Flush The Flood

Project II

I'll upload the sketches later. I don't have them with me right now.

Prompt's Project II

Project name : Realising

Prompt Udomdech

5334766425

Drawings

Plates

Perspectives

Thank you

Review preparation

Is everyone ok with his/her plates? Test printing early today in order to make necessary changes! This is very important... And if you need help and advice on some plates, post them on the blog. Sleep well tonight and good luck to all!

tmr's class

do we have studio class tomorrow afternoon? some say don't and some do

Communicating vessels

Noc, in English vases communicants are called Communicating vessels - A physical property of water you should definitely work with

' Don't tell me the sky is the limit, there are footprints on the moon. '

Would it be nice if the walls images/ scene be something like this?

im planning to draw it out in illustrator or photoshop in layers just using these photos as a guide. What do you think?

This is a Gerald D. Hines Waterwall park - using water to blur the space behind the foreground

Also interesting Image I found.. Proves that it is possible for artificial light to look like a real moon at that height (but light wont be in the shape of a star ofcourse :) )

Aim for the moon. If you miss, you may hit a star.

Aj Camille

After having a quick talk with Aj. Antoine today, his comments were positive but he did leave some thoughtful remarks.

Firstly, about the floor, ground idea. To me by the moon 'effecting us ' i tried to link everything possible to fake the 'effects on us' part, considering the 5 senses and all.

To Aj. Antoine, he thinks that the moon 'effecting us' should be just emphasising 'the effect of the moon'.
By that he thinks that me making the floor having a different feelings, softness, and playing with people stability could be misleading and by adding this unconnected element my message could become confused.
He said that because the moon doesn't have an effect on human stability (ie. it doesn't cause vibration, earthquakes, volcanoes etc.), therefore i should not emphasis that part.

Should I ditched the whole ground, floor completely? keep it the same or shall i adapt it so that it is not a prominent factors of this experience.

Secondly, he also comments that my space focused maybe a little too much on negative experience of moon light (but after explaining about the eclipse, victory and frog story that im adding to the end of the journey this became a little better). He said maybe i could be neutral and lets people be their own devices(as my proposal) in judging whether moon light is a good or bad power.

That being said maybe my project is missing a dimension of imagination? as everything is so thought of and prepared.

* I think maybe night time imagination? because this required both darkness and light(which is most prominent on fullmoon). People are imagining things from intricate shadows of trees, bushes and they can make it out to be something beautiful or truly terribly terrifyingly terrifying.

ALSO things that im planning to do

- story board (with sound effects) << guide people through step by step and talk about all the changes in different factors

- stopmotion/animation (with sound effects) << flow of overall experience

- site plan

- plan

- section

- elevations

- conceptual board? (maybe just the research booklet?)

- perspectives

- models (hopefully the whole if not just part of the walls and floors)

ps. do you think the decomposition of wall layers should be done as exploded axon or analytical drawings, diagrams?

Sorry for my absent on Tuesday.

I have come up with the proposal to create a space which will be a flood stimulator where people will come into the space with the thought of seeing a flooded room only but as they are going to leave it, they will have to go through a flood event. This could probably create the change in emotions towards the space. They start the journey by controlling the flood and out by having the flood overcome them.

The scenario starts as the viewers enter the space in which they will activate the flood and let it floods a room where they will be investigating. It's all depended on them about how high the flood would be within the given height of the room and after that they will be flushing the flood out of the room in which it would stimulate the condition of the after flood.

Now the journey seems to have come to an end with a door ahead but the amount of the flood they have created initially will determine their exit from the space. The next room will be flooded with the water they have created and this will meets with my research about water level vs human emotions and reactions.

tutorials today

Hello Dream and Noc, could you post your work on the blog please?


You all have to plan your presentation for Friday - choose minimum 7 (one being a kick-ass animation.. To be discussed next tutorial) of the 10 requirements and detail precisely what each one will be for your project. Start working on as many as you can. 
And additional propositions are of course welcomed (animations, other types of drawings, etc.).
START DRAWING AT REQUIRED SCALE NOW!


Some thoughts on utopia/dystopia for Jun
- http://thefunambulist.net/2010/12/17/philosophy-utopia-and-apocalypse-by-emil-cioran/
- very interesting philosopher Slavoj Zizek  - the reality of the virtual
http://www.youtube.com/watch?v=ZZ5XzZDTRcM
- to give you references to research further: http://thefunambulist.net/2010/12/22/great-speculations-the-necessity-of-utopia/
- and of course....the utopian movements of the 1960s and 70s – Archigram, Architecture Principe, Utopie, Superstudio, Archizoom, the Metabolists, Yona Friedman, Paolo Soleri, Buckminster Fuller, Haus Rucker Co. or Coop Himmelb(l)au  -
- interesting concept by Anthony Vidler: http://thefunambulist.net/2011/04/03/architectural-theories-diagrams-of-utopia-by-anthony-vidler/
- science-fiction and utopias/apocalypses

Please send the progression of your work - your researches and understandings and concepts (formation of an idea) should be the strong point of your project!

creating rules

now im struggling with creating rules and i came up with only few rules. can you give a direction where should i head for or where to start. i have lots of factors in mind that related to numbers and building structures but still can't figure it out how to relate them

factors in mind

- doors

- steps

- windows

- tiles

- distance

- stairs steps

- height

- width

- size of doors/ windows/ tiles/ etc.

