Transplanted Landscapes
There are lots of ways to take something from somewhere and introduce it in another place. Different people archived different landscapes in different ways. In this process something is losing its meaning, and at the same time it is starting to have another meaning which is completely different than the original one and this becomes almost a hyper reality (I have looked at the Baudrillard`s Simulacra&Simulation and Foucault`s The Order of Things to understand the system of objects and the space of daily life in this context). The project correlates the ideas of archiving landscapes. This process is based on archiving the landscape in theory in a vessel and then constructing landscape within the landscape through positioning of objects. The project examines the relationships of the objects which carry the idea of coming from another place originally, like the idea of simulacra, which explains the term of a copy of a copy.
I am going to do series of collections of things. I will add more complexity into my previous video work. Such as looking at things in different scales and do more detail inside. It should be like opening the space through another space. That may reflect into my project as some surrealist drawings. I am working on projection methods to do it. Capturing movements with short exposure light images on two surfaces. There will be two surfaces and I will move the objects from one surface to another. I am observing the things moving which reveals the space. When things are moving, it means I am opening the space. And the shadows or dark surfaces in that, will be looking out through these things. The shadows might be used as deformed copies of origin of a memory in a time-based system. I am going to start to construct my landscapes with light being exposed on the photographic paper in the dark room with the snapshot of things. I will expose light on one object on the photographic paper, then I will expose another object inside that object (Photogram).
I am observing the Stowe Garden. Because it is a place which somebody archives an artificial landscape in a literal way and each structure has a different history, culture, art and different notions of spaces. These landscapes build a spatial composition bringing together all particular moments in time which give inspirations to the painters for the picturesque landscapes. I have the plan of Stowe Garden. I will mark on map where I am standing, where I am looking through, and what height above the ground. Then I will have started to collect data from different things. Stowe Garden can be one of the these series of photographic imagery of things.
After I create these composites, I will try to design the relationship between the things that I observed. Every composite like the shadow of these things, I will cut out all these shadows and it will be seen the snapshots of certain things behind what has been moved. And these are all kind of compose in different scales in the vessel.
Wednesday 27 January 2010
Tuesday 26 January 2010
Thursday 21 January 2010
+ Transplanted Landscapes / Grafted Histories
My architecture is creating a visual language to represent an idea about reading the context of what is observed. I am planning to design an airship which goes through the landscape and looks from different angles to the structures on the landscape over the time. Airship is a metaphor which represents the idea of being in a corridor that connect the buildings in the Stowe Garden and the places the buildings inspired from. The purpose of the project is to discover an architecture which is secret in history of the architect’s mind.
Monday 18 January 2010
+ A draft for my project report
While day time is changing, the forms in nature are changing also; there are the slight changes formally, and the parallel changes visually. The changes outside are reflecting inside. The memories which are recorded with the glance from inside to outside are archived in the airship over the time by using projection technique.
Technology of the last century is quite dependent on projective principles, such as optics necessary to photography and cinema, virtual slicing of the body for medical imagery systems, and targeting weapons from handgun scopes to advanced GPS-based military hardware (Caste 2009). My projection technique conceptually refers to the way of thinking about 4D time-based spaces.
The airship has a reflecting speciality which allows one to see the inside from the outside. This speciality provides an opportunity to observe the position of the airship in the parallel time. The shadows of the constructions are used as deformed copies of origin of a memory in a time-based system.
When one change is repeated a second time, it is occurring quicker next time, and also archiving a copy is becoming quicker (Sheldrake 1998). These copies are creating a system which includes some data of elements such as the climatic conditions and the population in the landscape.
The landscape in the Stowe Garden. Stowe Garden is a place in England that includes several types of structures which belong to different time periods and geographies. Each structure has a different history, culture, art and different notions of spaces. These landscapes build a spatial composition bringing together all particular moments in time which give inspirations to the painters for the picturesque landscapes. The picturesque was a concept that emerged in the eighteenth century, embodying a new attitude towards beauty in nature (Liverpool Museum 2002).
