Site Diagrams - aerial shots and side views
Tuesday, November 13, 2007
Monday, November 12, 2007
For Dionysios
This reading has a lot of relevant points to what you were talking about with me the other day. You can find it on Jstor.org if you are logged into the pratt wireless. This author was recommended by Michael Eng during the midterm review.
Unbinding Vision - Jonathan Crary
"Thus perceptual modalities are in a constant state of transformation or, it might be said, in a state of crisis."
Unbinding Vision - Jonathan Crary
"Thus perceptual modalities are in a constant state of transformation or, it might be said, in a state of crisis."
Saturday, November 10, 2007
Midterm Notes for Matt Standeven from Mike Toaste
• Must be clear as to the contrast in which the metaphor is derived.
• Disintention / Intention
• Metaphor: Is the piano mechanism a metaphor?
• Opening of the Film was good but it went too long
• Trying to suspend two opposite emotions / ideas.
• Quote should be some aspect of contemporary thought: Two opposite ideas can be suspended against on-another
Toward the end:
• Imposing opposite program upon an already programmed space
• Confused about what the piano is supposed to do
• Interior of theater superimposed on object / ruin
• Nature of frame in ruins
• Demolition as performance
• Issue of play, in busses, piano vs. function or work
• Touch of piano vs. touch of demolition
• Theater and factory
• Again: Typewriter vs. piano. Touch, work, play
• Functional / Disfunctional
• Look at Matta-Clarke
• But there is something “interestingly different”
• Ruin is symbol, but is not an interior view
• Position outside an object vs. inside.
Notes: To what degree is the object unfunctional? Interior functional?”
• Piano is too literal
• Piano note is connecting metaphor between empty theater and ruin
• Mechanism of piano is an object but the sound is interiority
• Factories and leisure vessels
• Say less in simpler language
• Disintention / Intention
• Metaphor: Is the piano mechanism a metaphor?
• Opening of the Film was good but it went too long
• Trying to suspend two opposite emotions / ideas.
• Quote should be some aspect of contemporary thought: Two opposite ideas can be suspended against on-another
Toward the end:
• Imposing opposite program upon an already programmed space
• Confused about what the piano is supposed to do
• Interior of theater superimposed on object / ruin
• Nature of frame in ruins
• Demolition as performance
• Issue of play, in busses, piano vs. function or work
• Touch of piano vs. touch of demolition
• Theater and factory
• Again: Typewriter vs. piano. Touch, work, play
• Functional / Disfunctional
• Look at Matta-Clarke
• But there is something “interestingly different”
• Ruin is symbol, but is not an interior view
• Position outside an object vs. inside.
Notes: To what degree is the object unfunctional? Interior functional?”
• Piano is too literal
• Piano note is connecting metaphor between empty theater and ruin
• Mechanism of piano is an object but the sound is interiority
• Factories and leisure vessels
• Say less in simpler language
time frame
i hope you all have read dan's earlier post about timeframe and expectations...if not...scroll down now...
Friday, November 09, 2007
Presentation and Note
Note From Presentation
-Problem with word Memory- Not metaphor for Memory but For the past anf life lived.
-Framing a possibility for holding light architecturally
-Nature changes- Memory of nature changes
-No begining and No end
-Program: Interactive Museum, Trace of human being there- traces, leaving your mark
-Focus on Experience of Body
-Juxtoposition of Waste & Nature: In program- What is waste/ unvaluable becomes meaningful and valuable. Example: Graffiti
-Explore idea of Value
-Use better model than Cornell's work
-Nebleson: City corp Building- Caple
Thursday, November 08, 2007
Site Ideas
Here are some sites that I have been considering with my reasoning for them:
1.Smith/9th st. stop and Gowanus Canal:
I like the idea of the verticality of the station (its shear height), crossing over the canal, which is a kind of remnent of the old city...Also, and this goes for a few of the sites I have considered, I would like my site to be a place where many people may pass through, but is also related or in proximity to a body of water.
2. L.I.C. New Town Creek railyards:
SImilar to the proposal above, but the massive railyards which lay adjacent to the creek are only crossed by one road at its widest point, creating a huge tear in the urban fabric of this part of the city.
3. Roosevelt Island, southern tip:
I have considered this site for a while, even though recently a Kahn designed FDR memorial (proposed back in the 70s) has been approved for construction. The site is sort of surreal because when there, you feel both isolated and surrounded: Isolated by the barrenness and openness to the river, and surrounded by high rises on either bank of the river. The shape of this tip of the island is almost streamlined, evidence of the constant rush of water wearing away its coast. Perhaps too isolated, though...
4. Jacob Riis Park/Fort Tilden:
Jacob Riis is a massive public beach facility in the Rockaways which has a massive parking lot, and several abandoned buildings, including what I believe was a hospital, adjacent to it. Fort Tilden is an abandoned military base that was meant to defend against foriegn armies landing in NYC. It is now part of Gateway National Rec. Area and is one of my favorite places in the city due to its isolation and history: you don't really feel like you're in NYC. Again, perhaps too isolated.
I have some other Ideas, but they are more or less related to or similar in quality to those listed above.
1.Smith/9th st. stop and Gowanus Canal:
I like the idea of the verticality of the station (its shear height), crossing over the canal, which is a kind of remnent of the old city...Also, and this goes for a few of the sites I have considered, I would like my site to be a place where many people may pass through, but is also related or in proximity to a body of water.
2. L.I.C. New Town Creek railyards:
SImilar to the proposal above, but the massive railyards which lay adjacent to the creek are only crossed by one road at its widest point, creating a huge tear in the urban fabric of this part of the city.
3. Roosevelt Island, southern tip:
I have considered this site for a while, even though recently a Kahn designed FDR memorial (proposed back in the 70s) has been approved for construction. The site is sort of surreal because when there, you feel both isolated and surrounded: Isolated by the barrenness and openness to the river, and surrounded by high rises on either bank of the river. The shape of this tip of the island is almost streamlined, evidence of the constant rush of water wearing away its coast. Perhaps too isolated, though...
