January 2012 Archives
I'm trying to stitch together all the feedback from the jury - they to be wrapped in one single argument but for now they're still floating pieces of ideas. Some update:
1. I am officially without Adobe. Help!
2. Have been looking into 'Exquisite Corpse' as mentioned by Stefano. It is basically a collage technique used by surrealist and dada, supposedly fragments are constructed separately by each individual, and then combined together as one single work. This one below is by Breton and 3 other people. I intend to still take on board the stitched map of the 'ship's universe' as my thick drawing - but need to figure out the purpose of the drawing more precisely.
3. Trying to edit the map without photoshop so excuse the colour - below are the drawings i showed on the table that talks about the curation or border and territories. Drawing may zoom in and out and even cross between the interior of the ship out to the landscape/city/fictional site.
It's too abstract I know but trying to sketch some other ideas...
4. Yes, the sinking ship is ON BOARD. I still have the problem with constructing the narrative , as in, how much of the project is about the ship on its heyday - and how much about its aftermath.
I'm thinking that the cruise director's room should still be the key space. How the room is designed, and its relationship to the whole ship's entity - will be revealed when the ship starts to sink.
Some ideas for TS: what if the cruise director's room is designed to anticipate the tragic fate! Perhaps when the ship tilts it behaves like a pendulum, forever trying to maintain equilibrium .... but for what purpose???! Just thinking out loud.
Familiarizing myself with the ship (which btw, in cruise industry, it's only a mid-range sized!)
Some awesome pictures of interior of the ship before and after:
I find the horizontal/vertical transformation very intriguing as spatial experience.
On Tuesday Alex and I discussed how to integrate the cruise director's room to the thick drawing. We both agreed that it should look less 'ship'-y and focus on the layers of events and manipulated space within the ship and their parallels in the city, if there's any.
I showed him reference from Diller & Scofidio which is looking more like a model but describes well this idea that the form (curved house replaced by the ship form) can remain generic or static, and when punctured in sections we start to see the ship's split worlds and hierarchical spaces.
What Alex suggested is as the drawing it might be useful to have it as conceptual plans, where the cruise director's office becomes the one drawing that can move around and be plugged in to different space/border/territory (like when the ship sails, or dock, or pass through).
At the moment i'm still working on the ship triptych - still floating in rhino world now, needs to be rendered soon.
I showed him reference from Diller & Scofidio which is looking more like a model but describes well this idea that the form (curved house replaced by the ship form) can remain generic or static, and when punctured in sections we start to see the ship's split worlds and hierarchical spaces.
What Alex suggested is as the drawing it might be useful to have it as conceptual plans, where the cruise director's office becomes the one drawing that can move around and be plugged in to different space/border/territory (like when the ship sails, or dock, or pass through).
At the moment i'm still working on the ship triptych - still floating in rhino world now, needs to be rendered soon.
At the moment still working on Triptych #2: City-Cruise-Nowhere image.
Have been constantly changing my mind about this section of the cruise.
I guess what I'm trying to show in this image is the idea of
The middle panel will also have a triptych inside a triptych, so I will start with the middle of the middle panel showing a recreation of a city with infinite horizon as the backdrop.
As the image reveal the rest, we start to see hierarchy and split worlds between different classes and also between the crews.
There are so many things i cant seem to figure out, well, mostly argument-wise. I guess I will start building up the collage and have more discussions about it tomorrow.
Have been constantly changing my mind about this section of the cruise.
I guess what I'm trying to show in this image is the idea of
The middle panel will also have a triptych inside a triptych, so I will start with the middle of the middle panel showing a recreation of a city with infinite horizon as the backdrop.
As the image reveal the rest, we start to see hierarchy and split worlds between different classes and also between the crews.
There are so many things i cant seem to figure out, well, mostly argument-wise. I guess I will start building up the collage and have more discussions about it tomorrow.
Still working on the WB, changed the layout, basically made most of them more condensed and have distinguishable layout and text..
Yesterday I was doing research for TS and found this great book which specifically talks about architecture of ships and comparison between ships and cities...
"Earlier liners were linked in many ways to the life and social patterns of the cities between which the plied, and were occasionally themselves depicted as one aspect of metropolitan life."
The Steerage 1907, Alfred Stieglitz:
"What Stieglitz discovers in The Steerage is a maritime space that becomes metropolitan, vertical and hierarchical, jam packed with anonimity. The ship, the largest machine capable of being pictured in its totality, yields a partial image of that larger, unpicturable machine: the city." - Allan Sekula
