jrspatialtheory2018 - Tumblr blog

jrspatialtheory2018 · 7 years ago

Text

Annotation Review- Week 9

When asked to read and evaluate 5 different types of abstracts, I found the following listed below the easiest to understand. These 3 abstracts: Semper’s Glass Eye: The Conceptual Relationship between Mid-Twentieth Century Corporate Architecture and Harris Tweed, Generated by the Medium of Photography’, The Aesthetics of Air; The physical sensation and aesthetics of air and air movement within interior spaces and the objects or devices used to generate this,The Darker Edge of night... its about time all have a very clearer approach to their study/ projects. One was able to understand not only the background of their study but the methods they explored to come to certain conclusions. Being conscious of the use of their words, they captured the main points of their chosen topic of research effectively with range of keywords and phrases that make the methods and findings easier to understand although not being able to partake in it. .

The abstract that intrigued me the most was “The Aesthetics of Air; The physical sensation and aesthetics of air and air movement within interior spaces and the objects or devices used to generate this” by Malte Wagenfeld (2008). Starting of with “ This project” directed frames this abstract well as they directly went to the point which was identifying the relationships between the aesthetics of air and air movement in relation to a setting or in this case to a space. This abstract made me want to read more about the project as well as learn more about the detailed account of his outcomes.

On a contrary the abstract I found the least interesting was Susan Thomas, PhD (Fashion/Textiles), Fashion, Sustainability and Buddhist Ethics (2008). The informality of the structure of this abstract is shown through the excessive use of questions rather than highlighting methods and conclusions for the methods implemented for the project. Being a fashion designer I feel Susan could have a lot of methods that could definitely relate to the sustainable use of her materials in resulting in fashion. She identifies fashion, sustainability and buddhist ethics but doesnt show how they might or might not be connected.

Attempt one Abstract.

How does height play the role in creating constraints for someone to fully engaging with the space?.

The ability for children with height constraints to examine a given space is quite hard, as the main sensory tool in unfamiliar surroundings is their sight as well as feeling through maneuvering around and exploring different textures.

Targeted the limitations that kids might have when entering sites like these, which are not having as much knowledge for the site, no physical interactions as well as their height restraint. The use of sensory perceptions to fully engaging with the sight becomes a vital factor as it solves the issue of the restrictions that individuals such as children may have on a given space. Through this design project, my approach to design for a site that is built on high gradient as well as placed with a Rahui challenged me to question the space as well as conforms to how the space can help people fully partake in the surroundings with beholding the sacredness of the place

0 notes

jrspatialtheory2018 · 7 years ago

Text

Tanizaki, Junichiro, (1977) In Praise of Shadows, U.S: Leete’s Island Books, p. 20-23.

Henmi, R. (2013). Lebbeus Woods: Constructing Worlds. Journal of Architectural Education, 67(2), p. 331-332.

Who is Junchiro Tanizaki?

Junichiro Tanizaki was born in 1886 in Tokyo, to a wealthy family. He studied Japanese literature at Tokyo Imperial University, where he began writing fiction. Although going through many struggles he ended up being of the most meaningful writers of the modern Japanese literature.

What is commonly understood as ‘Mysterious Orient’?

Tanizaki explains the “mysterious orient” as “The silence of dark places”

What does Tanizaki say happens if light is shut off?

Tanizakisays that if one was to cut the light from an empty space they are transmit to the world of shadows. This forms a quality of mystery and depth which in his examples is larger to that of a wall painting or ornament.

How does the use of gold work in dark spaces?

Gold in dark rooms function as a reflector. The reflective properties act as a source of illumination as “Gold retains its brilliance indefinitely to light the darkness of the room” Tanizaki (p.23)

Who is Lebbeus Woods?

Lebbeus Woods is the most powerful graphic artists of architectural propositions in the last half century.

What other Visionaries does Woods sit next to?

In the canon of visionary designers and delineators that includes Piranesi, Boullee, Sant ‘Elia, and Ferriss.

Why is his drawing regarded as visionary?

