COMPETITION POLLING
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1265857943
Some of our best memories as children are of time spent on the Jersey Shore boardwalk, often just walking, taking in the view of the beach, or having a picnic under one of the pavilions. It is a place full of our families’ memories; a place where marital vows were exchanged and where news of a new little sister was received. The boardwalk will forever evoke strong emotions when revisiting. When conceiving of a memorable design, we wanted nothing more than to create a place where new and old generations will make similar exciting memories of their own while simultaneously contributing to a piece of architecture. The Luminode Boardwalk constructs a sanctuary to preserve memories for generations to come.
The Luminode Boardwalk is a promenade that will forever evolve. The blocks represent memories, while the structure explores the notion that memories twist and ravel over time. Each life begins a tabula rasa and as people grow and accumulate experiences, they harness those memories in the form of energy, until they inevitably reach an age when that light begins to fade. The Luminode Boardwalk is more than an architectural structure, it is a place that enhances experience for the public. It will encourage people to meander and become a gathering place where loved ones can create memories together. The Luminodes will be made of a translucent recyclable material, which will capture the sun’s energy, and will illuminate the boardwalk with personalized messages. As people walk along the promenade, they are reminded of all the memories of the past, those to come, and how precious and beautiful time is.
Through our drawing we chose to highlight the human experience of walking the Luminode Boardwalk. The image depicts a grandfather and his grandson walking the memory promenade. To the child everything is new and he builds memories while placing a Luminode. The man, much farther along in life, has more to look back on and less to look forward to. Nonetheless there is a cycle of life where his memories will perpetuate through the child, and that Luminode will forever become a marker of their experience. In this way the Luminode Boardwalk creates a space that both brings together loved ones to make cherished memories while promising to honor those memories over time through its architecture.
The Luminode Boardwalk is a promenade that will forever evolve. The blocks represent memories, while the structure explores the notion that memories twist and ravel over time. Each life begins a tabula rasa and as people grow and accumulate experiences, they harness those memories in the form of energy, until they inevitably reach an age when that light begins to fade. The Luminode Boardwalk is more than an architectural structure, it is a place that enhances experience for the public. It will encourage people to meander and become a gathering place where loved ones can create memories together. The Luminodes will be made of a translucent recyclable material, which will capture the sun’s energy, and will illuminate the boardwalk with personalized messages. As people walk along the promenade, they are reminded of all the memories of the past, those to come, and how precious and beautiful time is.
Through our drawing we chose to highlight the human experience of walking the Luminode Boardwalk. The image depicts a grandfather and his grandson walking the memory promenade. To the child everything is new and he builds memories while placing a Luminode. The man, much farther along in life, has more to look back on and less to look forward to. Nonetheless there is a cycle of life where his memories will perpetuate through the child, and that Luminode will forever become a marker of their experience. In this way the Luminode Boardwalk creates a space that both brings together loved ones to make cherished memories while promising to honor those memories over time through its architecture.
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1268082020
THE DIMENSION OF MEMORY
What is a memory? A congeal ocean of metaphors, symbols, opinions and patterns?
We observe, process and interpret stimuli, systematically narrowing them to concepts. A language allows us to create a pyramidal order of names; mathematical sphere of categories that generates an image of our world. A transcendent and absolute web of reality was thereby designed for entire human race. Our need to believe in this reality has lapsed – the world has congealed in our memory as an undeniable and objective truth.
“We have no need of other worlds. We need mirrors. We don't know what to do with other worlds. A single world, our own, suffices us.”
Solaris, Lem
We have become unable to overstep our boundaries, to step out along with creating the structure of memory and the image of reality. We set the limits of space with rigid, mathematical boundaries and strictness of memory, determining what and how things can exist in this space.
The entire human race suffers from agnosia.
We are a closed loop, unaided and unaware of the existence of the dimensions, apart of ours. We can only see an incomplete, flat and dead form. Our memory has led us into a trap; we are unable to form true strangeness because we assume that our laws and cognitive abilities are universal for the entire Universe.
(…)abstract processes, closed and subdued, walled up - the hot spots of memory, a construction plan.
On Truth, Nietzsche
Architecture is a specie, and just like we do, it exists in an abstract memory dimension; it evolves to a reality beyond our language and cognitive abilities.
