Diagram of the project backdrop

寄件者 MArch_Term 03

The project is about shifting points and vectors in a landscape, the basic description of a geometry is a point, and a vector describe the intention of movements and forces. The shifting of the vector illustrate the pulsation that alter the movement, the factor which alters the point to change its position. The vector field is the description of the movement in the field and sum as a trajectory to indicate the path of the movement. Traces are the indexes of describing the past, the moment when vector is shifted and left imprint on the surface during the drifting of a point, it is the evidence of the shifts in the landscape.

From this point of view, looking back to the topography of the defence trenches, it is a continues shifting landscape of the two conflicting forces. The forces that alter the border of the defence and leave the imprint of the shifts on the site, such as the bomb craters, torn building, cut down trenches. The bunker in this site plays the role of strong front as a point in the landscape, the gun fire line from the embrasure act the force as a vector in the landscape, the vector field is a series of bunkers that form the defence border line which is continues shifting, the shifting territory make traces inside the bunker, the space that capture the arrival of the conflict forces.

The lefted bunker is the empty vector space waiting for the arrival of the forces which is no longer bomb or missle, but the opening of the embrasure still exist where exterior disturbances are comming through. The vector calibrating device inside the bunker is capturing the disturbances and adjusting the position of the embrasure, it is transmiting the factors into pulsation to alter it's vectors, the vectors of bunker then alter the border of defence to shift and left new imprint on the landscape as marks of the shifting vectors in a landscape.

Light Distortion Studies

寄件者 MArch_Term 03

寄件者 MArch_Term 03

寄件者 MArch_Term 03

The Dragsaw Topology

寄件者 MArch_Term 03

The dragsaw topology is the idea of the shifting trenches that been build during the wartime as defining the border of defence, the trenches continues shifting due to the invasion of the enemy, the two forces that drag and drift the border on the landscape. This can be seen as a buffer zone between the two, the intermediate space that is shifting due to the exterior factors.

The embrasure is the opening of the dark bunker, it is the intermediate space of the offence and defence, and it is the slit where two forces collides, my design will locate in this territory where the two factors are pulling and dragging each other, the and recording the trace of the conflict as the dragsaw topology map to describe this space.

The Blitz Geography

寄件者 MArch_Term 03

寄件者 MArch_Term 03

寄件者 MArch_Term 03

Testing the idea of the blitz geography, the blitzed landscape that destructed in the wartime by the bomb explosion, the scattered land and debris split around the crater. The missle trajectory and the trace of the shiting landscape recorded on the surface as an archeological layer that been covered by dust and occupied in the crevice.

Distorted Reflections

寄件者 MArch_Term 03

寄件者 MArch_Term 03

寄件者 MArch_Term 03

3 expressions

寄件者 MArch_Term 03

The plastic surface start to form the funnel shape that records the trace of the bullets hitting on the wall, the recorded occurred trajectories.

寄件者 MArch_Term 03

The sun light comes through the slit and deflected by the reworked surfaces that generate the distorted light reflections inside the dark bunker as the projected swerved trajectories.

寄件者 MArch_Term 03

The rain dropping from the curved plastic surfaces and mixing with the dust particles as dirty rain falling inside the bunker, the trace of the rain left mark on the wall and the muddy floor that makes the bunker as an alienation landscape, the destructed surfaces that become uninhabitable.

Inside the Bunker

寄件者 MArch_Term 03

Bunker is a discussion about the exterior and interior boundary that is shifting due to the influences on both territory. The landscape of wartime that is shifting its border in between two sides. The embrasure is the gap where both influences are interweaving. Using light, dust, trace as methods for mixing the factors inside the bunker.

This is the first tryout of the reflecting light inside the dark bunker, using the heating gun to deform the plastic sheet and form the funnel shape on the surface as reflecting surfaces, the plastic material remembers the destructing force that creates the shape, it is the simulation of the bullet hit on the wall and make a concave surface. The surface then become a lens for deflecting the light that coming through the embrasure, the slit of light inside the dark bunker is deflected as distorted projections. The wax poured on the curved surface is the simulation of the dirty rain dropping onto the floor and leave traces on the ground. The wax on the plastic sheet causes shadow inside the bunker as memorizing the destructing forces from the exterior.

寄件者 MArch_Term 03

寄件者 MArch_Term 03

Scar of Remembrance

寄件者 +Day02_Berlin

寄件者 +Day02_Berlin

This is the photo taken in Berlin, a wall of bullet holes in WWII, it was used as a machine gun fortress during the war, and now it is an art museum. The wall itself is an art piece, a piece of memory of the wartime. The bullet hole is a destructed landscape, the aftermath during the collision and impact. It is the trace of the past of the projectile destination. This is what I'm interested in, the aftermath destructed landscape, a landscape of traces. It is the same quality of the falling leaves, bunkers, footprints, the evidence of geometry shifs in a space. My problem is what can I do with this? It is still a phenomenon, how to become an architectural system that is applicable?

Exb_Hussein Chalayan

寄件者 +Exb_Hussein Chalayan

Readings ( Spring / Summer 2008)

Inspired by the culture of sun worship and the cult of celebrity, the showpiece of the collection consisted of two dresses, a jacket and a hat containing Swarovski crystals and over 200 moving lasers, a technology not previously used by Chalayan. The lasers are held in place by custom-made hinges which move by motors. This trains the lasers first on the crystals before moving away from the body creating a matrix of red laser light. The graphical rays represent the aura of performance, with the light space becoming an alternative form of spectacle.

寄件者 +Exb_Hussein Chalayan

I'm thinking of using this idea of laser beam as the way of constructing the trajectories inside the bunker, the beam reveals only when the bunker is full of dust, the foggy volume that shows the beam of light. But a little adjustment here is the way of bending a laser beam that makes swerved laser instead of a strait one. Water could be a good idea of distorting the laser beam. The light that swing inside the empty bunker.