The project refers to design a device to view through the portholes. It is about everyday space changing how the observer sees other spaces through these portholes from different points of view.
Peter Greenaway’s "The draughtsman’s contract" can be a good narrative for the project. It is a witty, stylized, erotic country-house murder mystery. In an apparently idyllic 17th-century Wiltshire, an ambitious draughtsman is commissioned by an aristocrat's wife to produce 12 drawings of her husband's estate, in return for which he will receive payment, board and bed-hers (1). The film is deftly shot, each scene composed as if it were a painting, using landscape, light and finery to full effect (2).
1-http://www.ihousephilly.org/petergreenaway.htm
2-http://www.eyeforfilm.co.uk/reviews.php?film_id=10112
Sunday, 28 March 2010
Saturday, 27 March 2010
Thursday, 25 March 2010
Wednesday, 24 March 2010
+ After 2nd crit
I will be studying English for the next 4 weeks, and getting Passiflora for the 3rd crit!
+ Presentation of 2nd crit
General: My architecture is creating a visual language to represent an idea about the reading the context of what is observed and how to view things through other things. This process is based on archiving the landscape in the theory in a vessel and then constructing landscape within the landscape through positioning of objects.
Stowe and Picturesque: I am observing the Stowe Garden. Because it is a place in which somebody archives an artificial landscape in a literal way and each structure has a different history, culture, art and different notion of space. Stowe was owned, enhanced and expanded by one family for almost 350 years. They created one of Europe's most influential landscape gardens in Buckingham. There are over 40 monuments and temples in the 300 hectares site (BBC 2006). These landscapes build a spatial composition bringing together all particular moments in time which gives inspiration 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. It was constructing as part of Enlightenment an English rereading and reclaiming these things for the notions of reason.
Map: I went to Stowe Garden. I draw the plan of the side. This pathway is my journey through the landscape. I marked on map where I am standing, where I am looking through, and what height above the ground. These lines shows the positioning in the landscape, they are the directions through the picturesque views. Then I have started to collect data from different things.
Frames: I tried to understand the idea of picturesque in these frames: “a plain appears a hill, or a hill a plain, according to the point of view from where each is seen” (Macartur 2007). Enlightenment as the point of which certain subjectivity constructed in time and that is what the picturesque was dealing with. It is a creation of utopia as a visual system embedded in a subject. The idea was to be viewed by subject from a specific position.
Section: I was trying to visualize all the hidden bits which have been left out of these spaces. Revealing the hidden landscape, and different perspectives. Layered landscape which reveals lots of hindrance. Reintroducing of other space into another space is what the system is going to do and this is my architecture. Introducing pull-out sections (sheets) and shadows is not introducing slip and slide, it is constructing a landscape. For example, colour effects inside a glass vessel. It is almost bringing the domestic space into the landscape. It was one of the revealing that I did it through the x-ray. And the idea of planting seed from one space to another, because it is the introducing one space into another.
Home photos, Vessel exterior, Double exposures: I am dealing with dependency of the relationships between different bases which make my project a system, and dealing with the interaction in the space itself. Now, I am looking for the relationships between the things that I observed. I am trying to develop some special strategies to define the interior of my vessel with the idea of using the photographs as the objects in a feedback system. I am looking for if could I choose different views, horizons, different heights in relationship to the body.
I have started to construct my landscapes with light being exposed on the photographic paper in the dark room with the snapshots of things. I exposed one space on to another space by using double exposure. I treated the film differently. I masked scenario. I folded scenario. And these are all kind of composing in different scales in the vessel. There are three certain elements of the project; exposures, time, and positioning in actual space. Time is important in terms of duration of exposure and duration of taking in one thing to another. Exposures are drawing the drawings. It is recomposing the landscape, rearticulating. I am collecting new landscapes here by double exposing through the idea of multiplying and layering of something. There are two surfaces and I am moving 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.
