Skip to content
1981
Volume 12, Issue 1
  • ISSN: 2043-068X
  • E-ISSN: 2043-0698

Abstract

Scaffoldings often make the buildings look intriguing, overlapping and obscuring areas that are about to change and evolve. The article explores ways architecture can engage the inhabitant as an active participant in the design process. It discusses the scaffolding as a design continuum that provides opportunities for the architecture to continually adjust and reconfigure. It explores intersections of architecture with visual arts, such as surrealist photography, painting and filmmaking, emphasizing on the motion of the human body and how studying relevant examples might offer propositional opportunities to architectural design. A design outcome of my research practice, discussed in the article, is the design of an experimental dwelling titled Analogical House. To unpack in more depth, it focuses on one of the domestic fragments of the dwelling – the Staircase – and the iterative design experiments that inform its design process. A new type of architectural machine – The Darkroom Probe – is developed to explore the dwelling by creating a series of architectural drawings through a series of prototypes and photographic set pieces. Their findings, often analogue and digital hybrids, gradually form the Analogical House.

Loading

Article metrics loading...

/content/journals/10.1386/des_00020_1
2024-01-10
2024-10-13
Loading full text...

Full text loading...

References

  1. Braun, Marta (1994), Picturing Time: The Work of Etienne-Jules Marey (1830–1904), Chicago, IL and London: University of Chicago Press.
    [Google Scholar]
  2. Chard, Nat (2005), Drawing Indeterminate Architecture, Indeterminate Drawings of Architecture, Vienna: Springer.
    [Google Scholar]
  3. Chard, Nat (2012), ‘Photography as an agent of architectural proposition and provocation’, in A. Higgot and T. Wray (eds), Camera Constructs: Photography Architecture and the Modern City, Farnham: Ashgate, pp. 33151.
    [Google Scholar]
  4. Doane, Mary Ann (2002), The Emergence of Cinematic Time: Modernity, Contingency, the Archive, Cambridge, MA and London: Harvard University Press.
    [Google Scholar]
  5. Finch, Christopher (1984), Special Effects: Creating Movie Magic, New York: Abbeville Press.
    [Google Scholar]
  6. Friedberg, Anne (2006), The Virtual Window: From Alberti to Microsoft, Cambridge, MA: Massachusetts Institute of Technology Press.
    [Google Scholar]
  7. Gunning, Tom (2000), ‘Animated pictures: Tales of cinema’s forgotten future, after 100 years of films’, in C. Gledhill and L. Williams (eds), Reinventing Film Studies, London: Arnold, pp. 31631.
    [Google Scholar]
  8. Gut, Daniel (2005), ‘Flights of fancy’, in A. Deplazes (ed.), Constructing Architecture: Materials Processes Structures, A Handbook, Basel: Birkhäuser, pp. 22529.
    [Google Scholar]
  9. Henderson, Linda Dalrymple (1988), ‘X rays and the quest for invisible reality in the art of Kupka’, Art Journal, 47:4, pp. 32340.
    [Google Scholar]
  10. Henderson, Linda Dalrymple (1999), ‘The “large glass” seen anew: Reflections of contemporary science and technology in Marcel Duchamp’s “Hilarious Picture”’, Leonardo, 32:2, pp. 11326.
    [Google Scholar]
  11. Hooper, Tobe (1982), Poltergeist, USA: Metro-Goldwyn-Mayer; SLM Production Group; Amblin Entertainment.
    [Google Scholar]
  12. Lynn, Greg (ed.) (1993a), Folding in Architecture, USA: Wiley-Academy.
    [Google Scholar]
  13. Lynn, Greg (1993b), ‘Architectural curvilinearity: The folded, the pliant and the supple’, in G. Lynn (ed.), Folding in Architecture, Chichester: Wiley-Academy, pp. 2431.
    [Google Scholar]
  14. McCarter, Robert (ed.) (1987), Building; Machines, Pamphlet Architecture, New York: Princeton Architectural Press.
    [Google Scholar]
  15. Moholy-Nagy, Lászlό (1947), Vision in Motion, Chicago, IL: Paul Theobald.
    [Google Scholar]
  16. Nolan, Christopheŕ (2010), Inception, USA and UK: Warner Bros.; Legendary Entertainment; Syncopy.
    [Google Scholar]
  17. Pérez-Gomez, Alberto and Pelletier, Louise (1997), Architectural Representation and the Perspective Hinge, Cambridge, MA: Massachusetts Institute of Technology Press.
    [Google Scholar]
  18. Smith, Albert C. (2004), Architectural Model as Machine: A New View of Models from Antiquity to the Present Day, Oxford and Burlington, MA: Architectural Press.
    [Google Scholar]
  19. Smith, Thomas G. (1986), Industrial Light & Magic: The Art of Special Effects, New York: Ballantine Books.
    [Google Scholar]
  20. Solnit, Rebecca (2003), Motion Studies: Time, Space and Eadweard Muybridge, London: Bloomsbury.
    [Google Scholar]
  21. Spiller, Neil (2016), Architecture and Surrealism: A Blistering Romance, London: Thames & Hudson.
    [Google Scholar]
  22. Teyssot, Georges (1994), ‘The mutant body of architecture’ (trans. J. Svoboda), in E. Diller and R. Scofidio (eds), Flesh: Architectural Probes, New York: Princeton Architectural Press, pp. 835.
    [Google Scholar]
  23. Troutman, Anne (1997), ‘Inside fear: Secret places and hidden spaces in dwellings’, in N. Ellin (ed.), Architecture of Fear, New York: Princeton Architectural Press, pp. 14357.
    [Google Scholar]
  24. Vidler, Anthony (1992), The Architectural Uncanny: Essays in the Modern Unhomely, Cambridge, MA, and London: Massachusetts Institute of Technology Press.
    [Google Scholar]
  25. Weiss, Josh (2020), ‘An oral history of Christopher Nolan’s “Inception” Part 3: The production design’, Forbes, 15 July, https://www.forbes.com/sites/joshweiss/2020/07/15/inception-christopher-nolan-oral-history-guy-hendrix-dyas-production-design/. Accessed 19 April 2023.
    [Google Scholar]
/content/journals/10.1386/des_00020_1
Loading
/content/journals/10.1386/des_00020_1
Loading

Data & Media loading...

This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error