Tze-Chun+Wei by modise sepeng

[The Bunker of Armageddon] A Motion Architecture

M.Arch Architectural Design 2008-2009 Final Design Report

Student: Tze-Chun Wei Tutor: Phil Watson Email: t.wei@ucl.ac.uk

[B] Theory Research +B.01_Point and vector +B.02_ Trace +B.03_ Dust +B.04_ Light +B.05_ Battlefield

[CONTENT]

[C] Studio Method +C.01_Point and Vector: The 19th Tee +C.02_Dust: The Dust Map, The Dust Cloud, The Dust House +C.03_ Light: Reflection and Refraction

[D] Design Projects +D.01_The Bunker +D.02_The Stop Frame +D.03_The Telegraph +D.04_ The Telescope +D.05_ The Radar Screen +D.06_ The Embrasure +D.07_The Volume Stoppages

[E] Bibliography

A shifiting Point

[A] Introduction

Keywords: Parallel, Vector, Trajectory, Trace , Light, Dust.

Definitions: Parallel: Between an actual and a trace Vector: Determines the movement from one point to another Trajectory: A path described by a projectile moving in a space Trace : A register of a motion Light: A trace r of the occurring motion Dust: A palimpsest of the recorded motion

[A] Introduction

[A] Introduction This project explores the architecture of motion, the trace s left between moments.(fig.01) These are considered as interval spaces in an architecture that is made of complex algorithms that blur and intensify space. Motion

Trace Fig.01 The Diagram of Trace of motion

The project begins with a series of experiments to replicate motion and its trace s. The idea of a vector field is developed into a golf course to simulate the idea of point to point and its trajectory. The everyday is full of simple events that together become a complex space full of uncertainty and reflexive composition. The geometry of the sky mixes with the material of rain, air flows against the grass as we see with our eye. The programme develops the idea of a parallel landscape, one that is alienated or uninhabited because it resides in trace s. These are seen as the voids between an actual and a trace . The trace in this case is used as a virtual 01 02 site of projections. The bunker in the golf course becomes the bunker from the Second World War site called 03 Armageddon . This is a series of sites used in battle for trench warfare. The maps of the site contain trajectory, location and time. (fig.02) In other words, the bunker is an architecture located in the space of motion. The issue of trace or what is in the void develops the idea of inhabiting the ground outside of the bunker similar as a technology free from the boundaries of warfare. A site that is siteless as a technology that is being inhabited rather than a country. It explores the possible contents of this site. The references here extend the notion of 04 the inhabited and uninhabited ground. The idea of working with the contents of shift, blur and trace explores the relationship between time and location. What is left and what is traced. 01. A golf bunker that is designed on a golf course as traps of the ball. 02. A military bunker is used to protect the soldiers from bombs or other attacks.

Fig.02 The Trench Map (Sourse:Captured German Trench and Operations Maps,2003) This map represents the changes of front line, the location of enemy battalion, the fire range of the artillery.

03. Wikipedia, 2009. Armageddon. http://en.wikipedia.org/wiki/Armageddon In this project, it represents the condition of the Second World War. 04. Diller, E. & Scofidio, R.,2002. Blur: The making of nothing. p.195

[A] Introduction

To ground the project, reference is a grounded culture in South America. The performance of the body is developed as a notation using stop frame, these are used in the computer to create trace s of light from the rotation of an arm. The purpose here is to trace back into the technology that creates these trace s as material or even a 05 possible site. The performance used is the snake dance . (fig.03) The snake is seen as a wriggling geometry that responds to the dancer, the light from the arm is projected onto the snake as new geometries, it creates a moment between them that can be reconstructed as body technology. These moments become topography for extracting the volumes of a projective space. This is to be constructed by developing a series of tools or volume stoppages. For instance, seen from different directions they will appear to rotate or be in motion even though they may be still. The space or trace being in the voids is appearing in between them. This is seen as a view for the next stage. In short, this project is about a motion architecture on the beach. A bunker of Armageddon.

Fig.03 The Snake Dancer (Sourse:http://farm3.static.flickr.com/22 12/2124045075_55b808736b.jpg?v=0)

05. Wikipedia, 2008. Snake Dance. http://en.wikipedia.org/wiki/Snake_dance It is part of the American Indian Celebrations that originated from the Dream Dance

[B] Theory Research

[B] Theory Research +B.01_Point and Vector The first question is how we address motion in space. Imagine a point is moving inside a ring and stop at its original location, how can we distinguish that the point is moved or not, unless there is a sign or a record that could indicate this change. A trace or a footprint is an important reference to address this shift. It is a concept similar as a palimpsest, the trace from the scraped off text becomes the evidence showing the changes of the manuscript. From this aspect, the trace is both the process and the outcome of a motion Sense

Magnitude

The following research is set up to explore the relationship of the movement and its geometric shift. It is concerned with these aspects: point, vector, trace , dust, light. Initial Point

