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