2007 / 08          Shadow route     People say that the Sky was created by the concentration of Yang, the force of light. Earth was created by the concentration of Yin, the forces of darkness. Yang stands for peace and serenity; Yin stands for confusion and turmoil. Yang stands for destruction; Yin stands for conservation. Yang brings about disintegration; Yin gives shape to things.   Intentions in Architect Christian Norberg.Schulz.  Christian's perception in the form of architecture should be determined by the treatment of bounding surfaces, which from my understanding of Bounding surfaces is the primary and secondary elements of an architecture, which had formed the space, and also the meaning of the space.  Where Christian has compared this theory with music, which each tone has an analogous function to the piece.  In metaphor to the elements of my architecture, each of them should function with its own characteristic.   I have experimented with; I have expressed my traffic's daily route in movements with an abstract way.  By the use of repetitions of lines representing the route, depth and sense of form has created.  Which in this case, the lines of my route have become the primary element and the shadow of darkness between the routes are the secondary elements.  By extracting and pushing the lines in a 3-demensional way, a new definition of the city's daily route has formed the basis of architecture.     “Traditional’ urban space consists of buildings as constituent parts of urban blocks, where the blocks define and enclose external space. “Modernist; urban space typically consists of freestanding ‘pavilion; buildings in landscape settings. During the modern period, the morphological structure of the public space network has changed in two important ways: from buildings as constituent elements on urban blocks defining ‘streets’ and ‘squares’.     The repetitive routes become the firs element and the shadow between lines were where shadow lives - the space between two and three dimensionality   The digital recorder enables us to distinguish the distinction between the two dimensional and three dimensional. As it compresses and foreshortens all form onto one narrow space, thus allowing the viewer the ability to interpret the direction as we wishes.  Using digital recorder to start form any spot of the trip, the image can be shift from one distance to another.  It becomes a starting point, a beginning.  The machine itself breaks away from the main body, reaching out and enveloping the street in front.  Both sides become blur, disappear images.  A distinct axis of symmetry and perspective is observed.    Time and route are exhibited in the space.  Sense can be captured every second day for seven days.  At a different times of the day.  Cars appear and disappear, road changes and turned. Light qualities change and reform.  Puddles flood and evaporate.  The recorder changes its view, changes its mood, and changes the process of exposure in the development of the film.  The sequences in between the captured points are forgotten/lost/unconsidered.  These moments can only be found again in the trace of the objects that have moved, a three dimensional manmade presence is felt but not encountered.  From the images they only seem to appear on two-dimensional planes.  Time becomes somewhat irrelevant to the image.  The image instead is a trace of a moment.  The closer you become to the camera the faster time ticks by.  Time maybe only measured by the movement of the car on the street, when captured through the recorder.     “Whatever was affecting the rate time passed at seemed to obey the inverse square law, the phenomenon apparently radiating from each cloak face, while at the same there was a more generalised sort of effect emanating from the huge central mechanism buried somewhere in the castle’s many lower levels, making everything down there happen more quickly...”. Two dimensional Chess   Passing time could also be mapped by the movement and its sound.  Something that cannot be captured on a still film roll, but a digital recorder.    The nearby intersection creates movement to an otherwise stagnant site.  When the red signal is lit the traffic mumbles a gentle hum that fills the alley, once a glimpse of green flashes a cacophony of engines flood in.  These changes with the hour of the day. ??  On a traffic dram the street is filled with vehicle, noisy and crowed.  It inhabits and fills the space like smoke.  It fills the photographers lungs and effects the way he will take the photo, therefore maybe the recorder reverberates this emotion. The mechanisms and links between the camera and the site exist within the cameras illustration of the three dimensional into the two dimensional.  What is the point in which one succumbs to the other? Does it happen in the interior of the camera, or the exterior?  Truths lie within the transverse relations between the two dimensional, three dimensional and the relativity of the fourth Euclidean dimension.  Perhaps more answers lie in ground floor plane.  In the puddles.  Where the camera, photographer, architecture, light/dark are captured in one autonomous motion.   Sight isolates whereas sound incorporates; vision is directional whereas sound is omnidirectional. The eye reaches but the ear receives through sound we are able to understand the direction and movment better. On the main road the distinct sound of traffic is surrounding us. As you move alone to Narrow Street, the sound gradually and subtly muffles.   What happens when the rhythm of the trip is added to the image?  The result is a subconscious imagery that depicts the source of the noise and follows it down the coil.  The effect is neither moving nor static.  The human brain automatically compensates for the lack of a visible source to satisfy logic.  As moviemakers have found, the combination of imagery and sound generates a powerful experience.   What is sound in relation to images?  Images are described in dimensions.  The three commonly accepted dimensions are based on the x, y, and z, axis.  They make up length (depth), width and height.  The fourth dimension has been identified as time.  Sound is similar to time.  It can be recorded and stored.  But it is distinctly different, as time cannot be repeated but sound can.  Can it?  Is sound time? Is it the fourth dimension? Christian Nordberg-Schulz (Born Oslo 1926, died 2000) was a Norwegian architect, architectural historian and theorist. Though Nordberg-Schulz had practiced as an architect in his home country, he is well-known internationally both for his books on architectural history (in particular Italian classical architecture, especially the Baroque) and for his writings on theory. His concerns for theory can be characterized by a subtle shift from the analytical and psychological concerns of his earlier writings to the issue of phenomenology of place, being one of the first architectural theorists to bring the thinking of Martin Heidegger to the field.         Reference list: Rexter, Lyle Photography’s antiquarian avant-garde (New York, America: Harry N. Abrams, Incorporated, 2002) pp.6, 85 Sarstad, Monica Shift; design as usual or a new rising (Stockholm, Sweden: Arvinius Forlag AB, 2005) pp.7, 31 Negative places or positive spaces: does art really contribute to urban regeneration? Landscape design 2003. sept n.323, p.64-65