His definitive show of his works from 1980 onward demonstrates that woods belongings in the canon of visionary designers and delineators. Through his graphic skill, he shapes and extends one’s perception and imagination

Identify the subject areas that Woods’ work addresses?

War and architecture, as well as Natural Disasters. Examples. Woods studied the effects of another kind of destructive force on cities- that of earthquakes in San Francisco.

What is Woods’ position in regards to light?

Woods statements in regards to light is adverse, as he states that light is an intruder as well as a hero for its uncommonness. His work powerful drawing demonstrates this as parts of his work is revealed as the main subject matter as well as the tone.

0 notes

jrspatialtheory2018 · 7 years ago

Text

Final Annotations

Burke,S. (2017,March). Retrieved March 15, 2018, from https://www.ted.com/talks/sinead_burke_why_design_should_include_everyone

Keywords

· Experiences

· Surrounding

· Design

· Challenge

· Insight

· Perceptions

· Questions

· Inhibits

· Conscious

Sinead Burkes explains in her Ted talk “why design should include everyone”. Although she isn't a designer at practice, she proves to us that she is more conscious of how things are designed. Her day to day experiences inhibits her independence as she has a growth abnormality called Achondroplasia. In her talk she details her experiences followed by thought provoking questions to challenge designers to have a holistic view when designing.

Burke's approach in her Ted talk was not to gain sympathy for her inherited condition. Although she took an informal approach, she was making very strong points on inclusiveness. She strongly drove home the message that with her unique condition she fell in the group of minority, who are usually overlooked. With her detailed account of her inconveniences while handling even the basic tasks of everyday life, she provided a bases on how designers could expand their thinking in an attempt to provide an all-inclusive, rounded design.

Both Burke and Rebecca Solnit who wrote “Orbits of earthly bodies” (2003) don’t have a design background, however, both asked thought provoking questions around design just by virtue of their experiences. Listening to this talk certainly engaged me as a designer and prompted me to have a better insight in my design practice. For my studio project, we were asked to go on a site visit to the Arataki Centre. At first I was reluctant to go because of the distance to the site and wanted to use the alternate option of looking at it from GIS maps. Burkes experiences provoked me to engage with my surroundings. I hope to achieve this by recording my observation, not only of the site but also of the surroundings that would be a useful input for my final project - depicting both normal and unusual features, as well as recording sensory perceptions, would help me create some innovative and meaningful designs that can accommodate everyone.

Chesterton, G. K. (2015). The thing: Why I am a Catholic. The drift from Domesticity

(p.g. 25-32) Aeterna Press.

Keywords

· Reform

· Purpose

· Justified

· Social

· Logical

· Reason

· Existence

· Deform

· Preserved

· Reconstruction

· Destroyed

· Rebuilt

The Book “The Thing: Why I am a Catholic”, has a very thought provoking chapter titled “The Drift from Domesticity". This chapter investigates what forces were causing a negative light on a household and why the Catholic faith tries to restore the family against obliteration. A theory is placed with this discussion called the “Chesterton's fence” principle. The idea behind this theory is to make individuals aware that there should be no reforms unless there is an understanding behind the purpose it has.

This paradox I found was the most useful insight in this chapter. The way he forms this discussion behind this principle started with the example of the placement of a gate or fence being shifted by a modern type of reformer. The intelligent type of reformers reply was “if you don't see the use of it, I certainly won't let you clear it away.”

(Chesterton, 2015, p. 25) This bold response frames Chesterton’s discussion that in order to reconstruct or destroy something, there should be a justified understanding of the use of it.

This principle reminded me of my studio brief, where we were asked to design with the idea of beholding the sacredness of the site at Arataki. However, my initial design approach towards this site was to remove the whole center and some surrounding trees to fit the design I wanted to implement. This is often a common design approach for many designers, and it concerns me that it is ingrained in us. This text highlights these bad habits and informs us to be mindful of our surroundings. Through this understanding, I approached my studio project differently and conducted further research about the Arataki site. I learned that a huge amount of physical connection between individuals and wildlife in particular caused a disease in the kauri trees. This meant they had to close down some walkways and enforce a rahui onto the site, so that those trees can be restored to its natural nature. Chesterton’s principle has informed me to question the existence of things, by gaining deeper insights into the surroundings I am working with.

