Green Wharf

Experience the nature’s detail

In order to articulate the building to become intensive, the cooperation between the built form and the natural environment should impose potential in building continuity, but at the same time offering the link between natural form the built form in which the architecture occupies the natural environment.

Man has always accentuated the image of the dense natural ecosystem into becoming the connection with the built form as the antic suspended gardens of Babylon.

Contemporary, Ken Yang and Daniel Libeskind have deployed the same necessity into green towers, but also in the necessity to cross-operate and cross-programme spaces which interact with the natural environment which provides the linkage for the consumer, to aspire efficient energy consumption.

The architecture of Centre Point it is not connected with the natural environment. It is a static vertical entity which oppresses the nature into interacting with it.

In order for the Centre Point to be articulated and deployed into dwellings, the design should accommodate the weather conditions. To better articulate the need for light, clear air would assimilate the needs into being interlinked between different modules and floors whiting the interior qualities of the building.

The competition between different modules of the building is therefore accommodating the need to become efficient by providing support for developing competition within integrated activities of the built form. The developed competition should articulate the needs of the consumer which articulates the contemporary society.

FIG. 1 London, Elephant and Castle – Green towers (Yang, Ken)

The competition in articulating the activity patterns of the Centre Point building to become the inter-link between landscape and architectural form. The activity patterns of the building should accommodate spaces which would engage the building into articulating the needs of the consumer, as well as providing the an elevated garden to Central London, where the diversity of systems and ecosystems becomes one system.

The Centre Point is offering stunning views around the city from the top floors of the tower, and as it is being visible from Kensington Gardens alleyways. The peak of the tower would aspire conceptual landscape, plasticity intersecting vertical geometry. The plasticity would generate the connection with environment, it would blend the image of the Centre Point into becoming the whole continuum.

“In ecosystems, species’ cooperation and competition are interlinked and held in balance so that the system permits independent activity on the part of each individual of a species, yet cooperatively meshes the activity patterns of all species.”

(Yang, Ken 2006:51)

As Ken Yeang (2006) points here the cooperation and competition between species is essential within the ecosystems. The cooperation permits the activities of individual species, in this case of different modules throughout the building, to cooperatively become the link between habitat and architecture.

The necessity in dealing with specific climatic conditions, would imply forms of innovation in programmatic requirements such as water, air, heath; which articulate the connection between habitat and environment.

The plasticity of landscape would transfer the formal fluidity of the natural environment into patterns, where the distribution of the natural environment would create the articulation with biodiversity; species which share the same should provide essential fertile places for interbreeding as Ken Yang (2006) points out.

The verticality of Centre Point would inspire diversity in emerging dwellings engaging the high-breeding coefficient of the tower to aspires less energy consume, providing clearer air.

FIG. 2 New York – Green towers (Liebeskind. Daniel)

The support towards a constant air temperature, is to generate and rejuvenate the quality of the air within interior space. This would enable the building to naturally bread the air changes from the exterior and to naturally ventilate the air quality of the interior. The quality of the air is essential in providing to the building the support in redirecting and embed the natural ecologies into air stability.

‘Vertical landscape also represent a conceptual shift toward a synthesis between landscape and architecture; building façades as an example, can be embedded with emergent, active and responsive skins. The non-living architectural structure may provide support for vegetal growth, elevated circulation, and opportunities to integrate irrigation, lighting and technology.’

(Margolis and Robinson, 2007:14)

As Margolis and Robinson (2007) points here the conceptual shift towards a synthesis incorporating landscape and architecture would emerge into becoming the active skin of the building which provides support for growth, elevated circulation lighting and technology. This will enable the building to transfer the architectural structure into becoming the elevated garden itself, by providing growth support for plants and insects, which will enable to the ecosystem to self generate and articulate within its interior qualities.

‘In typologies such as hanging gardens , tensile vine structures and multi-tiered green façades emerges from the desire to expand the definition of landscape solely as a horizontal ground plane, and capitalizes on the inherent plasticity of plants to adapt and redirect their growth toward any supporting surface or source of nutrition, light and water.’