4. Jacob Riis Park/Fort Tilden:
Jacob Riis is a massive public beach facility in the Rockaways which has a massive parking lot, and several abandoned buildings, including what I believe was a hospital, adjacent to it. Fort Tilden is an abandoned military base that was meant to defend against foriegn armies landing in NYC. It is now part of Gateway National Rec. Area and is one of my favorite places in the city due to its isolation and history: you don't really feel like you're in NYC. Again, perhaps too isolated.
I have some other Ideas, but they are more or less related to or similar in quality to those listed above.
Wednesday, November 07, 2007
Class Notes
Here are the notes that I took. I am working on getting other students' notes.
Lex Braes_
Piano could be a metaphor
Film too long
Desperate Opposites
Lost Opposites
Suspension of opposite ideas
Strength
Use modern quote
Suspension of opposite ideas of same time
Too many theoretical works
Dave Gilesda_
Got somewhere in the beginning
End was confusing
Imposition of opposites
Program
Ruins is a good place to see it invade space
With a new theoretical program
Doesn’t understand piano
Theater has an absolute program and ruin is waiting for a program
Cut metaphor and develop idea
Marc Shaut_
Empty field > Demo site
Connecting nature of site
Demolition as performance
Play condition of piano and play condition of bus scene
Play as opposed to work
How would a pianist take apart a building?
Typewriter – instruments relative to touch
Work > typewriter
Play > piano
Function > Disfunction
Dave Gilesda_
Research Gordon Matta Clarke
What slightest incision can I make to alter purpose
Dan Buscecu_
Many pieces
Quotes don’t hang together
Relationship of mechanics possibly not there
Symbol of unfunctional object
Interiority is subjective
Placing self outside and just reading meaning
Explained metaphor is not a metaphor
Physical experience of space separates architecture from forms of art
Metaphor of sound of piano, not piano itself
Empty theater to destructive building must connect note to sound
Do not explain film
Marc Schaut_
Leisure boats amongst functional boats in channel in film
Stop hiding behind words
Explain at the fourth grade level
Say less
Edit
Resonation as a word
Serial killers can be identified by the missing letter on the typewriter they use to type the note to the police.
Lex Braes_
Piano could be a metaphor
Film too long
Desperate Opposites
Lost Opposites
Suspension of opposite ideas
Strength
Use modern quote
Suspension of opposite ideas of same time
Too many theoretical works
Dave Gilesda_
Got somewhere in the beginning
End was confusing
Imposition of opposites
Program
Ruins is a good place to see it invade space
With a new theoretical program
Doesn’t understand piano
Theater has an absolute program and ruin is waiting for a program
Cut metaphor and develop idea
Marc Shaut_
Empty field > Demo site
Connecting nature of site
Demolition as performance
Play condition of piano and play condition of bus scene
Play as opposed to work
How would a pianist take apart a building?
Typewriter – instruments relative to touch
Work > typewriter
Play > piano
Function > Disfunction
Dave Gilesda_
Research Gordon Matta Clarke
What slightest incision can I make to alter purpose
Dan Buscecu_
Many pieces
Quotes don’t hang together
Relationship of mechanics possibly not there
Symbol of unfunctional object
Interiority is subjective
Placing self outside and just reading meaning
Explained metaphor is not a metaphor
Physical experience of space separates architecture from forms of art
Metaphor of sound of piano, not piano itself
Empty theater to destructive building must connect note to sound
Do not explain film
Marc Schaut_
Leisure boats amongst functional boats in channel in film
Stop hiding behind words
Explain at the fourth grade level
Say less
Edit
Resonation as a word
Serial killers can be identified by the missing letter on the typewriter they use to type the note to the police.
Precis_03
I am developing this further from the class comments but this is what I have condensed to date.
My précis is a space that will provide the experiential possibility for the audience/occupant to become the creator. The first means of investigation will be into how the human perceives. The second will be into understanding the devices that exist that will connect the human to their creation or the language of their creation. The third will be an analysis of an existing site that will be the space where this intervention will exist. The fourth will be an abstraction of the qualities of the three structures and how this new construct will function experientially within its site.
Existing programs used as points of departure:
1. Wall Street. A Performance space on the trading floor
2. Theater/school build into the ruins of a demolished building
3. Treehouse - the woods being the wilderness amongst the suburbs that suspends societal influence and allows for the development of multiple identities within the same individual
4. Urban alcoves - physical gaps between structures in urban environments
My précis is a space that will provide the experiential possibility for the audience/occupant to become the creator. The first means of investigation will be into how the human perceives. The second will be into understanding the devices that exist that will connect the human to their creation or the language of their creation. The third will be an analysis of an existing site that will be the space where this intervention will exist. The fourth will be an abstraction of the qualities of the three structures and how this new construct will function experientially within its site.
Existing programs used as points of departure:
1. Wall Street. A Performance space on the trading floor
2. Theater/school build into the ruins of a demolished building
3. Treehouse - the woods being the wilderness amongst the suburbs that suspends societal influence and allows for the development of multiple identities within the same individual
4. Urban alcoves - physical gaps between structures in urban environments
Mid-term notes
Very strong connection with the sculpture because the sculpture let the sculpture speak for itself.
Illusionistic space
dealing with perception-the perceived field
showing a way to see more minimalism
Great reflections let the piece be about itself
the program link is a little weak try and deal with something that you are interested in
let artists work allow something to happen.
way you're dealing with reflecton is very effective enhancing the field
Everyday architecture-reflections of interior light
nice coincidences -utilize them
how is what you're going to do (What you've found) any different from Barcelona Pavillion.
Abstract expressionist manner (with relation to the film)
new perceived reality was created when you filmed the hallway.
Drop the word surreal-the dream
This thing can't just exist in the mind
you're entirely priviledging the retinal experience
deal with the concrete spatiality
However perception isn't entirely visual
You've made a cylinder without a from- great
Walter de Maria- W. Broadway-Broken kilometer
The eye symbolic - what was your intention there?
reflection is confusion?
