Texas A&M University. Department of Architecture. T4T LAB Spring 2014.
"Synthetic Proto-Image"
Invited Professor: Bruno Juricic.
With Gabriel Esquivel.
Team: Zach Hoffmann, Braden Scott, Cody Clancy, Alyssa Johnston .
Video Link:
https://vimeo.com/92740227
Synthetic Proto-Image
One of the
interests of the studio has been to use the normative rendering engine as a
machine to produce a drawing and in that sense capture the essence of craft in
architecture through the use of linework. The raw linework, made up of a series
of splines, which are considered to be the pinnacle of the modernist line, was
the basis for the three-dimensional formation of the object. In its development,
the object has retained the spline’s presence and sectional legibility.
However, the final iteration of the object has exhibited a mutation in the
quality of the spline, morphing the retained linework into a messier, more
turbulent aesthetic that retains no notion of the modern.
In our
earliest studies, we were interested in the idea of solarization, which is
defined as a self-curating, light deterioration surface of an image when
exposed to the environment. In this way, it creates a turbulent linework
rendering that establishes an ambiguity of figure and ground, as well as
between the surface and interior.
A
non-indexical relationship is established between the two through the use of
hi-fi articulation on the object and low-fi articulation on the ground. The two
retain a similar figural language but no indexical relation. The form is
established as a diagrammatic cavity with surrounding active surfaces. The
surfaces are composed of an agglomeration of layers that are articulated at
multiple levels, establishing a hierarchy that in turn establishes the nemat
and holey spaces. The holey spaces are the porous spaces that share the closest
proximity to the surface, while the nemat spaces have a larger proximity.
The formative
timeline is created through these processes and establishes the raw
proto-image, which retains a notion of the ingredients and all formal qualities
from which the raw drawing is composed of. At that point, we have observed what
we refer to as the escaping character: the behavioral autonomy of the object.
This establishes the vertical synthetic timeline and through that, the
synthetic proto-image. (VIDEO)
The synthetic
proto-image is the re-appropriation of the scientific image as an aesthetic to
directly transgress the notion of the scientific classification of an object.
It retains a notion of duration from the primitive to the synthesized and
through its curation has begun to note not only the ontological shift defined
by the mutation of the modernist spline to the turbulent aesthetic, but the
epistemological shift from the object to object of interest.
The object
and its relation with the ground can be perceived as nomadic in the Hegelian
sense of beauty; the turbulent, high-fidelity articulation of the surface
creates no identifiable resting place for the perceiver. This geometry perturbs
the low-fidelity ground, creating a constant irritation between the two.
Although formal irritation between the object and the ground exists, the
covalent bond between the two is one of shared origin, the spline. Sharing this
bloodline so to speak, the two retain a constant reliance on each other. While
the argument and text describe the object as existing purely in fluctuating
nomadicity, the object exhibits pseudo-stasis only when drawings are produced
and in turn creates an ambiguous notion of duration. This produces the
peripatetic condition: the discussion of the object of interest.