(Margolis and Robinson, 2007:14)

To redirect patterns as water, light and air to the interior qualities of the building, should be the ‘ highly articulated matrix of cables, loggias, walkways, stairs and irrigation’ (Margolis and Robinson, 2007:14). This will enable to the interior quality of the building to cross-operate between floors, by transferring heath and clearer air from one floor where a high-dense programme is operating such as restaurant, which releases high quantities of hot air. The garden insertion within space should provide a faster natural recycle of the air.

The cross operation between similar modules of the building should naturally ventilate, as well as regenerate the air and heath quality.

The high heath coefficient of the office floors, restaurant, shopping should transfer the heath into naturally ventilated gardens, where the quality of the air is recycled and cooled.

‘With each year, the vegetation consumes more of the skeletal steel structure, which slowly recedes into breathing, rustling colour shifting and growing materiality. ‘

(Margolis and Robinson, 2007:16)

As Margolis and Robinson (2007) point here, each ear the vegetation consumes the structure as a virus, and the building is becoming the breeding mechanism as well as naturally enriched variations within colour, depending on the season.

FIG. 3 Edit tower (Yang, Ken)

The vegetation should provide for the centre point the variation in colour shifting between seasons as well as the breeding mechanism, in which the solid concrete structure of the building should impose potential into becoming the environmental link between the natural ecosystem and the built form.

The implementation of passive systems throughout the building should enable the link to become the wharf of living ecology where the impact on energy consumption is reduced.

The Centre Point should articulate the competition between the natural ecologies, nor neglecting and oppressing the interbreeding. The tower should help to create and conserve as much energy within its interior space, as well as integrating the natural ecosystems, assimilating the strategy for saving energy by implementing passive systems, which will enable the building to become the link with the natural environment, where the consumer experiences the nature’s detail into built form.

Bibliography:

1. Jodie, Philip (2009). Green architecture now!. Prague : Taschen

2. Margolis, Liat and Robinson, Alexander (2007). Living systems. Basel : Birhauser

3. Vale, Brenda and Robert (1991). Towards a green architecture. London : RIBA publications

4. Ed. By Randall, Tomas, Fordham & Partners (2001). Environmental design. An introduction for architects and engineers. London : Routhlege

   
   

   

   
   

In other words is the risk problems which classifies scientific assessments in attracting the attention to these features where the impact on global environment would picture the alteration of habitats.

Buildings, parks, or a place where the aesthetic qualities have somehow alliterated the fluidity between habitat and environment. Buildings, and any form of the buit environment imply strategies in programming the global awareness on the necessity to survival, connecting the built habitat to biodiversity. The specificity of these environments would gain the environmental awareness through the energy they consume over their life time in specific climatic conditions.

The necessity in dealing with specific climatic conditions, would imply generative forms of innovation in programmatic requirements which articulate the connection between habitat and environment.
As for strategies being adopted in blending the intensity of dwellings into the necessity of articulating places more and more, the distinction between dwells and environment would create a seamless extensive high-density landscape incorporating both sides, as Ken Yang (2006) mentioned, the environment and the dwell should be regarded as a dynamic continuum acting together as a whole.

The plasticity of landscape would transfer the formal fluidity into patterns where the seamless distortion of the environment would create the articulation with biodiversity. The link where the perception of landscape would re-establish the link with environment. Species which share the same would provide essential fertile places for interbreeding. The verticality of Centre Point would inspire diversity in emerging dwellings engaging the high-breeding coefficient of the tower to aspire less energy consume, such as light and oxygen.

Empty offices which used to host the formal activities are now articulated into formal reproduction of the environment. Spatially unused places should impose potential in building continuity with the environment.

The main points in articulating the image of the Centre Point is offering stunning views around the city from the top floors of the tower, and as it is being visible from Kensington Gardens alleyways. The peak of the tower would aspire conceptual landscape, plasticity intersecting vertical geometry. The plasticity would generate the connection with environment, it would blend the whole continuum.

The peak of the tower would host spaces for conferences and offices, moveable spaces which permit to create internal fluid walls through floor plans, accommodating the needs of the conference, or the needs of the office. The system is design through the floor plate offering the capacity to automatically move the walls in accordance with the incoming capacity or layout. The pivots of the walls are design to transfer the kinetic energy exercised on the surface floor into fluid walls.

