MULTIPLE PERSONALITES
LIGHT| SIMPLE DARK | MYSTERIOUS
DARK | MYSTERIOUS
Dark: unlit, gloomy, dusky, shady, hidden, concealed, enigmatic, obscure, impenetrable, cryptic, gloomy, pessimistic, negative, somber, black, hopeless, melancholy, evil Mysterious: Strange, peculiar, curious, odd, weird, bizarre, perplexing, incomprehensible, unexplainable, enigmatic (ambiguous, paradoxical), inscrutable, secretive, unknown
how do i see the two PERSONALITIES and their relationship with each other? Para-: a prefix attached to veerbs with meanings “at or to one side of, beside, side by side. Each space haas a personalitiy, either dark/mysterious or light/simple and they arre arranged in a parallel way Just as the composer has multiple peersonalities. One personality occurs more than the other or dominates the other. A strategy that is being used is a ‘jump cut’ that is used in films. The scene suddenly jumps into another scene without transition. The spaces act in the same way in which material and atmosphere suddenly change. The transitions in the room range from small and tight to tall and elongated. There are spaces that are strange and seem like noo function but they are for the user to do the things thhat associate with his personality. Small, creepy spaces that are mysterrious and dark. Thhe openings in the walls allow for the user to see throough the rooms innto other rooms. He is aware of the other personalities annd being curiouss about each personality inside helps to learn to function. There are benefifits to knowing each other and giving each other cluees. The housee acts in the same way where the openings allow you to catcch a glimpse of the other rooms and they are small openings because they are suppposed to give you clues about the next room.
LIGHT | SIMPLE
Light: luminous, sunlight, clarity, open, enlightment, spacious, extended, stretched, apparant Simple: uncomplicated, honest, natural, unembellished, pure, clean, typical, boring, ordinary, naive, free from vanity
Multiple personality disorder is a condition in which two or more distinct identities or personalities alternately take control in the same person. Each personality is unaware of any others. The disorder is more common in females than males. Each personality has its own way of thinking about things and relating to others. The “alters� are said to occur spontaneously and involuntarily, and function more or less independently of each other.
MULTIPLE
PERSONALITIES
A building that has multiple personalities. One dark and mysterious, the other boring and ordinary. I’m thinking the obliqueness of the building can go on the mysterious side because it will look flat to the eye but one must go see it to really know that it’s not. The facade will be blank. Just windows and a door here or there. The atmosphere is what is important because it will allow the viewer to have an experience that is affected by this creepy, dark atmosphere. I’m seeing this “program” as a house to blend in with the neighborhood and not stick out like a sore thumb from the front but from the back, the view that those buildings in downtown see and the people in the park below see, I want them to see the dark side. That this house on a hill is eerie and mysterious. The name game could be the house on the hill. “Have you seen that house on
no ostentatious-ness, but it will show its extraordinary ways through small details that are juxtaposed throughout the house. It can show it through material, atmosphere, surfaces, luminosity, absence of light, acoustics in very subtle ways. The challenge of keeping things simple is actually exceedingly complex. It is much easier to keep adding and adding things to make something intricate and complicated. Simplicity can be a contradiction or it can be synonymous or it can be both but it must be kept to a minimum so it’s not obvious. The obvious kills the curiosity of the viewer, making it uninteresting to keep looking for something that’s there or maybe not there. To keep something simple you can’t just make it ordinary with no special quality. It can seem ordinary but a simple gesture is all it needs. However, that gesture has to be loud in a quiet way. It almost has to be unintentional which I think are the best discoveries.
