I AM SITTING AT A TABLE WITH ELISABETH MURDOCH AND LEON BATISTA ALBERTI IN A CAFÉ IN PARIS. WE HAVE BEEN DISCUSSING THE NEW FACE THAT SHE WANTS TO SHOW TO THE CITY, AND HOW HER BUILDING IN FRONT OF NOTRE-DAME SHOULD BE REMODELED. THIS TIME, I COME WITH PLENTY OF IMAGES TO DISCUSS MY IDEAS VIA A CATALOG AND A MOVIE.
I SHOW A CATALOG OF ORNAMENTS FOR ELISABETH’S NEW BUILDING. I PRESENT WITH EXAMPLES HOW THE AREA, COMPARTITION, WALLS, ROOFS AND OPENINGS MAY LOOK LIKE. FROM THE CATALOG, THE FORMS OF THE BUILDING WILL BE ENGENDERED.
I ALSO SHOW A MOVIE OF LINEAMENTS FOR HER NEW FACE. I PRESENT WITH EXISTING SCENOGRAPHIES, OBJECTS/SUBJECTS, ACTIONS, SOUNDS AND TEXTS, WHY HER FACE AND BUILDING ARE RELEVANT TO PARIS AND THE WORLD. SHE WILL ENGENDERSENSE FROM THE MOVIE.
PANORAMAS OF CINEMA, A VIDÉOTHÈQUE AND SEARCH ENGINE WITH 2 THOUSAND HOURS OF MOVIES AND 2 MILLION IMAGES, WILL ASSIST ME.
s3e3 ON MODELS THE FACES PLAY
I construct an architectural project by putting into proportion that which is heard, and that which is seen. An
Approximation Demontablé made out of many possible renderings.
It is a play with toys, games, and tools.
It is a play of textures, models, and scales.
It is a play shaped, assembled, and played.
I construct Scenes Locating the Ornaments.
I construct Scenes Constituting the Compartitions.