Then, architecture does remember but in a way inaccessible for us - humans.
“Now the Cathedral. Tremendous, magnificent,(…)a jagged shadow upon a background of stars. Now, in the long period of cosmic interhelium, the Cathedral is more than ever a Mystery.”
“After all, it has neither walls nor a roof, since they‘re of no use to such a building – in any case, it‘s not a building(…). The interior of the construction isn‘t empty – though a person can‘t see this - but is filled with the same mysterium of hawcryst transformations that has sculpted the visible parts.
“(…)there is no particular teleology for any of those hanging masses in the upper bright-darkness. This is how originality algorithmizes itself, mechanizes a spontaneous art, and conjures the interactions(…)into form.”
The Cathedral, Dukaj
What is a memory? A congeal ocean of metaphors, symbols, opinions and patterns?
We observe, process and interpret stimuli, systematically narrowing them to concepts. A language allows us to create a pyramidal order of names; mathematical sphere of categories that generates an image of our world. A transcendent and absolute web of reality was thereby designed for entire human race. Our need to believe in this reality has lapsed – the world has congealed in our memory as an undeniable and objective truth.
“We have no need of other worlds. We need mirrors. We don't know what to do with other worlds. A single world, our own, suffices us.”
Solaris, Lem
We have become unable to overstep our boundaries, to step out along with creating the structure of memory and the image of reality. We set the limits of space with rigid, mathematical boundaries and strictness of memory, determining what and how things can exist in this space.
The entire human race suffers from agnosia.
We are a closed loop, unaided and unaware of the existence of the dimensions, apart of ours. We can only see an incomplete, flat and dead form. Our memory has led us into a trap; we are unable to form true strangeness because we assume that our laws and cognitive abilities are universal for the entire Universe.
(…)abstract processes, closed and subdued, walled up - the hot spots of memory, a construction plan.
On Truth, Nietzsche
Architecture is a specie, and just like we do, it exists in an abstract memory dimension; it evolves to a reality beyond our language and cognitive abilities.
Then, architecture does remember but in a way inaccessible for us - humans.
“Now the Cathedral. Tremendous, magnificent,(…)a jagged shadow upon a background of stars. Now, in the long period of cosmic interhelium, the Cathedral is more than ever a Mystery.”
“After all, it has neither walls nor a roof, since they‘re of no use to such a building – in any case, it‘s not a building(…). The interior of the construction isn‘t empty – though a person can‘t see this - but is filled with the same mysterium of hawcryst transformations that has sculpted the visible parts.
“(…)there is no particular teleology for any of those hanging masses in the upper bright-darkness. This is how originality algorithmizes itself, mechanizes a spontaneous art, and conjures the interactions(…)into form.”
The Cathedral, Dukaj
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1316174369
All human interpretations are based on memory. We prescribe definitions for the world in front of us based on what we have learnt, not only in intellectual ways, but also through real experiences. Nowadays, with daily access to digital devices, we developed a dependency on a new way of creating memories. Instead of engaging all senses, we narrow the experience down to mere visual information. To an extent, the reality is distorted into surreal data. To explain our understanding of the difference between the memories created by real experience and digital media, specifically that of architectural spaces, we created two visual representations. The two images portray a perspective understanding of Milstein Hall, a space we experience on a daily basis, with the point of view from the entrance.
The Drawing: As occupants of the space, our understanding of Milstein hall is based on our physical experiences. The floor’s firm support of body weight, the coldness from a finger slide on the concrete, the hearing of talking from people two storeys below…are just some nuances of the million pieces of real memories we possess. Because of these, we are able to accurately visualize the space above and below what is physically perceived by our eyes. More importantly, what forms in our mind as the integration of all memories helps us understand the transition of spaces through the central dome, which is the main design concept of the architecture.
The Graphic Image: This image represents the digitally generated memory. We collected 30 images on Instagram with the hashtag “#milsteinhall” and distorted them to alignment to the central dome. The more digital “memories” we overlay, the more chaotic and blurred the space becomes. Even though the information captured in each photo is extensive, as we create more and more memories with digital means, the reality of the space deforms. The memory we actually possess as individuals becomes limited and obscure, preventing us from getting a conceptual understanding of the space.
