Architectural research book by Simon Dauwe

JEREZ DE LA FRONTIERA_ JEREZ THE BIRTHPLACE OF FLAMENCO_ CURRENT SITUATION_ CUIDAD DEL FLAMENCO_COMPETITION_ VECTOR ARCHITECTURE _ STATEMENT_ VECTOR ARCHITECTURE _ RESEARCH_ FLUID ARCHITECTURE _ GENERAL_ FLUID ARCHITECTURE_EXPERIMENTS FLUID ARCHITECTURE_JEREZ VECTOR AS DESIGN MEDIUM_ VECTOR FIELD _ URBAN SCALE _ VECTOR TO CROWD _ ELIAS CANETTI_ VECTOR PATTERN FORMATION_ VECTOR TO GEOMETRY_ VECTOR TO TUBES _ VECTOR _ 2D to 3D _ VECTOR TO FOLDING_ VECTOR TO LOOP_ VECTOR TO STRUCTURE _ DRAGONFLY WING_ VECTOR FROM 2D TO 3D _ DRAGONFLY WING_ VECTOR TO 3D STRUCTURE _ DRAGONFLY WING_ ANAGLYPS _ GENERAL _ ANAGLYPS _ HOW? _ ANAGLYPS _ EXAMPLES _ ANAGLYPS _ VIEWING _ ANAGLYPS _ COLORS _ ANAGLYPS _ QTVR _ PROGRAM NAVIGATION _ VECTOR TO PROGRAM _ DISTRIBUTION_ VECTOR TO PROGRAM _ STRATEGY_ VECTOR _ HISTORICAL REVITALIZATION_ VECTOR TO LIQUID ARCHITECTURE_ VECTOR TO MASSING TYPES_ VECTOR FLOWS TO MASSING TYPES_

Triana in Seville, Santa María in Cádiz and Jerez form the foundational triangle of flamenco, but the region of Jerez is the one that has given the greatest number of interpreters; Jerez was home to one of themost famous flamenco interpreters, Tío Luis el de laJuliana, most likely a gypsy who created and popularized several styles of tonás. The gypsies, integratedin the city from the beginning, give local flamencoits most characteristic slant: in Jerez even the payos sing like gypsies.

Situated between the foothills of the mountain rangeand the sea, Jerez de la Frontera - whose municipal area covers 1.187 square kilometers - enjoys a privileged location on the fertile lands of Cádiz.Ten kilometers away from the Atlantic Coast and with approximately 200.000 inhabitants, Jerez’s urban center is the most densely populated of the province ofCádiz. Horses, wine, bulls, and especially flamenco are the distinctive symbols of a city that stands today as one of the economic centers of western Andalusia, and that possesses, at the same time, a vast historic and cultural heritage.

JEREZ DE LA FRONTIERA_

The stories of Jerez and the cante jondo converge in the quarters of San Miguel and Santiago, birthplaces of two of the greatest creators and interpreters of flamenco, the payo Antonio Chacón and the gypsy Manuel Torre, and where particular varieties of the different genres or styles haveflourished. La Plazuela, another name given to San Miguel, expresses itself in a more intense manner, while Santiago is identified with orthodoxy.

JEREZ THE BIRTHPLACE OF FLAMENCO_

The city’s recent evolution, particularly in the second half of the past century, has brought about a gradual isolation of the area, that together with the population’s settlement outside the historic center, has strongly contributed to its architectural and functional decay. Nowadays, abandoned buildings, empty lots, and inadequate uses are common. At the same time, the population’s socioeconomic level is one of city’s lowest, sometimes living in overcrowded and uninhabitable places.

“Recover the public space for the enjoyment of everyone, to promote the harmonious and sustainable development of the territory and to recover the heart of the city.”

