>>>>> Presentation, Wednesday 13.00 at the Studio.

Espen Lunde Nielsen, 'Eroding Permanences of the Infraordinary; City as Archive'.

 Excerpts from a Diploma Project, focusing on the construction of a narrative / device-making / 
 locating and mapping of a site, Queens, NYC.

Espen Lunde Nielsen, Diploma Project 2012.

>>>>>A4. Window expander/ critic with James Martin

>>>>> A4 Perceptual apparatus/ Window expander/ Phase 3

>>>>> Constructing prototypes

Studio Mumbai: Work-Place Exhibition, Lausanne 2011 [1]

“(…) Windows are almost unnecessary in the Indian climate. Studio Mumbai buildings and rooms are more often enclosed by shutter screens allowing the passage of air and, like Japanese paper screens, a variety of relationships between inside and outside. The agents of movement, crafted 
bronze rollers, hinges and clasps are Studio Mumbai products, they transform the house into a responsive and adaptive machine
 where entire walls fold together like the pages of a book. When windows do appear, their horizontal format recalls the Eames House or other high points of modernism in India (including Pierre Jeanneret's experiments with domestic cross ventilation in Chandigarh). The beautiful and ingenious opening mechanism and hand-carved grips operating the horizontal windows between bedrooms and veranda in the Utsav House, for
 example, are close relatives to the pivoting horizontal louvres that cover the three-floor facade of the 1935-1942 Golconde Dormitory at the Aurobindo Ashram 
in Pondicherry by Antonin Raymond (…)”[2].

Peter Wilson

Studio Mumbai: Utsav House, Satirje, Maharashtra, India 2008 [3]

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[1] STUDIO MUMBAI: Work-Place Exhibition, Lausanne 2011 in MARCOS, Fernando, LEVENE, Richard (ed.), Studio Mumbai 2003-2011. Ways of doing and making, El Croquis nº 157, 2011, Pg.45

[2] WILSON, Peter: “Studio Mumbai. Ways of doing and making” in MARCOS, Fernando, LEVENE, Richard (ed.), Studio Mumbai 2003-2011. Ways of doing and making, El Croquis nº 157, 2011, Pg.45

[3] STUDIO MUMBAI: Utsav House: http://www.studiomumbai.com

>>>>> Public Lecture by Architect, Bijoy Jain – founder of Studio Mumbai. 

'Ways of Doing and Making' 

Tuesday, 30th of October at 13.00 in the Auditorium, Nørreport 20, AAA.

>>>>> A4 Perceptual apparatus/ Window expander/ Phase 2

Wednesday October 24th

9.00  pin-up and A4 Phase3 introduction

Deliverables:

- Initial mapping of your window (Phase 3).

- Documentation regarding all developed probes (conceptual drawings, photos of the models,
   movies etc. and manuals).

The chosen probe for the further development (Phase 4) is to be presented on A3 sheets, including conceptual drawings, sectional perspective drawing (developed in the previous phase)  of the spatial relation between the manipulated/transformed opening/ space /context, manual, used references, or any mode of description or representation that the students consider appropriate to explaining the process and final results.

Please upload you material from Phase 1, 2 and 3 to your blog.

>>>>> A4 Perceptual apparatus/ Window expander/ Phase 1

Monday October 8th

9.00 - 11.00 pin-up/ drawings + models + program
11.00 -12.00 A4 Phase 2 introduction + movie:  Koolhaas Houselife- 2007 by Ila Bêka & Louise Lemoîne

>>>>>A3. Window diary/ Mapping the intangible critic with Thomas William Lee

>>>>>A4. Perceptual apparatus/ Window expander

(...) What does it mean, to live in a room? Is to live in a place to take possession of it? What does taking possession of a place mean? As from when does somewhere become truly yours? Is it when you've put your three pairs of socks to soak in a pink plastic bowl? Is it when you've heated up your spaghetti over a camping-gaz? Is it when you've used up all the non-matching hangers in the cupboard? Is it when you'vedrawing-pinned to the wall an old postcard showing
Carpaccio's 'Dream of St Ursula"? Is it when you've experienced there the throes of anticipation, or the exaltations of passion, or the torments of a toothache' Is it when you've hung suitable curtains up on the windows, and put up the wallpaper, and sanded the parquet flooring?(...) [1]

Georges Perec

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[1] PEREC, Georges, Species of Spaces and Other Pieces, Penguin Classics, New York, 1997, (ed. original: Espèces d’espaces, Éditions Galilée, París, 1974) pg.24

>>>>> [A4] Perceptual Apparatus / Window Expander

Haus-Rucker-Co: Gelbes Herz (1967-68) [2]

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[2]  HAUS-RUCKER-CO: Gelbes Herz in Austrian Phenomenon: Architekturavantgarde Österreich 1956-1973, Birkhäuser Architecture; 1st Edition, 2009, pg.360

Based upon the explorations of phenomenological matters in [A3], the window is re-developed as a perceptual apparatus. The spatial exploration should take into consideration the existing spatial condition(-s), and act upon; reinforce or change the inherent environment.

context: 

your home-window

method:

drawings, spatial construction, models + 1:1 prototype 

"(...) A machine can be defined as a man-made, artificial construction, which essentially functions by virtue of mechanical operations. A mechanism is made of a group of mobile solid parts that work together in such a way that their movement does not threaten the integrity of the unit as a whole.

A mechanism therefore consists of movable parts that work together and periodically return to a set relation with respect to each other. It consists of interlinking parts, each of which has a determinable degree of freedom of movement: for example, both a pendulum and a cam valve have one degree of freedom of movement, whereas a threaded screw has two. The fact that these varying degrees of freedom of movement can be quantified means that they can serve as tangible guides for measuring, for setting limits on the amount of movement that can be expected between any two interacting solid objects. In every machine, then, movement is a function, first, of the way the parts interact and, second, of the mechanical operations of the overall unit. Mechanics is governed by the principle that every movement of a machine is geometric and measurable. What is more, every such movement regulates and transforms the forces and energy imparted to it. Mechanics though, does not work in the same way that a motor does: in mechanics, movements are simply propagated, not created. A rather simple example of how this transformation of movement takes place can be seen in several devices — a wheel crank or an eccentric crank, for example — that are set into motion by an initial lateral movement but eventually produce reciprocating, rotary movement. Of course, mechanical operations can be combined, either by superimposing them or adding them together. It is even possible to take a basic mechanical device, modify it and make it capable of performing a variety of other mechanical operations. This is exactly what happens when a bicycle freewheel clutch is released or stopped.(...)" [3]

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[3] CANGUILHEM, Georges ‘Machine and Organism’, in CRARY J. and KWINTER S.. : Incorporations; 1992, p. 44 - 64