The visual quality of the garden and the surrounding views, indulge the perception of the space with inspiring natural trees placed between tall vertical columns. Inspiring fluid water flows which ring the top and the bottom floor, transferring Centre Point into beautifully enriched three floor garden. Fluid alleyways intersect and join at the margin, where the stunning view of London is offering a relaxing atmosphere.

Enriched habitat-able spaces implemented with contemporary life style, a style specifically design to incorporate the need for survival within environment. The green technology has provided tools in using places more efficient in energy consumption and minimal usage of raw material.

Implementing technological modified materials, which increase the potential in recycling the air and the energy used throughout the building, providing to the Centre Point building the breeding mechanism, engaging the building into becoming the civic place within its interior qualities.

The civic place becomes the tool of the environment, it breeds into the Centre Point building, imposing potential in becoming the environmental link itself. The interior qualities of the building are transgressing the visual complexity of the natural environment into its structural shape.

The rectangular grid of the façade becomes the complexity of a natural spring; water flowing gently through crisp rocks. The effect has been implemented into the ring which connects the floor plates between levels, to offer the sensation of natural landscape within its interior space.
The interior qualities of Centre Point becomes the natural internal landscape, the space which relaxes the breeding, by providing to the ecosystems patterns to regenerate the quality of interior air, as well as improving the carbon footprint released by the building.

The results in developing the link with the environment impose potential in building continuity between other parts of the city, as buildings get tired of the systems in which have been created as corporations fail into interacting with the emerging market.

Centre Point would attract the attention of the iconic building which used to scrape the London’s sky. A model in dwelling which articulates and breeds again into Central London.
The civic space of ecological intensity, where the modes of dwelling become the product of rejuvenating the need for survival and for style, visually rich and technological enriched with possibilities in engaging into being the main development in contemporary cities.

Bibliography:

Yeang, Ken (2006). Eco-design A manual for ecological design. London : Willey
De Kerckhove, Derrick (2001). The architecture of intelligence. Basel : Birkhauser
Van Schaik, Leon (2008). Spatial intelligence. New futures for architecture. Chichester : Willey
Barchelard, Gaston (1994). The poetis of Space . Boston: Beacon Press
Dovey, Kim (1999). Framing places. Mediating power in built form. London and New York : Routledge
Kwinter, Sanford (2007). Far from equilibrium. Essays on technology and design culture. Barcelona and New York : Actar-A

System:

Parameters f(x,y) - centre flexible point , Grid x(0,1),  y(0,1),  λ1,  λ2 - curve

If f(x)= x(1) y(0)

then  λ1 = 0,  λ2=1

http://turbulence.org/spotlight/thinking/

To perfectly adapt to the contemporary distribution of the existing spatial composition, the way in which to apply changes to the sistem, is to better patterns from their existing configuration.

As Allan mentioned, I should not invent individual entities, which I believe would make the connection harder to blend into the existing grid. If the transport was the main factor in my analysis of CO2 emissions for centre London and Centre Point, than the bettering patterns would engage into the transport grid, bettering the existing and creating new opportunities for the London community without affecting the old grid.

The costs of removing / maintaining unpopulated zones would be higher in comparison to building new ones.

My proposal, is to anchor the capacity of the existing space of Centre point, into the grid of spatial distribution and information.

My goals:

• To articulate the existing with future connections
• To place the connection into the individual continuity
• To segregate and create alternative modes of social, economic, political and spatial organisations
• Peer-to-peer individual authorship
• Collective activities

Desired Outcomes

• To morph the existing structure, offering better spatial stability for Central London, and other joined programmes
• To create individual corporate entities
• To engage individuals into spatial stability
• To link corporate entities from the global grid at a synergetic level

The 5mm steel cable which I used in this design, could be manipulated by its trajectory and making the skin of the kitchen table to move. In this situation Corian should be replaced with flexible impermeable material.