This area has turned into a marginal pocket in the very heart of the historic district. Through a Special Plan it has been possible to undertake a detailed analysis of every element, so unveiling the two aspects of this site: its historic value (very disfigured today), and the measures necesssary to invert its evolution, or rather, to turn it into a center of attraction because of the quality of its buildings and spaces. The urban void of the Plaza de Belén as it is today,

This competition arises from the opportunity and interestin internationally promoting the art of flamenco from its birthplace, through the creation of an emblematicand representative space able to accommodate, in the heart of the city of Jerez de la Frontera, the various institutions devoted to this end. The project, an artistic and cultural manifestation, will also be a key part of the revitalization process of the historic center of Jerez. Jacques Herzog and Pierre de Meuron have been chosen to develop a project which the city of Jerez has received with enthusiasm, and that will give Flamenco a leading position in the promotion of the arts in Spain. Over twenty years have passed since we freed the Alcázar of Jerez from that concrete mass. Today, in its place, myrtle, orange and olive trees grow; and one can hear the murmur of water inviting to contemplate and walk around one of Andalusia’s most beautiful spots. And, very soon, amidst labyrinths, paths and plazas, the strollers entering the medieval patterns of Jerez will find another garden: one designed by Herzog & de Meuron for that city – of Flamenco – that shall rise in the city.

CURRENT SITUATION_

CUIDAD DEL FLAMENCO_COMPETITION_

URBAN SYSTEM

PALMAS

BITTER

DANCE

GUITAR ALEGRIAS

MUSIC TANGOS

GYPSY

SPAIN

GOLDEN AGE

TANGENT BUNDLE

COMPLEX

FLICKR STORM TESSALATION

ENHARMONIC

ANDALUSIA

ISLAMIC

TONIC

PETENERAS FIESTA

MIRCOTONALLY AM–G–F–E

JEWS

CHORDS

HARMONY

LUTE

EXPELLED PEASANT

SLAVES

TOQUE BINARY HAND CLAPPING LITERATURE

URBAN FURNITURE

COMMERCIAL

EXPOSURE CONTROL

URBAN GRID

PAREMETRIC SURFACES

6-STRING

HOMES

BLUR

MANUEL DE FALLA

JAZZ

2D VECTOR

VECTOR FIELD

MULTIPLE GROUND CODITION

CONTEMPORARY

SECRETLY

ROOT FOLDER

ORAL CULTURE

MOOD

12-BEAT

AFRICAN

FEET STOMPING

TABLAOS

PATIO’S

SAN MIGUEL VISIGOTHIC

ZARABANDE

OPERA FLAMENCA

JEREZ

FOLK SONGS

GITANOS

DEMOFILO

OPTIMALISATION

DEEP SONG 3D VECTOR

CHRISTIAN

MATHEMATICS

DISSONANCES

GREEK DORIAN

SOLEARES

CADIZ

STATIONARY

ALTERATIONS

ZAMBRA

BAJA ANDALUCIA

EUCLIDEAN SPACE SPACE

CANTE

SEVILLIANA RYTMIC

TENSION FIELD

HARMONIC

FLUID SYSTEM

GRACEFULL SEPHARDIC

MINIMAL SURFACES

SAD

BULERIAS

VARIABLE ARRAY

RELATIONSHIPS

CUBAN

MOORISH

UNFOCUSED IMAGERY

TECTONICS

URBAN LOBBY

SPACE DIAGRAM

BELEN LOOP ITERATIONS

ITERATED FUNCTION SYSTEM

The design strategy has focused its design research on Vector Fields and Fluid dynamics as the conceptual and technical basis in the choreography of complex dynamic urban interactions. The exploration of Vector fields as an urban tool allowed an alternative mode of addressing masterplanning strategies, not as one that is fixed but as one that is relational to possible futures. Developing different parametric systems (landscape/ multiple ground condition, circulation, massing, program distribution and navigation) as a series of urban fields that correlate with one another to organizeand integrate differentiated urban space. This project addresses urban space by studying different programs relations through sectional field navigation. The resolution of the vector as a design tool explores different scales and levels of spatial, structural, material and programmatic differentiation by developing vector to vector properties from a local to a global field space.

