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?
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)
Tuesday, September 15, 2009
"a building that will elicit an experiential sense."
Thao,
As for the progression of your project, I am less concerned with the specifics of 'building' or 'type' as I am with your ability to express, understand, and write about what you are attempting to accomplish. This is the perfect time to begin to research, write and think; if you are fretting about programming for your project, I think you have to realize that 'programming' for you will be the 'what,' 'why,' and 'how' of the phenomenological experience, and not so much the particular building. Are you familiar with the works of Merleau-Ponty? His Phenomenology of Perception might be helpful, but it also is a tad technical (philosophically speaking). Heidegger's Poetry, Language, Thought might also be of interest to you - not necessarily in that it directly correlates with film, but in that it discusses an art form and how it can act as a catalyst for human experience, catharsis, and change.
The idea of creating an architecture that elicits collective perception is an interesting one, but not one that is necessarily possible or provable. I think it is an idea that is worth exploring, but I'm not sure how you can go about creating such collective experiences; that is both the beauty and mystery of experience: you and I can be present in the same movie/space/concert/where ever and have two entirely discrete and discordant experiences. Perhaps you can say that your aim is to create a building that will elicit an experiential sense, but I am not sure that you can say more than that.
Don't worry about whether this will seem more like an installation. Just move forward researching and trying to find spaces that bring about such 'sensorial experiences'
Another book that might be helpful. I've never read it, but it looks interesting. The Address of the Eye: A Phenomenology of Film Experience
Stephen Szutenbach
As for the progression of your project, I am less concerned with the specifics of 'building' or 'type' as I am with your ability to express, understand, and write about what you are attempting to accomplish. This is the perfect time to begin to research, write and think; if you are fretting about programming for your project, I think you have to realize that 'programming' for you will be the 'what,' 'why,' and 'how' of the phenomenological experience, and not so much the particular building. Are you familiar with the works of Merleau-Ponty? His Phenomenology of Perception might be helpful, but it also is a tad technical (philosophically speaking). Heidegger's Poetry, Language, Thought might also be of interest to you - not necessarily in that it directly correlates with film, but in that it discusses an art form and how it can act as a catalyst for human experience, catharsis, and change.
The idea of creating an architecture that elicits collective perception is an interesting one, but not one that is necessarily possible or provable. I think it is an idea that is worth exploring, but I'm not sure how you can go about creating such collective experiences; that is both the beauty and mystery of experience: you and I can be present in the same movie/space/concert/where ever and have two entirely discrete and discordant experiences. Perhaps you can say that your aim is to create a building that will elicit an experiential sense, but I am not sure that you can say more than that.
Don't worry about whether this will seem more like an installation. Just move forward researching and trying to find spaces that bring about such 'sensorial experiences'
Another book that might be helpful. I've never read it, but it looks interesting. The Address of the Eye: A Phenomenology of Film Experience
Stephen Szutenbach
Stephen,
I absolutely agree with the comment about collective experience, more so when I speak about collective perception, I think what I mean to say is that though everyone is certainly open to walking away with different interpretation of what may have just been perceived, what is more important is that they are put within the realm of others, in which collectively everyone is able to be aware of the same thing, rather or not that triggers a different response isn't necessarily something I am focusing on, what is more important is how that collective act, even for a second, may be able to inscribe our sense of place, moment, or community. For example, as a reference to my past, I am thinking about when I went to see firework shows during 4th of July. My parents would take us every year, it would be at the same beach, same set up in the park, and even when we're surrounded by hundreds of people, our actions, rather we were conversating or cooking up food, allowed us to feel fairly detach from the crowd. The same circumstances seemed to hold true for everyone, as everyone was coming from various distance, with different background, history, and experiences. However to whatever background you may have come from, at the moment of collective perception, past and future is forgotten in order to recognize the moment, and in this case, the first firework to ignite allowed everyone to break from there current activity to be drawn into a mode of collective perception. Its this very moment that I hope to eventually convey in my spatial set up. So I feel my studies will be based around that very moment and act of percieving and not necessarily around the reaction in which that which was perceived has begun to affect us long after.
