T4T LAB 2020
Invited Professor: Gonzalo Vaillo
"The Unknown"
Team: Bernie Guerra, Emma Sumrow
The project formulates
the 21st century autopoetic machine with a quality of assemblage as it pertains
to the house, generated through a series of mereologies and tendencies, as one
object in a defined closed system. This paradigm negotiates levels of scale,
resolution and viewing in specific ways through applied logics that argue
conditions of the object as it is perceived.
These
applied logics, or tendencies, are understood as the generative mechanism and
thus may become manifested as objects acting upon the subject of the house
within this flat ontology. Levels of resolution and the multiplicities of
viewing impact how the pieces are assembled and understood. This ontology and
the assembly of parts, as objects, with their own applications are what is acknowledged
as the unknown house with a series of tendencies to create a machine.
Therefore, these mereological chunks become vehicles of said tendencies. These
possess their own fundamental logics that create notions such as blurring,
binding, and figure that are intrinsically linked to objects, the way they are
used, the situations in which they are used, and their utility as parts.
Objects within this mereology have a wide range of phenomena that assemble to
form what is known about the house. Each part possesses its own logic and thus
the house may then have, as a whole, similar ideas of phenomena from an
ontological perspective. These tendencies, as defined by Deleuze, cause it to
move away from the grounded and predictable to the more speculative condition,
creating an ontological problem.
Furthermore,objects and whether or not they are
known or are currently just knowable rest in this house and its multiplicity of
viewing as there is a negotiation of a shifting focus between the familiar and
unfamiliar amidst the labyrinth. Defined moments are dependent upon the house’s
manifestation as a metaphor. The house, with origins tied to the Villa Savoye,
negotiates these relations through figural assemblage, blurring, binding,
ungrounding, misinterpretations, and multiplicities of viewing; the Deleuzian
tendencies therefore reject the canonical, yet their source is one of the most
canonical houses of the 20th century. There is thus a movement away from the
prescribed and notion of predictability by creating new perceptions of the
tendencies that reframe the obvious. Therefore, there is a new understanding of
the Villa’s element of the ramp as it re-manifests itself into the site
condition, creating a new organization of the approach as being within the ramp
itself. The character of the maze injects itself ontologically into the site
and machine, thus manifesting its own additional tendencies within the defined
system of logics. This labyrinth creates a new approach to the machine in the
midst of a field of objects such that the levels of viewing oscillate from what
can or cannot be seen as one moves along the paths and eventually up the ramp,
into the house.
These create questions
of recognition through dissipation, or movement from known to unknown, and
surpasses a fundamental understanding of the house as a metaphor of the 21st
century machine. The metaphor suggests the identity of the chunks and
tendencies by identifying a sensation in the viewer’s mind of the connection of
these driving agents to the new paradigm of the machine. The new paradigm is
driven by the autopoetic qualities which establish this perceived connection
that is now dynamic rather than static. There
becomes a difference in the viewing of the objects’ interactions in comparison
to how these interactions may be speculated upon. These tendencies become
phenomena that are already the new house themselves, thus in a knowable state
that is. The allure, or style,
reveals their nature and is ignited by their tendencies. They use the
assemblages, and the assemblages follow operations in order to result in the
unknown house. The levels of familiarity of the two primary figures shift with
the amounts of enclosure from the closed house to the semi-enclosed cage-like
courtyard. Interior surface articulations and object impositions mandate what
can be viewed at various levels, thus furthering the notion of the unfamiliar
style and the labyrinth. Their applied tendencies and impositions enhance the
multiplicities of viewing and blur the understanding of these object-to-object
interactions and figure-to-figure relationality.
Therefore, the device
and its mechanisms inform a new paradigm of the metaphor of the 21st century
machine as it relates to the reinterpretation of a multiplicity of
relationships whose readings are guided by the tendencies to then possess its
ontology. In this way, the metaphor and its qualities were assembled through
this series of tendencies which define the closed system that makes up the new
autopoetic house with its own readings and understandings that has never
stopped changing.
ns through figural assemblage, blurring, binding,
ungrounding, misinterpretations, and multiplicities of viewing; the Deleuzian
tendencies therefore reject the canonical, yet their source is one of the most
canonical houses of the 20th century. There is thus a movement away from the
prescribed and notion of predictability by creating new perceptions of the
tendencies that reframe the obvious. Therefore, there is a new understanding of
the Villa’s element of the ramp as it re-manifests itself into the site
condition, creating a new organization of the approach as being within the ramp
itself. The character of the maze injects itself ontologically into the site
and machine, thus manifesting its own additional tendencies within the defined
system of logics. This labyrinth creates a new approach to the machine in the
midst of a field of objects such that the levels of viewing oscillate from what
can or cannot be seen as one moves along the paths and eventually up the ramp,
into the house.
