SPACE AND EVENT - RESPONDING PARAGRAPH

 


                I read a reading about the space and event that written by Bernard Tschumi. He thought that events and space cannot be separated in architecture. He mentioned that 17th century architectural ideologies were obsessed about to program , they had never stand on events and they were confused about to understand the separate meaning of events and program. I agree with the Bernard Tschumi for two reasons.First of all, architecture should deal with the events and forms not only the program . It has to be in relation with events . Architect should always being aware of the events and criticise it . They should built buildings that reflect the nature, it should use some source of nature.For example , the movement rhythm always should be considered in architecture, in a word events are mentioned in a real architecture.Second reason is that architects should aware of the events then they can change the aspects of events , so people would not live in a monotonous world.To sum up, in architecture, program is not enough to achieve success, it is also important to consider the event that happen in it.

 I decided to use this video to make an abstract static design that represent parkour moves. (from 16 to 20th second.)

             MOTION IN ARCHITECTURE AND ART

 I found following images to make the represent movement in architectural design more clear for me ;

   

 Of course, we have one of the most iconic examples of Movement: Vincent Van Gogh’s Starry Night

Architecture and Motion

  

   The fundamental premise upon which this research rests is that apparent temporal and spatial contradictions

between image and sound come together through movement. The inherent differences between space and time were

reconciled in the idea of 'space-time' during the last century. Both Einstein's Special Theory of Relativity and

Seigfried Giedion's Space, Time and Architecture (Giedion 1941) reveal how our individual perception of space and

time are intimately linked and cannot be treated as separate entities. Movement inherently occupies both space and

time, as does music, visual arts and architecture, particularly when related to the perception of an individual. (Stasis

in this case is a form of movement as described by its position and trajectory in space-time.) This research was

carried out at Cambridge University Moving Image Studio and the Department of Architecture in 2000. The thesis

'Explorations in Movement: Towards the Symbiosis of Architecture, Moving Image and Music' has drawn up a

theoretical outline for the analysis of movement as the central point of conjunction between the three distinct

disciplines by discussing their positions in space-time. The research is described in three distinct sections:

1. Architecture gains movement through its representation in the moving image screen, analysed through dynamic

cameras, editing and sound.

2. Architecture and Motion: which formulated a series of examples including movement within architectural spaces

and kinetic architecture.

3. The dynamic placing of moving image and sound within architectural space, taking examples from the cinema

setting, sound diffusion and liquid architecture theory.

Architectural spaces are translated and re-constructed within filmic space and a film language has evolved that

enables the viewer to understands jumps in location or viewpoint that would not be possible to experience in real

space. I suggest that the first stage of this translation begins at the camera, the instrument of capturing space with

its different possibilities for movement. At the most basic level the are two approaches to camera movement, either

the camera moves or the object or space it films moves, or any combination of these two. The use of the camera

itself can become an expressive gesture that can be 'played' in time, reminiscent of how one articulates time through

a musical instrument even though one captures image and the other gives out sound.

The next stage in the process of defining and shaping an architectural space within the screen lies in the editing

process, both at transitions between clips and special effects which transform or overlay the material. The

difference in editing styles was illustrated by a comparison between the rhythm created by the Vertov's montage

technique which was entirely about the editing (Vertov 1929, Michelson 1984), and that created through inherent

movements within the original camera work described by Tarkovsky as 'time pressure' (Tarkovsky 1986). The two

extremes show very different ways of describing a quality of a three dimensional space through the window of a

two dimensional screen. They also bring in a notion of qualities of movement that are very familiar to a musician

who works with the variety of placing elements in time. Recent digital editing techniques, particularly morphing,

allow entirely different kinds of internal movements to be generated.

At the most basic level sound is used in film to describe and augment the image of a space and is vital to the viewer's

understanding of the space being presented. It can also join otherwise disjunct images by for example introducing a

sound before we are shown the image which reveals the sound source to create an illusion of flow. Sounds external

to the image give a sense of an extensive space providing a role comparable to peripheral vision to the focused

cinema screen. Film music of course adds another layer altogether and has become a genre in itself. In summary it is

hard to overstate the importance of a balanced dialogue between image and sound which, if used well together, create

an entirely whole audio-visual experience where the image and sound can no longer be separated without loosing the

essence. (Chion 1994) It is fair to say that the combination of the sound with the image in the representation of

space in film is one of the most fundamental examples of an audio-visual discipline and is of primary relevance to

creating in a multi-disciplinary format.