+Point and Vector: Determine the movement from one point to another Direction

Fig.04 Diagram of a Vector

The shift of a point in two positions can be described as a vector (fig.04), it is a quantity having both magnitude and direction. In physics, a vector is a direction of a force, such as velocity which is defined with both speed and direction. In mathematical terms, a vector is a geometric entity that shows both length and direction. In short, it is a basic description of an input that alters the point in a space to move from one position to another. In this case, a vector can only describe the movement between two points, and it brings up the issue of depicting a 02 complex motion which a vector field (fig.05) that is used to indicate the flow as it changes from point to point. It is a series of vectors in a field that are associated with every point that can be seen as a trajectory, a path of a moving object under the action of a given force, and as a trace of the point shifting in a space. The attempt here is to discover the method of determining the movement in a space.

01. Wolfram Math World, 1999. Vector. http://mathworld.wolfram.com/Vector.htm 02. Wolfram Math World, 1999. Vector Field. http://mathworld.wolfram.com/VectorField.html

Fig.05 Diagram of a Vector Field

[B] Theory Research

+B.02_Trace

+Trace : A register of a motion What we see as an image of an object is the reflection of the light wavelength transmitting back to our eyes (Aumont, 1994) . In the movement of an object, the light is continuously tracing the surface, but the speed of capturing the light in our eye is delayed. This is why the difference of speed between the observer and the object 03 04 causes blur images (fig.06) or as the persistence of vision . Diller (2002) describes this blur as the indistinctness and vagueness and the impairment of vision. Virilio (2000) also mentions the blur is the missing movement between actual image and virtual delayed interpretation. In this case, the blur can be seen as the mixing of the occurred and the occurring trajectory, or as a parallel status of the recording and the recorded. In the article Plotting Trace s, Allen (2002) states that the ruins and trace s are indexical signs point toward the past. From this point, the trace is an imprint of an object that contains a time component which addresses the moment where point is shifted, and it becomes the physical evidence of the movement in a landscape. For example, the ripple is the imprint of raindrop falling into the water and the footprints left on the ground when we walk on the snow. These tracks can be seen as visible evidences of a shifting point that leaves trace s in a space.

Fig.06 The Blur Images Caused by the Motion This Image is constructed through a scanner that captured the movement of a leaf, the blur is caused when the motion is faster than the speed of the recording.

Extending this idea to the architectural system, the shift from the Roman arch to the Gothic pointed arch can be read as a vertical movement of a point of a curve, a vector that shows this arch to build up higher (fig.07). For instance, it is the structural expansion of the buttress that leaves the visible trace of this movement, the architecture element that was improved to support the pointed arch as a structural system to encounter the 05 increased side stresses. The trace can also be described as a register of these processes of dealing with new arriving vectors The spatial idea here is about revealing the differences in time of location in a space and its traces. (fig.08) 03. Diller, E. & Scofidio, R., 2002. Blur: The making of nothing. p.195 04. L.Gregory, R., 1998. Eye and Brain: The psychology of seeing. p.116 05. Allen, S., 2000. Practice: architecture, technique and representation. P.53

[B] Theory Research

+B.02_Trace

Shifting Point

Pointed Arch

Roman Arch

Fixed Point

Buttress Variation of a Curve

Fig.07 Diagram of a Shifting Point of an Arch

Inflection

Trajectory

Imprint

Force

Motion

Vector Field

Trace

Vector

Force

Point

Dust

Fig.08 Relationship of points, vectors, trajectories, trace s

[B] Theory Research

+B.03_Dust

+Dust – An omnipresent substance in a space

When there is dust rising in a high column, it is the sign of chariots advancing; when the dust is low, but spread over a wide area, it betokens the approach of infantry. When it branches out in different directions, it shows that parties have been sent to collect firewood. A few clouds of dust moving to and fro signify that the army is encamping. (Yellow Bridge, 2003. Sun Zi's Art of War:Chapter 9. The army on the march)

06 The Plenum , in which described by Leibniz (1714) is that the world of matter where everything is full, and the 07 smallest movement in space must have an effect on something else. The Dust, from Amato’s (2000) point of view is a small bit of substance which is sensitive to theses small movements. "Indoor or outdoor, dust is unavoidable”, Holmes (2001, p.13) mentions they are unavoidable small particles in the space when every time we breathe or talk, thousands of dust particles will sneak into our bodies.

