http://www.aarontaylorharvey.com AARON TAYLOR HARVEY_Information in formation*_____*this site deals mostly with architecture and its auxiliary productions but there will be some discussion of food and movies too. Thu, 02 Feb 2012 01:06:05 +0000 http://www.aarontaylorharvey.com en http://aarontaylorharvey.com/Bee-el-oh-Gee http://aarontaylorharvey.com/following/aarontaylorharvey.com/Bee-el-oh-Gee Thu, 02 Feb 2012 01:06:05 +0000 AARON TAYLOR HARVEY_Information in formation*_____*this site deals mostly with architecture and its auxiliary productions but there will be some discussion of food and movies too. 307456 follow RSSemail http://aarontaylorharvey.com/Enu-Concept-Art http://aarontaylorharvey.com/following/aarontaylorharvey.com/Enu-Concept-Art Thu, 02 Feb 2012 01:06:05 +0000 AARON TAYLOR HARVEY_Information in formation*_____*this site deals mostly with architecture and its auxiliary productions but there will be some discussion of food and movies too. 64603 I was hired to assist with and illustrate the creation of a new brand identity for "Arte" the european arts channel by photographer/director Andrea Giacobbe. His concept involved the sudden appearance of a strange new, very whimsical, species on our planet called Enu. The Enu would be exposed to the world through a series of television promos, wherein the little creatures would appear from nowhere and disrupt rather prosaic scenes of life. <img src="http://payload.cargocollective.com/1/0/5926/64603/enu_Page_19_Image_0001.jpg" width="670" height="548" width_o="847" height_o="694" src_o="http://payload.cargocollective.com/1/0/5926/64603/enu_Page_19_Image_0001_o.jpg" data-mid="273993" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/5926/64603/enu_Page_20_Image_0001.jpg" width="670" height="549" width_o="853" height_o="699" src_o="http://payload.cargocollective.com/1/0/5926/64603/enu_Page_20_Image_0001_o.jpg" data-mid="273999" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/5926/64603/enu board 02.jpg" width="670" height="772" width_o="862" height_o="994" src_o="http://payload.cargocollective.com/1/0/5926/64603/enu board 02_o.jpg" data-mid="274155" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/5926/64603/enu board 03.jpg" width="670" height="505" width_o="863" height_o="651" src_o="http://payload.cargocollective.com/1/0/5926/64603/enu board 03_o.jpg" data-mid="274156" border="0" align="left"/> email http://aarontaylorharvey.com/Western-the-Rock-Band http://aarontaylorharvey.com/following/aarontaylorharvey.com/Western-the-Rock-Band Thu, 02 Feb 2012 01:06:04 +0000 AARON TAYLOR HARVEY_Information in formation*_____*this site deals mostly with architecture and its auxiliary productions but there will be some discussion of food and movies too. 58667 I was in a rock band once, actually it ruled my life for my entire early 20's. I sing on these songs, I also recorded them, when I was living in my practice space in Hollywood. Please enjoy, licensing always welcome. A Year of Sincere by Western For the truly interested, the release-concurrent bio/ mission statement/ manifesto: The Band is Named Western:The West has always been the place where dreams come true, the place where Americans go to build a utopia or escape constraint; in the U.S., the West has always meant hope. The semi-religious crusade of Manifest Destiny terminates at the coast of the Pacific, but still persists through the grand narcissism of Hollywood. For hundreds of years people migrated west in an attempt to act out their fantasies of personal freedom. From cowboys to showgirls, we are all victims of that idealism, and California is full of stories, escapist ethics, and ill-conceived decisions. Western is a band from California. Songwriting as a Hot-Air Balloon Ride: Aaron Taylor Harvey plots a course across chords and vocal landscapes at home with his dad's old acoustic. There, the songs are blueprints; during practice, they take flight. With a path laid before it, Western unties its hot-air balloon and floats perilously through a sonic storm, looking to land in a place that remains hidden 'til Journey's end. Frankie Palmer plays lead guitar from the Edge of this Zeppelin, piloting an ensemble that tries its best to keep up with a man who bends space through the pick-ups of a Gibson Explorer. Brothers Trevor and David Rager are the engine of this rock and roll airship. Trevor plays drums (with the Moon as his spine), giving off a kind of energetic sophistication that would seem almost European were it not so badass in that American way. Meanwhile, David's bass slinks along in solid time, maintaining structural integrity lest all else slips away. Together, suspended in this precarious state, it seems possible that Western may lead the baloon astray, taking it well beyond their carefully planned route. Or the rest of the band may actually follow Aaron's map with clairvoyant speed and precision. Either way, the songs always seem to land in exactly the right place.The album is called "A Year of Sincere". Aaron recorded and mixed this record in a one-room practice space that doubled as his home. The basics were laid down with a few thousand dollars of borrowed Guitar Center equipment in about a week; they