Perhaps calling it an act of collective experience is the wrong way to go about it and perhaps its as you have said "a building that will elicit an experiential sense."
Thao
Thursday, September 10, 2009
Case Study 1: Louvre Museum: Jean Nouvel
The opposite forces acting upon each other within the building's two main formal components allows for a unique spatial condition that establishes an experiential enclosure separate from site context. Cohesion of dome and exhibition spaces are done not within the typical formal understanding but rather metaphorically, by the layers of penetrating lights that cast and masks the museum interiors, blending any formal variety into one visual uniformity. As individuals are pulled completely from the site, the experiencing self is immersed completely and fully within the sensorial realm of the architecture. All formal characteristics are blanketed into one collective perception. The minimal gesture of the dome, encompassing the museum, aids in the experiential fluidity and the effects becomes one that pulls the fragmented thoughts of those experiencing the space into one collective understanding.
Wednesday, September 9, 2009
Case Study 2: Olafur Eliasson
Relational Aesthetics:
Through the conception of aesthetics, one must articulate that which is sociable and community oriented, in order that the experience that is derived would "inscribe a sense of community" (Birnbaum, 133). As a condition that represents relational aesthetics, the architecture must be conceived through the process of discovering what is socially and immediately relatable and understood by the subject (Birnbaum, 133). By referencing the idea of relational aesthetics that is exhibited within artwork of sociable engagements, including that of Olafur Eliasson, one will be able to create an architecture or spatial condition that will represent, produce, or prompt inter-human relations within the experiencing self (Birnbaum, 134). For such relational aesthetics to occur within the social realm as well as physical realm of architecture, the concept must be integrated into a public domain. However public domain does not mean the implementations of parks or plazas, as such public environments still allows for a fairly private experience. What is instead needed is a spatial condition, made to occur within the accessible public realm that allows for moments of collective perception, and further permits what Rosalind Krauss states, an experience that will change "damaged individual experience into energized collective perception." Doing so may bring mediation between the divide of self and place.
Collective Perception:
Collective experiences and activities will bring to order the disjointed sensorial experiences that lends to an overall crisis of place. Amongst the overall understanding of self, and self within the realm of others, one would be able to form as Olafur Eliasson states "him or herself through engagement with the environment" and in turn, engagement within the realm of collective perception.
Through the conception of aesthetics, one must articulate that which is sociable and community oriented, in order that the experience that is derived would "inscribe a sense of community" (Birnbaum, 133). As a condition that represents relational aesthetics, the architecture must be conceived through the process of discovering what is socially and immediately relatable and understood by the subject (Birnbaum, 133). By referencing the idea of relational aesthetics that is exhibited within artwork of sociable engagements, including that of Olafur Eliasson, one will be able to create an architecture or spatial condition that will represent, produce, or prompt inter-human relations within the experiencing self (Birnbaum, 134). For such relational aesthetics to occur within the social realm as well as physical realm of architecture, the concept must be integrated into a public domain. However public domain does not mean the implementations of parks or plazas, as such public environments still allows for a fairly private experience. What is instead needed is a spatial condition, made to occur within the accessible public realm that allows for moments of collective perception, and further permits what Rosalind Krauss states, an experience that will change "damaged individual experience into energized collective perception." Doing so may bring mediation between the divide of self and place.
Collective Perception:
Collective experiences and activities will bring to order the disjointed sensorial experiences that lends to an overall crisis of place. Amongst the overall understanding of self, and self within the realm of others, one would be able to form as Olafur Eliasson states "him or herself through engagement with the environment" and in turn, engagement within the realm of collective perception.
