line colored dreams ryan manning southern california institute of architectiture fall 2012 - spring 2013
hidden reads semester two
shadow : the unconcious
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the painted projection
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fruit punch
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industry handmade
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protest with confessional
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elena manderfini “the New Painterly”
andrew atwood “exact forms”
marcelyn gow “drawing things together”
greg otto “advanced structural systems”
line colored dreams Ryan Vincent Manning Southern California Institute of Architectiture
todd gannon contemporary studies
color dreams
Master of Architecture
semester one
Fall 2012 - Spring 2013
cigars and wine : conversation ready made
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surreal forest of the mind
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florencia pita “mess ensemble”
elena manderfini “tableau vivant”
family values
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western nows
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marcelo spina “advanced tectonics”
marcelyn gow “the here and now”
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Taking it in its deepest sense, the shadow is the invisible saurian tail that man still drags behind him. Carefully amputated, it becomes the healing serpent of the mysteries. Only monkeys parade with it.
Carl Gustav Jung The Integration of the Personality. (1939)
shadow : the unconcious elena manderfini “the New Painterly�
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I saw something else, perhaps the wind or the ghost of a grasshopper, trying to remember last year when it was alive. Richard Brautigan The Grasshopper’s Mirror (1981)
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“One morning, as Gregor Samsa was waking up from anxious dreams, he discovered that in his bed he had been changed into a monstrous bug…” Franz Kafka The Metamorphosis (1915)
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“A heap of broken images, where the sun beats, And the dead tree gives no shelter, the cricket no relief, And the dry stone no sound of water. Only There is shadow under this red rock, (Come in under the shadow of this red rock), And I will show you something different from either. Your shadow at morning striding behind you Or your shadow at evening rising to meet you; I will show you fear in a handful of dust.� T.S. Eliot The Waste Land (1922)
the painted projection andrew atwood exact forms
fruit - (n.) 3. the ediblepart of a plant developed from a flower 5. anything produced or accruing; product, result, or effect; return or profit: the fruits of one’s labors. punch - (n.) 1. forcefulness, effectiveness, or pungency in content or appeal 5. a liquid made of fruit juices
fruit Punch marcelyn gow drawing things together
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Do I contradict myself? Very well, then I contradict myself, I am large, I contain multitudes. Walt Whitman Song of Myself (1855)
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Architecture Blast!
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Archpolitics, Arch History, ArchStories. The hero, or wandering warrior, show us an evitable neo-story of architecture. Kissing, battling, hugging, and blocking for urban ubiquity. The critic brings us to a personal journey towards his or her on paradigmatical view. Almost a subutopia, this critical find leads toward new connections that drive self vortex, or blast, to the forfront of discussion. Architecture as poltics. Architecture of the close. Sylvia Lavin takes this cause through “kissing” architecture, a means of urban closeness leading to a ubiquitous connectivity to the city environment. Pier Vittorio Aureli gives the building back to the archHero. Giving urbanization an end game or urban zero, he allows the building to gesturally become more political. In either case, theses archfictions correlate a lose that is on the gradual rise in contemporary architecture. After the spill over into Modernism, the field developed a routine for archFutures. These futures gave hope and promise of an architecture for the great new world. Corb, Frank, Archigram, OMA, Superstudio, Archizoom, the list goes on and back and on. Archfutures have became an entitlement to the field. As misinterpretation was passed down into the zero degree, these became changed and altered into a dwell architecture. Into the corporate eye, capitalist backers brand and star-rised the entitled. This archSellout throws the field into the fray of the unnecessary, and the “for the rich.” Acts of defiance towards the corporate invasion driven education leads us back to the proposal of neo-psalms, neo-fiction, and neo-archconnects. Aureli and Slavin offer up two unique opportunities to reclaim the lost profession and the stop of “the end of architecture.” ArchCorp is the only solution in a corporate run society.
kiss - To touch or caress with the lips as an expression of affection, greeting, respect, or amorousness.
Kissing Architecture strikes an odd idea. Urban orgy. Building in a bind, hold, dance, or peck. Barely touching. Is this what happened before Chrysler interrupted?
protest with confessional todd gannon contemporary studies
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Hejduk always wanted the architecture porn. 1 Tumbling in an embrace. An archLove. Fred and Ginger dancing silently in glass and steel.
The beautiful edge. The social economic structure gives a equal right to all. Buildings that can just get along. Don’t worry be happy. What would Raimond say? The rammed city. The urbanSlam. The political socio-economics leads towards a city connected by individuality heemed together. Sylvia skims tightly on the surf of an architecture that allows interconnections to become removed by the spatial knit applied between the urban fabric. A possible architecture “no-no”? We will all hop that our neighbor or our building’s neighbor’s may share and help in our mutation benefit in the urban playground. Yet the city is the carnival. Come one Come all. The highline is open. As we walk through the ArchiZoo, we see Frank making whip cream, Jean playing with his blocks, and Neil folding his origami. It works, I get it. But what of this at a zero degree? McStarbucks, the Taco Pizza Fried Bell. This seems to fit seamlessly into a Czech film. East and West Berlin merge and make beautiful romance at the McDonalds at Checkpoint Charlie.