These create questions
of recognition through dissipation, or movement from known to unknown, and
surpasses a fundamental understanding of the house as a metaphor of the 21st
century machine. The metaphor suggests the identity of the chunks and
tendencies by identifying a sensation in the viewer’s mind of the connection of
these driving agents to the new paradigm of the machine. The new paradigm is
driven by the autopoetic qualities which establish this perceived connection
that is now dynamic rather than static. There
becomes a difference in the viewing of the objects’ interactions in comparison
to how these interactions may be speculated upon. These tendencies become
phenomena that are already the new house themselves, thus in a knowable state
that is. The allure, or style,
reveals their nature and is ignited by their tendencies. They use the
assemblages, and the assemblages follow operations in order to result in the
unknown house. The levels of familiarity of the two primary figures shift with
the amounts of enclosure from the closed house to the semi-enclosed cage-like
courtyard. Interior surface articulations and object impositions mandate what
can be viewed at various levels, thus furthering the notion of the unfamiliar
style and the labyrinth. Their applied tendencies and impositions enhance the
multiplicities of viewing and blur the understanding of these object-to-object
interactions and figure-to-figure relationality.
Therefore, the device and its mechanisms inform a new paradigm of the metaphor of the 21st century machine as it relates to the reinterpretation of a multiplicity of relationships whose readings are guided by the tendencies to then possess its ontology. In this way, the metaphor and its qualities were assembled through this series of tendencies which define the closed system that makes up the new autopoetic house with its own readings and understandings that has never stopped changing. ns through figural assemblage, blurring, binding, ungrounding, misinterpretations, and multiplicities of viewing; the Deleuzian tendencies therefore reject the canonical, yet their source is one of the most canonical houses of the 20th century. There is thus a movement away from the prescribed and notion of predictability by creating new perceptions of the tendencies that reframe the obvious. Therefore, there is a new understanding of the Villa’s element of the ramp as it re-manifests itself into the site condition, creating a new organization of the approach as being within the ramp itself. The character of the maze injects itself ontologically into the site and machine, thus manifesting its own additional tendencies within the defined system of logics. This labyrinth creates a new approach to the machine in the midst of a field of objects such that the levels of viewing oscillate from what can or cannot be seen as one moves along the paths and eventually up the ramp, into the house.These create questions of recognition through dissipation, or movement from known to unknown, and surpasses a fundamental understanding of the house as a metaphor of the 21st century machine. The metaphor suggests the identity of the chunks and tendencies by identifying a sensation in the viewer’s mind of the connection of these driving agents to the new paradigm of the machine. The new paradigm is driven by the autopoetic qualities which establish this perceived connection that is now dynamic rather than static.
There
becomes a difference in the viewing of the objects’ interactions in comparison
to how these interactions may be speculated upon. These tendencies become
phenomena that are already the new house themselves, thus in a knowable state
that is. The allure, or style,
reveals their nature and is ignited by their tendencies. They use the
assemblages, and the assemblages follow operations in order to result in the
unknown house. The levels of familiarity of the two primary figures shift with
the amounts of enclosure from the closed house to the semi-enclosed cage-like
courtyard. Interior surface articulations and object impositions mandate what
can be viewed at various levels, thus furthering the notion of the unfamiliar
style and the labyrinth. Their applied tendencies and impositions enhance the
multiplicities of viewing and blur the understanding of these object-to-object
interactions and figure-to-figure relationality.
Therefore, the device
and its mechanisms inform a new paradigm of the metaphor of the 21st century
machine as it relates to the reinterpretation of a multiplicity of
relationships whose readings are guided by the tendencies to then possess its
ontology. In this way, the metaphor and its qualities were assembled through
this series of tendencies which define the closed system that makes up the new
autopoetic house with its own readings and understandings that has never
stopped changing.
