Sharon: Discussion / Response on readings

Dialectic Materialism at the gates:

I’m intrigued by the notion of the ‘parallax gap’ – which Zizek conceptually exemplifies with a moebius strip – the same object with two opposite sides between which ‘no synthesis or mediation is possible’.

To me I think this notion of the ‘parallax gap’ expands the Hegelian concept of the dialectic mediation of the ‘thesis’ and ‘antithesis’ into a ‘higher synthesis’. The gap itself is caused by the ‘object’ (or any matter of concern) because without the object(s) there would not be such discrepancy in perception. Hence this ‘gap’ is caused by the object but also part of it.

The dialectic resolution of conflicts/contradictions (i.e. thesis and antithesis) will achieve a synthesis. But it is not a process of reduction into one conclusion as such, because this ‘synthesis will in its turn generate new internal contradictions, and then a further resolution. The process will cease only with the end of history.’

I think Zizek’s ‘parallax view’, asserts that ultimately, that one matter is never seen or interpreted from a singular perspective but from multiplicity of perspectives. This gap is thus, to me, the synthesis of the discrepancies and paradoxes. Within the tension of this ‘gap’, exists also the ‘truth’ in its multiple forms or better put, in becoming.

“The point is not to overcome the gap that separates thought from being, but to conceive it in its becoming.” - Kierkegaard

In expansion of my research I came across the employment of 'parallax' in other disciplines:

1. In science: Parallax Error (optics) refers to the error in reading an instrument employing a scale and pointer because the observer's eye and pointer are not in a line perpendicular to the plane of the scale.

2. In the game/animation realm:

Parallax mapping >> is a technique for real-time approximation of displacement mapping, sometimes called "virtual displacement mapping." Each pixel's texture coordinates are adjusted at render-time to create an illusion of depth as the viewer's eye moves across a scene.

http://wiki.polycount.net/Parallax_Map

Parallax mapping is implemented by displacing the texture coordinates at a point on the rendered polygon by a function of the view angle in tangent space (the angle relative to the surface normal) and the value of the height map at that point. At steeper view-angles, the texture coordinates are displaced more, giving the illusion of depth due to parallax effects as the view changes.

Parallax scrolling >> a scrolling technique used in video game design – in which the background images are moved by the camera at a pace slower than foreground to create the illusion of depth.

http://www.youtube.com/watch?v=l3wq67W3fFg&eurl=http%3A%2F%2Fvideo%2Egoogle%2Ecom%2Fvideosearch%3Fhl%3Den%26client%3Dsafari%26rls%3Den%2Dus%26q%3Dparallax%2Bscrolling%26um%3D1%26ie%3DUTF%2D8%26ei%3Dgu%2DZSs3XH5LOsQPclpSRAg%26s&feature=player_embedded#t=32

In conclusion: I am very interested in this idea of discrepancies or ‘gaps’ being part of, as well as enabling a greater synthesis or understanding of matter.

Kit's Manifesto

max's thesis process

http://thesisfever.blogspot.com/

Architecture is; [Silfia's Manifesto]

‘When a vase has been made; the empty space inside that makes it valuable’

The sentence above is a quotation. However, I cannot remember the source or the exact sentence of that quotation.
Basically, in my opinion, what can be seen as architecture is just an exterior wrap. So, no matter how sophisticated an architecture is, it will be useless if what is inside the envelope is not well accommodated. It can be activities, programming, zoning, circulation, but most of all is about the user.

Kahla’s Manifesto on Architecture 14.08.09

Kahla’s Manifesto on Architecture 14.08.09

For me, architecture is fundamentally rooted in place and should be deeply concerned with evolving the narrative of its particular place.

To do this the architecture must have an understanding of its location – physically, historically and culturally – and from this, seek to add an evocative layer.

New built fabric should respond to old in a way that it imaginatively reinterprets; in this sense architecture, as distinct from building, should have an element of poetry to it.

Materiality is an essential medium for such poetry.

In addition to this,

Architecture has a responsibility to feel good…
Comfortable and pleasurable to use.

Should aspire to inspire…
Surprising and exhilarating to our perceptions.

Has the capacity to engender…
Interactions between people through creative cues.

