Showing posts with label templates. Show all posts
Showing posts with label templates. Show all posts

Thursday, 7 July 2022

Tentative Building Profiles : Speculative landing sites of surface, image and texts.

 








Tentative Building Profiles : Speculative landing sites of surface, image and texts.

5

Procedural Architecture


Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave.

Architectural Body

Madeline Gins and Arakawa


Working Notes/Holding in Place


Wayfinding/Movements through accumulated research

Running scripts, enactments, instances, involvements

Collaborative texts, complexity, emergent, discursive 


From The Bookcase to The Field Table : Landing Sites of Inquiry



Camouflage

Neil Leach

For Benjamin, the twentieth century is an age of alienation. Human beings are no longer 'cocooned' within their dwelling spaces. Architectural spaces are no longer reflections of the human spirit. Something has been lost.

Mimesis, 19.


New Concepts of Architecture

Existence, Space and Architecture

Christian Norberg-Schulz

A child 'concretizes' its existential space.


A Philosophy of Emptiness

Gay Watson

Artistic Emptiness

Everything flows, nothing remains.

Heraclitus


Rethinking Architecture

Neil Leach

Figure 1, Sketch by Jacques Derrida for Choral Work project. 343

Foucault, Figure 2 Bentham's Panopticon (1791). 360

Page laid in, The Atrocity Exhibition by J. G. Ballard, new revised edition,annotations, commentary, illustrations and photos.


Tracing Eisaenman

Plenum, juxtaposed to form/haptic values/body absences

Robert Mangold

Between moments of 'meaning' lie spaces or blanks of immediate experience. Such blanks are actuality. Usually the blank, the actuality, goes unnoticed because it works so efficiently to differentiate one meaningful event from another. Kubler discussed this in The Shape of Time.


Interactions of the Abstract Body

Josiah McElheny

Object Lesson/Heuristic Device

The term 'heuristic' is understood here to denote a method of addressing and solving problems that draws not on logic but on experience, learning and testing. In this regard stories and fictional narratives can be heuristic devices in acting as ideal models that are not to be emulated but which help to situate characters, actions and objects.


Space Between People

Degrees of virtualization

Mario Gerosa


Adaptive Architectural Design

Device-Apparatus

Place

Function

Adaptation

The second phase of project activity acknowledges that the proposal involves two sites; the landscape of settlement and the artifice of the factory. The design is intended to be a reflection of the conditions of each, so there was a need to work directly with the manufacturing process, at full scale, as early as possible. This would provide an immediate counterpoint to the earlier representations and a necessary part of exploring the manufacturing medium in the context of architectural design. 69


Building The Drawing

The Illegal Architect

Immaterial Architecture

Mark Cousins suggests that the discipline of architecture is weak because it involves not just objects but relations between subjects and objects. And if the discipline of architecture is weak, then so, too, is the practice of architects. Architecture must be immaterial and spatially porous, as well as solid and stable where necessary, and so should be the practice of architects.

Jonathan Hill

Index of immaterial architectures


Herzog and De Meuron

Natural History

Exhibiting Herzog and De Meuron

We are not out to fill the exhibition space in the usual manner and to adorn it with records of our architectonic work. Exhibitions of that kind just bore us, since their didactic value would be conveying false information regarding our architecture. People imagine that they can follow the process, from the sketch to the final, photographed work, but in reality nothing has really been understood, all that has happened is that records of an architectural reality have been added together.


My studio is a piece of architecture that is silent. The things of which it is made say all and at the same time nothing. Its strength lies in its demanding silence. A stern silence in order to permit works to occur. I imagine that a painting by Newman could be hung there.


The arrival of Beuys in a world that was gradually falling asleep amidst minimalism generated a kind of confusion that was truly excellent for opening up the mind. Comfort vanished, driven away by subversive complexity.


Speculative architecture

On the aesthetics of Herzog and De Meuron


Without opposition nothing is revealed,

no image appears in a clear mirror

if one side is not darkened

Jacob Bohme, De tribus principii (1619)


Reflections on a photographic medium

Memorial to the Unknown Photographer

Thomas Ruff's Newspaper Photos

Valeria Liebermann


Working Collages

Karl Blossfeldt


Anti Object

We are composed of matter and live in the midst of matter. Our objective should not be to renounce matter, but to search for a form of matter other than objects. What that form is called architecture, gardens, technology is not important. 