Model Pictures

Plan

East Elevation

West Elevation

As I presented in my first Formative assessment in October 2009, the system will be same, generating a parasite // virus architecture which engages the viewer into the world of both. By its historical context, the user is engaged into the context of contemporaneity, and by contemporary context the user is engaged into the context of history. This systems works like a paradox on the host, in my case Centre Point, without affecting the old listed structure.

The parasite will engage both environments into one general formal arrangement. The aim in user perception is to reflect the image of the past into the present. What the user will perceive is a virtual entity in which he will not be able to differentiate between old and new, history or contemporary, or both.

People and movement:

Tracing and routing back to the street level, I will associate any movement generated by human behaviour, with a ‘dot’, which will draw a path. This path will be associated with a line, because in most cases people have a movement // forward - left-right //. The path released will take a form of 2d shape, linear.

• People accessing Tottenham Court Road // Centre Point ( To generate this kind of data mean to check everyone who’s entering the zone.)

From what I have seen on the Tottenham Court Road area, I will categorize as :

• Street Level // Pedestrians

1. Workers 35 %
2. Shoppers 15 %
3. Tourists 45 %
4. Others 5 %

• Street Level // Street traffic

1. Buses 35 %
2. Taxis 35 %
3. Cyclists 20 %
4. Others 10 %

To generate this map, I have associated people with blood cells. The interaction between two working flows releases a LOOP ( Capillaries ) where the connections can be associated in working patterns, office jobs, dwellings. Performance of the loop ( or intensity ) is dependant upon the interaction between flows of IN and OUT

Proposed interior for the underground piazza .

RESEARCH:

It is interesting going back to maths formulas and discovering that placing them into a graphic visualising processor could generate spatial posibilities.

I am aiming to virtually connect the whole space of my Genotype into artificial self sustain system(alive).

These basic interior renders would be the starting point of my proposed interior development, forms evolving from one point, fallowing the given algorithms.

With this research the aim is to bring periodically rules as P(0)X4, P(0)X5, P(0)X6 into molecular interaction with the proposed spatial geometry. I am thinking maybe this way  I could better articulate the existing connections between existing spatial development and the proposed inter-articulations.

The system is not new, and it is easy to understand. Basically I want to introduce the concepts of molecular arrangements into spatial programs, input and output algorithms, which are in articulations with at least one element within case study ” the genotype dwelling“.

If I better connect spatial arrangements , it could generate better spatial performance, placing social systems in continuous flow. Of course this is not new to the existing social system. What brings new is the web like amplitude between :

1. space and development
2. connection and performance
3. interchangeability and mutability

The new generated spatial cell, has the capability to join multiple points between inhabited zones, offering continuity through surroundings.

Prototype scale Chair 1:1. People said is comfortable. The one who tried it.

Note: The beams in this model are out of scale. It’s been helping to make the model accessible.

Detailed Staircase

I researched with the Infinity sign ( ∞ ) to develop the continuity principle, aiming to connect 3 separate spaces into one continuous flow.

I used the Vitruvian man as reference, to negotiate the performance of human body within the spacial cell, resulting used zones, which are  equivalent on a constant trajectory(human body).

Zones outside the trajectory, stay unused. By using circular structures, we challenge the space at its full potential.

Polymer products are solid, solid slliconized, hollow siliconized, hollow conjugated siliconized polyester staple fiber. Products are obtained either from regenerated PET flakes or from polyester virgin chips.

I created some clusters in this matrix, so I can fallow them. Clusters like ” p(1)x3 “, where any kind of information could be implemented regarding the chosen parameters.

I’m aiming to create a infinite circle, green live work, by connecting and optimizing them through radio waves, fibre optics, and other electronic components. like a LIVE electronic circuit, a “technological oasis” in the ” media jungle”.

I am planing to refer this ” technological oasis” to a dwelling module, because its small in size easy customizable . If I get right one unit, then would be easier to connect the whole.

I want to implement in this system  self-modifying or self-learning functions. Within the system,  neural network(computers, cables,optics, sound) is needed to train and learn for accomplishing design analysis and evaluation, rectification/modification and optimisation tasks in the design process, this way generating self sustainability within the inner system.

