[...Machinic analogues are quite prevalent in architectural history. Books 9 and 10 did refer explicitly to the making of machines a part of the making of architecture. Le Corbusier, was most renown for referring to architecture as a "machine for living". Even Shin Takamatsu took the almost nihilistic approach to developing architectural work as a machine aesthetic. Devoid of human interaction and finished using the same precise techniques and obsessive precision of a mechanical engineer.
Rather than a metaphorical transition or an analogue for a representation. . . meaning, program and ultimately use . . . [will be derived] from the embedded conditions [present in the monster].
--- Studio Brief: Patrick Harrop. 2008.
The above images are laser cutting templates. When assembled these pieces will form a preliminary substrate that will discuss the mechanics necessary to provide a controlled ascent and a controlled descent within a structure.
The next steps will be to determine how the structure will evolve to take into consideration the phenomenon derived from the Homunculus project:
1. EXPECTING THE UNEXPECTED
The puppet’s suggestive power is linked to its paradoxical status: while it is an inanimate object, its appeal depends on its seeming ability to “live.”
-------->micro-contoller programmed to control: sensory input, reducers, increment counters , stepper motors, pulleys, hoisting mechanisms.
-------->theatrical strategies, anamorphosis and illusion.
2. EXPECTING THE UNEXPECTED IN CERTAIN PREDICTABLE WAYS
What is most interesting about the puppet, from an architectural standpoint, is the interplay between its elements and gravity. The inter-relationship between the strings in tension and the load of the puppet creates a parametric situation where when one part moves, the rest follow suit in a predictable manner.
--------> tensile systems, Frei Otto( Institute for Lightweight structures), parametric relationships, iterative components.
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