February 2012 Archives

wednesday TS with John.

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This Is what I had for the TS tute with John Today. Showing the different arrangements in which the room transforms in orther to Align the Self- Portrait of The City to the viewer.

Based on the comments today, I will focus on explaining how this actually works not mechanical but as an idea, as It was hard to understand the idea just from this drawings.

So basically I'll start with the four sided wall room of NO DISTORTION. the "concealed" interior, then I'll explain how the SELF/VIEWER distorts the portrait to transform it into a self-portrait and how different views of the city collapse into a composed/idealized image creating the self-portrait of the city.

Then i'll explain how it is distorted AS AN IMAGE when the self-portrait is not inhabited = ALL THE DOORS TO ENTER THE SELF-PORTRAIT CLOSED. But when you enter and inhabit the self-portrait the image becomes a distorted space that rearrages. The door will always align the portrait into "the self/viewer" so the doors are the mechanisms that allow the space to transform into a self-portrait.

So it is the same "image" of a space aligned as an image into different viewers/entries but different in space.

I hope this is clearer.

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...

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working on how thing will actually align and how...

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narcissist 2

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I am re-doing the way the city will re-position depending on how we move through space. It wasn't right the first drawing I did. This is CRAZY! I'll make it readable and clear as a drawing....
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THE NARCISSIST CITY

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The studio move as the eyes of a self-portrait and follow the viewer wherever it moves this is at the scale of the studio/room.

"Self-portraits catch your eye. They seem to be doing it deliberately. Walk into any art gallery and they look back to you from the crowded walls as if they had been waiting to see you. The eyes in a million portraits gaze at you too, following you around the room, as the saying goes, but rarely with the same heightened expectation. Come across a self-portrait and there is a frisson of recognition, something like changing upon your own reflection."


I am working on how it will move through the entrance door, the door rearrange the city of the studio in order to match with the perspective of the viewer werever we are standing. Like the eyes on a self-portrait

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potpourri...

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a kind of "potpurri" of ideas....

just throwing some thoughts...

The project introduces the idea of the self-portrait in architecture as the studio and room of an artist (the studio and the self portrait are the room and the universe). The studio of an artist is a space for the production of the artists work in were the artist display not just the final pieces as in a museum or a gallery but it is in close relationship with its creator and the space in were the object was created. The artist creates its own context in his studio, the studio is the space in where the artist collects and arrages through his work how he sees himself and how he understands himself within the world.

 The self -portrait is not only the final object and image that is exposed in a gallery, the self-portrait is a space and place in where the artist situates himself in order to be able to see himself  and the world how he wants to see it, the final object is in itself a studio and space in were we project ourselves and is never complete until we die. (very dramatic!!)

 The artist of this project is the city, so the project is the self-portrait of the city, the city is the space and studio and we are the ones that create the self-portrait as we inhabit the space of the city. The Lost City or The City With No Name found himself as a ruin in a "dessert" and from the flattened image he/she found is strating to re-build the context of this room. The studio of the city is the void or emptiness of a dessert or field, the blankness of a wall or even just in the mind, it is in the ground and 10000 meters high, it is arbitrary, capricious, ureasonable, unsupported. (hmmmmmm help!)

 The technical part of the project introduces the idea of how to build the context of a flat image through projection and how to create a context through the room. (how the room expands outwards and how the outside projects inwards) the frame is the experience and The "Self" (or idea of self or person) is the context of the project. Through understanding the movement of the viewer through the space and the idea of entry I will explore how the self-portrait transforms as we travel the space of the studio and depending on how many views we open and close we build and create our self.portraits and build our own city... (pffff bad bad bad...but throwing ideas)

I am not happy with this text but I want to start thinking about what I am going to say....

ts...

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I am working now on the cone of vision and perspective within the dog box to see how I will explain the space/volume of the studio and in relation to what = viewer . I am doing this so I can locate the door and see the distance this things are in order to plan what the door is going to do in space and not in drawing.