Pollan, M. (1998). Beyond Wilderness and Lawn . In W. M. Jen Jack Gieseking (Ed.), The People, Place, and Space Reader (pp. 273-277). Taylor & Francis Group.

Keywords

· Environment

· Wilderness

· Lawn

· Aesthetic

· Nature

· Garden

· Culture

· Community

· Landscape

· Preservation

· Surroundings

· Individual

“Beyond Wilderness and Lawn” written by Michael Pollan considers the nature of these two environments and how they are viewed in America. While evaluating these two areas the future of the garden and its cultural activity is also brought into our understanding. Pollon reminds us to be considerate of all settings as this not only reinforces aesthetic qualities, but demonstrates a rich understanding of the connections we make with our environment.

Pollan creates thoughtful insights through comparisons of preservation vs development and of what is wild vs what isn't. Through these claims that nature and culture are opposing factors, my reasoning of understanding that none of these comparisons should have a higher authority, are now fixed in me. His findings have also proved that if one was to believe in the authority of those concepts, a distant separation between an individual and their surroundings are formed. This often influences people to view certain environments from afar which Pollen does not encourage.

In my studio practice I was presented with the task of designing for the Arataki site, that has 16,000hectares of native rainforest and a coastline that surrounds it. The placement of the site in relation to the forests as well as the Rahui placed over the Waitakere ranges, created constraints on how much space we could explore. The view from far was spectacular, however, this text has now made me question how one can live in it, rather than making social environments that can seem foreign to us. Inspired by this reading for my studio practice, I was influenced into working with the placement of a garden adjoining my pavilion design which is detached from the existing site. The garden will not only conform the normality of the area, but it also invites people to be more engaged with their sensory perception of the environment prior to entering the site. Pollen has now challenged me to work further with the garden design concept to create connections to the existing site. Moreover, this will help people understand that they shouldn’t isolate themselves from nature, but be part of it.

Denton, A. (2016). Affective modes of cinematic inquiry: Oil and subjective distance in Crude (2016) and Flight (2016). PAN: Philosophy Activism Nature, (12), 195.

Keywords

· Visual and aural

· Techniques

· Evocative

· Cinematic

· methods

· Imposed

· Constraints

· Excursions

· Awareness

· Methods

· Insights

· camera

This article and photo- essay “Affective modes of cinematic inquiry: Oil and subjective distance in Crude (2016) and Flight (2016)” by Andrew Denton explores what is overlooked in the industry, and the impact it has on climate change through a cinematic lense. His photographic images and methods engages with the visual and aural richness of his work while the facts provide us with information on the subject related to ecological crisis and the impacts it has on our environment.

His passion for this topic is to be commendable but the informality of his content and style of writing didn't make his argument on pollution and consumption very convincing in this text. However, his choice of images when going on various excursions played a bigger role in strengthening his argument for this article. Being a photographer I was more interested with his cinematic methods such as slow motion cinematography as well as linear camera movements with wide angle lenses and photos rather than his factual information on oil sands industry and the impact on fossil fuels. These raw and natural methods of practice informed me to create evocative insights towards projects.

This source acknowledged many raw and natural methods of practice and research techniques that can be easily implemented into my studio work. It reminded me to be aware of the natural components of materials in relation to my projects rather than an aesthetic point of view. Through my studio project, I used a tedious material which was clay. Because we were making the clay bowls for the time period required for our studio project we had to use various heating methods for it to set in the time period we had. Once heated in the kiln, the slight cracks that I assumed would appear after coming out from the heat were slightly larger than expected. Coming to the realization that if I used Denton’s approach and slowed things down I would have a better looking bowl. However, his exploration of what is overlooked in the industry, reminds me to go back and look at the material that worked and didn't to inform other ideas and come up with suitable way to reuse the resources. This then made me realize that the cracked clay could work in our favor because it reinforced the earthly properties which linked directly to our previous projects on the creation of the Maori earth and sky Gods.

