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ideas are somewhat interesting but there are 2 things im suspicious of:
- the name... what is a fabula? I cant imagine talking about the latest FABULA applications in a bar with fellow designers. And not laughing about it.
- the street art reference is by now a trendy happening thanks to 'exit thru the gift shop'
Graff applications to architecture dont really gain much momentum because of the vandalist nature of graffiti. Good attempts were made by DAIM. but when you remove the vandalism, all that is left is stylization
...and "Archirella" is good 4 you?
- yes, "all that is left is stylization": this is Carlo Scarpa or Space Invaders?
New Wave Palace (sketches for windows - details)
TKS Frontopni - remember... FABULA architecture is/is-not an architectural style: FABULA architecture is a method!
"Hand scale" in architecture.
An architecture to be touched, to be felt as an individual tactile experience, exists! The perception of space "on a hand scale" is different from the perception given by the sense of sight: leaning on a wall, on a handrail, ringing doorbells, opening and closing doors and windows, painting a wall, driving in nails, etc....
A central element of Stencil Art is precisely its having chosen architecture and urban space as its basic support, while nevertheless maintaining a dimension proportional to the "hand dimension". In Fabula Architecture Stencil Art and Sticker Art expand, contaminating the design of architectural form, coagulating in crucial points that represent moments of density of the "hand scale".
The dimension of an active "manual making" that goes far beyond passive "visual enjoyment".
New Wave Palace - sketch for a window (detail)
this is the stuff that makes normal people crazy
T additon of the "HAND SCALE":
2 see + 2 touch = 4 to do too
Jesus guys. Whats with the hostility?
I did something similar when I did my thesis, really enjoyed the process. Honestly words and storyboards seem less abstract to me than 2d line drawings with very little relation to what anyone will actually experience.
i never felt architecture in storyboarding/word play either. would you be pointing out a natural link between an act and a conducive space in relation to that act? that is something different altogether - actually, it only underlines that we find architecture itself insufficient (which i totally would agree with - but as architects we deem that difficult to confess to - a silly denial). then there is the difference between an intrinsically architectural effect and a non-architecturally-intrinsic association (Be it in reverse - i.e. from concept to building). architectural design is a like a speeded up life - we accept being immature, trivial and playful as kids and come up with all sorts of conceipts and concepts - then we grow up, become somber adults measuring reality in modules , dictating religion tenets on paper and admonishing the blasphemous on construction sites.
TKS tammuz, interesting contribution to this discussion...
"Space invaders / windows"
thanks for describing one of the methods I use while designing buildings... I'm sure many do this too. Its nothing new in North American school. I'm sure it'll help the newer generation of schools that only focus on software and parametric shapes while designing :P
or its just silly nonsense.
but what do i know
slitting my wrists over how banal this shit is . . . I hope there's good news at the end with the bright lights . .
otherwise its back to chewing glass.
wtf when did i get a second account?
nothing but mammals.
New Wave Palace - sketch 4 window
Yin-Yang Palace - sketches 4 windows
Yin-Yang Palace - sketches 4 windows
how is the yin tail tucked beneath the yang head and vice versa? is it sloping down below the head? some of these would look cute as iron mongery actually. a bit more mock macabre, and maybe tim burtonesque ironmongery.
Good idea TAM...
Catty Palace - window
I think your sketches now (2012-2013) and your explanation in the first post (2010) are different in their substance.
As someone else has pointed out, this could be an interesting idea, but I can't help to think this is just a form making exercise that is informed by street visual. Street artists, stencil arts, graffs etc you like to use these words as the departure point to sort of reconfigure the existing architecture (to adapt) to what the artists have left on the building. Or I imagined the artists may as well together with the architects in the making of the building form. But your sketches are simply showing branding/sign of an architectural element.
Have you also considered your approach from the point of view of the street artists? Is "adapting" the architecture to their art, even with possibly the best intention in mind, really not an act of "defacing" an art?
Fabula news coming soon in A* - stay tuned!
>>> Kamil - the drawings explore many different possibilities: the same concept could be applied to other experiments in this direction >>>
Catty Palace - sketches 4 2 windows
Fairly disappointing considering your previous work. Cats are evil, don't go there.
meoooooooooow miaooooooooooo meoooooooo
>>>an additional possibility-developement of the Fabula method can be realized by dividing in two different areas the portion of external wall of the building.
1- the wall closer to the street level featured by stencil-art, perceivable by everyone by touch (so enjoyed by mean of the “hand scale”)
2- the portion of wall higher than the first one enjoyed from the street just visually (area distant from the street level: “eye scale”)
The stencil-art subset could stretch from the street level upward through "rails" that act like an "elevator", projection lines in height of a formal module. The rails, leading the subsets upward, meet other elements (windows, etc.) and interact with them...
>>>the rails, leading the subsets upward, meet other elements (windows, etc.) and interact with them >>>
2 thoughts: while you say that 'Fabula' is not ornamentation, everything I see graphically appears to be ornamentation. Can you explain how it isn't? Personally, I don't have a problem with ornamentation. Humans ornament stuff, it's just what we do. It frequently is very beautiful.
2nd thought: assuming that it isn't ornamentation, and using the street art example. My take is that street art is intended as an attack on the status quo, which the buildings symbolize by becoming the canvas. If the buildings start to incorporate street art in a deep way, does it cheapen it? does it weaken it as a form of protest?
>>>I have already used the "elevator" formula in some of my underground creations of public art applied to external achitecture. It is 1 drawing and surely not stencil-art, so the example is not completely appropriate, but I quote it as a parallel idea of "rails". Infact the stencil-art in the extreme simplification of shapes, is more apt to meet with the forms of the architectural code >>>
>>>new FABULA drawings - sketches
Great- now tell me how that would apply to a simple bathroom remodel that would let you pay the bills while you wait for that new building you are hoping to design with your method, but will instead go to a big or medium sized firm?
- sometimes we call old things with new names. Sometimes we call new things with old names. Behind Fabula-A there is a theoretical model. Try to “observe it” from this point of view, and instead of “seeing” antiquated labels you have heard a lot of times, your mind will better focus on it.
- thanks for your remark. It is very interesting. The attack to the “status quo” and the charge of protest remains in the act of giving back to the urban landscape a narrative function, a concept which nowadays is given to commercials and advertisement billboards.
@B ... try to apply the “set-subset” formula to the whole project. For subset I mean a stencil-art work. Instead, you can put at the base of the project a subset, cast it upward through a stripe/rail and make it interact with different elements...
>>>fabula dictionary coming soon - stay tuned! :D
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