Dust particles can be seen as points that exist everywhere in a space, and it is sensitive to the small 08 movements and constantly changes its location. In physics, the scalar field represents a field of points that indicate the distribution of flow such as temperature and air pressure. This can be seen in the work of the artist 09 Etienne-Jules Marey who uses smoke as a method to visualize the movement of the air. In this case, the dust cloud can be read as a blur volume created from the outcome of a movement. 06. Leibniz, G.W.,1714. The Monadology. No.61 “In a plenum = ['world that is full']” 07. Amato, J.A., 2000. Dust: A history of the small & the invisible. p. 42 “ This universe contained no void. Space was a Plenum. Movement occurred by small pushing on the small. ” 08. Wikipedia, 2009. Scalar Field. http://en.wikipedia.org/wiki/Scalar_fields 09. Braun, M.,1994. Picturing Time : the work of Etienne-Jules Marey (1830-1904). P.219

[B] Theory Research

+B.03_Dust

++++++++++++++++ + +++++++ ++++++++++++++++++++++++++ + ++ ++++++++++++++++++ ++ +++++ +++ + + + + +++++ Vector Field ++ +++++ Trajectory +++++ ++++++++++++ +++++ +++++++++++++++ + + ++ ++++ ++++ +++++++++ ++++++++++++++++ +++++ Dust Cloud ++ + + + + +++++ +++++ ++++ +++++ +++++++++++++ ++++ ++ + ++++++ +++++ +++++ +++++ ++++++++++ ++ ++ ++ Moving Object ++ +++++++ + + ++++++ + + + + ++++++++ +++++ + + + ++ + ++ ++++

Fig.11 The Diagram of the Dust Cloud and the Dust Map

Dust Map + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +++ ++ + + Imprint

Fig.09 The Dust Cloud The dust cloud reveals the trajectory of a moving object (Source: Getty Images)

From another point of view, Sun-Zi in the art of the war uses dust pattern to describe the different conditions of the enemy movements. ( Yellow Bridge, 2003) From this idea, the raised dust particles reveal the motion of an object that is moving in a space. The vector that is driving the object also triggers the dust to be scattered as a field of points that indicate the process of movement. This is a method of visualizing the motion of space that is created by a trajectory. For instance, imagine a car driving through a desert raising dust into the air in the form of a cloud (fig.09), revealing the movement across the land. When the dust falls on the ground, it becomes the footprint on the landscape (fig.10). As in the notion from above, the dust particles are defined in two aspects: (fig.11) A. Dust Cloud: the dust particles raised in the air due to the movement of a moving object forms the shape of a cloud that can reveal its occurred trajectory.

Fig.10 The Dust Map The dust falls on the surface become the footprint of the movement. (Photographed from the studio)

B. Dust Map: the flying particles then fall on the ground as a recorded trace, the visible evidence like a footprint or a motion palimpsest.

[B] Theory Research

+B.04_Light Ray +Light Ray- a visible vector A source of light is described as a ray, such as sun light or a light bulb. It is the fundamental resource for constructing the images of objects. What we perceive from our eye is the wavelength of light reflected from an 10 object.(L.Gregory, 1998) From a physics point of view, light possesses dual properties of particle and wave. It can be described as a vector which contains both intensity and direction. In this case, three qualities of light vector are considered in this project: Visible Ray, Reflection and Refraction. 11

A visual light ray is a light beam , it is only visible when the light is scattered by tiny particles, such as dust, drops of water and smoke. Fashion designer Hussein Chalayan in his work “readings” the smoke visualize the moving laser 12 beams that were attached on the clothes , creating a performance of graphical rays (fig.12). In this case, the dust particles in a space play an important role for visualizing the light ray. 13

Fig.12 “The Readings” by Hussein Chalayan

Reflection according to physics is the change in direction of a wave front at the interface between two different media, bouncing back to the medium where it originated. A mirror or a glossy surface is the basic material that 14 could generate the reflection of light. Refraction occurs due to the change of speed of a wave traveling in a different medium. The light refraction is the most easily observed phenomenon. For example, a glass of water distorts the image of an object that is located behind it and the convex lens that is designed to converge the light to a spot. In this project, reflection and refraction are seen as the projections of the motion.

(Photographed in the exhibition in the Design Musuem)

10. Wikipedia, 2009. Light. http://en.wikipedia.org/wiki/Light 11. Wikipedia, 2009. Light Beam. http://en.wikipedia.org/wiki/Light_beam 12. Chalayan, H., 2008, Readings. [Exhibition] Design Museum, 22 Jan- 17 May 2009. 13.Wikipedia, 2009. Reflection (physics). http://en.wikipedia.org/wiki/Reflection_(physics) 14. Wikipedia, 2009. Refraction. http://en.wikipedia.org/wiki/Refraction

[B] Theory Research

+B.05_Battlefield

+Battlefield: Lynch & Cooksey (2007) noticed the battlefield is not just the site where battle took place but a landscape of conflict where it is the interaction between geography, people and events. Virilio (1994) also notes that the war field is a place of duel and battle actions. From these points of view, the battlefield is a landscape full of different movements, such as missiles flying across the sky, bullets firing from a machine gun and a tank driving along the shore. It is a landscape full of different vectors that destruct the surfaces of landscape as imprints of the motion. The bullet holes, bomb craters and tank tracks are different visible evidences that indicate movement in the landscape. These become monuments 15 and artifacts that index the events that happened on the site during the war. The Battlefield landscape is a palimpsest that addresses the shift of these conflictions, and it is razed over and over again. These become biographic evidences showing the traces of these movements. Looking at the trench system in the First World War, it is a place where bullets flew in the air and the fragments of bombs 16 scattered around the field. Above the horizon of the trenches is a place called “No Man's Land” , an alienated space where all the projectile and trajectories occupy these voids. These spaces appear to be empty but a place full of trajectories and vectors that make the area become uninhabitable. From this notion, looking into the architectural system, the space of vectors is a space of motions, a place where it is constructed by trajectories. (fig.13) Fig.13 The Space of Vectors This is diagram drawings showing the space of vectors is constructed by the trajectories.