Darkness evokes an emotion of fear when you don’t know what is there. There is no light, everything is hidden, and you don’t know what is in front of you, beside you, above you, below you. For a child, the darkness is a place where horror occurs and where mythical creatures dwell in. For an adult, darkness is more mysterious, obscure and has an emotional connotation of hopeless. This mysterious-ness of the dark makes you curious because of its ambiguity and strangeness that it makes you want to explore. It is this persona that this house is going to take, at least half of it will. Light streaming in through a small window. It shines onto the wall and slowly moves across to the floor as the sun moves. A plain, simple, white shape moving across the room is just dumb but so extraordinarily amazing. The simpleness makes the space scream out loud without doing anything. The entire house will be ordinary with
the hill?” “No, where?” “It’s by that really nice park that has great views of downtown but there’s a house right next to it that’s actually really creepy from the back end of the house but the front seems normal. I want to check it out”
ACTIVITY
BORING & ORDINARY
DARK & MYSTERIOUS
Sleeping
No dreams
Nightmare, Lucid
Cooking
Regurlar meals
Strange ingredients
Lounging
Sofa, Bed, Chair
Coffin
Working
Open space or cubicle
Hidden
Pleasure
Normal sexual activities
S&M
Playing
Hobbies
Invisible Friend
Cooking Sleeping Lounging Parking Cleansing Playing Working Pleasure EMOTIONAL A place ... To cry To be joyful To be angry To love To be irritable To be excited
Mysterious Architecture: Kunsthaus Bregenz, Peter Zumthor And there it is again: mystery. Architectural minimalism, the style that comes closest to describing Zumthor’s later, less woodsily picturesque buildings, promotes transparency, simplicity, even artlessness. What you see (or see through) is what you get. But Zumthor’s works delay understanding, perhaps perpetually. The Kunsthaus Bregenz facade, for example, doesn’t explain the inside. Or vice versa. The suggestive patterns of dark and light behind a translucent veil of exterior glass panels would seem to promise an interior of overwhelming complexity — suitable to the black obelisk in 2001. Instead, one finds a smart, quasi-Miesian pinwheel of circulation and service spaces around stacked central galleries. It’s not bad, but it’s not Kubrick. Perhaps no physical construction can fulfill such rich surface promise or fully reward such anticipation, but the beholder is nevertheless left with a puzzling sense of displacement, even of loss.
ITS PRECENSE IS SO QUIET, ITS LOUD Peter Zellner quoted Tadao Ando, “If you’re quiet in a loud environment you’re the weird one and you bring all the energy to you.” The oddness of you being quiet makes you louder than everyone else bringing all the attention to you. It reminds of when I drive up to the mountains and get out of my car when no one is around, no noise, no traffic, no people and just sit there in the quiet. It begins to hurt my ears because it is so quiet. My ears aren’t used to that intense silence that it hurts my ears. That is how an ordinary but extraordinary building should be. It needs to stand still on a grid full of loud obnoxious buildings that are speaking too loudly with their textures, and their extremities of form, and are moving to fast for their own ability to just stand still and let the viewer take it in. The simple form should be tranquil and lie still allowing the viewer to capture its beauty that is within the small details and as a whole. At times some viewers won’t be able to immediately see its beauty right away. They might pass right by and not notice it. The simplicity of the thing is so subtle that people miss it. And when people do see it, there should be different interpretations of the thing and no is quite sure what its intentions are or is.
THINK OUTISIDE THE BOX
As I was brushing my teeth one early morning, I was thinking about the previous night. My friend and classmate walked in to my studio and was curious as to what I was working on. He saw my screen and asked, “Is that your architecture?” In a very cynical, sarcastic tone. “It’s one of them, yes. Why?” I replied. He seemed puzzled and simply replied, “Oh. Why are you guys making boxes.?” I got upset at his question as if we’re not really designing architecture and that architecture only means swirly whirly. I then explained to him that we’re learning about ordinary but extraordinary buildings and to appreciate the simple things like details and textures of architecture. I’ve come to appreciate and really pay attention to the fundamentals of architecture and the simple details that make it beautiful. I realized that my friend needed to open his mind and think outside the box, which is actually a box. So many students are into very complex forms and making the same things and speaking the same lingo that they’re forgetting about simple forms and forgetting to appreciate simplicity. I myself was in this box but am quickly stepping out and thinking outside the box.