The section Architecture and Motion concentrates on the spatio-temporal aspects of architecture by exploring at its

inherent dynamic possibilities. It looks at how architecture, outside of the screen and the techniques of moving

image rhetoric, has inherent qualities of motion. Architecture has an ambiguous relationship to movement. The

material of architecture - the building - occupies one physical location in space, yet the function of architecture is

characterised by the process with which it contains and directs the movements of its occupants. In one respect it is

static - an artefact - in another it is dynamic - a process. Architecture can be described not purely as a spatial

construction, but also temporal, and it is the combination of the two that provides the basis for the discussion of

movement in architecture in this chapter.Architecture and motion, the conflict between the static and the dynamic, comes increasingly into focus in the

context of technological developments at the beginning of this century. The mass reality of globalised instantaneous

communications, and the increasing normality of travel as a way of life, are driving the traditionally stable discipline

of architecture to reflect this attitude of flexibility and movement through time and location (Paul Virilio 1984, Sola

Morales 1997) It could be said that the unifying feature of architecture today lies in the various approaches to this

central theme of change, fluidity, movement. Centering around the term "dynamic" this section maps some existing

forms in which the emphasis on fluidity can be perceived using various contrasting architectural examples of both

theory and practice to illustrate the following:

• Dynamic inhabitation - flows of people, traffic, services

• Dynamic materials - light, sound, water

• Dynamic structures - kinetic architecture and engineering

• Dynamic generation and decay - design (computers), construction, decay

• Dynamic connections - local to world-wide communication and reputation

• Dynamic associations - nature, organic flows of movement

If there is to be any symbiotic relationship between architecture, moving image and music it must lie in what I

termed the 'dynamic placing' of image and sound in space. After analysing different approaches to movement

through film and in architecture in the first two sections, the third investigates the combination of the two. It

contrasted a number of existing situations where image and sound are placed in space. From the television within a

house, to the cinema with one screen, surround sound and fixed seats, to multiple screen shows like those of the

architects Charles and Ray Eames (Neuhart, Nuehart & Eames 1989), to spatial sound diffusion techniques

pioneered by composers like Stockhausen (Stockhausen 1991), to experiments with physically moving interactive

environments such as those of Kas Oosterhuis associates (Oosterhuis 1999). I proposed that moving image and

sound will inevitably become architectural materials and, like traditional known building materials, they need to be

understood in their own right.

Yolande Harris

Metronom Electronic Arts Studio

Fundacio Rafael Tous d'Art Contemporani

Carrer de Fusina 9

08003 Barcelona, Spain

yolandeh@terra.es

MOTION / PHYSICS 

   Motion is a change in position of an object with respect to time and its reference point. Motion is typically described in terms of displacement, direction, velocity, acceleration, and time.^[1] Motion is observed by attaching aframe of reference to a body and measuring its change in position relative to that frame.

If the position of a body is not changing with the time with respect to a given frame of reffrence the body is said to be at rest, motionless, immobile, stationary, or to have constant (time-invariant) position. An object's motion cannot change unless it is acted upon by a force, as described by Newton's first law. Momentum is a quantity which is used for measuring motion of an object.An object's momentum is directly related to the object's mass and velocity, and the total momentum of all objects in a closed system (one not affected by external forces) does not change with time, as described by the law of conservation of momentum.The study of motion deals with (1) The study of motion of solids (mechanics).(2) study of motion of fluids ( fluid mechanics)

As there is no absolute frame of reference, absolute motion cannot be determined.^[2] Thus, everything in the universe can be considered to be moving.^[3]:20–21

More generally, the term motion signifies a continuous change in the configuration of a physical system. For example, one can talk about motion of a wave or a quantum particle (or any other field) where the configuration consists of probabilities of occupying specific positions.

   http://en.wikipedia.org/wiki/Motion_(physics)