...recognize that geographic localization seem to have definitively lost its strategic value and, inversely, that is same value is attributed to delocalizationof the vector, of a vector in permanent movement - no matter if this movement is aerial, spatial, underwater or underground. All that counts is the speed of the moving body and undetectability of its path. Paul Virilio

VECTOR ARCHITECTURE _ STATEMENT_

My research began by experimenting with different fluids studying their properties and how its interactions act as a trigger for a dynamic responsive tool. Advancing my research on fluids into digital to study the complex interactions that occur within a city, such as different types of infrastructural flows, crowds as fluids masses and program navigation, I started reading fluids as vector fields to choreograph this complex systems into the urban scale. Working with the intensity parameter in the vector field allowed us to translate 2d vector field into a 3d vector field that allowed me to control speed and directionality into a series of topological organizations. Our teamâ&#x20AC;&#x2122;s exploration of vector to vector relations goes through a wide range of scales and levels of spatial, structural, material and programmatic differentiation, investigating flamenco as a catalyst for urban intensification by working with urban connectivity.

VECTOR ARCHITECTURE _ RESEARCH_

HISTORIC BACKGROUND JEREZ Situated between the foothills of the mountain range and the sea, Jerez de la Frontera - whose municipal area covers 1.187 square kilometers - enjoys a privileged location on the fertile lands of Cádiz.Ten kilometers away from the Atlantic Coast and with approximately 200.000 inhabitants, Jerez's urban center is the most densely populated of the province of Cádiz. Horses, wine, bulls, and especially flamenco are the distinctive symbols of a city that stands today as one of the economic centers of western Andalusia, and that possesses, at the same time, a vast historic and cultural heritage.

JEREZ THE BIRTHPLACE OF FLAMENCO Triana in Seville, Santa María in Cádiz and Jerez form the foundational triangle of flamenco, but the region of Jerez is the one that has given the greatest number of interpreters; Jerez was home to one of the most famous flamenco interpreters, Tío Luis el de la Juliana, most likely a gypsy who created and popularized several styles of tonás. The gypsies, integrated in the city from the beginning, give local flamenco its most characteristic slant: in Jerez even the payos sing like gypsies. The stories of Jerez and the cante jondo converge in the quarters of San Miguel and Santiago, birthplaces of two of the greatest creators and interpreters of flamenco, the payo Antonio Chacón and the gypsy Manuel Torre, and where particular varieties of the different genres or styles have flourished. La Plazuela, another name given to San Miguel, expresses itself in a more intense manner, while Santiago is identified with orthodoxy.

OBJECTIVES Developing different parametric systems (landscape/multiple ground condition, circulation, massing, program distribution and navigation) as a series of urban fields that correlate with one another to organize and integrate differentiated urban space.

CURRENT SITUATION The city's recent evolution, particularly in the second half of the past century, has brought about a gradual isolation of the area, that together with the population's settlement outside the historic center, has strongly contributed to its architectural and functional decay. Nowadays, abandoned buildings, empty lots, and inadequate uses are common. At the same time, the population's socioeconomic level is one of city's lowest, sometimes living in overcrowded and uninhabitable places.

VECTOR FIELD The resolution of the vector as a design medium explores different scales and levels of spatial, structural, material and programmatic differentiation by developing vector to vector properties from a local to a global field space.

PROGRAMMA

PROJECT BRIEF METAPHOR A complex that shall rize on the plaza de Belén, equidistant from the Santiago and San Miguel quarters - two birthplaces of flamenco - and the center of an old andalusian medina.

“Today it is a place, myrtle, orange and olive trees grow; and one can hear the murmur of water invitting to contemplate and walk around one of andalusia’s most beautiul places.”

“Recover the public space for the enjoyment of everyone, to promote the harmonious and sustainable development of the territory and to recover the heart of the city.”

FLUIDS

A fluid is defined as a substance that continually deforms (flows) under an applied shear stress regardless of how small the applied stress. All liquids and all gases are fluids. Fluids are a subset of the phases of matter and include liquids, gases, plasmas and, to some extent, plastic solids. The term "fluid" is often used as being synonymous with "liquid". This can be erroneous and sometimes clearly inappropriate - such as when referring to a liquid which does not or should not involve the gaseous state. "Brake fluid" is hydraulic oil which will not perform its required function if gas is present. The medical profession relies on the term "fluids" in dietary references ("take plenty of fluids") where the presence of gases is irrelevant or even possibly dangerous. Liquids form a free surface (that is, a surface not created by the container) while gases do not. The distinction between solids and fluid is not entirely obvious. The distinction is made by evaluating the viscosity of the substance. Silly Putty can be considered either a solid or a fluid, depending on the time period over which it is observed.

