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P.C.
millennium club
Joined: 26 May 2004
Posts: 2163
Location: Denmark
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 Posted: Thu Oct 25, 2007 10:00 am Post subject: |
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| Let me make it absolut brick tight self promoting and willing to discuss the tech. details, Me I am here to remind you, how to earn a mountain of money. |
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usarender
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Joined: 01 May 2004
Posts: 1258
Location: San Diego, Ca
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| Posted: Thu Oct 25, 2007 10:27 am Post subject: Back on Track |
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As many have attempted to divert the discussion, there is a need for more meaningful posts.
Now, as illustrated, in architecture, nothing can be a " natural fact". There is no use in celebrating the decoration, if the architecture, in it's " functional aesthetics" has not understood it role to develop a more organic connection with nature. In nature, we see a natural progression and a connection and spiritual unity in form and function. But in architecture, this must be artificially created, otherwise it is not present in any form. Thus, to say this immutable law of nature automatically applies to architecture does not make sense. Further, in nature, there is no sequential relationship of elements between form and function, as this assumes. There is a unity between the two. In architecture, this unity is not always present and depends on the designer, in his ability to unite form and function into an integrated solution. Many times, architects can create forms that somewhat deviate from their function, and thus there is no inherent " natural " connection between ideas, unless a designer knows how to produce this connection and translate it into his architecture into a beautiful union of form and function.
Perhaps this cannot be understood by non-architects, boat builders and craftsman, as truly the equation FFF varies greater per profession, as in the previous links where it was shown. In some areas, there is a direct link and it makes sense. In others, a direct application would be disastrous, as previously shown in those links on FFF. In architecture, it is part of the greater architectural process of thought, but taken individually, is an over-simplification of a much larger hierarchy of sequences which lead to a form, as shown previously.
So far those objecting to this presentation are two boat builders. One architect has stated the link in another thread, and another has objected to FLW. There is space thus for objections and differing points of view.
But some of the comments have been childish games of assumptions and accusations that have nothing to do with architectural discussion. This topic can only be truly understood by those intricately involved in the architectural design process and who have also dedicated themselves to it's practice.
As Mx stated -->>
| mx2 wrote: | My contention is that a good designer never stops at any point, but does indeed go through a process, like what usarender descibed. A good designer may arrive to a form based on previous analysis but then goes back and does it again, and again, until the design is refined enough to move to the next step...
mx2.5 |
This statement, related to the order or sequence of architectural thought which leads to a form. Form and function are but two among the various steps in the thought process of architectural design. If some of the elements are lacking definition, and the process is side-stepped, the architecture will also suffer in the process.
Some may not agree with this organic connection with nature, but this does still not veer us away from following a similar process of thinking in order to reach our solution.
One may not understand the concepts of space, but we deal with these all the time in our design decisions, whether it is a conscious or unconscious process. A greater understanding of space and how to manipulate our architecture to respond to this element can only aid us in the design process. |
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djswan
Joined: 17 Aug 2007
Posts: 657
Location: Montana, USA
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| Posted: Thu Oct 25, 2007 11:28 am Post subject: |
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| csintexas wrote: | | If you all are having some kind of contest of who the most insane among you is can we just declare it a tie and be done with it? |
There is glory in victory and defeat, nobody looks good with an ugly tie.
I'm declaring a cold war! Bring back cold wars. Taste great, less filling.
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P.C.
millennium club
Joined: 26 May 2004
Posts: 2163
Location: Denmark
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| Posted: Thu Oct 25, 2007 11:56 am Post subject: |
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"One may not understand the concepts of space, but we deal with these all the time in our design decisions, whether it is a conscious or unconscious process. A greater understanding of space and how to manipulate our architecture to respond to this element can only aid us in the design process."
Not for me, not for anyone who is going to translate a sketch into the real thing, --- space is everything else than the creation, when created it is everything around the design, space divert nothing by it's presant, make no pointer at all to what to replace it's volume, ------- It is the pattern between the bricks that make the expression, how yellow and red bricks are distribuated in space, not space or theories about hollow space that dictate the detail and magnitude, space say nothing about if the house must be big or small red or yellow not at all, --- but the feel and knowleage ,vision about pattern and vision about the whole the vision about masses and forces , their apearance their function and everything , not space at all, rather the production of the structure's parts it's language it's order and attribute, that's not space. |
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usarender
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Joined: 01 May 2004
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Location: San Diego, Ca
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| Posted: Thu Oct 25, 2007 4:31 pm Post subject: The Beauty of the spatial experience in architecture |
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Well, each person can only speak for themselves.