The Drawing: As occupants of the space, our understanding of Milstein hall is based on our physical experiences. The floor’s firm support of body weight, the coldness from a finger slide on the concrete, the hearing of talking from people two storeys below…are just some nuances of the million pieces of real memories we possess. Because of these, we are able to accurately visualize the space above and below what is physically perceived by our eyes. More importantly, what forms in our mind as the integration of all memories helps us understand the transition of spaces through the central dome, which is the main design concept of the architecture.
The Graphic Image: This image represents the digitally generated memory. We collected 30 images on Instagram with the hashtag “#milsteinhall” and distorted them to alignment to the central dome. The more digital “memories” we overlay, the more chaotic and blurred the space becomes. Even though the information captured in each photo is extensive, as we create more and more memories with digital means, the reality of the space deforms. The memory we actually possess as individuals becomes limited and obscure, preventing us from getting a conceptual understanding of the space.
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1342726328
The entire history of you
The characteristic of memory is to organize information by topoi (places) where we collocate specific images to fix. Emotion reveals the “authentic core” of things. The process used to reach the memory is the personal interpretation, maybe that’s even the only possible way to remember, because it’s just through emotions that mankind can remember.
By doing so we spontaneously collect a database of evocative references which are inevitably warped by the subjective emotional lens through which reality is perceived and recorded. The environment, thus architectural spaces, plays the key role of source of vibrations: “Things, objects, the world of references, transform our sensations in remembrance”1
At the same time places of “mnemonic coagulation”2 tend to overlap information, distort, blur the boundaries due to the intrinsic strong personal component ; that’s why humanity have always developed means to implement the recording of memories since the times when oral communication was the only means for preserving memory.
The research for a systematic organization of both personal and collective memory usually revolves around the issue of objectivity; technology have been given a great help in this sense, boosting the capacity of storing precise and truthful information which are able to recompose detailed frames of memories. The amount of data is in such case are over dimensioned and the objective record of reality obtained appears illegible. In order to get close to an plausible and appropriate reconstruction of the memory its vital to associate a subjective reading to the objective one. The huge power of an infinite amount of available information that allows the user to zoom in and out as well as replay, accelerate and move back or forward the geometry of memory turns out to be meaningless without a proper selection.
The gap outlined between those two images of the same content represent the uniqueness of the memory itself, what actually defines it as a reaction to that specific context, vibration, geometry, and life snap-shot. A single detail could be enough to evocate a wider experience, triggering the epiphany as intense as Proust’s Madeleine bringing us back to the overwhelming richness of a memory.
“Observation of things might have been my greatest formal education, later observation evolved into memorization of things, today I feel like I can picture all those elements and put them in order on a row, aligned in a list, an herbarium. But such imaginary dictionary of the memory it’s not neutral, it gets always back to some specific objects and it distorts their image or at a certain point it even triggers their evolution.”3
“When I design a building, I frequently find myself sinking into old, half-forgotten memories, and then I try to recollect what the remembered architectural situation was really like, what it had meant to me at the time, and I try to think how it could help me now to revive the vibrant atmosphere pervaded by the simple presence of things, in which everything had its own specific place and form. And although I cannot trace any special forms, there is a hint of fullness and of richness which makes me think: this I have seen before. Yet, at the same time, I know that it is all new and different, and that there is no direct reference to a former work of architecture which might divulge the secret of the memory-laden mood.”1
1 Peter Zumthor, Thinking Architecture, Basel 1998
2 Giulio Camillo, Idea del Theatro , XVI century
3 Aldo Rossi, Scientific autobiography, Parma 1990
The characteristic of memory is to organize information by topoi (places) where we collocate specific images to fix. Emotion reveals the “authentic core” of things. The process used to reach the memory is the personal interpretation, maybe that’s even the only possible way to remember, because it’s just through emotions that mankind can remember.
By doing so we spontaneously collect a database of evocative references which are inevitably warped by the subjective emotional lens through which reality is perceived and recorded. The environment, thus architectural spaces, plays the key role of source of vibrations: “Things, objects, the world of references, transform our sensations in remembrance”1
At the same time places of “mnemonic coagulation”2 tend to overlap information, distort, blur the boundaries due to the intrinsic strong personal component ; that’s why humanity have always developed means to implement the recording of memories since the times when oral communication was the only means for preserving memory.