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Is the possibility of the subtle nature of the “kiss” to be bastardized? It would generate need for architecture “kiss” codes, or check and balance. What if a building was “prude”? On the other side of the coin, the corporate capitalist nature of the built environment offers little to no room for collaborational integrity. In a project at a Texas, Mansfield High School, a friend attempted to work with the urban corporate developer to integrate the auditorium into a unified plan so that the city would be able to have a extra venue. The inability for the collaboration to mature and materialize enviably ended a “hand in the face” architecture. The end result made a connection that “pushed away” making an undesirable disconnection to the city. But, the question remains even if that had continued in the right direction, would of it made a “kiss?”2
Parc Guell hides in the skirts of the mountain, while the true carnival looks down upon it. The gothic city, the original city, is the only area that seems to work. Its as if the connective tissue of the city doesn’t always want to hug.
plinth - a square base Aureli rambles himself right back to the Greek Acropolsis. Purposing an absolute, PV brings a powerful interpretive urbanization to reclaim heroism for the lost architect. With Boulee, Ledoux, and Mies at the helm, he focuses his attack towards a economical hierarchy of the city by the use of a rationalizing plinth. The rise of the hero and platform for imagination leaves a bit of wanting. By giving promises linking us to the Visionary Architectures of our past, Aureli leaves us with the coupon that we can all be heros.3 Barcelona ok yes. The connective nature of the city through axial planning gave a linkage that promised to create a ubiquity across the disconnected areas on the, or carnivals. Yet in reality, the axial connections in Barcelona’s case give the city a sameness or unambiguity that begins to leave these carnivals disconnected. Morales, Herzog, and FOA sit sadly on the north shore.
As in Paris, the Arc de la defense sits axial to the Arc de Truimphe but hides towards an invisible boundary that divides the urban connection. 2 3
Lavin, Sylvia, Kissing Architecture Aureli, Pier Vittorio A Possiblity of an Absolute Architecture
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Blocks upon block with blocks. I strive for a city clarity but not one that removes the architect for the concern of the urban spatiality. We’re not at a zero urbanism yet. Aureli’s philosophical point becomes more intriguing, the archHero. Due to the rise in coporate architecture and control, the field has become a Toy R US catalog. Blue silk Hadid on page 4, the OMA sandwich on page 8, and the whipped Gehry cherry on page 42. Where’s our architectural “Real World?” 4
The increasing celebration of the image through media and corporate branding will be the evitable ending of architecture. The ArchDriveThru, the Happy Meal with extra nuggets. This is the architecture of death. ArchCorp. We need to reclaim our “hero” stance. Architecture! Hear the rally cry. Closing the economic crutch of urbanism, it might be the solution. Although, it leaves quite a bit of the individualistic uniqueness of the city behind. Life is fiction, and so is history. “I have never been to LA.” Maybe this is the question. It happened before and it will happen again. Inevitably, the archHistory as archStory is showed, interrupted, rewrote, erased, cut up, marked, collaged, machined, folded, kissed, fucked, chopped, and cooked over and over. Each interuptation will lead us to another truth. Do these truth teleport us to the ulitimate architecture? 42. The answer will always be different, this is the archPoltic. As one idea manifests into the everyday dwell, another creeps its way into the Club to be rejected by the Rebel.
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Aureli, Pier Vittorio A Possiblity of an Absolute Architecture
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If we take up the PV hand will the views of the rebel return to that of the random. Medieval is the new modern. The politics of architecture focus greatly more on that which is in the field. The great war of architecture, the great conversation of architecture. We are builders, philosophers, and artists and more and less. An architecture that resembles that multifaceted truth that grows and matures is more called for. California is not Athens. archPolitical Clarity. No unions, no committees but an archCommunication. The understanding of a connection or juxtaposition displayed not as a kiss but a evolving scar or memory of its past. Protest architecture. Using the place, as a stepping stone for the reliability of spatial truths. In new york, a gowanus canal competition proposed a building for a living community in the dirty, pollusted wasteland. A thrity year cleanse was the only solution for such a site.
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Upon inspection, a crab was observed surviving in the gasoline chemical lake known as lavender lake. Hymn to Gasoline, the competition entry for the site, propositioned that the ability of the crab to survive in the water could act as a jumping off point of urban awareness and renewal. Through a Protest Architecture, the proposal sot to generate new interpretation on what the truth could be. Gasoline veils that act as energy insulation and the use of contaminated animals as food source. Even as a joke, this enabled a poltical socio-economic view of culture to be projected into an architectural realm. Kung Oil Duck and Gamma Ray Salomon. A humorous attempt to protest imperatives need at a contextual socio-economic ecology. A story of the place gives rational need for change, the wound that needs a scar. Scar Architecture. During a virtual trip to Calgary, I mapped the city. The discoveries gave way to a wanderers’ point of view. A 3rd person architecture. The bystander, or wanderer, became the way the city was viewed. The chance interpretation was left open for the possibility of the impossible to be possible.
