The idea explored here is whether a threshhold, or an "in", might be established and then reestablished through a series of iterations, each building on the prior. However, it seems so much reliance on the optical poses problems for its building and reading.
Edwin,
ReplyDeletethe models look cool but that makes me skeptical... do you feel you are falling back on a habitual process or are you being pushed by the research in unexpected directions?
" so much reliance on the optical poses problems for its building and reading."
exactly. how to impart a sense of time, of change without depending so heavily on reading a rather complex and scattered geometry?
you need some topological diagrams, especially if you are talking about a sense of time. It would be good to see some undistorted, simple (dare I say orthogonal) representations of thresholds and how they actually work in Havana.
how does one building which is being activated then spawn another construction? how is that done in a construction process.... you need to invent some construction drawings that play out over time.
I am also unclear as to who the agent is behind these constructions. you cannot exactly occupy the role of Borges, the storyteller. He, after all, has the power to create his characters and the landscape/timescape they occupy out of nothing.
You, on the other hand, have chosen Cuba, which may hold some kind of fantasy to one who hasn't been, but you know the social realities there. How does your design also engage the overlapping worlds of global tourism and local poverty?
It misses out on the true cuban experience sadly. I would like to have seen some ephemeral cuban emotion like you see in downtown havana.
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