image of the city and the highway have been clarified and their interrelation established, there still remains the difficult task of linking the road to its immediate environs. This is most crucial where the driver is about to make the transition to the local landscape of streets and buildings. The highway and the city street are two separate worlds, mysteriously connected, and coming off the ramp of a modern highway is usually a moment of severe disorientation.” (Appleyard, 16)
Friday, September 18, 2009
Comments:
Design = not universal, will lend to sense of homogeneity... will this then cause lack of character within specific site. They become inarticulate through homogeniety
Chapter to the sensorial experience / examination of conscious / conjecture of how this may play out / process of emotions= poetically descriptive
A design to change throughout the day, to change through movement.
Design = not universal, will lend to sense of homogeneity... will this then cause lack of character within specific site. They become inarticulate through homogeniety
Chapter to the sensorial experience / examination of conscious / conjecture of how this may play out / process of emotions= poetically descriptive
A design to change throughout the day, to change through movement.
Wednesday, September 16, 2009
1/1: Thesis Clarified
The existence of the automobile allowed for urban landscapes to be carved, arranged, and segregated into episodic moments of experiential happening. The result of which has transposed the experiencing corporeal being from the tangible edge of the city, to a displaced position behind the framed enclosure of the automobile. Any moments of intimate interaction once occurring at the front of the city are now compressed into momentary visuals placed either at a distance or within close enough proximity to constantly slip from visual limits. Though the experience of perceiving architecture and urban landscape is brought into a unique viewpoint, such experiences within the moving body of a car never lingers long enough to create personal attachment or even notice from the onlooker. Thus the question is how and to what degree architecture may act upon the senses to awaken them from the confines of these edge conditions.
Framed within the car, the image of the city, place, and home becomes "flattened out, confined to a surface" by one's inability to make tangible interaction, which would permit depth to be reinserted back into one's experiential happening (Lefebvre, 313). With these gained perceptions, the development of urban landscape begins to address that which is perceived through the automobile, rather than through immediate bodily interaction of the pedestrian. Sense of place in turn becomes the product of the perceived, in which the depth of one's own sensorial experience is minimized into perceptible obscurity. As such environments facilitate our demand for prompt passage between destinations, edge conditions arise from them, bounding our bodies, governing movement, highlighting points of destination while simultaneously obscuring our journey in between travels. To counter the effects of detaching sensorial experiences, the thesis seeks to understand some specific role that architecture may undertake to counter the crisis of place.
What then must we ask of our architecture in order that these senses may be reawakened to the presence of place? Amongst these lines of movement that pinpoint beginnings and ends, but never bringing our attention to the middle, by which these bounding edges transform our city, home, and place into the background in which movement takes the stage. Accordingly, an interruption that juxtaposes the mechanical experience of driving with that which is within the compass of human experiences may lend to an engagement that breaches the edges of confined flux, in order that sense of place can be reframed within the mental scope of personal understanding. A moment of interruption will act to awaken the senses and reaffirm memory of place in order that the essence of place can be reestablished within its cultural and physical context.
Framed within the car, the image of the city, place, and home becomes "flattened out, confined to a surface" by one's inability to make tangible interaction, which would permit depth to be reinserted back into one's experiential happening (Lefebvre, 313). With these gained perceptions, the development of urban landscape begins to address that which is perceived through the automobile, rather than through immediate bodily interaction of the pedestrian. Sense of place in turn becomes the product of the perceived, in which the depth of one's own sensorial experience is minimized into perceptible obscurity. As such environments facilitate our demand for prompt passage between destinations, edge conditions arise from them, bounding our bodies, governing movement, highlighting points of destination while simultaneously obscuring our journey in between travels. To counter the effects of detaching sensorial experiences, the thesis seeks to understand some specific role that architecture may undertake to counter the crisis of place.