15.Lynch, T. & Cooksey, J., 2007. Battlefield Archeology.P.27 16.Barber, N., 2003. World War I: The Western Front. p.32 “Between the front line trenches of opposing sides lay a strip of land that becomes know as No Man's Land.”

[B] Theory Research

+B.05_Battlefield

Obstacle Trace Defence Border

Trench

Bunker

Engagement Dust Force Vector

The Diagram of a Battlefield This is diagram shows the relationships of a battlefield. The border of the front line is constantly changing due to the different conditions of the political status. It can be described as a vector space, where points are drifting and creating trajectories. It is a map of trajectory, location and time.

[C] Studio Methods

[C] Studio Methods +C.01_The 19th Tee

Deflection

Golf Ball Recorded Point

Original Trajectory Deflected Trajectory

Fig.14 The Diagram of the Recorder Point

Obstacle

Imprint of Impact

+The 19th Tee: The recording of the trajectory of a point The idea of the 19th tee is the point outside of a set system.(the original golf course is set up as 18 holes) It discusses the space of the next point in a system, not incorporated with the original. In short, it is a tee where the golf ball is arriving from other places. This is a first series of drawings exploring the idea of a vector based landscape, and the method of recording the movements of objects in motion. A golf course is a place where the ball is seen as a point which is dealing with several vectors. The ball that flies through the golf course encounters the tree, the sand trap and the water trap that changes its original trajectories. The obstacles are the inflection points that deflect the ball and change its original direction (fig.14) .These points of inflection are recorded as part of the trajectory of the movement.

Fig.16 The Kinetic Scupture by Jean Tinguely (Photographed in the exhibition in the Tinguely Museum)

The drawings of The 19th Tee (fig.15) represent the idea of the golf ball that changes its position due to its arrival on different traps, it is designed as several components that are catching and throwing the balls. This relates to the sculptures of Jean Tinguely, who uses the kinetic structure to reconstruct the motion of the objects.(fig.16) In this process, the project developed a method of reproducing the movements of the ball by the kinetic motions of the devices located on the landscape.

[C] Studio Methods

+C.01_The 19th Tee

Fig.15 The Drawings of the 19th Tee

[C] Studio Methods

+C.01_The 19th Tee

The basic geometric description of an object is a point. With a series of points, this idea is developed as a set of components that deal with the recording of a moving object from one point to another. These components are designed as a mechanism that could react and record the different locations of the ball flying across the golf course.

[C] Studio Methods

+C.01_The 19th Tee

++The Tee: This is the place where the golf ball is being struck by a golf club. It records the vibration when the golf club hits the ball, it releases the spring underneath that triggers the metal bar to move upwards. The metal bar then activates the metal pin at the bottom, and it makes a noise which represents the moment of the ball being hit. It is an idea of revealing the status of moving objects by the motion of the components and the sound that is generated.

[C] Studio Methods

+C.01_The 19th Tee

++The Sand Trap: This is an idea for recording the moment where the ball is hit on the ground and the geometric changes of the surface. Zooming in the event of the collision, the impact of the ball makes a concave mark on the surface and raises the sand particles flying in the air. The approach here is to locate a device that could react to the arrival of a moving object and the recording of the changed geometry of a surface.

[C] Studio Methods

+C.01_The 19th Tee

In this case, a series of keyboards are attached underneath the sand trap, they react to the changes of the surface by making different sounds. The sound is played simultaneously when the ball arrives on the ground as a real time playback which transmits to the player. It becomes the augmentation of the ball arriving at another location as recorded traces. Moreover, while the ball hits the ground, the raised sand particles are being collected through the pocket that is rotating. They are stored inside a tube that becomes visual evidence of this collision event, and it also records the changed geometry of the concave surface that was destructed by the golf ball.

