de⋅mar⋅ca⋅tion–noun
| 1. | the determining and marking off of the boundaries of something. |
| 2. | separation by distinct boundaries: line of demarcation. |
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?
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