Reform

Tracking and tracing
Studying from the Indigestion and the Dissident Housework Series – the events is changing. It regenerates the stuff and the field, and changes the relationship and essence of object by dynamic events.

Pollutant
The fog not only leaves the moisture in the space but also releases the smoke to reform the object. For example, the Blur (Diller+Scofidio, 2002) releases the fog. It reforms the original space and blurs the boundary of building. In addition, the human body generates and disturb this particle in the environment. Body releases pollutants through breath, body heat and vibrating the particle on the body (e.g. dandruff). I am thinking the altering body probably can generate the smoke and form the body-landscape. Next step, using the 3D scanner records the smoke landscape which releases from body, and producing the object which generates the pollutant attaches on the altering body.

scenario with stranged posture

Learning from Joel-Peter Witkin's photograhpic. Models use irregular posture to dialogue with environment (scene).
The events (body to body/ environmental factors)could influence the reflection of motion.

idea of Landscape with the effect of 'Shotcode'

Thinking about the interaction between the user, the observer and the reader.
The emerging Landscape, which is edited as a chartography by reader, reflects the body motion on user and reader.

Drawing game by Étienne-Jules Marey

The machine casts on the body to record the data of body motion.
Also, I think it also reflects the data on the body. (using technology suck as the electronic tattoo)
It maybe combine the idea of 'shotcode'

chronography : alternative cartography and choreography

Two cases of casa per tutti at milan triennale

Thoughts of casa per tutti

Social housing today faces new challenges: the fragmentation of societies, waves of migration and their impact on local cultures, an increase in mobility, the awareness of the limited nature of resources, the need for higher compatibility between building and nature, and the necessity to "invent" more flexible and ephemeral spaces that would better respond to the needs and cultures of their users.


umbrella house
kengo kuma used modified umbrellas,which have zippers along their outer edges are zipped together to create thismodular shelter. each umbrella has two extra 'flap's that hang from its centralsegments to allow for different compositions .the zippers are cut slightly longer than the umbrella's edges so that the excessmaterial can be tied together to seal joints.the inside of the structure leaves the umbrella mechanisms exposed.

Umbruffla
Anything by Vito Acconci is bound to get all my attention so i'll kick of the list of projects i most liked with Umbruffla. Conceived by Studio Acconci, this is a new umbrella you could wrap yourself up in. Fix one end to your waist, the other to one wrist, so that both hands are free. Wearing it, you could dodge a passer-by, turn it windward and even welcome a companion under it with you. Umbruffla is made from two way mirrored mylar. From outside the surface is mirrored, so while you can see through from inside, you would be camouflaged by the reflections of the city which shimmers on you as you walk.
The name of the object comes from English - 'ruffle'. When the object is closed, "the ruffles are gathered into a ruffle", but, when opened, "the ruffles unfold, fan out, spring out, into an umbruffla."

Rebecca Horn: Bodylandscapes

The sprawlingly inclusive use of media by artists today marks the work of Rebecca Horn, born in Germany in 1944 but resident in New York, Paris and Berlin, where she also is at home in just about any medium you can name. Rebecca Horn: Bodylandscapes surveys the diversity of her work and also makes apparent the importance of that old-fashioned first step, drawing, for this thoroughly contemporary artist. Eighty works on paper and around 25 sculptures and installations make up the show.

