1,720,964 research outputs found
Machines for Indeterminate Architecture
No full textA discussion of drawing instruments Five and Seven designed and built by the author along with sequences of photographs of these instruments in action
Photography as an agent of architectural proposition and provocation
No full textThe advent of photography provided scientists with new tools to reveal aspects of the physical world that had not been perceived before. Photography provided a degree of veracity that suited scientific inquiry and this authority also made photography the medium of choice for proposing speculative phenomena such as phantasms. Since at least Leonardo, painters have adjusted the picture plane to make their paintings appear more true to life. In natural history dioramas the painted surface is curved to engage our peripheral vision. The chapter discusses the potential of photography as a propositional medium for architects and describes a set of cameras built by the author to replicate the projective geometry of one of James Perry Wilson’s dioramas at the Yale Peabody Museum. Learning from these cameras, the author builds a drawing instrument that has a folding picture plane (that registers photographically) to allow the person drawing with it to appropriate projected material (a physical model also by the author). The aim of this work is to use photography as a propositional medium to discuss indeterminate conditions in architecture
Drawing indeterminate architecture and the distorted net
No full textJames Perry Wilson studied as an architect at Columbia University and practiced for twenty years until the depression when he became a diorama painter at the American Museum of Natural History (AMNH). He brought the rigour of architectural measured perspective to his new discipline and developed his Dual Grid method of projection onto the curved diorama shell. The author studied Wilson’s methods by building a set of cameras specific to one of Wilson’s dioramas at the Yale Peabody Museum that accomplished all of his geometric actions in one photograph. To understand when Wilson implemented his method the author built a set of dioramascopes to determine which projection techniques Wilson used on his Mule Deer diorama at the AMNH. This chapter documents that research and discusses the implication of these techniques to architectural drawing
An Architecture of Parallax: Design research between speculative historiography and experimental fabrication
Full text linkThis thesis develops, through an architectural design practice between speculative historiography and experimental fabrication, a design research method revolving around shifting notions of parallax. Parallax, the effect whereby the position or direction of an object appears to differ when viewed from different positions, is fundamental to the geometrical reconstruction of three-dimensional spatial positions from two-dimensional information and lies at the basis of technologies like photogrammetry. Moving beyond this metrological meaning, the work proposes an expanded, generative notion of parallax that accommodates and generates multiplicity, thereby challenging the imperatives of homogenous categorisation in current (digital) architectural design practice. The method is developed through a series of projects oscillating between historical enquiry and experimental technological design practice. Through the description of these projects, ranging from the speculative reconstruction of a long-destroyed unphotographable tailor shop to the fabrication of a prototype for an inhabitable mobile amphibious sculpture, the parallactic method unfolds simultaneously as a mode of observation and creative invention: following parallactic shifts between the heterogeneous points of view of historical interlocutors, technological agents (the projects use digital fabrication, scripting, 3D scanning and robotics) and further ‘others’, heterogeneous architectural artefacts are created that hold the capacity for an ongoing multiplicity of interpretation and open-ended re-invention. It is through the parallactic method’s embrace of difference, its combination of heterogeneous frames of reference, allowing non-belonging elements to cross, contaminate and co-enact, that it is able to create thick and indeterminate architectural design assemblages that continue to generate difference. The thesis formulates a theoretical framework for this entanglement of parallactic knowing and making by referring to poststructuralist philosophy (in particular Karen Barad’s writings on quantum theory) and questioning the very separability of historiography and design practice, capture and fabrication, instead describing design research as a mutually implicated onto-epistemological practice
Pamphlet Architecture 34: Fathoming the Unfathomable
No full textOne of the respected Princeton Architectural Press series (est. 1977), the 80-page co-authored essay,Fathoming the Unfathomable, was the winner of a Pamphlet Architecture competition to identify the architects and theorists whose work represented the most exciting design and research in the field. Chard and co-author Kulper speculate on how architecture might discuss indeterminate conditions of production through a generative agency of representation. Drawing acts as a tactical and conversational medium, providing the architects with new opportunities for the confluence of the uncertain. The drawing instruments in the final section were designed and constructed over a two-year period
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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