Final Poster
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Thursday, October 29, 2009
Sheer Defiance
Maybe the reason I chose to destroy Gehry's Museum by running it down into pealing paint and cracking ceilings is that I'm sick of the pristine and clean stainless steel / glass look all generic modern houses or building have.
I really wanted to put the whole dirty chinese thing into it - e.g. the weird supermarkets which absolutely cover their windows with phone recharge posters so you can't see inside and their completely opposite idea of hygine, but I guess I must refrain from affending and choose a culture with more dignity.
Yes, it is the Mexicans. Being a long lover of the Mayans and the Aztecs, I find that the people must be strong to create their urban society today. Architecturally, they interest me further they are changing so quickly to modern lifestyles and architecture they have produced the most innovative Architects -- too tired to name that guy I love again -.-
still, the justaposition of rough materials, true to their nature seems to bring out a sentimental atatchment to tradition and earth.
--- insert conclustion -.-
I hate stainless steel.
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Improved
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Aim: To act in defiance to the alienating
environment of modern design.
Hypothesis: Specifc modern design which consist of clean finishing
and lack “warm and sentimental value” create alienating emotions.
My initial idea was to confront the general modernist ideas of crispness,cleanliness, abstract pristine and selfish individuality. And what better than to contrast it with its opposite?
To test this out, I reverted the Vitra Design Museum, designed by Frank Gehry, to fit with the customs of a chosen culture.
Many of the ideas I had were of dodgy asian supermarkets with the phone credit posters plastered over their windows, or cluttered marketplaces filled with millions upon millions of people but another more dignifying idea was of the Central Americas; Mexico. Not only does a person picture it with buildings true to their materials, but their culture emitted vibrant colours from general clothing to the
living dead customs of their Halloween festivals.
However, through further research, in particular, through the Architect Luis Barragan, I’ve learnt that innovative modern architecture thrives within their history. However, Barragan’s particular design of of his house, “Casa Luis Barragan” in Mexico City merged the beauty of the customary houses of Mexico, their bright colours and brutality of its materials with glass and stainless steel, the materials of modern architecture.
SETTING UP THE MODEL
From the idea of Utzon foreseeing the crumbled future of his creations, I began aging it; applying flaking paint, cracking concrete and well worn steps. However, through the ages, and through the
countless of visitors and mexican squatters, a few homey touches is always welcome.
New colour to represent the people and their culture; what they wear and the surrounding bright architecutre. Air and space suitable top section side section front section for a climate where half the building is open for the hot days, and the other half is closed to suit the cold nights.
For the realisation, I decided to focus on the crude and traditional version of Mexico.
RESULTANTS: The people who carry the final emotion of alienation in result of the environment they are in.
The use of people are phantoms of the resultants who have lived within these walls. Mexico is similar most developing areas of the world, the sense of community is strong. However, from our perspective, we may find it alien and claustrophobic as we are not used to busting crowds not wearing suits or tapping their leather shoes along a pavement. With the use of overlapping and merged silhouettes I attempted to evoke an overcrowding emotion to the viewer. To emphasise how different this feeling is to us Australians, I have used well groomed and dressed figures to place us within the environment.
On Page 01, in a bright and partial open space on a medium shot, the people seem social, communicative even though they are gathered up, however on Page 02, in an in closed and dim lighted environment at a lower angle, even though they are also gathered up, they seem to be isolated as they appear to stare at the back wall. And on Page03, the people are more spaced apart in a very open environment in a long shot, above head angle. Here, even though people are much further apart, they seem to be social in small pockets of gathered areas.
In conclusion, the theory is still yet to be resolved as to have a more consistent experiment, this would have needed to be repeated in each image with different consistencies of people. As well as that, the gritty nature in which was intended to be simulated was not created with much difference from modernism as the inspiration piece was of modern design.
I really wanted to put the whole dirty chinese thing into it - e.g. the weird supermarkets which absolutely cover their windows with phone recharge posters so you can't see inside and their completely opposite idea of hygine, but I guess I must refrain from affending and choose a culture with more dignity.
Yes, it is the Mexicans. Being a long lover of the Mayans and the Aztecs, I find that the people must be strong to create their urban society today. Architecturally, they interest me further they are changing so quickly to modern lifestyles and architecture they have produced the most innovative Architects -- too tired to name that guy I love again -.-
still, the justaposition of rough materials, true to their nature seems to bring out a sentimental atatchment to tradition and earth.
--- insert conclustion -.-
I hate stainless steel.
==================================================
Improved
==================================================
Aim: To act in defiance to the alienating
environment of modern design.
Hypothesis: Specifc modern design which consist of clean finishing
and lack “warm and sentimental value” create alienating emotions.
My initial idea was to confront the general modernist ideas of crispness,cleanliness, abstract pristine and selfish individuality. And what better than to contrast it with its opposite?
To test this out, I reverted the Vitra Design Museum, designed by Frank Gehry, to fit with the customs of a chosen culture.
Many of the ideas I had were of dodgy asian supermarkets with the phone credit posters plastered over their windows, or cluttered marketplaces filled with millions upon millions of people but another more dignifying idea was of the Central Americas; Mexico. Not only does a person picture it with buildings true to their materials, but their culture emitted vibrant colours from general clothing to the
living dead customs of their Halloween festivals.
However, through further research, in particular, through the Architect Luis Barragan, I’ve learnt that innovative modern architecture thrives within their history. However, Barragan’s particular design of of his house, “Casa Luis Barragan” in Mexico City merged the beauty of the customary houses of Mexico, their bright colours and brutality of its materials with glass and stainless steel, the materials of modern architecture.
SETTING UP THE MODEL
From the idea of Utzon foreseeing the crumbled future of his creations, I began aging it; applying flaking paint, cracking concrete and well worn steps. However, through the ages, and through the
countless of visitors and mexican squatters, a few homey touches is always welcome.
New colour to represent the people and their culture; what they wear and the surrounding bright architecutre. Air and space suitable top section side section front section for a climate where half the building is open for the hot days, and the other half is closed to suit the cold nights.
For the realisation, I decided to focus on the crude and traditional version of Mexico.
RESULTANTS: The people who carry the final emotion of alienation in result of the environment they are in.
The use of people are phantoms of the resultants who have lived within these walls. Mexico is similar most developing areas of the world, the sense of community is strong. However, from our perspective, we may find it alien and claustrophobic as we are not used to busting crowds not wearing suits or tapping their leather shoes along a pavement. With the use of overlapping and merged silhouettes I attempted to evoke an overcrowding emotion to the viewer. To emphasise how different this feeling is to us Australians, I have used well groomed and dressed figures to place us within the environment.
On Page 01, in a bright and partial open space on a medium shot, the people seem social, communicative even though they are gathered up, however on Page 02, in an in closed and dim lighted environment at a lower angle, even though they are also gathered up, they seem to be isolated as they appear to stare at the back wall. And on Page03, the people are more spaced apart in a very open environment in a long shot, above head angle. Here, even though people are much further apart, they seem to be social in small pockets of gathered areas.
In conclusion, the theory is still yet to be resolved as to have a more consistent experiment, this would have needed to be repeated in each image with different consistencies of people. As well as that, the gritty nature in which was intended to be simulated was not created with much difference from modernism as the inspiration piece was of modern design.
Thursday, October 15, 2009
Culture SHOCK
Well, the shock is still quite mild. After having great difficulty to importing to Crysis (because of the many nodes and open shapes I can't seem to find), I've decided to use Vray in Sketch up. Where crysis has the best potential in looking dusty and dirty, sketch up would have to do for now.
Thursday, October 8, 2009
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