Wednesday 26 October 2011

Impossible motion / Optical illusion








Inspired by M.C. Escher


   



M.C. Escher - Relativity and Waterfall

Visualisation of Relativity.

MC Escher's Infinite Staircase




MC Escher's Waterfall
Project: Fachhochschule Trier - Intermediales Design

Real World MC Escher Waterfall Explained

Moebius Strip


The Moebius strip is a surface with only one side and only one boundary component.
In math it goes as being non-orientable and has only one surface.
So if you drip the water on one side, it will go into endless loop.

A model can easily be created by taking a paper strip and giving it a half-twist, and then joining the ends of the strip together to form a loop.



M.C. Escher

 
Necker Cube (impossible cube or irrational cube)
The illusion plays on the human eye's interpretation of two-dimensional pictures as three-dimensional objects.

Penrose triangle 

There exist 3-dimensional solid shapes which, when viewed from a certain angle, appear the same as the purple, green, and yellow 2-dimensional depiction. The term "Penrose triangle" can refer to the 2-dimensional depiction or the impossible object itself.

Impossible geometry

M.C. Escher


 


Knot, 1965
Drawing Hands, 1948
  
Encounter, 1944
Bond of Union, 1956

 
Moebius Strip II, 1963
Reptiles, 1943

M.C. Escher

Maurits Cornelis Escher (17 June 1898 – 27 March 1972)
Dutch graphic artist. He is known for his often mathematically inspired woodcuts, lithographs, and mezzotints. These feature impossible constructions,  explorations of infinity, architecture, and tessellations.
Started with landscapes and decorative arts, he then studied architecture and mathematics. Combined in his head, they created surrealistic images with multiple dimensions.
Ascending and Descending, 1960
Relativity, 1953

   
House of Stairs, 1951
Waterfall, 1961

 
Belvedere, 1958
Still Life and Street, 1937

Vladimir Tatlin - Monument to the Third International





Its spiraling steel skeleton reaching a third higher than the Eiffel tower and enclosing three massive glass volumes, each rotating at their own rate as the days, months, and years passed.

Never finished project; a socialist Utopia.

Themes

Utopia
"However, the projection of the myth does not take place towards the remote past, but either towards the future or towards distant and fictional places, imagining that at some time of the future, at some point of the space or beyond the death must exist the possibility of living happily."
I think of utopia as something unreachable, impossible and unexisting. Like a perfection, ideal.
They exist only in our minds and we always trying to make ourselves better under influence of those images and ideas.
In architectural utopia I see unrealistic visions of future. Ambitions and creativeness.
If you don't like something, change it. If you don't know how to change it, invent it.

Architectural styles I want to research:
• Structuralism
• Deconstructivism
• High-tech architecture (Structural Expressionism)

6 words of interest

• 3D into 2D
          - 3D does not exist withot 2D
          - link between them
          - every 3D object has a flat 2D shadow, therefore it exists in 2D as well
• Frozen moment; Slow motion
          - process of shooting
          - capture single moment in whole violent action
• Reverse movement
          - process of shooting
          - devices
• Function and Purpose
          - misuse, misunderstand
          - double meaning
• Light and Shadow
          - 2D and 3D
          - mirrors; endless projection
          - illusion of space, distance, shape, form, existence of object
• Upside down; Inside out
          - section cut-through
          - another point of view
          - impossible objects
          - hidden, unseen
• Perspective; Rhythm; Plan
          - labyrinth
          - dynamic
          - direction
          - impossible objects
          - mirrors; endless projection

Thursday 13 October 2011

How do you state your design interests?

This is just a few words, describing my opinions of design, space and viewing.


The Night City.

Have you ever noticed how much London changes at night?
Under sunlight, we see the bright, lively capital, with office workers in suits, and tourists clutching their cameras.
But after the sunset, the city is not going to sleep. The neon lights are flashing everywhere, the street lamps don’t let the pitch-black darkness occupy the corners.
It all creates an illusion that the city never falls asleep.
The thing I find the most captivating is the difference between daytime and nighttime.
Passing on the streets in broad daylight, you wouldn’t believe that it’s the same building you saw last evening.
Everything can change dramatically, when the light is used thoughtfully.