What then must we ask of our architecture in order that these senses may be reawakened to the presence of place? Amongst these lines of movement that pinpoint beginnings and ends, but never bringing our attention to the middle, by which these bounding edges transform our city, home, and place into the background in which movement takes the stage. Accordingly, an interruption that juxtaposes the mechanical experience of driving with that which is within the compass of human experiences may lend to an engagement that breaches the edges of confined flux, in order that sense of place can be reframed within the mental scope of personal understanding. A moment of interruption will act to awaken the senses and reaffirm memory of place in order that the essence of place can be reestablished within its cultural and physical context.
Walls Have Feelings: Architecture, Film and the City By: Katherine Shonfield
Euclidian Space:
An essential property of a Euclidean space is its flatness. Other spaces exist in geometry that are not Euclidean. For example, the surface of a sphere is not; a triangle on a sphere (suitably defined) will have angles that sum to something greater than 180 degrees. In fact, there is essentially only one Euclidean space of each dimension, while there are many non-Euclidean spaces of each dimension. Often these other spaces are constructed by systematically deforming Euclidean space. (http://en.wikipedia.org/wiki/Euclidean_space)
Chapter 6: Against the City of Objects: Our Mutual Friend, Mary Poppins, L.A. Story
"Euclidean space... is literally flattened out, confined to a surface... The person who sees and knows only how to see, the person who draws and knows only how to put marks on a sheet of paper, the person who drives around and knows only how to drive a car- all contribute in their way to the mutilation of a space which is everywhere sliced up... the driver is concerned only with himself to his destination and in looking about sees only what he needs to see for that purpose; he thus perceives only his route, which has been materialised , mechanised, and technicised and he sees it from one angle only - that of its functionality: speed, readability in mind amounts to a sort of pleonasm, that of 'pure' and illusory transparency. Space is defined in this context in terms of the perception of an abstract subject, such as the driver of a motor vehicle, equipped with a collective common sense, namely the capacity to read the symbols of the highway code, and with a sole organ- the eye- placed in the service of his movement within the visual field. Thus, space appears solely in its reduced forms. Volume leaves the field to surface and any overall view surrenders to visual signals spaced out along fixed trajectories already laid down in the 'plan'. An extraordinary- indeed unthinkable, impossible- confusion gradually arises between space and surface, with the latter determining a spatial abstract space eventually becomes the simulacrum of a full space... Travelling- walking or strolling about - becomes an actually experienced, gestural simulation of the formerly urban activity encounter, of movement amongst concrete existences." (Lefebvre, 313)( The Production of Space, Henri Lefebvre)
An essential property of a Euclidean space is its flatness. Other spaces exist in geometry that are not Euclidean. For example, the surface of a sphere is not; a triangle on a sphere (suitably defined) will have angles that sum to something greater than 180 degrees. In fact, there is essentially only one Euclidean space of each dimension, while there are many non-Euclidean spaces of each dimension. Often these other spaces are constructed by systematically deforming Euclidean space. (http://en.wikipedia.org/wiki/Euclidean_space)
Chapter 6: Against the City of Objects: Our Mutual Friend, Mary Poppins, L.A. Story
"Euclidean space... is literally flattened out, confined to a surface... The person who sees and knows only how to see, the person who draws and knows only how to put marks on a sheet of paper, the person who drives around and knows only how to drive a car- all contribute in their way to the mutilation of a space which is everywhere sliced up... the driver is concerned only with himself to his destination and in looking about sees only what he needs to see for that purpose; he thus perceives only his route, which has been materialised , mechanised, and technicised and he sees it from one angle only - that of its functionality: speed, readability in mind amounts to a sort of pleonasm, that of 'pure' and illusory transparency. Space is defined in this context in terms of the perception of an abstract subject, such as the driver of a motor vehicle, equipped with a collective common sense, namely the capacity to read the symbols of the highway code, and with a sole organ- the eye- placed in the service of his movement within the visual field. Thus, space appears solely in its reduced forms. Volume leaves the field to surface and any overall view surrenders to visual signals spaced out along fixed trajectories already laid down in the 'plan'. An extraordinary- indeed unthinkable, impossible- confusion gradually arises between space and surface, with the latter determining a spatial abstract space eventually becomes the simulacrum of a full space... Travelling- walking or strolling about - becomes an actually experienced, gestural simulation of the formerly urban activity encounter, of movement amongst concrete existences." (Lefebvre, 313)( The Production of Space, Henri Lefebvre)
