Hot Dog Machine
Invited Distinguished Professor:
Gabriel Esquivel, Studio Professor
Texas A&M University
Team: Maria Fuentes, Sidney Farris, Ozzy Carrion, Ashley Fulcher.
Although we approached this project as an issue of degree, the project developed into a way of observing tropes of kind within an architectural perception of the estranged and the familiar. This studio is mainly an exploration of the both/and; the rough and saturated. The studio focuses primarily on the rough and saturated; the both/and; the strangely familiar. The site is located North of Texas A&M’s West Campus, on university-owned agricultural land. The project introduces a new culture to the context, while using a familiar, banal program related to animal and food sciences, in our case, a new building for the entomology department. We were interested in the intersection of subject/object + nature/culture, by determining the relationships of objects that become familiarized through four tiers of exhaustion: movement, geometry, space, and texture. The mereology of the familiar canonizes the creation of categorical elements. Through our project, we’ve utilized postural catalysts such as embedding, imposition, and hovering. With these catalysts, we can use the four tiers of exhaustion to evaluate relationships according to degree.
We embed the ground hot dogs in the site, producing a second ground in which the ensemble is embedded. Through posturing the ground and the ensemble, they are exhausted of their original character. This occurs at the macro Level. At the micro level, these same figures, the hot dogs, can be seen as the smallest member of the categorization; becoming a successful field object that aids in creating inner-outer-inner moments.
In this composition, the hot dogs are the autopoietic machine which occupies the anchored, designed objects. This mereology relates to the other objects to produce more. The relationships of the hot dogs at the micro scale catalyze the autopoietic machine, as the program begins to be introduced as a new part of the machine, the entirety shifts to become allopoietic, necessary to be represented by the drawings, plans, and section.
The components of the ensemble are first interpreted through degree (size, color, shape) before being evaluated on the basis of kind. This is an onticological method of intuition. Through the use of bergsonist concept of duration, we use this technique as a filter to think about the question the ensemble proposes, not as an issue of degree, but an issue of kind.
The first tier of embedding began with the figures, then texture and color, finally program. Because of the onticology of the building, the progression to the final tier of exhaustion (the program) is the last phase in the series of shifts (phase) the building undergoes. The system is open, allowing in all objects until the program becomes an object that inhibits the acceptance of new members; specifically stemming from the central hot dog nucleus.
When the onticology of the building becomes apparent; it is then that the inhibition of the autopoietic machine begins. This begins to wane on the ensemble, leading to the machine becoming allopoietic. It creates not itself, but something other. We are interested in wanting to know the deeper understanding of the relationship between these objects within the threshold of subject/object & nature/culture areas.