Norman McLaren was a Scottish-born Canadian animator and film director known for his work for the National Film Board of Canada (NFB). His film "Synchromy" (1971) is a brilliant example of transferring the patterns of sound to a visual medium.
http://ubumexico.centro.org.mx/video/McLaren-Norman_Synchromy_1971.avi
tirsdag 16. august 2011
lørdag 30. april 2011
lørdag 16. april 2011
Explanation of the main concepts of Room For Space
Visual Structure - from Oskar Hansen and Svein Hatløy - is the most important concept. It defines forms and their connections in terms of:
scale
similarity/contrast
dynamic/static
continuity/simultanity
etc.
(For a full list, se Oskar Hansen's book "Zobaczyc Swiat" [ISBN 83-89145-70-7 & 83-87321-78-8] or attend the Visual Structure courses at Bergen School of Architecture.)
These terms can also be applied to Material Structure and Functional Structure, but these two do not have to be connected to a visual structure. As Chi Ti-Nan and others have pointed out, i.e. the wireless networks in a city creates an invisible functional structure, with no connection to the physical pathways of communication.
A visual structure may have more than one material or functional structures, and these can change over time. The main function of an object may be to serve a specific intention, and also several subintentions. When recycling an object, it is given a new set of functions, while its visual structure often remains the same. This means that some of its previous valid functional structures has become invalid, and some of its previous invalid structures has become valid. It also implies that any object has an unlimited number of potential functions. These potential functional structures may even be intentionally hidden in the object in its original context, and revealed when the object has been put into a new context.
The connections between an object, its functional structure and its intention is shown in this scheme:
Through variations in visual, material and functional structures the object's set of intentional and subintentional uses can be controlled. Using the principle of Open Form, all potential connections between object, function and intention are possible. Using the principle of Closed Form, only specific connections between object, function and intention are allowed.
The concepts of visual, functional and material structures also makes up a set of mental references:
How these mental references are programmed will affect the way we "read" and understand visual, functional and material structures and the connection between these. "Rothe Aphotek" in Berlin can be used as an example:
Most people are habituated to read letters and text, so they will notice this visual element first:
Architects and artists will notice this visual element first:
In this facade, we have at least three layers of visual (functional) structures, each connected to specific intentions: The textual element tells about the use of the building, the vertical field of stucco ornaments tells about the building's history, and the facade as a whole creates the buildings' visual identity in the cityscape.
(To be continued)
Explanation of the main concepts of Room For Space by Sølve N.T. Lauvås is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
scale
similarity/contrast
dynamic/static
continuity/simultanity
etc.
(For a full list, se Oskar Hansen's book "Zobaczyc Swiat" [ISBN 83-89145-70-7 & 83-87321-78-8] or attend the Visual Structure courses at Bergen School of Architecture.)
These terms can also be applied to Material Structure and Functional Structure, but these two do not have to be connected to a visual structure. As Chi Ti-Nan and others have pointed out, i.e. the wireless networks in a city creates an invisible functional structure, with no connection to the physical pathways of communication.
A visual structure may have more than one material or functional structures, and these can change over time. The main function of an object may be to serve a specific intention, and also several subintentions. When recycling an object, it is given a new set of functions, while its visual structure often remains the same. This means that some of its previous valid functional structures has become invalid, and some of its previous invalid structures has become valid. It also implies that any object has an unlimited number of potential functions. These potential functional structures may even be intentionally hidden in the object in its original context, and revealed when the object has been put into a new context.The connections between an object, its functional structure and its intention is shown in this scheme:
Through variations in visual, material and functional structures the object's set of intentional and subintentional uses can be controlled. Using the principle of Open Form, all potential connections between object, function and intention are possible. Using the principle of Closed Form, only specific connections between object, function and intention are allowed.The concepts of visual, functional and material structures also makes up a set of mental references:
How these mental references are programmed will affect the way we "read" and understand visual, functional and material structures and the connection between these. "Rothe Aphotek" in Berlin can be used as an example:
Most people are habituated to read letters and text, so they will notice this visual element first:
Architects and artists will notice this visual element first:
In this facade, we have at least three layers of visual (functional) structures, each connected to specific intentions: The textual element tells about the use of the building, the vertical field of stucco ornaments tells about the building's history, and the facade as a whole creates the buildings' visual identity in the cityscape.
