Aesthetics and politics
and machine vision (oh my)
multi-use facility, los angeles, ca
second YEAR STUDIO—TEXAS A&M UNIVERSITY
instructor: gabriel esquivel + casey Rehm
Collab : Jayson Kim + Anna COok
This project speculates on the current and the new ways of inhabiting life, or placing the aesthetic in objectivity, leading into the aesthetic regime as defined by Jacque Ranciere. Ranciere says that aesthetic is an experience of overcoming the world as we know it. This begins to contest the regimes formed by generalizations within human nature, for example how museums categorize things chronologically in their historical narratives.
Like Rosa Parks' infamous bus boycott, with any "dissensus" that begins to disrupt the politics of the governing body, we are presented with two systems of operations:
- On one hand, we can accept the existing rules and suffer the consequences of noncompliance.
- On the other hand, we recognize the inequalities present in the current politics and begin to assume equality.
Rosa Parks lived in a world where she could not sit at the front of the bus but imagined a world in which she could and thus reinvented that world by occupying both. Architecture has its own politics in the way that it sets rules for bodies to follow. Once it begins to challenge the dominant regime, it will set new rules that will bring out inequalities and thus, produce new realities. With the stacking of information from using satellite images, pixel manipulation based on color data range, and 3D voxels, the strategies we operate with directly connect us to the actual plan organization and interface without the artificial and artistic effects that are generally tied to the totalistic massing studies that architecture has historically operated on. This inside-out approach to design intensifies facts similar to the way that Film Director Werner Herzog removes generalizations of understanding through automative production within contextual information. For example, in Rescue Dawn during the waterfall scene, rather than having the camera observe from afar, it is submerged in the action. This begins to flatten the relationship between the subject and object, removing hierarchy so the camera becomes both an observer and a participant. This mirrors how the scripts were utilized in the production of the building. From the elevation it is difficult to understand the building, but in full immersion of the plan, an order begins to emerge.
Similarly, by cutting through the object produced with machine interface, we are not looking at a plan governed by an architectural regime. For example, the plan is not baroque, modern, neo-classical, etc. Instead it is one that distances itself in order to cut across the divisions that prevents understanding of the true politics. By using the machine, we gain access to the full data available rather than the limited human perception allowing us to begin fulfilling architectural potential.
Our strategy was to use two systems of information; one as the generator and the other as the organizer. By using the machine as a design tool that comprehends the quantity of information stacking with pixel to voxel based intelligence, it generated a form that begins to toy with the idea of removing architectural regimes in order to produce a less biased relationship between man and architecture that is often influenced by capitalism, the media, etc. The other system of information then inlays the discreet tectonics for a more continuous figure, producing a compositional order through the superimpositions of rhythms of tectonic elements. This project asserts the notion that with the subtraction of meaning, architecture can return to the capacity of seeing.