--- the following tasks are the minimum work you should have in your portfolio
--- all the drawings should be done based on proper scales
--- aware the differences between sketch, plan, section and perspective
--- for drawings (plan, section) use different lines (thick, thin, dot)
--- Tae and I will mark your portfolio first based on the amount of work, then clarity of drawings - how clearly they deliver your ideas - and quality of your work.
PROSTHETICS
compositional drawing1: relation between the fragment, you and your favourite food
compositional drawing2: prosthetics applied to appreciate the circumstance better
drawing3: mechanism of prosthetics
drawing4: plans of prosthetics, describing its materials and mechanism (how it works)in detail in proper scale (1:1 - 1:5)
drawing5: sections of prosthetics (material and mechanism) (1:1 - 1:5)
drawing6: prosthetics in use together with body (part) and wall fragment (1:10 - 1:50)
drawing7: effects your prosthetic makes on the wall
sketch/photograph documents of prosthetic model
KIOSK
drawing1: process of food preparation up to packaging
- describe the process with a time scale
drawing2: plan, section and axonometric of package
drawing3: manufacturing method and material(s) of package
drawing4: application of prosthetic mechanism to kiosk
- show how the mechanism is revised to serve a specific function in your kiosk
drawing5: plan and section of the kiosk mechanism
- show what it does and how it works
drawing6: small plans of kiosk
- describe at least two phases of its transformation or operation
drawing7: small sections of kiosk
- describe at least two phases of its transformation or operation
drawing8: big plan of kiosk
- describe all the structural, mechanism and material features of kiosk in detail
drawing9: big section of kiosk
- describe all the structural, mechanism and material features of kiosk in detail
dwaring10: details of kiosk
- at least two key parts of kiosk
sketch/photograph documents relating to the design development
KIOSK + A WALL FRAGMENT
drawing1: analysis of the site context
- show the location of the wall fragment on a map (drawn, not a downloaded image)
- elevation or perspective of the fragment
- describe key features of the fragment
drawing2: plan - position your kiosk in relation to the fragment
- kiosk can be within, in front of, behind, above or under the fragment
- describe reasons for the positional relation
drawing3: section
drawing4: small plans
- design a space based on the interaction between kiosk and the fragment
- apply the transformation of kiosk to create specific spatiality
drawing5: small sections
drawing6: axonometrics or perspectives of the space changing through time/day/season…
drawing7: big plan - kiosk + a space + a wall fragment
- describe the key scene in detail
drawing8: big section - kiosk + a space + a wall fragment
- describe the key scene in detail
sketch/photograph documents relating to the design development
Tea
Tuesday, December 23, 2008
Wednesday, November 26, 2008
Drawing list for Crit
This is the list of the drawings for the crit next week (year 2) and the following week (year 3)
Related to Prosthetics
- compositional DRAWING 1, 2 : the first week task in completed versions-
- compositional DRAWING 3 : plan and section of prosthetics, describing its materials and mechanism (how it works) in DETAIL in proper scale (1:1 - 1:5)
- compositional DRAWING 4 : prosthetics in use together with body (part) and wall
fragment (1:10 - 1:50)
Related to Kiosk
- diagram 1 : explaining the relation between your food (raw material and basic
ingredients, prosthetic mechanism, facilities to cook and package the food
(the relation could be based on the time flow to prepare the food up to
packaging)
(you can use picture images or even photoshop for this task)
- drawing 1: your prosthetic machanism revised to facilitate the operation/function of your kiosk
(be specific about whether the mechanism involves in cooking, packaging, providing electric energy or whatsoever)
- drawing 2: plan of your kiosk (1:10)
- drawing 3: section of your kiosk (1:10)
You can bring also:
a full-scale functioning prosthetics (or its pictures)
sketches/collages to show how the ideas were developed to the drawings
but discuss them with Tea this Friday first.
Better bring all the drawings to the tutorial this Friday.
Tae
Related to Prosthetics
- compositional DRAWING 1, 2 : the first week task in completed versions-
- compositional DRAWING 3 : plan and section of prosthetics, describing its materials and mechanism (how it works) in DETAIL in proper scale (1:1 - 1:5)
- compositional DRAWING 4 : prosthetics in use together with body (part) and wall
fragment (1:10 - 1:50)
Related to Kiosk
- diagram 1 : explaining the relation between your food (raw material and basic
ingredients, prosthetic mechanism, facilities to cook and package the food
(the relation could be based on the time flow to prepare the food up to
packaging)
(you can use picture images or even photoshop for this task)
- drawing 1: your prosthetic machanism revised to facilitate the operation/function of your kiosk
(be specific about whether the mechanism involves in cooking, packaging, providing electric energy or whatsoever)
- drawing 2: plan of your kiosk (1:10)
- drawing 3: section of your kiosk (1:10)
You can bring also:
a full-scale functioning prosthetics (or its pictures)
sketches/collages to show how the ideas were developed to the drawings
but discuss them with Tea this Friday first.
Better bring all the drawings to the tutorial this Friday.
Tae
Monday, November 17, 2008
Internal Crit_Week 8_081118
From: Taeyoung Kim
Sent: Mon 2008-11-17 PM 12:58
Subject: RE: Tomorrow pin-up presentation
Dear all
We are starting the internal crit at 10:10.
Dave
Selam
Paula
Demetris
Kemi
You will be the first presentation group. Others need to be on time as well.
Present your work based on 5 questions: take away of what (products), to whom, when- the timing (and the duration if necessary), how (the mechanism works) and why (the ultimate design goal you want to achieve).
Tae
Sent: Mon 2008-11-17 PM 12:58
Subject: RE: Tomorrow pin-up presentation
Dear all
We are starting the internal crit at 10:10.
Dave
Selam
Paula
Demetris
Kemi
You will be the first presentation group. Others need to be on time as well.
Present your work based on 5 questions: take away of what (products), to whom, when- the timing (and the duration if necessary), how (the mechanism works) and why (the ultimate design goal you want to achieve).
Tae
Tuesday, November 11, 2008
Task for Week8_081118
From: tea lim [mailto:tealim@hotmail.com]
Sent: Tue 2008-11-11 PM 8:05
Subject:Task for Week8_081118
Dear all
Next Tuesday we will have a pin up review.
--- do the following tasks sent out two weeks ago:
- diagram 1 - explaining the relation between your food (raw material and basic ingredients, prosthetic mechanism, facilities to cook and package the food
(the relation could be based on the time flow to prepare the food up to packaging)
(you can use picture images or even photoshop for this task)
- drawing 1 - your prosthetic machanism revised to facilitate the operation/function of your kiosk
(be specific about whether the mechanism involves in cooking, packaging, providing electric energy or whatsoever)
- drawing 2 - plan of your kiosk (1:10/20)
- drawing 3 - section of your kiosk (1:10/20)
--- DRAWINGS, not sketches
--- both plan and section should show structures and materials - you should be able to answer why
Some guys regularly missing tutorials had better be aware that six guys will be interruped soon and you can join them.