However, there is a contradiction in structures such as Chinese house, Gothic temple, Palladian Bridge, because they were not constructed for their typical function. Stowe was owned, enhanced and expanded by one family for almost 350 years. Two key characters Lord Cobham and his nephew Earl Temple were extremely rich and powerful men during the 18th century. Together they created one of Europe's most influential landscape gardens. There are over 40 monuments and temples in the 300 hectares site (BBC 2006).
These recordings will be used to construct a concept under light and shadow. The airship will be between concrete and abstract, dealing with light and colour as the spaces are more open or closed or smaller or shifting.
I will add references of the idea of drawing the shadows, light performance, corridor, dazzle pattern, palimpsest, copy, and inside-outside to the report.
References
BBC 2006, Stowe gardens: A brief history of the Stowe, Retrieved January 14, 2010, from http://www.bbc.co.uk/oxford/content/articles/2006/07/07/stowe_history.shtml
Caste, R 2009, The Origin of Painting. Retrieved November 12, 2009, from http://projectionsystems.files.wordpress.com
Liverpool Museum 2002, The picturesque landscape. Retrieved January 14, 2010, from http://www.liverpoolmuseums.org.uk/walker/exhibitions/turner/landscape.asp
Sheldrake, R 1998, The Presence of the Past: morphic resonance & the habits of nature, Park Street Press, Vermont.
Technology of the last century is quite dependent on projective principles, such as optics necessary to photography and cinema, virtual slicing of the body for medical imagery systems, and targeting weapons from handgun scopes to advanced GPS-based military hardware (Caste 2009). My projection technique conceptually refers to the way of thinking about 4D time-based spaces.
The airship has a reflecting speciality which allows one to see the inside from the outside. This speciality provides an opportunity to observe the position of the airship in the parallel time. The shadows of the constructions are used as deformed copies of origin of a memory in a time-based system.
When one change is repeated a second time, it is occurring quicker next time, and also archiving a copy is becoming quicker (Sheldrake 1998). These copies are creating a system which includes some data of elements such as the climatic conditions and the population in the landscape.
The landscape in the Stowe Garden. Stowe Garden is a place in England that includes several types of structures which belong to different time periods and geographies. Each structure has a different history, culture, art and different notions of spaces. These landscapes build a spatial composition bringing together all particular moments in time which give inspirations to the painters for the picturesque landscapes. The picturesque was a concept that emerged in the eighteenth century, embodying a new attitude towards beauty in nature (Liverpool Museum 2002).
However, there is a contradiction in structures such as Chinese house, Gothic temple, Palladian Bridge, because they were not constructed for their typical function. Stowe was owned, enhanced and expanded by one family for almost 350 years. Two key characters Lord Cobham and his nephew Earl Temple were extremely rich and powerful men during the 18th century. Together they created one of Europe's most influential landscape gardens. There are over 40 monuments and temples in the 300 hectares site (BBC 2006).
These recordings will be used to construct a concept under light and shadow. The airship will be between concrete and abstract, dealing with light and colour as the spaces are more open or closed or smaller or shifting.
I will add references of the idea of drawing the shadows, light performance, corridor, dazzle pattern, palimpsest, copy, and inside-outside to the report.
References
BBC 2006, Stowe gardens: A brief history of the Stowe, Retrieved January 14, 2010, from http://www.bbc.co.uk/oxford/content/articles/2006/07/07/stowe_history.shtml
Caste, R 2009, The Origin of Painting. Retrieved November 12, 2009, from http://projectionsystems.files.wordpress.com
Liverpool Museum 2002, The picturesque landscape. Retrieved January 14, 2010, from http://www.liverpoolmuseums.org.uk/walker/exhibitions/turner/landscape.asp
Sheldrake, R 1998, The Presence of the Past: morphic resonance & the habits of nature, Park Street Press, Vermont.
Sunday 17 January 2010
Friday 15 January 2010
+ Communication of the ideas from my previous works that I have done in the 1st term
I am dealing with creating a digital or other visual language to represent an idea about other ways of reading the context of what is observed and I am planning to design a landscape and a ship among this landscape and look from different angles over the time.
While day time is changing, the forms in nature are changing also. The differences outside are reflecting inside. The memories which are recorded from inside to outside archived in the ship over the time. When one change repeated second time, it is occurring quicker next time, and also archiving a copy is becoming quicker. These copies are creating a system which includes some elements such as climatic conditions and population in the landscape. Looking from inside of ship has got a reflecting speciality allows to see from outside to inside. This speciality provides to see the position of the ship.