This is the idea of a dusted text. A text that is covered with dust and becomes partially reveals and covered. The text cannot be read in a whole. But through the movement of dust, it recombines through the trace s of motion. (Please shake while reading) The Dusted Text

[C] Studio Methods

+C.02_Dust

+Dust: A palimpsest of the recorded motion Dust is a substance that reproduces the occurred trajectory of a movement. (fig.17) This is a series of experiments set up to reveal and record the different outcome of the motion through particles. It is constructed in three parts: the Dust Map, the Dust Cloud and the Dust House. ++Dust Map: A footprint of movement This is the first exploration set out to test the method of using the dust to visualize the footprint of movement in a space. In these drawings, corn flour is used to simulate the action of dust particles scattering on the ground. A black paper sheet with spray adhesive can capture the trace of corn flour which is blown by air syringes. These drawings can be read as a map for describing the condition of vectors (air) pushing the particles. It is similar to the method presented on a weather map, where the density of the air pressure represents the flow of the wind. Looking into the Dust Map, the denser the particles are the less movement there is in the point. The contour line can be crossed as an arrow that indicates the vector, which is the direction of the movement from that point. This experiment provides a method of recording the movement as a footprints. ++ Dust Cloud:An occurred trajectory These are the second experiment set out to introduce this dynamic point field that continuously changes its pattern over time. It is developed to show how the dust cloud is raised in the air indicating the occurred trajectory. This model uses salt to simulate the particles and encloses them inside a place as a space of plenum. Several conditions of motions and deflections are set up to explore the alienated condition of motions in space. For example, the metal pieces inside the plastic sheet can be pushed to trigger the particles to move, it simulates the dust that is raised due to the motion of objects (fig.18). The second image shows the deflection of the falling dust, it is the sealed surfaces that divert the original trajectory (fig.19).

[C] Studio Methods

+C.02_Dust

Fig.17 The Dust Map Drawings

[C] Studio Methods

+C.02_Dust

Fig.18 The Dust Cloud Model

Fig.19 The Dust Cloud Model

[C] Studio Methods

+C.02_Dust Constant Vector (Wind)

Dust Falling

Dusted Window

Obstructing Vector (Metal Piece)

Deflecting Vector (Metal Piece)

Recording Movement (Interior)

Dust Falling

Dusted Room

++Dust House:

Dust Falling

The 19th Tee Trigger of Vector

Instant Vector (Vibration) Recording Movement (Exterior)

Trigger of Vector

Dusted Floor

This is a model for describing a set of components that deal with the parallel condition of the trace, a system that is mixes the actual and the projected motions. It is constructed as a vertical structure with four components that are recording and replaying the dust falling from the air to the ground.

Dust Falling

Capture the Movement of Dust

Recording Output Vector Input Route of Falling Dust

Trigger while Playback

Playback as Vector Input (Vibration of Sound)

Playback as Vector Input (Vibration of Sound) Instant Vector (Vibration)

[C] Studio Methods

+C.02_Dust

Dusted Window: (fig.20) The dusted window is the place recording the occurring and the occurred trajectory. It is constructed with several components inside the thin plastic vessel. It is a window where the dust cloud is being trapped inside the thin surfaces. The metal pieces can be moved around as a simulation of the vibration from the moving object which alters the dust to form a dust cloud. This event can be seen as an occurred trajectory that is being recorded inside this space. Inside this window, there is a microphone that was attached to record the vibration of the movement. The vibration is then transmitted to the bottom of the model where the speakers are located. It is a method of recording the motion and reproducing it in another place. In other words, the window is a space that mixes the actual and the recorded. Dusted Room: (fig.21) The idea of a dusted room is set up to explore the alimentation of a space, a space that is isolated by vectors and trajectories. It is developed to simulate the dust flying inside a room where the moving particles creates voids in their trajectories. Inside this room is a transparent object that locates in space. From this object we can see the dust is re-occupying the edges and gaps, the pattern of the dust reveals the space between the object and the enclosure.

[C] Studio Methods

+C.02_Dust

Fig.20 The Dusted Window

Fig.21 The Dusted Room

[C] Studio Methods

+C.02_Dust

The 19th Tee:

(fig.22)

This is composed as a golf course, the idea of a motion algorithm in a space. Inside this golf course, the motion of the ball is recorded through the microphone, and it triggers the motor to vibrate the particles inside the dusted room. It is a simulation of a motion that is being recorded and projected to another space, the dusted floor, a space mixing different motions. Dusted Floor:

(fig.23)

The dusted floor can be easily seen as a motion palimpsest. It is a surface that is recording and rerecording motions in two locations. This component is constructed with two speakers that are replaying the recorded motion from the microphones that pick up the sound inside the dusted window and the golf course. It replays the motions simultaneously as vibrations alter the particles. The continuously changing pattern is defined as a palimpsest, the traces mixing the recorded and recording from two locations.