The point of view and the position of viewer.

I was always fascinated by the fact, that the understanding of space and objects is so vulnerable.
Sometimes shifting the viewpoint will change the whole scenario in front of us.
The things that were hidden become obvious, the meaningless shapes and constructions create an image that is hard to miss.
The bolder the idea is, the more mesmerizing effect it will create.
With the lights and shadows, with contrast colours, with different positions and attentively arranged space we can astonish, surprise, amaze and spark the interest in people.



Construction, Modelling.

Since I have never experienced it before coming to London, I find model-making very interesting and helpful.
While creating outcomes or just considering the new idea, it is easier for me to make a small sketch model, rather than thinking hours whether it will work or not.
When it comes to technical drawings, I imagine the object pretty much in it’s 3 dimenthional form, so without the existing scale model, that you can touch and turn and look around at, it’s more like a challenge for me.
In the workshop facilities we can experiment with almost everything, starting from materials to scale and form.
This way we can almost immediatly see, which idea will work better.



Anish Kapoor - Shooting Into The Corner

The first time I saw this installation was back in Autumn of 2009. And I still cannot forget it.
I believe that there’s no such thing as ignorance when it comes to Art.
It simply cannot be, that people feel or think nothing of the piece of art.
One way or another - you either like it or hate it, excited by it or disturbed, glad to see it or mad because you spent your precious time.
Art brings the memories and emotions out of us.
And it doesn’t matter, if it’s not a positive reaction. A negative respond is still a respond, a negative answer is an answer.
This is the purpose of Art - make people respond to it, grasp them, and don’t let them forget it.



Distance and Shape.

How do you see the space?
While looking at object or structure or any building, do you think how it was built, how exactly this form was created, how perfectly it fits in the surroundings?
Once I came to conclusion that every image, building, structure, landscape and even person’s signature could be presented as a combination of geometric forms and shapes.
I find them quite alluring, and at the same time easy and enjoyable, to use and experiment with.



Parallelism, Perspective, Order, Rhythm.

Isn’t it engrossing how usual objects look so different from another angle?
It’s not as much about the point of view, as it is about simple parameters of space.
Or more exactly, how we see and describe the distance and location - length, width, breadth, depth - easy to reach, isolated, far away, too close to see the full image.
It can be just the usual terms for photography.
However, I started looking at objects and space itself differently, trying to find something that makes this particular place unique, only one of a kind, with it’s own atmosphere and stories to discover.



Installation, Temporary and Conceptual.

I used to think that installation is a fixed, frozen in time, single moment, that the artist turned into shape of sculpture.
Apparently, the installation’s contents and ways of creation are innumerable.
Light, shadows, forms, sound, noise, movement, interpretation, interaction, use of materials and objects in unusual, extraordinaly, non-suitable way.
The arrangment of the place, and the creation of space itself.
The only thing that needs to be in common for all components of the installation is to have the same concept, idea, or be in harmonic contrast.


Forward Motion, and Still Silence.

Despite being a capital, London gives this somehow relaxing and calming feeling, which I still couldn’t find in any other countries I visited.
Even when you stand in the middle of the road, waiting for the traffic lights to change, you feel the rush of life around you - the heat of cars passing by, the noise the engines produces, the wind blowing;
You see the people not speeding up, but just living, enjoying and taking their time.
As I stop sometimes, too occupied with thoughts to mind what exactly stood in my way, I turn around, captivated by the rush and serenity of the place I was in, trying to memorise how the world looked at that exact moment.



Architecture.

For me, the architecture is separated into different parts, but still exists as an entity.
Briefly, I’m looking how it was made and where, paying more attention to finding out, what differ this building from others.
Trying to find out what makes the small streets feel more comfartable than the whole big park;
How the great amount of the office buildings, shopping centres, family houses and single flats, the museums, the parks, lakes, the river and the roads create the whole city;
And how they still are being separated into the areas of activities.