Ingold, T. (2007). Materials against materiality. Archaeological Dialogues,14(01), 1. doi:10.1017/s1380203807002127

Keywords:

· Materials

· landscape,

· Perception

· Anthropology

· Properties

· Archaeology

· Objects

· Medium

· Environment

· Attributes

· Human

· Fluxes

· Nature

· Engaging

· Matter

Tim Ingold “Materials against Materiality” is a journal based article written to address the difference between the materiality and the material culture. Ingold's exploration through the study of Anthropology raised questions on our perception towards certain materials. His text raises the concern about human activity, by focusing on the displeasure that a mental image is already placed onto a material reality.

Keeping in mind this was a journal article, I approached this text in a very formal manner. However, the puzzle activity he invites us to do prior to reading the article discards this formal concept. The purpose of this puzzle was to inform us that “things are active not because they are imbued with agency but because of ways in which they are caught up in these currents of the lifeworld” (Ingold, 2007, p. 1). His subjective opinion presents the idea that properties of certain materials should not be identified through a fixed state but through process of what happens to it. It is through this puzzle example that I agreed with the opinion he was creating.

The puzzle of the stone also highlighted that even an object so bare can change its nature from the “involvement of the surroundings, such as the way it is observed as well as how it flows with the rest of phenomenology. Ingold's article has challenged me to drift away from working with my prior knowledge of a material, by engaging thoroughly with the fluxes of materials, as well as my awareness of the matter and the medium that surrounds them. In my current studio project, I have created a pavilion with vines that encapsulate it, working with fake materials such as astro turf and plant imitations has restricted my understanding of the variation in materials. However, an approach that Ingold has influenced me to take is the idea of buying samples of the raw materials that I would be implementing through my project and working in contact with it, to see how it evolves. Experimenting and observing my materials and recording changes over time will be an interesting observation that can help enhance my studio project design.

0 notes

jrspatialtheory2018 · 7 years ago

Text

Annotation - Practice 2

Butikov, E. (2014). Orbits of satellites and trajectories of missiles. Motions of Celestial Bodies,192-195.

Keywords:

Suburbanised

Nature

Sustenance

Urbanism

Surbanism

Transportations

Experience

Consolidate

Rebecca Solnit is an art critic, activist and Museum curator. In her reading “The orbits of earthly bodies” she discusses the attachment of the use of automobiles one has on a person in America. Although being guilty of using her car as a means of getting places she challenges people to find other ways to get around with a result of gaining better experience with our surroundings.

The poetic language of Solnit’s experiences transported me into the surroundings she describes in her text. This style of writing also makes me aware that there is no biased point she want to convey. Her use of comparisons between urbanism and suburbia and the city life and farmlands are not hypocritical. However, it it questions the way we transport around as well as place ourselves in certain environments, as well as the difference between these thresholds.

My front yard is smaller than some of the fields on a farmland, but the idea that I have less space was created because of the experience I created in my head prior to that.. Solnit’s experiences have helped me engage between the relationship between transportation and place much better and I will definitely engage with my surroundings more. In studio practice scale plays a big role in my work, my attempt to idealise a space by making people aware of their surroundings prior to entering the site, creates that sense of experience. One idea I thought was creating channels to let light through. In my practice i would like to now use materials to create that experience prior to entering the main building too.

0 notes

jrspatialtheory2018 · 7 years ago

Text

Solnit, R. (2005) “Orbits of Earthly Bodies.” Writing Places, edited by Paula Mathieu, et al. New York: Pearson/Longman.

What is the great irony about living or holidaying in the countryside that Solnit points out in the first few paragraphs of her article?

“Everything practical i did involved getting into a car, because there wasn't a newspaper, a stamp. Or a bottle of milk for sale fr many miles” Solnit point this out.