And should be a conscientious citizen…
Sensitive to its impact on its environment.

I think it's what I think it is. (Weian)

I fear that to define my current affliction to architecture is to define my stand too prematurely. My impression of architecture is in a constant state of flux. It is ever-changing and ever-messy; for it to be anything but would be too dull for it to hold much interest for me.

Of course there are the obvious considerations and lists of guiding principles common to most architectural design, but my priorities to them shift constantly. I tend to be more drawn to the pragmatics for now, beacuse the project one designs is not for one but for others. Sometimes for many others.

The subject of interest can fluctuate. Presently, it is content and structure. In the course of this thesis it might change, or not, I'm not suite sure.

One thing's for sure I will try not to do. I will not design an architecture for architects. Please leave all sexy renders on the floor on your way out.

Manifesto - Rejing

Architecture accommodates.

Maurice Merleau-Ponty:
"how would the painter or poet express anything other than his encounter with the world?"

it is the case for me.

Nurul's Manifesto on Architecture

Architecture in my mind should be adaptive, adaptive to the needs of users. It might not lie at the extreme end of the spectrum towards the user; however, it has to be close to it.

The very basic reason why we build architecture is because of the users need it in the first place. Therefore, it is important when we were designing, to think of the user in much detail. Otherwise, it could defeat the purpose of building it. One of a book title that recently has inspired me read ‘Design Like You Give a Damn’.

The Superficial by Javen

Architects are pretty much high-class whores. We can turn down projects the way they can turn down some clients, but we've both got to say yes to someone if we want to stay in business.

-Philip Johnson

At the end of the day it is the client who will decide on the design, not the architect. He who has the money, has the power. However, at this point in time while I am still a student, I have the power.

I title my manifesto as 'The Superficial' because I believe that architecture should be aesthetically pleasing. People judge buildings by the exterior appearance. If it looks good to the majority, it is considered to be good architecture. People don't judge by how well it functions as a building. They don't care about whatever thought process or theories that have been considered in designing a building. To me, architecture is superficial.

Function is the determinant of space. There are always requirements for functions. A meeting room in an office will require tables and chairs. A library will require shelves to contain books. However, I believe that function should never limit or determine the form.

Architecture and Michelle...

I admit myself to be architecturally naïve.

I am selfish in that architecture to me is none but a vehicle to understand humans and their demands.

I do not deserve architecture because what architecture provides I cannot return.

I have decided that architects are an intelligent but obsessive collection of professionals that are constantly imprisoned by their ideals.

I believe that the concept of architecture can be anything and everything.

I confess to mistreating architecture as merely a means to acceptance rather than a life-long friend.

I concede that my inspiration comes not from architecture itself but from the passion that manifested in my contemporaries.

I have come to accept that architecture has opened my eyes to the importance of epistemology but also cruelly gave me another set of panda eyes.

I think that the true essence of architecture will forever elude me.

Thoughts about architecture…(mami)

I think it will be a continuing question, and will be altered throughout the years…

These next few paragraphs are more scribbles of thoughts…The content may seem conflicting…

that may be why I do not currently have a clear vision on what it is or should be…

- Reflects/understanding culture and traditions…

- To ‘hint’:

an element to suggest,

to question, to surprise… to engage…

Ultimately somebody will inhabit and use what we design.

Architects in most cases cannot be present when it is occupied.

They cannot direct how these spaces ‘should’ be used.

Architecture merely creates a framework to stage ones activity; and to suggest how one may use it.

Then these suggestions should be engaging…playful…to provoke questioning and interpretation- creating chains of thought…

* The process in architecture

In the institutional world that currently cocoons me,

I have the luxury of putting energy to my interest of the process of architecture.

This may be a reflection of enjoying reading architect’s design statements/documents of the design process/stories behind the physically built form… That is not to say that I do not care about the output.

However the method and ‘concepts’ of a project is of great interest.

(an afterthought but this interest may have moulded from looking into archigram in 2nd year and taking set, series and suites in 4th year?)

