Few ideas for the model and the flipbook.
Thursday 17 May 2012
Thursday 1 March 2012
The Cube
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
1997
CUBE ZERO
prequel, 2004
CUBE 2 HYPERCUBE
sequel, 2003
Each step proposal
•••
Movement sensors.
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.
•••
Interactive map.
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.
•••
Social program:
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
Gregory Euclide
American artist Gregory Euclide created a micro lanscape out of rubbish (plastic, sponges, styrofoam, paper) that was found during his walk in the park.
Unit 2B: Spatial Strategies
Brief
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.
Learning Outcomes
• 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.
Portfolios
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
Sunday 29 January 2012
Statement
The title of my proposal is ''Imaginary City''. My site is Barbican Centre, the design is based on the plan of the top floor, and the location of my architectural furniture is higher than any of them, in the skies above the buildings.
I see the architectural furniture as something based on the space it occupies and the activity it containes in itself. Easily guessed from its name, Imaginary City creates another world above our heads that acts as a performance set. You can come in, interact with it, become a part of it. Then you will see that the whole city is almost as a living entity, adapting to the environment it is in. It changes the heights and sizes of passages, rooms, halls, depending on the amount of people being currently inside them. More people – bigger place, and vise-versa.
The City is designed for all kinds of occupants – from small children to eldery people. The space is separated into zones, that are open to every kind of people, but are especially comfortable and interesting for the particular ones.
The design of the structure was born from my research on the plans of Barbican Centre and in its own kind reflects on the activities and possibilities of its ancestor.
When we look at the plans of the building, we usually only see the rooms occupied with exhibitions, cafeterias, libraries, etc. but we pay no attention the passages and halls that take us there. So i based my design on the empty spaces of the 4th floor’s plan. And taking notes of who goes to the Centre and when, i accommodated the City to accomplish the needs of its occupants.
From the outside Imaginary City looks like a spaceship invading Barbican. However, made of the concrete, utopian style, with numerous confusing walking paths, they bear similarities with each other.
I think my proposal can be expressed with this – ‘We only see what we want to see. To find out more, we need to look deeper and pay attention even to the small and empty things. Because they can turn into something very beautiful.’
Final model. Pop Up Book.
Opening/Closing Process
Front view.
Side view.
Light (can be used while exhibiting)
Acetate Photography. Volume.
The quality of photos is bad, as i didnt manage to get the college camera.
Now i understand why people say that the lenses are such a big help.
Pop-Up Model [acetate]
This model was made as a pop up one.
It was the only sunny day i could take photos in Barbican.
But it was really windy, and there was no one to ask for a help.
So in one moment when i was trying to get another photo done, the gust of wind tore the model out of my hands. While floating in the air, the model burst apart, and every piece of paper was flying separately and in different direction. And of course with bad luck the model landed in the puddle of water.
This small adventure ended my photo session.
What's left of that poor model:
Flat model. Paper on acetate.
Sketch model - First idea
While i was thinking what to make out of my design, my hands needed to be occupied with some task, so this model was created.
Simple cut out and pop up.
Depending on how you take the photos of the models, the visual effect will be different.
Light certainly creates an atmosphere of sun and skies.
Saturday 7 January 2012
Failed attempt at the model
I was inspired by Ingrid Siliakus (previous post) to create the final model in the same paperarchitecture style.
But.\
I failed to make it and even to understand how to do so.
The problem is, she created each piece from one single sheet of paper by cutting and folding it.
But her works has more variety in the design, or i can say, levels, layers. They overlay each other, hang above and hide the emptiness inside themselves.
So in order to do similar work, i need to either change the design of my city or to change the way i wield the paper.
The first one i wont do, because it will change the whole idea of creating this city out of the empty space of the floor.
The second one i failed to understand. I just simply cannot see a way to do it differently, but same technique.
While i was doing experimenting and trying to create my city in the same technique as Ingrid, i found it hard to keep the work in simple way.
It was hard to use so little materials to make so many detailes and heights. I had to use the tape, glue, extra paper, etc.
Otherwise i couldnt show the geometry of my city.
For example, when i was cutting the single sheet of paper, i still missed few elements from this oart of design.
So i cut those elements out of another piece of paper and stuck it to the first one with the tape.
This way i could get my design together, but i was losing the idea of wholeness.
And when i say wholeness, i mean that i needed to create my model out of one and only one piece of paper, without adding anything to it.
Because i based it on creating the volume from the emptiness.
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