November 2008 Archives
I know its CHEESY, will rework it!!
This is the implemented circulation in the other direction as well.
Whole system is super flexible which is great.
I will start implementing the other elements. caves, tunnels,.....
I think this works much better, the canyons have one continuous and one framented outline.
Creates a much more fragmented system of platforms and gives me great flexibility in plan and section.
Will do circulation in other direction next.
I did this version of the surface, i think it is not working yet. It still looks too much
like a kind of sectional "morph" because all the platforms become one continuous
strand. I like the boxy aesthetic a lot more,a lot more artificial. Will work on the plan to achieve that and
still have the articulated circulation canyons.
I created the logic of this steppings and just made a quick scenario in a marble quarry.
It becomes evident that i NEED A GOOD SITE AS SOON AS POSSIBLE, because the site and its material will completely inform all of this.
Trying to bring 1 or 2 more colors with a slightly different tones into the image to create more differentiation of the elements and create some highlights.
A building is built with the aim of offering an event to the inhabitants of the city.
Its form gives the possibility for the event to happen.
In return the event offers the building the chance to overcome its state of being solely built mass and become an Idol.
For this to happen, the event needs to be spectacular.
A spectacular event that induces a heightened state, that can only be experienced in the flesh.
That makes you become part of a unique collective experience.
An event that engenders an altered state, the unfamiliar, the unexpected, the extraordinary, the impressive, the exuberant.
The spectacular event becomes popular among the inhabitants of the city and they establish a strong emotional relation with it.
The building becomes an Idol, which means, the inhabitants of the city respect and admire it for the collective emotions it is offering to them.
Time passes by and it becomes evident that the Idol is condemned to be impermanent.
Its impermanence is directly depended on its own success.
The spectacular event becomes so successful that it starts to attract tourists that pilgrimage to it in masses. This has the consequence that the inhabitants of the city loose their popular event.
Since the form of the event was not conceived to provide a spectacle for tourist masses and the possible profits from its touristic success are obvious by now, the form of the event has to change to encompass its new status.
The state of the Idol comes to an end and the decision has to be taken weather the Idol will be copied and touristic Icons created or if the form of the Idol will be changed in itself to make it become an Icon.
We condemn the ICON;
We condemn ALL ICONIC ARCHITECTURE;
And cannot be silent anymore!
We have no other choice then to finally stop the frivolous use of the icon.
Iconic brands, iconic images, iconic objects, iconic people, iconic events, iconic buildings, iconic cities, iconic everything.
To forever stop this misuse of the Icon and define what actually IS A TRUE ICON and what IS NOT, there is no other way then to go back to its origin.
An EIKON is the visual manifestation of what is not there anymore.
Its presence is a medium that enables the veneration towards the absent, not towards the object itself.
It is referential towards a belief, towards ideas, feelings, memories which it evokes in us.
It rewards its veneration.
Our contemporary, commercially infested ICON completely turns its meaning around:
An ICON is the visual manifestation of what is there.
Its presence enables the veneration of itself; it is the pure manifestation of commercial desire towards the object that has no meaning beyond itself.
It is always impermanent, just a passing fad, a new ICON will replace the prior one as if the former never existed.
We condemn the ICON;
We condemn ALL ICONIC ARCHITECTURE;
The Eikon is our new dogma;
And therefore the architectural Eikon is what we want.
To become an Eikon a building has to go through the state of being an IDOL.
To become an IDOL the architecture has to offer a spectacular event that makes you become part of a unique collective experience.
An event that engenders an altered state, the unfamiliar, the unexpected, the extraordinary, the impressive, the exuberant.
The building becomes an Idol when it is respected and admired for the collective emotions that it is offering.
The IDOLs destiny is to be impermanent; its impermanence is a consequence of its own success.
ICONS will be emerge soon. They will force the Idol in a state of obsoleteness for its unwillingness to become an ICON as well.
The Idol finally becomes an EIKON
The form will enable the veneration of the event that is no longer there.
The Eikon will refer and evoke the spectacular event and reward for its veneration.
We condemn the Icon;
We condemn ALL ICONIC ARCHITECTURE;
We praise the spectacular event.
We praise the ephemeral emotions.
We praise the Idols decision to become an Eikon.
We praise obsoleteness.
We praise absence.
We praise form as representation of the event.
We praise the arrival of the Eikon.
I am not trying to create/design the NEW ICONIC.
I am rather making a critique on all this iconic NONSENSE.
The problem is that the iconic reinvention is a pure marketing strategy to in the end sell more.
Therefore whatever the new iconic will be, it is condemned to just be a passing fad, because the new iconic will replace the prior one as if the former never existed. Thus meaningless.
Therefore it doesn’t really matter if the NEW ICONIC is:
-form
-context
-emptiness
-marble
-the component
-white
-flatness
-curvature
-the hybrid between shopping mall and museum
-a island formed in the shape of a pineapple
-aura
-wood
-oval windows
-whatever
-…
It will not make any difference, because they are all subjected to the commercial economic realities and are completely interchangeable. They will be consumed by the market in a rush and then discarded without any mercy.
Therefore the only way to create a “truth icon”, if there is no way to bypass doing one, is to make it be completely unrelated from the economic market.