_ Contribution to the urban network _ Creating a full preformance of the whole to create 1 thing. _ Auditoria that can house a full rage of large activities _ Musea overlooking the whole history en future of the flamenco heritage _ Art School and plastics _ The Center for Investigation and Documentation of Flamenco Art _ Centre Square that is works as and attraction pole to the neighboorhood _ Creating networking between several open spaces whtin the distrect.

A fluid is defined as a substance that continually deforms (flows) under an applied shear stress regardless of how small the applied stress. All liquids and all gases are fluids. Fluids are a subset of the phases of matter and include liquids, gases, plasmas and, to some extent, plastic solids. The term “fluid” is often used as being synonymous with “liquid”. This can be erroneous and sometimes clearly inappropriate - such as when referring to a liquid which does not or should not involve the gaseous state. “Brake fluid” is hydraulic oil which will not perform its required function if gas is present. The medical profession relies on the term “fluids” in dietary references (“take plenty of fluids”) where the presence of gases is irrelevant or even possibly dangerous. Liquids form a free surface (that is, a surface not created by the container) while gases do not. The distinction between solids and fluid is not entirely obvious. The distinction is made by evaluating the viscosity of the substance. Silly Putty can be considered either a solid or a fluid, depending on the time period over which it is observed.

The studies on fluids interactions allowed me a first understanding of dynamic systems, and how by studying not one system but a combination of this generates a relation between properties, forces and qualities of each system. Experimenting with fluids in a systemized way allowed a translation or interpretation of certain logics or principles to develop in a digital and analogue media.

FLUID ARCHITECTURE _ GENERAL_

FLUID ARCHITECTURE_EXPERIMENTS

The studies about fluid interaction with a given object, gave me the opportunities and the understanding of how fluid interact with each other and with its surroundings. By taking this to a given part of the city, a time-based experiments on fluid into jerez gave me the first peaks of organization and of possibilities withing the jerez quarter.

FLUID ARCHITECTURE_JEREZ

PREFORMANCE TYPES

JEREZ DE LA FRONTIERA // RELIGION

TABLOAS PATIOS INTIMITE STREET SQUARE OPERA FLAMENCO

ISLAMIC CHRISTIAN

FLAMENCO DUENDE

HISTORIC PERMUTATION

JEWS

CITY AS LABYRINTH

UNFOCUSED BEHAVIOR

RANDOM URBAN GRID

EXPOSURE

USER DEFINED DYNAMCS RAMPS / SLOPES SIGHT AS POWER MULTIPLE GROUND CONDITIONS

NO MAN’S LAND ARTIFACTS

VECTOR FIELD LINES POINTS VOLUMES PLANES

PARAMETRIC URBANISM BUILDING TYPES INDIVIDUAL VILLA’S HIGH RIZE BUILDINGS SLAB SHAPED BUILDINGS CITY SLABS

URBAN GRID

In general, we have a vector field over a space or part of space if we associate with each point in this space, or part of space, a vector. We could write, v=v(x). This equation could consist of an equation for each coordinate like this, v=(v1,v2,v3)=i1v1(x)+i2v2(x)+i2v2(x). Here each component vn is a function of x. In the previous example we saw that the gradient is just such a field, with each component being f/ xn. A vector can be multiplied by a scalar. The components of the vector are multiplied by the scalar and the result is a scaled vector which in the same direction as the original vector if the scalar is positive, or in the opposite direction if the scalar is negative. A vector can also be multiplied by another vector. Two types of vector multiplications have been defined, the scalar product and the vector product. The scalar product or dot product AĂ&#x2014;B of two vectors A and B is not a vector, but a scalar quantity (a number with units). In terms of the Cartesian components of the vectors A and B the scalar product is written as AĂ&#x2014;B = AxBx + AyBy + AzBz. Examples of vector fields in physics are gravitational fields and electrical fields. We shall here try to write an equation for the gravitational field. The (Newtonian) Gravitational Field. Suppose we have a mass M at the origin of a coordinate system, and that we know that the force on a mass m at distance r is, F=G(mM/r2) This force is a vector directe We can multiply the force above by these vectors to get the desired force, though with a minus sign to get it directed in the right way, F=-G(mM/r2)(x/|x|)

VECTOR AS DESIGN MEDIUM_

Based on the simulation of crowd interaction with the different masses of the context, the vector field pretends to be a direct translation from the feedback that fluid behaviour and logic is extracting from the urban context.