(To be continued)Explanation of the main concepts of Room For Space by Sølve N.T. Lauvås is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
fredag 15. april 2011
lørdag 26. februar 2011
Looking and seeing
What does it mean to see?
Seeing is understanding.
Once you have learnt to see, you not only look at the surface, you see through, you see behind.
You no longer look at separated elements, you see the connection, you see the whole.
Seeing is awareness.
Seeing is being awake, even in your dreams.
(Originally written december 30, 2007)
Looking and seeing by Sølve N.T. Lauvås is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Norway License.
lørdag 20. november 2010
Looking and seeing: Becoming aware of the color spectrum
Billboards and advertisements often uses bright colors for catching our attention. But the same colors can be found both in nature and the city jungle. It is only a matter of becoming aware of it, so that you no longer feel any need to look at advertisements.
If you have a window facing the sun, you can create "rainbow dots" in your interior by using a glass prism placed on a small mirror. The rainbow dots will move during the day according to the angle of the sun.
Being surrounded by slowly moving rainbow dots in your home or workplace, you will become subconsciously habituated to their appearance. This will help you in discovering and enjoying the colors and light that appears in the city:
Looking and seeing: Becoming aware of the color spectrum by Sølve N.T. Lauvås is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Norway License.
If you have a window facing the sun, you can create "rainbow dots" in your interior by using a glass prism placed on a small mirror. The rainbow dots will move during the day according to the angle of the sun.
Being surrounded by slowly moving rainbow dots in your home or workplace, you will become subconsciously habituated to their appearance. This will help you in discovering and enjoying the colors and light that appears in the city:
Looking and seeing: Becoming aware of the color spectrum by Sølve N.T. Lauvås is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Norway License.
fredag 19. november 2010
Subconscious reprogramming method: Repackaging of everyday products
Many products comes in packaging that are specially designed for that product, like the Coca-Cola bottle. The main intention of the bottle's form is to keep the liquid inside. The sub-intention of the bottle's form is to make a subconscious connection between the shape of the bottle and the Coca-Cola brand + logo. To break up this inner space (mental) connection between logos/brands and form, repackaging can be used as a tool.
In this example, two steps are shown. The first step is simply to remove the logo or brand name from the soap bottle. The connection soap (content)- form (context)- brand (symbol) is reduced to only soap (content) - form (context). By repackaging the soap in another bottle the original connection between product (content) and packaging design (context) has been removed completely.
As an extra bonus, the top of the Heinz ketchup bottle has a bigger hole than the original Zalo bottle, so that you are forced to consciously change the amount of pressure used for squeezing the soap out of the bottle. Your old habits are being broken up and new ones are created.
Subconscious reprogramming method: Repackaging of everyday products by Sølve N.T. Lauvås is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Norway License.
In this example, two steps are shown. The first step is simply to remove the logo or brand name from the soap bottle. The connection soap (content)- form (context)- brand (symbol) is reduced to only soap (content) - form (context). By repackaging the soap in another bottle the original connection between product (content) and packaging design (context) has been removed completely.
As an extra bonus, the top of the Heinz ketchup bottle has a bigger hole than the original Zalo bottle, so that you are forced to consciously change the amount of pressure used for squeezing the soap out of the bottle. Your old habits are being broken up and new ones are created.
Subconscious reprogramming method: Repackaging of everyday products by Sølve N.T. Lauvås is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Norway License.
Abonner på:
Innlegg (Atom)