Obsoleteness.
The Ruin.
We condemn the ICON;
We condemn ALL ICONIC ARCHITECTURE;
And cannot be silent anymore!
We have no other choice then to finally stop the frivolous use of the icon.
Iconic brands, iconic images, iconic objects, iconic people, iconic events, iconic buildings, iconic cities, iconic everything.
To forever stop this misuse of the Icon and define what actually IS A TRUTH ICON and what IS NOT there is no other way then to go back to its origin.
An EIKON is the visual manifestation of what is not there anymore.
Its presence is a medium that enables the veneration towards the absent, not towards the object itself.
It is referential towards a belief, towards ideas, feelings, memories which it evokes in us.
It is relational and permanent and rewards its veneration.
Our contemporary, commercially infested ICON completely turns its meaning around:
An ICON is the visual manifestation of what is there.
Its presence enables the veneration of itself; it is the pure manifestation of commercial desire towards the object.
It only refers to itself and has no meaning beyond itself.
It is the product of consumer society and therefore non relational, always a passing fad, a new object will replace the prior one as if the former never existed.
We condemn the ICON;
We condemn ALL ICONIC ARCHITECTURE;
We condemn the meaningless object pointing to itself.
We condemn the veneration of the meaningless object.
The Eikon is our new dogma;
And therefore the architectural Eikon is what we want.
To enable the possibility of architecture to become an Eikon it firstly has to move from the state of being solely a building to being an IDOL.
An Idol is the pre stage of an Eikon.
To become an idol the architecture has to be a spectacular event.
A spectacular event that induces a heightened state that can only be experienced in the flesh.
That makes you become part of a unique collective experience.
An event that engenders an altered state, the unfamiliar, the unexpected, the extraordinary, the impressive in scale, the visually exuberant.
An Idol will face a moment of decision weather to become an Icon or an Eikon.
Since we experience architecture through form and event, form is the visual manifestation of the event itself.
Therefore once the event becomes obsolete, through the creation of Icons of the Idol or by preventing the Idol to change itself into an Icon, the form is its representation and opens the possibility for the Idol to cross over to the state of an Eikon.
The form will enable the veneration of the event that is no longer there.
The Eikon will refer and evoke the spectacular event and reward you for your veneration.
We condemn the Icon;
We condemn ALL ICONIC ARCHITECTURE;
We praise the spectacular event.
We praise the ephemeral pleasures.
We praise the Idols decision to become an Eikon.
We praise obsoleteness.
We praise absence.
We praise form as representation of the event.
We praise the arrival of the Eikon.
On a level of perception the blurring of the usually strictly distinct Authentic (Natural) and the Artificial creates a spectacle, because it puts us in an unusual situation where we have to reassess our usually fixed notions of experience of space, where the distinction between one and the other is (at least visually) always obvious.
The blurring creates something non referential, something weird in itself.
The right angle and the straight line are the formal extremes of the artificial.
The grid is the formal organisational expression of it.
The curved line is the formal expression of the authentic.
We condemn the ICON;
And cannot be silent anymore! The frivolous use of the icon has to stop.
Iconic brands, iconic images, iconic objects, iconic people, iconic events, iconic buildings, iconic cities, iconic everything.
To forever stop this misuse of the Icon and define what actually IS A THRUTH ICON and what IS NOT there is no other way then to go back to its origin.
EIKON:
Eikon means the visual manifestation of what is not there anymore.
Its presence is a medium that enables the veneration towards the absent, not towards the object itself, it is no veneration towards matter.
It refers to something, takes you somewhere beyond itself and is the visual representation of taht.
Our contemporary, commercially infested meaning of ICON completely turns its meaning around:
Icon means the visual manifestation of what is there.
Its presence enables the veneration of itself; it is the pure manifestation of commercial desire towards the object.
It only refers to itself and has no meaning beyond itself.
We condemn the Icon;
We condemn the object pointing to itself;
And we condemn all veneration towards matter.
The Eikon is our new dogma;
And therefore the architectural Eikon is what we want.
To enable the possibility of architecture to become an Eikon it firstly has to move from being solely a building to being an IDOL.
Idol means the possible pre stage of Eikon.
To become an idol the architecture has to be a spectacle.
A spectacle that induces a heightened state that can only be experienced in the flesh.
That makes you become part of something greater than yourself.
An event with magical possibilities, one that inspires awe, that turbocharges the everyday, that engenders an altered state, that makes the familiar become unexpected, the ordinary become extraordinary, a visceral experience.
Since we experience architecture through form and event, form is the visual manifestation of the event itself.
Therefore ones the event becomes obsolete, the form is the representation of it and opens the possibility to the Idol to cross over to the state of Eikon.
The form will enable the veneration of the event that is not there anymore.
It will refer to the spectacle and your experience of it and take you somewhere beyond itself.
The Eikon will reward you for your veneration.
We condemn the Icon;
We condemn the object pointing to itself;
And we condemn all veneration towards matter.
We praise the spectacle.
We praise form.
We praise absence.
The Eikon is our new dogma;
And therefore the architectural Eikon is what we want.
All power to the octopus! hahaha
