We define infinite through things we don’t understand to absolute measurements. This greed keeps us prisoners within.
New space structure in interior as space, whether inhabits planetary choreography created by waves through our visual perception, or to service spaces to gather the human perception, its movement is reinforcing conventionally discrete, the performative similarityand modulation stretched behind private zones within what we call personal space.
Spatial mutability therefore is postulated to the formalized architectural-type development, which generates automatically multiple space relationships within exterior fields enclosed in space vacuum. These are often found in dark matter fields which don’t capture light, therefore, there is no particles to bounce the light and the space appears to be dark.
The fluid development of zones with particles within the space vacuum structure should impose potential in building continuity through surrounding space, recognizing its compositional and spatial values from freestanding supports (dark energy, dark matter or anything that has no light), concealed in similarity, and paradoxically transferring the space development in individual spatial cells which recycles the great vacuum with continuous flow particles.
In comparison to the great vacuum surroundings, spatial particle vicinity is important due to its necessary relevance in abolition of enclosed spaces within vacuum surrounding or other particle vicinity. Each of the particle vicinity is defined by a set of length, angle and expansion rate which is afinite pattern to form continuous flow of particles and even particle growth through multiplication and unification with other particles.
The perception of particle surroundings is perceived as space self-preservation and therefore should expand the particle vicinity in continuity, reaching spatial mutability which should juxtapose spatial fluidity acquiring directly open space.
Particle vicinity development is thus highly dependent on its transparency openness, spanning infinity.
PS. Those two moons came up while I was searching the space for a perfect planet and there was luck to discover planet Pancake. 🙂
“Embedded within the virtual structure’ (Abstract space, 2007:21), elegance strives for differentiation in dynamic order, examined between expression of values, as Antonio Saggio (2003) points out, and their internal function within the structure concept.
Tendency is to process the virtual into logical cognition and expression as Peter Eisenman (2003) points out, opening characteristics that should attract the social forces into becoming the potential for complexity in change and growth over time.
An essential part of this interrogation between complex and uncertain is relying on perception of the architectural image, that is reflecting on investigations which were developed by fixed meanings: ‘architecture as infrastructure, as interface, as a system of interconnection’ (de Kerkhove, Derrick, 2001:88), distributed at the boundary between art and science, which occurred over time in our history, as an accumulation in time that determined our perception of space.
“At present, the digital is an interface between cognition and expression. With the integration of digital methods, primarily through new media animation software, it is possible to view design acts not only as an on-going process within a larger continuum but potentially as ends in themselves. As substantial DeLanda’s writing, form is always subject to its own internal process, so always becoming. Actualization may be not necessary, or even possible. This stands in contrast to historical views that examined the architectural drawing as a material artefact (albeit a product of social forces).’ (Tierney, John 2007:21)
The accumulation in time in which our perception had developed within the perception of the architectural image, has been, as in animation software packages, manipulated by a coordinate of time.
Time is exponential, ‘change, reversible and reversible’ (Steele, Bret, 2001:15) and storage. This could be patterned by the mass production of goods and services as John Bird (1993) points out, which create an increase in memory storage, by extending the boundary in which we share as a community, as Breet Stele (2001) has mentioned.
The mapping of physical environments it is essential in developing close related spaces to generate efficient connections between occupants and their possible connection in space.
In other words, time has accumulated the information and had generated history and the host. If we generate an ‘articulation’ (Patrick Schumacher, 2007) between time and the logical ‘complexity’ (Patrick Schumacher, 2007), this new fields would extend towards the new ways of developing spaces, as Brett Steele (2001) points out. Space at this instance in time becomes fully interacting with the bodies. As Brett Steele (2001) points out, subjects interacting within the hole continuum should articulate the needs in which they share the most.
Patterns as eating, sleeping, relaxing, becomes the maps in developing embedded spaces, which fully react to the interacting body through space.
By compressing the capsule of space, dividing and assimilating common needs under the same cluster, space becomes efficient as, shown by Brett Steele (2001).
If this gives the point of interaction with the built environment and the natural ecosystem, the connection necessary to place them seamless together, is located within the architectural design.
In this view, a representation of moments through duration, ‘emphasising the analytical ability of the mind’ (de Kerchove, Derrick, 2001:89) is generating idealized static objects located in fixed spaces, creating fixed logical links as Brett Steele (2001) points out.
This connection could be the link between the complexity of our natural environment and the architectural image.
“Screens, connections, and electronic interfaces are all around us and live contemporaneously in flexible organizations and trans-typologies. Architecture takes on life; it becomes an electronic and interactive organism, a new type of space is coming to light, indifferently real or simulated, two dimensional or three dimensional, the space makes everything contiguous, mixed, contaminated. The sense of things is dispersed in an uncontrolled dissemination. Velocity is no longer physical but is the thought, absolute” (Barzon, Furion 2003:10)
The embedded space, linking all the interfaces and components into one electronic device, developing and assimilating the traces of our movements and behaviours through space. The of information in packets of rules, codes, forces, separated into categories to be accessible and at the same time transferable.
These groups of packets, are connected, as Steele Brett (2001) points out, leaving the connection between human and electronic interfaces, to creatively develop connected and flexible organizations.
World Wide Web introduces the elaboration of new multiplicity, cross-operable electronic interfaces, which becomes the fundamental boundary between human interaction and virtual interactive space, suggesting the exploration of form as Brett Steele (2001) points out, to blend the World Wide Web, to become the embedded mechanism which behaves as the ‘cognitive and intelligent phenomenon’ (de Kerchove, Derrick 2001:21).
As in virtual spaces, the accumulation in every ramification should process the information into logical expression, giving to the spatial experiences the tendency to trans-relate between one another. If taking into consideration the classifier of the classifier of the projected image, into virtual entity, rather than a concept of experience, than the classifier of the projected image would be in transit with the perception of experiences as Barzon Furion (2003) points out.