Now, translating a sketch into the real thing is not the same process as a spatial reference in architecture. Design itself must address the issue of space in a relevant way, as demonstrated. To often in modern design, as shown in the Arthur Erickson speech, space is not referred to at all, and the Anthromorphic view of man brings us the incredible opportunity now to address space in a new unique way, as shown. So to say spatial reference and addressing different type of spatial framing is irrelevant to architecture is to only strengthen the trend that Mr. Erickson has criticized. It can be seen that those interested merely in structural truth should attempt to discredit this concern, moreover, there is an infinity of spatial statements we can make as architects, as demonstrated. Experiencing space is just as much a part of experiencing architecture as is the integrity of it's structure. It is not a simple arrangement of bricks into a pattern that will make a spatial statement, nor will the clever contriving of window layout or door placement. It is not the cunning use of colors or the irreverent inclination towards anarchy of space and form that will save us from the architectural voids of modern civilization. It is the interplay of light and form within a relevant spatial experience that is being proposed. This new play on space can bring an infinity of new ways to experience space in architecture, as previously demonstrated.
Thus, an astute arrangement of structural language cannot replace the inherent beauty of a well elaborated spatial arrangement in architecture.
Neither can a silly talk with Ouroboros replace an adequately elaborated statement on the language of our architectural thought.
A broader language need not speak with the dead cold objects of adoration, but rather communicates the relationship one can have with this universal intelligence.
The true language of design proceeds from within the architectural mind to create a new world of ideas. |
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P.C.
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Joined: 26 May 2004
Posts: 2163
Location: Denmark
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| Posted: Sat Oct 27, 2007 6:37 am Post subject: |
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"A broader language need not speak with the dead cold objects of adoration, but rather communicates the relationship one can have with this universal intelligence.
The true language of design proceeds from within the architectural mind to create a new world of ideas."
Now we talk --- the whole reflect in the detail, now you get it.
But please remember how different , how very different the old hero's engage this world of oppotunities ; plears think about it this way --- what if the computer had been there 80 years ago, would you think surface would have had the chance compared a thruout understanding of "space", Space defined as the act, the structure, the core structure ---- wouldn't you think "space" would have gotten that meaning that essence in that case, and wouldn't you think so much more detail and quality would have been the results for us to profit, and then, wouldn't that situation be better fit, for develobing , all these other manifastations of creativity --- if the houses could be changed inside as like architecture made them change outside.
--- Trust me, the revolution with a realisation of a new structure, will be as great as the revolution in the looks from the outside, the trends and styles, now fact is that what is inside the houses are much more prone than it's distant expression -- and the distant expression is all architecture been allowed until now. |
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usarender
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Joined: 01 May 2004
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Location: San Diego, Ca
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| Posted: Sun Oct 28, 2007 10:30 am Post subject: Beauty is in the detail |
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Yes, when you speak of "beauty is in the detail", in essence, the whole is reflected and understood in the detail. Just as you mentioned in the example of the atom. The whole universe can be understood in the relation of distances and elements seen there, as well in the sub atomic particles within the atom. In the same way, the whole of our architectural statement can be reflected at times in the detail as well.
True, a new structure and computers can bring a world of opportunities to our door step, as I have pointed out in the discussion on creativity. It is the resistance of building codes, of traditional ways of doing things, of economics, and of acceptance that prevents these alternate ways of gaining a greater application. Not that I buy the definition of space as being summed up in the structure, as I have pointed out in the discussion on Arthur Erickson, but truly a new definition of space is needed.
Now, about architecture only allowing a distant expression, this could not be more true. We are loosing out on incredible opportunities to create a new architecture based on these new structural systems, as we stay locked into the vernacular forms of the past. These are passed on to generations as the ultimate truth of design and construction, while alternate ways of defining structural integrity and of designing are ignored. |
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P.C.
millennium club
Joined: 26 May 2004
Posts: 2163
Location: Denmark
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| Posted: Sun Oct 28, 2007 1:44 pm Post subject: |
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Yes but please remember --- with organic architecture , you could find that using the methods to form and shape these volumes, - that you easily could end there, where shaping square rooms in maybe just a bit different designed houses , with strait walls and tradisional roofs , -- could be what you end up using methods as 3dh for.