Be in the studio by 10:10.
Rahesh will come either in the morning or afternoon to check technological part of your design work.
Tutorial this Friday at the Maritime from 1:00.
Work hard - two/three weeks left before a crit.
T
Sent: Tue 2008-11-11 PM 8:05
Subject:Task for Week8_081118
Dear all
Next Tuesday we will have a pin up review.
--- do the following tasks sent out two weeks ago:
- diagram 1 - explaining the relation between your food (raw material and basic ingredients, prosthetic mechanism, facilities to cook and package the food
(the relation could be based on the time flow to prepare the food up to packaging)
(you can use picture images or even photoshop for this task)
- drawing 1 - your prosthetic machanism revised to facilitate the operation/function of your kiosk
(be specific about whether the mechanism involves in cooking, packaging, providing electric energy or whatsoever)
- drawing 2 - plan of your kiosk (1:10/20)
- drawing 3 - section of your kiosk (1:10/20)
--- DRAWINGS, not sketches
--- both plan and section should show structures and materials - you should be able to answer why
Some guys regularly missing tutorials had better be aware that six guys will be interruped soon and you can join them.
Be in the studio by 10:10.
Rahesh will come either in the morning or afternoon to check technological part of your design work.
Tutorial this Friday at the Maritime from 1:00.
Work hard - two/three weeks left before a crit.
T
tutorial_week7_081111
At the next pin-up review, you need to be able to present your kiosk clearly based on the previous comments from Tea and me. what, whom, why & how?
I clearly indicated some of you who need to DRAW before being too late, 'no drawings (of the kiosk)' should sound serious.
Vipin
- no bamboos. design the interface, structure/mep to mechanism & operation/movement
Selam
- homeliness to sell, a moving creature with its anatomy and movement
- paper, frame, scale, moving units, joint details
- no drawings
Anna
- start with smell not with smoke, combine other senses like tactile-audio-visual, integrate the geometry with the mechanism. stick to the first sketch and get it evolved. a nice start but reinforce the rationale of the form.
Inga
- staging choreography- be specific with each stage and do fine tuning, too mechanical, be more poetic, interpret it to spatial language, focus on transformation process of water mellon
Asma
- the nice ideas are all lost- sweet & bitterly, lavour & compensation...
- no drawings
Kemi
- be very very specific, define the elements/process of preparing/cooking/packing your TAKEAWAY food
- no drawings
Demetris
- your wall does not catch the ambience, the aura of the first thoughts
- enrich the wall, design the wall, give the presence of your octopus to the wall
- no drawings
Mentor
- traditional : high-tech, the warmth of the stove: robotic arms, 'a kiosk vending machine'
- no drawings
Chris
- get rid of your preconception, integrated skin, should not be separate components like wall/ceiling/floor/structure...
- no drawings
Paula
- give a function to each piece of your egg, design the movement/operation accordingly
- no drawings
Nick
- clarify the sequence of the exchange, visualise and work the mechanism out accordingly.
Wei
- design your tailored workign platform, be minimal, no readymade elements except very very special occasions, all integrated, reveal the very moment of stirring & frying and sell it! be inventive.
Tingwei
- noodle-making choreography, robotic process.
Sam
- design a vertically layered kiosk unit and make a variation according to the types of your takeaway food. be inventive.
Preschant
- curry is lost. clarify what you offer re.'smells'
Dave
- go back to spagetti then don't need any asian references. build your mechanism technically and let it tell the form. make all the components integral to the mechanism.
Tae
I clearly indicated some of you who need to DRAW before being too late, 'no drawings (of the kiosk)' should sound serious.
Vipin
- no bamboos. design the interface, structure/mep to mechanism & operation/movement
Selam
- homeliness to sell, a moving creature with its anatomy and movement
- paper, frame, scale, moving units, joint details
- no drawings
Anna
- start with smell not with smoke, combine other senses like tactile-audio-visual, integrate the geometry with the mechanism. stick to the first sketch and get it evolved. a nice start but reinforce the rationale of the form.
Inga
- staging choreography- be specific with each stage and do fine tuning, too mechanical, be more poetic, interpret it to spatial language, focus on transformation process of water mellon
Asma
- the nice ideas are all lost- sweet & bitterly, lavour & compensation...
- no drawings
Kemi
- be very very specific, define the elements/process of preparing/cooking/packing your TAKEAWAY food
- no drawings
Demetris
- your wall does not catch the ambience, the aura of the first thoughts
- enrich the wall, design the wall, give the presence of your octopus to the wall
- no drawings
Mentor
- traditional : high-tech, the warmth of the stove: robotic arms, 'a kiosk vending machine'
- no drawings
Chris
- get rid of your preconception, integrated skin, should not be separate components like wall/ceiling/floor/structure...
- no drawings
Paula
- give a function to each piece of your egg, design the movement/operation accordingly
- no drawings
Nick
- clarify the sequence of the exchange, visualise and work the mechanism out accordingly.
Wei
- design your tailored workign platform, be minimal, no readymade elements except very very special occasions, all integrated, reveal the very moment of stirring & frying and sell it! be inventive.
Tingwei
- noodle-making choreography, robotic process.
Sam
- design a vertically layered kiosk unit and make a variation according to the types of your takeaway food. be inventive.
Preschant
- curry is lost. clarify what you offer re.'smells'
Dave
- go back to spagetti then don't need any asian references. build your mechanism technically and let it tell the form. make all the components integral to the mechanism.
Tae
Wednesday, November 5, 2008
Field Trip 2 - Dubrovnik
when: 16.01.09 - 20.01.09
budget: about 250 Pounds (flight+accommodation inc. breakfast)
should email to Tea to confirm your attendance
150 pounds as a deposit to be paid in advance (See Tea's email, 05.11.08.)
budget: about 250 Pounds (flight+accommodation inc. breakfast)
should email to Tea to confirm your attendance
150 pounds as a deposit to be paid in advance (See Tea's email, 05.11.08.)
Tutorial_Week6_081104
Prepare the answers with your design-
1. your kiosk sells to whom, when, what and how? Set up your strategy
2. Design the mechanism of your kiosk from the prosthetics
3. Define the takeaway components to feed the mechanism (preparing/cooking/packing/waiting...)
Key words
Selam
- homeliness to sell, a moving creature with its anatomy and movement
- paper, frame, scale
Ivon
- growth, colour/gender, watering/opening/storing/disposing/... to an integrated mechanism
Nick
- from condensing to releasing, ritual, bartering-education-tourism, folding & unfolding to build a unique visual experience/ephemeral territory
Demetris
- climbing customers, a sucking wall, zero gravity, digestion, an inhabitable wall, height/depth variations
Dave
- design the differing status of the water in your prep/restoring/cooking/cleaning process to your kiosk
Dan
- cheese-engineering wall, curing/pinning/wrapping, extracting/shading
For others:
you need to be able to present your key ideas. Start with the three questions at the beginning of this text bearing in mind the ultimate task that Tea posted earlier.