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His local irrational knowledge leads the environment to be different from that of the local. The city of chance, the city of the mind. Attempted to manipulated by billboards, movies, and song, the city has a tendenacy to always give the unexpected. New York is not the same alone. Time to the bystander is yet another lady in waiting. As time passes in a city, the change and evolving nature confirms that the bystander will evitable always find the unique. The archFiction find ubiquity in the unknown. The rational man would say “ridiculous, a city will always become known.” But, isn’t a city that’s always new, changing much more intriguing?
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On another note, “revenge of the lawn,” acts as a similar archCatalyst. Sunken into the ground as a mirrored pyramid, this project links socio-political connections to past fictions, and tales. Acting upon a Brautigan, White House attempts to show an architecture that tells and is told to.
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The presentation of tears, memories give the view a possible truth for hope and change. Remember the past look to the future. The protest against garden, the SWAT on the roof, and the architectural lid act as signs of showing an architectural emotion, or scar. Not utopia or dystopia but a truth that materializes out changing towards time and action. Writing, image, and film.
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The archStory, archHistory as archPoltics. Pier Vittorio Aureli makes quite a leap to remove the city layer from the archCake. Yet, his rally call for heroism strikes a sounding call for an important architecture, a heroArch. As a partner/revival/collegue, Sylvia Lavin’s kissing challenges Aureli’s ordering attempt by saying “its ok, we can all get along.” Would Pier let me play with his toy blocks? Would Sylvia have “koodies?” I call for an architecture that can kiss or be prude but doesn’t have to conform to a predefined placement. Architecture that makes opinions. Architecture that grows and evolves. Architecture as infinity.
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references
Aureli, Pier Vittorio. The Possibility of an Absolute Architecture. Writing Architecture Series. MIT Press Aureli, Pier Vittorio. Book Opening Lecture. AA School Lectures Series. 2012 Aureli, Pier Vittorio. Book Opening Lecture. KTH School Lectures Series. 2012 Connah, Roger. How architecture got its bump?. Writing Architecture. MIT Press 2001 Connah, Roger. The Little White Schoolbook. Vertigo Press. 2010 Connah, Roger. Writing Architecture. Writing Architecture. MIT Press 1996 Connah, Roger. The end of Finnish architecture. Vertigo Press. 1999 Frediech, Chad. The Pruitt Igoe Myth: An Urban History. First Run Features 2011 Hejduk, John. Such Places as Memory. Writing Architecture Series. MIT Press 1998 Hejduk, John. Architecture in Love. Rizzoli International Publications 1996 Koolhaas, Rem. Delirious New York: A Retroactive Manifesto for Manhattan. Monticelli.
1997 Lavin, Sylvia. Kissing Architecture. Princeton University Press. 2011 Lavin, Sylvia. Kissing & Complex. Lecture. Storefront Art and Architecture. 2011 Lavin, Sylvia. Tenderness. Lecture. Storefront Art and Architecture. 2011 Mies van de Rohe. BBC Talk Series Archives. BBC Radio Website 2006
i am a blank page
Dear Patrik,
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I am writing, concerned. Recently having read your book, the Autopothesis of Architecture, my worries fall into three parts. The first is use of society by unifying architecture into semiotics. The second is the use of computation as a means of progressing Architecture. And the third is Architecture as a controlling element to steer people as “cattle.� To start, let me give you a journey into my discovery of Architecture. Growing up in the beginnings of the computer, I watched a world rapidly change before my eyes. My father, an engineer at General Electric5 at the time, found a fascination with electronics and brought them home. My first baby, the Atari 8006, used floppy disks and a blinking white square for writing code. Entry blink blink. Fortran.