Surrealism could actually be very clear- chaos after the world wars
Artist- program is a problem because:
don't want to walk into a condition, a set one artists want to walk into nature.
program- port authority?
a normative program
the subject of the program should no be art
There is a need for internal logic.
Taking fragments of an existing typology.
Illusionistic space
dealing with perception-the perceived field
showing a way to see more minimalism
Great reflections let the piece be about itself
the program link is a little weak try and deal with something that you are interested in
let artists work allow something to happen.
way you're dealing with reflecton is very effective enhancing the field
Everyday architecture-reflections of interior light
nice coincidences -utilize them
how is what you're going to do (What you've found) any different from Barcelona Pavillion.
Abstract expressionist manner (with relation to the film)
new perceived reality was created when you filmed the hallway.
Drop the word surreal-the dream
This thing can't just exist in the mind
you're entirely priviledging the retinal experience
deal with the concrete spatiality
However perception isn't entirely visual
You've made a cylinder without a from- great
Walter de Maria- W. Broadway-Broken kilometer
The eye symbolic - what was your intention there?
reflection is confusion?
Surrealism could actually be very clear- chaos after the world wars
Artist- program is a problem because:
don't want to walk into a condition, a set one artists want to walk into nature.
program- port authority?
a normative program
the subject of the program should no be art
There is a need for internal logic.
Taking fragments of an existing typology.
updated STUDIO SCOPE OF WORK for the SECOND HALF
Dear All:
I am happy to see that you are, as Mark reminded you all, begining to post
notes from the class crit. I thought that the review was very useful to all and thatv the guest critics made very valuable comments again.
Now we have to turn our attention immidiately to the work left in front of us until the final review on December 11.
Regardless how clear or set you may or maynot be at this point in zooming in on a program for your degree project I hope that you all will choose one for now. The reason for this request is that while you are looking for a site you must have some schematic idea of what kind of construction , what size and for what purpose you
are choosing the site for. You must do this this week and video tape it as
requested.
Bellow is a updated project schedule for your use.
UPDATED Nov 7, 2007
Pratt Institute School of Architecture
Undergraduate Architecture Program
Course Syllabus
Arch 484P Degree Project Research
Fall 2007
Marc Schaut / Dan Bucsescu
STUDIO SCOPE OF WORK for the SECOND HALF of the semester
Application of the studio "material practice" or in other words, "how do students go about in starting the project.
The studio directed research has established the following:
(1) a theoretical frame : that is an approach to the question of “form and meaning” and the notion of
“ Interiority” under theme of "the metaphors we live by” and “synaestesia”
(2) a material practice : that is a skill, a tool, a method, that is to make a film, edit and draw in it an installation
(3) a start in developing a program.
As part of our studio’s approach to material practice and in the service of the theoretical frame we have in the first half of the research seminar used analysis of art installations and films. We also learned how to shoot and edit a short film. These tools will be used again to start the design process of the degree project in the sedcond half of the fall semester. We will begin by making a film about the chosen/found or given real world site.
Nov 6- Nov 13
A The students should refine their program in three ways:
1: A statement of the social and cultural vision/mission of their program.
This is a statement of its values and purpose in a larger sense (half a page)
2. A qualitative "description" of certain architectural spatial/tactile/sound etc. that they feel would support (metaphorically) the mission of the program. This should be related to their first film.
3. The student must also in addition, develop a quantitative program: What functions/activities are included in the program to fulfill its mission: how may people and what they do there and physical requirements.
Date Due : Nov 6
B. During the same week they must choose a site in New York and it's vicinity.
Nov 13 - Nov 20
MAKE A FILM OF THE SITE AND DRAW INTO IT
Once a site is selected and documented (palns, sections,history etc) the students proceed to MAKE A FILM OF THE SITEB AND DRAW IN IT. These sketches are for the purpose of asking themselves such questions as:
1. How do I enter and move through the site? Jour nay on the land.
2. What are the sensorial attributes of the site (views,smells, sounds, light etc)
3. Where would I build my program?
4. Select important stills and collage into them . Wrte a short paragraph about each
5. The film should also have plans and sections inserted in the film
These are to my mind part of site analysis and will establish the signature material practice of our studio.
Nov 20 – Nov 27
EDIT FILM AND DRAW IN IT. SKETCH ON STILLS. DEVELOP A SIT STRATEGY FOR YOUR PRELIMINARY DESIGN GESTURE
Nov 27 – Dec 11
PRELIMINARY “GESTURAL” DESIGN PROPOSAL
BOOKLET DUE NOVEMBER 27
In the remaining time they should make a very preliminary “gestural” design proposal for the final review. In other words a method of starting the design which is not conventional in the sense of starting in 2 D site analysis or plan geometry or any other method they have learned in the past.. It also does not start with a functional program although that must be in the student’s mind as they work on the film. The film offers us an almost "synaesthetic” approach with interiority, movement and sound.
All students are REQUIRED TO START the design THIS WAY !!
I am happy to see that you are, as Mark reminded you all, begining to post
notes from the class crit. I thought that the review was very useful to all and thatv the guest critics made very valuable comments again.
Now we have to turn our attention immidiately to the work left in front of us until the final review on December 11.
Regardless how clear or set you may or maynot be at this point in zooming in on a program for your degree project I hope that you all will choose one for now. The reason for this request is that while you are looking for a site you must have some schematic idea of what kind of construction , what size and for what purpose you
are choosing the site for. You must do this this week and video tape it as
requested.
Bellow is a updated project schedule for your use.
UPDATED Nov 7, 2007
Pratt Institute School of Architecture
Undergraduate Architecture Program
Course Syllabus
Arch 484P Degree Project Research
Fall 2007
Marc Schaut / Dan Bucsescu
STUDIO SCOPE OF WORK for the SECOND HALF of the semester
Application of the studio "material practice" or in other words, "how do students go about in starting the project.
