dyl-dyl

less common in video games but more common in architecture, the isometric perspective is an interesting vision as it provides an understanding of the space in all three dimensions. as the graphic merger between video games and architecture it can provide a sense of place in video games for circulation and orientation while supporting the third person point of view. 

as a premise to the game, the character will be involved with a murder to the act of murdering. in bernard tschumi’s architecture advertisements, he claims that someone might have to kill someone in order to understand architecture. the performance of killing someone in architecture heightens one’s senses to think about a space differently. one has to know a plan for execution, the act, and escaping. it forces one to think about the space in a more critical way and is often explored in video games as a vice

one of the most compelling ideas of the community in a video game is their connectivity. maps, levels, and arenas act as proxy for the social engagement among players that exist all around the world. they are a paradox for experiencing architecture in a social context. the many online users meet on various maps or levels that are essentially siteless. they physically exist on a small hard drive yet that occupies a box no larger than 4 x 4 inches yet are more accessible than any physical building created. 

the tower is the ideal typology in order to explore multiple levels or maps of a video game. it is the most similar typology in comparison to the variability between maps or levels of a video game. as the elevator or stair can act as the menu screen that shuffles between floors, the levels can feature different heights while the bounding envelope of a level can provide as a template for vertical production of different levels

the postscientific paradigm shift is spoken by mario carpo in his essay, “breaking the curve”, for a computational workflow that is changing with the help of computers and data. carpo uses the splined curve as an analogy for what it means to control a curve in today’s era. the curve can be broken into points, an aspect discouraged by humans but easily managed by computers. the article is interesting to me and many other students as it reflects on an era we know nothing better of. growing up in an era with computers, tech boom, and rapid updates, it’s hard to think of what it may have been like before. it interests the design field as it is catering toward a more computational design method and questions what it will be in the following years to come.

anthony vidler’s “the third typology” was an intriguing read as it classified the generations of architecture into three types. rather than classifying various movements, eras, or styles, vidler summarizes architecture into something along the lines of generations. a compelling categorization of phases that bundles work from the turn of the 19th century to the avant-garde and to then to the modernism period, finishing with the more current contemporary generation. the essay inspired one to think about the next generations of architecture and the potential impact of digital architecture for those upcoming generations.

sol lewitt’s drawing directions was an interesting take of art in means of production. acting as a kind of analog script for coding, the artwork is compelling as the directions for manufacturing the space is the most interesting. it expresses the alchemy of what art often masks while challenging what art can be as it was something he didn’t draw or produce himself. the vision and thought is what seems to be the most credible portion of the installation as it celebrates the process over the product

roni horn, “this is me, this is you” was the most compelling piece in kim schoen’s “the serial attitude redux”. exposing the kind of loophole of what seriality can be, horn depicts the various emotions given within a short moment of one other in a grid of side-by-side comparisons. the frame, composition, and subject of the photos remains the same while they express very different attitudes. i found this to be an interesting argument to mel bochner’s definition of what it means to be serial as they are the same but very different.