- columns

- rooms

- corners

- time ( relate to base 60)

- reaction of people towards numbers (ppl intuition)

for sunday

Reminder!

It is very important that you edit and print all of your researches and explorations from the beginning of the project - along with a clear proposal (sketches, renderings, technical drawings, site plan, etc.).
We will have a projector for those who need it.

This way, you will be (almost!) done with a great part of presentation and will be able to fully focus on the project next week.


Dream, the lighting company is called Zumtobel. Maybe you can find some interesting info there...

interesting point in drowning by numbers

Deadman's Catch

If a player in the game of Deadman's Catch drops a skittle, he is obliged to suffer a succession of handicaps. First to catch using one hand, then to catch kneeling on one knee, then on two knees, then with one eye closed. If a player finally drops a catch with both eyes closed, then he is out and must take his place in the winding-sheet.

Consider that there are seven people playing the game - a game which is essentially the children's game of handicap-catch. They play it on the lawn in the late afternoon sun. A coffin containing someone they all know passes behind them on its way to a hearse parked nearby. The widow of the man in the coffin is one of the game-players. In deference to the widow's feelings, all the characters unite in pretending that the coffin is not there. The seven players play anti-clockwise in a circle throwing three skittles - two read and one black. The coffin-carriers pass, making a diagonal line outside the circle. The whole plan of the action works succinctly as a flat geometric design and composition.

On the horizon of the landscape that stretches a mile or more away from the lawn across the marsh and sunlit water of the estuary - is a building - a tower - it creates the apex of an invisible triangle of which one side is the trajectory of the coffin carriers. The flat-plain triangle that works in the same plan as the cinema screen now can also be seen as a three-dimensional shape stretching back to the horizon - a triangle leant backwards over the landscape. Inside the triangle and the circle is a white square - the winding sheet - in which players ousted from the game are obliged to lie - making a square within a circle within a triangle.

The building on the horizon could be a church-tower, but it is in fact a water-tower - thus by implication - all the players - due to the elegant compositional device - are contained in the water-tower conspiracy which is soon to make itself felt in the narrative. The seven players are hung in a geometrical cage of the triangle, the circle and the square which is hung on the nail of the water-tower.

The game-players are three females and four men. Consider three as female and four as male numbers - consider the configuration they make on a dice - three make a diagonal and four make a square. The game is played such that the four men are losers. All the male protagonists in the film die - they meet unnatural deaths - largely due to their own inadequacies or incompetence and they lose in the game on the sunlit lawn in the order in which they will eventually succumb - Hardy, Bellamy, Smut, Madgett. The fifth male - Jake, Cissie One's husband is already dead - in the coffin on the way to the crematorium where soon all the others will follow.

When the men have lost and are lying in the sheet - the women - never dropping a catch - come closer and form a triangle - they become an inner triangle pressing closer around the square.

All this takes many clumsy and inexact word-descriptions to describe - but if we read paintings like we read books - it would not be such a hidden language for painting can effortlessly produce such elegant solutions.

you can also visit its website, there are more interesting things about the film

http://petergreenaway.org.uk/games.htm

Distant Memory

In the last post, I discuss much about: 

- purposes of initiation 

(for this project : exploring the faculty building and its campus + ghost stories matter the most)

- how memory works in a brain 

(explains why freshmen remember the initiation event well = level of processing)

- Sil Joom 

(I'm interested in the tense atmosphere during its non-stop rehearsal and the transition of emotion when freshmen move from football court to the rehearsal room) 

- Tipi tent (its fabric feature and structure will be the design core)

For this post I will talk more about the experience in the space that I proposed last time.

First of all

This painting belongs to cubist movement in which objects are broken up, analyzed, and re-assembled in an abstracted form.

Still Life with Chair-Caning by Pablo Picasso

             Broken memory is just like cubist art, it's the recombination of broken image to create new quality, and perhaps new interpretation. The artist disected a chair feature and material and recombined them again. The outcome is the new way of perceiving the chair.  At first sight on "Still Life with Chair-Canning" , ones can see the material feature of the painting: the weaving, rope, wood, etc. Instead of seeing a chair in normal condition, ones might presume it's something else entirely but they can still see the material and design features of the same chair in new composition.

this is pretty much the theme of this project:  "abstracted reality"

A journey through "Memory"

http://www.youtube.com/watch?v=okABK7DS2aY

http://www.youtube.com/watch?v=O840Fe-lLIg

            The Game I have mentioned to you "Rule of Rose"

- The player will play as "Jennifer". Her role is to try to find an escape from the airship which is full of monsters.