The studio directed research has established the following:
(1) a theoretical frame : that is an approach to the question of “form and meaning” and the notion of
“ Interiority” under theme of "the metaphors we live by” and “synaestesia”
(2) a material practice : that is a skill, a tool, a method, that is to make a film, edit and draw in it an installation
(3) a start in developing a program.
As part of our studio’s approach to material practice and in the service of the theoretical frame we have in the first half of the research seminar used analysis of art installations and films. We also learned how to shoot and edit a short film. These tools will be used again to start the design process of the degree project in the sedcond half of the fall semester. We will begin by making a film about the chosen/found or given real world site.
Nov 6- Nov 13
A The students should refine their program in three ways:
1: A statement of the social and cultural vision/mission of their program.
This is a statement of its values and purpose in a larger sense (half a page)
2. A qualitative "description" of certain architectural spatial/tactile/sound etc. that they feel would support (metaphorically) the mission of the program. This should be related to their first film.
3. The student must also in addition, develop a quantitative program: What functions/activities are included in the program to fulfill its mission: how may people and what they do there and physical requirements.
Date Due : Nov 6
B. During the same week they must choose a site in New York and it's vicinity.
Nov 13 - Nov 20
MAKE A FILM OF THE SITE AND DRAW INTO IT
Once a site is selected and documented (palns, sections,history etc) the students proceed to MAKE A FILM OF THE SITEB AND DRAW IN IT. These sketches are for the purpose of asking themselves such questions as:
1. How do I enter and move through the site? Jour nay on the land.
2. What are the sensorial attributes of the site (views,smells, sounds, light etc)
3. Where would I build my program?
4. Select important stills and collage into them . Wrte a short paragraph about each
5. The film should also have plans and sections inserted in the film
These are to my mind part of site analysis and will establish the signature material practice of our studio.
Nov 20 – Nov 27
EDIT FILM AND DRAW IN IT. SKETCH ON STILLS. DEVELOP A SIT STRATEGY FOR YOUR PRELIMINARY DESIGN GESTURE
Nov 27 – Dec 11
PRELIMINARY “GESTURAL” DESIGN PROPOSAL
BOOKLET DUE NOVEMBER 27
In the remaining time they should make a very preliminary “gestural” design proposal for the final review. In other words a method of starting the design which is not conventional in the sense of starting in 2 D site analysis or plan geometry or any other method they have learned in the past.. It also does not start with a functional program although that must be in the student’s mind as they work on the film. The film offers us an almost "synaesthetic” approach with interiority, movement and sound.
All students are REQUIRED TO START the design THIS WAY !!
Tuesday, November 06, 2007
LARGE MARGE IS MISSING
My jumpdrive went missing in class today and I am wondering if anyone has seen it. It is a 1 gig PNY attache named LARGE MARGE. Any inquiries would be much appreciated.
Thanks,
Matt
Thanks,
Matt
notes from midterm
Here are the notes I got from my presentation.
Explain the relation of fear, contemplation and frustration a bit more wtih regard to the sense list. Have you considered an emotion list?? Also look at contemplation in regards to the installation piece.
Both installation and lodge in The Shining are buildings in landscape.
literature/research on color/symbolism of color - color theory, look at Gurter (spelling??)
Is order a higher priority then chaos?
color codes are not irrelevant. is color coding subjective? also culture dependant
Maybe opened up a lot more then I need to.
Point of verticality in installation becomes lost.
Borges - time, existing - splitting time.
I'm illustrating the actual metaphor, the market maybe too literal as a maze. Should let it be w/o color coding (painting of overlaying mazes)
Walk through the park is good. Split screen provides many possibilties. Junctions are a strong point. Need to be more ambiguous. Don't explain too much because then you lose the metaphor.
History of Fort Greene park, it used t have a prison, hell is below. A landfill also used to be at the park. It was a British prison for Americans (a book came out about this, about 6 months ago)
Concentration vs. confusion - MRI on brain, when you really focus, the dot activity reduced to nothing and very concentrated. When relaxed, the dot activity is loose and all over the place.
Lots of emotion is picked up in film - danger, sadness, fear, peacefulness
Hell and Heaven aren't really emotion in nature, they are mythological and conventional.
The movie maze is central/circular, they is no way out - refers to minatour
Explain the relation of fear, contemplation and frustration a bit more wtih regard to the sense list. Have you considered an emotion list?? Also look at contemplation in regards to the installation piece.
Both installation and lodge in The Shining are buildings in landscape.
literature/research on color/symbolism of color - color theory, look at Gurter (spelling??)
Is order a higher priority then chaos?
color codes are not irrelevant. is color coding subjective? also culture dependant
Maybe opened up a lot more then I need to.
Point of verticality in installation becomes lost.
Borges - time, existing - splitting time.
I'm illustrating the actual metaphor, the market maybe too literal as a maze. Should let it be w/o color coding (painting of overlaying mazes)
Walk through the park is good. Split screen provides many possibilties. Junctions are a strong point. Need to be more ambiguous. Don't explain too much because then you lose the metaphor.
History of Fort Greene park, it used t have a prison, hell is below. A landfill also used to be at the park. It was a British prison for Americans (a book came out about this, about 6 months ago)
Concentration vs. confusion - MRI on brain, when you really focus, the dot activity reduced to nothing and very concentrated. When relaxed, the dot activity is loose and all over the place.
Lots of emotion is picked up in film - danger, sadness, fear, peacefulness
Hell and Heaven aren't really emotion in nature, they are mythological and conventional.
The movie maze is central/circular, they is no way out - refers to minatour
Monday, November 05, 2007
Meret Oppenheim images
These were the only good images I could find online- I'll keep looking for related images
review tomorrow
anita cooney will join us @ 11am tomorrow. Dan has also secured another juror for 9:30. I am still working on Karin...
PLEASE BE READY TO BEGIN PROMPTLY @ 9:30. see my earlier post from aline.
PLEASE BE READY TO BEGIN PROMPTLY @ 9:30. see my earlier post from aline.
