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
Wednesday, October 15, 2008
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
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