ALMUBARAK
SPRING 2013
NEVER TRUST A MACHINE.
Z brush texture map.
TO BAHRAIN WHERE THE HEART IS.
MAITHAM ALMUBARAK PROFESSOR ALGAR THAGNE
227 W. HALL STREET SAVANNAH , GA 31401 MALMUB20@STUDENT.SCAD.EDU WWW.MAITHAMALMUBARAK.COM
ADVANCED ARCHITECTURAL PRESENTATION SPRINT 2013
CONTENTS
09
INTRODUCTION.
11
ACETONE ACCIDENT.
15
X
“COOL” STUFF
27
1
DRAW AN IDEA, MAKE AN IDEA
39
2
BODY IN SPACE
51
3
OBJECTIVE CHANCE + GENIUS LOCI
67
4A
EXQUISITE DIAGRAM
77
4B
SPECTRE SITE : SPECTRAL BUILDING
89
4C
PROGRAM AND PROSPECT: INHABITATION
INTRODUCTION
NEVER TRUST A MACHINE. Is a book that documents my physical work in the Advanced Architectural Presentation class of spring 2013. It aims to bring the thread of the laten idea to fruition through my communicative work and understanding the role of the embodied perspective as it relates to ideation within that work. It is, also, a story book of my ten weeks exploration journey with digital architecture.
Autodesk Maya 2013. Adobe Photoshop CS6.
EXPLORATION ex路plo路ra路tion [ek-spluh-rey-shuhn] Exploration is the act of searching or traveling around a terrain for the purpose of discovery of resources or information; Exploration occurs in all non-sessile animal species, including humans
11
12
Acetone accident on sketchbook.
13
Acetone accident on sketchbook.
15
X
“COOL” STUFF In my journey to explore and try to understand digital architecture, I found that many fellow students and even designers are creating forms simply because they think they’re “cool”. Knowing the tools, I’ve decided to investigate how hard it is to make something “cool”, I have set a timer of only five minutes for each of the coming peices, after the five minutes I stop this meaningless process and see how “cool” the results are.
17
FIRST HAPPY ACCIDENT.
Autodesk Maya 2013. Adobe Photoshop CS6.
19
1
DRAW AN IDEA, MAKE AN IDEA to gain conceptual inspiration and development through an intuitive initial engagement with art making; adventurousness and exploration of materiality and care of craft is essential to developing idea.
29
First attempt.
DRAW AN IDEA, MAKE AN IDEA.
“Sometimes to solve a problem in a particular discipline, you have to switch to completely different territory.â€? - Kurt GĂśdel
While both biomimicry-digital architecture and architecture that existed before computer look at nature, they both look at in with completely different lenses. Earlier forms of architecture, including but not limited to modern architecture searched for beauty in nature. And they did so by looking at proportions in nature, and applying those proportions to architecture to give it perfect proportions. On the other hand, architecture using biomimicry looks in nature for efficiency. It looks at how nature creatures do certain jobs in a great efficiency, and try to mimic these organic behaviors on the larger scale to find efficient solutions to the current architectural problems.
Acetone transfer. Acrylic Paint. Graphite powder.
31
FIRST EDIT.
Acetone transfer. Acrylic Paint. Graphite powder. Graphite pencil.
33
SECOND EDIT.
Acetone transfer. Acrylic Paint. Graphite powder. Graphite pencil.
35
FINAL WORK.
Acetone transfer. Acrylic Paint. Graphite powder. Graphite pencil.
37
39
2
BODY IN SPACE to gain conceptual inspiration and development through an intuitive initial engagement with art making, now with specific attention to the human body in a place.
41
Brainstorming.
BODY IN SPACE
1”=25’ The sidewalk is paved grey. Rigid pathways made by droids for droids. Fake grass and fake trees in the middle of the woods. 1”=100’ The cars are driven fast on the freeway. Disconnecting what is made from what is created, What is objectified from what is breathing. 1”=1000’ The river is running fast. Over it, it’s not home anymore. Where everything doesn’t fit my body.
Images from Vouge, June 1967. when fashion was fashion, and humen were humen.
Collage. Graphite pencil.