Sunday, November 04, 2007
Class Schedualing For Next Semester
Nov. 12th i believe online registration is accessible for scheduling classes for next semester. I want to confirm what time we will be conducting the studio section for thesis next semester as it greatly effects our choices for other classes. The office mentioned we are listed as 2-6 mon. and thurs., can this be confirmed? Also i would like to open the comments as a forum from professors, critiques and/or students on a discussion or recommendation of related electives to the studio that may be of interest. Both architectural and all institute elective that may assist us in formulating a concise and relative ending to our time at pratt in Thesis. PLEASE TAKE THE TIME TO RESPOND, I THINK ITS AN IMPORTANT FORUM WE CAN ESTABLISH TO HELP US PREPARE FOR NEXT SEMESTER. THANK YOU!
Saturday, November 03, 2007
Notes for Ahmet
Dear Ahmet:
I am sorry for responding so late. I know you were eager to hear some response from us. You did in fact hear my lengthy comments at the end of the previous week.
I have watched your film again and find it really rich and beautiful including the main word you chose.....
Abyss
From Wikipedia, the free encyclopedia
Abyss may mean:
Sciences and philosophy
· Abyssal zone, the deepest extent of the sea.
· Abyssal plain, a flat area on the ocean floor.
· Abyss (religion), is a bottomless depth.
· Abyss (Thelema), a spiritual principle within the system of Thelema.
Literature
· The Abyss (novel), historical novel by Marguerite Yourcenar,
alternatively know as Zeno of Bruges.
· The Abyss, horror novel (1989) by U.S. writer Steve Vance.
· The People of the Abyss by Jack London
· The Abyss, the deepest parts of the Timeless Halls in J. R. R. Tolkien's
legendarium
I wander why you feel the need to jump so far away from the topic of your film that of Abyss. From it you can choose to move to spiritual and religious issues as found in Wikipedia see the Abyss (religion), is a bottomless depth., Abyss (Thelema), a spiritual principle within the system of Thelema.,.
Although there are no hard rules in this game of metaphoric constructions, tighter connections are desired. ambiguity and complexity are part of it, but confusion and anything goes attitutde do not help.
I would not leave the forest if I where you. Going to Hollywood , is cool and funny,
and a stage set is siteless.....At least you are in Holly- woods…....a forest of of a kind…...the simulated happiness (holly or not) of gambling on the American dream..is that what you intended to say. I don’t quite get the connection to the Berlin wall and/or to you spiritual interest in Islam, which I admire, but by itself does not seem to me to be an architectural question for a degree project (as I said last week).
I hope this triggers a focused and productive discussion that would lead you, very soon, to a concrete program and site selection. All of this does not mean that you could not capture the spatial, visual, tactile, audio qualities of a mosque as you develop a program, but I did not see you yet, deal with those sensorial attributes as you think about your degree project. Politics and symbolism seemed to dominate your approach. Again, just to make sure that I am not missunderstood: I am not saying that those aspects of architecture are not important or real, but they are not the focus of our studio’s pedagogical startegy.
I am sorry for responding so late. I know you were eager to hear some response from us. You did in fact hear my lengthy comments at the end of the previous week.
I have watched your film again and find it really rich and beautiful including the main word you chose.....
Abyss
From Wikipedia, the free encyclopedia
Abyss may mean:
Sciences and philosophy
· Abyssal zone, the deepest extent of the sea.
· Abyssal plain, a flat area on the ocean floor.
· Abyss (religion), is a bottomless depth.
· Abyss (Thelema), a spiritual principle within the system of Thelema.
Literature
· The Abyss (novel), historical novel by Marguerite Yourcenar,
alternatively know as Zeno of Bruges.
· The Abyss, horror novel (1989) by U.S. writer Steve Vance.
· The People of the Abyss by Jack London
· The Abyss, the deepest parts of the Timeless Halls in J. R. R. Tolkien's
legendarium
I wander why you feel the need to jump so far away from the topic of your film that of Abyss. From it you can choose to move to spiritual and religious issues as found in Wikipedia see the Abyss (religion), is a bottomless depth., Abyss (Thelema), a spiritual principle within the system of Thelema.,.
Although there are no hard rules in this game of metaphoric constructions, tighter connections are desired. ambiguity and complexity are part of it, but confusion and anything goes attitutde do not help.
I would not leave the forest if I where you. Going to Hollywood , is cool and funny,
and a stage set is siteless.....At least you are in Holly- woods…....a forest of of a kind…...the simulated happiness (holly or not) of gambling on the American dream..is that what you intended to say. I don’t quite get the connection to the Berlin wall and/or to you spiritual interest in Islam, which I admire, but by itself does not seem to me to be an architectural question for a degree project (as I said last week).
I hope this triggers a focused and productive discussion that would lead you, very soon, to a concrete program and site selection. All of this does not mean that you could not capture the spatial, visual, tactile, audio qualities of a mosque as you develop a program, but I did not see you yet, deal with those sensorial attributes as you think about your degree project. Politics and symbolism seemed to dominate your approach. Again, just to make sure that I am not missunderstood: I am not saying that those aspects of architecture are not important or real, but they are not the focus of our studio’s pedagogical startegy.
Notes for Matt
Dear Matt:
I love your title. It is a perfect expression of interiority.
Here is not Everywhere.
I was finally able to see your film and read your last post on the blog. I have some reactions but would prefer to say it face to face for speed and dialogue. I would have liked to hear your personal verbal explanation of everything. The reason for this is the fact that most of the staff presented is in a collection of quotes, photos and drawings and a description of the functions of a piano. It is like your film (as you said ion the blog), a bit jumpy, it fills like a series of stills. That makes it seem that you atre always outside the subject not inside even when you look at the interior of the theater. You are looking at a ruin from outside, as an symbol. The piano is also a symbol of a connection between the finger and the sound. (as you once explained in class, I believe). I would have preferred to listen to a piece of music ..that would have been more of an interior experience so to speak.
