PARTS PLAYGROUND
MACHINE VISION - BETWEEN DIGITAL AND PHYSICAL
TEAM : Arsenios Zachariadis, Hsiao-Chiao Peng
Parts PlayGround
The project is a speculation on a object to object compositional syntax, referring to James Stirling’s work. The reference for this particular project is the Science Center in Berlin, a built project which main characteristic is the loose composition between the parts and also the use of iconic types of buildings, such as the cathedral, the theater, the bell tower etc. It seems to be an intentionally playful treatment of the iconicity of the parts, composing all together around a courtyard.
The project investigates new compositional syntaxes between the parts using the same loose technic as the main method. Moving beyond this point, one more element has a key role to this direction, the visual connection. The importance of the visual connection in the 3D space seems to be more crucial in the fact that offers great variety possible connections and new geometrical properties of the parts emerge. In this content, it appears that the individual parts could have their own ground for landing instead of a common XY plane. What if each object has a ground on its own XY plane? Then a chain between the object, its ground and the 3D space is created. The composition syntax is no more about the parts together but between the parts their ground and the connection of the multiple different and controversial grounds, both visually and physically.
A Part-to-Ground, Ground-to-Ground relationship is emerged, creating moments of clear distinction between the parts and the ground but also moments of highly blending. However, where is Stirling’s wrapping and surface treatment that makes this important, serious and iconic elements seem daily objects? The key is a 2D graphics catalogue, treated like proto-drawings, as they imply special architectural divisions of the space in elevation top and sectional view. This catalogue is not just a graphic catalogue but it is tight connected with each object individually as it is projected on the objects. It is an alternative to Stirling’s paint wrapping, more sophisticated and advanced in an attempt to offer to the viewer another reality of the objects, beyond the geometrical. Through projection, the parts some activate and new relations, connections appear. There are moments of flat color treatment which provides a pseudo-depth to the surface. New textures emerge and the whole part-part game appears to a new way of reading the geometry.
