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Jong Hwa (Duly) Lee (39)
NYC_LAX_ICN_PTY, PA
Immortal since May 10, 2007
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catch me if you can lost somewhere
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    Now playing SpaceCollective
    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.
    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...

    Sat, Oct 6, 2007  Permanent link

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    “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”

    (Francois Roustang)
    Tue, Jul 24, 2007  Permanent link

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    diagrams for a film project

    [6/16/2007]


    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....






    Fri, Jun 15, 2007  Permanent link

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    _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.


    Interactive Sound Canopy - [Interface Demo]


    interactive software by Satoru Sugihara


    Canopy Models












    renderings by Danny Bravo
    Thu, May 24, 2007  Permanent link

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    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.

    [5.2007]
    Sun, May 20, 2007  Permanent link

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    single unit


    bubble walls
    Sun, May 13, 2007  Permanent link

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    sci-arc/ fall 2006/ collaboration w/ [e]Guys













    Sun, May 13, 2007  Permanent link

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    Hylomorphic Architecture
    [Seoul, Korea]
    scenario: self-organization, uncertainty, porous boundaries


    Hylomorphic Architecture was a winning entry for SPACE international student competition held in Seoul in 2006. The topic of the competition was “faster and bigger,” and the requirement was to master-plan 1000 housing units in a faster and bigger growing dynamic Seoul environment.

    My initial provocation was of “no master-plan”. There is no master-plan when it comes to complex adaptive systems. Complex systems call for no master-plan but rather an introduction of self-organization. This non-panoptical system refuses a position of central control, but instead welcomes a drifting and localized negotiation of boundaries. In this reactionary and incremental growth process, all actions are temporal, non-static, and arrhythmic. The site in Seoul is located in the midst of the edge of city-sprawl. City-sprawl is a result of flawed capitalistc endeveours. The site is symbolically nested in-between high-speed auto-ways (representing technology as speed), set across from a wall of high-rise buildings (representing technology as size). Hylomorphic architecture liberates the site from these symbolic neighboring conditions: as an initiation of new process of city growth. It does not become a monumentalization of the “complex” but realizes itself in (real-time) action and process. “Uncertainty” is its main operative protocol, and its random prediction directs its “becoming”.

    Jean Oury: “Hesitation is a logical crossroads. If you don’t get past the hesitation barrier, you regress toward dogmatism, a kind of rigidity... But if you get over this hump, you find yourself at an anthropological junction, faced with two paths - one, belief, the other, desire - that allow you to gain access to a sort of mutation in existence.”



    the organism that is a city
    that is an extension of myself


    ANIMATION: FOAM BODIES



    Sat, May 12, 2007  Permanent link

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    The Third Level
    [Los Angeles, 2006]
    scenario: deterritorialization, slippage/liberation, schizophrenia


    Borrowing from Jack Finney’s short story “The Third Level,” I imagined an entry-port that takes you to another world of another time and space. When you enter this rabbit hole, it spits you back out into the streets, but into different streets of another dimension. The hole spits you back like in “Being John Malkovich” which takes you through unstabilization and deterritorialization (hypnosis), where rhizomes are a lifestyle (of endlessness). All boundaries are porous, so you may always enter and escape any state (of mind). The real and the virtual co-exist and are superposed, You are able to be here and there, now and then, existing in- and infecting the quantum realm (schizo).

    Francois Roche: “I’ve heard about something that builds up only through multiple, heterogeneous and contradictory scenarios, something that rejects even the idea of a possible prediction about its form of growth of future typology... something shapeless grafted onto existing tissue, something that needs no vanishing point to justify itself but instead welcomes a quivering existence immersed in a real-time vibratory state, here and now.”

    Francois Roustang: “You are one of the nerve endings of this body that is a city, you are at the center where it all interconnects, of a multitude of pulses, and you feel the growth of this body that is a city like an extension of your own corporality. No one can make you accept a form that didn’t feel right to you first, and no authority can take it from you. No morality can be dictated from on high... You are this body that is a city and you feel it growing.”



    infiltration into the third level




    view through the portal







    ANIMATION: LOS ANGELES MEMORIES 2006-2056



    Sat, May 12, 2007  Permanent link

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    U.N. Headquarters
    [New York City, 2005]
    scenario: permanent scaffolding, becoming


    The U.N. project was about attaching a soft intervention in order to infiltrate the static system of the United Nations, which was a reaction based on the notion that the organization is founded on now-obsolete models of world council. In order to address this problem I proposed a new architectural concept that would facilitate the necessary revamping of the U.N. and help handle its issues of inefficiency and inevitable existential crisis relevant to today’s mode of world operation. It dealt with the possibilities of building the idea of “growth” and “design” convergingly to work together towards an emergent construct. Against traditional notions of architecture with a set finished product, I proposed an open-ended, never-ending construction process (both material/immaterial) that can adapt to ever constant changes brought by the site and the natural development world climate. (as permanent-scaffolding).

    Sanford Kwinter: “Architecture would ... be seen in its full proximity and intimacy with the system of forces that gives shape and rhythm to the everyday life of the body. Thus the object - be it a building, a compound site or an entrie urban matrix, insofar as such unities continue to exist at all as functional terms - would be defined not by how it appears, but rather by practices: those it partakes of and those that take place within it.”

    Neil Leach: It “registers the impulses of human habitation and adapts to those impulses,” allowing new spaces to emerge, those that were not preprogrammed but were born of need.



    open-ended growing model











    ANIMATION: MUSHROOM CITIES!*




    Sat, May 12, 2007  Permanent link

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