Dissertation•
The architectural image: space, movement and myth
22 Jul 2013-
TL;DR: In this paper, the authors discuss the role of human figures in human action: persuasive human figures Persuasive human figures Performing human figures, and performing human figures with human action.
Abstract: of human figures Persuasive human figures Performing human figures
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01 Jan 2005
TL;DR: It is proposed that key elements of the continuity style could be applied to architectural dynamic visualization in order to enhance both lay perception of architectural space and professional analysis of design intentions.
Abstract: The term “continuity style” in cinema refers to a collection of cinematic conventions aiming at a realistic viewing experience without drawing attention to the elements of illusion used in the representation of 3D space on 2D film. The continuity style underlies the majority of narrative films produced to date and has had a significant influence on other genres, including documentaries. Despite the similarities in purpose, architectural filmmaking owes little to the cumulative knowledge of filmmaking encapsulated in the continuity style. While narrative films focus on the viewing experience, architectural animation tends to be dominated by integral 3D building models. We propose that key elements of the continuity style could be applied to architectural dynamic visualization in order to enhance both lay perception of architectural space and professional analysis of design intentions. These elements refer to four primary areas of architectural dynamic visualization: narrative, camera use, lighting and model structure.
1 citations
01 Jan 2011
TL;DR: In this paper, a single view of an urban sidewalk in a populated street of London is shown, where pedestrians come and go to the left of a post transformed into an ephemeral memorial and the invisible presence of cars occasionally interrupts its presence.
Abstract: The film consists in a silent, statically shot, single close-up view of an urban sidewalk in a populated street of London. Passersby come and go to the left of a post transformed into an ephemeral memorial – a type of cenotaph that has come to punctuate our urban environments in recent years. The post stands there, immutable, with a bouquet of withered roses attached to it as well as a bluish poster of a young woman who must have died there after being hit by a vehicle. As time goes by a strip of sunlight starts to flicker on the surface of the post and the invisible presence of cars occasionally interrupts its presence. The film ends with the post becoming partially dark again.
1 citations
Additional excerpts
............................................. 284 Figure 12-21 Timing Intervals in Walworth Road (M. Lewis 2011a)....
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01 Jan 2010
TL;DR: In this paper, the use of the human body in architecture is discussed, and a transition from drawings to architecture is described, with a focus on the dynamic body and the fragmented body.
Abstract: The building-body analogy, which used to be crucial in the designing of buildings, to the exception of a few, is fading. This broken link leaves us with a melancholic yearning; a sense of loss. Reactivating Dynamic Architecture readdresses the use of the body in architecture by the application of an intervening design process. The processes we undertake in order to design architecture are too often assumed, and go unchallenged. In this thesis the design process is seen as a protagonist for change. Representation, both architectural and artistic, is a central theme as the thesis guides images of the human body through abstraction. Both the dynamic body and fragmented body are investigated for their potential to create a relevant expression for the human condition. Dalibor Vesely’s theory of the positive fragment is identified as a way forward for bodily fragmentation, and Analytical Cubism, which resonated with this theory, is explored. The thesis initially moves through the investigation of historical interpretations of the body before drawing on contemporary theory. Past depictions of the fragmented and dynamic body are assessed in order to establish what they can offer us for future analysis. A representational mode is established, based on Cubism’s methods, from here the transition from drawings to architecture begins. Rowe and Slutzky’s text Transparency: Literal and Phenomenal is used to unravel the intricacies of Le Corbusier’s Villa at Garches, and their reading of this building is used to channel a successful conversion process. The resulting architecture was created as a trial of the strategy and is posed as an expression, or speculation, for what can be achieved through this method. Three different scale interventions are explored within the chosen site of Ava Train Station, Wellington. Carlo Scarpa’s techniques guide the last transition to architecture, as his processes are recognised for their ability to fold meaning into design. The described design process gathers complexity as it gains momentum; there is much to negotiate through the realms of bodily perception, modern art and architectural representation. However, the architectural expression carries that density of meaning in a simple expression
1 citations