Chapter 3: Having an Experience
"so that the whole body may respond"
Art as Experience
by: John Dewey
Chapter 3: Having an Experience
Two Forms of Experience
"Experience occurs continuously, because the interaction of live creature and environing conditions is involved in the very process of living. ... Oftentimes, however, the experience had is inchoate (being only partly in existence or operation). Things are experienced but not in such a way that they are composed into an experience." (Dewey, 36)
"In contrast with such experience, we have an experience when the material experienced runs its course to fulfillment. Then and then only is it integrated within and demarcated in the general stream of experience from other experiences. ... Such an experience is a whole and carries with it its own individualizing quality and self sufficiency. It is an experience." (Dewey, 37)
Empiricism:
In philosophy, empiricism is a theory of knowledge which asserts that knowledge arises from experience. Empiricism is one of several competing views about how we know "things," part of the branch of philosophy called epistemology, or "the Theory of Knowledge". Empiricism emphasizes the role of experience and evidence, especially sensory perception, in the formation of ideas, while discounting the notion of innate ideas (except in so far as these might be inferred from empirical reasoning, as in the case of genetic predisposition).[1] (http://en.wikipedia.org/wiki/Empiricism)
Perception and Reality
Just as one object can give rise to multiple percepts, so an object may fail to give rise to any percept at all: if the percept has no grounding in a person's experience, the person may literally not perceive it. (http://en.wikipedia.org/wiki/Sensory_perception)
Haptic perception is the process of recognizing objects through touch.
Haptic perception is active exploration
(http://en.wikipedia.org/wiki/Haptic_perception)
Haptic communication is the means by which people and other animals communicate via touching. (http://en.wikipedia.org/wiki/Haptic_communication)
"Because of continuous merging, there are no holes, mechanical junctions, and dead centers when we have an experience. There are pauses, places of rest, but they punctuate and define the quality of movement. ... Continued acceleration is breathless and prevents parts from gaining distinction." (Dewey, 38)
"We yield according to external pressure, or evade and compromise. There are beginnings and cessations, but no genuine initiations and concluding. One thing replaces another, but does not absorb it and carry it on. There is experience, but so slack and discursive that it is not an experience. Needless to say, such an experiences are anesthetics." (Dewey, 41)
"Thus the non-esthetic lie within two limits. At one pole is the loose succession that does not begin at any particular place and that ends-in the sense of ceasing- at no particular place. At the other pole is arrest, constriction, proceeding from parts having only a mechanical connection with one another. There exist so much of one and the other of these two kinds of experience that unconsciously they come to be taken as norms of all experience." (Dewey, 42)
"All emotions are qualifications of a drama and they change as the drama develops. Persons are sometimes said to fall in love at first sight. But what they fall into is not a thing of that instant. What would love be were it compressed into a moment in which there is no room for cherishing and for solicitude? The intimate nature of emotion is manifested in the experience of one watching a play on the stage or reading a novel. It attends the development of a plot; and a plot requires a stage, a space wherein to develop and time in which to unfold. Experience is emotional but there are no seperate things called emotions in it" (Dewey, 43).
"The experience ios of material fraught with suspense and moving toward its own concummation through a connected series of varied incidents" (Dewey, 44)
"There are, therefore, common patterns in various experiences, no matter how unlike they are to one another in the details of their subject matter. There are conditions to be met without which an experience cannot come to be. The outline of the common pattern is set by the fact that every expoerience is the result of interaction between a live creature and some aspect of the world in which he lives. ... But interaction of teh two constitues the total experience that is had, and the close which completes it is the institution of a felt harmony.
