P4 / Materializing Membranes / Final hand-in

P4 / Materializing Membranes / Video - Membranes in relations to Antarctic conditions

Video Membranes in relation to antarctic condions from Kristoffer Codam on Vimeo.

P4 / Materializing Membranes / Catalogue overview

P4 / Materializing Membranes / Catalogue

P3 / Constructing Membranes / Pin-up#3

P3 / Constructing Membranes / Pin-up#2 [Revised]

P3 / Constructing Membranes / Pin-up#2

P3 / Constructing Membranes / "Arctic" at Louisiana



Video Installation Louisiana from Kristoffer Codam on Vimeo.

This video shows the rough conditions of being outside on the poles.

P3 / Constructing Membranes / Pin-up#1

P2 / Constructing a case study archive / ZigZag Book

P1 / Defining Field of Investigation / ZigZag Book

P2 / Constructing A Place / Proposal #2

P2 / Constructing A Place / Plan sections of proposal #1 

P2 / Constructing A Place / Relations Between Elements

P2 / Constructing A Place / Model #2 : Focusing on stairs

P2 / Constructing A Place / Model #1 : Focusing on spacial progress and visual connection 

P2 / Constructing A Place / 4 Different Scenarios 

P2 / Constructing A Place / 4 Different Senarios from Kristoffer Codam on Vimeo.

P2 / Constructing A Place / Chosen Elements

P2 / Constructing A Place / Connecting Elements II

P2 / Constructing A Place / Connecting Elements

In the first step we wrote all the elements in boxes and brainstormed on what other elements it could be connected with. Next step we drew up all the connections. Then we drew the most important and the visual connections. At last we made circles with sizes relating to the amount of connections each element had. The lighter grey is the elements least important to the program.    

P2 / Constructing A Place / Funabashi Apartment Building

P1.3 / Constructing Strategy / Process

P1.3 / Constructing Strategy / Reliefs

P1.3 / Constructing Strategy / Selected Events And Program Development 

P1.3 / Constructing Strategy / Combination of Programs

we are going to combined Whereabouts-Swimming pool-Housing

P1.3 / Constructing Strategy / Catalogue

P1.2 / Constructing Fiction / Inside The Character from Kristoffer Codam on Vimeo.

P1.2 / Constructing Fiction / The Characters Relation to Site from Kristoffer Codam on Vimeo.

P1.2 / Constructing Fiction / Manuscript for Video

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This is Manhattan.

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SoHo is located by 6^th Avenue on the west side, Houston Street on the north, Lafayette Street on the east, and Canal Street to the south.

East Village is the area east from Bowery to the east river, between 14^th Street and Houston Street

Both these areas are known for their artists, musicians and art galleries, which all started in the late 1960s.

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Due to the housing shortage and rising prices on Manhattan in the 1980s, the artists began moving across Williamsburg Bridge.

They started by settling down south of the Bridge, but soon they moved north and today they have become majority of people living in Williamsburg and with art galleries and event everywhere.

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My name is Jack Bundy and I am 27 years old. I am very interested in arts and music, and part of the Hipster movement – You can almost say that I started the hipster movement. This is why I am moving in at the corner of Keap Street and 4^th Street in Williamsburg.

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If you want to be a Hipster you have to a beard. I prefer a moustache, because everything else makes my face looks puffy.

Today I am wearing a white t-shirt by Commes Des Garcon. Why do Japanese designers give their brand a French name?

I also wear a Wrangler Demin gilet that I bought at Beacon’s Closet on 88 North 11^th Street in Williamsburg.

I wear a pair of double cloth black denim jeans by Tellason limited edition, only 25 pair made. My pair is of course first one.

These jeans are held up by a brown Hugo Boss leather belt. Real leather of course. 

I prefer socks from Ralph Lauren; these are white with royal blue stripes.

For shoes I wear a pair of Mark McNairy, brogue shoes.