Tae
1. your kiosk sells to whom, when, what and how? Set up your strategy
2. Design the mechanism of your kiosk from the prosthetics
3. Define the takeaway components to feed the mechanism (preparing/cooking/packing/waiting...)
Key words
Selam
- homeliness to sell, a moving creature with its anatomy and movement
- paper, frame, scale
Ivon
- growth, colour/gender, watering/opening/storing/disposing/... to an integrated mechanism
Nick
- from condensing to releasing, ritual, bartering-education-tourism, folding & unfolding to build a unique visual experience/ephemeral territory
Demetris
- climbing customers, a sucking wall, zero gravity, digestion, an inhabitable wall, height/depth variations
Dave
- design the differing status of the water in your prep/restoring/cooking/cleaning process to your kiosk
Dan
- cheese-engineering wall, curing/pinning/wrapping, extracting/shading
For others:
you need to be able to present your key ideas. Start with the three questions at the beginning of this text bearing in mind the ultimate task that Tea posted earlier.
Tae
Wednesday, October 29, 2008
Task for Week6_081104
From: tea lim [mailto:tealim@hotmail.com]
Sent: 291008 7:12am
Subject: Task for Week6_081104
Dear all
We are now designing takeaway kiosks.
Everyone has specific food as well as a certain prosthetic mechanism to appreciate it.
Keep in mind that you, as a cook/operator, deal with only one customer, not two or more at the same time.
This means that your kiosk has to be very compact in size.
And its form should specifically respond to the arrangement of necessary facilities and your actions - see May's work attached.
Also consider how a customer can interact with you or even intervene in/contribute to the operation of your kiosk.
For next Tuesday, do the following:
- diagram 1 - explaining the relation between your food (raw material and basic ingredients, prosthetic mechanism, facilities to cook and package the food
(the relation could be based on the time flow to prepare the food up to packaging)
(you can use picture images or even photoshop for this task)
- drawing 1 - your prosthetic machanism revised to facilitate the operation/function of your kiosk
(be specific about whether the mechanism involves in cooking, packaging, providing electric energy or whatsoever)
- drawing 2 - plan of your kiosk (1:10)
- drawing 3 - section of your kiosk (1:10)
--- see May's work to get what we mean by a 'hard line' drawing
--- tutorial this Friday at the Maritime from 1:00
T
Sent: 291008 7:12am
Subject: Task for Week6_081104
Dear all
We are now designing takeaway kiosks.
Everyone has specific food as well as a certain prosthetic mechanism to appreciate it.
Keep in mind that you, as a cook/operator, deal with only one customer, not two or more at the same time.
This means that your kiosk has to be very compact in size.
And its form should specifically respond to the arrangement of necessary facilities and your actions - see May's work attached.
Also consider how a customer can interact with you or even intervene in/contribute to the operation of your kiosk.
For next Tuesday, do the following:
- diagram 1 - explaining the relation between your food (raw material and basic ingredients, prosthetic mechanism, facilities to cook and package the food
(the relation could be based on the time flow to prepare the food up to packaging)
(you can use picture images or even photoshop for this task)
- drawing 1 - your prosthetic machanism revised to facilitate the operation/function of your kiosk
(be specific about whether the mechanism involves in cooking, packaging, providing electric energy or whatsoever)
- drawing 2 - plan of your kiosk (1:10)
- drawing 3 - section of your kiosk (1:10)
--- see May's work to get what we mean by a 'hard line' drawing
--- tutorial this Friday at the Maritime from 1:00
T
Sunday, October 26, 2008
Task for Week5_081028
From: tea lim [mailto:tealim@hotmail.com]
Sent: 11:56am 26.10.08
Subject: Task for Week5_081028
Dear all
For the internal crit next Tuesday 28th, all should be in the studio by 10:00.
Chris, Shi and Asma, you are the first group to present, so pin up your drawings by 10:00.
T
From: tea lim [mailto:tealim@hotmail.com]
Sent: 7:14am 22.10.08
To: mentor_d80@hotmail.com; dantaylor360@hotmail.com; erdhalex@hotmail.com; demi_chibogu@yahoo.com; njoakes@hotmail.com; daveyboyzdeva@yahoo.co.uk; anna_grodzka@yahoo.co.uk; duantingweisean@hotmail.com; respect_peace@hotmail.com; kambiii@hotmail.com; ingabaufale@gmail.com; paulavsaraiva@hotmail.com; prazman121@hotmail.com; bips_dhunnoo@hotmail.com; shiwei19871206@hotmail.com; dm110@gre.ac.uk; an408@greenwich.ac.uk; emwazi@hotmail.co.uk; jammin124@hotmail.com; kakinola-speare@fostering.net
Subject:
Dear all
As we extend the prosthetics project for one week, we are having an internal crit next Tuesday.
Rahesh Ram, your technical tutor, may join.
For the cirt bring all the work you have done, plus the following:
- full scale final prosthetics
- two drawings (plan and section) describing the detail mechanism (how it works) and materials of your prosthetics in proper scale
- one drawing describing the effect of your prosthetic application on the wall
*** first two drawings (plan and section) should be done in single hard lines - not blurry or too thick scketchy lines
- Taeyoung, could you upload some drawing examples to the blog?
T
Sent: 11:56am 26.10.08
Subject: Task for Week5_081028
Dear all
For the internal crit next Tuesday 28th, all should be in the studio by 10:00.
Chris, Shi and Asma, you are the first group to present, so pin up your drawings by 10:00.
T
From: tea lim [mailto:tealim@hotmail.com]
Sent: 7:14am 22.10.08
To: mentor_d80@hotmail.com; dantaylor360@hotmail.com; erdhalex@hotmail.com; demi_chibogu@yahoo.com; njoakes@hotmail.com; daveyboyzdeva@yahoo.co.uk; anna_grodzka@yahoo.co.uk; duantingweisean@hotmail.com; respect_peace@hotmail.com; kambiii@hotmail.com; ingabaufale@gmail.com; paulavsaraiva@hotmail.com; prazman121@hotmail.com; bips_dhunnoo@hotmail.com; shiwei19871206@hotmail.com; dm110@gre.ac.uk; an408@greenwich.ac.uk; emwazi@hotmail.co.uk; jammin124@hotmail.com; kakinola-speare@fostering.net
Subject:
Dear all
As we extend the prosthetics project for one week, we are having an internal crit next Tuesday.
Rahesh Ram, your technical tutor, may join.
For the cirt bring all the work you have done, plus the following:
- full scale final prosthetics
- two drawings (plan and section) describing the detail mechanism (how it works) and materials of your prosthetics in proper scale
- one drawing describing the effect of your prosthetic application on the wall
*** first two drawings (plan and section) should be done in single hard lines - not blurry or too thick scketchy lines
- Taeyoung, could you upload some drawing examples to the blog?
T
Wednesday, October 22, 2008
Tutorial_Week4_081021
Demetris
Define the functions/shapes/... of the tips of the tentacle, your fingers or palm.
