Architecture as Temporal Event
How can observation, mapping, measurement, analysis, and interpretation of circumstance, ultimately culminate in an architectural expression, translating footage from a quotidian event witnessed in New York City into an imagined physical space? Within the framework of the everyday or the extraordinary, the process of transcribing a seven-second clip of action from a soccer game into diagrams, models and and finally an inhabitable pavilion, draws the relationship between player and spectator, actor and cinematographer, user and architect. Borrowing from Deleuze and Guatarri’s Assemblage Theory, Eisenstein’s Methods of Montage and Tschumi’s Manhattan Transcripts, the spatial sequence derived from the footage results in a series of stairs, tunnels and ramps navigating one of Riverside Park’s large stone walls, as reference to where the original footage was captured.
How can observation, mapping, measurement, analysis, and interpretation of circumstance, ultimately culminate in an architectural expression, translating footage from a quotidian event witnessed in New York City into an imagined physical space? Within the framework of the everyday or the extraordinary, the process of transcribing a seven-second clip of action from a soccer game into diagrams, models and and finally an inhabitable pavilion, draws the relationship between player and spectator, actor and cinematographer, user and architect. Borrowing from Deleuze and Guatarri’s Assemblage Theory, Eisenstein’s Methods of Montage and Tschumi’s Manhattan Transcripts, the spatial sequence derived from the footage results in a series of stairs, tunnels and ramps navigating one of Riverside Park’s large stone walls, as reference to where the original footage was captured.
Basswood Model