I am going step by step trying to find the simplest/clearer way to explain it. I am trying to track all the steps I "jumped" 


The one below shows the openings (enfilade opening, window opening, studio opening door openings) and the cone of vision in relation to the viewer as "audience" in were the viewer is not inside the studio but is at the necessary distance to be able to see the whole "box" by the 60º cone of vision of a person.
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This secon drawing is when the viewer is in the studio (the edges or walls) in where we can see the 4 viewers the box has (as an audience and performer ¿?) The side viewers are located on the pinhole of the dogbox. 

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I was thinking that maybe how the door close and open views is by the position in were the viewer is located, but still not convinced about this.... anyways I did a drawing of the way the space would move as the viewer aproach the studio... I am not sure entirely about this...
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fighting on were to locate this door(S) still not sure how to make the space of the drawing..

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literally...reconing my own proj..
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more to come...

man up ...

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at the moment I am drawing this:

the out of the box, at the moment simple lines
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This is how the "real" box is looking like as well, simple lines at the moment.
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drawing new pieces inside dog box
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dog box has the missing face in already....still to be discussed....
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once upon a time...

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I want to make the story really really extreme now...at the moment is not good either extreme, but i want to start with a really  bad story so from that  I can  refine it, at the moment is just two sentences and a REALLY good quote.... I'll start to introduce the idea of the dark chamber and light as in the camera obscura in the TS.... the camera obscura would be the unconscious and the "light" the conscious I know all this terms will change eventually and this words need to be different...


A Self-Portrait revels more than just physical appearance, it reveals how the artist hopes to be viewed by the world and how it wishes to see itself. It renders the impossible and is conceived as a ruin.

 The Self-Portrait of the City was found by the city that was looking for itself, a city with no name just city. The city found a paper image of archetypes, a perspectival map of non sense. Tired of architects and people the city has taken a "brush" and has become the artist of its own context. The lost city of the "desert" will project outwards its most intimate aspects and visible atributes....(to be continued...)

 

"Every eye has its own camera obscura . The camera Obscura in the technical sense of the term, seems to be contaminated by more ideological, more unconscious connotations, carried simultaneously by the notion of camera/chamber and that of 'obscura'. In ideology, ideas are put under lock and key in a room, cut off from the real material base alone can confer upon them light and truth. The dark chamber 'is a place were light can only enter through a hole an inch in diameter to which one aplies a glass, which letting the rays from external objects pass onto the opposite wall, or onto a curtain held there, allows what is outside to be seen inside."

more lens...

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the site of the lost city (trigonometry)

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I'm working on the first map of the lost city, instead of a viewer I'll put city man looking at itself

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Today with Javier he basically said I should talk more about the illusions within the project an the different forms of entering into a space example:

Through the heavy door he talked about the physical need to open a space in order to go into the other, with the "cut in perspective" door, is that the door is closed but gives you the illusion that you can go into the next space, and the door that is larger and doesn't close is about a door that gives the illusion of a door opened in 45º but it can't actually be closed, and the rotating door, is also about the mechanism. and said "inflate" is not the right word for the enfilade proposal

About "building the context of the self-portrait" well I think this is the one that needs more work and is about reflectios and mirrors, and building the protrait from the outside.

With christina, she talked about the "deploymen" on the enfilade, the rotating room and chair said that she thinks is not "necessary" to "fake" the physics of the chair, that should be better to see how space can be re-used or re-appropriated based on the different positions of the room.

and about the reflections she said would be interesting to see were the things of the portrait would be located in reality and what is what i USE TO BRING ALL THIS STUFF TOGETHER into the protrait.


This is an experiment of the rotating room, changing door, and window position (the chair is not visible in here)
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...

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Weird!...Don't know how I could make a model of this...everything is getting very far away from each other 

The image below has just mapped were they go 3 of the "paintings/windows" inside the studio , the suburbs of the window and the wall of the self portrait. each little grey square is 11m

these are 9 A3 so the pieces of the model would be tiny and most of the model would be blank everything is super separated from each other.... I really have NO idea what is this...I'll keep mapping the paintings and see what happens... to make a model that at least shows in a reasonable size the pieces I thing would need to be twice as big as this and obviously whiter then..


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hmm...