Kengo Kuma





Wednesday, 20 February 2013

Studio Spaces~Blue Sympathetically : Historical Spatial Frames/Registers

Blue Sympathetically : Engaging with the unknowable at the heart~midst of experience.
Studio Spaces : Historical Spatial Frames/Registers.


Alternative Photography
Documents from research archive

Tracing Light : Petworth House, West Sussex 2000
David Alan Mellor, Garry Fabian Miller.

Light And The Genius Loci
For Derrida, the sun not only marks the beginning of metaphoricity but it is also an inescapable reminder of the solar system and oscillations, hidings and occultrations, inherent in 'a certain history of the relationships; earth/sun inthe system of perception'.

Mutations Of Light
Petworth Window, 6 July 1999

Light's Windows And Rooms
Passing towards the Invisible.
The prospect of some metaphysical realm beyond the blue end of the spectrum and beyond material things illuminated to carnal sight, was a recurrent  theme in William Henry Fox Talbot's early speculations.

CATCHING THE LIGHT
The entangled history of light and mind
Arthur Zajonc

BROUGHT TO LIGHT
PHOTOGRAPHY AND THE INVISIBLE 1840-1900

Sight Unseen
Picturing The Universe
Corey Keller
Invisible objects, penciled by nature's own hand.
In his introduction to the exhibition catalogue Iconoclash: Beyond the Image Wars in Science, Religion, and Art, the historian of science Bruno Latour argues that scientific pictures are powerfully affective because they more than mere images; they are, as he puts it, the 'world itself'.

The Social
Photographic Eye
Jennifer Tucker
Nineteenth century science was characterized by both the appeal to visual evidence and the need for confirmation by the testimony of eyewitnesses. The latter explains why scientists pursued public viewings of their photographs by means of illustrated slide lectures, exhibitions, and reproduction in newspapers and magazines.
An understanding of the social boundaries of nineteenth century science helps make sense of a certain paradox within contemporary attitudes towards photography of the invisible. The ideal of mechanical objectivity in documenting visual knowledge demanded the elimination of the artist-observer and all of the subjectivity implicit in drawing by hand. 

Invisible Worlds
Visible Media
Tom Gunning
William Henry Fox Talbot, Slice of horse chestnut, seen through the solar microscope, 1840, salt print 18.6x22.5 cm.

Techniques Of The Observer
On Vision And Modernity In The Nineteenth Century
Jonathan Crary
The Camera Obscura and its Subject
Above all it indicates the appearance of a new model of subjectivity, the hegemony of a new subject-effect. First of all the camera obscura performs an operation of individuation; that is, it necessarily defines an observer as isolated, enclosed, and autonomous within its dark confines. It impels a kind of askesis, or withdrawal from the world, in order to regulate and purify one's relation to the manifold contents of the now 'exterior' world. 

UNDER THE SUN
By The Light Of The Fertile Observer
Metaphors of illumination in the photography of Christopher Bucklow, Susan Derges, Garry Fabian Miller, and Adam Fuss.
An Epiphany Of Light
David Alan Mellor

Christopher Bucklow , Guests
Jeanette Winterson, Gut Symmetries
Matter is provisional and that includes me. If the physics is correct then we are neither alive or dead as we commonly understand it, but in different states of potentiality.

From The Adamantine Land
Variations on the art of Christopher Bucklow
David Alan Mellor

Etienne-Jules Marey
A Passion For The Trace
Francois Dagognet

Painting, Photography, Film
Laszlo Moholy-Nagy
A Bauhaus Book

L. MOHOLY-NAGY:
DYNAMIC OF THE METROPOLIS
SKETCH FOR A FILM
ALSO TYPOPHOTO

OSKAR SCHLEMMER
MAN

Interaction of Color
Josef Albers

The Elements of Color
 Johannes Itten

Pedagogical Sketchbook
Paul Klee

The New Landscape in art and science
Gyorgy Kepes

The Colour  of Time
Garry Fabian Miller
The Majesty of Darkness
Adam Nicolson
The Unmade
The Pregnant
The Half Erotically Unmade

Camera Obscura of Ideology
Sarah Kofman
An optical instrument, which used in drawing, allows one to see at the same time the objects being drawn and the paper.

I Am Not This Body
Barbara Ess