'Finger Gloves' is a performance piece and the main prop of that performance piece and was done in 1972. They are worn like gloves, but the finger form extends with balsa wood and cloth. By being able to see what she was touching and the way in which she was touching it, it felt as if her fingers were extended and in her mind the illusion was created that she was actually touching what the extensions were touching. There is another piece that she did that is very similar to this one. It is part of her Berlin Exercises series done in 1974 called “touching the walls with both hands simultaneously”. In this piece she made more finger extension gloves, but this time measured it so that they specifically fit the selected space. If the chosen participant stood in the middle of the room, they could exactly touch opposing walls simultaneously.
Another piece that involves the illusion of feeling and one’s hand is 'Feather Fingers.' (1972). A feather is attached to each finger with a metal ring. The hand becomes “as symmetrical (and as sensitive) as a bird’s wing”. When touching the opposite arm with these feather fingers one can feel the touch on the left arm and of the fingers on the right hand moving as if to touch the left arm but it is instead the feathers which make contact. Rebecca Horn describes the effect: “it is as if one hand had suddenly become disconnected from the other like two utterly unrelated beings. My sense of touch becomes so disrupted that the different behavior of each hand triggers contradictory sensations.” This piece focuses greatly on sensitivity.
Rebecca Horn continued to explore the image of feathers in her works of the 1970s and 1980s. Many of her feathered pieces wrap a figure in the manner of a cocoon or function as masks or fans to cover or imprison the body. Some of these pieces are 'Cockfeather' (1971), 'Cockfeather Mask' (1973), 'Cockatoo Mask' (1973), 'Paradise Widow' (1975), and 'The Feathered Prison Fan' (1978) made for her film Die Eintänzer.

more information http://en.wikipedia.org/wiki/Rebecca_Horn

The influence from Diller+Scofidio and Nat Chard

Diller & Scofidio

Diller & Scofidio operate in times when the architectural observer cannot possession of a building through the ritualistic experience of its fixed and common iconography.
'Automarionette' : a prosthetic apparatus by Diller & Scofidio that makes the empathetic viewer aware of his own body and inertia of its parts.
Sandbags are suspended by levers and attached with the body of men model. It appears the tensions which affect other parts beside the bones and the body. Therefore, body is as a structure of pre-stress and the pre-stress was shown by the way which we lay eyes on.(explain the ‘Automarionette’ project )

NAT CHARD

Users will mark the architecture with their actions during occupation, leaving traces that suggest how it should be inhabited. (Nat Chard, 8)
Durational scan of two figures walking and consequential space, 1994
Durational study of space between lower legs of two people walking, 1994
Perception drawings of foot, to be read with drawing opposite, 1994
Perception drawings for desire sensitive space, 1994
Early body project to take possession of the city using imagined bio- and nanotechonologies, 1992. Two drawings to left(shown with synthetic organs opend out for illustration) make up stereo pair.

Durational feedback drawing for desire sensitive space for two people, 1993. Study of relationship between personal projection of space, recollection of the previous condition, context and the feedback loop.

Engaed in the study of Eadweard Muybridge and Francis Bacon

The Tate Britain had Francis Bacon's exhibition. He studied human action from Eadweard Muybridge. Also, his drawings had some concerns about the dialogue between human figure and the space. In the Francis Bacon's paintings, I think they are describe the dynamic status figure in the moment.
'a ditionary' of the body in motion - "My principal source of visual information is Muybridge, the 19th-century photographer who photographed human and animal movement. His work is unbelievably precise. He created a visual dictionary of movement, a living dictionary." (Francis Bacon )
Eadweard Muybridge is most famous for his split-second studies of motion which began in 1872 with an attempt to capture the movement of a galloping horse. By 1877 he had developed a technique to place 12 cameras in a row to capture each stage of the horse’s movement. His books Animal Locomotion and The Human Figure in Motion made systematic studies of movement, and inspired artists in the twentieth century such as Francis Bacon. Later Muybridge experimented with a device to create moving images from still photographs, making him a pioneer of cinematography.

Study the Cubisim drawing

The trail of movement from human body

I think the two pictures try to record the trace and moment of human's movement.
In the first one, the white trace of dancer also leave kind of relationship with the spcae and human body.
The second give me the prime idea of the blink although they are doing the similar motion.

Study From: Hussein Chalayan

Relate to skin and topology

the idea of landscape

http://uk.youtube.com/watch?v=WRX-3DDBow0&feature=related

http://uk.youtube.com/watch?v=4DSJi-dqVmc&feature=related