PROTO-INDEX

Texas A&M University. Department of Architecture. T4T LAB Spring 2015. 

ALIEN, MESSY, DISCRETE

Invited Professor: Gilles Retsin 

With Gabriel Esquivel

Team: Nate Garcia, Bobby Nolen, Stephanie Almendarez, William Richard.

In Architecture there are many different tools that we use to communicate with objects that we happen to be in close proximity to. These forensic tools come in many different forms and processes, such as drawings, diagrams, and other means of representation. As we communicate with the object, we begin to recognize it appears to be similar to an Indexical project. This object seems to have some of the same qualities of the Eisenman Houses 1, 2, 3, and so on through House 10 due to the appearance of an axonometric representation. This Axonometric is a system of interlocking L’s that were each independently generated by the object. However, this object predates these projects by Eisenman because it is pre-indexical. It is before any of the parts to whole relationships were understood and diagrammed.  Due to this, we are initially only able to understand it as a Proto-Idexical Project.

In our attempts to understand this object further, we, as objects, must attempt to communicate to it. To accomplish this goal we generated multiple forms of representation in hopes to communicate with it in any way we could. This axonometric is not an indexical diagram. We use the axonometric as our selected vehicle of communication and representation.  The study of the Stanley Tigerman diagram was further used to communicate with the object. We use this to perceive its’ infinitesimal properties and how this is just a snapshot of what the object is. The object also gives off a Piranesian sense of deterioration and substance through an affective quality that is before the synthetic. The communication between this Piranesian representation and the object is what suggests deterioration and rustication. The landscape is an ecology without nature that generates an affective romantic realism. This object exist because it exists, context is irrelevant. The object will exist where it does and our attempts to communicate to it have no effect on it. It is the communication that we have with the object and the affects it generates that solidifies its status as Proto-Indexical.

HI-LOW DEF MEGASTRUCTURE

Texas A&M University. Department of Architecture. T4T LAB Spring 2015. 

ALIEN, MESSY, DISCRETE

Invited Professor: Gilles Retsin 

With Gabriel Esquivel

Team: Matt Kohman, Hannah Galbraith, Alex Nelson, Briseida Hernandez and Tyler Larsen

Object-oriented programming does not dispute this view of the world as to restructure to a higher level. It groups operations and data into modular units called objects and lets you combine objects into structured networks to form a complete program. In an object-oriented programming language, objects and object interactions are the basic elements of design. Every object has both state (data) and behavior (operations on data). In that, they're not much different from ordinary physical objects. It's easy to see how a mechanical device, Such as a pocket watch or a piano, embodies both state and behavior.

Early discussions and hi fidelity test with scripted techniques necessitated a framework in which to communicate with the object and appropriate agency, this lead to an interest in scalessness through resolution and use of the mega-structure. What are you all among currently, this object, is algorithms, materials, properties, processes, tectonics, materiality, and agency operations given towards a holistic understanding of itself.

The high fidelity hi-tech machine produces a plane of eminence that is flat but unintelligible. Hi definition confounds the anthropocentrism and It became Important to move towards a realist ontology past by expanding our discussion hi fidelity / hi tech and engage the object using a directly accessible via low tech fabrication. We define the project as an Autopoietic machines are homeostatic machines. But ITS uniqueness lies not in this but in the fundamental variable that maintain constant. This autopoietic machine is a system organized as a concatenated production Processes producing components such components:

a) Generate processes (relations of production that occurs through their continuous interactions and transformations, and

b) Up to the machine as a unit in physical space.

Therefore, to specific autopoietic machine continuously specifies and produces its own, their own organization by producing components, under continuous disturbance and compensation of these disturbances (production of components).

This autopoietic machines posses individuality; That is, by the invariant maintenance organization maintain an identity actively That does not depend on Their interaction With an observer.

This translation from big data, scripting and digital manipulation to low tech fabrication is not about representation. It is about speculative realism. The object, though unknowable, negotiates the persistent dialog of building and technology by utilizing low-fi fabrication as a plausible reality rather than waiting for technology to develop.

The machines of communication now become craft, basic construction materials, PVC pipe and glue, CNC pen drawings etc. Perhaps though 10 steps removed from construction, it is moving towards a physical manifestation Realized. Each machine, from complex algorithm to PVC joint connection is given each translation agency and have little relation to the other emerging With no hierarchy. The library, though perceivably to mereological diagram translator whose functions as machines and tech levels between equalizing them on the same plane.