Use a consistent design language. (imagine you're integrated with an octopus like the fly man in the movie)
Selam
Draw & build the folding paper structure/surface. To make the model, you need the hard line drawings as Tea mentioned.
Asma
tongue-trigger + teeth-injector
Make it beautiful enough to compensate your face behind. It should be better-looking than your face as well as working.
Vipin
'Design' the prosthetics- you need to match at least your trendy gadgets.
Inga
Swiss army knife is a good example but your needs to be more sophisticated.
Integrate the two separate pieces to one or two hinges. Your watermellon inside the opening helps you focusing on the main function.
Tingwei
Work hard. You are very disintegrated at this moment from the (not yet 'your'), from the wall and from the prosthetics.
Nick
if you're successful about the image that you see through the prosthetics, you might not draw the one of your hand 'lense'.
Paula
Beef diagrams of the wall and your body. Improve your model. Your model will tell you the beef diagram of the wall. If you look at the mirror, your will see the beef diagram of you in the glass(es).
Naveed
Sauce, sauce, sauce please. Define the sauce of the wall. And determine your actions on/under/above/beneath the wall and move onto your prosthetics.
Dave
Now you've got it. Restore! Give a life to your noodles, resurrect a thin strip of the wall as Tea suggested. Your technical knowledge will help you your drawings/model. What do you need to restore both of them? That is the brief for your prosthetics.
Chris
See the references posted earlier. Skin-suit sounds nice but can you improve the details such as the sucker...reminds me of the one in an old toilet.
Dan
Need to speed up! you've got strong ideas. but no prosthetics nor drawings at this moment. Think about Tea's comments- how do you want to reshape/carve the wall, the answer will lead to the design of the prosthetics.
Sam
Engage in the design. You're not an observer but the man doing the job. Respond in subtlty to the materials, change your prosthetics, control your speed and draw/make.
Kemi
Peel and paste. See the reference below but define your process on your own.
Preshant
The idea of converting smell to heat/light is intriguing. If the lighting lasts long or strong then it will be (over)heated. Do you need to heat them as well though? See some images in others works for an inspiration. I imaging mini version of these:
Anna
...
Shi
Your answer was too easy, again. What do you want to do about the wall? Do you really need only chopsticks to cook and eat the fried rice?
Tae
Define the functions/shapes/... of the tips of the tentacle, your fingers or palm.
Use a consistent design language. (imagine you're integrated with an octopus like the fly man in the movie)
Selam
Draw & build the folding paper structure/surface. To make the model, you need the hard line drawings as Tea mentioned.
Asma
tongue-trigger + teeth-injector
Make it beautiful enough to compensate your face behind. It should be better-looking than your face as well as working.
Vipin
'Design' the prosthetics- you need to match at least your trendy gadgets.
Inga
Swiss army knife is a good example but your needs to be more sophisticated.
Integrate the two separate pieces to one or two hinges. Your watermellon inside the opening helps you focusing on the main function.
Tingwei
Work hard. You are very disintegrated at this moment from the (not yet 'your'), from the wall and from the prosthetics.
Nick
if you're successful about the image that you see through the prosthetics, you might not draw the one of your hand 'lense'.
Paula
Beef diagrams of the wall and your body. Improve your model. Your model will tell you the beef diagram of the wall. If you look at the mirror, your will see the beef diagram of you in the glass(es).
Naveed
Sauce, sauce, sauce please. Define the sauce of the wall. And determine your actions on/under/above/beneath the wall and move onto your prosthetics.
Dave
Now you've got it. Restore! Give a life to your noodles, resurrect a thin strip of the wall as Tea suggested. Your technical knowledge will help you your drawings/model. What do you need to restore both of them? That is the brief for your prosthetics.
Chris
See the references posted earlier. Skin-suit sounds nice but can you improve the details such as the sucker...reminds me of the one in an old toilet.
Dan
Need to speed up! you've got strong ideas. but no prosthetics nor drawings at this moment. Think about Tea's comments- how do you want to reshape/carve the wall, the answer will lead to the design of the prosthetics.
Sam
Engage in the design. You're not an observer but the man doing the job. Respond in subtlty to the materials, change your prosthetics, control your speed and draw/make.
Kemi
Peel and paste. See the reference below but define your process on your own.
Preshant
The idea of converting smell to heat/light is intriguing. If the lighting lasts long or strong then it will be (over)heated. Do you need to heat them as well though? See some images in others works for an inspiration. I imaging mini version of these:
Anna
...
Shi
Your answer was too easy, again. What do you want to do about the wall? Do you really need only chopsticks to cook and eat the fried rice?
Tae
Monday, October 20, 2008
Task for Week4_081021
dear all
The task for next Tuesday is to build a full-scale functioning prosthetics.
For this Friday at the Maritime between 1:00 - 7:00, bring your sketch models.
Comments on tutorial yesterday will be sent later today,Do not just wait for those.
Trust your intuition and start making, testing and developing prosthetics.
it is not a time to do fuzzy sketches but jump into making prosthetics. coming tueday, we are discussing mainly on the 3d objects. everyone's struggling. everyone has certain execuses. but i can say that those who have consistently partaken in tutorials are now on track. meanwhile, seven guys already got official warning letters via mark titman, your personal tutor. tae and i will reassess your performance in three weeks.
Tea
The task for next Tuesday is to build a full-scale functioning prosthetics.
For this Friday at the Maritime between 1:00 - 7:00, bring your sketch models.
Comments on tutorial yesterday will be sent later today,Do not just wait for those.
Trust your intuition and start making, testing and developing prosthetics.
it is not a time to do fuzzy sketches but jump into making prosthetics. coming tueday, we are discussing mainly on the 3d objects. everyone's struggling. everyone has certain execuses. but i can say that those who have consistently partaken in tutorials are now on track. meanwhile, seven guys already got official warning letters via mark titman, your personal tutor. tae and i will reassess your performance in three weeks.
Tea
Field Trip 1 - Dans Le Noir (blind restaurant)
12 atelier 7 students
2 tutors +1
11 gensler people
'dans le noir'
special price:£25pp for a two course meal
menu: white(a chef's surprise) or green(vege)
for a further information visit
Wednesday, October 15, 2008
Tutorial_Week3_081014_part 2
From: Taeyoung Kim
Sent: 2008-10-18 3:05am
To: chris georgiades
Cc: tea lim
Subject: RE: chris georgiades work
Sounds very specific and scientific. My simple understanding was the drying process of raisins needs 'high temperature and high air flow'. Your running and the movement generates heat and air flow so seems to be related. The only question:once the heat is used drying the raisins the hot air contributes the evaporation of the water from raisins as a result and loses its heat. Then what is transferred through the tube to the wall? If it is not a direct transfer or radiation but a micro-climate change, I presume your prosthetics become fine, much more fibres after passing the raisin process to contain the climate. Therefore through the fine, multiple skin extentions you can define the boundary and direct the texture along which the deformation of the wall will follow up.
If you look at your diagram, the same radious tubes with the same numbers start from your body and end on the wall through the raisin. Why don't you change the size/numbers accordingly? What do you reckon, Tea?