Video 1(home 1): It is first place of my methodology. I am in the space, and acting the relationship with me and objects. It is almost like reading two spaces as the same space. I am constructing the landscape within the space through positioning of objects like the idea of still life. It is all about reversing the relationship. I am determining the landscape and something comes out of something.
Video 2(home 2): This mark leave a trace. These are play with the dynamics now. It is revealing in every objects that get moves to another space been revealed. The object moves when I revealed another porthole into stowe garden. Almost like I am repositioning the body in the landscape as a new alternate picturesque, point of view. I might move into them I might do this as triple (triıpıl) height collage which introduces different bits from different landscapes. If I construct this landscape, I am going to add all the bits in; I am going to layer up small bits to big things.
Kiesler’s Endless House is a nice connection for my project. In this metaphysical house, all about views in the city. The views are devices in this endless house. My project is about viewing the landscape form different perspectives which is always being repeated, shifted. These different portholes are I look through, change the way I see the Stowe Garden through this corridor space. I might think like I am designing an instrument how to view through them. Because, it is not about getting it, it is about the within it. I am a part of the system. My architectural project is about the system that I am working with. It is not inhabiting a space which changes the where you use table, floor, and chair. It is more about everyday space changing how we see other spaces through these portholes different point of view. Like we have a porthole in the house which is called tv. We have interface here which is a porthole which is continually changing our expecting of the world or maybe not.
Video 3 (vessel): Airship is a metaphor which represents the idea of being in a corridor that connects two surfaces. I am operating inside the space when the other space is revealed. When I move something, it is spaces revealed through it. It creates an impression in the ground with its shadow. Vessel casts a shadow over the landscape. I might have this black object being projected somewhere. This vessel which leaves the shadow on the landscape could be the potential side for something else. This hover might be behind the picturesque landscape, in the areas which is not where you supposed to stand.
Interior: I am working with the driver of my project. I am working with the idea of glitch. It is the focus of my system. I am in a corridor where I view this glitch in space. This glitch is like disturbing the framework, spot on my face, pixellance missing in my screen. Focus in the way I view things from different angles. Picturesque is all about the controlling in a way, and I am trying to disturb that and say you can never have control of how we view things. Because we all view things in a different step of mind. My project is about my view in space which totally transforms what the picturesque is in my own subjective view. I am trying to crop the system by dealing with the subjectivity. I am in the glitch object. I am not changing that, people going there for. I am altering the masked off areas, the things behind.
Stowe and Picturesque: I am observing the Stowe Garden. Because it is a place in which somebody archives an artificial landscape in a literal way and each structure has a different history, culture, art and different notion of space. Stowe was owned, enhanced and expanded by one family for almost 350 years. They created one of Europe's most influential landscape gardens in Buckingham. There are over 40 monuments and temples in the 300 hectares site (BBC 2006). These landscapes build a spatial composition bringing together all particular moments in time which gives inspiration 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. It was constructing as part of Enlightenment an English rereading and reclaiming these things for the notions of reason.
Map: I went to Stowe Garden. I draw the plan of the side. This pathway is my journey through the landscape. I marked on map where I am standing, where I am looking through, and what height above the ground. These lines shows the positioning in the landscape, they are the directions through the picturesque views. Then I have started to collect data from different things.
Frames: I tried to understand the idea of picturesque in these frames: “a plain appears a hill, or a hill a plain, according to the point of view from where each is seen” (Macartur 2007). Enlightenment as the point of which certain subjectivity constructed in time and that is what the picturesque was dealing with. It is a creation of utopia as a visual system embedded in a subject. The idea was to be viewed by subject from a specific position.
Section: I was trying to visualize all the hidden bits which have been left out of these spaces. Revealing the hidden landscape, and different perspectives. Layered landscape which reveals lots of hindrance. Reintroducing of other space into another space is what the system is going to do and this is my architecture. Introducing pull-out sections (sheets) and shadows is not introducing slip and slide, it is constructing a landscape. For example, colour effects inside a glass vessel. It is almost bringing the domestic space into the landscape. It was one of the revealing that I did it through the x-ray. And the idea of planting seed from one space to another, because it is the introducing one space into another.
