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About

innerscapes
Published:
Digital Video with Sound
Duration 4:04
16:9 Ratio NTSC
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“When I sit down to make a sketch from nature, first thing I try to do is to forget that I have ever seen a picture”, -John Constable (1776-1837)

This thesis is a dialog in between the representation of abstraction and abstract representation.

It is the intersection between the exterior landscape [the material world] and the internal landscape [the world of the mind] that coalesce to form a new urban neighbor in the sky over Los Angeles.

How they coalesce is my project.

The concept of exterior landscape is not limited to the physical elements of landforms such as mountains, deserts, hills, rivers, lakes, ponds and the sea. It also includes living elements of land cover, including indigenous vegetation, constructed elements including buildings and structures, and transitory elements such as clouds, wind, rain, and sunlight. Interior landscapes are not simply concepts internal to the human mind. They are innerscapes, with obligations as substantial as those of the outerscapes, lacking the conventional constraints of the physical world, but determined by private dreams, ghosts, and imaginings that belong to the psycho-subjective adventures of the architect.

This is a trip on a route that no one knows, so the project will construct that route as it goes. And it moves as a process of investigation of that inner landscape and its possible connections with the external landscape. It is a trip without conventional means, without a conventional destination. It is a sequence of self-discovery actions manifest in a chronology of new design techniques new techniques pointing to the prospect of a new city latent within.

Paintings have been representing landscapes through history. In this thesis painting is used as a way of generating and explaining the innerscapes. As Raimund Abraham said, “Ideas have no scale”. This thesis developed a number of painting and modeling techniques that give scale to imagined elements, and ambiguously more conventionally dimensioned elements: Personal form to the formless, and personal formlessness to conventional form. Abstractions.

The way of generating architecture is a private translation of the personal world of the author.