  

P1.2 / Constructing Fiction / Quotation

" After I change into Ralph Lauren monogrammed boxer shorts and a Fair Isle sweater and slide into silk polka-dot Enrico Hidolin slippers I tie a plastic ice pack around my face and commence with the morning’s stretching exercises. Afterwards I stand in front of a chrome and acrylic Washmobile bathroom sink – with soap dish, cup holder, and railings that serve as towel bars, which I bought at Hastings Tile to use while the marble sinks I ordered form Finland are being sanded – and stare at my reflection with the ice pack still on. I pour some Plax antiplaque formula into a stainless-steel tumbler and swish it around my mouth for thirty seconds. Then I squeeze Rembrandt onto a faux-tortoiseshell toothbrush and start brushing my teeth (too hung over to floss properly – but maybe I flossed before bed last night?) and rinse with Listerine. Then I inspect my hands and use a nail-brush. I take the ice-pack mask off and use a deep-pore cleanser lotion, then an herb-mint facial masque which I leave on for ten minutes while I check my toenails. Then I use a Probright tooth polisher and next the Interplak tooth polisher (this in addition to the toothbrush) which has a speed of 4200 rpm and reverses direction forty-six times per second; the larger tufts clean between teeth and massage the gums while the short ones scrub the tooth surfaces. I rinse again, with Cépacol. I wash the facial massage off with spearmint face scrub. The shower has a universal all-directional shower head that adjusts within a thirty-inch vertical range. It’s made from Australian gold-black brass and covered with a white enamel finish. In the shower I use first a water-activated gel cleanser, then a honey-almond body scrub, and on the face an exfoliating gel scrub. Vidal Sassoon shampoo is especially good at getting rid of the coating of dried perspiration, salts, oils, airborne pollutants and dirt that can weigh down hair and flatten it to the scalp which can make you look older. "

Bret Easton Ellis, American Psycho. P. 25     

P1.1 / Constructing An Archive / Social Spaces And Social Notations

The intersection between Keap Street and South 4. Street is the area of interest.

Placed in and old neighborhood in central Williamsburg. 

The area is in a constant place of changes driven by immigration and relocation of different types of ethnic groups. 

The city scape is a mixturere of private apartments, public institutions and private stores. 

Everything else other then the private apartments are interpreted as accessible spaces – to different extents. Collectively these spaces form the social framework surrounding the local communities. Even though these spaces have a practical function – grocery, barber, institutions, etc., additionally they all provide a social service to the local community. – They are social spaces.

To an outsider the tags and graffiti on the wall and public furniture reveals little about the ongoing battle for the public space in the area. 

The scripture which is social notations, is used by certain groups inside the community to claim ownership of the area. 

These notationer are part of a distinct language that only a few people understand. To most, they are insignificant parts of the urban landscape, to others they are crucial.

Some common themes have arisen through the analysis of the social notations and the public spaces. These themes of spatial regions and graphical text and style have allowed for the mapping of the notations in relation to one another. Due to this depiction the recognition between the notations can be joined to others or be classified within its own isolation.

P1.1 / Constructing An Archive / Mapping Graffiti

EVENT SCRIPT / INTANGIBLE SECTION, ANALYSIS, AND MONTAGES

EVENT SCRIPT / DIAGRAMMER

LOBBY NYC / FORD FOUNDATION (1968)

The Ford Foundation is located at 320 East 43rd Street. Unlike the Seagram building, the Ford Foundation blends in with its surroundings. The use of the light brown granite matches the buildings placed next to it. Complementing the granite is a clear frame structure of weathering steel, giving the building patina.  The weathering steel frame holding the windows is creating with four pronounced pillars of granite going all the way from top to the bottom are creating a curtain wall. Both sides of the building are angled towards the entrance and the two bottom floors get shorter and shorter narrowing into the lobby.  