More importantly, your film lacks “interiority” and direct experience of space, which was the main purpose of making a film towards capturing an architectural experience. Your film is flat and informational not visually sensual.
Hot Ashes for Trees said...
Video is jumpy. Boo.
8:21 AM, October 15, 2007
Hot Ashes for Trees said...
Theater/School
Treehouse
Balcony space attached to high rise
Urban Alcove
9:04 PM, October 16, 2007
Hot Ashes for Trees said...
Matt Standeven
Angels – Spiritual human being connecting to the empirical human
Weight – The anticipated consequence of consciousness creates the impulse of function
Allow me some general comments about your entire presentation to date.
We will need to talk in class on Tu after you present it more fully. Mark and I hope to have some other critics.
I must confess that I do not quite understand the connections between ideas (as presented in the quotes), images, drawings, programs etc. Yes one can make a collage of unrelated items but still we have an obligation to
explain those choices, their order and the inner logic of association when put together.. They are not self-explanatory. I will wait for your verbal presentation of explaining each quote, image and choice of program.
This jumpy, disjointed quality of al the items lacks overall coherence.
While that may be said about other students work it is more so in your case. But if one looks at them, as they are in the film and in the slides, they all have common quality: you always look at the object from outside.(as I said above about your film. Somehow the same quality is carried to your quotes and your last drawing . While the drawing is seductive (you are talented),it does not respond to our request for a notational drawing of your film.
That drawing is a conventional 2D schematic design section (made to imitate a piano organization). It is not only premature to preconceive the design at this point (no fully developed program or site), it also does not follow the studio theoretical frame work that biases an interior approach to design as opposed from conceiving of form from outside. Of course we should do both at all times, but in this particular pedagogical strategy that we have established for the studio, the interior experience of space should be the trigger of the project.
More about that later. I hope this is helpful in starting a discussion.
I love your title. It is a perfect expression of interiority.
Here is not Everywhere.
Can we make your project live up to this title?
I love your title. It is a perfect expression of interiority.
Here is not Everywhere.
I was finally able to see your film and read your last post on the blog. I have some reactions but would prefer to say it face to face for speed and dialogue. I would have liked to hear your personal verbal explanation of everything. The reason for this is the fact that most of the staff presented is in a collection of quotes, photos and drawings and a description of the functions of a piano. It is like your film (as you said ion the blog), a bit jumpy, it fills like a series of stills. That makes it seem that you atre always outside the subject not inside even when you look at the interior of the theater. You are looking at a ruin from outside, as an symbol. The piano is also a symbol of a connection between the finger and the sound. (as you once explained in class, I believe). I would have preferred to listen to a piece of music ..that would have been more of an interior experience so to speak.
More importantly, your film lacks “interiority” and direct experience of space, which was the main purpose of making a film towards capturing an architectural experience. Your film is flat and informational not visually sensual.
Hot Ashes for Trees said...
Video is jumpy. Boo.
8:21 AM, October 15, 2007
Hot Ashes for Trees said...
Theater/School
Treehouse
Balcony space attached to high rise
Urban Alcove
9:04 PM, October 16, 2007
Hot Ashes for Trees said...
Matt Standeven
Angels – Spiritual human being connecting to the empirical human
Weight – The anticipated consequence of consciousness creates the impulse of function
Allow me some general comments about your entire presentation to date.
We will need to talk in class on Tu after you present it more fully. Mark and I hope to have some other critics.
I must confess that I do not quite understand the connections between ideas (as presented in the quotes), images, drawings, programs etc. Yes one can make a collage of unrelated items but still we have an obligation to
explain those choices, their order and the inner logic of association when put together.. They are not self-explanatory. I will wait for your verbal presentation of explaining each quote, image and choice of program.
This jumpy, disjointed quality of al the items lacks overall coherence.
While that may be said about other students work it is more so in your case. But if one looks at them, as they are in the film and in the slides, they all have common quality: you always look at the object from outside.(as I said above about your film. Somehow the same quality is carried to your quotes and your last drawing . While the drawing is seductive (you are talented),it does not respond to our request for a notational drawing of your film.
That drawing is a conventional 2D schematic design section (made to imitate a piano organization). It is not only premature to preconceive the design at this point (no fully developed program or site), it also does not follow the studio theoretical frame work that biases an interior approach to design as opposed from conceiving of form from outside. Of course we should do both at all times, but in this particular pedagogical strategy that we have established for the studio, the interior experience of space should be the trigger of the project.
More about that later. I hope this is helpful in starting a discussion.
I love your title. It is a perfect expression of interiority.
Here is not Everywhere.
Can we make your project live up to this title?
Friday, November 02, 2007
notes
for derik lee
camera as ominous embodiment of space
observed in so many ways - unsettled space
camera looking at me - what is looking at me?
suspense - listen acutely - something coming at you - spatial physiological things arise
places to be seen - solicit that surveillance
Adolf Loos - Michaelerplatz house 1918
- department store -not conventional - wasn't wide open
idea of European arcades
American dept. store - inverted the European Arcade - purely looking in.
further analysis of precedents?
camera as ominous embodiment of space
observed in so many ways - unsettled space
camera looking at me - what is looking at me?
suspense - listen acutely - something coming at you - spatial physiological things arise
places to be seen - solicit that surveillance
Adolf Loos - Michaelerplatz house 1918
- department store -not conventional - wasn't wide open
idea of European arcades
American dept. store - inverted the European Arcade - purely looking in.
further analysis of precedents?
Thursday, November 01, 2007
Notes from Mid-review
Robin:
Centered on the issues of voyeurism:
Consider the difference between the Lucasian Gaze and the Sartrian Gaze or “Regarde.” The difference being that Sartre spoke of the gaze as always involving another person, as opposed to the gaze of any object.
Look at:
Blow-Up, Antoinioni
Knut Asdam “Heterotopias”
It was commented that the film was “very analytical,” at the same time you need to do more investigation into the workings of the film.
Alanna:
Consider using not light as an editor of space, but notions of geometry and material as an editor of light/space.
