It immediately reminds me balcony of Bjarke Ingels Group’s VM Houses at Copenhagen, Denmark.
Planar triangulation exhibits similitude to major monumental spaces at Manhattan such as Union Squares, Time Squares, or Columbus Circle, due to its conflict to immediate quantitative value, and its concord with accessibility which increases qualitative values. Moreover, triangular balcony exhibits possibility of vectorial reading which is identical two-dimensionally.
Moreover, by retrofitting twisted helical forging hand rails over triangular balconies, a set of internal geometrical conflicts are thus created: vertical helix exhibits no particular favor of two-dimensional vectors but a set of infinite vectorial events between two-dimensional intervals and an axial vector. In another words, its horizontality is non-identical, and its verticality is identical.
One’s identifying toward the street, another set of elements then diffusingly ascends toward the sky; never resolved.
Images: Dwelling with triangular balconies at St. Mark between First and Second Ave.
No object is made singular, both in its physical scale involving material heterogeneity and structure uniformity, and temporal trajectories like streams and branches of events. Singularity is itself a perceptual attempt to reconnect with the infinite multiplicity. However, the desire of expend spatially, temporally, or even conceptually will drive the border of singularity toward infinite scales as well as numbers, and will inevitably forces singularity multiple.
The first attempt is repeat, yet disregarding scalar and temporal variations; it’s the order, the standard, and the module.
The following attempt benefits from understanding of gradient, a repetition that also realizes the heterogeneous nature of its components.
However, although gradient’s been long practiced at the filed of architectural design because of the number of material entities participated at the assembly, vehicle design industry had yet explore gradient besides analogs like tints or paint. Elements of vehicle are pretty much treated like individual organs for constituting a greater singularity. Infinity’s “biological-inspired” design is a great example: creature-like headlights or master curvature relentlessly seeks its greater singularity. But it’s a bio-mimicry with little topological understanding of the origin and elasticity of form.
Image: Second Generation Scion xB’s front grill.
Habitat 67 in the Ghost in the Shell: Stand Along Complex 2nd GIG television animation directed by Kenji Kamiyama.
Singularity of curvature had once captured the production of signs, pregnanted from New York urban orthogonality. Its shadows dance relentlessly regardless eternity’s condemn.
We are complex biological machines as expression of material circumference and perceivable logic, whose sophistication have yet decoded and will forever not comprehended. We are followed by machines, from industrial, computational, to bio-mechanical machines, whose charm are evident in their transformation from replication, mutation, to reconstitution of human bodies.
I always want to create a script that generate drawings that I draw; not as substitution to my retired organs, but reincarnation of my endless dreams.
Images: Hands generated by Rhino Grasshopper.
Scene in Hiroya Oku’s GANTZ, rendered amazingly.
Photography is the ultimate seduce; it never intends to discovery any truth, rather, it disguises the truth as if itself, the process of deterritorialization is the truth.
The MareNostrum supercomputer housed in the deconsecrated Chapel Torre Girona at the Polytechnic University of Catalonia, Barcelona, Spain.
From Simon Norfolk’s photographs of Supercomputers. (Via Tom A)
Architecture assembly today is trivializing by the diversification and displacement of its logic of production, mobilizing by an immediacy gravitated by capital cost, then struggling with standards paranoid by bureaucratic schizophrenia. It swirls between promising and compromising like an empirical algorithm searching and making according to its consequential proliferation.
It’s a wonderful ripple considering the network of effort riding over the era. However, I’m having a difficult time appreciating these flashings, whose concealment hardly testify any concealment. Their operational representation must had been drawn in a careful, accurate, and almost invisible manner, yet usually completely distorted due to its trivial strength under gravity and other assembly inaccuracy, especially for a material originally manufactured straight.
Image: William Beaver House by TsAo & McKown Architect
Will of stability saturated; Overall, we’re coward creatures with little acceptance and confrontation to the unknown, and satisfied with established spatial-temporal patterns according to entropic inertia. No one ought to be blamed, with will of stability still saturated.
Image: Windows at chinatown’s unknown private stairwell, with sign signifying “safe and peace.”
The victim of 911 were neither rested in the peaceful Fresh Kills nor await for the monumentalizing ground zero complex, but haunted in these terrorist-free vehicle barriers throughout Manhattan.
Eventually, vehicle traffic will be entirely separated from pedestrian traffic for security and operational autonomy. While accidents and errors are necessary triggers for functional morphological transformation, we were usually proven to react either relatively passively or actively.
Image: Vehicle security barrier at Penn Station, bolted on the foundation while I’m curious how is it engage with the subway/railroad track system right beneath.
Its awkwardness comprises a sublime: instead of matching the intensity of movement between two folds of the pointed feet and music tempo, it’s mismatched, with accelerations of movement instead of pause, and with pointed feet instead of ground touching, corresponding to musical intensification.
Video: Sylvie Guillem dances the final pas de deux from “In the Middle Somewhat Elevated.”
Integrity is but a dream of concurrency; yet we all dream because its our only excuse from decay. Expelled from its integrity, trivial and gross, trash marks our desired/undesired material history - a history that our egos are too shameful to acknowledged.
Image: A Mattress marked by unknown at 89th street.
Anatomy is destiny, Freud said. One might be surprised that the feminist movement’s rejection of this definition, phallic by definition, and sealed with the stamp of anatomy, opens onto an alternative that remains fundamentally biological and anatomical - Jean Baudrillard
Modern-postmodern architecture, fascinated by its materialist lens, truly overturns the idealist’s linguistic seduction. However, with its proclaimed discovery equivalent to anatomy of external-materiality, with pleasure of molecule and tragedy of tolerance, we slowly and steadily expend gross area of truth and its correspondent seduction.
When are we able to draw a conclusion, of which leaves itself a different trajectory at the dimension we’re concurrently aware; even the shape of conclusion’s decay?
Image: street plant with magenta leaf at 13th street between 6th and 7th ave.
Is Motoko Kusanagi looking for a cyber-Renaissance where the schizophrenic sensibility and rationality is swam in the sea of electrical vibration? Or is she instead of being haunted by reasons nostalgically rendered by biological body’s restricted sensibility, choosing to infinitely extend her consciousness territory (ghost) by withdrawing a physical body (shell)?
The animation scenes of Ghost in the Shell 2: Innocence, original storied by Masamune Shirow and directed by Manoru Oshii, is bestowed upon the idea of Gothic architecture. From the Blending alleys in the beginning murdering scene meandering like a medieval town, to the superimposition and congestion of cultural formal heterogeneity, and to the fussy resemblance between aircraft and bird literally over a Gothic cathedral (with Guan Yu, a chinese religious vernacular figure standing on the apex of flying buttress, ) any structural and unified idea and construction is absolutely absent. Apart from the idea of the renaissance, where reason re-examines itself by sorting its internal and re-centered relationships like the Vitruvius Man, tendency of this film is always external and extensive, where illusive dangers are beautifully resided.
However, can anyone argue that Batou, former partner of Motoko Kusanagi with a retrospective life pattern (constantly reminds me a violent version of Immanuel Kant), obtains both classical spirit as well as Motoko’s struggles with his irreversible cyborg capacity? It certainly is: If Motoko’s choice is toward a cyber-Cartesian subjectivity, then Batou’s physicality and historicity does resemble kantian mind that hasn’t completely overwhelmed by the platonic tradition.