The irony is that although she is placed in the nature of a countryside she feels as though she spends more time being in her car then engaging with the surroundings of the farmlands. This is due to the fact that most things she needed such as grocery or going to friends houses were miles apart and would not be possible to walk to each of those places and embrace the countryside as mucha s she would have wanted or expected.

Solnit is trying to burst some of our illusions about the countryside. What are some of the common illusions that we have about living or holidaying in the countryside?

My idea about the countryside is being blocked out from the busy cityscape. The huge grasslands and hills seculude the houses and the bare land is more dominant then the people and houses situated in that area. Which in comparison to the city is the total opposite where the houses take up most of the land and there green land is quite out of sight.

What are ranchettes? What does Solnit mean when she says that “ranchettes seem to preserve the frontier individualism of every-nuclear-unit-for-itself; they’regenerally antithetical to the ways in which community and density consolidate resources”?

Ranchettes are individual boundaries that seclude people to own certain spaces. This limits the freedom that one might want in a place such as a countryside. There is a huge amount of resources that are being used to implement this method.

What is the “new urbanism”? (193 bottom) Look this up. Why is Solnit ambivalent about the new urbanism?

New Urbanism- Is an urban design movement which promotes environmentally friendly habits by creating neighbourhoods in close distance containing a wide range of housing and job types .

- It arose in the United States in the early 1980s

-It influenced many aspects of real estate development such as urban planning.

According to Solnit, how have we tended to define nature? What’s wrong with this way of defining nature? (p. 194 bottom)

“I think we have tended to define nature as things to look at and think were natural, when we are looking at nature, however unnatural our own circumstances at that time”

Why do you think Solnit compares city activities (shopping, people-watching) to hunting and gathering in the wilderness? (p. 194 bottom) Why do you think she says that New York City might be the most natural space in all of America? What is she trying to do to the way we think of cities?

Solnit tries to compare city activities to hunting and gathering in the wilderness to connect us with the concept that our behaviors used in some settings can naturally be used in another. She states that New York is the most natural space in all of America because there is no prominent classification of people. Everyone of various classes, professions as well as cultures gather together without the use of automobiles to get places. This idea she is trying to convey is that the way we enter and wander in a place links to the nature of how we engage with spaces.

0 notes

jrspatialtheory2018 · 7 years ago

Text

Annotation- Practice 1

Denton, A. (2016). Affective modes of cinematic inquiry: Oil and subjective distance in Crude (2016) and Flight (2016). PAN: Philosophy Activism Nature, (12), 195.

Keywords

Visual and aural

Techniques

Evocative

Cinematic

methods

Imposed

Constraints

Excursions

Awareness

Methods

Insights

Camera

His passion for this topic is to be commendable but the informality of his content and style of writing didn’t make his argument on pollution and consumption very convincing in this text. However, his choice of images when going on various excursions played a bigger role in strengthening his argument for this article. Being a photographer I was more interested with his cinematic methods such as slow motion cinematography as well as linear camera movements with wide angle lenses and photos rather than his factual information on oil sands industry and the impact on fossil fuels. These raw and natural methods of practice informed me to create evocative insights towards projects.

This source acknowledged many raw and natural methods of practice and research techniques that can be easily implemented into my studio work. It reminded me to be aware of the natural components of materials in relation to my projects rather than an aesthetic point of view. Through my studio project, I used a tedious material which was clay. Because we were making the clay bowls for the time period required for our studio project we had to use various heating methods for it to set in the time period we had. Once heated in the kiln, the slight cracks that I assumed would appear after coming out from the heat were slightly larger than expected. Coming to the realization that if I used Denton’s approach and slowed things down I would have a better looking bowl. However, his exploration of what is overlooked in the industry, reminds me to go back and look at the material that worked and didn’t to inform other ideas and come up with suitable way to reuse the resources. This then made me realize that the cracked clay could work in our favor because it reinforced the earthly properties which linked directly to our previous projects on the creation of the Maori earth and sky Gods.

0 notes

jrspatialtheory2018 · 7 years ago

Text

What are the aims of Andrew Denton’s Paper?

