The Unknown

Invited Distinguished Professor:

Gonzalo Viallo. Morphtopia

 

Gabriel Esquivel,  Studio Professor

Texas A&M University

 

Team: Bernie Guerra and Emma Sumrow.

The project formulates the 21st century autopoetic machine with a quality of assemblage as it pertains to the house, generated through a series of mereologies and tendencies, as one object in a defined closed system. This paradigm negotiates levels of scale, resolution and viewing in specific ways through applied logics that argue conditions of the object as it is perceived.

 

 These applied logics, or tendencies, are understood as the generative mechanism and thus may become manifested as objects acting upon the subject of the house within this flat ontology. Levels of resolution and the multiplicities of viewing impact how the pieces are assembled and understood. This ontology and the assembly of parts, as objects, with their own applications are what is acknowledged as the unknown house with a series of tendencies to create a machine. Therefore, these mereological chunks become vehicles of said tendencies. These possess their own fundamental logics that create notions such as blurring, binding, and figure that are intrinsically linked to objects, the way they are used, the situations in which they are used, and their utility as parts. Objects within this mereology have a wide range of phenomena that assemble to form what is known about the house. Each part possesses its own logic and thus the house may then have, as a whole, similar ideas of phenomena from an ontological perspective. These tendencies, as defined by Deleuze, cause it to move away from the grounded and predictable to the more speculative condition, creating an ontological problem.

 

Furthermore,objects and whether or not they are known or are currently just knowable rest in this house and its multiplicity of viewing as there is a negotiation of a shifting focus between the familiar and unfamiliar amidst the labyrinth. Defined moments are dependent upon the house’s manifestation as a metaphor. The house, with origins tied to the Villa Savoye, negotiates these relations through figural assemblage, blurring, binding, ungrounding, misinterpretations, and multiplicities of viewing; the Deleuzian tendencies therefore reject the canonical, yet their source is one of the most canonical houses of the 20th century. There is thus a movement away from the prescribed and notion of predictability by creating new perceptions of the tendencies that reframe the obvious. Therefore, there is a new understanding of the Villa’s element of the ramp as it re-manifests itself into the site condition, creating a new organization of the approach as being within the ramp itself. The character of the maze injects itself ontologically into the site and machine, thus manifesting its own additional tendencies within the defined system of logics. This labyrinth creates a new approach to the machine in the midst of a field of objects such that the levels of viewing oscillate from what can or cannot be seen as one moves along the paths and eventually up the ramp, into the house.

 

These create questions of recognition through dissipation, or movement from known to unknown, and surpasses a fundamental understanding of the house as a metaphor of the 21st century machine. The metaphor suggests the identity of the chunks and tendencies by identifying a sensation in the viewer’s mind of the connection of these driving agents to the new paradigm of the machine. The new paradigm is driven by the autopoetic qualities which establish this perceived connection that is now dynamic rather than static. There becomes a difference in the viewing of the objects’ interactions in comparison to how these interactions may be speculated upon. These tendencies become phenomena that are already the new house themselves, thus in a knowable state that is. The allure, or style, reveals their nature and is ignited by their tendencies. They use the assemblages, and the assemblages follow operations in order to result in the unknown house. The levels of familiarity of the two primary figures shift with the amounts of enclosure from the closed house to the semi-enclosed cage-like courtyard. Interior surface articulations and object impositions mandate what can be viewed at various levels, thus furthering the notion of the unfamiliar style and the labyrinth. Their applied tendencies and impositions enhance the multiplicities of viewing and blur the understanding of these object-to-object interactions and figure-to-figure relationality.

 

Therefore, the device and its mechanisms inform a new paradigm of the metaphor of the 21st century machine as it relates to the reinterpretation of a multiplicity of relationships whose readings are guided by the tendencies to then possess its ontology. In this way, the metaphor and its qualities were assembled through this series of tendencies which define the closed system that makes up the new autopoetic house with its own readings and understandings that has never stopped changing. ns through figural assemblage, blurring, binding, ungrounding, misinterpretations, and multiplicities of viewing; the Deleuzian tendencies therefore reject the canonical, yet their source is one of the most canonical houses of the 20th century. There is thus a movement away from the prescribed and notion of predictability by creating new perceptions of the tendencies that reframe the obvious. Therefore, there is a new understanding of the Villa’s element of the ramp as it re-manifests itself into the site condition, creating a new organization of the approach as being within the ramp itself. The character of the maze injects itself ontologically into the site and machine, thus manifesting its own additional tendencies within the defined system of logics. This labyrinth creates a new approach to the machine in the midst of a field of objects such that the levels of viewing oscillate from what can or cannot be seen as one moves along the paths and eventually up the ramp, into the house.These create questions of recognition through dissipation, or movement from known to unknown, and surpasses a fundamental understanding of the house as a metaphor of the 21st century machine. The metaphor suggests the identity of the chunks and tendencies by identifying a sensation in the viewer’s mind of the connection of these driving agents to the new paradigm of the machine. The new paradigm is driven by the autopoetic qualities which establish this perceived connection that is now dynamic rather than static.

 

There becomes a difference in the viewing of the objects’ interactions in comparison to how these interactions may be speculated upon. These tendencies become phenomena that are already the new house themselves, thus in a knowable state that is. The allure, or style, reveals their nature and is ignited by their tendencies. They use the assemblages, and the assemblages follow operations in order to result in the unknown house. The levels of familiarity of the two primary figures shift with the amounts of enclosure from the closed house to the semi-enclosed cage-like courtyard. Interior surface articulations and object impositions mandate what can be viewed at various levels, thus furthering the notion of the unfamiliar style and the labyrinth. Their applied tendencies and impositions enhance the multiplicities of viewing and blur the understanding of these object-to-object interactions and figure-to-figure relationality.

 

Therefore, the device and its mechanisms inform a new paradigm of the metaphor of the 21st century machine as it relates to the reinterpretation of a multiplicity of relationships whose readings are guided by the tendencies to then possess its ontology. In this way, the metaphor and its qualities were assembled through this series of tendencies which define the closed system that makes up the new autopoetic house with its own readings and understandings that has never stopped changing.

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