This mainly was a game machine for me but gave me my first taste into the world of parameters and computation. I was smitten by its multi color screen floppy magic. After a few family tragic events, my father quit the engineering game of creating to pursue protecting the creations in patent law. Atari 800 being dated and mostly a toy, my father bought a Compaq PC.7
5 General Electric Company, or GE, is an American multinational conglomerate corporation incorporated in Schenectady, New York and headquartered in Fairfield, Connecticut, United States. My father worked out of the office in Beaumont, Tx. And ending that employment in 1985. 6 The Atari 8-bit family is a series of 8-bit home computers manufactured from 1979 to 1992. All are based on the MOS Technology 6502 CPU and were the first home computers designed with custom coprocessor chips. Over the following decade several versions of the same basic design were released, including the original Atari 400 and 800 and their successors, the XL and XE series of computers. Overall, the Atari 8-bit computer line was a commercial success, selling two million units through its major production run between late 1979 and mid-1985 7 Compaq Computer Corporation is a company founded in 1982, that develops, sells and supports computers and related products and services. Compaq produced some of the first IBM PC compatible computers, being the first company to legally reverse-engineer IBM Personal Computer
Through his new efforts, the machine mainly became a machine for writing. The same fascination was still there but now was wrapped in new words, DOS8, PC Write. Quickly my elementary skills on the Atari transformed into data entry control in programs, word processors and basic. WordPerfect and PC Write became the only way to edit and reedit poems, book reports, and articles. Several years past by, my new abilities to write became easier than pen to paper. (Of course, until it crashed) Trial and error, this is my first experience of it computationally. I became the master of DOS. I could write my own small programs and run them for fun. BBS9, red boxes10, blue boxes became common words spoken softly among friends linked to an underground culture of a new computer society11.
8 Disk Operating System 9 Bulletin Board System, a computer that allows users to dial into the system over a phone line or telnet connection. 10 A red boxes and blue boxes were phreaking devices that generate tones to simulate inserting coins in pay phones, or simulating the operator dial tones. 11 For example, Masters of Deception (MOD) was a New York-based group of hackers, most widely known in media for their exploits of telephone company infrastructure and later prosecution, as well as being the subject of the book Masters of Deception: The Gang That Ruled Cyberspace by Josh Quittner.
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I grew and watched the computer grow with me. Windows 3.1 offered new amazements. Without self-built GUI12 Architecture, this new application gave me new order and unity for organization of my CPU pursuits. I learned to build them, hack them and install them. Oddly enough there was another love at the same time, literature split me in halves. Tales of dragons13, snarks14 and magicians let my mind wonder into far fetch worlds much more elaborate than what could be seen on the screen. 12 General User Interface 13 Mary Weis and Tracy Hickman, wrote books gaining fame in Dungeons and Dragons. I read all these two wrote. 14 Refering to Lewis Carrol’s Hunting the Snark, and retold in films, and story. For example, The Life Aquatic with Steve Zissou is a 2004 comedy-drama film directed, written, and co-produced by Wes Anderson.
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As the years went by, these two unique halves became much more repellant towards each other. I had a hard time linking the ambiguity of my imagination15 to that which was given to me on the cpu screen. By 1996, my father having practiced for quite some time coaxed my skills into computer aided design. I was a sponge. CATIA, Solidworks, AutoCAD and Vectorworks all quickly became my replacements. As a patent illustrator, I became completely enamored with the client’s circuitous path towards invention of the object. It reminded me of the lost character, or the adventurous barbarian pursues the woman he loves. It was these stories that invigorated me. Biology made a friend to me in grade school, so logically this is what I pursued into college. Hypothesis, lab tests, and beakers quickly became banal and uninteresting due to the direct linear path of testing. Then one day I found myself in a literature class. The other sponge took over. Lost in college, I took as many literature classes as I could, hoping one day to discover my path. While still practicing patent illustration, I furthered my skills at with more advanced classes in CAD. Over a cigar one evening, an architect16 went into the normal push one gives to a young person trying to get into the field, “Don’t do it.” Those words still ring in my ear today. Instead of taking the warning, I grabbed that chalice and ran head first. Being tooled up beforehand, my pursuit towards architecture was stifled by the hardheaded modernist points of views of my school. Contemporary philosophy17, and literature had not part in what they were pursuing. That was until I met someone of like mind, John Maruszczak18. His openness to the all aspects of life, gave me the ability to form a connective tissue between the two halves of my brain. A love for T.S. Eliot19, Pound, and Blake20 lead me down a narrative story, never to return. “It all matters,” he used to say. The shackles of modernism were ripped off, Architecture made me whole again. Working with Roger21 and John propelled me into my own interests. In Revenge of the Lawn22, visual communication was key, in the signification of the project from the perspective of the reader or viewer. Politics, culture, and abstraction lead the viewer into a reality that we created, a story of its own.
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In Bystander in Calgary23, I used a form of fluid simulation as a script created architectural space from that which the viewer would see in the city. Order and unity were made on the fly by the bystander and his wandering view.
Parametric kites, in Take Off and Squat City24, became spatial cultural artifacts in Pakistan.