It was said that we tend to focus only what happens in film, instead of focussing on how it was constructed. In this way, how does the “shot” (“frame,” maybe) incluence the structure of architecture?
As a general comment: Things my be lost in translation between media, but there also can be something gained. Concept of the “artifact.”
Consider the concept of the blindspot, and more specifically, how the brain lies to fill in the blindspot.
To what degree does this also lead to “internal censorship,” in which the mind makes an decision of what information is valuable and what is not?
Turn to physiology in studying vision: “Techniques of the Observer.”
What different aspects of the screen are present?
In this way, it is more about desgning the “lens” than the light itself...What are the colors/qualities/textures of light that you wish to filter or expose?
The Mary Miss piece could be considered in that it will cause people to respond to nature more in the way that she does, so the question is: why did Mary Miss make the decisions she did, not only in the veil itself but in the structure around it. In what ways do these things influence the experience of the piece?
Look at:
Thomas Kumem (sp?): Light as Paradigm.
James Turrell...although Eng is not a fan, it is still worth looking at.
Kristof Wodiczko, runs MIT media lab.
Alberti’s works on perspective. (Movie and Miss: “Alberti-esque” pictures of the world)
Jonathan Crary: “Techniques of the Observer”
Foucault: Disciplinary aspects of perception
Noorah:
Consider:
Mirror and the role of person in Antonioni,
It was said that the more we appropriate context, the more we can get into poetics.
In regards to program choice, what if you could connect a war memorial with an orphanage, or make some kind of a displacement center. If this is an option, how do you get people to find each other quickly after a disaster or displacement? An embassy could also have a displacement function.
“Sophistication of the game is in the rules”
As a general note, consider thesis as a “top down” process, in which an idea comes first, then program, site, etc. can be considered through the lens of the idea: It can be dangerous to become pinned down by all of the associations and notions connected to a particular place, program, etc.
Critics liked the way that you switched back and forth between the computer and hand drawings.
How does the “state” reflect itself in US culture (by state, I believe that foreign countries and their cultures was meant).
Unfortunately, I did not have my notebook in hand as Derrick presented...sorry about that.
Centered on the issues of voyeurism:
Consider the difference between the Lucasian Gaze and the Sartrian Gaze or “Regarde.” The difference being that Sartre spoke of the gaze as always involving another person, as opposed to the gaze of any object.
Look at:
Blow-Up, Antoinioni
Knut Asdam “Heterotopias”
It was commented that the film was “very analytical,” at the same time you need to do more investigation into the workings of the film.
Alanna:
Consider using not light as an editor of space, but notions of geometry and material as an editor of light/space.
It was said that we tend to focus only what happens in film, instead of focussing on how it was constructed. In this way, how does the “shot” (“frame,” maybe) incluence the structure of architecture?
As a general comment: Things my be lost in translation between media, but there also can be something gained. Concept of the “artifact.”
Consider the concept of the blindspot, and more specifically, how the brain lies to fill in the blindspot.
To what degree does this also lead to “internal censorship,” in which the mind makes an decision of what information is valuable and what is not?
Turn to physiology in studying vision: “Techniques of the Observer.”
What different aspects of the screen are present?
In this way, it is more about desgning the “lens” than the light itself...What are the colors/qualities/textures of light that you wish to filter or expose?
The Mary Miss piece could be considered in that it will cause people to respond to nature more in the way that she does, so the question is: why did Mary Miss make the decisions she did, not only in the veil itself but in the structure around it. In what ways do these things influence the experience of the piece?
Look at:
Thomas Kumem (sp?): Light as Paradigm.
James Turrell...although Eng is not a fan, it is still worth looking at.
Kristof Wodiczko, runs MIT media lab.
Alberti’s works on perspective. (Movie and Miss: “Alberti-esque” pictures of the world)
Jonathan Crary: “Techniques of the Observer”
Foucault: Disciplinary aspects of perception
Noorah:
Consider:
Mirror and the role of person in Antonioni,
It was said that the more we appropriate context, the more we can get into poetics.
In regards to program choice, what if you could connect a war memorial with an orphanage, or make some kind of a displacement center. If this is an option, how do you get people to find each other quickly after a disaster or displacement? An embassy could also have a displacement function.
“Sophistication of the game is in the rules”
As a general note, consider thesis as a “top down” process, in which an idea comes first, then program, site, etc. can be considered through the lens of the idea: It can be dangerous to become pinned down by all of the associations and notions connected to a particular place, program, etc.
Critics liked the way that you switched back and forth between the computer and hand drawings.
How does the “state” reflect itself in US culture (by state, I believe that foreign countries and their cultures was meant).
Unfortunately, I did not have my notebook in hand as Derrick presented...sorry about that.
SYNAESTESIA Time-Space of Perceptional Memory
This is the the discussion of precedent relative to the framework established in the first post and comments.
SYNAESTESIA Time-Space of Perceptional Memory
Dionysios Neofitidis
Synaestesia is the inter-sensory perception of the mind, which Thesis seeks to codify as the premise to an Architectural Paradigm. This condition of cross-sensory perception is the cognitive process of memory in the mind. Phenomenological Strategies correlate perception as cross-modal thematic of the individual’s Conception of Physical Causalities and the Metaphorical Structure of personal memory. Interfaces of Perception are concepts of a fluid time and space, Time-Space.
Synaestesia is the inter-sensory perception of the mind, which Thesis seeks to codify as the premise to an Architectural Paradigm. This condition of cross-sensory perception is the cognitive process of memory in the mind. Phenomenological Strategies correlate perception as cross-modal thematic of the individual’s Conception of Physical Causalities and the Metaphorical Structure of personal memory. Interfaces of Perception are concepts of a fluid time and space, Time-Space.