[C] Studio Methods

+C.02_Dust

Fig.22 The Golf Course

Fig.23 The Dusted Floor

This is the idea of a shimmered text. A text that is blinked by the light reflection. The plastic objects bounce the light on the text while it move. The shimmered text becomes a projected trace of motion. (Please attach the cable with the battery and shake while reading) The Shimmered Text

[C] Studio Methods

+C.03_Light Light

Reflection

Fig.24 The Diagram of the Reflection and Refraction

++++++++++++++++ + +++++++ ++++++++++++++++++++++++++ +++ ++ ++++++++++++++++++ + + +++ +++ + + + + +++++ + +++++ + Trajectory +++++ ++++++++++++ +++++ +++++++++++++++ Reflection + + ++ ++++ ++++ +++++++++ ++++++++++++++++ +++++ ++ + + + + +++++ +++++ ++++ +++++ +++++++++++++ ++++ ++ + ++++++ +++++ +++++ +++++ + +++++++++ ++ ++ ++ Moving Object ++ +++++++ + ++++++ ++++ + Retraction ++++++++ +++++ ++ ++++++ ++ + +

+ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +++ ++ + + Imprint

+Light: A tracer of the occurring motion Imagine a light cast on a glossy object and reflected onto the wall, the pattern of the reflected light is the projection of the surface of an object. When the object is moving, the reflected light also changes its direction and location. From this point, the reflection and refraction of light are the projected trace of this motion.(fig.24)

[C] Studio Methods

+C.03_Light

++ Reflection: A projection of an actual object 01

The reflection of the light on a glossy curved surface is called caustics (fig.25) . It is the envelope of rays that projects on another surface as a visible reflection of light. The pattern of the ray envelope trace s the passage of light cast on the object and reveals the location of the deflection (fig.26) . In this case, the diverted vector can indicate the partial curvature of the surface. In other words, the pattern of light reflection describes a partial projected image of a surface. Fig.25 The Envelope of the Reflected Ray (Source: http://en.wikipedia.org/wiki/Caustic_(mathematics)

Another approach is to examine what are the different effects of the light tracing on a shifting surface. The first set of model demonstrates the point of a surface moving from up and down. (fig.27) I n other word, the surface changes from convex to concave. The light reflection follows the movement and changes its pattern simultaneously. The second set of the models simulate a random event, such as rain drops falling onto a surface. (fig.28) In this case, the original light rays are temporarily deflected due to the influence of these rain drops. The geometry of the rain drops becomes an expansion of the original surface. In this project, the random events become the overlaps of the original surface of the object. From this experiment, the reflection is seen as the visible ray tracing the surface of a moving object, a projection of the actual.

Fig.26 The Caustics Effect from a Plastic Surface (Photographed from the model)

01. Wolfram Math World, 1999. Caustic.http://mathworld.wolfram.com/Caustic.html

[C] Studio Methods

+C.03_Light

Fig.27 The Different Reflection on a shifting surface

Fig.28 The Disruptions of the Random Events

[C] Studio Methods

+C.03_Light

++ Refraction: a projection of the trajectory

Fig.29 The Light Refraction Through the Plastic (Photographed from the model)

Refraction occurs when the light rays travel from one medium to another. Because of the changes of speed, it 02 diverts the original direction. The medium that causes the refraction is the interpolated plane of the passing vectors. In this process, it seeks a method for projecting the trajectory created in the motion. First step is to examine the refraction of a curved surface.(fig.29) Using a heat gun to deform a plastic sheet and construct a curved funnel by a metal bolt. The plastic material recalls the destruction of a metal bolt. In this case, the funnel shape becomes the footprint of this shift (the buttress of the pointed arch). In this process, the idea is developed as a method of recording the changes of a surface as a trace left in the landscape. From this speculation, another approach is to examine how the destructed surface encounters the new arriving events, how the light rays change their original path due to the influence.(fig.30) Wax is used to pour on the plastic sheet as a simulation of a new arriving vector. It describes the dirty rain drops falling from the air onto the ground. The dirty 03 rain drops leave footprint on the surface as a biographic geometry. The idea here is to see the random events as interruption or noise effect in a system.

02. The value of points between ones that are known 03. The geometry embedded in the object that addresses the past event.

Fig.30 The Light Influences From the Wax (Photographed from the model)

This is the idea of a magnified text. A text that is shift in size due to the refraction of the fluid. The fluid and the bubble create different refractions. The magnification of the text is changed while they are moving. (Please press the surface while reading) The Magnified Text

[D] Design Project

This part of the thesis develops the idea of motion between fixed and moving references. The site is a beach which is both in its substance fixed and mobile as it moves in all axis. Simultaneously, the flow of particles from point to point moves the beach across its own surface, reworking the topography. The location of the beach is constantly drifting between the material and the idea of the beach. (fig.31) This blur is considered as a series of trajectories for redistributed vectors that discusses the space between fixed and mobile architectures. The space is uninhabited except for the voids created in trajectories. The site can be seen as an Armageddon, a place alienated during warfare. The alienation is seen as a political possibility for a future society to be freed from the limits of societal boundaries. The issue here is about how we inhabit the new terrain of the techno geography without state control, a site that crosses borders and embraces the freedom of technology. It is an uninhabitable territory without borders. The following are the framework of the design for the next stage. It is constructed in several pieces that speak to these issues

Fig.31 The Diagram of a Shifting Topography The flow of the particles is moving around and reworking the topography, the boundary and location is constantly shifting.