Eliasson / Heliotrope by: Daniel Birnhaum
RELATIONAL AESTHETICS
"All work of art produce a model of sociability...So there is a question we are entitled to ask in front of any aesthetic production: 'Does this work permit me to enter into dialogue? Could I exist, and how, in the space it defines?" Nicolas Bourriaud (Birnbaum, 133)
*The Distribution of the Sensible by: Jacques Ranciere
""...French philosopher Jacques Ranciere outlines an approach to politics and aesthetics that focus on "the manner in which the arts can be perceived and thought of as forms of art and as forms that inscribes a sense of community." Every artistic articulation involves a distribution of shared experience and is thus a figure of sociability or community. ... The arts, says Ranciere, can "only ever lend to projects of domination or emancipation what they are able to lend to them, that is to say, quite simply, what they have in common with them: bodily positions and movements, functions of speech, the parcelling out of the visible and the invisible." (Birnbaum, 134)
"... aesthetics here should be understood in Kantian terms, as the priori forms determining what presents itself to the sensory experience." -in other words, as the system of delimitations of time and space articulating that which members of a community share. On the basis of this primary aesthetics," Ranciere explores the question of artistic practice- "ways of doing and making" -in order to discover exactly "what they 'do' or 'make' from teh standpoint of what is common to the community." If each work of art produces a form of sociability, it also suggests a model of political life that starts from such immediate and tangible tings as physical location, the position from which one speaks, and teh concrete"parcelling out of the visible and the invisible." (Birnbaum, 134)
Heliotrope by: Daniel Birnhaum
RELATIONAL AESTHETICS cont:
Relational Aesthetics- "an aesthetic theory consissting in judging artworks on the basis of the inter-human relations which they represent, produce or prompt." (Birnbaum, 134)
"...social exchange is not just a side effect or a backdrop, it is the very center of their work. What they produce, says Bourriaud, are "inter-human experiences" and "relational time-space elements."
"All work of art produce a model of sociability...So there is a question we are entitled to ask in front of any aesthetic production: 'Does this work permit me to enter into dialogue? Could I exist, and how, in the space it defines?" Nicolas Bourriaud (Birnbaum, 133)
*The Distribution of the Sensible by: Jacques Ranciere
""...French philosopher Jacques Ranciere outlines an approach to politics and aesthetics that focus on "the manner in which the arts can be perceived and thought of as forms of art and as forms that inscribes a sense of community." Every artistic articulation involves a distribution of shared experience and is thus a figure of sociability or community. ... The arts, says Ranciere, can "only ever lend to projects of domination or emancipation what they are able to lend to them, that is to say, quite simply, what they have in common with them: bodily positions and movements, functions of speech, the parcelling out of the visible and the invisible." (Birnbaum, 134)
"... aesthetics here should be understood in Kantian terms, as the priori forms determining what presents itself to the sensory experience." -in other words, as the system of delimitations of time and space articulating that which members of a community share. On the basis of this primary aesthetics," Ranciere explores the question of artistic practice- "ways of doing and making" -in order to discover exactly "what they 'do' or 'make' from teh standpoint of what is common to the community." If each work of art produces a form of sociability, it also suggests a model of political life that starts from such immediate and tangible tings as physical location, the position from which one speaks, and teh concrete"parcelling out of the visible and the invisible." (Birnbaum, 134)
Heliotrope by: Daniel Birnhaum
RELATIONAL AESTHETICS cont:
Relational Aesthetics- "an aesthetic theory consissting in judging artworks on the basis of the inter-human relations which they represent, produce or prompt." (Birnbaum, 134)
"...social exchange is not just a side effect or a backdrop, it is the very center of their work. What they produce, says Bourriaud, are "inter-human experiences" and "relational time-space elements."