VECTOR FIELD _ URBAN SCALE _

CITY AS CRACKED PAINT

DUENDE

OLD LABYRINTH CITY AS NATURAL GROWTH PATTERN

EMOTION BITTER� SAD� DARK

FIELD SIGHT PARAMETERS URBAN GRID URBAN MOVEMENT VECTOR FIELD _ URBAN SCALE _

VECTOR FIELD _ URBAN SCALE _

Elias Canetti (Rousse, Bulgaria, 25 July 1905–14 August 1994, Zurich) was a Bulgaria-born novelist of Sephardi Jewish ancestry who wrote in German and won the Nobel Prize in Literature in 1981. Crowd psychology, or social facilitation theory, is a branch of social psychology. Ordinary people can typically gain direct power by acting collectively. Historically, because large groups of people have been able to affect dramatic and sudden social change in a manner that bypasses established due process, they have also provoked controversy. Social scientists have developed several different theories for explaining crowd psychology, and the ways in which the psychology of the crowd differs significantly from the psychology of those individuals within it. Carl Jung coined the notion of the Collective unconscious. Other major thinkers of crowd psychology include Gustave Le Bon, Wilfred Trotter, Gabriel Tarde, Sigmund Freud and Elias Canetti.

VECTOR TO CROWD _ ELIAS CANETTI_

The nonlinear interaction of the optical patterns of lines creates a real and visible pattern of roughly horizontal dark and light bands, the moiré pattern, superimposed on the lines.[1] More complex line moiré patterns are created if the lines are curved or not exactly parallel. Moiré patterns revealing complex shapes, or sequences of symbols embedded in one of the layers (in form of periodically repeated compressed shapes) are created with shape moiré, otherwise called band moiré patterns. One of the most important properties of shape moiré is its ability to magnify tiny shapes along either one or both axes, that is, stretching. A common 2D example of moiré magnification occurs when viewing a chainlink fence through a second chain-link fence of identical design. The fine structure of the design is visible even at great distances.

VECTOR _ PATTERN FORMATION_

Vector fields allows us to develop an effective method of representing the way in which forces are able to affect each other. By moving from a metrical conception in which these forces interact, to the vectorial description where the actors become ephemeral in a continues variation of their values in free action (nomads, Deleuze and Guattari ). As information was the only evidence left in the amorphous result of our previous experiments, the vector description showed itâ&#x20AC;&#x2122;s richness in the event and the capacity to be more accurate in terms of performance with a intensive variable as the city. The next series of experiments are based on a fluid dynamic simulation interacting with itself converted to a geometrical reference of a 3D vector field where we see its potential to address issues as intensity and directionality in an evolutionary way as the time line and the script are modify.

VECTOR TO GEOMETRY_

VECTOR TO TUBES _

Advancing our research on fluids into digital to study the complex interactions that occur within a city, such as different types of infrastructural flows, crowds as fluids masses and program navigation, we started reading fluids as vector fields to choreograph this complex systems into the urban scale. Working with the intensity parameter in the vector field allowed us to generate a 3d point cloud to then translate it into a 3d vector field that allowed us to control speed and directionality into a series of topological organizations.

VECTOR _ 2D to 3D _

In terms of material system, the vector field has been a tool that has allowed us to make many translations into the folding argument. Worked along different software and material situations, the folding has given us various conclusions across the different possibilities of materiality for the project. We can see in the diagram the evolution of the different translations of what has become a principle for us. VECTOR TO FOLDING_