Tae
From: Taeyoung Kim
Sent: 2008-10-18 1:47am
To: tea lim; paula saraiva
Subject:
Again, I like your first collage. I can see the children exploring the 'meat' pavilion. They climb it, explore the texture, find the best spot they can easily grab and hold their body. They lie down, hug, and even taste it...who knows.
The glove will work for you in such a way to your food and the wall too. For the goggles, I presume 'the fish eye lense' that will zoom into the area like a magnifier in order for you to observe, tell the part from others. Go to the blog...I uploaded a reference- 3D glasses.
Tae
From: tea lim [mailto:tealim@hotmail.com]
Sent: 2008-10-17 6:56 pm
To: paula saraiva
Cc: Taeyoung Kim
Subject:
prosthetics can consist of a glove and a pair of goggles - with a glove you can analyse the texture/materiality of the london wall, while goggles show you an image of beef relevant to the properties (texture, materiality of the wall).
the investigation/appreciation may be conducted one foot away from the wall so that you get even detail (close-up) images of beef.
or, perhaps from some distance you may get deformed beef-cut diagrams.
see the attached for different parts of beef.
for full scale modelling, you can fake the technology - still, try to capture the essential effects of it.
Taeyoung, perhaps you want to add some comments.
From: Taeyoung Kim
Sent: 2008-10-18 1:29am
To: SHIWEI
Cc: tea lim
Subject: RE:
Just one thing to be clarified - you don't make a kiosk at this stage. You're designing a body part that can enhance your body function to appreciate your food and your wall part.
i.g. chopsticks/wok scrubber, as a part of your hand/fingers that will also help you re-building the ruins of the wall pieces into something like 'fried rice'. Be creative, inventive.
For this aim, you need to define what you want to do, project to the wall. Then your prosthetics can bridge the wall with your food.
Draw your prosthetics drawing and send Tea and me until the end of this weekend. Then you can spend next Monday making a model. Speed up and stick to it.
Tae
From: Taeyoung Kim
Sent: 2008-10-18 1:02 am
To: SHIWEI
Cc: tea lim
Subject: RE:
Hello, Shi
Let's make your scope very very narrow.
I suggest you to make a portable equipment that can be folded and carried by your body (or attached and detached flexibly).
1> think about the elements - the images attached are the only references. you need to invent your own, customised one that will respond to your needs.
2> You need to appreciate the wall particularly the one attached if you have any other preference. The nich area and some ruiened wall pieces. Define your desire, your actions that all should be related to your cooking/eating of fried rice. Please engage yourself thoroughly into the wall and the food. If you don't put your passion but only a distance, you might not get out of a loop.
Tea, can you add him any comments also?
Tae
From: tea lim [mailto:tealim@hotmail.com]
Sent: 2008-10-16 4:06am
To: Asma Emwazi
Cc: Taeyoung Kim
Subject: RE: (^_^)
Hi Asma
I think what you have now is a tool, not quite a prosthetics.
What if you design something like a gas mask - using your tongue to trigger the injection/shooting? of the chemical compound?
Then, you also can develop more intimacy between the mask, food, wall and your body - in a still palate or even identity relation?
Tea
From: tea lim [mailto:tealim@hotmail.com]
Sent: 2008-10-15 6:11am
To: Kemi Akinola-Speare; Taeyoung Kim
Subject: RE: field trip 1
Hi Kemi
Your scheme sounds clear.
Designing/making a prosthetics, be more specific.
For now, you serve yourself, not others.
Your prosthetics may be for prying off shells only with one hand and let the other for eating.
Then, in addition, the device should have a certain mechanism to paste the shells on the wall.
I will see you this Friday at the Maritime - from 1:00.
T
Sent: 2008-10-18 3:05am
To: chris georgiades
Cc: tea lim
Subject: RE: chris georgiades work
Sounds very specific and scientific. My simple understanding was the drying process of raisins needs 'high temperature and high air flow'. Your running and the movement generates heat and air flow so seems to be related. The only question:once the heat is used drying the raisins the hot air contributes the evaporation of the water from raisins as a result and loses its heat. Then what is transferred through the tube to the wall? If it is not a direct transfer or radiation but a micro-climate change, I presume your prosthetics become fine, much more fibres after passing the raisin process to contain the climate. Therefore through the fine, multiple skin extentions you can define the boundary and direct the texture along which the deformation of the wall will follow up.
If you look at your diagram, the same radious tubes with the same numbers start from your body and end on the wall through the raisin. Why don't you change the size/numbers accordingly? What do you reckon, Tea?
Tae
From: Taeyoung Kim
Sent: 2008-10-18 1:47am
To: tea lim; paula saraiva
Subject:
Again, I like your first collage. I can see the children exploring the 'meat' pavilion. They climb it, explore the texture, find the best spot they can easily grab and hold their body. They lie down, hug, and even taste it...who knows.
The glove will work for you in such a way to your food and the wall too. For the goggles, I presume 'the fish eye lense' that will zoom into the area like a magnifier in order for you to observe, tell the part from others. Go to the blog...I uploaded a reference- 3D glasses.
Tae
From: tea lim [mailto:tealim@hotmail.com]
Sent: 2008-10-17 6:56 pm
To: paula saraiva
Cc: Taeyoung Kim
Subject:
prosthetics can consist of a glove and a pair of goggles - with a glove you can analyse the texture/materiality of the london wall, while goggles show you an image of beef relevant to the properties (texture, materiality of the wall).
the investigation/appreciation may be conducted one foot away from the wall so that you get even detail (close-up) images of beef.
or, perhaps from some distance you may get deformed beef-cut diagrams.
see the attached for different parts of beef.
for full scale modelling, you can fake the technology - still, try to capture the essential effects of it.
Taeyoung, perhaps you want to add some comments.
From: Taeyoung Kim
Sent: 2008-10-18 1:29am
To: SHIWEI
Cc: tea lim
Subject: RE:
Just one thing to be clarified - you don't make a kiosk at this stage. You're designing a body part that can enhance your body function to appreciate your food and your wall part.
i.g. chopsticks/wok scrubber, as a part of your hand/fingers that will also help you re-building the ruins of the wall pieces into something like 'fried rice'. Be creative, inventive.
For this aim, you need to define what you want to do, project to the wall. Then your prosthetics can bridge the wall with your food.
Draw your prosthetics drawing and send Tea and me until the end of this weekend. Then you can spend next Monday making a model. Speed up and stick to it.
Tae
From: Taeyoung Kim
Sent: 2008-10-18 1:02 am
To: SHIWEI
Cc: tea lim
Subject: RE:
Hello, Shi
Let's make your scope very very narrow.
I suggest you to make a portable equipment that can be folded and carried by your body (or attached and detached flexibly).
1> think about the elements - the images attached are the only references. you need to invent your own, customised one that will respond to your needs.
