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So I think about another idea is to rebuild the ceremony space in morden city life . Nowdays in some big city like Hongkong ,Tokyo and Shanghai.People living a very small apartment ,so they do not have enough space to consider about the ceremony tradition. Every country have their own way to ceremony something ,by this it can make people remind what are we from and also do not lost the connect with some tradition or important things .so I want to build a ceremony space by using Unity or some virtual reality stuff .and people can have a small trip inside and also can get a rest and enjoy the atmosphere in there . | So I think about another idea is to rebuild the ceremony space in morden city life . Nowdays in some big city like Hongkong ,Tokyo and Shanghai.People living a very small apartment ,so they do not have enough space to consider about the ceremony tradition. Every country have their own way to ceremony something ,by this it can make people remind what are we from and also do not lost the connect with some tradition or important things .so I want to build a ceremony space by using Unity or some virtual reality stuff .and people can have a small trip inside and also can get a rest and enjoy the atmosphere in there . | ||
First inspiration . | First inspiration .(the structure of the ceremony space ) | ||
Iannis Xenakis | Iannis Xenakis | ||
Xenakis pioneered the use of mathematical models in music such as applications of set theory, stochastic processes and game theory and was also an important influence on the development of electronic and computer music. | Xenakis pioneered the use of mathematical models in music such as applications of set theory, stochastic processes and game theory and was also an important influence on the development of electronic and computer music. | ||
He integrated music with architecture,designing music for pre-existing spaces, and designing spaces to be integrated with specific music compositions and performances. | He integrated music with architecture,designing music for pre-existing spaces, and designing spaces to be integrated with specific music compositions and performances. | ||
[[File:QQ截图20170202204251.jpg|400px]][[File:QQ截图20170202204320.jpg|400px]] | |||
[[File:QQ截图20170202204355.jpg|400px]] | |||
the space in bamboo forest | |||
[[File:QQ截图20170202210749.jpg|400px]][[File:QQ截图20170202210757.jpg|400px]] | |||
[[File:QQ截图20170202210809.jpg|400px]][[File:QQ截图20170202210818.jpg|400px]] | |||
[[File:QQ截图20170202210829.jpg|400px]][[File:QQ截图20170202210835.jpg|400px]] | |||
Second inspiration(art intervening in virtual space ) | |||
Gordon Matta-Clark's Conical Intersect (1975) was a torqued, spiraling "cut" into two derelict seventeenth-century Paris buildings adjacent to the construction site of the controversial Centre Pompidou. With this landmark work of "anarchtecture," Matta-Clark not only opened up these venerable residences to light and air, he also began a dialogue about the nature of urban development and the public role of art. Considered three and a half decades later, Conical Intersect reveals the multivalent nature of the artist's practice and his prescient focus on sustainability and creative reuse of the built environment. Conical Intersect and the two buildings were demolished as part of a large-scale urban renovation of the historic market district of Les Halles; today we can know the work only from drawings, photographs, and a short Super 8 film. In this illustrated study, Bruce Jenkins examines Matta-Clark's "non-u-ment," looking closely at the artist's proposals, working process, various forms of documentation, and the dialogue begun by Matta-Clark's decision to transform two abandoned buildings "into an act of communication." | |||
Result | |||
[[File:QQ截图20170202205224.jpg|400px]][[File:QQ截图20170202205234.jpg|400px]] | |||
[[File:QQ截图20170202205248.jpg|400px]][[File:QQ截图20170202205258.jpg|400px]] | |||
[[File:QQ截图20170202205314.jpg|400px]][[File:QQ截图20170202205337.jpg|400px]] |
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