MAP

DAY TIME ANALYSIS

NIGHT TIME ANALYSIS

MAP AND LEVELS

Affectionately nicknamed “the Berlin Coat Hanger” for its draping form, the airport terminal was the longest continuous building in the world at the time of its construction and still is the third largest. It has a suspended roof that protrudes over arriving aircraft and allows for dry transfers of passengers into the terminal. The roof was designed so that it could also function as a seating area for 20,000 audience members during air shows; the building has 14 large staircases to provide spectators with quick access to the roof. Also noteworthy is the building’s symmetrical construction, which allowed mail to be brought in one side of the building and outgoing mail to be processed on the other. This processing area boosted efficiency at a time when airmail had become popular and was sent to distant destinations on passenger flights.

To make the site independent of the city’s infrastructure, the airport has its own water company with two large water reservoirs under the greenbelt at the Columbiadamm, as well as an electrical works and heating supply. More than five kilometers of tunnels extend under the buildings; parts of these tunnels were used as bomb shelters during World War II.

I am proposing a Business centre redevelopment plan with green zones and sky scrapers.

The advantage of the underground tunnels which used to be bomb shelters, now can be transformed into pathway gateways to enhance the information exchange between zones, at hyper speeds using fibre optics.

Thus the information exchange becomes real time, and conventionally boosting the speed of the process.

“Slightly different, but always the same” Ionut Marius Scrab

“If the world would only build temples to Machinery in the abstract then everything would be perfect” Percy Wyndham Lewis
“Anything one man can imagine, other man can make it possible” Jules Verne

Interior, whether inhabits the space choreography created by waves through entire human perception, or by servicing spaces to gather the human perception, its movement is reinforcing conventionally discrete, the performative similarity and modulation stretched behind screwed private zones within the chosen space.The spatial mutability therefore is postulated to the formalized interior-type development, which generate multiple space relations within exterior fields enclosed in public space. The fluid development of zones within the interior-type structure should impose potential in building continuity through surrounding space, recognizing its compositional and spatial values from freestanding supports, concealed in similarity, and paradoxically transferring the interior-type development in individual spacial cells.

The most important characteristic of light is the intensity pale which carries the repetitive patterns released in continuity  and therefore is modulating itself through space, being independent through radiation, which is constraining the patterns to keep the light in its minimal enclosure, and tiling only arrays of repetition in directions where the light is not constrained by any manipulation, this way the light patterns bettering only towards infinity. If light hits a meeting point within a density zone the dimension of the beam reproduces and organizes a constructive expansion on its surface, generating patterns similar with the surfaces placed in interaction. Patterns differ in sizes and shapes depending on the light intensity, and the reflectiveness of the material.

I have experimented through simple steps, repeating the static patterns( materials) and generating different types of intensity and color, to develop how light could implement a new meaning for the given space, in different instances. As we see in first five instances the intensity is high, generating large patterns on the given surfaces, forcing light to the entire capacity of the space. In the last three instances I lowered the intensity which made the space harder to read, but it generated new points of interaction, excavating the view towards light, leaving the space in its original ‘blank state’.

1  2  3  4

5  6  7  8

Human, is a complete ecology, generated by all the inter-articulations from the systems. The inner psyche is part of a disrupted ecology connected with the system, and constrained by the law of interaction, the string which connects other strings. Thought, which becomes generated by the inner psyche is the excess of the inter-articulation between strings, in the system ecology.

When the fallowing methodology is represented by the points of interaction( as our eyes creating paths through the gathered information in the system) it generates intensity and complexity in the new created strings. The space warped around strings is achieving consistency by interrogating at least one articulation from the system and bettering the forward one, releasing development in the process as an integral part in our view toward the perception of things directing itself through finite volume of variable density , which place the space in the main interaction, releasing the pattern and generating the process of ‘blank state’, or tabula rasa.

This information placed into an Cartesian system is reducing the inter-articulation of the system, generating patterns and repetitive states of ‘blank state’ represented by voids and empty spaces.

The information gathered in systems of information, or in strings, the patterning and the constraining in the manipulation is fixing the connection with the opposed system, this way the system generating the blend of the load exchange, way forcing the opposed patterns to inter-connect between its narrow inter-articulation, placing the new created patterns in systems of perception.

