Site and Motion Portfolio

SITE and MOTION PORTFOLIO Prepared by BURCU BALABAN

EURHYHTMIA IN DISTORTION

In Serra’s Ramble, there is a hidden language that the cognate slabs (accourding to the height) create which goes like (starting from the left side) CC,BB,AAAA,BB,CC

“It is a syntax. You can sense that there is a system as you

and at the mirrored side the same repetition continues like

ramble amongst and between the slabs, sidling through

AA,BB,CCCC,BB,AA. This configuration shapes a curve at the

gaps and planes and edges. The room is full of false horizons

center of the space. My photographic aim is to capturing the

and collapsed distances. ” Serra says. Experiencing all these

change of horizon, creating another curve on the horizon

intentionally distorted horizon, verticality and distances, we

and and make these two curves come closer to accencute the

can still get the sense of equilibrium along with a rhythm of

curve at the middle of the space. According to their widths,

the frozen components.

the rhythm quite changes which goes like (with the same starting point) c,a,d,a,b,c,d,a,b,c,d,e and at the mirrored side

Each unit has its own individuality, despite its similarity

goes like a,d,b,d,c,b,d,a,c,a,b,c. All these differences establish

to others. What we see in not only steel walls located

our connection to the pieces and distort our movement &

intuitionally, but also the pieces filled with the space, the

shift the horizon.

ambient, and the background. The space gained another meaning with the help of these pieces as if there was an

Horizon gets shallow where the slabs are dense and high

invasion of them for owing the space, which he thinks that

and gets higher where they are located distant to each other

makes architects get annoyed. As you ramble around the

and have more loose relations. Our eyes shift among the

pieces, one can feel the maze-like confusion despite the

background wall, slabs and the ground. One dominates the

openness. What Serra avoids is the utilitarian attitude against

other as the looker moves and the distances between slabs

the sculptures which can be perceive from all of his works.

changes. Although there is no intended creation of rhythm,

Being in the space is much more different then the seeing

we can still feel it from the pieces and the space between

the sculptures on a digital platform or a printed picture

the pieces. When we first enter the area, three types of

in the sense that they creates parallax as you walk around

interaction of image is waiting for us, three of which are;

depending on the position shifting your viewpoint. This is

firstly, the image that our brain creates at first sight and what

something you need to experience with your all senses, being

it is ready for to see; the second one is the image blended

a part of the composition. This is what picturesque requires

with perspectives, senses and change of horizons and the

that it is to do with the travelling body rather than travelling

third one is the combination of these first two after knowing

eye. The pleasure of experiencing the space derives from the

the space. My special interest is the change of eurhythmia

movement of the looker’s body. Tschumi defines this as ‘’ an

between the first image and second image of the space and

act that violates the balance of a precisely ordered geometry,

slabs. Finally, my resulting action/second headline is going

bodies that carve unexpected spaces through their fluid or

to be working against the order/distorting the order and

erratic motions.’’ (Tschumi, 21)

creating a shifting horizon along with shifting the pieces and the space.

As he emphasizes no matter what geometry a space, a built piece, a sculpture has, mostly one’s motional interaction

References

decides the perception. Looked object is ‘’only an organism passively engaged in constant intercourse with users,

Tschumi, Bernad. The Manhattan Transcripts. Academy ed.

whose bodies rush against the carefully established rules of

N.p.: n.p., 1976. Print.

architectural thoughts’’,(Tschumi, 21) he adds. So, there is a reciprocal relation, a correspondence between the looker and the looked. In Serra’s work in addition to his ‘’false horizons and collapsed distances’’, while our body wander around the slabs, it also creates another distortion The pleasure lies where these spatial paradoxes merge.

Xenakis, Iannis. Formalized Music. Paris: n.p., 1981. Print.

This is the sketch that I draw while I am walking through the space as following 覺 linear path. After drawing, I noticed that I started to drow more connected and curvylinear way whereas I drow more straight, sharp lines at the beginning.

This shows the effect of parallax and how my perception changes as I walk, as the horizons, distances, perspectives change.

This sketch is made by utilizing Xenakis’s grid (Xenakis, 10) in an illustrative way to demonstrate the flow between slabs and how the sharp vertical lines push the flow. They work both against each other and with unity.

CLICK mouse between LEFT, RIGHT and BOTH (or click scroll)

.In the second condition (left click), we perceive the slabs

to see the alteration of perception. This diagram visualizes

as lines where the first image starts to occur. In the third

how our perception shifts among; slabs, background,

condition (right click), it is the time when the order, distances

foreground and horizon. In first condition (unclicked), it

collapses, feeling of parallax blends with the slabs, spaces

demonstrates the pre- image of the space when we haven’t

and horizons.

experienced yet.

.FIRST, CLICK on diagram and THEN, use UP, DOWN, LEFT,

Our eyes shift among the background wall, slabs and the

RIGHT arrows on your keyboard to distort/detune the

ground. One dominates the other as the looker moves and

rhythm.Horizon gets shallow where the slabs are dense and

the distances between slabs changes.

high and gets higher where they are located distant to each other and have more loose relations.

MOVE the mouse LEFT-RIGHT direction to see the flow

. In the second condition, we see a look to the real space from

between slabs. In first condition (unclicked), we see that

a certain position.

space flows as we wonder around, even if slabs are stabile.

Width: 365cm, Height: 185cm

Width: 305cm, Height: 155cm

Width: 305cm, Height: 185cm

Width: 185cm, Height: 155cm

Width: 185cm, Height: 170cm

Width: 305cm, Height: 170cm

Width: 245cm, Height: 170cm

Width: 185cm, Height: 170cm

Width:245cm, Height: 155cm

Width: 365cm, Height: 155cm

Width:365cm, Height: 185cm

Width: 245cm, Height: 185cm

Width: 185cm, Height: 155cm

Width: 305cm, Height: 155cm

Width: 185cm, Height 185cm

Width: 305cm, Height: 185cm

Width: 245cm, Height: 170cm

Width: 365cm, Height: 170cm

Width: 365cm, Height: 170cm

Width: 305cm, Height: 170cm

Width: 185cm, Height: 185cm

Width: 240cm, Height: 185cm

Width: 245cm, Height: 155cm

Width: 365cm, Height: 155cm