An experience has pattern and structure, because it is not just doing and undoing in alteration, but consists of them in relationship. ... The action and its consequence must be joined in perception" (Dewey, 46)
Art as Experience
by: John Dewey
Chapter 3: Having an Experience
Two Forms of Experience
"Experience occurs continuously, because the interaction of live creature and environing conditions is involved in the very process of living. ... Oftentimes, however, the experience had is inchoate (being only partly in existence or operation). Things are experienced but not in such a way that they are composed into an experience." (Dewey, 36)
"In contrast with such experience, we have an experience when the material experienced runs its course to fulfillment. Then and then only is it integrated within and demarcated in the general stream of experience from other experiences. ... Such an experience is a whole and carries with it its own individualizing quality and self sufficiency. It is an experience." (Dewey, 37)
Empiricism:
In philosophy, empiricism is a theory of knowledge which asserts that knowledge arises from experience. Empiricism is one of several competing views about how we know "things," part of the branch of philosophy called epistemology, or "the Theory of Knowledge". Empiricism emphasizes the role of experience and evidence, especially sensory perception, in the formation of ideas, while discounting the notion of innate ideas (except in so far as these might be inferred from empirical reasoning, as in the case of genetic predisposition).[1] (http://en.wikipedia.org/wiki/Empiricism)
Perception and Reality
Just as one object can give rise to multiple percepts, so an object may fail to give rise to any percept at all: if the percept has no grounding in a person's experience, the person may literally not perceive it. (http://en.wikipedia.org/wiki/Sensory_perception)
Haptic perception is the process of recognizing objects through touch.
Haptic perception is active exploration
(http://en.wikipedia.org/wiki/Haptic_perception)
Haptic communication is the means by which people and other animals communicate via touching. (http://en.wikipedia.org/wiki/Haptic_communication)
"Because of continuous merging, there are no holes, mechanical junctions, and dead centers when we have an experience. There are pauses, places of rest, but they punctuate and define the quality of movement. ... Continued acceleration is breathless and prevents parts from gaining distinction." (Dewey, 38)
"We yield according to external pressure, or evade and compromise. There are beginnings and cessations, but no genuine initiations and concluding. One thing replaces another, but does not absorb it and carry it on. There is experience, but so slack and discursive that it is not an experience. Needless to say, such an experiences are anesthetics." (Dewey, 41)
"Thus the non-esthetic lie within two limits. At one pole is the loose succession that does not begin at any particular place and that ends-in the sense of ceasing- at no particular place. At the other pole is arrest, constriction, proceeding from parts having only a mechanical connection with one another. There exist so much of one and the other of these two kinds of experience that unconsciously they come to be taken as norms of all experience." (Dewey, 42)
"All emotions are qualifications of a drama and they change as the drama develops. Persons are sometimes said to fall in love at first sight. But what they fall into is not a thing of that instant. What would love be were it compressed into a moment in which there is no room for cherishing and for solicitude? The intimate nature of emotion is manifested in the experience of one watching a play on the stage or reading a novel. It attends the development of a plot; and a plot requires a stage, a space wherein to develop and time in which to unfold. Experience is emotional but there are no seperate things called emotions in it" (Dewey, 43).
"The experience ios of material fraught with suspense and moving toward its own concummation through a connected series of varied incidents" (Dewey, 44)
"There are, therefore, common patterns in various experiences, no matter how unlike they are to one another in the details of their subject matter. There are conditions to be met without which an experience cannot come to be. The outline of the common pattern is set by the fact that every expoerience is the result of interaction between a live creature and some aspect of the world in which he lives. ... But interaction of teh two constitues the total experience that is had, and the close which completes it is the institution of a felt harmony.
An experience has pattern and structure, because it is not just doing and undoing in alteration, but consists of them in relationship. ... The action and its consequence must be joined in perception" (Dewey, 46)
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