Light intensity is narrowing the bettering patterns in the organizational systems, releasing pales of intensity, forcing the color shift to be controlled and to allow forms  of new generations.

The forms of the new generations, wrap the repetitive state of the shadows( patterning represented by the inter-contrast at the meeting points of the opposing pattern, releasing new pales of articulated colored patterns) around the space allowing the continuity to be constrained and sub-related to the systems of information. The information exchange allowing the movement of the patterns through the entire system.

]]> http://icdsarch.insideopen.net/?feed=rss2&p=19 http://icdsarch.insideopen.net/?p=16 http://icdsarch.insideopen.net/?p=16#comments Mon, 28 Sep 2009 21:08:24 +0000 Andrei http://icdsarch.insideopen.net/?p=16 I.Information technology
In modes of practice from everyday usage to technical setting, information is delivering the contrast of negotiation between fixed meanings, implemented from sounds and acoustic trajectories through space: one trajectory deep and one high (consonant or vowel) generating random patterns through the physical space, releasing and distorting the space warped around the given trajectories. At this stage space is becoming vulnerable in distortion creating sound. At later stages, trajectories are packed into packets of information which are defined by the new generated information and place into symbols of information (alphabet).
Symbols are taking the trajectory of ’signage’ placing information into points of communication, always being constrained by the law of interaction. In this way, space is becoming inter-connected by articulated points, generating forms of flow from packets of information through the entire system as ’shares’ of information (hyper-text).

II.String accumulation
Mass liberalization of the system is necessary to avoid repetitive string manipulation, in this way the selectors entangle the events by narrowing the space wrapped around their information packages, forcing the nearest forces in opposition to better patterns from the systems. The new created strings are gathering only the information from the last layers of the interaction, releasing the new string generations of information.
Space accumulated in this interaction is represented by the share exchange between systems which are lofting the new created loads into the next levels of interaction between shares from other opposed systems of information as shown in Fig.2 .

Architecture and its production has been modulated through its history in inertia between physical production and philosophical context and through many relations with technology which was in many cases from the first groups of social systems considered as primary and beyond.

Social systems in their early stage as groups had gathered a ‘blank state’ of information, represented in basic interaction between the human, and the nature, applying forces of manipulation to achieve a new state of the social system, always bettering the previous social system and creating new laws and pre-re-writes a completely new system, gathered and composed upon the information assimilated in the previous process of interaction. Last created system always achieving the ‘blank state’ when bettering the forward interaction to build the new system.

Steps are formulated to transfer the geometric information of the ‘blank state’ into modes of practice generating basic points of interaction as ‘dot’ , defined by the fix point of interaction where always the ‘blank state’ is gathering its inter-articulation from the previous system, a physical model being the world wide web, and as working model shown in Fig. 1.

The accumulation in every ramification is transferring the information gathered in its state of interaction in the whole system, and the information is being exchanged in two ways: uploading and downloading only the needed points of interaction; in order to achieve its state and to complete the system in every direction and at every point.

It can also be a period or interval of time in coordination and relation with time(timeline).

Space can have multiple meanings, but what I am interested in, is taking the space as a place in time, in relation with others people thoughts and what others created before. Space as a hole space, as unlimited place, undiscovered and undetermined.

We choose our space, we choose what to bring in our space , we decline or we accept things into our space. But as human beings, we choose things that we like and we decline those we dislike.

But all those things, and all those people has to come from an beginning, and therefore I should start talking about public space in relation with the reality, and the fiction,  its theory and its logical mechanism.

I could start referring public space to a hole place new for me, unexplored and undefined. Furthermore I take  public space as a place unknown for me, as a place without limits or territories. I can talk about public space as space(whole).

We travel to this space, we live in this space, we do everything we want in this space because we are the space and we create the world around the space. As persons we have our own personal space, which others read it as private, I percept it as being public.

In philosophic meaning time creates places and a mind generate spaces, which are defined by our mind. It is up to our way of thinking if we go further to this space or we stop to analyse the things that we see instead of creating new ones. Interesting is that we always search signs to put our connection into.

Scientific a thought resumes to matter and matter resumes to nothing. I would like to believe my mind is creating and defines spaces and places in relation with the others ways of representation and thinking, and at the same coordination in time.