15 “Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.” -Albert Einstein 16 Jeff Hallum, Hallum Asscioates. I worked briefly in this office using BIM software. Turns out he was a student of John Maruszczak, which I didn’t find out till much later. 17 Cogintive Philosophy. Philip Johnson-Laird and Byrne. 18 John Maruszczak. Professor of Architecture University of Texas at Arlington. Principal of Heron-Mazy 19 Specifically early T.S. Eliot. As Pound was pursuing Vorticism, Eliot was being matured through the same theories in correspondence with Pound. These are sometimes considered his Vortic years. “Coversaion Galente,” Portrait of Lady,” and “The Love of J.R. Prufrock,” give a look into Eliot’s depression and isolation away from women over his life. 20 William Blake’s Songs of Innocence 21 Roger Connah. Asscioate Director at the Azerli School at Carleton University. Principal of Heron-Mazy 22 Revenge of the Lawn. heron-mazy.net White House Redux 2008
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Bystander in Calgary. heron-mazy.net Peepshow 2008 Take Off and Squat City. heron-mazy.net cityspinning 2008
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The parameter became a way to make the story, poem, song or film a reality if only in digital. But, in the pursuit we merely wanted to give the opportunity of engagement, not force them to it. Let them, find the Snark. Returning to the meat of the matter, my first concern involves your use of sentential thought and its linkage to use of space. Does the Chinese Room also speak English? The idea of the unknowing is intriguing. Why give it away, or simplify it? In a fairly recent article by Philip Johnson-Laird, he postulates that the mental model only tells that of the possible and a truth chart tells us both possible and impossible results. The revealing of the parametric impossibilities made reveal to us a more concise view of parametricism’s illusory inferences. As with the engineers at Chernobyl, one would see what would happen in the case of a mistake parameter25. The accident of the parameter. Correlating this into the discussion, I believe that Pruitt Igoe26 is a good example of this.
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“Mental models, sentential reasoning, and illusory inferences,” Philip Johnson-Laird 2012 The Pruitt Igoe Myth. Chad Freidrichs. 2011
The pursuit of the Modernist to create a social unity through architecture should be looked at as a cautionary tale of architecture lack of control towards this pursuit. Architecture cannot control people, people control Architecture. Computers are now a permanent part of society. Airplanes are flying recording hubs, hearing aids helps a walkman generation hear again, and social interaction with the world is merely at your finger tips. The war against computation has become Orwellian at best27. For example, Sony pursuit with to curb the copyrights of musics lead to their invasion of your pc28. Is this another cautionary tale? Architecture through computation will inevitably lead us down this path. Lawyers and lobbyists, naive to architecture currently, will one day take up this mantle. Building parameters are patentable now, what about in the future? The “Dyanamic Building” in Dubai by David Fisher is just the first of many to come. A constant feed will became linked to offices like the PCT international29. A unity through openness is impossible in a society covered with capitalism. In the US today, a new law was pasted on February 2013 changing the right of “first to invent,” to “first to file.” Due the cost of patents, this will evitable take the side of corporations30. Architecture under the hands of Sony, Apple, and Microsoft. Architects would need to scan through databases of parametric patented code to make sure there new code doesn’t infringe.
27 “The Coming Civil War over General-purpose Computing” Cory Doctorow 2012 28 Sony BMG CD copy protection rootkit scandal 29 The Patent Cooperation Treaty (PCT) is an international patent law treaty, concluded in 1970. It provides a unified procedure for filing patent applications to protect inventions in each of its contracting states. A patent application filed under the PCT is called an international application, or PCT application. 30 In a first-to-file system, the right to the grant of a patent for a given invention lies with the first person to file a patent application for protection of that invention, regardless of the date of actual invention
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Building do not control people, people control buildings. With parametricism, your intention is to manipulate the viewer into multiple experiences in a space. People are not “cattle.” The intellect of the individual is by no means worked out compositionally. Computer’s can mimic human behavior only to the degree in which the author has programmed it. We are a long way from ever breaking the paradox and creating intelligence through computation. Bina48, the most intelligent AI unit, will say thought with a high level of intellect but is only due to the algorithms and information interpolated into it. That said, if this possible did break the end result would be a Philip K. Dick iArchitect31 with instagram imagery for beauty and elegance.
31 Galactic Pot-Healer is a science fiction novel by Philip K. Dick, first published in 1969. In the story, lawyers have become automated in a system called iLawyer.
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All in all, Parametricism is not a style but merely a tool. Its path towards unified theory is notable but in some cases quite highjacked. As with most of the SCI-ARC staff and students for that matter, computation is a tool to find a way to carry out individualist ideals with loose association to the computer, in most cases probably able to be carried out with it. Until the day that my unconscious mind can be tapped into the digital realm32, I will not rely on NURBS, blobs, particles and scripts33. These only act as a hindering agent towards truths in Architecture. Analog, digital, spoken or written Architecture can incorporate a much broad range of understand than that which Parametrism pursues. Architecture is life. Life is architecture. The more control and order forced upon a creative environment, whether good or bad, the more with stifle it.
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A simple man is turned into a genius through the application of computer science. Lawnmower Man. Directed by Brett Leonard 1992 The Autopothesis of Architecture’s framework for the parametric building blocks of curvature world of Patrik Schumacher.