Livino Cristiano's Manifesto_11 August 2009

MANIFESTO

-My architecture aims for SIMPLICITY and ELEGANCE.
-Be FUNCTIONAL, LOGICAL, PRACTICAL, and PLANNED for use.
-Meet the NEEDS and add the VALUE to make the WANTS they didn’t know.
-Evoke the SENSES – Make people FEEL something.
-Architecture includes/considers the PEOPLE who use the space and HOW.
-Consider CONSTRUCTION, but see NO LIMIT.
-Design for the SUSTAINABLE world we WANT, build it then so we HAVE it.
-The life lives on – Allow for LIFE value, MULTI-USE, NEW USE and LONG USE.
-EVERYTHING is POSSIBLE.

Position statement / Where I am now / Sharon

What differentiates 'architecture' from 'a building'?

Architecture asks questions beyond the initial conditions of the brief and it will

1. seek answers

2. seek to answer the question

Even though this process and the ‘answers’ may not be evidently reflected in the final outcome (in the eyes of the user). I appreciate and value the design process as much I do the outcome.

The initial question may come from the brief, from the site, from the social context, etc. From these initial questions the scope of enquiry then expands and in the process of attempting to address these questions (through research on precedents, on current trend, etc), the project itself is enriched and becomes meaningful and purposeful

Design is about making informed decisions.

What kind of questions do I ask in my design:

- from the brief : Is it what is required? Is it enough for what is required?

- from the site : what was there, what is there. Is there a context that I should address through my design – to inform what will be there

- how can my design be improved from the perspective of user sensitivity? (Not just the user of my building, but of adjacent neighbors too)

The parameters and priorities of my concerns fluctuate according to the project at stake. But as an ‘informed’ candidate of the profession I always endorse myself in adopting the responsibility of addressing public interests and concerns of urban issues.

Nevertheless, I am very liberal in the kinds of questions ‘architecture’ seeks to address. I.e. the questions I am concerned with I do not impose on others. Other designers may have completely different concerns than mine and the outcome may be anti-urban, unsustainable and completely unfeasible for the budget or inappropriate to the context but I will still consider them as architecture so long as they add to, or enable a platform of discussion in the discourse. This is the only conviction I have in judging the validity and value of a design. Whether it is good or bad or selfish design in my opinion does not discredit architecture for being ‘architecture’ and important.

Finally, from my last project, I learned that I like to identify the apparently paradoxical interests / conditions of my project. (This recognition comes with reflection in the later stage of my design process) Once I recognize it I like to emphasize and iterate it and by this point I don’t seek an answer but rather just want it to be apparent in my outcome, so that someone else would recognize my obsession and be as intrigued by the question(s).

Wei Kit's Manifesto

Yanchen's manifesto

Architecture, like painting and music, is a tool for communication and sometimes an abode of memories. it has the ability, as a tangible and emotive force, to convey feeling, meaning, and awareness.

An architectural space can evoke from us the same response as any good work of art. From the cutting edge architecture that is widely published and talked about, down to the everyday, successful practice architecture which is completed with satisfied clients, but little fanfare; from major buildings, to small houses; from iconic structures to the limited budget, limited scope projects, good architecture can serve well. It can make us feel happy, sad, relaxed, stressed , excited, nervous, powerful, or powerless.

Contemporary architecture's task is not only to create interesting forms, but to focus on architecture's fundamental role as a stimulus for human response.

A Typical Design Agenda by Sukhjit

An agenda for me is always an ideal situation. However, when it comes to Architecture, having an ideal to begin with is always a noble thing to do. Judging from the impact that it will eventually have on the environment and the greater public.

Ultimately, Architects are slaves to function. The site, program, economy, and especially bodies other than the architect's own, build up a kind of tension. This tension is either a positive or a negative one. A negative outcome would be that of risk and anxiety, which may result in an architecture that is not responsive to the brief, lacking any obvious principle of organization or not contributing to an urban context. A positive outcome is an object of play. Having a concept may be crucial to a successful outcome, however, it is not always necessary. Accidental experimentation could also yield a positive outcome.

The race for a positive outcome is always ongoing, especially in Architecture school. Moreover, it is set against a strict time line of events. My agenda is to create a socially viable public space that will sit comfortably within a greater urban context. A public library is a dramatic enclosure of knowledge dissemination, research and learning. Also, it is a community library, which will host public events and proceedings. A new generation library in a contemporary style, that its shape, might be formulated by accident, nevertheless, will represent this changing nature of library Architecture.