Home photos, Vessel exterior, Double exposures: I am dealing with dependency of the relationships between different bases which make my project a system, and dealing with the interaction in the space itself. Now, I am looking for the relationships between the things that I observed. I am trying to develop some special strategies to define the interior of my vessel with the idea of using the photographs as the objects in a feedback system. I am looking for if could I choose different views, horizons, different heights in relationship to the body.
I have started to construct my landscapes with light being exposed on the photographic paper in the dark room with the snapshots of things. I exposed one space on to another space by using double exposure. I treated the film differently. I masked scenario. I folded scenario. And these are all kind of composing in different scales in the vessel. There are three certain elements of the project; exposures, time, and positioning in actual space. Time is important in terms of duration of exposure and duration of taking in one thing to another. Exposures are drawing the drawings. It is recomposing the landscape, rearticulating. I am collecting new landscapes here by double exposing through the idea of multiplying and layering of something. There are two surfaces and I am moving 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.
Video 1(home 1): It is first place of my methodology. I am in the space, and acting the relationship with me and objects. It is almost like reading two spaces as the same space. I am constructing the landscape within the space through positioning of objects like the idea of still life. It is all about reversing the relationship. I am determining the landscape and something comes out of something.
Video 2(home 2): This mark leave a trace. These are play with the dynamics now. It is revealing in every objects that get moves to another space been revealed. The object moves when I revealed another porthole into stowe garden. Almost like I am repositioning the body in the landscape as a new alternate picturesque, point of view. I might move into them I might do this as triple (triıpıl) height collage which introduces different bits from different landscapes. If I construct this landscape, I am going to add all the bits in; I am going to layer up small bits to big things.
Kiesler’s Endless House is a nice connection for my project. In this metaphysical house, all about views in the city. The views are devices in this endless house. My project is about viewing the landscape form different perspectives which is always being repeated, shifted. These different portholes are I look through, change the way I see the Stowe Garden through this corridor space. I might think like I am designing an instrument how to view through them. Because, it is not about getting it, it is about the within it. I am a part of the system. My architectural project is about the system that I am working with. It is not inhabiting a space which changes the where you use table, floor, and chair. It is more about everyday space changing how we see other spaces through these portholes different point of view. Like we have a porthole in the house which is called tv. We have interface here which is a porthole which is continually changing our expecting of the world or maybe not.
Video 3 (vessel): Airship is a metaphor which represents the idea of being in a corridor that connects two surfaces. I am operating inside the space when the other space is revealed. When I move something, it is spaces revealed through it. It creates an impression in the ground with its shadow. Vessel casts a shadow over the landscape. I might have this black object being projected somewhere. This vessel which leaves the shadow on the landscape could be the potential side for something else. This hover might be behind the picturesque landscape, in the areas which is not where you supposed to stand.
Interior: I am working with the driver of my project. I am working with the idea of glitch. It is the focus of my system. I am in a corridor where I view this glitch in space. This glitch is like disturbing the framework, spot on my face, pixellance missing in my screen. Focus in the way I view things from different angles. Picturesque is all about the controlling in a way, and I am trying to disturb that and say you can never have control of how we view things. Because we all view things in a different step of mind. My project is about my view in space which totally transforms what the picturesque is in my own subjective view. I am trying to crop the system by dealing with the subjectivity. I am in the glitch object. I am not changing that, people going there for. I am altering the masked off areas, the things behind.
Tuesday, 23 March 2010
Thursday, 11 March 2010
Untitled-6.jpg)
Untitled-14.jpg)
Untitled-7.jpg)
7-Untitled.jpg)
Untitled-12.jpg)
owen.jpg)
fridge.jpg)
wardrobe.jpg)
comp..jpg)
tv.jpg)
+ Context Drawings
I tried to understand the idea of picturesque in these frames: “a plain appears a hill, or a hill a plain, according to the point of view from where each is seen” (Macartur 2007). 
Wednesday, 10 March 2010
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