Denton aims to bring attention to the destruction and human dependence on fossil fuels in North America.

What Research methods does Denton use to produce his films?

He uses several formal constraints such as

Extreme telephoto lenses

Slow motion cinematography

Linear camera movement (horizontal and vertical) with wide-angle lenses Extended duration of shots (a resistance to classical montage)

No post-production effects

No composed music

How do his chosen methods seek to advance his critical position on climate change? Does climate change factor in your consideration of design? (cradle to cradle, sustainability, longevity)

Dentons chosen methods help us create an analytical approach towards our materials through the design process as well as the the idea to effectively disposing, reuse and recycle it after. The importance of how our chosen materials in relation to the environment and climate change plays a big role in our work, as it also informs good work ethics that can help create environmentally friendly projects.

Who is Timothy Morton and what is his position on ecological thought?

Timothy Morton is a professor and Rita Shea Guffey Chair in English at Rice University. His reference to ecology, enforces his idea that we individuals create barriers between our surroundings.

What tone of voice is this article written in?

The informality of his content evoked a Poignant tone.

What is a Hyperobject?

Hyperobjects are things that are untouchable

Oil and global warming is a hyperobject

0 notes

jrspatialtheory2018 · 7 years ago

Text

Gell, A. (1988). Technology and Magic. Anthropology Today, 4(2), 6-9. Kahn, J.G. (2008). Ritual House Posts, and “House Societies” in Polynesia: Modelling Inter-and Intra Household Variability. Rapa Nui Journal, 22 (1), 14-29.

Who is Alfred Gell?

His former name is Alfred Antony Francis Gell. He was a British social anthropologist. His work of study was focused on art, language, symbolism and ritual.

Who is he writing for? Where/when did he work?

In 1879. Alfred worked at the London school of economics.

What are the three technical systems he refers to?

Technology of production, technology of reproduction, and technology of enchantment.

What is magical thinking?

Magical thinking is the belief that an event or inner thought can take place and there doesn't have to be a reason or a significant purpose behind it. Gels relation to magical thinking links back to the three technical systems; Technology of production, technology of reproduction, and technology of enchantment.

Consider how magical thinking might have a place in your own practice? Provide examples

The sense of “Magical thinking” can be seen in our studio practice from the moment we enter studio. At this moment we are faced with a range of complex works all uniquely shaped and composed . They all hold a deeper meaning behind it. Working in pairs not only strengthens our team building and collaboration skills, but it draws in two different mindset of viewpoints and ideas which can often create rebuttals on a specific idea but can also complement or enhance the design really well. The magic of exploring ideas, and experimentation of different opinions is a way we behold that sense of magic in one project. This in turn has created a wonderful gallery of unique wooden structures and huge drawings that express not just one idea but a collaboration and reproduction of ideas. The pair system has worked well in my favour in the studio project because it made gage a very different insight into my project as i had to not only think about my ideas but the ideas of my partners which created a very interesting but systematic approach to our studio projects,

Who is Jennifer G. Khan? Who is she writing for?

She is an Anthropological Archaeologist that is writing for the Rapa Nui journal but her practice is exclusively focused on the in the prehistory of Oceania.

How does she analyse posts as “ritual attractors” in Austronesian “House Societies?”

The posts are mainly ritual and symbolic and can be seen as a connection to ancestors/ deities and Spirits .

Do you have/know of a context/s where ancestors/deities/spirits are placed in domestic interiors (consider temples, shrines, niches etc....) where possible, provide examples.

A context that involves ancestors or spirits being placed in a domestic interior are Maori Maraes. These Maraes were used to gather the community or tribe, eat and sleep, Found in the back of the Marae you can find carvings of the tribes ancestors and chefs.

0 notes

jrspatialtheory2018 · 7 years ago

Text

Bachelard, G. (2002). The dialectic of imaginary energies: The resistant world. In Earth and reveries of will: An essay on the imagination of matter (K. Haltman, Trans.) Dallas, TX: Dallas Institute Publications (13-26).

Who was Gaston Bachelard?