The research for a systematic organization of both personal and collective memory usually revolves around the issue of objectivity; technology have been given a great help in this sense, boosting the capacity of storing precise and truthful information which are able to recompose detailed frames of memories. The amount of data is in such case are over dimensioned and the objective record of reality obtained appears illegible. In order to get close to an plausible and appropriate reconstruction of the memory its vital to associate a subjective reading to the objective one. The huge power of an infinite amount of available information that allows the user to zoom in and out as well as replay, accelerate and move back or forward the geometry of memory turns out to be meaningless without a proper selection.
The gap outlined between those two images of the same content represent the uniqueness of the memory itself, what actually defines it as a reaction to that specific context, vibration, geometry, and life snap-shot. A single detail could be enough to evocate a wider experience, triggering the epiphany as intense as Proust’s Madeleine bringing us back to the overwhelming richness of a memory.
“Observation of things might have been my greatest formal education, later observation evolved into memorization of things, today I feel like I can picture all those elements and put them in order on a row, aligned in a list, an herbarium. But such imaginary dictionary of the memory it’s not neutral, it gets always back to some specific objects and it distorts their image or at a certain point it even triggers their evolution.”3
“When I design a building, I frequently find myself sinking into old, half-forgotten memories, and then I try to recollect what the remembered architectural situation was really like, what it had meant to me at the time, and I try to think how it could help me now to revive the vibrant atmosphere pervaded by the simple presence of things, in which everything had its own specific place and form. And although I cannot trace any special forms, there is a hint of fullness and of richness which makes me think: this I have seen before. Yet, at the same time, I know that it is all new and different, and that there is no direct reference to a former work of architecture which might divulge the secret of the memory-laden mood.”1
1 Peter Zumthor, Thinking Architecture, Basel 1998
2 Giulio Camillo, Idea del Theatro , XVI century
3 Aldo Rossi, Scientific autobiography, Parma 1990
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1410450935
TRUE OR FALSE?
Remember when you visited Paris last year. You were standing at Champ de Mars, looking northwest. You turned around and took a selfie with your smartphone. You remember that moment? It’s you and a bunch of other people around and a giant tall carrot in the back. Or wait, was it the Eiffel tower?
When you take a photograph of a space with your digital device the memory is stored within the device while your brain is allowed to forget. Forget the experience, the atmosphere, the moment, the space in which you took the photograph in.
The architecture disappears.
The space is irrelevant.
We propose an idea for a new smartphone application. The app would graphically alter every present or future photograph taken and change the photographed space into a false version of itself. When you look back at the photograph of you in Paris a year ago, will you be able to remember the truth? Or will you start remembering the altered truth? Are you more likely to remember the truth if you know it’s going to be tampered with?
Remember when you visited Paris last year. You were standing at Champ de Mars, looking northwest. You turned around and took a selfie with your smartphone. You remember that moment? It’s you and a bunch of other people around and a giant tall carrot in the back. Or wait, was it the Eiffel tower?
When you take a photograph of a space with your digital device the memory is stored within the device while your brain is allowed to forget. Forget the experience, the atmosphere, the moment, the space in which you took the photograph in.
The architecture disappears.
The space is irrelevant.
We propose an idea for a new smartphone application. The app would graphically alter every present or future photograph taken and change the photographed space into a false version of itself. When you look back at the photograph of you in Paris a year ago, will you be able to remember the truth? Or will you start remembering the altered truth? Are you more likely to remember the truth if you know it’s going to be tampered with?
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1442266074
The Transparent Stages
The memory of human is not merely a record, it is abstracted by one from his experience and feeling, correlated with one’s emotion and perception. Memory is
personal, with possibilities to be reconstructed, strengthened or forgotten. Some suggested memories are never lost; with appropriate triggers they could be recalled.
Physical objects anchor memories, and the built environment surrounding us which stages most human activities is undoubtedly the most overwhelming physical object where memories attach. It hosts the activities inside it, and becoming a part of the happening.