BA-ROCK

Texas A&M University. Department of Architecture. T4T LAB Spring 2015. 

ALIEN, MESSY, DISCRETE

Invited Professor: Gilles Retsin 

With Gabriel Esquivel

Team: Jeff Lemley, Austen Kernodle, Aaron Rosas, Chris Thackery

The word baroque refers to a “rough or imperfect pearl.”Baroque as a condition of ancestrality, not simply as a term to describe a period of architecture. We are not only arguing the surface affective  characteristics of baroque pertaining to ornamentation, but a deeper meaning from where baroque derives its infinity: the process of FOLDING, which has always been present in nature. We can discuss the Baroque as a machine, the folds and pleats of matter we are arguing have always naturally occurred, for example in rock formations.

The fold is the process by which our project, which we called “BaRock”, generates its folds and its high fidelity. Our BaRock machine is folded with a porous crust that retains the identity and chemistry of the object within any scale, this is relative to the discussion of its monadic structure. This is to say, as we look at the images of the chunk, we notice that they are mereological parts of the whole, and as you dive deeper into the folds we would notice the same organization every time. That is because no matter how deep one goes in an attempt to communicate with the objects, the monads do not change.

BaRock is only bound by its form, but always folding into space. This is defined by the outlines of the original base mass on the flow diagram. Within this space BaRock has 2 infinities: our coils of piping and the folds themselves. BaRock folds are always open ended and in exhaustive, where there is always space to grow despite its parameters. The object is in a constant state of action, beyond what we can denote as movement. While some coils move and fold at lighting speed, others act as a fluid solid, the way older panes of glass “melt” within their frame.  The coils and the fold are excessive and unlimited. Every layer of piping is creative, generative, and an ongoing process, which allows for alternative actualizations of the piping. These actualizations act to enhance the depth and fluidity of the folds. What brings out the fold is the flux between exteriority and interiority. In the interior, the folds produce an atmosphere where our desire for inhabitation connotes stairs and floor plates, this is not a particular operation of the object machine. According to Deleuze affect is not dependent upon the perception of man and can change at any moment as the object continues its folding, producing new affects.

Because BaRock grows as it folds we can understand the object as we see it. Although we do not need a section to gain more understanding of the object, through section we see the active porous poche as it is enfolding. We see the fluidity of waves as the smaller poche pushes out and compress in. As it meets its surface it forms a porous crust that further helps blend exterior and interior. This crust also helps create the boundaries we associate as a surface, furthering our understanding as exterior and interior. What we see before us is an ancestral baroque peristaltic machine.

MIES/REDUX

Texas A&M University. Department of Architecture. T4T LAB Spring 2015. 

ALIEN, MESSY, DISCRETE

Invited Professor: Gilles Retsin 

With Gabriel Esquivel

Team: Francisco Reyes, Davis Eubanks, Cathy Florece, Jose De Leon.

The project based on Franz Kline’s painting The Ballantine, simplifies itself in to a single line. This line is a drawing machine quantifying itself to completion, where the more it is the more it draws, this action creates operational qualities which we don’t know what they are. This dogma applies to every single new machine or “stroke” that is related to itself in a flat plane of eminence outside of  human knowledge. Nevertheless this drawing machine reaches a level of absolutism performing its own duties, where architecture becomes as it follows its characteristics instead of being in contraposition. This Deleuzian flux machine is being captured in a glimpse of its existence, where we don’t know its beginning nor end as well as its scale, making humans the ones who accept it as an ecological machine rather than IT changing to human needs. For humans to communicate with  this drawing machine we have capture different glimpses of the machine where the line is always present but we don’t know its location, intensions, scale or materiality.

 “The mass” as we call it is our attempt to understand the composite machine as a Mega-structure, expanding its endo-system which can be placed in any context anywhere making this drawing machine non-conforming to  any reality but its own, embedded by its own standards found at  any given time. The line can be two characteristics; one very organized and another one jerky and messy.

 The Chunk produced by another moment of this machine will continue to be and develop as a Deluzian flux object as well as the mass. The Chunk of this mega-structure can behave as any part of the house, composed by different bundles of lines that are discontinues in a spatial-temporal revelation. These instance can reveal that the machine can create discontinues machines placed in space which are still on a direct connection with this autonomous object, creating an illusion of what we understand as a whole even though this machine keeps on fluxing, expanding and drawing.

The Details can show in further understandment how the machines relate to themselves to create a new machine or part where the human interaction can happen in a supra scales object meant as language and instrumentation.