Gaston Bachelard (June 27th 1884 -October 16 1962), was a famous French philosopher who had also explored the study of science and poetics.

Where and when did he work? (Institution/Location/Time)

He studied in the University of Paris, France, 1920- 1927. With achieving both a Bachelor's degree in 1920 and his Doctorate in 1927.

By 1930- 1940. Bachelard later became a professor at the University of Dijon.

He then returned to the University of Paris- Sorbonne and became the chair of the history and science philosophy.

What were his/her key research areas of interest?

His most important work was the study of poetics and he later discovered his interest in the philosophy of science.

What do you understand by the term ‘dialectic’?

Dialect in my understanding is the art of investigating or discussing the truth of opinions in different point of views.

Bring in two materials or images: one that suggests a “hypocritical hostility tosoftness” and a “provocative invitingness to hardness.” Be prepared to discuss why you chose these materials (consider finish, scale, material composition)

Hypocritical- behaving in a way that suggests one has higher standards or more noble beliefs than is the case.

Hostility- Opposition or resistance to an idea, plan, project, etc.

Provocative - to anger, enrage, exasperate, vex, stir up, arouse, or call forth

Invitingess- the state of being inviting, attractiveness.

Hypocritical hostility- Soft wood

Pine wood - Has a soft quality to it but can be easily manipulated using different tools.

Provocative invitigness - Concrete

Concrete- This has two states. It starts of as a liquid and then hardens to more of a solid form.

Consider what types of materials you have used in your studio work and how you have worked “with the grain” or against the grain of the material (have some been easy to shape (more malleable and willing) while other are more stubborn or intransigent?

On one of the most recent projects for studio was when i was required to bend and shape steel and attach the two ends together. I learned this was not possible to do with manpower but had to be done through machines, which was accessible in the 3D labs.

This material required me to go against the grain especially since it was being bent into a circular shape, this joining affect was only possible for this material through welding the two ends, as this material was very stubborn in the first place, it was obvious that the two ends would not work together if it was just stuck by glue.

However, when using materials such as thin wire, no added equipment was needed to mould that into the various shapes, it was more malleable than the steel rod and didn't take too long to make it in its circular shape. A friction of two rods together was all that was needed to connect the two ends together of this material, which proved that it was a much easier material to work with.

What is psychoanalysis? How does psychoanalysis help us understand our relationship to the material world?

Psychoanalysis is based on the concept that individuals are unaware of the many factors that cause their behavior and emotions. The aim of this psychoanalysis therapy is to release repressed emotions and experiences. This process is normally directly connected to treating mental disorders as it makes the unconscious conscious. This brings out our individual human behavior and experience through basic emotions that bring about our responses to the material world. This can be classified into 2 groups, one of which is internal reality which is how the individual creates that representation of the world while external reality our relation to the objects and our placement in society.

Bachelard writes of the imperviousness of granite: a material that needs to be chiselled or polished. Consider the ways you might approach what you perceive as a very difficult task-how would you go about beginning to chisel into or shine a light upon ‘difficult material’ –in both the design studio space and in situations where you have to read something new and challenging. Provide examples.

Imperviousness meaning - incapable of being influenced, persuaded, or affected:

Granite - a coarse-grained igneous rock composed chiefly of orthoclase and albite feldspars and of quart

Chisel- a wedge like tool with a cutting edge at the end of the blade, often made of steel, used for cutting or shaping wood, stone, etc

Sometime we have to sharpen our tool in order to approach the way we try things in certain projects. Such as using a tool to enhance the way we cut or manipulate the area we are working on. Tools such as large cutting and moulding tools can be very effective.

Bachelard talks about the relationship between the hand and matter? Compare his position on materials to one where the hand instructs a machine (how do we understand materials when we shift from analogue to digital forms of fabrication?)

The materials texture helps us engage in the material more. Rather then when we work digitally we don't feel the matter and its qualities, therefore analogue forms gives us more awareness in terms of the materials and its limitation.

Extra notes

Ideas + physical things

Copies or interior to the ideal world.

0 notes