Monday, 27 May 2013
Thursday, 23 May 2013
Final A1 portfolio pages (Large Scale)
I will order these drawings by Phase type which corresponds with my development document, I am going to order them from most recent to oldest in the main portfolio. These are a selection of portfolio drawings which are to be large scale.
“men can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. Karl Marx
Looking at the film as taken from a subjective experience of space, mapping the landscapes contained within a subjective experience of the commute, different emotional spaces along a journey, breaking out of the chaos of the real world into the third space where the utmost desires, dreams, and imaginatory thoughts come into play, it brings in the elements of the outside world the space which we inhabit, what we register, but is influenced by our persona & individual daze.
A new time-space, the city can be seen through a different place the third spaces. Psychoanalysis transforms into architectural expression, a mentally fabricated architecture.
'A rational extension of the old religious systems, of old tales, and above all of psychoanalysis, into architectural expression becomes more and more urgent as all the reasons for becoming impassioned disappear.Everyone will live in their own personal “cathedral.” There will be rooms more conducive to dreams than any drug, and houses where one cannot help but love. Others will be irresistibly alluring to travelers. . . . 'Situationist international online
'The main activity of the inhabitants will be CONTINUOUS DRIFTING. The changing of landscapes from one hour to the next will result in total disorientation. . . .' Situationist international online
'in seeking a way out of the spiralling orbit becomes a vicious circle around a city reductively conceived as nothing other than a literally concrete entity, in seeking access to that other space of the concrete reality of dreams, to which psychoanalysis is attentive' (Burgin, 1996, p30)
'fantasy is always opposed to reality.. reality is conceived as that which is external to our inner lives…we simultaneously inhabit two distinct and separate worlds. One is mental, private, 'internal.' The other is physical, public, external' (Burgin, 1996,p29)
IMMERSING THE BODY INTO THE ENVIRONMENT
This phase of the project takes influence from the readings of Marry Shelleys Frankenstein and reflections from that on the architectural education, and how we see our world through knowladge of it. As a student of architecture and also working within the profession suffering such battles... the guilt over the process and sacrifices made for creation and life choices, alienating himself from the world, he lives in another dimension in a love hate battle....We only see the world the way in which we think we know it from within us your lived knowledge.'
Tabula rasa theory of knowledge and applied it to the way the creature attained to a 'knowing personhood. The creature plays out the Lockean theory to perfection by gaining all of his ideas from sensation or reflection, seeking or avoiding the causes of sensation according to weather they produce pleasure or pain…..
SPATIAL REPRESENTATIONS OF THE CONSCIOUSNESS
Spatial environments from my direct response of the survey of the DLR. Taking the real(concrete) and abstraction (mental) breaking out of it into the human the internal, the individual. Looking at cognition and the brain, spatialising cognition within this space_the third space.Looking at subjectivity and identities within our everyday, a subjective understanding of the world around us.
‘It is a mistake to think that a painter works on a white surface... The painter has many things in his head, or around him, or in his studio. Now everything he has in his head or around him is already on the canvas, more or less virtually, more or less actually, before he begins his work... the painter does not have to cover a blank surface but rather would have to empty it out, clear it, clean it'
(Deleuze, 2005, p61)
‘Subjective space surrounds us like an envelope, like a second skin. The notions of in front and behind, of right and left are attached to it.’ Burgin
How do our brains work? how to we map our locality in space how is information stored and used, how do we communicate this information.
What do we with the information we have. How do we think we perceive space. These concepts taken literally to form an architectural world formed through the eyes & maps of different people what we think we see.
TIME SPACE ANALYSIS
Mapping our locality on the earth, are we aware of our directional movement, speed & time? A notational system mapping our presence in space and time.
I am inside & then I am outside, how do we respond to this- an unspoken reaction? If my environment is unfamiliar is this a conscious thought? Is it a conscious awareness of my current surroundings or am I using what is imbedded in my unconscious mind,my nature, is it part of my biology & physical memory? Entering, departing both geographically and physically in person.
'A space exists when one takes into consideration vectors of direction, velocities, and time variables. Thus space is composed of intersections of mobile elements. It is in a sense actuated by the ensemble of movements deployed within it.' Michel De Certeau - The practice of everyday life
PHASE 01 _ REPRESENTING MOTION
CHEMICAL BROTHERS STAR GUITAR
Relationship of the viewer to the moment- The
cross section of the eye how our eye translates the image to our brain via our optic nerve, orientation is blurred by the repetitive nature of the images and the altering of scale. I was interested in what is happening within the human , the viewer, the brain communication film-interpretation.
The outside space moves into the train through the motion. The outside becomes the inside.
The Absence of bodies- The absence of bodies in the drawing within the train is deliberate , the film was created using a series of still images, the environment within the train is therefore calm, still & timeless there is no movement at the point in which the images were taken as the train is not actually moving, an illusion of it doing so has been created.
Time at the point of capturing the
landscape is 0.00.00.00.
The atmosphere created by the film gives the
PHASE 11 _ THE CONSTRUCTION OF THE THIRD SPACE
BANK-BECKTON
Looking at the film as taken from a subjective experience of space, mapping the landscapes contained within a subjective experience of the commute, different emotional spaces along a journey, breaking out of the chaos of the real world into the third space where the utmost desires, dreams, and imaginatory thoughts come into play, it brings in the elements of the outside world the space which we inhabit, what we register, but is influenced by our persona & individual daze.
A new time-space, the city can be seen through a different place the third spaces. Psychoanalysis transforms into architectural expression, a mentally fabricated architecture.
