Now playingSpaceCollective Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction.Introduction Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.
_small project on making 150 brass earhorns with Gabriel Renz
_machining and welding the male+female steel molds
_stamping brass sheets for horn-halves
_assembling halves by corrugated seam joint
Situation: Heyri / Korea / South Korea just in front of the North part, touching the DMZ and JSA (Demilitarized Zone and Joint Security Area Zone)
Design of a multi purposes house, including private house, dancing center, shop, restaurant, children museum… Scenario:
1) Recognition of the situation / on the north of south Korea, on the DMZ zone, where the danger is weaved with the paranoia of danger and its own Theatralisation
2) Recognition of the specificities of the urbanism of Heyri, where domesticity are fully embedded in the public area, where the client become the support of public services.
3) Erotisation of the paranoia, by sweet ballistic impacts in the extended volume of the mountain absorbing the program
4) Trajectories of shooting as walk way access and light providers (stainless steel and glass as a homage to T1000).
5) Development of a bachelor-machine, running (on specific track) in the forest to bring back the biomass on its back, smearing the bio-grass and bio-leaves in decomposition on all external surface to maintain the insulation of the building.
@ Southern California Institute of Architecture |SCI-Arc Gallery - 960 e. 3rd st. Los Angeles|
Quasar is an immersive light and sound space made from prototype membranes and realized as an interactive light/sound field comprised of a dense array of interlinked elements describing an intricate three-dimensional structure. The gallery is fitted with sensors that draw real-time data from the installation and the people within the exhibition, which is then synchronized with streamed real-time data of solar activity and nuclear processes provided by SLAC and NASA. This information is then fed back into the object through layers of LED strands, re-visualizing the space in order to create an interactive spatial experience.
The word "quasar" is a contraction of the term quasi-stellar-radio-source, used historically by astronomers to describe entirely unknown cosmological objects. Today, it is believed that quasars are the most distant, and yet still detectable, objects in the universe. Giving off enormous amounts of energy produced from massive black holes in the center of their own galaxies, quasars are intensely bright; their emitted light drowning out all other stars in the same galaxy.
The exhibition draws on slap!’s continued interest in developing an awareness of the interconnectedness of space and material, with a goal of extending established notions of volume and scale. Quasar is an artificial counterpart hovering in response to the currents and activities of the visitors, and in doing so, stretches and collapses the horizons of the unknown. The possibilities of interrelated synthetic and natural processes begin to define new emergent ecologies. Quasar questions the boundaries of scale and the psyche, offering immersion into a vastly expanded space which renders perception permeable, and in the end, disperses identity.
"...From then on, I, a nebula of confused elements, move among finished worlds - you have complete laws and pure order, your thoughts are assorted, your dreams are arranged, and even your visions are enrolled and registered. I measure time according to the movement of countless suns; and you measure time by little machines in your pockets. Now tell me, how could we ever meet at the same place and the same time?” (Xiao Xuan Lu)
"Is it not at the moment when the human being disintegrates into cruelty that his humanity comes to light? Human rights can only be affirmed in the places and times when they are held up to ridicule. We would not bear the captivating succession of famines, earthquakes, wars and hostage-taking that we see in the media everyday if it did not show the awakening of a human quality at the very moment when it seems to be fainting in the face of these horrors. And cultures, like intelligence and beauty, never appear more dazzling than on the day of their ruin. In all of this, humanness finds it beginnings." (Roustang)
Somewhere lost, this dried up section of a wall-pore was found and brought to attention. It appears to be a piece of what used to be a fleshy and muscous membrane: a wet, gelatinous, spongie skin - behaving in semi-liquid state; dynamic, moving, adaptive and always in state of "changing". Animal and sedentary both at the same time...
“Imaginations and its power emerge from journeys through the night, from communication that has become impossible in the heart of the closest proximity,
from paths used by dreams to tame the violence of sex and death. It is under the surface of the obvious that imagination draws its energies, from the daily collapsing of past proofs and assurances.”