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reference
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Connah, Roger. How architecture got its bump?. Writing Architecture. MIT Press 2001 Connah, Roger. The Little White Schoolbook. Vertigo Press. 2010 Connah, Roger. Writing Architecture. Writing Architecture. MIT Press 1996 Connah, Roger. The end of Finnish architecture. Vertigo Press. 1999 De Monchaux, Nicholas. Spacesuit Fashioning Apollo. MIT Press 2011 Doctorow, Cory. “The Coming Civil War over General-purpose Computing” Google Lectures 2012. Frediech, Chad. The Pruitt Igoe Myth: An Urban History. First Run Features 2011 Johnson-Laird, Philip. “Mental models, sentential reasoning, and illusory inferences,” Princeton Press 2012 Love and Kisses, Parameters P.S. Don’t let the spacesuit blow away. I have lived a spacesuit34
34 Refering to Nicholas de Monchaux “Spacesuit: Fashioning Apollo.” This journey through the circuitous path of the creation of the spacesuit by Playtex, I find correlating to my circuitous path through life and finding my way to Architecture by chance and occasion. Life is complicated and you never know what can happen, by parametertising the world one means only to put noose around creative until one day it breaks free. I hope through my story that non-linear path can be pursued, but not pursued. ‘)
Schumacher, Patrik. Book Opening Lecture. AA School Lectures Series. 2012 Schumacher, Patrik. GSD School Lectures Series. 2013 Schumacher, Patrik. SCI-ARC School Lectures Series. 2012 Schumacher, Patrik. The Autopothesis of Architecture. Wiley 2011.
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“I thought it would be a good idea to introduce softness in the Ready-made--in other words not altogether hardness--porcelain, iron, or things like that--why not use something flexible as a new shape--changing shape, so that’s why the typewriter cover came into existence.” Marcel DuChamp Unpublished interview with Harriet, Sidney, and Carroll Janis.” 1953.
cigars and wine : conversation ready made florencia pita “mess ensemble”
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“So I think by dancing I was able to understand a lot of things. Er I was able to intuit things about mathematics and philosophy and discovered afterwards that what I had thought about seemed to be true. And... the body - how can I say this?� William Forsythe John Tusa Interview. 2007
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g grotesque 1. absurdly incongruous 2. departing markedly from the natural, expected ex
organ o 1. a differentiated structure consisting of cells and tissues and performing some ce specific function in an organism sp 2. a subordinate group or organization that performs specialized functions th
h hair 1. one of the usually pigmented filam ments that form the characteristic coat of a mammal 2. a filamentous structure that resembl bles hair pop p 1. something that is contemporary with culture or regional style or taste cu ir irony 1. a pretense of ignorance and of willingne ness to learn from another assumed in or order to make the other’s false conceptio tions conspicuous by adroit questioning 2. incongruity between the actual result of a sequence of events and the normal or expected result
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“A Boat O beautiful was the werewolf in his evil forest. We took him to the carnival and he started crying when he saw the Ferris wheel. Electric green and red tears flowed down his furry cheeks. He looked like a boat out on the dark water.�
Richard Brautigan Trout Fishing in American, 1989
forest of the mind elena manderfini tableau vivant
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“Who lets itself whip, earned to be whipped.� Leopold von Sacher-Masoch Venus in Furs 1870
family values marcelo spina advanced tectonics
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Architecture Cycle: Math and Place
In a room, the women come and go Talking of Michangelo.. -T.S. Eliot, The Love of J.Alfred Prufrockv
Drawing has long been the tradition architects follow sense the beginning of time. The plan, the section drives architectural space at the lowest level. As young architects grow in their education, design begins to incorporate more of the world that surrounds them. Sciences, Philosophy, and the Arts. This interdisciplinary work emerges as theory accordingly to the popular culture of the times. Architecture over the ages has cycled through these disciplines by moving back and forth through mathematical reductions. Being originally an apprenticeship profession, the field moved away from its immediate mix due to its original Renaissance man nature of the field. Michelangelo, Borromini, and others were not only architects but also artists, sculptors, and philosophers among many other professions. At the turn of the century, architecture moved out of the studio and into the classroom. The result gave specificity to individuals whom focused primarily on subjects outside the discipline. As the field was moving into the 20th century, rises in the technologies brought about new building techniques bolstering the mathematical side of the field. Literature, philosophy and art were tucked away to be replace by the white and the glass. Modernism came into being. Free plan, free façade, ribbon window, roof garden, pilotis. Architecture as the white box. As they say Frank Lloyd Wright created it, Le Corbusier gave it form and Mies van de Rohe gave it order.1 Modernism gave us hope. Cheap affordable methods for creating minimal space. A world with sixteen stacked highways2, or buildings that trick the mind to the belief of infinite space3. Architecture as freedom. Architecture as social change. In 1970s, some say the socials ideals of these plans were destroyed as Pruitt Igoe was demolished. Modernism had failed.4 In response, the postmodernist took up the torch. Like many neologisms, this ragtag crew removed away from social dreams of their forefathers and focused primarily on the mathematical reductions of modernism and its possible morphologies. Michael Graves, John Hejduk, Peter Eisenmann, Charles Gwathmey, Richard Meier.5 As the young became academics, each began to move back into the state of focus. Hejduk grabbed the hand and the line. Graves embraced color. Meier submerged himself into the white grid. Eisenmann hugged the grid and the fold. Taking on the answering call of Julia Kristeva, Hejduk erupts away from the mathematical reduction of his permutationally obsessed peers.6 The genie bottle opens. Architecture as story, poem, and tale. The dreams have returned to space, place finds its way again. Archigram, Superstudio. Architecture as discovery. Architecture as dream.