[D] Design Project

+D.01_The Bunker

The bunker is a place for mixing the trace s between the recorded and the actual moments in a trajectory. The actual site of a battlefield is maintained as an environment that reminds us of the outcome of the war by the footprint of destruction left on the site. It describes the place alienated by warfare. The site becomes isolated except for the projected contents of bunkers and trenches. The remained structures and the recorded trajectories can be seen as the trace s left from motions. Each bunker has a small window, the embrasure, the place where the actual movements are projected inside the bunker. It is the gap of this remained structure that becomes parallel by mixing the actual movement and the recorded trajectories. This bunker is then inhabited with the dust particles and the light rays. The events inside the bunker are described as the dust flying from the beach into the bunker, the vibration on the window caused by the projectile raises the dust. The dust particles fall and become a new surface that overlaps the left traces. It becomes parallel projections mixing the actual and the recorded. The bunker becomes a parallel architecture that mixes the traces between the recorded and the actual moments.

[D] Design Project

+D.02_The Stop Frame The snake dance is defined as an algorithm related to the light reflection and the motion. It is scripted as an interaction between the movements of the dancer and the snake. The arm of the dancer is a curved surface that deflects the light into reflections. This is a first attempt to capture the motion of a snake dance. It is constructed in the computer in order to record the moment of stopping. The light reflected from the dancer onto the snake is recorded into machine codes that can be played back simultaneously. Inside the bunker is a place where the snake dance is performed. When the light comes through the embrasure and is cast on the arm of the dancer, it bounces from the body to the snake and arrives on the wall. They become reflections that are tracing the occurring movements. Within the motion of the body and the snake, the dust is raised as a blurred object and causes refraction. It reproduces the occurred trajectory of the motion. From this outcome, the shadow of the actual body, the refraction and the reflection mix together as a parallel landscape.

The Sketch of the Snake Dancer: This is the sketch of the snake dancer, testing the refection of light bounced on the body and projected on the snake and the ground. It uses stop frame images to see in different directions that appear to rotate or be in motion.

[D] Design Project

+D.03_The Telegraph The telegraph is a transmission and signaling system for recording the moments in a space. It transmits the overlap of actual and reproduced projections. The bunker is used as a recording site for constructing the projections of these moments. Light and dust hover as vibrations are transmitted from the actual into the dusted surface. This creates an interface between the actual and the reproduced. It also visualizes the blur of motion from the trace of the particles. They fall back onto the surface and constantly rework the surface. The memory of trace s is reread in the bunker, the remains of communication devices resurface with dust, creating a left space as the object losses its presence and identity. The idea of the projected trace is developed as a kinetic structure moved by wind and waves from the sea. The motion itself is developed as a series of speeds and directions. The armature is a system of motion deflecting its image into the bunker. It is transmitting the motion of the landscape into the interior through its construction. This idea is in essence the arm of the dancer, the technological extension of the body. If we are the technology the question is where is it located? The site is in the bunker at Armageddon. The alienation between the body and technology is reintroduced as a communication system.

The Sketch of the Telegraph This sketch shows how a kinetic structure move by wind and wave from the sea, and the transmitting of motion on the landscape into the interior.

[D] Design Project

+D.04_The Telescope

This is a system for extending from the bunker into the landscape for bringing into range objects outside its immediate field. The range of topography attempts to deal with the idea of distance. The field is effectively an extension of the whole or partial location of the movement. The technology here is a spatial domain transferring data into an open landscape. This is developed as a trajectory within the site. The ra n g e w i t h i n t h e m o t i o n f i e l d s b e c o m e s assimilations of trajectories. It questions the idea of where something might be located in a system that is constantly being reread. The telescope projects motion from the beach at different magnifications into the interior. Rain produces randomness in the focus projecting into the interior, creating a shift in scale.

The Sketch of the Telescope This sketch shows the rain drops in the telescope producing randomness focus that creates scale-shit projections.

[D] Design Project

+D.05_The Radar Screen

This is used as a method for recording the tracking and projecting of the signatures being delivered to the system. It is a device that acts as a composition vessel for the actual and the recorded. It attempts to deal with looking back and the present moment. The screen displays how changes in a system can be observed. The output is itself the decay of the object. Here, the vessel is slowly overtaken by events to be consumed in the particles and traces. It becomes a palimpsest object in the bunker being lost to the interior. It is a reminder of the fragility of technology and time.

The Sketch of the Radar Screen This sketch represents the idea of a place that compose with the actual and the recorded. (the actual object and its projections) The spinning objects start to decay and be consumed in dust particles that scattered on the surface as palimpsests object in the bunker.

[D] Design Project

+D.05_The Radar Screen

The Process of Decay This is a sketch showing the decay of the spinning objects into dust particles.

