Lines | Linearity

The two articles, Architectural Representation and the Perspective Hinge by Alberto Perez-Gomez and Louse Pelletier, and Lines and Linearity: Problems in Architectural Theory by Catherine Ingraham, found in a collection of essays entitled Drawing | Building | Text by Andrea Kahn (editor) bring to conversation the concepts of seeing and visualization. Starting with the concepts of the line and linearity, Ingrahm theorizes that what gives architecture form in the simplest context is “line”. With that being said, Ingraham states, “ as a subject, the line must be outlined – given a shape or character – and it is precisely at the moment when the line takes a shape that it eludes our grasp”(p.5) I believe that this statement looks at how form seems to take shape, and just at the moment where line defines form that, we no longer understand line but the form that is made up of many different line segments. I guess to try and communicate this a little better I will refer to one of Barnett Newman’s pieces of work entitled Concord.




















Barnett Newmann, Concord 1949

Know for his abstraction of the fundamental concept of line Barnett takes his limited palette of color and creates a highly layers yet simple composition of diluted green and yellow washed paints. What we see are the thick spatial fields that are demarked by color, the edges are the relationships to greater composition. Each spatial field’s edge is defined by a line, but is lost in the composition as a whole. These fundamental concepts are followed throughout his works. One more example is part of a series entitled Station, the reason why I bring this to attention is because here Barnett plays with achromatic colors (black & white) which represents a composition built clearly by the line showing the space in between.




















Barnett Newmann, Thirteenth Station 1965-66

Animation (project1b 1st attempt)

So clearly this animation was a little more trouble then first expected. For a first iteration not too bad. So here the viewer gets a chance to look and experience this temporal construct in a 3 dimensional virtual world. Basically now by adding animation to the project, we enter another design aspect of the project ( it is like adding another variable to the equation, or so it seems to me, adding another layer to the project ). Looking at animation as a new variable hopefully will add a complexity to the study, with hopes that the study itself does not become complicated to understand, rather easier and in the end more rewarding. See how this is the first attempt, the next few iterations should presumable build upon this animation, and clarify what these studies are looking to understand. I would like in the next few weeks be able to grasp a firm understanding of the programs used, so that it does not constrain me from trying to communicate my understanding of the projects being studied this semester.

Project 1b (Temporal Images)

For this iteration what I was trying to understand from the 3 dimensional construct was the temporal qualities that was not so apparent in the last model. So in hopes of clarifying the understanding of what a temporal construct are the following images for project 1b. Basically the approach I took in this iteration was trying to map the four point of the body, which then would represent a line, simplifying the body form into one line segment. Each one of the lines correspond to a frame taken from the motion video earlier in this study. I hope for the next iteration to start looking at how from a temporal construct, one would move forward to change and study the spacial aspects of these motions.