Thursday, May 24, 2018

T4T LAB Spring 2018 A Billboard

















T4T LAB Spring 2018. Rough and Saturated
Invited Professor: Nate Hume
Team: Luis Fernando Munoz, Stephanie Maddamma, Sephora Belizor, Brazoz Pinto.

T4T LAB Spring 2018 Patching the American Pastoral
















T4T LAB Spring 2018. Rough and Saturated
Invited Professor: Nate Hume
Team: Ben Schoenekase, Reuben Posada, Joey Reich and Steven Gideon.

THE ROMANTICIZED IMAGERY OF THE AMERICAN FARMLAND IS A SYNTHETIC IMAGE THAT IS NO LONGER INDICATIVE OF THE REALITIES OF AGRICULTURE. THROUGH THE PROCESS OF MECHANIZATION AND INNOVATION, THE FARM AND FARMER HAVE BEGAN A TRANSITION FROM THE ORIGINAL TRADITION OF FARMING TO THE REMOTE OPERATION OF MACHINES AND SCIENTIFIC INNOVATION. THIS DISCIPLINARY SHIFT FROM MAN TO MACHINE SERVES AS THE POINT OF SPECULATION FROM WHICH OUR PROJECT IS DERIVED. THROUGH THE EMBRACE OF THE PHYSICAL AND NOTIONAL RE-DEFINITION OF
THE FARMLAND, WE INSTIGATE NORMALIZED MISUNDERSTANDINGS OF ‘FARMLAND’ AND THE SYNTHETIC FOLK IMAGE AS A WHOLE. FURTHERMORE, BY UTILIZING THE OPERATION OF THE PATCH AS AN EXTENSION OF THE FOLK, NOT FOLKLORE, WE MAKE THE CULTURALLY FOREIGN PALATABLE AND UNDERSTOOD AS THE IMAGE OF ‘FARMLAND’.
THE FARM IS AN ONTOLOGICAL, MEREOLOGICAL OBJECT THAT OSCILLATES BETWEEN VARIABLE REGISTERS OF SCALE, AGENCY, AND MATERIALITY THAT ALL COEXIST IN A SINGLE ACT.

GROWING PLANTS.
AS THE FARM OBJECT WORKS, EACH COMPONENT EXISTS AS ITS OWN ONTOLOGICALLY INDEPENDENT OBJECT THAT DENIES SELF-RELATING LOGOCENTRISM. THEREIN, EACH OBJECT EXISTS AND HAS EXISTED AS A FIGURAL KNOWN WHICH FORGES THE PROJECT INTO THE ONTOLOGICAL.
BY ADDRESSING LIMITED LAND ACCESS, THE MACHINE OF THE GARDEN IS PUT INTO QUESTION AS A PROGRESSIVE CULTURAL MOMENT WHERE THE DEFINITION OF FARM AND FARMER ARE REDEFINED. THE OBJECT OF THE FARM NOW EXPLORES RESEARCH, PRODUCTION, CAPACITY, AND QUALITY WHERE IT EXISTS IN LIMITATION RATHER THAN DESTINY PLAYING THE ROLE OF JUDGEMENT'S PASS.
ALL COMPONENTS ARE NON-HIERARCHICAL AND NON-MUTUALLY EXCLUSIVE; THEREIN, THE OBJECT AND MACHINE, AS A WHOLE, SEEKS REPLACEMENT AND ADVANCEMENT FOR THE SOLE AGENT OF PLANT GROWTH AND DEVELOPMENT WHICH ALLOWS FOR THE PERSISTENCE OF THE TERM "FARM." ON THE OTHER HAND, THE PROFESSIONAL PLANT GROWING FARMER LACKS THE FORMER EMPIRICAL KNOWLEDGE AND HANDS-ON TECHNIQUES THAT DEFINED THE OCCUPANCY. THE FARMER IS NOW THE DRONE OPERATOR, THE SECRETARY, THE FINANCIAL PLANNER, THE OFFICE MANAGER FOR THE DRONE WHICH NOW RELIES ON THE ASSUMPTIVE ROLE OF PROFESSIONAL PLANT GROWER FOR MEDIATING THE BIOLOGICAL GAP BETWEEN MAMMAL AND PLANT.
THE WORLD IS NOT GOING TO SEE A SINGULAR AGRARIAN REVOLUTION. RATHER, A CULTURAL ALIGNMENT WITH TECHNOLOGY, SOCIETY, AND ECONOMY WILL ALLOW FOR THE DRONE FARMERS TO PERMEATE THROUGH THE MARKETPLACE TO REDEFINE THE FARM AS AN AGENT OF FOOD PRODUCTION. JUST AS THE FARM HAS ADAPTED TO TECHNOLOGICAL BOOMS FROM THE DOMESTICATION OF ANIMALS TO THE SCYTHE TO THE COTTON GIN TO THE STEAM ENGINE, ETC. THE CATALYST FOR THE FARMER IS ACCESS TO CONTROLLED CLIMATES, VAST RESOURCES, AND DEDICATION TO THE ALMANAC.