[D] Design Project

+D.06_The Embrasure +D.07_The Volume Stoppages +The Embrasure: The gap is where light and dust travel between the bunker and its location, the outside and the interior. This motion is the transmission interface between spaces and material. It exchanges between the actual and recorded event. It is a window of this bunker, an observation window that is now collecting particles of sand. The vessel is a calibration device for different moments of motion adding to change in the system. It becomes a left trace that records the exchange between the two. It is seen as a counterweight to the window between two spaces. +The Volume Stoppages: The volume between the interior and time is captured as the space between the dancer and the cobra. The geometry of both motions is used as a performance space for completing a dance of time with geometry, light and objects. They are the stoppages that will capture the light reflection and the dust particles to measure the volume in between the dancer and the snake. +Conclusion: Through these investigations, what needs to extend further is the development of the work, such as the design pieces located in the bunker and the equipment for the snake dancer. Moreover, the re-thinking the designing method of an architecture that is dealing with the parallel status between an actual and a trace is the key objective of this project. For the next stage, the design work will be constructed as a series of time-based drawings that explains the condition of this parallel architecture. The light, the dust, the vector and the motion will all be the script for this spatial performance.

[E] Bibliography

Ades, D., Cox, N. & Hopkins, D., 1999. Word of Art: Marcel Duchamp. London: Thames and Hudson Ltd. Allen, S., 2000. Practice: architecture, technique and representation. London: Routledge. Amato, J.A., 2000. Dust: A history of the small & the invisible. London: University of California Press. Armitage, J. ed., 2000. Paul Virilio: From modernism to hypermodernism and beyond. London: SAGE Publication Ltd. Aumont, J., 1994. The Image. London: BFI Barbara, A. & Perliss A., 2006. Invisible Architecture: Experiencing places through the sense of smell. Milano: Skira Editore S.p.A. Barber, N., 2003. World War I: The Western Front. North Mankato (US): Black Rabbit Books Barnes, L. 2007, Measure of Time: with essays by Jacquelynn Baasâ&#x20AC;Ś[et al.] California: University of California Benjamin, A. ed., 1995. Compelexity: Architecture, art and philosophy. London: Academy Group. Boettger S., 2002. Earthwork: art and the landscape of the sixties. London: University of California Press. Bois, Y. & Krauss, R., 1997, Formless: A user's guide. New York: Zone Books Braun, M.,1994. Picturing Time : the work of Etienne-Jules Marey (1830-1904). London : University of Chicago Press Cache, B., 1995. Earth Moves: The furnishing of territories. Translated from French by Boyman, A. & Speaks, M. Cambridge in Massachusetts: MIT Press Chalayan, H., 2008, Readings. [Exhibition] Design Museum, 22 Jan-17 May 2009. Captured German Trench and Operations Maps, 2003 [CD] East Sussex (UK): The Navel & Military Press, Chasseaud, P., 1991, Topography of Armageddon : a British trench map atlas of the western front, 1914-1918. East Sussex : Mapbooks David Maisel, 2008. Library of Dust. Available at: http://www.davidmaisel.com/works/works.asp [Accessed 08 March 2009] De Landa, M., 1991. War in the age of intelligent machines. New York : Zone Books

[E] Bibliography Diller, E. & Scofidio, R., 2002. Blur: The making of nothing. New York: Harry N. Abrams Dodd, James E., 1984. The Idea of Particle Physics: an introduction for scientist. Cambridge: Cambridge University Press. Galofaro, L., 2003. Artscapes: Art as an Approach to Contemporary Landscape. Barcelona: Gustavo Gili. Henderson, L.D., 1998. Duchamp in Context: Science and technology in the large glass and related works. New Jersey: Princeton University Press. Hill, J., 2006. Immaterial Architecture. London: Routledge. Holmes, H., 2001. The Secret Life of Dust: from the cosmos to the kitchen counter. the big consequence of little things. New York: Wiley&Sons, Inc. Leibniz, G.W., 1714. The Principles of Philosophy know as Monadology. Translated from French by Bennett, J. Available at: http://www.earlymoderntexts.com/pdf/leibmon.pdf [Accessed 21 Feb 2009] L.Gregory, R., 1998. Eye and Brain: The psychology of seeing. Oxford: Oxford University Press. Lynch, T. & Cooksey, J., 2007. Battlefield Archeology. Gloucestershire (UK): Tempus Publishing Osborne, M., 2008. Pillboxes of Britain and Ireland. Gloucestershire (UK):Tempus Publishing Rhowbotham, K., 1999. Architecture & Urbanism 2: Field event / Field space. London: Black Dog Publishing Ltd. Schofield, J., 2005. Combat Archeology: Material culture and modern conflict. London: Gerald Duckworth & Co.Ltd. Tufnell, B., 2006. Land art. London: Tate Publisher Virilio, P., 1994. Bunker Archeology. Translated from French by Collins, G.New York: Princeton Architectural Press. Virilio, P., 2000. A Landscape of Events. Translated from French by J.Rose. Massachusetts: MIT Press Virilio, P., 2003.Unknown quantity. London : Thames & Hudson Yellow Bridge, 2003. Sun Zi's Art of War: Chapter 9. The army on the march. Available at: http://www.yellowbridge.com/onlinelit/artofwar09.php [Accessed 10 March2009]