In digital age, instead of the physical form of built environment, an invisible world is surrounding us even tighter. Digital documentation greatly increases the amount of information we receive, also changes how we deliver and share information. It has never been easier for an individual to publicly share their thought and moments like using social networks. A huge amount of documentations from personal perspectives is being shared and received. These second-handed information/memory migrates to possess a large portion of what flows in and out our minds everyday.
This modifies our perception of built environment and affects its role in memory formation and recalling. Perceived through physical experience, the built environment provides senses more than visual, the temperature, humidity, smell, flow of air... these senses strengthen the memory and keep them in our mind. However, a digital record is an extremely instant and accurate record which lacks multi-senses. The built environment is easy to fall into being represented by iconic figures, e.g. grand entrance of a theme park or a sculpture. These isolated objects are difficult to stimulate attachments.
This shift of digital documentation seems to be no returning, but it could be taken as an opportunity. The digital way of recording is extremely convenient and there is unlimited potential. In order to respond to this phenomenon, architecture shall transform to focus more on the quality provided to the occupant. By lowering its own
profile, its physical existence is diluted such that the atmosphere and experience of happening could be amplified for digital documentation to capture. The rapid sharing of these moments re-establishes human linkage with architecture and even allows one’s attachment to environments without physical visit. This expands the web of memory formation and recalling, in hope to twist from the path of superficial documentation to a new form of memory anchor.
The memory of human is not merely a record, it is abstracted by one from his experience and feeling, correlated with one’s emotion and perception. Memory is
personal, with possibilities to be reconstructed, strengthened or forgotten. Some suggested memories are never lost; with appropriate triggers they could be recalled.
Physical objects anchor memories, and the built environment surrounding us which stages most human activities is undoubtedly the most overwhelming physical object where memories attach. It hosts the activities inside it, and becoming a part of the happening.
In digital age, instead of the physical form of built environment, an invisible world is surrounding us even tighter. Digital documentation greatly increases the amount of information we receive, also changes how we deliver and share information. It has never been easier for an individual to publicly share their thought and moments like using social networks. A huge amount of documentations from personal perspectives is being shared and received. These second-handed information/memory migrates to possess a large portion of what flows in and out our minds everyday.
This modifies our perception of built environment and affects its role in memory formation and recalling. Perceived through physical experience, the built environment provides senses more than visual, the temperature, humidity, smell, flow of air... these senses strengthen the memory and keep them in our mind. However, a digital record is an extremely instant and accurate record which lacks multi-senses. The built environment is easy to fall into being represented by iconic figures, e.g. grand entrance of a theme park or a sculpture. These isolated objects are difficult to stimulate attachments.
This shift of digital documentation seems to be no returning, but it could be taken as an opportunity. The digital way of recording is extremely convenient and there is unlimited potential. In order to respond to this phenomenon, architecture shall transform to focus more on the quality provided to the occupant. By lowering its own
profile, its physical existence is diluted such that the atmosphere and experience of happening could be amplified for digital documentation to capture. The rapid sharing of these moments re-establishes human linkage with architecture and even allows one’s attachment to environments without physical visit. This expands the web of memory formation and recalling, in hope to twist from the path of superficial documentation to a new form of memory anchor.
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1494327670
Repository of Memories
Objects with the label of “the memorial” or “the monument” , including the architecture that belongs to this typology, have inherited memories by storing events of the past in various forms. However, such memories closely related to architecture have to transform along with the advancements in digital technology. Moreover, it is apparent that the act of remembrance is dependent on the type of digital device used to record these memories. Present digital devices save events in the past as complete data and in copious amounts. Hardly anyone would rely on one’ s own memory to draw the Statue of Liberty as the convenience of the PC and the concomitant memories stored in the ubiquitous server would be too huge a temptation not to use. Therefore, the memories of a monument, saved in the form of digital data, depends solely on the human vision and we are being deprived of other types of sensory perceptions in remembering the events of the past with the use of
the digital device.