As a result of working time-based, shadows can be used as deformed copies of a memory. (The origin of painting can be a reference for it)The topological constructions will be between concrete and abstracted dealing with light and colour as the spaces are more open or closed or smaller or shifting.
While day time is changing, the forms in nature are changing also. The differences outside are reflecting inside. The memories which are recorded from inside to outside archived in the ship over the time. When one change repeated second time, it is occurring quicker next time, and also archiving a copy is becoming quicker. These copies are creating a system which includes some elements such as climatic conditions and population in the landscape. Looking from inside of ship has got a reflecting speciality allows to see from outside to inside. This speciality provides to see the position of the ship.
As a result of working time-based, shadows can be used as deformed copies of a memory. (The origin of painting can be a reference for it)The topological constructions will be between concrete and abstracted dealing with light and colour as the spaces are more open or closed or smaller or shifting.
+ 2nd Term Starts
In holiday I had plenty of time to read which I could not find time to do it after school during the 3 years of work life. I tried to develop the idea rather than doing more experience or 3d modelling. I went to scientific area a little bit; maybe the essay that I was writing about global warming for a course effected me on this way. I enjoyed it and I will continue on this idea if I succeed to draw it and make it work.
I was looking for the idea of responsive architecture. As I said before it has already done by someone that reacting walls and buildings, but it might be a new idea that building it with respect to the forms of nature. I was looking at the body structure of chameleon which adapt to environment quickly and salamanders which vary in behaviour in the different environmental conditions with their ephemeral habits.
Chamelon
http://www.youtube.com/watch?v=KMT1FLzEn9I
Chameleons give camouflage a run for its money, and this little guy is a champion in the art of adapting to the colors of his environment.(http://www.spikedhumor.com/articles/177800/Coolest-Chameleon-Ever.html)
I was looking for the idea of responsive architecture. As I said before it has already done by someone that reacting walls and buildings, but it might be a new idea that building it with respect to the forms of nature. I was looking at the body structure of chameleon which adapt to environment quickly and salamanders which vary in behaviour in the different environmental conditions with their ephemeral habits.
Chamelon
http://www.youtube.com/watch?v=KMT1FLzEn9I
Chameleons give camouflage a run for its money, and this little guy is a champion in the art of adapting to the colors of his environment.(http://www.spikedhumor.com/articles/177800/Coolest-Chameleon-Ever.html)
Sunday 10 January 2010
4) Developed idea - The New Morphic Bodies
The main idea of this project is to design a control and resistance mechanism to the unusual rapid change of the nature stemmed from unfavourable environmental conditions, which in turn impose nature to adapt to an ephemeral life style.
An example of this is to use nanotechnology to change colour or form for alerting and to adopt a measure in case of an unusual development. The application of this technology in a building such as the idea of hypo surface is not new in the 21st century. Nevertheless, the idea of applying this to the forms in nature might be a new technology.
My architecture is created between depositions in digital space and hand-made. The parametric design method and soft technology are used to construct an architectural system in this area. The elements for digital prototyping are rain, wind, soil, light and culture.
The reason of choosing this location (Nevsehir) is that it is known scientifically how the forms in this district occurred over the time, and how they will change in the future.
An example of this is to use nanotechnology to change colour or form for alerting and to adopt a measure in case of an unusual development. The application of this technology in a building such as the idea of hypo surface is not new in the 21st century. Nevertheless, the idea of applying this to the forms in nature might be a new technology.
My architecture is created between depositions in digital space and hand-made. The parametric design method and soft technology are used to construct an architectural system in this area. The elements for digital prototyping are rain, wind, soil, light and culture.
The reason of choosing this location (Nevsehir) is that it is known scientifically how the forms in this district occurred over the time, and how they will change in the future.
Saturday 9 January 2010
3) Developing the idea - Habits of nature / Fairy Chimneys
When I was thinking about a site to construct my morphic bodies, i found some connections between fairy chimneys in Nevsehir/Turkey and the idea of morphic resonance. I developed the idea by this way:
Cappadocian Volcanic Province is characterized by several ignimbritic eruptions that extend large areas with different properties such as thickness and welding. One of the most distinguished features of these ignimbrites is the development of fairy chimneys which are erosional landforms of ignimbrites developed in certain localities within the Cappadocia.