Strange I shuld say so, but I think a square room in a round house , or everything within the form language as we know it, -- maybe with a few important extra's -- shuld be the measure for what we shuld call "organic architecture" ; the freedom to even design square boxes with square rooms, as when a method can cover that, aswel as designing round houses with round rooms, --- that ability must uncover the real method. |
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usarender
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Joined: 01 May 2004
Posts: 1258
Location: San Diego, Ca
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| Posted: Wed Nov 07, 2007 5:02 pm Post subject: The Definitions of the dimensions of existential space. |
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In Architecture, one could say the forms follow the functions as established by the mental images we wish to project to define the spatial framework of experience within our cultural, artistic and contextual understanding, to thus create the localized statement for a meaningful human existential spatial experience.
"Architecture In Cinema - Cinema In Architecture"
Architecture and cinema articulate lived space.
Both forms of art define the dimensions and essence of existential space; they both create experiential scenes of life situations.
Architecture in Cinema |
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P.C.
millennium club
Joined: 26 May 2004
Posts: 2163
Location: Denmark
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| Posted: Fri Nov 09, 2007 4:51 am Post subject: |
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I realy want you to reconise how it became a natural source of inspiration, to go into Graffiti, into tradisional arts and combine this with the old almost forgotten Opaque projectors , how this ended --- not ended replicating the old masters ,even this niche is for decades almost forgotten --- no what happened was that even in this niche, -- the old Opaque projectors with their theater lamps --- I found new things ; technikes no one tried before, In even this old vorn out technikes and processes , it was possible to be inspired , you shuld know if you visit this ;
http://www.designcommunity.com/forums/viewtopic.php?t=10104&start=180
So yes we can use history, but when we do it is to progress further , not to stay in it, ----- and if you go tho the link I point to, remember that even I did spend 3 years at the architect acadamy even I worked within a multible diciplins , then I newer tried myself as an artist , today and every day people comment those graffiti's and say it is not graffiti but real anf genuine art, now how would I know, for me it's just another prove that there are a process, that history has nothing to do with it, not at all as that niche I discovered, no one tried before. |
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usarender
millennium club
Joined: 01 May 2004
Posts: 1258
Location: San Diego, Ca
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| Posted: Wed Nov 14, 2007 6:16 pm Post subject: Form and Functions of Visual Representations |
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Here we have the forms and functions of our visual representations, we have the forms and functions of emotional intent, we have the cinematography of architecture. This becomes powerful when it is able to capture a frame of human experience and transmit it into the desired function of capturing the observer in an experience of the architectural statement in such a way that the intended emotion and drama of the scene is transmitted to the observer and building occupant.
Cinema in Architecture, Architecture in Cinema |
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P.C.
millennium club
Joined: 26 May 2004
Posts: 2163
Location: Denmark
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| Posted: Fri Nov 16, 2007 3:59 pm Post subject: |
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| Sure --- but this happen After the structure are build right ? |
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usarender
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Location: San Diego, Ca
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| Posted: Sat Nov 17, 2007 9:56 am Post subject: Sure |
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| Yes, but in cinematography, the framing of the architecture is well considered before the stages are set, and the architecture chosen and designed accordingly, to achieve the mood desired. |
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P.C.
millennium club
Joined: 26 May 2004
Posts: 2163
Location: Denmark
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| Posted: Sat Nov 17, 2007 10:24 am Post subject: |
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Ofcaurse, but then we need skilled designers, who understand structure aswell , now do we even use the n.c. cutters while there are plenty 2D nc cutters around --- yes it is in our mind, we can't make the response, that ofcaurse computers is the right tool, in a digitized time.
I see plenty good designers, but very few who realy understand the computer as others than a visual thing, then how can you replace the future by a picture of the future, and that is what is done, case thies issues are not the focus. This is realy, about Core. |
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usarender
millennium club
Joined: 01 May 2004
Posts: 1258
Location: San Diego, Ca
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| Posted: Sat Nov 17, 2007 10:28 am Post subject: Can n.c. cutters frame the mood? |
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| Can n.c. cutters frame the mood for our architecture? |
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