- She has to find offering for "Red Crayon Aristocrat Club", a group of cruel orphans who ruled the   airship or else she would be killed.

- In order to find the offering in a gigantic and maze-liked airship, she's accompanied by Brown, a      Labrador Retriever (respond to player) who will sniff around and find restorative objects.

- During game play, player finds several puzzle to solve, confront enemies and bosses.

- The game is divided in chapters with their "certain theme". And in each of them hold Jennifer's piece of her forgotten childhood memory.

- Scenes in the game: An orphanage / Airship / Gregory's house in rundown state.

            In the game, the main character, Jennifer, travels through her repressed memory. The quality of the memory is fragmented and not chronologically ordered. During the game, the you will find that what she experienced makes no sense at all. This process, little by little, provides you scattered pieces of information(memory) which later become important in the last chapter which all the story is revealed. And after that every pieces of the data (memory) turn out make sense.

this storyline of the game I made below will explain this concept better. (my actual first plate!! T T)

(please download high quality from media file link below!)

Full size here >> http://www.mediafire.com/?0k17jzicfilmc9k

            After you downloaded it, please follow the instruction (please don't look below no 4 before you finish all the instruction. Im trying to let you have the experience of the game) 

1. read the "Journey through broken memory" (the left side) first

2. after that (whether make sense or not) try to list any idea/ quotes/ situation/ sentence or anything that the list on the left side urge you to think

3. after finished no2 continue read storyline on the right (you start to match the word with the same highlight color on lef and right side. A pair of words  witht the same highlight color implies the same thing)

4. (whether make sense or not) see if what you have produced from no.2 match with what you get from reading the right side

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The storyline on the LEFT side is the experience a player got from playing the game for the first time

(The broken memory) When Jennifer is 19. (which is when the game start) She's recalling her memory in wrong order, that's why the scene in the game is the mixture of the airship and the orphanage (the monsters appeared in the scene are by-product of her own fear)

while...

The storyline on the RIGHT is the story which actually happened in the past of Jennifer's childhood (The perfect memory) Jennifer was 7 years old. After the all the incident she lost her memory. 

             Well, if my diagram works (if!) You will find the storyline on the:

LEFT SIDE:

- hardly make sense

- provide keywords which you don't really know what it's for

- the scene randomly changed

while

LEFT SIDE:

- everything perfectly makes sense

- you get the meaning of all the keywords 

- the change of scene is in right order

What this research can do good to the project?

From this research, I want to create the experience in a space which the first phase is to give out needed memory fragments (in the steps of secret revelation during initiation ) and then create the experience which put all the fragments together (at the end of initiation ceremony when the freshmen is fully accepted as a part of the faculty) 

To be more straight forward, it's like when you watch a mystery film in which during the first and middle part give you riddles and let you guess so many thing, and in the end it lets you know the correct answer and you are kind of "ohhhh!!! I knew it!!! or OMG!! I'm so surprised!!! even OOOOOOhh!! I get it!! << i will look up in the dictionary if there's a vocabulary for this )

**I believe doing so will enhance the intensity of the atmosphere and the holiness of the ceremony.**

Distant memory

Its meaning is simple, a long-distanted memory or you recall the memory where the place it was memorized is far away or, in my case, "inaccessible". During initiation ceremony there will be some areas where is forbidden for the freshmen to visit or get close to. The reason might be:

- the older years is preparing for the preceding activity

- the area is used to conduct the serious activity (somewhat sacred i suppose) the rehearsal room of Sil Joom is included in one of those.

The older will guard everywhere to prevent the freshmen to reach the spot (like an panopticon idea) and this generate fear among the freshmen cause they're still new to the place and somehow afraid of punishment.

In Rule of Rose, not only the scene in the game randomly switched but also some of the scene are made up of the other two scenes. This will cause the player to see that in one scene is consisted of both the architectural elements from the orphanage and that from the airship 

as can be seen from the image below

A the (real) Orphanage

During the journey through memory (on an airship which appears to mixed up with the element from the orphanage) The Bed and the lamp existed on both scene.

for more explanation see >>>  http://www.youtube.com/watch?v=a1Of93_1lmY

what this research can do good to the project?

- The separation between the sacred area(rehearsal room) and non-sacred one(recreation area: football    court, rugby field + Chula pond) during initiation is clearly defined. 

- When the freshmen occupy the sacred area, they tend to feel stress and can do nothing more but stand still in lines and get scolded at. (They also unconsciously memorized the certain element within the room for example what's the floor of the room made of, how the window look like, what is the color scheme of the room, etc)

- Will they feel more connected to the initiation process more if I can create the space that resembles "the element of the sacred room which normally the freshmen cannot access".

well, normal reaction from doing so might be "Hey! I see this in the rehearsal room let's see it closely"

The target is to let the freshmen interact and explore with the element they feel unreachable in the stress rehearsal room but is reachable in the recreation area.

The "element" must be distinctive and can be found only in these aforementioned area.

By doing so, as i mentioned earlier, the freshmen will found this fact curious and eager to learn more of its reason (feel more involved and connected.)