VECTOR TO FOLDING_

CITY AS FIELD DYNAMIC SYSTEM

// OBJECT TO FIELD

// GEOMETRIC VS ALGEBRAIC

MOVING FROM ONE TO MANY

FUNCTIONS VECTORS SPEEDS

CLASSICAL ARCHITECTURE

INDIVIDUAL VS COLLECTIVE

IDEAL OF ORGANIC UNITY GEOMETRIC SYSTEM OF PROPORTION

NON-LINEAR DYNAMICS

BOTTOM UP

DISTRIBUTION OF PARTS TO THE WHOLE

LOCAL CONNECTIONS INTERVALS REPETITIONS SERIALITY

NON-DEFINED ARCHITECTURAL FORM

INDIVIDUAL PRESERVES THE OVERALL UNITY

LINES/PLANES/SOLIDS SPACE TO FORM MULTIPLE LINKS URBAN FABRIC

LOCAL SYSTEM IS FIXED

FIELD ADMITS CHANGE DRIVEN BY ACCIDENTAL EVENTS IN STATE OF IMPROVISATION

NO SINGLE FORCE - NO UNIFYING GEOMETRICAL FORM OBJECT IS PART OF SPACTIAL FIELD DISTRIBUTION RANDOM ORDERLY

SEQUENCE OF EVENTS

RELATIONSHIPS OF PARTS AND CONFIGURATIONS AGAINST EACH OTHER MOIRE

The next strategy towards the vector materialization was the loop scheme. By linking the different interactions of the vectorial lines I managed to develop a variable organizationwithin a gradient logic. The continue relation from loop to loop appear as an interesting way to link space and navigation strategies. I try to develop this continuity from the overall to the detail and tectonic organization in a series of parametric models. I tried to close the gap between fluid dynamic behavior and material organization demonstrating the power of fluid to describe interactions beyond matter into spatial and programmatic distribution. The vectorial coordination is spread along the different orientation issues like views, slops, air control, temperature, etcâ&#x20AC;Ś allowing us to spread this logic across the site as an organization urban statement.

VECTOR TO LOOP_

_loop configuration

_loop configuration _loop Navigation

_loop configuration _loop Navigation _loop to loop

VECTOR TO LOOP_

The wing of a dragonfly can be broken into a variety of basic structures. The overall two types of structure present are the veins and the membrane. Both consist of cuticle which is composed of the material chitin1. The veins provide the primary structural support for the wings. As their name suggests, the veins are hollow and carr hemolymph which serves to prevent the cuticle of the wing from becoming brittle1. The membrane is the primary aerodynamic structure of the wings. It is a very thin structure, with a thickness of only 2 to 3 m2. Because it is such a thin structure, the membrane is thought to carry only tensile loading in the wings, while buckling under the slightest compressive stress. The primary overall structural property of wings is span wise stiffnessand chord wise flexibility. The leading edge of the wing is comprised of a very stiff structure with three dimensionalrelief in order to provide high rigidity to the span of the wing. This causes the flexural stiffness along the span to be 1-2 orders of magnitude greater than along the chord5.It is obvious that this quality contributes greatly to the wingâ&#x20AC;&#x2122;s aerodynamic properties. There are a number of key structures in the wing, , which contribute to the manner in which the wing bends in flight and therefore help to facilitate the wingâ&#x20AC;&#x2122;s aerodynamic properties1.

Vein

Membrane

One interesting characteristic to note about a dragonfly wing is that there are several different kinds of patterns present in the wing vein framework. The leading edge consists primarily of rectangular frames whereas the trailing surface is largel formed of hexagons and some other polygons with more than 4 sides. Another notable characteristic of wing structure is the three-dimensional structure present in the wing. Although from most photographs of wings, they may appear to lay on a flat plane, in actuality the wings are full of three dimensional relief. One example of this, as mentioned before is in the leading edge.

VECTOR TO STRUCTURE _ DRAGONFLY WING_

Costa

triangle/ supertriangle Subcosta Radius

(levers trailing edge downward)

Nodus

(provides stress relief)

_loop Navigation

_loop to loop 3D VECTOR TO STRUCTURE _ DRAGONFLY WING_

VECTOR TO STRUCTURE _ DRAGONFLY WING_

VECTOR FROM 2D TO 3D _ DRAGONFLY WING_

VECTOR TO STRUCTURE _ DRAGONFLY WING_

VECTOR TO 3D STRUCTURE _ DRAGONFLY WING_

Anaglyph images are used to provide a stereoscopic 3D effect, when viewed with 2 color glasses (each lens a different color). Images are made up of two color layers, superimposed, but offset with respect to each other to produce a depth effect. Usually the main subject is in the center, while the foreground and background are shifted laterally in opposite directions. The picture contains two differently filtered colored images, one for each eye. When viewed through the “color coded” “anaglyph glasses”, they reveal an integrated stereoscopic image. The visual cortex of the brain fuses this into perception of a three dimensional scene or composition.