In referring to the experiences within Tiravanija's work-
"Things are out there, between the visitors of the exhibition. Collective activities thus precede the introspection of the single subject. A first-person stance emerges only belatedly, when the action is over and one is left to one's own devices." (Birnbaum, 136)
In referring to the experiences within Eliasson's work-
"In Eliasson's case it is usually the other way around. His works inspire a reflective stance, reminding the viewer of his or her own position as an experiencing, bodily being and of the subjective condition of all interactions with the world (and with other embodied subjects)." (Birnbaum, 136)
"All possible experience of the world depends on an experiencing subject, even when the thing being experienced is understood to be independent of the perceiving mind." (Birnbaum, 136)
"To a certain extent you produce the work. But in turn you are produced as a subject by the environments that artists constructs. "It could perhaps be called a relationship of co-production," says Eliasson. "As an example I might say: when someone walks down a street she produces the street and is, simultaneously, produced by the street." Is it the intentionality of the active viewer who enters the work of art and fully explores its most extreme possibilities that determines the limits of what it means to be a subject? Or is it the work itself that defines the parameters of new forms of subjectivity, perhaps involving modes of awareness that dodge the framework of phenomenology? (Birnbaum, 138)
COLLECTIVE PERCEPTION
"Of the "necessary and ultimately liberating" integration of the human subject and the technology of cinema, Rosalind Krauss writes, "Not only was film to release men and women from the confines of their private spaces and into a collective realm... but it was to infiltrate and reconstruct subjectivity itself, changing damaged individual experience into energized collective perception." She cites Benjamin, who obviously saw this reconstruction of subjectivity as a moment of emancipation and compared it the act of breaking out of jail: "Then came the film and burst this prison-world asunder by the dynamite of the tenth of a second, so that now, in the midst of its far-flung ruins and debris, we calmly and adventurously go traveling."" (Birnbaum, 139)
"What interests me here is not so much the disappearance as a manner of being, but rather the "systems if discontinuities" that represents so many different modes of appearance or emergence. ...he is interested in an empowered self: an active subject capable of forming him- or herself through engagement with the environment." (Birnbaum, 139)
"Time becomes a subject because it is folding of the outside and, as such, forces every present into forgetting, but preserves the whole of the past within memory: forgetting is the impossibility of return, and memory is the necessity of renewal." The ultimate exteriority, the absolute outside cannot be understood in spatial terms, but rather as a temporal dimension. Time affects itself, and through this auto affection it folds, producing interiority: an inner realm of reflexivity. Thus the Outside is twisted, folded, or doubled to create an Inside." (Birnbaum, 140)
Tuesday, September 8, 2009
RE: "...Engergized Collective Perception." (Eliasson, Birnbaum, 139)
Subjectivity may refer to the specific discerning interpretations of any aspect of experiences. They are unique to the person experiencing them, the qualia that are only available to that person's consciousness. Though the causes of experience are thought to be objective and available to everyone, (such as the wavelength of a specific beam of light), experiences themselves are only available to the subject (the quality of the colour itself).
By creating a collective thought, one will be able to discover there place within the larger context of their city.
By creating a collective thought, one will be able to discover there place within the larger context of their city.
"...Engergized Collective Perception." (Eliasson, Birnbaum, 139)
Crisis of place exist because edge conditions exist to pull individuals from fully interacting with their environment, the tangible interactions that is otherwise required to create definition of place. These edges exist as long stretches of highway infrastructure, segregating people from the physical closeness of their city and home, they exist as architecture that is purely anchored by aesthetics, promoting purely perceptual participation and nothing else, they are mental edges created by large spans of divide, placed between us and our neighbors and us and the city, and as a result is responsible for the undeveloped mental image of place. To correct what has become individuals fragments and often individualized understanding of place, a condition must be made available in order that one can enter into a realm of "collective perception" (Birnbaum, 139). The result of such a spatial condition will "release men and women from the confines of their prvate spaces... changing damaged individual experiences into energized collective perception. (Birnhaum, 139).
Consider for example, a movie theatre; the act of watching a movie amongst a hundred or so other participants, is an act of collective perception. Within a few second of the movie, one must fully and completely give themself up to the realm of cinema in order to completely grasp the story line, this is not an act that is just occuring within the confines of one's own mental capacity but rather one that is shared and experienced by others within the theatre. The simple act of shared experiences, allowed for what Walter Benjamin declares as a moment of emancipation that occurs as one reconstructs subjectivity.
Consider for example, a movie theatre; the act of watching a movie amongst a hundred or so other participants, is an act of collective perception. Within a few second of the movie, one must fully and completely give themself up to the realm of cinema in order to completely grasp the story line, this is not an act that is just occuring within the confines of one's own mental capacity but rather one that is shared and experienced by others within the theatre. The simple act of shared experiences, allowed for what Walter Benjamin declares as a moment of emancipation that occurs as one reconstructs subjectivity.
