29 Ekim 2009 Perşembe
26 Ekim 2009 Pazartesi
21 Ekim 2009 Çarşamba
19 Ekim 2009 Pazartesi
14 Ekim 2009 Çarşamba
This project provides for the creation of a botanical garden on the sire of a former waste dump near the village of Tumanek, Wyszków area, central Poland. The concept stems from the general issue, long explored by Kozakiewicz, of man’s relationships with his environment and the idea of revitalising degraded (in the broadest sense of the word) spaces and areas. The site of the waste dump, which was created in the late 1960s, would thus be returned to the environment and to man by means of creating here a unique tropical park. Moreover, the now disused waste dump – the effect of man’s anti-ecological activities –would become a ‘host’for the projected garden, the biogases emitted by it used to heat the park’s facilities. The garden, where tropical plants would be grown, would also have scientific, didactic, popularising and leisure functions. Jobs would be created for the inhabitants of Tumanek, Lucynów, Rybienko and other villages in the area. The main part of the project is a structure whose form has been inspired by the bodily shape of an invertebrate called the water bear (Tardigrade). It is a dome consisting of several thousand semi-transparent ETFE-plastic triangles that are moisture- and air-permeable. The 40 metre-tall structure is built on the plane of an almost exact ellipsis, its longer diameter some 140 metres long. Inside the structure, a humid biome of a surface of approximately 1 hectare would be created. The water bear is not a random element here –to the contrary, the microscopic invertebrate’s presence is actually symbolic and of crucial significance for the whole concept. The Tardigrade is the most resilient of all living creatures known to man (in a state of suspended animation called cryptobiosis it can survive temperatures ranging from –°C, withstand radiation 1,000 stronger than any other animal, it can also survive over 10 years without water, and even survive in the cosmic vacuum), so it can symbolise the power of natural processes, as opposed to the environment-degrading activities of man.
construction: Sebastian Szafarczyk, visualisation: Piotr Twardo
Water bears (Tardigradae) –a phylum of microscopic, segmented animals with eight legs that occur over the entire world, from the high Himalayas to the deep sea and from the polar regions to the equator. At last 700 Tardigrade species have been identified. They are 0.05-1.2 mm in length, and have a body with four segments (not counting the head), four pairs of legs without joints, and feet with claws or toes. The cuticle contains chitin and is moulted. They are transparent, colourless, and most are phytophagous (plant eaters) or bacteriophagous, but some are predatory. Although some species are parthenogenetic, males and females are usually present, each with a single gonad. Some Tardigrade species have as many as about 40,000 cells in each adult’s body, others have far fewer.
In collaboration with Akademie Schloss Solitude in Stuttgart
Geometry of the Inside is the project of a metropolitan cinema. The building could be located nearby the Zacheta Gallery, the National Theatre, and the Metropolitan office building, fitting the architectural and cultural context of the Pilsudski Square. The shape of the building has been derived from an over 8 hour-long recording of the involuntary movements of a sleeping young woman. Her bodily movements were recorded by a computer and transformed into interweaving lines – the image of the attractor. In physics, the attractor is a ‘set of physical properties towards which a system tends to evolve regardless of the starting conditions of the system.’ The term, originally used in the theory of dynamic systems, has also proved useful in sociology and ecology. In Kozakiewicz’s project, the attractor describes the movements of the sleeping figure, plotted with lines drawn from the woman’s bodily orifices. The grid so obtained has been transformed into an irregular, sculptural figure that, properly enlarged, becomes an architectural form. Geometry of the Inside explores the, seemingly untranslatable to the language of architecture, phenomena of movement and change. The building’s walls will be semi-transparent to make it possible to project images directly on them, both inside and outside, erasing the division between the private (inside) and public (outside). The continuity of the private (dream) and public (reality) spheres is already present at the project’s preparatory stage. By employing outer-wall screens, the object engages accidental passers-by who at any moment can become viewers of a projection. The use of walls as screens also means that the building’s shape has not been determined once and for all; the projected images will co-determine the building’s appearance and make it unique. Geometry of the Inside isn’t a static figure but a changeable form shaped by visual information.
11 Ekim 2009 Pazar
I love my Lulu | Lulu'mu seviyorum. Vücudu Alban Berg'in Lulu operasının bandıyla kaplı bir sokak kadını Lulu.Kendi vücudundaki müziği dinleyen bir heykel bu, vücutta dolaşan kan gibi
Sarkis | Site 11 Eylül 2009-10 Ocak 2010
8 Ekim 2009 Perşembe
4 Ekim 2009 Pazar
Bütün bu teknikler, tamamen sistematiktir, bütün özellikler simultane olarak biçimlenir.Sistem herşeyi hesaplar, dolu ve boş, aynı anda, bir diğerinin formasyonuna bağlı olarak yerleşen binlerce tekrar yardımıyla ve aynı süreçte. En sonunda, sıra ve form üretilir.
Yapı çizgileri, birleşen ve birlikte bir belirli bir form oluşturan esnek saç telleri gibi davranır ve tabandan başlayan karmaşık ve esnek olmayan bir sürece dönüşür. Bu demek oluyor ki, bahsi geçen hesaplama teknikleri –analog yada dijital- sadece strüktürel değil, üst düzey organize formların hesaplanması için de kullanılabilir. Çeviri: Ayber Gülfer