“Anxiety is... the expression of the psychic in the pure state, in relation to consciousness. Because consciousness wants to master psyche that animates the living body, that psyche can no longer function for itself; it is required to enter into an area that is no longer its own, and it makes its presence felt in the pure form of an uncontrolled dynamism or of forces that are unleashed without any goal or direction”
This story is about a boy, who in search for the meaning of life, goes through a rigorous adventure of near death. Only to realize in the end, that all his assumptions were false, and that this thing he was looking for doesn’t exist. It is about a pro-longed sense of reality shattering, due to his awakening of senses. A detailed experience of losing his reality and jumping into another one. A reality lost, but only to find another waiting right next door.
The journey starts with the moment he loses to control a decision. A simple action is made, and the consequences will haunt for the rest of his life. It will affect the very way he sees his world (reality) and the environment mutates into to a state of fear, schizophrenia and disequilibrium. Everything chaotic, the only way to gain control is to fabricate an alter-reality. An assumption of world order that is controllable to him, and perhaps only him.
In the beginning, without realizing, the only thing that has changed is the virtual reality of his mind. He adopts a different way of seeing the world. A cynical, skeptic and negative reality: he questions everything he sees and criticism is his only way of survival. How else does he find meaning to being confined in a body? A physical body so restricted that what develops is his virtual self. The pain comes from trying to express his virtuality into the physical world, his phantasm, dreams and nightmares that should only remain in his deepest psycho-thoughts.
But somehow there is a rupture, in-between the different realities. It was the initial losing of control, and simple shift in action that allows for a slit to open. An orifice that connects the two worlds. It is a portal into another level. His curiosity doesn’t allow him to ignore it. The darkness is so bright; his eyes are struck with the force of seduction. This open labia is so slippery, a slight movement into it sucks him completely right through. In a matter of blinks, he is already here. Here and now is a state of vibratory reality. Oscillating between multiple states (of mind). Deterritorializing and territorializing is the protocol of real-time behaviors. Nothing is stable, everything dissipates only to accumulate again; somewhere else, something else.
It’s not with a lot of resistance, he is back here again. His dreams and his physical realities are starting to blur, and there exist no sense of time and space. Everything is lost and deformed. He actually forgets that things are changing. His mind is changing, in his own sphere of a bubble. A bubble so immense in sensations, it dictates his relationships with his physical environment. He is able to disguise himself though. Almost nobody notices his bubble-suit, except for his closest beings. I will get back to this intimacy a little later, but first I must explain how his bubble is fed with his fantasies and dreams with the expectations that one day it will pop to liberate him. The bubble is almost a parasitical avatar, attached to his body. To give him the illusion that he is actually outside of this body, and as long as the bubble is maintained, his body is safe. Sub-consciously, somewhere in the lost memories, he does realize that the only thing confining him is actually this self-fabricated bubble.
Bubbles are filled with void. It is an empty infinite. It is the darkest transparency. It is invisible to others, sometimes invisible to him as well. It is an exoskeleton composed of non-matter; only thoughts, attitudes and correspondences. He is completely unaware of this, but he feeds off its weird sometimes awkward fruits. He calls them inspirations. Sometimes he calls them confusions....
_selected for InputOutput11 magazine 2008 publication_
Spring 2007, Operating under the group name corner architects in collaboration with Satoru Sugihara and syllodesign, we developed the schematic proposal for the Harley-Davidson Korea project. The main idea was coming from the Harley-Davidson engine sound as the driving force to express the spirit of riding and the territorialization of its new site. The concept comes from the idea that Harleys are machines of public-show, a medium for self-expression and through the level of noise and its vibration to justify the value of its own existence, as an ability to infiltrate other people's spheres; this instigates the cultures surrounding the machine.
Through globalization and mass media, Harley-Davidson has reached an ironic presence in Korea, where motorcycles are viewed as low-class "logistic-mules" or "gangster" activity, as opposed to the legendary cultures of American Freedom Spirit. By way of critique on the fact that, like any other american chains, (i.e. McDonalds, TGIF, 711 etc), Harley-Davidson stores are also self-replicating templates all around the world, we challenged the notion of uber-commericalism by using the "Harley-noise" as a vector to drive the performative design of the project, the rider's own "radiation" to affect the site itself, and disintegrating the generic store template to mutate into the Sound Canopy that evolves its form according the the inputs of its users and environment. It doesn't fall into a immediately recognizable logo, but functioning as a blur facade of the brand.
