Tuesday, April 24, 2007

Tuesday, April 10, 2007

Sunday, April 8, 2007

ProJecT_2a_ProcEdUrAL_sEqUeNcE

57 seconds_29 splices_Keanu Reeves_Collin Chou_Matrix Revolution

Tuesday, April 3, 2007

sPatiAL+TemPoRaL SeqUenCe_ConsTrUcTeD MorPHoloGY_VerSioNing


Gregg Pasquarelli's lecture was one of the best I have heard. My favorite part of his lecture was when he talked about model making (as versioning) and he said the part of the model you are having a problem building, the part you have trouble gluing together, is the exact detail and part of the construction process you will have problem with.
Without Versioning, without making hunderds of study models, nobody can conclude and finalize a final design. Thanks to versioning one day we will eliminate classical buildings and "skins".
With versioning we can easily go back and forth from computer to phyisical models. This process is more about detailing and working out small ornaments in the work of ShoP Architects or Lewis.Tsrumaki.Lewis or H_dM and more about form finding and spatial investigation in the work of Frank Gehry or Peter Eisenman.
The work of Nader Tehrani and Monica Ponce de Leon addresses geometry and patterning simultaneously as he puts in the Versioning reading. In my opinion their work and also the work of Herzog de Meuron is almost not spatial and only about skin and facade geometry. The perfect example is de Young Museum in San Francisco, a recent work by H_dM.
The building is entirely clad and covereed by bronze panels and has a 90 degree torque in the observation tower, only visible and noticable from the outside. Inside he building you will not experience any of the features or architecture used on the outside.
As we read in the text, Peter Eisenman and also Frank Gehry to a lesser extent strive for an architecture to resovles issues spatially and formally and are less concerened about smaller details or skinning. The form of Gehry's buildings on the outside are reflected on the inside.
Farshid Moussavi and Alejandro Zaero Polo and found the perfect balance between these two methods of investigation in the design of Yokohama Port Terminal. They delivered a single surface prototype where folding traits spread throughout all scales of the design. The urban proposal introduced the continuous ground as a mechansim for the penetration of urban space on the terminal’s roof and a start of a public space at the interface of terminal functions and city events. Farshid Moussavi calls it “a public space that wraps around the terminal, neglecting its symbolic presence as a gate, de-codifying the rituals of travel and a functional structure which becomes the mould of an a typological public space, a landscape with no instructions of occupation. The building’s formal determination manifests a topological surface concept in sequences of inclined curvilinear spaces that accomplish smooth transitions between programmatic elements. The construction principles intensify the overriding spatial concept by assigning the origami folded steel plate as the structural principle in order to demolish the traditional separation between building envelope and structure. Even though the fishbone structure of the building has a regular generic structure, every unit in the specific folded plate is differentiated.






In The fold, Leibniz and the Baroque, Deleuze introduces a set of baroque traits that contribute to the appreciation of contemporary art. These traits are summarized as follows:
1. The fold: the infinite work on process, not how to conclude, but how to continue, to bring to infinity.
2. The inside and the outside: the infinite fold separates or moves between matter and soul, the fa├žade and the closed room, the outside and the inside.
3. The high and the low: being divided into folds, the fold greatly expands on both sides thus connecting the high and the low.
4. The unfold: not as contrary to the fold, but as continuation of this act.
5. Textures: as resistant of the material, the way a material is folded constitutes its texture.
6. The paradigm: the fold of the fabric must not conceal its formal expression.
The traits that Deleuze introduces in his book, the Fold, Leibniz and the Baroque, have affected the thought process of many architects. These traits have turned themselves into an architectural technique that can now be delivered as a design method. Most important to understand is that folding is not an aesthetic way to objectify a building. The folding technique allows the building to situate itself with respect to its urban fabric. Folding is a way a building can relate to its context. Examples of this statement are evident in the selected projects discussed above and ongoing in the work of many contemporary architects such as Zaha Hadid, Peter Eisenman and Foreign Office Architects.

Friday, February 16, 2007

Coop Himmelb(L)au Quote:

"... We are fed up with seeing Palladio and other historical masks, because we do not want to exclude everything in architecture that makes us uneasy. We want architecture that has more to offer. Architecture that bleeds, exhausts, that turns and even breaks, as far as I am concerened, architecture that glows, that stabs, that tears and rips when stretched. Architecture must be precipitous, fiery, smooth, hard, angular, brutal, round, tender, colorful, obscene, randy, dreamy, en-nearing, distancing, wet, dry and heartstopping. Dead or alive. If it is cold, then cold as a block of ice. If it is hot, then as hot as a tongue of flame. Architecture must burn."