ANAGLYPS _ GENERAL _

Viewing anaglyphs through appropriately colored glasses results in each eye seeing a slightly different picture. In a red-blue anaglyph, for instance, the eye covered by the red filter sees the red parts of the image as “white”, and the blue parts as “black” (with the brain providing some adaption for color); the eye covered by the blue filter perceives the opposite effect. True white or true black areas are perceived the same by each eye. The brain blends together the image it receives from each eye, and interprets the differences as being the result of different distances. This creates a normal stereograph image without requiring the viewer to cross his or her eyes.

ANAGLYPS _ HOW? _

A pair of eyeglasses with two filters of the same colors, once used on the cameras (or now simulated by image processing software manipulations) is worn by the viewer. In the case above, the red lens over the left eye allows only the red part of the anaglyph image through to that eye, while the cyan (blue/ green) lens over the right eye allows only the blue and green parts of the image through to that eye. Portions of the image that are red will appear dark through the cyan filter, while portions of colors composed only of green and blue will appear dark through the red filter. Each eye therefore sees only the perspective it is supposed to see.

ANAGLYPS _ EXAMPLES _

ANAGLYPS _ VIEWING _

To make an anaglyph containing color information using color images, replace the red channel of the righteye image with the red channel of the left-eye image. To do this, select the entire right eye image (if the original is a crossed eye stereogram this will be on the left) and make a new document. Paste the right eye image in. Move the selection to the left eye image (with consideration as above for crossed eye stereograms) and using the channels dialog select the red channel. Copy the red channel from this source image. Return to the new document and select the red channel. Paste the left eye image into the red channel. Depending upon the colors this might look rather good as a color image (but not exactly true to the original color). Eye sensitivity balance can be improved by selecting the green channel and reducing it using a linear curve selection (e.g. reduce by 12.5%). Select the blue channel and reduce somewhat less (e.g. reduce by 5%). This action compensates for the eyeâ&#x20AC;&#x2122;s lower sensitivity to red and its high sensitivity to green, but may induce bleed through (you may see ghost images on one side or to each side of an object). Without the anaglyph glasses the picture will appear reddish and somewhat dimmer, but the overall effect is improved when the glasses are used. The dimness can be corrected by increasing the overall brightness 15 to 20% and the contrast 10 to 15%. All of these adjustments will depend upon color balance, brightness, and contrast of the original image and the nature of the subject material. Using color information, it is possible to obtain reasonable (but not accurate) blue sky, green vegetation, and appropriate skin tones. Color information appears disruptive when used for brightly colored and high contrast objects such as signage, toys, and patterned clothing when these contain colors that are close to red or cyan. Anaglyphic processes are not really able to reconstruct full-color 3D images. Colors which are combinations of red-green (yellow);and red-blue (magenta) would reproduce. However, to get full-color photos or movies, a polarizing filter system (or an adapted Russian LCD shutter system) must be used. Polarizing filters steer the vibrations of light analogous to a Window blind. Two synchronized projectors are used, overlapping the images into an aluminum screen. The shutter system, on the other hand, switches back and forth rapidly for left- and right-eye images, synchronized to the image input, and alternating so fast that the eye cannot detect the changes. This is similar to how LCD shutter glasses work. According to entertainment trade papers, 3D movies are now more popular than ever. The modern processes allow maximum comfort and minimum eyestrain. 3D provides an entertainment experience still not possible with television (though certain experimental processes, the quasi-holographic â&#x20AC;&#x153;volumetric displaysâ&#x20AC;?, have been used, for example, to show real images of cars in a display setting, with no viewing glasses required). ANAGLYPS _COLORS _

ANAGLYPS _ EXAMPLES _

VR Panoramas are panoramic images which surround the viewer with an environment (inside, looking out), yielding a sense of place. They can be â&#x20AC;&#x153;stitchedâ&#x20AC;? together from several normal photographs, or captured with specialized panoramic cameras, or rendered from 3D-modeled scenes. There are two type of VR Panorama: Single row panoramas, with a single horizontal row of photographs. multi-row panoramas, with several rows of photographs taken at different tilt angles.