Fairy chimneys formed at different ignimbrites have different shape and size. Both geological and geomorphologic factors played roles on the formation of the fairy chimneys. Evolution of the chimneys occurs in two stages. The first stage is the formation of a suitable surface over which the fairy chimneys are formed. Three main factors that control the formation this surface are degree of welding, thickness of the ignimbrite and amount of topographic slope. In the second stage several other factors play roles to shape the fairy chimneys. (Sayin, 2008)
Fairy chimneys are the morphic bodies of nature, as the nature has created another nature inhabited by human in this region over the time; i.e. they have been formed as a consequence of severe wind and water erosion over long period and people turned them into living spaces by digging in.
According to the morphic resonance theory, the things in nature not only formed by energy, also habits affect the form of nature. Memory is inherent in nature. Most of the so-called laws of nature are more like habits. Through morphic resonance, formative causal influences pass through or across both space and time, and these influences are assumed not to fall off with distance in space or time, but they come only from the past. (Sheldrake, 1998) When a new chemical compound is first created it will crystallize slowly, but when other researchers repeat the experiment they find it occurs more quickly.
The idea is to design a feedback mechanism which controls these natural phenomena. This mechanism will construct 21st century’s morphic bodies as living spaces by using the memory of new habits occurring in terms of changing environmental conditions in nature which exists in Cappadocia. The project will discuss controlling the nature by using technology to form new natural forms. It will also explore historical and cultural diversity occurring over the time in this region.
Cappadocian Volcanic Province is characterized by several ignimbritic eruptions that extend large areas with different properties such as thickness and welding. One of the most distinguished features of these ignimbrites is the development of fairy chimneys which are erosional landforms of ignimbrites developed in certain localities within the Cappadocia.
Fairy chimneys formed at different ignimbrites have different shape and size. Both geological and geomorphologic factors played roles on the formation of the fairy chimneys. Evolution of the chimneys occurs in two stages. The first stage is the formation of a suitable surface over which the fairy chimneys are formed. Three main factors that control the formation this surface are degree of welding, thickness of the ignimbrite and amount of topographic slope. In the second stage several other factors play roles to shape the fairy chimneys. (Sayin, 2008)(http://tez2.yok.gov.tr/)
The pictures have taken from http://www.avanosevi.com/tr/kapadokya and http://www.pvv.ntnu.no/~bct/ataturk/imagepages/image28.htm
Cappadocian Volcanic Province is characterized by several ignimbritic eruptions that extend large areas with different properties such as thickness and welding. One of the most distinguished features of these ignimbrites is the development of fairy chimneys which are erosional landforms of ignimbrites developed in certain localities within the Cappadocia.
Fairy chimneys formed at different ignimbrites have different shape and size. Both geological and geomorphologic factors played roles on the formation of the fairy chimneys. Evolution of the chimneys occurs in two stages. The first stage is the formation of a suitable surface over which the fairy chimneys are formed. Three main factors that control the formation this surface are degree of welding, thickness of the ignimbrite and amount of topographic slope. In the second stage several other factors play roles to shape the fairy chimneys. (Sayin, 2008)
Fairy chimneys are the morphic bodies of nature, as the nature has created another nature inhabited by human in this region over the time; i.e. they have been formed as a consequence of severe wind and water erosion over long period and people turned them into living spaces by digging in.
According to the morphic resonance theory, the things in nature not only formed by energy, also habits affect the form of nature. Memory is inherent in nature. Most of the so-called laws of nature are more like habits. Through morphic resonance, formative causal influences pass through or across both space and time, and these influences are assumed not to fall off with distance in space or time, but they come only from the past. (Sheldrake, 1998) When a new chemical compound is first created it will crystallize slowly, but when other researchers repeat the experiment they find it occurs more quickly.
The idea is to design a feedback mechanism which controls these natural phenomena. This mechanism will construct 21st century’s morphic bodies as living spaces by using the memory of new habits occurring in terms of changing environmental conditions in nature which exists in Cappadocia. The project will discuss controlling the nature by using technology to form new natural forms. It will also explore historical and cultural diversity occurring over the time in this region.