Gilbert's Manifesto v0.1

I do not care about architecture. 

Max's Manifesto

architecture exists in the collective mind only as an accumulation of moments and situations. It extends its meaning beyond the limit of materiality and form by inevitably becoming a ritual.

when such rituals are practised repetitiously, certain meanings are carried forward to the future and upon a wider audience, hence become visible. This is the only meaningful way, I consider, for architecture to offer commentary to the society, the brief, or the client.

it should be noted that such commentaries are inevitably autobiographical on the one hand, projection of the framented ego (individual/collective; the lack of perfect coordination between theory and reality) onto a physical, consistent form (e.g. archi theory, the built object); and on the other hand, completely alienated from the original context as it becomes spreaded through simplification as symbols.

my vision of architecture is therefore a series of parts loosely bound together by a symbolic order, not so much as a statement (technical, social, formal.....) but more as dialectics, conversations that are artificially put on stage (ritualized?) and which are incapable of finding an end.

Shuk's manifesto at this point in time

I believe that architecture is part of the natural order, it is the result of a need created by humans – like how animals would create burrows. I think organic architectural forms serve better to remind people that architecture is part of this order. Consequently design would be almost like a link between humans and nature; part of that invisible force that links everyone, everything, every element in the world together. I suppose that is why existing contextual influences will always affect any new elements I bring into a site - to attempt to turn the new elements into an evolved form of the context.

I think that materials should be utilised in a way that is both structural and for aesthetic purposes because it seems to become a waste of materials to have one separated for structure alone and one for looks, why not show the structure? To strive for this in design is my aim in order to explore and attain a better understanding of the material – to see if I can find potential further uses.

I think an empty space utilized properly is important the immaterialness of the space can enhance the other spaces around; it is a break from any complexities in the design bombarding a person. I like creating spaces where people can stand still for a while and it would be wonderful if they could feel a temporal personalization of that space around them. I feel that the experience of the spaces is more important than the actual overall look of the building – though aesthetics generally would contribute to that experience as it builds a certain expectation of a space even before entry, once inside how usable a space is would be more important. Eg – a building could have a great concept which has walls running at 50° angles rather than at right angles and it looks great from the outside. But for the users within that form who are constantly looking at 50° angle the experience goes from being unique and interesting to perhaps dizzying.

Most of the time people won’t experience a building the same way as the designer does because they are different people. They would not know the same information as the designer so even when it is explained why something is done the way it is, no one else can fully understand and experience it the exact same way. It is not a bad thing, just simply different. You can never control how someone feels about a space because we are all different. So I feel that if I am happy with the building I’ve designed, even if no one else really sees it the way I do, it’s alright (unless it harms people or something that represents a repression of people’s rights). If other people like my design for whatever their own reasons, I’ll be happy enough. They can just enjoy it and I would be able to enjoy it knowing why it is I enjoy it.

I’ll probably never come up with the ultimately perfect design because I think how I see my designs will constantly change as I change but I guess that process of design development and taking an idea as far as I can bring it is where the fun is.

A Design Manifesto by Sindy

An architecture for people rather than one for architects and critics.

It should not be a thing of fashion that are merely artifacts on the latest covers of glossy architectural magazines.

A responsible and responsive architecture which engages in most if not all of human senses thus transforming from a singular dimension approach to multi dimensions.

It should not be a form making exercise whereby architecture is reduced to a sculpture. The responsibility of an architect is to serve not only the basic need of shelter but create a place whereby it enables the possibilities yet unforeseen as opposed to adherence to a strict set of rules to create the perfect image.

Architecture should be about people and not dead objects - the material things which makes up the physical aspect of architecture are only means to an end and not the end itself. One may choose to express the qualities of wood not because of the qualities in themselves but of what effect it will have on the people experiencing the architecture.

From taking such a stand point - it is hoped that the resultant architecture is not only functional/aesthetically pleasing/cost effective etc. but ultimately allows the flourishing of the better qualities that resides within each of us. It should make us smile if not happy in the least.

Therefore I propose a happy architecture.