Although we are unaware that architectural monuments around the world, without proper conservation, are in dire straits and we pick out images of these great architectural wonders of the past from the flattened screen with relative nonchalance, digital technology eventually will fall short in storing data to eternity. And these memories are dependent on sight and hearing, not the strongest of our sensory perceptions related to memory. We wonder if a new monument could be built to appeal to our five senses and engender memories that cannot be transformed into data. And if the sole purpose of this architecture was closely related to remembering the memory, then what emotions would it trigger? We propose a new “cloud” storage that has been built on the sense of smell, which is most closely related to our memories among the other senses.
Focusing on that the view is rebuilt based on the three primary colors of light in the brain, the space filled by three fragrances is the monument for new storage of memories. The basic plan is shaped by the Reuleaux triangle and different kinds of fragrance are ejected from each vertex, mingled gradually and in the center, rises up to the pendentive dome along with the flow of air. With a variety of fragrances engendered in the large or small spaces, visitors soak each recalled memory of the past. While the monument has been constructed for a single large event to be shared so far, this monument allows visitors to remember the individual memory through spatial experience that is only obtained here. And riding the wind currents, the monument continues to gather the fragrances of the world and have visitors awaken their past memories.
Objects with the label of “the memorial” or “the monument” , including the architecture that belongs to this typology, have inherited memories by storing events of the past in various forms. However, such memories closely related to architecture have to transform along with the advancements in digital technology. Moreover, it is apparent that the act of remembrance is dependent on the type of digital device used to record these memories. Present digital devices save events in the past as complete data and in copious amounts. Hardly anyone would rely on one’ s own memory to draw the Statue of Liberty as the convenience of the PC and the concomitant memories stored in the ubiquitous server would be too huge a temptation not to use. Therefore, the memories of a monument, saved in the form of digital data, depends solely on the human vision and we are being deprived of other types of sensory perceptions in remembering the events of the past with the use of
the digital device.
Although we are unaware that architectural monuments around the world, without proper conservation, are in dire straits and we pick out images of these great architectural wonders of the past from the flattened screen with relative nonchalance, digital technology eventually will fall short in storing data to eternity. And these memories are dependent on sight and hearing, not the strongest of our sensory perceptions related to memory. We wonder if a new monument could be built to appeal to our five senses and engender memories that cannot be transformed into data. And if the sole purpose of this architecture was closely related to remembering the memory, then what emotions would it trigger? We propose a new “cloud” storage that has been built on the sense of smell, which is most closely related to our memories among the other senses.
Focusing on that the view is rebuilt based on the three primary colors of light in the brain, the space filled by three fragrances is the monument for new storage of memories. The basic plan is shaped by the Reuleaux triangle and different kinds of fragrance are ejected from each vertex, mingled gradually and in the center, rises up to the pendentive dome along with the flow of air. With a variety of fragrances engendered in the large or small spaces, visitors soak each recalled memory of the past. While the monument has been constructed for a single large event to be shared so far, this monument allows visitors to remember the individual memory through spatial experience that is only obtained here. And riding the wind currents, the monument continues to gather the fragrances of the world and have visitors awaken their past memories.
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1546691596
The Digital Dimension of Memory
Memories are chaotic by nature, yet the digital age has allowed us to design systems that can retain these memories and experiences through the mediums of image and motion picture. We all believe so much in the ultimate truth of film and images that they become integral to our memories and experiences.
The digital realm of memory, otherwise categorized as a form of data, provides a base of our ever-compiling experiences. The project at hand aims to develop a database for memorable moments and significant events that have occurred throughout history, and have impacted our entire society and their views toward the rest of the world. History becomes a catalyst for our memories, giving the user the ability to experience a moment in time that they did not live through. It simultaneously creates a sense of unity between many of the users, allowing them to experience feelings that are comparable to one another.
Within this design, memories are divided into two dimensions. The first is a labyrinth that creates a place for all to experience the same event, in which they search for different memorable experiences at varying moments in time. This labyrinth’s form is influenced from the of a computer microchip, symbolizing itself as a database for memories. The second is a subdivision of the labyrinth meant for storing an event that has taken place and has impacted people all over the world. Within this storage unit, one sees those images, which signify a moment that they can relate to, while also allowing them to reflect upon the complexity of the space, in which they can actually see those people walking within the labyrinth. The architectural drawing captures the attempt to create an organizational strategy for the labyrinth, while the graphic image captures the idea that memories are not all that organized, and very much part of their own dimension within a greater multiverse of recollections.
