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“From grid to network”**

Throughout the history of the built, a creation of networks and systems has always been present in nature. What is a grid? And what is a network? In simulating human autonomy it is a network that provides communication; while, the grid has been placed to structure the formula. Translated into numerous varieties, networking systems are comprised of rigid materialism and absolute chaos. In such cases, structure is dependant upon network and vice versa. There has been much criticism and response to the underlying grid that formulates a network. Modern – Directed – Disciplined – Concentrated Thus, this is coming from a man that declares the grid as straight. Suddenly the straightness of a line becomes a message for clarity and direction. {A call to arms. One in which a collaborative effort is both required and neccessary. It may or may not be clear as to whom this man is, but he has made the first move, and it is hers to react and decide.} To follow it, one is: Exact - Essential – Circulation – Order – Idea – Mind – Reason – Straight line – Proper The reason, for this initial idea is to allow efficient production. “So understood, the logic of the assembly line is obviously mechanical, serial, and linear.” (p29) But in such a case, mechanical engineering cannot work alone, social engineering is needed. Not only in a mechanical assembly line but in other environs; home, leisure, desire. These created portals become the individual plugs within the grid. In the era of the modernist, avant-garde, systems were reinforcing the idealized slashes of dividing lines. It also provided a more simplified aestheticism, or lack thereof; believing that it only created in ration. Criticism disguised itself, in foresights of reprogramming current situations. As time progresses a topple of built manifestos has risen causing thought and message to the community that views it. As Venturi discusses, modern culture and its relation to popular culture, is imbedded with the message behind structural enclosures. Unlike the purity of architecture as rational, & simplistic it translates into another dimension of mixture: Mixed media – process city – communication technology – The difficult image – The difficult whole. It is apparent that in this culture, straight lines are no longer logical, and grids of systematic networks are anything but. “Grids, which might have worked in industrial society, are obsolete in network culture.” (p37) The process of communication becomes the occupant of space; as in, Venturi’s decorated shed. The grid has verses of differentiating translations, from straight, diagonal or curvilinear it stands as statements of its time. Stylistic gestures, and rational formulations, entangled in the web of networks dispersing to billions of eyes translating through different mediums, essentially inquiring both style & ration. The industrial ideal being molded gently into differentiating divisions of the grid and somehow finding that moment of the assembly line within the modern example of Frank Gehry’s fluidic gestures and ration.


 * “African Genesis”**

The conceivable factor of the sexual act as to a breathing matter on surface: “…enfolding and entrapment of energies...” (p25) This in a case of a given space, the view of the land, and its concentration will always result: an animal, an organism, or an event. The contraction of a landscape: “humans evolved and were shaped by ecological and communitarian forces as they played themselves out on the plain…we are social animals and out social and nervous apparatuses are products of the plain…” (p26) Such, for example as the questioned genesis of the Okavango Delta, as in its genesis; in the simple cycle of hydrology, the mass body of water is unified, but within it are many bodies of factors that implies itself to it. Such in the case of salinity, water density, currents, and wind dynamics having such an impact on the vast surface of the sphere. Other factors which clearly marks its path; the ideal passages or flows. Such as the faculty of defense in delineation; a pact of zebras: integration can mean delineation, the option to de-helm/distract. These separate patterns acting as a whole, become independent parts each capable with or without formation. Even in harmony, as music is arranged and played. There is no uni-melody, rather an interaction of many. “The coherence of African composition (be it basketry, textiles, music, or dance) is derived from conflicting and deliberately irreducible rhythmic patterns known as cross-rhythms…” (p32) Music: Organization of rhythms - cross-rhythmic tensions – period contraction & composition into coherent. “…one that incorporates and focuses movements in an environment, one that undergoes transformation and admits influence by maintaining webs of modifiable and often of exquisitely tension, one that accepts, and accepting, gives.” (p35) “…forces could only affect other forces and never their fixed products directly. To compose: to select, to target, and to modify = composing factors.” (p38) “In nature, design is the composition of tension into circuits stable enough to process a more or less wide range of imput and variation.” (p40)


 * “From Object to Field”**

The idea of a singular unit transgressing and forming variables; the many is the term field conditions. “Working with and not against the site, something now is produced by registering the complexity of the given.” (p24) This formal/spatial form is then capable of readjusting term as in including itself to a stem; unifying the identities of many. Forming the in between-interstitial connections that bond the density of the form. As in the organic section of a tree bark; growth ever-continuing while a constant occurrence of density packed rings reformulate to give mass; the reformation of fields, but not necessarily field conditions. Though if these rings were mapped and planted together, while field conditions such as the tenders’ circulation will begin to spatially impact the dispersal of density; such as urban growth. Cordoba, Mosque: created in four stages. “The typological structure was reiterated on a larger scale, while the local relationships remained fixed.” (p25) For instance, the view of the parts as an influence to the whole yet remaining, parts. The mosque uses repetition in the preserved spaces that though a change of program may occur, it would accommodate it as it has been there all along. Thus, the creation of variable and chance within the field conditions. As can be said about the oppositional belief of minimalist notions, restrain by creating a specific object. “Minimalism develops in sequences, but rarely in fields.” “Distributions: relationships of points and configurations to each other.” (p26) Such as, compositional parts; keeping in tact the connection and arrangement, as in the sight of relationships within those connections. Thus Open field, conducts a certain operation in which rectilinear grids are inexistent and “variation and repetition – individual and collective – are held in delicate balance.” “All grids are fields but not all fields are grids.” (p28) For instance, the ideal local community added to a compilation of other local communities it becomes a field study of operations within acting whole; field and figure. The occurrences of field – figure configuration becomes the primal factor of its relation to scale. In other cases of distribution: a flock is given precise and simple condition. As it rises and attempts to do its duty, an assembly of field is formed. “Field conditions and logistics of context reassert the potential of the whole, not bounded and complete (hierarchically ordered and close), but capable of permutation open to time and provisionally stable.” (p31)