Wednesday, October 31, 2007
NOTES
each of you that presented yesterday are responsible for getting your notes up asap. i made this clear during class. do this immediately. i hope i dont need to remind you who you are. thanks.
from aline concerning media
Please communicate to the students that they are welcome (and encouraged) to test their laptops with the projector in that classroom ahead of time and that if any problems arise to please let MMS know ASAP. In this particularcase, since I was unable to determine the problem, it may behoove thestudents to try using it again following these steps:
1. fully shut down computer
2. connect to the projector
3. turn on projector4.
turn the computer on
5. If image does not appear immediately, try utilizing function keysfor toggling second monitor on/off.
If it still doesn't work, ask Academic Computing to suggest possiblesolutions for their specific make/model display settings.Please let me know if there are any further questions.
Thank you,
Aline Fader
Coordinator of Equipment & Loan Services
Multi-Media ServicesPratt Institute Libraries
1. fully shut down computer
2. connect to the projector
3. turn on projector4.
turn the computer on
5. If image does not appear immediately, try utilizing function keysfor toggling second monitor on/off.
If it still doesn't work, ask Academic Computing to suggest possiblesolutions for their specific make/model display settings.Please let me know if there are any further questions.
Thank you,
Aline Fader
Coordinator of Equipment & Loan Services
Multi-Media ServicesPratt Institute Libraries
Midterm Class Notes
Sartian Look vs. Lacanian Gaze
Architectural screen or lens to clor sensor or screen what you want other to see
That else is being informed through your film
James Turell
What is editing / cut / shot
How do we isolate the parts of the film and how do they translate into architecture
What is the moment of translation
What are we allowed to see? Society
What should be veiled in society?
Could you tie into the idea as a blind spot
The brain will fill in the blind spot with memory
Relation of mechanism of perception to discover
Optics of the eye
Camera obscura
Vision subjectivity
Write down the verb of what each word is doing and define them in relation to what they are affecting in the rest of the composition
How can you make your shopping experience?
Architecture gives us our context
With hold the loose ephemeral quality of life within architecture
Piers show that there is a constantly shifting datum
How are abstractions articulated and used
Good that scale is not clear. A landscape condition can emerge from this
Give existential meanings to materials so that the viewer appreciates the space but is not sure why
Possible an orphanage that occurs after a disaster
Memories and current facts could drive the chess game that will be your program
Best thesis projects discover something
Set strong parameters to test
See the sight at different times/ seasons
Architectural screen or lens to clor sensor or screen what you want other to see
That else is being informed through your film
James Turell
What is editing / cut / shot
How do we isolate the parts of the film and how do they translate into architecture
What is the moment of translation
What are we allowed to see? Society
What should be veiled in society?
Could you tie into the idea as a blind spot
The brain will fill in the blind spot with memory
Relation of mechanism of perception to discover
Optics of the eye
Camera obscura
Vision subjectivity
Write down the verb of what each word is doing and define them in relation to what they are affecting in the rest of the composition
How can you make your shopping experience?
Architecture gives us our context
With hold the loose ephemeral quality of life within architecture
Piers show that there is a constantly shifting datum
How are abstractions articulated and used
Good that scale is not clear. A landscape condition can emerge from this
Give existential meanings to materials so that the viewer appreciates the space but is not sure why
Possible an orphanage that occurs after a disaster
Memories and current facts could drive the chess game that will be your program
Best thesis projects discover something
Set strong parameters to test
See the sight at different times/ seasons
Tuesday, October 30, 2007
Class Presentation
Would it still be possible to acquire some feedback also from Dan Silver and Michael Eng via the Blog?
Thanks,
Matt
Thanks,
Matt
for program, I'm really liking the idea of a stage/set of a mosque for a film. I suppose the question that needs to be addressed for the next part of the project is where? I imediatly thought Hollywood for the accessibility to the industry, but a film set can be set up anywhere.
In terms of a precedent, the composer Richard Wagner comes to mind who has specially constructed theaters for the performance of his operas. in terms of having a screenplay for the set to be constructed for, my brother who is a director, has volunteered to help co-write a story with me.
I'm just throwing this idea out there. obviously I need a full presentation to clear up other questions.
In terms of a precedent, the composer Richard Wagner comes to mind who has specially constructed theaters for the performance of his operas. in terms of having a screenplay for the set to be constructed for, my brother who is a director, has volunteered to help co-write a story with me.
I'm just throwing this idea out there. obviously I need a full presentation to clear up other questions.
Sunday, October 28, 2007
Saturday, October 27, 2007
Last week discussion
Film: Junk yard
Metaphor: Pile of Memory
Thinking about totality and wholeness from parts of car that are organized but kayo tic.
Thinking about amnesia: “Have to lose in order to create new memory”. How the each part had its own memory before it arrived to the junk yard but ever since it’s in this environment of correction of car parts, each part are creating another memory by blending into each other, like experiencing optical illusion; and creating landscape with unique texture
Thinking about how body has relationship to car: “Body is a Car”. Car is an extension of our body that moves under commends.
Thinking about sensing and memory: what awakes our senses? If I see a ruff texture it can give me a touching sense and I can imagine how it’s going to absolve and bounces sounds… etc. But the question is how do we know that ruff texture is going to give me certain feels that I expect? And after really experiencing it and really delivers that exact feeling that I know of we accepts it very naturally but it’s possible because we once have a memory that I similar to; we call that memory.
Metaphor: Pile of Memory
Thinking about totality and wholeness from parts of car that are organized but kayo tic.
Thinking about amnesia: “Have to lose in order to create new memory”. How the each part had its own memory before it arrived to the junk yard but ever since it’s in this environment of correction of car parts, each part are creating another memory by blending into each other, like experiencing optical illusion; and creating landscape with unique texture
Thinking about how body has relationship to car: “Body is a Car”. Car is an extension of our body that moves under commends.
Thinking about sensing and memory: what awakes our senses? If I see a ruff texture it can give me a touching sense and I can imagine how it’s going to absolve and bounces sounds… etc. But the question is how do we know that ruff texture is going to give me certain feels that I expect? And after really experiencing it and really delivers that exact feeling that I know of we accepts it very naturally but it’s possible because we once have a memory that I similar to; we call that memory.
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