43
01/04
BODY IN SPACE
02/04 45
03/04
BODY IN SPACE
04/04 47
BODY IN SPACE
Body.
Collage. Graphite pencil. Mylar film. Wool.
49
BODY IN SPACE
Space.
Collage. Acrylic Paint. Mylar film. Cardboard. Wool.
51
3
OBJECTIVE CHANCE + GENIUS LOCI to develop an understanding of the relationship between media and idea, media and concept.
53
Images used.
OBJECTIVE CHANCE + GENIUS LOCI
According to Surrealist theory, the most powerful imagery was that which caused the greatest surprise. In order to create marvelous images, Surrealist poets juxtaposed two terms that appeared to conflict with each other but were secretly related. The power of the resulting imagery was directly proportional to their apparent dissimilarity.
www.science.jrank.org/pages/11372/SurrealismMarvelous-Encounters.html#ixzz1jxBtAJup
Scans.
55
OBJECTIVE CHANCE + GENIUS LOCI
Graphite on trace.
57
OBJECTIVE CHANCE + GENIUS LOCI
Collage. Graphite. Adobe Photoshop CS6.
59
OBJECTIVE CHANCE + GENIUS LOCI
Collage. Graphite. Adobe Photoshop CS6.
61
OBJECTIVE CHANCE + GENIUS LOCI
Adobe Photoshop CS6. Print on pink paper.
63
OBJECTIVE CHANCE + GENIUS LOCI
65
OBJECTIVE CHANCE + GENIUS LOCI
Adobe Photoshop CS6. Print on newsprint.
67
4A
EXQUISITE DIAGRAM to develop an understanding of the relationship between media and idea, media and concept; and to better understand how the act of creation is both physical and intellectual.
The Exquisite Corpse is the decorated body a tradition of artists and writers to decorate a beautiful naked person over the course of an evening, each artist adding another element and building upon what is already there, and using no doubt the beauty of the body as the initial inspiration.
69
EXQUISITE DIAGRAM
DIAGRAM.
Adobe Illustrator CS6.
71
EXQUISITE DIAGRAM
Graphite. Graphite color pencil.
73
EXQUISITE DIAGRAM
Acetone transfer on Firewall.
75
EXQUISITE DIAGRAM
DETAIL.
77
4B
SPECTRE SITE : SPECTRAL BUILDING to develop an understanding of the relationship between media and idea, media and concept; and to better understand how the act of creation is both physical and intellectual.
79
Second attempt.
SPECTRE SITE : SPECTRAL BUILDING
First attempt.
Graphite on trace.
81
SPECTRE SITE : SPECTRAL BUILDING
FINAL WORK.
Adobe Photoshop CS6. Graphite on trace.
83
SPECTRE SITE : SPECTRAL BUILDING
1/3
Adobe Photoshop CS6. Digital Rendering.
85
SPECTRE SITE : SPECTRAL BUILDING
2/3
Adobe Photoshop CS6. Digital Rendering.
87
SPECTRE SITE : SPECTRAL BUILDING
3/3
Adobe Photoshop CS6. Digital Rendering.
89
4C
PROGRAM AND PROSPECT: INHABITATION to gain conceptual inspiration and development through an intuitive initial engagement with art making, now with specific attention to the human body in a place.
91
PROGRAM AND PROSPECT, INHABITATION
I never look carefully into the requirements before I start a design. I always try to get a shallow understanding of what the task is, and let my imagination go. I start my research on architectural, and non-architectural theories and try to imagine the space. Once I get a clear image based on my imagination and research, I go back to look at the requirements in depth. I start blending what I first imagined and try to modify it to work with the actual requirements on paper using graphite stick. The graphite stick becomes graphite pencil, becomes a point 0.5 pencil. I, then, use the computer because it understands the rules of physics, and works in a great accuracy.
Digital rendering. Collage.
93
PROGRAM AND PROSPECT, INHABITATION
Acetone transfer on Drywall.
95
“ ” ﺗﻌـــﺮف اﻷﺷــــﻴﺎء ﺑﺄﺿـــﺪادﻫﺎ “In order to know something, know its opposite.”
stay thirsty.
© 2013, MAITHAM ALMUBARAK. WWW.MAITHAMALMUBARAK.COM