Fig 1.

Analysing Fig. 1 as the big green ball being my mind and the other balls being others people minds. I have my own path, but as far I can see the others people paths, where are they going, whatever are they doing. Me as a person I can choose if I want to interfere with their paths or not, or to analyse their pats or to pick some certain things from their paths which helps to build my own one(picketing points).

The big green ball from the middle can be my mind and the other balls can be my thoughts, which I can choose them or not, this I do not really know because it is happening at a subconscious level. I do realise what to choose but I cannot figure out whatever was the cause for the thing that I have chosen.

It is there a relation, which is building up our space. Philosophic there is a law of attraction between those balls, which happened in coordination and relation to the created space. Wherever we place the balls, we still can see their trajectories, and places in space.

I would like to resume the world to a dot. As in geometric theory dot with dot creates a line. A multiple correlation of lines  is creating. It is up to our personal mind to choose what to build from these dots.

In life we get inspired by others way of thinking, by analysing them and building upon the information gathered in mind. Space is place and is everything. Spaces are separated by time, which other generations created.

It could be the probability to loose our authenticity as persons in time, and whatever we do is just a ‘code’ of thinking of someone else, which we follow from century to century and where from we get inspired. Signs of representation, placed in relation with at least one element.

Me as a person is not me, I am something that I was created upon time. History is a relation which I have to analyse it in order to build the future as a theory. Is it up to me to create spaces which relates to places and time.

Let’s imagine the whole space as a basketball full with water. I am inside it. I am a dot which is curios to discover. I walk and I create a line, a path which can be fallowed. But as more as I walk into it more I get to know, and as more as I get to know everything becomes more common. It is the maximum point in space where everything is common, which articulates a new dimension in space, as a whole, and which could be difficult to read, but it would be a connection based always in the previous point.

If others created space as space, I can possibly warp it but when I say warp it is another way of representation which destroys the relation of and notion of time, which could generate chaos or other similarities.

Fig 2

We could look at different representations in the public realm, to understand the private space in relation with the public and where the space as a whole is placing points of interaction.

I am using the train, which someone constructed it as a place. I am using the seat as a place which someone created it as a private space. I am using the laptop as a place and space, which someone created it for connections. I am using my mind to generate and put all those new connections together as a new place and space. At the moment it is a private space because no one knows about it. It becomes gradually public, while you reading it, placing you into another point of representation.

Space becomes a representation of our mind and it is in relation with whatever we see and whenever our mind percepts and represents in our thoughts.

‘It is helpful to consider the question of representation because an assumption is often made that the signifiers used in everyday representations, such the symbols on a map, have a transparent relation to the things they signify, thought a reading codes of representation often depends on other kinds of information, or memories, and in everyday urban situations people do not consider the ‘critical and even pessimistic study of the non-resemblance’ (Shields, 1996:229)

(Miles, 1997:39)

My personal opinion would read a mind as our private space, whatever we think, or whatever we understand. Whatever we see is public, because it is not personal any more , we share it with the others or it is created by others.

We created spaces and we discover them, we using them as a reference, we modify them in the way we like and we create new ones based on whatever we have seen in the past, whatever if it was private space, or public space we use them to build upon them.

But again this is my personal opinion. Space is place, as other name it, but I still see the space as a space, not as a place. We created places. Space was always there, to be moved, to be discovered, to be analysed and to build on it.

Fig 3

I take this separate creation as an example of others representation of the created public space, a gather of people, a place for being an Olympic stadium. It is designed by Herzog & De Meuron in 2001. They took a bird nest to gather all the people together as in a public space. What for birds used to be a home(private space) for the architects is a public space. A place in searching for gathering space.

It is hard to separate those two , public and private, because those two created the space, it can not be private without public and either reverse. It could be a different representation in the future if we discover the way in which to extend the equilibrium of the whole space.

This is how I create, and I discover, and everything I want to imagine to believe and think, I could manipulate. Space is the way it is represented, we choose from this entire space what we like and we do realise that all the creations are based from the background of this entire space.  We see things , places, people but we don’t percept all of them, and this is a cause that help us being individuals, throwing us into this private space, which is taking part more and more from this public realm.