Memories are chaotic by nature, yet the digital age has allowed us to design systems that can retain these memories and experiences through the mediums of image and motion picture. We all believe so much in the ultimate truth of film and images that they become integral to our memories and experiences.
The digital realm of memory, otherwise categorized as a form of data, provides a base of our ever-compiling experiences. The project at hand aims to develop a database for memorable moments and significant events that have occurred throughout history, and have impacted our entire society and their views toward the rest of the world. History becomes a catalyst for our memories, giving the user the ability to experience a moment in time that they did not live through. It simultaneously creates a sense of unity between many of the users, allowing them to experience feelings that are comparable to one another.
Within this design, memories are divided into two dimensions. The first is a labyrinth that creates a place for all to experience the same event, in which they search for different memorable experiences at varying moments in time. This labyrinth’s form is influenced from the of a computer microchip, symbolizing itself as a database for memories. The second is a subdivision of the labyrinth meant for storing an event that has taken place and has impacted people all over the world. Within this storage unit, one sees those images, which signify a moment that they can relate to, while also allowing them to reflect upon the complexity of the space, in which they can actually see those people walking within the labyrinth. The architectural drawing captures the attempt to create an organizational strategy for the labyrinth, while the graphic image captures the idea that memories are not all that organized, and very much part of their own dimension within a greater multiverse of recollections.
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1624802340
Crease
We can illustrate memory as creating a crease in a piece of paper. Physically, you must have the paper - touch it, feel it, fold it, and crease it. You decide when, where, and also how to create the crease, but once you release the paper it begins to unfold itself, altering its form. Such as the paper, memory also captures that moment, then it begins to lapse, to the point where we only remember the most specific elements of the memory, or the crease. What happens is we perceive what we remember as reality, when in fact, it most likely isn’t what truly exist.
Beauty
I once noted that beauty derives from the process of understanding. When we see something chaotic, we perceive it as unpleasant or ugly. However, when knowledge about the chaotic subject is gained, we begin to understand and accept what is happening, and beauty sparks in that moment. This is a part of memory that can be explored within digital media we can gain understanding from images and information found in a digital realm. We can also find, in this digital realm, different interpretations of the subject from others and understanding can rise from their interpretations as well.
Augment
Images are a great way to study architecture, but pictures cannot capture what I believe architecture is. Architecture is about an experience; it is space creating a feeling, prescribing movement, activating form and combing it with function. Architecture is much more romantic when you can understand the space, which is beyond an image. Pictures create an augmented reality of the space, forced by the lens that captured that moment, in that time. Reality of space is in the present, while images are a view into what once was experienced by a person, expressing their interpretation of the content by capturing that moment.
Realness
Michael Benedikt, in For an Architecture of Reality, writes that realness can be broken down into four components: presence, significance, materiality, and emptiness. He says that these components work mostly independent of one another, but the lack of one leads to the diminution of the concept of realness. This, I believe, conceptualization captures the hypothesis of this composition, and my refection on the idea of how digital media will affect architecture. We can remember images, but we cannot capture the essence of architecture until we experience the design by existing within it.
We can illustrate memory as creating a crease in a piece of paper. Physically, you must have the paper - touch it, feel it, fold it, and crease it. You decide when, where, and also how to create the crease, but once you release the paper it begins to unfold itself, altering its form. Such as the paper, memory also captures that moment, then it begins to lapse, to the point where we only remember the most specific elements of the memory, or the crease. What happens is we perceive what we remember as reality, when in fact, it most likely isn’t what truly exist.
Beauty
I once noted that beauty derives from the process of understanding. When we see something chaotic, we perceive it as unpleasant or ugly. However, when knowledge about the chaotic subject is gained, we begin to understand and accept what is happening, and beauty sparks in that moment. This is a part of memory that can be explored within digital media we can gain understanding from images and information found in a digital realm. We can also find, in this digital realm, different interpretations of the subject from others and understanding can rise from their interpretations as well.