western nows marcelyn gow “the here and now”
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Architecture Myths, Unknown Le Corbusier, BBC Talk Mies van de Rohe, BBC Talk Friedrich, Chad. The Pruitt Igoe Myth: A Urban History. Hejduk, Gwathmey, Eisenmann, Meier, Graves. Five Architects Shapiro, David. “John Hejduk: Poetry as Architecture, Architecture as Poetry.” Such Places as Memory.
The Architecture Ballroom.
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Beaux Arts Ball.
As the dance begun so it ends, the computer hijacks space. The Digital Turn. Paper, pen and pencil are replaced by mouse, keyboard and screen. The architects are left technologically helpless and grab the knowledgeable youth to keep up with the times. Marcos Novak, Greg Lynn, Lars Spuybroek. Ruskin is thrown to the lions and devoured. Concepts from Allen Turing, John Conway, and D’arcy Thompson, replace the utopian pop culture theorists of the 70s and 60s. We wipe and return to the mathematical reductions of our forefathers. Eisenmann, at a podium in Cincinnati, declares architectural computation as a new power with Greg Lynn at the wheel.7 The grid is replaced by the blob and the amoeba. The lovers of informative, deformative and the lyrical have their dreams realized by a wave of new tools. Computation’s youngest rise to power holding the lineage hand. CATIA, an old manufacturing software, is mounted and championed to bound curved surfaces and metal. Algorithm, rhinoscript, grasshooper, and fractals become theories and paradigms. VisualBasic, an archaic language in the the computer world, finds its way to presentation boards and powerpoints. Rhinoceros and Maya become intellectual standards. A new royalty, a new kingdom. Architecture Now. The Blob was fun when I didn’t know the result, now it’s predictable.8 Eisenmann returns to the classicist. We look to biology. Voronoi, an equation for cellular simulation, becomes the new truss. Architecture you can eat, grow and react to.9 Phyllaxis, Tropisms, and Half Lives.10 A return to film. Horror, Comedy, Drama.11 The surreal is replaced by the hyperreal, ambiguity by the atmosphere, and the story with affect and personification. Correctly, we have return. Out of the math we find the place, the world and the tale. Is this a new form of Hejduk? Or is this merely mirrored resemblance of the cycle of things? The emergence of these new worlds can be seen through several characters coming out of the black and white world of mathematical reduction. Hair. Having its birth through explorations of celluar automata, hair was championed by Jason Payne.12 The idea of hair as a means of the hairy, gives life, place and affect. In zoology, Payne iterates the idea from at crustacean named Kiwa hirsuta. This odd crab, dubbed the “yeti lobster” or “yeti crab,” has develop hairness that throws itself into another taxonomic order. Looking towards the botanical or medical, he relates the term hirsutism to architecture through the idea of the thatched roof and the hairstylist. In the terms of thatching, Payne looks to use the idea as a means of weaving and strand management to create envelope and shelter. Referencing the Bauhaus’ interest with Vidal Sassoon, he makes the case for an “architecture of hair” through the use of styling and combing. Raspberry Fields, 2008 Payne project, shows the use of cosmetology expressed through a house with hair or fur.13 Its layers of peeling shingles give the house expression and place in a world of the salon. As this concept progressed, Payne linkages his world, or atmosphere to Ziggy Stardust and ambiguity of said character. Jason’s further development creates hair as building through expression of the follicle as spatial unit, in, and affect of object through the disfigurement of the disco ball. 7 8 9 10 11 12 13
Eisenmann, Peter. “A panel on architecture.” Charlie Rose 1996 Lynn, Greg. SciArc Lecture. Joachim, Mitchell. TED Talk Lectures 2009 Verstegen, Ton. Tropisms: Methaporical animation and architecture. Alonso, Hernan Diaz. AA lectures 2012 Payne, Jason. Texas A&M Lecture 2011 Payne, Jason. Raspberry Fields
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Going back to the idea of David Bowie’s Ziggy Stardust, we see the atmosphere of guitar as meaning more than the literal playing of the instrument. Similarly, Payne moves away from the interpretation of literal hair towards a more ambiguous relation to a world of hair.14
Architecture as hair.