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apologies for the resolution/quality of images...but its getting  interesting... hmmm the houses we are looking at from that window are 133m away from us...

hmm...also I realized I am not just building the things that are reflected in the studio, but the room of the studio as well, so in a way the self portrait is never showing the reality of bot either the things absorbed or the room itself...I don't know I'll keep dawing it to see what is this...so far I've just figured out a square 

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categories of TS..

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1.Inflate the space of the self-portrait (from space to flat surface)
2.Change the view point from the inside (when the studio rotates changes the position of the viewer in relation to the interior context of the studio)
3.Building the "exterior context" of the self-portrait (making the space through reflections, mirror and probably a lot of geometry)

here some attempts that I am not happy with but I'll see what javier and christina say about this one tomorrow... I'll start working with building the space that is reflected in the box.

What I was trying to do here is to explode the view of the enfilade, in were the last door is a door at a regular scale, but as it approaches the studio becomes a 7 meters tall door....this starts to give a scale to the studio in relation to what is seen and study from the interior.

the floor is in the wall, and that is what I've been experimenting here how to bring the floor to the wall as in the dog box.

Any ideas/comments?
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this is how the space could be inflated?
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rotating studio, chair, stair and door...

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Camera Obscura - A Video

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Mini Machine Hellllooooooooo

I found the video of the guy that transforms rooms into cameras obscuras (Abelardo Morell) The amazing thing it to see how when the image is projected inside the room is like having a video, because you can see the movement of the outside "scene" from the interior. 

THE STUDIO AND OTHER THINGS...

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"The delay room"

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It can probably be something like this below (I mean this is literally a camera) but thinking about what was discussed on the thick drawing... could be something like that... the boxes where I "storage" the multiple self-portraits is the archive of the city's portrait... just a quick thought I had....

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From the references I remember on friday this is a good one! AD REINHARDT IN HIS STUDIO (the contrast between the black paintings and the view of the studio, and where he is looking at)



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1955
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CAMERA

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This are some tests and experiments I am doing in rhino... (many screen shots)

this one below is taking quite literal the idea of camera, but I thought maybe the enfilade view as is talking about distance not just in space but time and structure of the city can be a "zoom" like the box I took yesterday that compress or expand to get a better view or resolution of the image. that lens is very obvious is not going to be like that
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the door that never opens 90ª it changes the perspective and the background of the studio and is made of "stone. one person alone cannot open the door....
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I think I won't make rotate the whole thing,but just some ideas...of how can transform the inside of the studio when it rotates...
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summary of john and alex

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I got the tute with John!..and was good again!

in simple words these are the three things I need to focus on:

1.What is what I mean by paper and what is what interests me about that and what is what I mean by stone and what is what interests me about that.

2.The rotation (and he told me to look at the 6 degrees of freedon of an object)

3.Origami. This means on the scalability of the object to studio to "warehouse scale/city"
   he told me to be very pragmatic about this and start as I did in the dog box with an unfoldel cube, and then how the cube would keep unfolding and transform its scale and keep unfolding and change its scale again.

here is a (bit empty) story board of how far I understand the story of my PROJECT/TS.

How I understand so far the steps are: 
1. Collecting and bringing the city in the studio through the camera obscura.
2. The projection inside the studio is projected upside down
3.Inside the studio there is another camera obscura that is the scale of an object that you could carry in your hand that inverts again the image and puts the image straight
4.The  image/self-portrait of the city projected in the studio is materialized by both through the image making and through the inhabitation of the studio (in paper and in stone)
5. the studio, warehouse/city scale and object can transform the one into the other through unfolding, so it can expands and compress again. 
6. the studio rotates in order to put straight the image of the city projected inside the studio (the studio for ts will be "paper")
7.To rotate the "STONE" (Which by stone I understand  the "permanent, historical, core, structure,) changes the whole portrait of the city. 
8.I know it still might be unclear.......¿?.... does this make sense?

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some tests of how I can start making it...
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Alex tutorial: super helpful too. Basically the bok drawing will start to get thicker...I'll start to incorporate reflections inside as well, so the space can also starts to look at itself. and reflect the drawing inside the drawing. also I will start removing layers. If I remove the chairs the whole scale of the drawing changes, If I remove the wall, or the dorr and bla bla... If I close the door then the portrait of the city changes as well...

I'll start to add textures in the drawing box and new layers....




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