Getting closer to the entrance you will see that doors and window frames are covered with gold, and you see a green color behind the glass. When entering the lobby, the first thing you see is a big indoor garden in different stories. The sun comes through windows as high as the 12th floor and lights up the garden. The steel structures in the atrium create a magnificent play with light. The office spaces surround the garden in an L-shape and the garden seems to be dedicated to personal inside the building, giving them a garden in the middle of the city. All window frames in the same weathering steel, making a huge contrast to the green garden. 

LOBBY NYC / SEAGRAM BUILDING (1958)

The Seagram building is located on 375 Park Avenue, New York City. The Seagram building clearly stands out. Huge white and gray office buildings surround the Seagram building, making it stand out with its warmer darker colors. Seagram has an outside dark brown metal structure, holding the matching brown windows creating a curtain wall. The outside structure gives resemblances to Industrial building. The building is standing on pillars, lifting the building from the ground and giving air and light to the bottom. This makes the building seem almost light even though it is 157 meters tall. 

Seagram is place in the middle of block and having a huge space in front of it with sculptures and a fountain. This makes the building seem less intimidating. Next to Seagram is a much smaller building giving it air on both sides, unlike the other skyscrapers surrounding Seagram.

The pillars holding the building are of the same dark metal as the rest of the building, just thicker. The whole bottom is covered with a clear glass without color, and in the middle of the entrance is a swing door. The swing door and the windowpanes are covered with gold. When entering the lobby, the glass facade makes the room very light and open and difficult to tell whether you are inside or outside. The plain floors and walls covered in beige colored marble. The lobby has high ceilings, which is emphasized by a narrow passage leading down to elevators. Unfortunately, a metal desk is place in front of the passage with a guard only leading people who have business in the building through. The building in minimalistic, and yet very interesting.         

LOBBY NYC / HOTEL MARRIOTT MARQUIS (1985)

The hotel is located at 1535 Broadway, New York City, right on Times Square. Walking on Times Square the hotel is only visible by signs of the hotel. The signs are almost disappearing in the thousand of other signs lighting up Times Square, giving a surrealistic impression of time and space. Looking up while standing in front of what is supposed to be the entrance to the Marriott hotel, you only see huge Kodak store and no sign of a hotel. Then entering the small passage under a lot of buildings you suddenly see something that resembles a hotel lobby. The light is warm and yellow, which matches the gold on the swing doors and window frames. The floor is opposite cold and dark marble, giving a contrast between these two. 

This is only the front lobby containing a huge hollow cylinder in the middle with the entrances to the elevators inside and the elevators operating on the outside. The elevators lead up to the theaters on the third floor. The cold marble floors have changed to a warmer carpet floor, still having the cold blue color. It is a room with high ceilings and a circle opening surrounding the cylinder in the middle giving a peak into the main lobby. 

Entering the main lobby from cylinder in the middle, the light still yellow and the floor dark marble. When enter the room you feel very little. Looking up you see all the way to the top, at 48th floor. The building is an atrium formed as a square with all the rooms placed at the rim of the square, leaving a huge space in the middle only containing the elevators in the middle.  This wasted space becomes without scale and the floors only a thin line. Times Square has on of the most expensive square feet on Manhattan and in the world. By having so much wasted space in a place with so expensive square feet emphasizes the superiority surrounding this hotel. The building turns its focus inward and turns its back on the street, again emphasizing the feeling of us versus them. 

Andreas Gursky, a German artist known for his large format photographs, both containing the small details and the big picture. In 1997 he made an image of the Marriott Hotel Marquis, where he combines two photographs from each side of the building. This huge picture is 186 x 250.5 cm and shows the rhythm and depth in the building making it look like a city in itself, again a reference to the diversion from Times Square.          

From the main lobby you can see the circled platform of the sky bar at the 48th floor. The platform turns 360 degrees in one hour giving you the best view of the city, no matter where in the bar you sit. I do not know if John Portman thought of this in 1985, but in the Buddhist religion a square containing a circle is called a tantra and is a symbol for the monism or something sublime. Whether he knew about the tantra or not it is still supporting the thought of superiority.