Contemporary with Payne, Hernan Diaz Alonso follows down yet another rabbit hole in the idea of the horror film or the grotesque. Expressing his own self as Groucho Marks, Alonso links popular films of The Fly, or The Dark Knight, showing us the idea of the hyperreal expression of the radically detail that moves the unreal into real world scenario.15 In the movie The Fly, the main character is genetically altered with the dna of a fly. The movement away from his human self to that of the new being, is the exact moment where Alonso lands his architecture.16 One can’t help to make the linkage of this back to the Kafka’s The Metamorphosis. Architecture stuck in an inbetween zone, a zone that’s ambiguity questions where it belongs. In his project, Pitch Black, he creates an installation that sits as a mutation of perfection. How can the reading of the ambiguity of film become a design technique towards design and form of forms? In “seingemer,” we see the use of Bacon’s flesh and/or grostesque producing a new species moved away from Euclidean form. Its up, its down and all around, it has no boundaries.17
Architecture as horror.
Biological organisms have been a favorite for architects for many years. Tom Wiscombe finds interest in this through the idea of the random mutation. How can we find an emergence that coops an usage or advantage? Embedded traceries in suits from Dune, pleated Roman armor, and surf suits, are moved into the built world in his Thermal Stud, Lizard Panel, and Tracery Glass. Thermal Stud uses embedded tattoeing that in turn becomes a thermal unit and stud. Lizard Panel enables greywater, and algae water to collect and generate energy through embedded surface treatment. In another larger installation, Dragonfly looks at the constructional dynamic randomness of the dragonfly wing and mimics its typology as a canopy and/or envelope. Working with Origin Oil, Wiscombe uses this stylistic micro-embedded tubs or tattoeing along with LEDS to create a bioreactor unit on Flower Street in Los Angeles.18
Architecture as organism.
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Payne, Jason. KWA Lecture 2008 Alonso, Hernan Diaz. AA Lecture 2012 Petit, Emmanuel. “Xefirotarch: Abject Architecture and the Raw Real” Alonso, Hernan Diaz. Pitch Black, A+U, 2008, Tom Wiscombe, Emergent, Texas A&M Lecture 2011
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As we see, several individual’s specific interdisciplinary focuses have created a series of architecture species or worlds. Hair, Horror or Organism. Architecture as place. It’s mother hubbard’s shoe, its grandmother’s house in the woods, the smell and feel of your family house. This architecture incorporates an individual expression of interest and style. With Jason Payne, we see an architecture of the rock star. Its disco, Vidal Sassoon and the transsexual. Architecture that leaves the question of what it is unanswered and ambiguous. Similarly, Alonso gives a world of horror and more questions. What is this, where is the roof/floor, and can I leave? The porn camera, Bacon’s flesh, and the alien. Tom Wiscombe becomes the creator of organisms of architecture that have veins, tattoos and life. Do these show us a Hejdukian emergence of place through specific paths? Or do we simple see the movement away from pure mathematical reduction?
reference Alsonso, Hernan Diaz/Xerifortarch. A+U 2008 Alsonso, Hernan Diaz. AA Lectures Series 2008. Architectural Association Carpo, Mario. The Alphabet and the Algorithm. Writing Architecture. MIT Press 2011 Connah, Roger. How architecture got its bump?. Writing Architecture. MIT Press 2001 Connah, Roger. The Little White Schoolbook. Vertigo Press. 2010 Connah, Roger. Welcome to Hotel Architecture. Writing Architecture. MIT Press 1998 Eisenmann, Peter. “A panel on architecture.” Charlie Rose 1996 Hejduk, John. Such Places as Memory. Writing Architecture Series. MIT Press 1998 Hejduk, John. The Education of an Architect. Cooper Union 1991 Joachim, Mitchell. “Don’t Build it, Grow it!” TED Talk Series 2010 Le Corbusier. BBC Talk Series Archives. BBC Radio Website 2006 Lynn, Greg. “I’ll see it, when I know it.” Sci-Arc Lecture Series. Sci-Arc 2008 Mies van de Rohe. BBC Talk Series Archives. BBC Radio Website 2006 Frediech, Chad. The Pruitt Igoe Myth: An Urban History. First Run Features 2011 Petit, Enamuel. “Xefirotarch: Abject Architecture and the Raw Real.” Payne, Jason. “Raspberry Fields.” Payne, Jason. KWA Lecture Series 2008. Ohio State University. Payne, Jason. Architecture Lecture Series 2011. Texas A&M University. Verstegen,Ton. Tropsims: metaphorical animation and architecture. Wiscombe, Tom. Architecture Lecture Series 2011. Texas A&M University.
In honor of Ron and Jan who always push the fray through the dark and dreary
speedaway
line colored dreams Ryan Vincent Manning Southern California Institute of Architectiture
Master of Architecture Fall 2012 - Spring 2013
copyright 2013 Quirkd33 publishers los angeles, california