POD concepts

2004-02-05 2:29 AM

noise
in each case we have begun with a pre-existing system that is more or less closed and then through the introduction of media and tectonic insertions the system builds a capacity for change over time. this word capacity is important because it is an open-ended concept that implies possibility without definitive conclusion.
noise is also important in that the process of our creation cannot be considered a closed one in any way. through the use of outside ideas taken from science, computing, film, industry, and collaborative efforts with other designers and most importantly clients we allow the work to be a derivation of our basic efforts that are more of a technique rather than a style. in this way the work derives inside/outside of style and fashion concerns and aligns itself more closely with use and effect. not to say that there is not a concern for the visual, but the visual becomes a bi-product and not the end goal. it should be noted that this idea is conceived as outside of form follows function debates in that we do not care what follows what because the technique based system that we are developing is open to all influences at all times.

time
there is a temporal fascination in the work that is delineated through the conceptual function of mulit-use. operability, functionality, and capacity are generators of this time. for example a wall’s multiuse is defined through time and is always acting between states of being (out of time) therefore the wall is also a screen, a door, an aperture, a lens, a blur, an entity, a user.
media insertions give the opportunity to mute or mutate the physical architecture with virtual architectures created with content that is variable. this allows for the creation of a fiction/fact hybrid architecture where time and experience

pods
conceptually the armature around which each project is built is a series permeable, expandable, invisible membranes that are called pods. these pods can consist of people, ideas, architectures, materials, or any combination of these. they can be either singular, itimate zones of interaction or large interactive groupings. the pod concept allows the freedom of idea/information exchange between any element of the process to influence the other while also allowing for exterior influences to enter the space and allow for change. the concept of the pod is the underpinning of the developing technique around which each project is developed. in addition, this concept becomes manifested within each project as more than a technique for creation but actually a creation of spatial capacities.

frames
the understanding of the work is more apt through frames of film cut from a larger work or work and then reassembled (re: john cage’s Williams mix) in this sense all of the work is an extension of the work before and after. all of the work revolves around a central vortex force and forms in eddy’s along the periphery of the stream. in this sense pieces of the overall driving force are picked up in each project as so much genetic material and altered before being reinserted into the stream. in this way we consider the system an open, evolutionary, genetic technique (a non-linear engine).

divagation
in other ways there is an attempt to subvert the formal relationship streams through the introduction of third conditional insertions in the form of media that serves to both mute and highlight the form/use space of the work. in many ways these concepts are attempts at removing the work from direct understanding while also attempting to remove any mis-understanding.

use
in this sense, our fascination with the input of the user and its inverse register in the form/architecture creates a relational connection that is both direct and obtuse. in this sense the insertion of architecture into spaces creates rifts in space that affect the users movement patterns and habits. we choose to recognize the influences of both the user and the form and the hybrid use/forms on the spatial context of the work.

economy
we use the concept of varying intensities to drive both formal and material choices during the design of each project. in this way these points of intensity allow economic resources (material, time, fabrication, design) to flow toward these zones. in this way small budgets can achieve points of spatial and material difference without sacrificing overall budgetary concerns.
open-source
we propose to create architectures that deny the ego of the architect through the ability to share concepts and ideas openly among professionals and lay-people during the process of design. we propose a more open discourse among practicing architects, specifiers, builders, and technologists in an attempt to raise the level of work for all practitioners. this is more in-tune with university than with practice, but as recent concepts in computing, material sourcing, etc have shown this model has the power for altering the seemingly unmovable systems within which we work.

capacity
the conceptual base for the work lies in the ability to create architectures with the capacities for mutability, operability, alterability, specificity, multiuse, and permanence. this concept is key to our understanding of processes in that it allow s for change while not requiring change. in this sense the architecture is more closely aligned with the needs and desires of clients who see the need to exist outside of style and more closely align with the need for change and permanence.
index / register
the work hopefully becomes a definition of the user as it is also defined by the user. insertions begin to register uses and spaces and indexing these through formal and spatial effects.

pixels*resolution
resolution is understood as the ability to alter the detail of the work through subdivision. each part of the work can be understood as a pixel that has a relation and affect on the surrounding pixels. as each pixel is changed the surrounding pixels respond to this change. the resolution is then affected by the addition of more pixels where more detail is required.

techniques * operations
the process of creation is described as an open system of operations that become a technique of creation. in this way the concern for a coherent process serves to free us from the preoccupation with formal outcomes. the work becomes understandable along an overall timeline of work and within a certain series of discreet project based objectives.