The interface allowed us to observe the deformation of the canopy when injected with the engine vibration: as a prototype and diagram for this project.
As architects embrace the concept of complex systems and quantum territories, we slowly disintegrate into being absorbed into a no-thing zone, where traditional frameworks of its discipline become so irrelevant, everything and anything becomes legitimate to be called architecture. It is curious now, to think what it means to be "doing architecture." Architecture has always been naturally a collaborative procedure, although disguised under the mantle of the "master-architect," with recent awareness of these "schizo" spaces in other disciplines, architecture is also catching up with loosening its boundaries. It is only logical to do this, in order to be "open" and accommodate more contemporary ways of thinking our space and environment.
Like some god-given position, "creating environments" as our jobs, we tend to assume a high place in our world as space-makers and activity-enablers. However, historically speaking, architects have only helped assist politically motivated spaces, actually creating rigid boundaries and preaching solid theories that only renew each other in an arena of cock-fighting. It is hard to break this attitude down, and especially harder when a traditional architect is faced with a new non-theory that maybe to realize that all its preceding suppositions were arbitrary when put against this fluid-reality we are starting to enter. Maybe it is just a matter of deciding to enter the rabbit-hole in "Alice in Wonderlands", to another tangible parallel reality which is equally valid and plausible as an acceptable territory.
I'm not saying that all the previous advances and progress made in the world of architecture is obsolete. They are all still very valuable to our society and must not be dismissed. History is always a good advisor to our future judgments, but never the only deciding factor when envisioning a new paradigm in space thinking. It is important to understand that with advances in technology, the shape of our society is radically changing and actually gaining an entirely new "layer" in philosophizing our environment. It is a very exciting moment in history that we are witnessing, a genuine crossroad between material and immaterial, in which the choice is not to make only one, but to allow the creations of hybrid realities of organic-mechanics to come to fruition.
So we are not "loosing" but actually "loosening" our discipline to allow uncertainties and the indeterminate to design our environments. Almost doing nothing but to point the finger at what is only there. We don't live for fame nor recognition. Architects should presume a more humble position, more like ghosts, that optimize situations, spaces and minds. Architects are the psychologists of the built environment. If psychologists study the affects and behavior of the mind in a given context, architects do the same in the context of social interaction between material and site. Both of them in terms of freeing the emotions of a trapped circumstance, to liberate and release the burden of imposition.
What a fantastic idea that doesn't seem to fall under any category of recognition. It is more an attitude or spirit of something that can be plugged into any situation, body or space. Materializing ideas of our environments with this spirit of "loosened architecture" will definitely strive to create spaces of animated dynamism and emotional intelligences. Of course many of our contemporary architects have ventured into these ideas of animated forms and emotive spaces, its expressions only bounded by the limitations of technology. However, I feel like a genetic code that needs to be altered in its core, even these new breeds of architects are falling into their own trap and as failure to come to terms with the new territories they themselves have opened up. They default back into acting like the "architects" that they are, glorifying just a moment of a speckle in time from a continuously flowing state of development, into a frozen trophy they may capitalize on.
It is time to rid of this ancient attitudes. I believe SPACECOLLECTIVE, as generic as it may be, and as schizophrenic and rhizomatic as it is, is opening up to these new ways of thinking. The same way I can not let go of my personal background (as something that I can not change but born into), I am coming from the point of view as an architect, and am trying to contribute to the re-definition of the role and responsibilities of the architect. I feel like entering SPACECOLLECTIVE is a synthetic version of spiritual enlightenment, relating to artificial technologies and its repercussions. There is something to be said about being "lost" in space, detached from any preconceived notions, we are able to construct novel and productive ideas, and as long as we don't loose ourselves in it, but loosen to be more open to the new-futures.
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chimera robot design by Stephan Henrich
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