Augment
Images are a great way to study architecture, but pictures cannot capture what I believe architecture is. Architecture is about an experience; it is space creating a feeling, prescribing movement, activating form and combing it with function. Architecture is much more romantic when you can understand the space, which is beyond an image. Pictures create an augmented reality of the space, forced by the lens that captured that moment, in that time. Reality of space is in the present, while images are a view into what once was experienced by a person, expressing their interpretation of the content by capturing that moment.
Realness
Michael Benedikt, in For an Architecture of Reality, writes that realness can be broken down into four components: presence, significance, materiality, and emptiness. He says that these components work mostly independent of one another, but the lack of one leads to the diminution of the concept of realness. This, I believe, conceptualization captures the hypothesis of this composition, and my refection on the idea of how digital media will affect architecture. We can remember images, but we cannot capture the essence of architecture until we experience the design by existing within it.
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A public space for personal and social encounter with direct and archival memory. It allows a person, who we call a rememorista, to project their memory filmically and in real time into another space, where it is beheld by one or more people.
Unlike conventional memorials, or counter-memorials, the memory confessional is adaptable to any location or time. It is flexible, changeful, and direct, in that it taps into the unlimited resource of human memories, which is instantly archived. It is liturgically open-ended. It does not dictate what can and cannot be said.
The two major functions of the memory confessional can be understood through these two examples. One: A veteran walks into one side, plugs in, and speaks a memory, while the beholder( s) (on the other side of the wall) instantly sees that memory. Two: members of a community could call up images of, say, a 1966 Civil Rights march in their town, or a beloved building now absent, all drawn from an ever-growing archive.
With a flip of a switch, rememoristas can share intimately (with one person), or with groups, or through an exterior screen, with a whole community. Through this process, fluid memory becomes a communal asset, as memory is vouchsafed for eternity.
Architecturally, at its simplest it is a kiosk for a small town that could be bought with off the shelf materials from Home Depot. The minimum components are a two-sided screen, and the memory reader. More elaborate installations could be more akin to other typologies such as theaters, churches, or libraries, with comfortable
seating and other amenities. It is adaptable to several different situations and locations; we expect that critical regionalism will result in different types and formats. The buildings are expansible and demountable.
The institution will be self-supporting through monetization. Upon the consent of the rememorista, spatial memories can be purchased through your mobile device, and plotted in one’s own personal space, at any scale, using the latest design and 3D printing technology. For example, one could print a miniature of your grandmother’s kitchen, a full-size reconstruction of your childhood bedroom, or an mnemonica of your great-great grandfather’s Civil War uniform.
When the technology fails, as technology tends to do, a window in the screen can be opened to facilitate analog communication.
Unlike conventional memorials, or counter-memorials, the memory confessional is adaptable to any location or time. It is flexible, changeful, and direct, in that it taps into the unlimited resource of human memories, which is instantly archived. It is liturgically open-ended. It does not dictate what can and cannot be said.
The two major functions of the memory confessional can be understood through these two examples. One: A veteran walks into one side, plugs in, and speaks a memory, while the beholder( s) (on the other side of the wall) instantly sees that memory. Two: members of a community could call up images of, say, a 1966 Civil Rights march in their town, or a beloved building now absent, all drawn from an ever-growing archive.
With a flip of a switch, rememoristas can share intimately (with one person), or with groups, or through an exterior screen, with a whole community. Through this process, fluid memory becomes a communal asset, as memory is vouchsafed for eternity.
Architecturally, at its simplest it is a kiosk for a small town that could be bought with off the shelf materials from Home Depot. The minimum components are a two-sided screen, and the memory reader. More elaborate installations could be more akin to other typologies such as theaters, churches, or libraries, with comfortable
seating and other amenities. It is adaptable to several different situations and locations; we expect that critical regionalism will result in different types and formats. The buildings are expansible and demountable.
The institution will be self-supporting through monetization. Upon the consent of the rememorista, spatial memories can be purchased through your mobile device, and plotted in one’s own personal space, at any scale, using the latest design and 3D printing technology. For example, one could print a miniature of your grandmother’s kitchen, a full-size reconstruction of your childhood bedroom, or an mnemonica of your great-great grandfather’s Civil War uniform.
When the technology fails, as technology tends to do, a window in the screen can be opened to facilitate analog communication.
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