Cappadocian Volcanic Province is characterized by several ignimbritic eruptions that extend large areas with different properties such as thickness and welding. One of the most distinguished features of these ignimbrites is the development of fairy chimneys which are erosional landforms of ignimbrites developed in certain localities within the Cappadocia.
Fairy chimneys formed at different ignimbrites have different shape and size. Both geological and geomorphologic factors played roles on the formation of the fairy chimneys. Evolution of the chimneys occurs in two stages. The first stage is the formation of a suitable surface over which the fairy chimneys are formed. Three main factors that control the formation this surface are degree of welding, thickness of the ignimbrite and amount of topographic slope. In the second stage several other factors play roles to shape the fairy chimneys. (Sayin, 2008)(http://tez2.yok.gov.tr/)
The pictures have taken from http://www.avanosevi.com/tr/kapadokya and http://www.pvv.ntnu.no/~bct/ataturk/imagepages/image28.htm
Thursday 7 January 2010
2) Answering the Questions
I tried to answer some questions on my ideas:
The project will be designed in the real world between abstract and concrete. The concrete is the habits of nature which form the landscape over the time by using as a reference of morphic resonance theory. The theory claims that the things in nature not only formed by energy, also ideas and habits affect the form in nature. The abstract is the landscape which will be constructed as a natural structure by habits. So, habits of nature occur naturally and during the time these natural events constitute and expand the landscape. The idea is to create a nature from the nature, i.e. the forms in nature are created by the memories which includes habits and behaviours. The spaces in my landscape are shifting and changing as materially and formally in terms of conditions of light and shadow. I am using the moiré effect technique to provide these changing spaces in my project.
The project will be designed in the real world between abstract and concrete. The concrete is the habits of nature which form the landscape over the time by using as a reference of morphic resonance theory. The theory claims that the things in nature not only formed by energy, also ideas and habits affect the form in nature. The abstract is the landscape which will be constructed as a natural structure by habits. So, habits of nature occur naturally and during the time these natural events constitute and expand the landscape. The idea is to create a nature from the nature, i.e. the forms in nature are created by the memories which includes habits and behaviours. The spaces in my landscape are shifting and changing as materially and formally in terms of conditions of light and shadow. I am using the moiré effect technique to provide these changing spaces in my project.
Wednesday 6 January 2010
1) Questions - After Crit / Feedback
In crit I was told that I need to correlate, embed the work in a more specific context.
Now I am trying to create more realistic space with adding some elements to space. Like sound and objects. Maybe I could use some elements and experience from the Air Street and Lavender Hill... I am not sure.
I was trying to create a virtual landscape which can record human behaviour and experience of space which is not static.
I am looking for this codes which is archiving in time and its transmission to another landscape.
I have looked the idea of belonging, simulacra&simulation, Sheldrake's morphic resonance and Stephan Perella's Hypersurface Architecture...
------------
My questions: I am using morphic resonance as scientific reference of my work. But i couldn't find its exact proof. I mean, how I can explain it logically, for example like nanotechnology. ok, there are some experiments but not materially, how can I use this to work a system.
Can I say that as using a reference of this theory:
"When a new chemical compound is first created it will crystallize slowly, but when other researchers repeat the experiment they find it occurs more quickly." So, memory is inherent in nature (Sheldrake). I am designing my project in the real world between abstract and concrete and my idea is to create a nature from the nature i.e. the forms in nature are created by the memories which includes habits and human behaviours. Behaviours and habits of human which form the nature over the time are the concrete in this space.
What should be the limit of sci-fi in AVATAR projects? How can this project respond architecturally? I am talking about habits and because of that it is obviously architectural for me. But, we are asked that `what is your architecture`. And I am confused about methods. For example if I use impressionism in my work, it is one of the tactic. But what is my method here? Maybe I know the answer, but because of I am confused about the definition of `method` in AVATAR projects I stopped at this point at my work. For example we were thought some methods such as analogical method, gestural translation method at the beginning of the term. But can they be a method of AVATAR projects? Can `Creating a digital language` be the method of this work?
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