2> You need to appreciate the wall particularly the one attached if you have any other preference. The nich area and some ruiened wall pieces. Define your desire, your actions that all should be related to your cooking/eating of fried rice. Please engage yourself thoroughly into the wall and the food. If you don't put your passion but only a distance, you might not get out of a loop.
Tea, can you add him any comments also?
Tae
From: tea lim [mailto:tealim@hotmail.com]
Sent: 2008-10-16 4:06am
To: Asma Emwazi
Cc: Taeyoung Kim
Subject: RE: (^_^)
Hi Asma
I think what you have now is a tool, not quite a prosthetics.
What if you design something like a gas mask - using your tongue to trigger the injection/shooting? of the chemical compound?
Then, you also can develop more intimacy between the mask, food, wall and your body - in a still palate or even identity relation?
Tea
From: tea lim [mailto:tealim@hotmail.com]
Sent: 2008-10-15 6:11am
To: Kemi Akinola-Speare; Taeyoung Kim
Subject: RE: field trip 1
Hi Kemi
Your scheme sounds clear.
Designing/making a prosthetics, be more specific.
For now, you serve yourself, not others.
Your prosthetics may be for prying off shells only with one hand and let the other for eating.
Then, in addition, the device should have a certain mechanism to paste the shells on the wall.
I will see you this Friday at the Maritime - from 1:00.
T
Tutorial_Week3_081014_part 1
All, I did not specify the task as Tea already did. These are my notes from the last tutorial.
Paula
note the playfulness of your first collage. Then what is the sirloin of the london wall? which part will help/enhance your dining experiece? If the part is incomplete then what can help you doing so? Your steak seems to need a decent way/time/efforts of cooking, which in turn gives you a sense of dignity. Do you really need a mask or something else like magnifying lenses telling the best quality sirloin or timing? Or a flat surface, a grill...? Or a clock?
Demetris
complete your drawing, a hand swirled by an octopus desparately climbing the wall. imagine the moment of eating it alive, what activity/which part of the wall/what kind of prosthetics would you help tolerate the challenges to reach the most tasteful moment?
Selam
your simple prosthetics, which is a good starting point, needs to be more subtle, articulated and further developed to respond to the cooking/eating process. Think about your movement under/within it. the scale of each movement will dictate the radius of different circles as well as the folding/unfolding process of your frame.
Dan
good to see your poetic drawings after some quiet momemts. keep that poetic quality as the identity of you and your drawings whether they are technical or conceptual.
Cheese- curing process vs bricks extracted and replaced by pieces of cheese, varying micro-climates of the wall with different heights, your actions extracting, inserting, extracting, ...all will change the wall to something edible!
Asma
Sweet-bitterly, pains-compensation...a nice pair that can go through your sense (of the food), your actions (to the food and the wall). your prosthetics to overcome the bitterliness, pains to achieve the sweetness, have the compensation... softening the edge, making the wall flexible, an injecting machine.. A section drawing is a key to show when you reach the wall with the machine, when the fluid/chemical flows through the wall section and the wall is becoming flexible.
Inga
A good progress in the sketches. Be more poetic/interpretative/architectural in inventing your prosthetics. The prosthetics need to be designed to cut/peel your watermellon to the most ideal/tasteful conditions for you. Also from the interaction between the drips of WM and the mortar/bricks, the wall will evolve into what you need to define. the action you want to achieve- a boom or slow erosion? Research- the openings, the chemical process that the drips cause to the wall.
Vipin
Complete the drawings across different scales. The impacts to the London wall surface from your jumping need to be drawn too as well as the impacts onto your body of the prosthetics. A very good progress.
Sam
Love to see your choreography of cutting the lasania through the wall. Your prosthetics too. You will get some differing feelings according to the materials you cut. Your wall will be distorted accordingly.
Nick
Remembering- 3seconds drawing? Can you draw what you would see if you were a lobster?
Distance, segements, joints, shapes, size...will be determined by the drawings.
Chris
Quite hard to follow your mechanism. Are you against ageing of your body by running (an exercise), which ironically accelerate ageing/drying of raisins, which again controls weathering of the wall into a texture? Drying raisins- high temperature of berries/air and high air flow movement critical. Research DOV raisins as shown in the image attached.
Tae
Paula
note the playfulness of your first collage. Then what is the sirloin of the london wall? which part will help/enhance your dining experiece? If the part is incomplete then what can help you doing so? Your steak seems to need a decent way/time/efforts of cooking, which in turn gives you a sense of dignity. Do you really need a mask or something else like magnifying lenses telling the best quality sirloin or timing? Or a flat surface, a grill...? Or a clock?
Demetris
complete your drawing, a hand swirled by an octopus desparately climbing the wall. imagine the moment of eating it alive, what activity/which part of the wall/what kind of prosthetics would you help tolerate the challenges to reach the most tasteful moment?
Selam
your simple prosthetics, which is a good starting point, needs to be more subtle, articulated and further developed to respond to the cooking/eating process. Think about your movement under/within it. the scale of each movement will dictate the radius of different circles as well as the folding/unfolding process of your frame.
Dan
good to see your poetic drawings after some quiet momemts. keep that poetic quality as the identity of you and your drawings whether they are technical or conceptual.
Cheese- curing process vs bricks extracted and replaced by pieces of cheese, varying micro-climates of the wall with different heights, your actions extracting, inserting, extracting, ...all will change the wall to something edible!
Asma
Sweet-bitterly, pains-compensation...a nice pair that can go through your sense (of the food), your actions (to the food and the wall). your prosthetics to overcome the bitterliness, pains to achieve the sweetness, have the compensation... softening the edge, making the wall flexible, an injecting machine.. A section drawing is a key to show when you reach the wall with the machine, when the fluid/chemical flows through the wall section and the wall is becoming flexible.
Inga
A good progress in the sketches. Be more poetic/interpretative/architectural in inventing your prosthetics. The prosthetics need to be designed to cut/peel your watermellon to the most ideal/tasteful conditions for you. Also from the interaction between the drips of WM and the mortar/bricks, the wall will evolve into what you need to define. the action you want to achieve- a boom or slow erosion? Research- the openings, the chemical process that the drips cause to the wall.
Vipin
Complete the drawings across different scales. The impacts to the London wall surface from your jumping need to be drawn too as well as the impacts onto your body of the prosthetics. A very good progress.
Sam
Love to see your choreography of cutting the lasania through the wall. Your prosthetics too. You will get some differing feelings according to the materials you cut. Your wall will be distorted accordingly.
Nick
Remembering- 3seconds drawing? Can you draw what you would see if you were a lobster?
Distance, segements, joints, shapes, size...will be determined by the drawings.
Chris
Quite hard to follow your mechanism. Are you against ageing of your body by running (an exercise), which ironically accelerate ageing/drying of raisins, which again controls weathering of the wall into a texture? Drying raisins- high temperature of berries/air and high air flow movement critical. Research DOV raisins as shown in the image attached.
Tae
Monday, October 13, 2008
Task for Week3_081014
Dear all
Most of you still need to specify your ideas.
The programme itself is complex enough, so try to be simple and clear.
