Thursday, 1 March 2012
The structure of Cube.
Cube is a system of 17576 rooms (26 rooms in each axis), fitted into exterior facade.
Some rooms periodically change their location in the system. The rooms are located in some distance from the facade. And only one of them sometimes connects with it – the bridge.
Each room represents a cube, with a door-airlock to the next room in the centre. Behind the airlock set 3 three-digit numbers, that define the room – position in the system.
The walls bear many geometric figures, some of them are traps. Metal bars in the walls work as stairs.
Cube was shot on a Toronto soundstage.
Only one cube, measuring 14 by 14 by 14 feet, was actually built, with only one working door that could actually support the weight of the actors. The colour of the room was changed by sliding panels. Since this task was a time-consuming procedure, the movie was not shot in sequence; all shots taking place in rooms of a specific colour were shot one at a time. It was intended that there would be six different colours of rooms to match the recurring theme of six throughout the movie; five sets of gel panels plus pure white. However, the budget did not stretch to the sixth gel panel and so there are only five different room colours in the movie. Another partial cube was made for shots requiring the point of view of standing in one room looking into another.
An episode of the original The Twilight Zone television series, "Five Characters in Search of an Exit", was reportedly an inspiration for the movie.
CUBE 2 HYPERCUBE
In time when someone passed it, depending on what path they will take, the space will change itself according to their needs and imagination.
Changing transforming space designed specially for different social categories of people.
Children, elders, teens, office workers – they all have different interests and physical capabilities. Some need wider spaces, when others are in need of quiet place to sit.
Wheelchairs, baby carriages require special access instead of usual staircases.
Depending on weather and pedestriants, the space will be changing, like magic, protecting them from strong wind, the rain, or burning sun.
While the person doesnt know where this turn will take him, the map will show him what destination he can reach in the end. So if that's not the one place he was heading to, then the person can set a different route, that will take him to desired place.
A way to save time and plan ahead.
Navigation for everyone.
Modernisation. Science and technology together.
I want to keep the unexpected turn of events. Even if for only one category of people, for example children.
The labyrinth as a system of interactive segments. Pixels.
I want to create a labyrinth that will help people to orient oneself in space and remember the trajectory/route they take to get anywhere. This labyrinth is supposed not to confuse people, but to make them understand the space they are in.
The shape will be the same of walking paths in Barbican, but it will be separated into rooms with set dimensions, that can have different colors, functions, number of doors and stairs.
Playground (for all ages) / labyrinth
Sequence of spaces:
Many rooms, “pixels”, segments:
One-way mirror for the walls and ceiling, natural light:
Same doors, same staircases (straight, spiral, without steps)
[Pixel means square and color.]
3 Dimensional understanding:
Pixels don’t exist separately, and together they create a specific order of sequences.
Order of sequence?
Or sequence of order?
What if I create arrangement of rooms that will confuse people with its order. Or absence of order.
I want to make then doubt if there’s an order in that sequence.
The person is walking through the rooms for hours, opening doors, climbing stairs, counting each step he made.
Is he walking in a huge maze?
Or just in a loop of four rooms?
Endless walk, without any destination.
More of the psychology and philosophy and ideology.
I like to doubt myself.
Do I see what I see?
Or I see what I want to see?
You can call it the play of words, but even that! make you think and try to find the sense.
Demagogy. Doublespeak. Empty rhetoric. Tautology.
When I find a tautological phrase, I always turn it around or rephrase, and try to find any sense in the newly created phrase. Or is there any meaning at all?
And is it ‘sense’ or ‘meaning’?
You sense the sense in it and you mean the meaning.
What if we look into something and try to find a sense in it, in the end, will we actually find many different senses or no sense at all?
You have a very clear idea, and you start talking more about it. So tell me – the more you talk, will you understand more, or will you start to understand less?
The less you say, the clearer it is. Or not enough information to grasp it?
And then the more you say, the more confused you became?
Really? Are you sure?
Every message must have an idea in it. Depending on what you want to say, you! choose the way to phrase it.
I want to create a question in you, or more specifically, make you react with a question – which way is right?
Oh, and you need to specify – the way to walk, or the way to talk? Perhaps, to mean?
Wednesday, 15 February 2012
In meeting the assessment requirements for this unit, spatial strategies can be interpreted as and take the form of: time-based sequences, spatial narratives, scripts, storyboards, plans, schedules of work and programmes, in order to propose expanded cinematic/spatial proposals for the site. The group activities will be both practical and theoretical and will include site surveys in a range of media and group research seminars aimed at developing group and individual approaches presented by the site and the contemporary contexts for practice in spatial design, film and related cross disciplinary practices.
• Formulate a planning strategy that provides a functional resolution of a brief with a clear social programme;
• Design a complex sequence of spaces;
• Communicate a design proposition through exploratory drawings;
• Develop a three-dimensional understanding of a detail junction;
• Negotiate decision-making as part of a larger design team;
• Analyse an existing site condition;
• Critically evaluate a range of design options and devise a group strategy for the production of design information.
In developing this ongoing portfolio, you are encouraged to use your creative practice as a space and means whereby to ‘digest’ some of the material that we will be engaging with in class as well as to begin developing