ANAGLYPS _ QTVR _

We must distinguish between the urban as a discontinuous flow, a transformation process involving social, economic, architectural, etc., forces, and the city as a temporary, diagrammatic manifestation of the urban. The French urbanist Henri LefĂ¨brve wrote in 1970 that the urban as such is not yet a completed reality, but it is a potentiality, an â&#x20AC;&#x2DC;enlightening virtualityâ&#x20AC;&#x2122;. The path of urbanisation, however, is not undirectional and does not necessarily lead to a transglobal urban zone. Rather, the urban is a complex, multi-directional process of connection and separation, of layering, enmeshing and cutting, which leads to ever different formations. If the urban is something that one can work with, intervene into, or become a part of, then it is important to understand its forces and layers and also to understand how it interlaces the global with the local.

Advancing my site analysis with fluids and vector fields not only to address infrastructural flow but to develop more the use and application of the system to generate relations with different program and therefore a navigational logic that interacts with the urban space. The aim of this studies will be to test site relations with different ways of distributing program through the site, and most importantly the way program could generate at the same time gradient fields of activity through variations of intensity; mix of program through gradient fields of relations. VECTOR TO 3D STRUCTURE _ DRAGONFLY WING_

PROGRAM NAVIGATION _

“Movement governs the events” Paul Virilio

VECTOR TO PROGRAM _ DISTRIBUTION_

The exploration of Vector fields as an urban tool allowed an alternative mode of addressing masterplanning strategies, not as one that is fixed but as one that is relational to possible futures.

Existing historical buildings and cultural facilities _ churches,... Existing historical buildings and cultural facilities _ others,... Public network

The resolution of the vector as a design medium explores different scales and levels of spatial, structural, material and programmatic differentiation by developing vector to vector properties from a local to a global field space.

VECTOR TO PROGRAM _ STRATEGY_

The city plan for the historical centre establishes the construction of a series of cultural buildings, our site as the center point. Instead of simply a flamenco center, the whole project acts as a convector and a point of intersection between the prexisting and the fucture buildings, both guiding the flow of people coming and going to various events in the histrorical centre. VECTOR _ HISTORICAL REVITALIZATION_

In this project, i understood city as fluid container, continuously generate temporal crowd organizations derived from the interactions of the people flow.Liquid architecture is not the mimesis of natural fluids in architecture First and foremost it is a liquidizing of everything that has traditionally been crystalline and solid in architecture. It is the contamination ofmedia. This means the smooth merging of, for instance, wall and floor, of body and geometry, of object and environment, of floor and volume, of action and form - of course, this is called inter-action, because the point of action is always exactly in between object and subject, and this â&#x20AC;&#x153;in betweenâ&#x20AC;? is where skin, environment and interface come together. Liquid architecture is always trying to connect one act to another, of putting a virus in the program itself, about the hyperbolic linking of events, where every object and every event can have unforeseen and unprogrammed effects. Nothing, no function, no object can remain isolated; everything is brought in a continual process of transformation to the other - everything is necessarily opened up and leaking away. VECTOR TO LIQUID ARCHITECTURE_

VECTOR TO LIQUID ARCHITECTURE_

VECTOR TO MASSING TYPES_

Different type of crowd movement triggered differences of programs distribution and navigation through the site. The research on massing as one of the parametric urban tools allows us to negotiate the context and thefuture conditions, rather than fixed, but gives the input to the site and also be affected by the densification of the site. By setting up the urban inputs we are able to control two or three different type of programs and tectonic system specifically, from either smooth, singular program to the more extreme conditions, which could have the extreme density and height VECTOR TO MASSING TYPES_

VECTOR FLOWS TO MASSING TYPES_

VECTOR FLOWS TO DETAIL CONFIGURATION_

VECTOR FLOWS TO MASSING TYPES_