Theo Dattola - Accelerated Space by Dattola Théo

ACCELERATED SPACE Theo Dattola Thesis Prep 2020 Advisor Marcelyn Gow

STATEMENT....................................................6 ETIENNE-JULES MAREY..........................9 FUTURISM....................................................21 METAPHORICAL..........................................31 MECHANICAL MOTION..............................35 RESEARCH...................................................39 NOCTURNAL................................................41 DIURNAL......................................................51 OVERLAPSE.................................................61

STATEMENT

With the increase of speed in the movement associated with the industrial revolution, contemporary society continues to accelerate in terms of visual culture. We consume a large amount of information over the day, which influence our spatial perception. This thesis argues that architecture has the capacity to reflect this accelerated visual culture. I’m developing a project based on motion, an Architecture in movement. How can A rchitecture become a monumental object in movement ? Architecture has a tendency to be static, an object were the environment including h umans, machines and the elements revolve around it. When we look at a time-lapse the architectural object is still and we can observe movement around it. It seems that the scene (the Architecture) is left inert. We o ften speak about architecture in motion or in movement, most commonly through dynamic b uildings. Buildings that have an aesthetic of representing movement are merely images of movement.This thesis attempts to capture movement, to embody it into architecture, not just represent it. My research started with the study of the work of Etienne-Jules Marey and his chronophotography and later on with the Futurist movement. My research was conducted mainly In Situ, while exploring the street driven by a car I take photography out of the window, capturing the environment using different setting of exposures, clear aperture and ISO. The idea is to blur what the eyes originally see, I want to merge the architecture while moving, creating a new perception, an agglomeration of the subject, condense in one photography, taken in movement. I’m learning how to produce and reproduce that material and annotate for each photography the settings used in the camera. By doing so, I’m producing images dominated by lines of movement that I instrumentalize as section cuts of a building. When I design or sketch or take a photo, im standing still and a body part is moving. In this thesis I put my whole body in movement to draw. I will develop an architecture made out of section cuts, by overlapping, layering all the sections. This technique produces a volume that is the origin of an architecture that has for essence movement.

ETIENNE-JULES MAREY CHRONOPHOTOGRAPH

His work was significant in the development of cardiology, physical instrumentation, aviation, cinematography and the science of laboratory photography. He is widely considered to be a pioneer of photography and an influential pioneer of the history of cinema. He was also a pioneer in establishing a variety of graphical techniques for the display and interpretation of quantitative data from physiological measurement. Marey’s chronophotographic gun was made in 1882, this instrument was capable of taking 12 consecutive frames a second, with all the frames recorded on the same picture. Using these pictures he studied horses, birds, dogs, sheep, donkeys, elephants, fish, microscopic creatures, molluscs, insects, reptiles, etc. Some call it Marey’s «animated zoo». Marey also conducted the famous study about cats always landing on their feet. He conducted very similar studies with a chicken and a dog and found that they could do almost the same. Marey also studied human locomotion. He published another book Le Mouvement in 1894. Marey also made movies. They were at a high speed (60 images per second) and of excellent image quality. His research on how to capture and display moving images helped the emerging field of cinematography. Towards the end of his life he returned to studying the movement of quite abstract forms, like a falling ball. His last great work was the observation and photography of smoke trails. This research was partially funded by Samuel Pierpont Langley under the auspices of the Smithsonian Institution, after the two met in Paris at the Exposition Universelle (1900). In 1901 he was able to build a smoke machine with 58 smoke trails. It became one of the first aerodynamic wind tunnels.

FUTURISM LINES

Filipo Tommaso Marinetti was the founder of futurism. He describe the «war as th most beautiful aesthetic spectacle...» The Futurism is dynamic, fractured and fast moving it show several view of an object. The main projection of Futurism is the machinery. The futurist admire speed, technology, car, aero plane, youth, violence and industrial city, it’s the technological triumph of humanity over nature. They wanted their work to be the most advanced technological as possible. Futurism can be describe «as a dynamic and renewing attitude aiming to project artand life into the future» - Verdone (2003:16)

Marinetti said: « We declare ... a new beauty, the beauty of speed.»

in his center, futurism stood a new vision, becoming the Homo-Technologies. Giacomo Balla, one of the futurist, named his daughter Elica (the Propeller) Futurism is a love for violence, glorification of warfare, a maniac love for speed, technology and progress, rejection for all things past, the new human of modern technology. release their creative potential. Be in the middle of the mechanical speed transformation. Futurism touch different type of arts: painting, sculpture, architecture, music, photography, cinema, and clothing.

Unique forms in spaceUmberto Umberto Boccioni

Sculptural construction of noise and speed Giacomo Balla

Dynamism of a dog on a leash Giacomo Balla

Dynamism of a car Luigi Russolo

Lingotto-veduta-1923 FIAT

METAPHORICAL

Dancing house, Pragues Frank Gehry

MECHANICAL MOTION

RESEARCH

Sony A7III + 3 lens: Tamron 17-24mm, Sony kit lens 28-70mm and Canon 70-200mm.

NOCTURNAL

28 mm - f/7.1 Exposure Time : 3s

28 mm - f/8 Exposure Time : 3s

41 mm - f/10 Exposure Time : 1s

28 mm - f/3.1 Exposure Time : 1s

28 mm - f/8 Exposure Time : 2s

28 mm - f/8 Exposure Time : 1s

DIURNAL

45 mm - f/29 Exposure Time : 1/2s

45 mm - f/29 Exposure Time : 1/10s

28 mm - f/22 Exposure Time : 1/2s

28 mm - f/22 Exposure Time : 1.3s

OVERLAPSE

28 mm - f/7.1 Exposure Time : 4s