T4T LAB Spring 2018 Taken Abjection














T4T LAB Spring 2018. Rough and Saturated
Invited Professor: Nate Hume
Team: Tung Dinh, Kate Gesing, Stefy Del Salto, Andrew Lane

Tuesday, May 22, 2018

T4T LAB Spring 2018. Hotdog Machine


















T4T LAB Spring 2018. Rough and Saturated
Invited Professor: Nate Hume
Team: Maria Fuentes, Sidney Farris, Ozzy Carrion and Ashley Fulcher.

Hotdog Machine

Although we approached this project as an issue of degree, the project developed into a way of observing tropes of kind within an architectural perception of the estranged and the familiar. This studio is mainly an exploration of the both/and; the rough and saturated. The studio focuses primarily on the rough and saturated; the both/and; the strangely familiar. The site is located North of Texas A&M’s West Campus, on university-owned agricultural land. The project introduces a new culture to the context, while using a familiar, banal program related to animal and food sciences, in our case, a new building for the entomology department. We were interested in the intersection of subject/object + nature/culture, by determining the relationships of objects that become familiarized through four tiers of exhaustion: movement, geometry, space, and texture. The mereology of the familiar canonizes the creation of categorical elements. Through our project, we’ve utilized postural catalysts such as embedding, imposition, and hovering. With these catalysts, we can use the four tiers of exhaustion to evaluate relationships according to degree.

We embed the ground hot dogs in the site, producing a second ground in which the ensemble is embedded. Through posturing the ground and the ensemble, they are exhausted of their original character. This occurs at the macro Level. At the micro level, these same figures, the hot dogs, can be seen as the smallest member of the categorization; becoming a successful field object that aids in creating inner-outer-inner moments.

In this composition, the hot dogs are the autopoietic machine which occupies the anchored, designed objects. This mereology relates to the other objects to produce more. The relationships of the hot dogs at the micro scale catalyze the autopoietic machine, as the program begins to be introduced as a new part of the machine, the entirety shifts to become allopoietic, necessary to be represented by the drawings, plans, and section.

The components of the ensemble are first interpreted through degree (size, color, shape) before being evaluated on the basis of kind. This is an onticological method of intuition. Through the use of bergsonist concept of duration, we use this technique as a filter to think about the question the ensemble proposes, not as an issue of degree, but an issue of kind.

The first tier of embedding began with the figures, then texture and color, finally program. Because of the onticology of the building, the progression to the final tier of exhaustion (the program) is the last phase in the series of shifts (phase) the building undergoes. The system is open, allowing in all objects until the program becomes an object that inhibits the acceptance of new members; specifically stemming from the central hot dog nucleus.

When the onticology of the building becomes apparent; it is then that the inhibition of the autopoietic machine begins. This begins to wane on the ensemble, leading to the machine becoming allopoietic. It creates not itself, but something other. We are interested in wanting to know the deeper understanding of the relationship between these objects within the threshold of subject/object & nature/culture areas.