References:

Attfield, J. (2000). ‘Space: Where Things Take Place’. In: Wild Things: the

Material Culture of Everyday Life. pp.177-192. Oxford: Berg

Putnam, T. (). ‘Beyond the Modern Home: Shifting the Parameters of Residence’.

In: Bird, J et al (Eds.). Mapping the Futures: Local Cultures, Global Change.

pp.150-165. London: Routledge

Bachelard, G. (1994). The Poetics of Space. Boston: Beacon Press

Cresswell, T. (2004). Place: a Short Introduction. Oxford: Blackwell

Moran, J. (2004). ‘Housing, Memory and Everyday Life in Contemporary Britain’.

In: Cultural Studies, Vol. 18, No. 4, July, pp.607-627

Miles, M. (1997). Art and space and the city, Public art and urban futures. London: Routledge

http://www.altitudini.ro/articles.php?ai=1275&st=0&oi=1272&filter=-1

(accessed on 09 January 2009)

Bogdan, Ghidiu (2006) Deconstrucţia pozitivă a spaţiului public(Positive deconstruction of the public space)

http://atelier.liternet.ro/articol/5890/Bogdan-Ghiu/Deconstructia-pozitiva-a-spatiului-public.html

Dan, Mihailescu (2009) Spatiul public locul nimanui (Public space, no one place)

http://www.evz.ro/articole/detalii-articol/834917/DAN-C-MIHAILESCU-Spatiul-public-locul-nimanui/

Architecture and its production has been modulated through its history in inertia between physical production and philosophical context situated on a in between route through many relations with technology which was in many cases from the first groups of media systems considered as primary in relation with the new advantages brought forward by computer science and software manipulation.

It has brought with it the performance in sharing and exchanging various types of media and interaction, being possible to combine and blend the actions through interactions formed in physical models.

New media, is the most exploited in the fields of graphic communication and scene manipulation in film  industry and its production.

In this development the scene scape is modulated through implemented frame behaviours on a specific timeline. The resulting effects varies from point to point, depending on the interaction implemented in the previous frame.

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The Godfather. (1972). Directed by Francis Ford Coppola. U.S.A.

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http://www.patrikschumacher.com/Texts/Elegance%20argument.htm (Accessed 8th of May 2009)

Published in: Elegance, AD (Architectural Design), January/February 2007, Vol.77, No.1, Wiley – Academy, London, Editor: Helen Castle, Guest-edited by Ali Rahim & Hina Jamelle

Pierre Bourdieu :Distinction: A Social Critique of the Judgement of Taste, translated by Richard Nice , Harvard University of Press

Steele, Brett D. (2003). Negotiate my boundary! Mass-customization and responsive environments. Architectural Association London

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Material Culture of Everyday Life. pp.177-192. Oxford: Berg

Putnam, T. (). ‘Beyond the Modern Home: Shifting the Parameters of Residence’.

In: Bird, J et al (Eds.). Mapping the Futures: Local Cultures, Global Change.

pp.150-165. London: Routledge

Bachelard, G. (1994). The Poetics of Space. Boston: Beacon Press

Cresswell, T. (2004). Place: a Short Introduction. Oxford: Blackwell

Moran, J. (2004). ‘Housing, Memory and Everyday Life in Contemporary Britain’.

In: Cultural Studies, Vol. 18, No. 4, July, pp.607-627

Miles, M. (1997). Art and space and the city, Public art and urban futures. London: Routledge

http://www.altitudini.ro/articles.php?ai=1275&st=0&oi=1272&filter=-1

(accessed on 09 January 2009)

Bogdan, Ghidiu (2006) Deconstrucţia pozitivă a spaţiului public(Positive deconstruction of the public space)

http://atelier.liternet.ro/articol/5890/Bogdan-Ghiu/Deconstructia-pozitiva-a-spatiului-public.html

Dan, Mihailescu (2009) Spatiul public locul nimanui (Public space, no one place)

http://www.evz.ro/articole/detalii-articol/834917/DAN-C-MIHAILESCU-Spatiul-public-locul-nimanui/

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