Next Tuesday bring the following:
- compositional DRAWING 1, 2 - the first week task in completed versions-
- compositional DRAWING 3 - plan and section of prosthetics, describing its materials and mechanism (how it works) in DETAIL in proper scale (1:1 - 1:5)
- compositional DRAWING 4 - prosthetics in use together with body (part) and wall fragment (1:10 - 1:50)
Drawings should be in hard lines, no longer blurry sketches, on A2 papers, unless you have a super particular complex set of reasons.T
Most of you still need to specify your ideas.
The programme itself is complex enough, so try to be simple and clear.
Next Tuesday bring the following:
- compositional DRAWING 1, 2 - the first week task in completed versions-
- compositional DRAWING 3 - plan and section of prosthetics, describing its materials and mechanism (how it works) in DETAIL in proper scale (1:1 - 1:5)
- compositional DRAWING 4 - prosthetics in use together with body (part) and wall fragment (1:10 - 1:50)
Drawings should be in hard lines, no longer blurry sketches, on A2 papers, unless you have a super particular complex set of reasons.T
Friday, October 10, 2008
Tutorial_Week2_081007
Demetris
Awkward but telling-me-something images – your ‘obsession’ with a crawling/creeping/swirling creature. Are you fascinated with the movement of an octopus? Which aspect attracts you as a FOOD? Otherwise it reminds me of the Korean man eating an ‘alive’ octopus enjoying the feeling when it crawls within your mouth… Do you want to crawl/creep/swirl the wall like an octopus?
Those actions evoke your appetite? What does the food look like that enables you do those actions while eating?
Selam
Your food related to your private territory, your family, ‘homeliness’ sounds intriguing.
Many successful take-away entrepreneurs started from their family recipes passed through out mother to daughter, father to son… The food, enjoyed by the people outside your family, can deliver the specific sense of what you’ve felt while you dine the food with your family. Think about Ratatouille- the food leads the critic to the memory as a young boy in his country home loving the mother-made food, ratatouille… So, can you (temporarily) privatize a small territory of the London wall using your prosthetics, bring the memory of ‘homeliness’ through your cooking, your food?
Inga
Good try to sketch your observation. But do slow! Milan Kundera said you are doing fast something to forget and doing slow something to remember! Which part do you fancy – juiciness? the sound of chewing and swallowing? Is there your own specific way of tasting/peeling/chewing/swallowing/wasting/recycling/…? It is not about a body in an anatomy diagram but about you. Do you like to make a juicy watermelon brick that will be chewed, swallowed and digested to water? What do you want to see from the London wall and the cascade/pond near Barbican? Remember, you are concerned about the micro-actions of your tongue and your hand other than jumping, leaning, walking as you drew in your sketch.
Mentor
Your food is very special- pasul. I have no clue about what is important in cooking, what level of fluidity is ideal etc. Some food need strong heat in a short time, some need the opposite way.
Can you define the process, the critical factors leading to the perfectly cooked, authentic taste of pasul, the proportion between ingredients, the actions required while it is being boiled? You mentioned the smoked smell adds the quality of pasul. Also the fluid is a key to relate ‘meats’ and ‘beans’ – not necessarily well-matched pair! The mortar is essential in building bricks. Look at how the mortar works, how it sticks one block to another. See the chemical reactions generating some heats. See how it loses its fluidity and gives up to the rigidity leading to the strength of the wall. What does pasul become when it loses heat? Does it gain rigidity? Can you build it like a block? Can you keep it secret between bricks and ‘resurrect’ it when you’re hungry? Then what do you need to do so?
David
You might find your ‘hidden’ personality. Your drawings are mysterious.
It asks what it hides behind/beneath? They are too peaceful to believe what is drawn as it is. You might start feeling suspicious or curious. So what is there beneath? What is visible is not everything. That’s what you want to say? The instant noodles, quick to cook – they went through a substantial chemical process to enable you to cook and eat quick. While you like ‘fast’ food or eating quick, somebody spent some time to invent a process for you to do so. Can you also invent a process that can make your cooking/eating even quicker.
A comparison between the foundation stabilizing the wall whilst absorbing the pressure/humidity of the soils AND the dehydration and other process preserving noodles for a quick ‘re-animation’? can you invent a way of preservation (of a foundation or noodles) that anticipates your quick action to re-animate the wall or the noodles?
Kemi
Be specific with your food- the ingredients, the process, the actions, the timing, etc. Be specific with your site too. Why is it special, what does it imply to each other? Drawings are essential for a communication between the two.
Nick
Started from Lobster but it can tell something more! Excellent in grabbing the theme- between luxurious and ordinary, redundant and essential, ritual and routine, ….your prosthetics can change the direction. From something unreachable to accessible (lobster), from something redundant/remote to essential/routine (London wall, which was built as essential/practical but is now redundant and luxurious to maintain considering its function)? Then what does your prosthetics do to your body? The scale comparison looks like a very good starting point. The sense comparison sounds even intriguing! Tea’s suggestion is worth trying your another creative shot.
Chris
Lots of potentials in raisin-drying, weathering and finally aging processes.
Sun/wind/humidity…all seem to be common factors, ‘skin’ or ‘texture’ seems to be what is a cross-over across those three. Define your positions related to the three first- You can exploit the current texture of them, as they are, or you can design a ‘pattern’ that will allow you to eat a favorite food/optimal environmental conditions/graceful aged appearance. Or do you want to use a skin of the wall to give the best condition to dry raisings (i.g.) whilst stopping your skin from being exposed and thus aged? Be specific why/what you like or you like to add more in each of them. Depending on each, your prosthetics can vary. It does not need to start one though.
Wei
Be specific. With your food, with your movement, with your London wall. Analyse your fried rice- why it is tasty, what is important in cooking process, etc. Analyse your tool. Analyse the relationship between the two. Analyse your movement. Position yourself on site. Draw the actions you’d like to do and the tools necessary Draw what you’re fascinated with mostly from the wall (though not related to your food)
Tingwei
Foreign- local, showoff – practical, transplanted – rooted, adapted- original, monumentality- everydayness. There are some key words you can investigate. Find those two aspects from your flat noodles- the origin, culture, tradition, memory… How can you adjust ingredients/stuffs/sauces/tools/yourself to cook/eat the unique flat noodles in London (wall)?
Can you name the food with respect to London (wall)? What does your prosthetics make up – a lack of what? Position yourself on site eating the noodles, Invent something that can make you feel comfortable and help you eating the noodles
Sam
Sketches caught everybody’s attentions. See Gordon-matta-clark’s ‘Food’ restaurant from the link below. http://thisisnotashop.wordpress.com/gordon-matta-clark/ See also his other works, see how he uses the action of cutting to understand/reveal the process of building. Can you cut a section of the wall /lasania using your prosthetics ( first needs to be drawn) and respond to materials with differing speed and scale, deform the section to allow you to express the responses? Can imagine such a beautiful choreography of your body and also of your section drawing?