'A rational extension of the old religious systems, of old tales, and above all of psychoanalysis, into architectural expression becomes more and more urgent as all the reasons for becoming impassioned disappear.Everyone will live in their own personal “cathedral.” There will be rooms more conducive to dreams than any drug, and houses where one cannot help but love. Others will be irresistibly alluring to travelers. . . . 'Situationist international online
'The main activity of the inhabitants will be CONTINUOUS DRIFTING. The changing of landscapes from one hour to the next will result in total disorientation. . . .' Situationist international online
'in seeking a way out of the spiralling orbit becomes a vicious circle around a city reductively conceived as nothing other than a literally concrete entity, in seeking access to that other space of the concrete reality of dreams, to which psychoanalysis is attentive' (Burgin, 1996, p30)
'fantasy is always opposed to reality.. reality is conceived as that which is external to our inner lives…we simultaneously inhabit two distinct and separate worlds. One is mental, private, 'internal.' The other is physical, public, external' (Burgin, 1996,p29)
Final Film - The construction of the third space - Chronogram
Film Chronogram 01
Ledgend/Key to film chronogram
Bank _ Platform Level
Bank_ Settling Down
Westferry_Newspaper Flicks
Custom House_ Phone Focus
Beckton_ Stepping off
PHASE 09 _ THE MODERN PROMETHEUS
IMMERSING THE BODY INTO THE ENVIRONMENT
Tabula rasa theory of knowledge and applied it to the way the creature attained to a 'knowing personhood. The creature plays out the Lockean theory to perfection by gaining all of his ideas from sensation or reflection, seeking or avoiding the causes of sensation according to weather they produce pleasure or pain…..
PHASE 06 _NEURAL SCAPE
Spatial environments from my direct response of the survey of the DLR. Taking the real(concrete) and abstraction (mental) breaking out of it into the human the internal, the individual. Looking at cognition and the brain, spatialising cognition within this space_the third space.Looking at subjectivity and identities within our everyday, a subjective understanding of the world around us.
‘It is a mistake to think that a painter works on a white surface... The painter has many things in his head, or around him, or in his studio. Now everything he has in his head or around him is already on the canvas, more or less virtually, more or less actually, before he begins his work... the painter does not have to cover a blank surface but rather would have to empty it out, clear it, clean it'
(Deleuze, 2005, p61)
‘Subjective space surrounds us like an envelope, like a second skin. The notions of in front and behind, of right and left are attached to it.’ Burgin
Neural Scape - Chronogram
External-Internal_ Entering the Meat
Dissecting Brain Matter _ Disconnection from Reality_ Evolution
Neural Scape - Therapy Space - Offload
Specification - Work Package 01- Materials & Workmanship
Brain Meat - Specification - Sliding Door
Fibers - Detailing - Threshold
PHASE 05
NEURON ARCHITECTURE
NEURON ARCHITECTURE
How do our brains work? how to we map our locality in space how is information stored and used, how do we communicate this information.
What do we with the information we have. How do we think we perceive space. These concepts taken literally to form an architectural world formed through the eyes & maps of different people what we think we see.
PHASE 2 _ THE DLR
TIME SPACE ANALYSIS
Mapping our locality on the earth, are we aware of our directional movement, speed & time? A notational system mapping our presence in space and time.
I am inside & then I am outside, how do we respond to this- an unspoken reaction? If my environment is unfamiliar is this a conscious thought? Is it a conscious awareness of my current surroundings or am I using what is imbedded in my unconscious mind,my nature, is it part of my biology & physical memory? Entering, departing both geographically and physically in person.
'A space exists when one takes into consideration vectors of direction, velocities, and time variables. Thus space is composed of intersections of mobile elements. It is in a sense actuated by the ensemble of movements deployed within it.' Michel De Certeau - The practice of everyday life
DLR Space Time Analysis and Notation
PHASE 01 _ REPRESENTING MOTION
CHEMICAL BROTHERS STAR GUITAR
Relationship of the viewer to the moment- The
cross section of the eye how our eye translates the image to our brain via our optic nerve, orientation is blurred by the repetitive nature of the images and the altering of scale. I was interested in what is happening within the human , the viewer, the brain communication film-interpretation.
The outside space moves into the train through the motion. The outside becomes the inside.
The Absence of bodies- The absence of bodies in the drawing within the train is deliberate , the film was created using a series of still images, the environment within the train is therefore calm, still & timeless there is no movement at the point in which the images were taken as the train is not actually moving, an illusion of it doing so has been created.
Time at the point of capturing the
landscape is 0.00.00.00.
The atmosphere created by the film gives the
Wednesday, 22 May 2013
Final Film Edit Render
Progress on my film to date, I still need to work on the individual sequences more ( create more depth) and possibly add in data, and of course edit with audio...more editing...
Saturday, 11 May 2013
Individual Scene Analysis Graphics Updated
I have decided to go with a combination of fill and vector based drawings for the real still abstracted, contains vectors bur readable
Friday, 10 May 2013
Playing with drawing graphic of the 'Real'
I am trying to improve on the graphic quality on my drawings of the real world in this one below I have used vector lines which are further abstracted to represent the real to begin to make the drawing feel as one, although using a different graphic in the film the drawing represents two worlds, the vector based real world and the abstracted third space, the abstraction of the vectors begins to merge the two
Monday, 6 May 2013
Ammended film edit chronogram
Individual Scene Analysis
BANK_PLATFORM LEVEL
BANK_ SETTLING DOWN
WESTFERRY_ NEWSPAPER FLICKS
CUSTOM HOUSE_PHONE FOCUS
Works in progress and still two more to follow.. after doing the film edit, these individual analysis have helped me communicate the film more effectively, have tried to use legends to show what I am doing where in the film together with a direct relationship to the outside world.
Subscribe to:
Posts (Atom)