ARC 512– Architecture Media 2
Course No.: 12940
Semester: 2015 Spring
Location: Crosby – TBD
Meeting Day(s): Tuesday and Thursday
Meeting Time: 10:00 - 11:20 am
Kinematics is the study of motion and movement, where a body or object changes position over time which is measured by some point of reference. With advancements in the technology of photography, early 20th century artists became interested in recording and understanding the movement of objects. Edward Muybridge, for example, uses a series of cameras with high-speed shutters to capture the action of a galloping horse, proving that at times during a gallop all four legs are airborne. On the other hand, the work of Futurist Sculptor Umberto Boccioni was focused on a more empirical understanding of speed in moving objects. In his seminal work Unique Forms of Continuity in Space, he exhibits the essence of speed represented through ‘billowing’ plasticity, where the subject seems to be caught in multiple states of movement superimposed into a sculptural figure of one complete smooth surface. This manipulation of a body in motion is the result of an artistic transformation from direct observation. In the image above, transformation is even more evident, as there is a conscious incompleteness to the form; almost as if one’s eye is only capable of seizing glimpses in the making of the bottle (with its host machine) within that very process. The ‘incompleteness’ of the sculpture allows for an internal space to emerge, while the whole expresses a kind of phenomenal movement.
What is the architecture of movement? How does one make sense of the perceived complexity of a fluid body in motion? Specifically, what forms can be conceived if the inherent geometries of a body are somehow linked to a static spatial reference, or architecture? In this course we will not be concerned so much with the movement of architecture/building; instead, movement will be investigated more as a structuring or tectonic system.
From the observation and recording of a variety of moving objects, subsequent manipulations will be performed that aim to transform line work into surface; ultimately new spatial representations about movement will be generated through 2D and 3D media. Students will utilize multiple tools such as photography, vector-based drawing, 3D computer modeling, as well as output methods ranging from laser-cutting to CNC milling.