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.
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.
Team: Maria Fuentes, Sidney Farris, Ozzy Carrion and Ashley Fulcher.
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.
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.
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.
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.
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.
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.