Tae
Awkward but telling-me-something images – your ‘obsession’ with a crawling/creeping/swirling creature. Are you fascinated with the movement of an octopus? Which aspect attracts you as a FOOD? Otherwise it reminds me of the Korean man eating an ‘alive’ octopus enjoying the feeling when it crawls within your mouth… Do you want to crawl/creep/swirl the wall like an octopus?
Those actions evoke your appetite? What does the food look like that enables you do those actions while eating?
Selam
Your food related to your private territory, your family, ‘homeliness’ sounds intriguing.
Many successful take-away entrepreneurs started from their family recipes passed through out mother to daughter, father to son… The food, enjoyed by the people outside your family, can deliver the specific sense of what you’ve felt while you dine the food with your family. Think about Ratatouille- the food leads the critic to the memory as a young boy in his country home loving the mother-made food, ratatouille… So, can you (temporarily) privatize a small territory of the London wall using your prosthetics, bring the memory of ‘homeliness’ through your cooking, your food?
Inga
Good try to sketch your observation. But do slow! Milan Kundera said you are doing fast something to forget and doing slow something to remember! Which part do you fancy – juiciness? the sound of chewing and swallowing? Is there your own specific way of tasting/peeling/chewing/swallowing/wasting/recycling/…? It is not about a body in an anatomy diagram but about you. Do you like to make a juicy watermelon brick that will be chewed, swallowed and digested to water? What do you want to see from the London wall and the cascade/pond near Barbican? Remember, you are concerned about the micro-actions of your tongue and your hand other than jumping, leaning, walking as you drew in your sketch.
Mentor
Your food is very special- pasul. I have no clue about what is important in cooking, what level of fluidity is ideal etc. Some food need strong heat in a short time, some need the opposite way.
Can you define the process, the critical factors leading to the perfectly cooked, authentic taste of pasul, the proportion between ingredients, the actions required while it is being boiled? You mentioned the smoked smell adds the quality of pasul. Also the fluid is a key to relate ‘meats’ and ‘beans’ – not necessarily well-matched pair! The mortar is essential in building bricks. Look at how the mortar works, how it sticks one block to another. See the chemical reactions generating some heats. See how it loses its fluidity and gives up to the rigidity leading to the strength of the wall. What does pasul become when it loses heat? Does it gain rigidity? Can you build it like a block? Can you keep it secret between bricks and ‘resurrect’ it when you’re hungry? Then what do you need to do so?
David
You might find your ‘hidden’ personality. Your drawings are mysterious.
It asks what it hides behind/beneath? They are too peaceful to believe what is drawn as it is. You might start feeling suspicious or curious. So what is there beneath? What is visible is not everything. That’s what you want to say? The instant noodles, quick to cook – they went through a substantial chemical process to enable you to cook and eat quick. While you like ‘fast’ food or eating quick, somebody spent some time to invent a process for you to do so. Can you also invent a process that can make your cooking/eating even quicker.
A comparison between the foundation stabilizing the wall whilst absorbing the pressure/humidity of the soils AND the dehydration and other process preserving noodles for a quick ‘re-animation’? can you invent a way of preservation (of a foundation or noodles) that anticipates your quick action to re-animate the wall or the noodles?
Kemi
Be specific with your food- the ingredients, the process, the actions, the timing, etc. Be specific with your site too. Why is it special, what does it imply to each other? Drawings are essential for a communication between the two.
Nick
Started from Lobster but it can tell something more! Excellent in grabbing the theme- between luxurious and ordinary, redundant and essential, ritual and routine, ….your prosthetics can change the direction. From something unreachable to accessible (lobster), from something redundant/remote to essential/routine (London wall, which was built as essential/practical but is now redundant and luxurious to maintain considering its function)? Then what does your prosthetics do to your body? The scale comparison looks like a very good starting point. The sense comparison sounds even intriguing! Tea’s suggestion is worth trying your another creative shot.
Chris
Lots of potentials in raisin-drying, weathering and finally aging processes.
Sun/wind/humidity…all seem to be common factors, ‘skin’ or ‘texture’ seems to be what is a cross-over across those three. Define your positions related to the three first- You can exploit the current texture of them, as they are, or you can design a ‘pattern’ that will allow you to eat a favorite food/optimal environmental conditions/graceful aged appearance. Or do you want to use a skin of the wall to give the best condition to dry raisings (i.g.) whilst stopping your skin from being exposed and thus aged? Be specific why/what you like or you like to add more in each of them. Depending on each, your prosthetics can vary. It does not need to start one though.
Wei
Be specific. With your food, with your movement, with your London wall. Analyse your fried rice- why it is tasty, what is important in cooking process, etc. Analyse your tool. Analyse the relationship between the two. Analyse your movement. Position yourself on site. Draw the actions you’d like to do and the tools necessary Draw what you’re fascinated with mostly from the wall (though not related to your food)
Tingwei
Foreign- local, showoff – practical, transplanted – rooted, adapted- original, monumentality- everydayness. There are some key words you can investigate. Find those two aspects from your flat noodles- the origin, culture, tradition, memory… How can you adjust ingredients/stuffs/sauces/tools/yourself to cook/eat the unique flat noodles in London (wall)?
Can you name the food with respect to London (wall)? What does your prosthetics make up – a lack of what? Position yourself on site eating the noodles, Invent something that can make you feel comfortable and help you eating the noodles
Sam
Sketches caught everybody’s attentions. See Gordon-matta-clark’s ‘Food’ restaurant from the link below. http://thisisnotashop.wordpress.com/gordon-matta-clark/ See also his other works, see how he uses the action of cutting to understand/reveal the process of building. Can you cut a section of the wall /lasania using your prosthetics ( first needs to be drawn) and respond to materials with differing speed and scale, deform the section to allow you to express the responses? Can imagine such a beautiful choreography of your body and also of your section drawing?
Tae
Sunday, October 5, 2008
Task for Week2_081007
Dear all
The task for Tuesday is to do two DRAWINGS - sketches are additional.
Be precise about what you are expressing/describing.Narrow down your interest in food
(ig. chewy texture of a sirloin steak cooked medium) and focus on a particular aspect/quality of a wall fragment (ig. surface condition in raining), both in relation to a specific entity of your body (part - ig. mechanism of chewing, jaws, teeth, cheek muscles), while asking yourself why.
Be inventive on prosthetics - use 'Google image search' for brainstorming - ig. Stelarc.Prosthetics at the bottom enhance a certain capability and for now should be at least functionally clear.
Tea
The task for Tuesday is to do two DRAWINGS - sketches are additional.
Be precise about what you are expressing/describing.Narrow down your interest in food
(ig. chewy texture of a sirloin steak cooked medium) and focus on a particular aspect/quality of a wall fragment (ig. surface condition in raining), both in relation to a specific entity of your body (part - ig. mechanism of chewing, jaws, teeth, cheek muscles), while asking yourself why.
Be inventive on prosthetics - use 'Google image search' for brainstorming - ig. Stelarc.Prosthetics at the bottom enhance a certain capability and for now should be at least functionally clear.
Tea
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