Perhaps what needs to occur within concept, is an element of fully engaging experiential happenings that blankets a city, bringing to fruition what is lost in experience by the lack of chemistry that occurs within the architecture, those whom the architecture is meant to interject with experiences, and the overall site that disjoints the architectural experiences into compartmentalized existence. Within these interventions, what exist is left to exist with nothing more than simple enhancements done upon it to bring a further cohesiveness of sensorial experiences.
Ex.1 A purely concept base design of frames that extents and interacts with the built environment.
Ex.2 Various experiential interventions created solely to awaken ones senses of their environment.
Ex.3 A preexisting building is taken and enhanced with elements that will awaken the senses.
Ex.1 A purely concept base design of frames that extents and interacts with the built environment.
Ex.2 Various experiential interventions created solely to awaken ones senses of their environment.
Ex.3 A preexisting building is taken and enhanced with elements that will awaken the senses.
Case Study Selection
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[Case Study1] [Top] Jean Nouvel- Louvre Museum, Abi Dhabi, United Arab Emirates
[Case Study2] [Bottom] Olafur Eliasson (with Gunther Vogt)- Mediated Motion, Bragenz Kunsthaus : Eliasson always includes the visitors to the exhibition, their senses, reflection, memory and their interpretations in his work. By means of their presence, the visitors change the installations, influence the sequence of occurrences and become aware of their perception and of themselves as perceiving. (http://www.galeries.nl/mnexpo.asp?exponr=5009)
Monday, September 7, 2009
Zoomscape: Architecture in Motion and Media by: Mitchel Schwarzer [p2]
"For many critics, the automobile isolates its occupants and turns the built environment into a zone of alienating passage through neutral architectcural infill. ...architectural historian warns that "driving from one theme environment to another, the endless, nondescript blocks of the city disappear." In this perspective, the simple act of driving might someday efface the city-at which point, it is possible no one will mind." (Schwarzer, 78)
"Early in the age of the automobile, however, apart from signs, the roadside had not yet acquired the sprawl of vehicular development. Sharp edes divided urban and rural landscapes. Roads passed through agricultural lands until quite near a town's boundary. For a brief period, because of their mobility, automobiles allowed people to experience contrasts between town and country." (Schwarzer, 81)
"Driving toward a city could feel like an artistic experience. Because of its speed, and because the driver and passengers might focus their attention at certain places, even stopping at special vistas, the car assembles landscapes in an almost painterly way." (schwarzer, 81)
"Early in the age of the automobile, however, apart from signs, the roadside had not yet acquired the sprawl of vehicular development. Sharp edes divided urban and rural landscapes. Roads passed through agricultural lands until quite near a town's boundary. For a brief period, because of their mobility, automobiles allowed people to experience contrasts between town and country." (Schwarzer, 81)
"Driving toward a city could feel like an artistic experience. Because of its speed, and because the driver and passengers might focus their attention at certain places, even stopping at special vistas, the car assembles landscapes in an almost painterly way." (schwarzer, 81)
Sunday, September 6, 2009
Tampa as the New Las Vegas
perhaps automobiles and architecture should embrace one another. as automobiles frames our place and architecture acts as the piece amongst many that define places, since automobile wont be disappearing soon, perhaps there needs to be an architecture or condition that will be more conscious of the presence of automobiles.
Think Las Vegas (as stated in Zoomscape). The existence of Las Vegas is built on being an environment that captures our sensorial experiences completely... the lights, sounds, the compression of spaces, the energy, the signage.... Las Vegas understands the person within a space, Las Vegas is an image, one that is provoked always and endlessly, rather your standing in a street or in the space, or even within your car, perhaps Downtown Tampa can be alittle more like Las Vegas.
Think Las Vegas (as stated in Zoomscape). The existence of Las Vegas is built on being an environment that captures our sensorial experiences completely... the lights, sounds, the compression of spaces, the energy, the signage.... Las Vegas understands the person within a space, Las Vegas is an image, one that is provoked always and endlessly, rather your standing in a street or in the space, or even within your car, perhaps Downtown Tampa can be alittle more like Las Vegas.
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