were done almost entirely live. A Year of Sincere is meant to be experienced in its entirety, and is not unevenly weighted in favor of those with short attention spans. It is an Album in the true sense of the word. And it is the band's belief that the lack of musicality or "warmth" in contemporary music comes, not from the digital methods of production, but rather from the ability to potentially create "perfect recordings." Western believes that beautifulthings are not perfect-that it is the limitations that create art and not the other way around. In this sense, this record is not "perfect." All the instruments were played loudly and simultaneously in a single, small room,and so, the sound of space in this music is very real. It comes from every mic in the room picking up the concussive force of a drummer who hits like Thor. It is the sound of feedback bouncing off the walls and seeping into every track. It is the sound of a performance, and we hope you enjoy it. email<img src="http://payload.cargocollective.com/1/0/5926/58667/7165626.jpg.jpeg" width="450" height="450" width_o="450" height_o="450" src_o="http://payload.cargocollective.com/1/0/5926/58667/7165626.jpg_o.jpeg" data-mid="521971" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/5926/58667/west-n.jpeg" width="500" height="456" width_o="500" height_o="456" src_o="http://payload.cargocollective.com/1/0/5926/58667/west-n_o.jpeg" data-mid="521991" border="0" align="left"/> http://aarontaylorharvey.com/Other-Films http://aarontaylorharvey.com/following/aarontaylorharvey.com/Other-Films Thu, 02 Feb 2012 01:05:59 +0000 AARON TAYLOR HARVEY_Information in formation*_____*this site deals mostly with architecture and its auxiliary productions but there will be some discussion of food and movies too. 64108 email http://aarontaylorharvey.com/Julienne-Mobile-Sections http://aarontaylorharvey.com/following/aarontaylorharvey.com/Julienne-Mobile-Sections Thu, 02 Feb 2012 01:05:59 +0000 AARON TAYLOR HARVEY_Information in formation*_____*this site deals mostly with architecture and its auxiliary productions but there will be some discussion of food and movies too. 57956 These two shorts were made as a motion graphic accompaniment to my final review for "Julienne" at the end of my second studio. The concept and motivation for the formal language of the project, as well as the total embrace of 3D software, seemed to call out for an animated description of spatial relationships in this cut space. $(document).ready(function() {try {if(document.getElementById('content_container')) $("#content_container img").lazyload({ placeholder : "_gfx/whiterati.gif", threshold : 100, effect : "fadeIn" });else $(".index img").lazyload({ placeholder : "_gfx/whiterati.gif", threshold : 100, effect : "fadeIn"});} catch(err) {return false;}}); email http://aarontaylorharvey.com/Cinemathequetonics http://aarontaylorharvey.com/following/aarontaylorharvey.com/Cinemathequetonics Thu, 02 Feb 2012 01:05:58 +0000 AARON TAYLOR HARVEY_Information in formation*_____*this site deals mostly with architecture and its auxiliary productions but there will be some discussion of food and movies too. 54677 The final product of the semester long thesis research course was a 15 minute “Thesis Talk”. Given my topic and the kind of media I hoped to incorporate, I came to the conclusion that a film was the most effective method to present my ideas to the critics and my peers. It can be understood as a motion picture essay; incorporating text, still images and movie clips, with a relatively constant narration performed by me. It is a culmination of ideas where the product and the topic are foregrounding each other intermittently to cooperatively make a cohesive argument. And here is the script for your perusal (click for PDF). <img src="http://payload.cargocollective.com/1/0/5926/54677/Cinemathequetonics Script-1.png" width="670" height="880" width_o="670" height_o="880" src_o="http://payload.cargocollective.com/1/0/5926/54677/Cinemathequetonics Script-1_o.png" data-mid="7858089" border="0" align="left"/> email http://aarontaylorharvey.com/Walk-On http://aarontaylorharvey.com/following/aarontaylorharvey.com/Walk-On Thu, 02 Feb 2012 01:05:57 +0000 AARON TAYLOR HARVEY_Information in formation*_____*this site deals mostly with architecture and its auxiliary productions but there will be some discussion of food and movies too. 57905 Final for a class called Cinema Design Research. This film was composed with disparate elements, discovering connections across virtual and actual space whilst editing. The live action bit was shot months in advance as a camera test: simply a day out in the city. Looking at it again, it seemed there was an opportunity to make explicit the broader connections and movement across the city using a secondary layer of digital information. Mapping of experiences and relationships; the tip of an iceberg. A few screenshots (but really, the movie is 3 minutes of fun.) <img src="http://payload.cargocollective.com/1/0/5926/57905/Captured Videos1.jpg" width="670" height="377" width_o="670" height_o="377" src_o="http://payload.cargocollective.com/1/0/5926/57905/Captured Videos1_o.jpg" data-mid="247215" border="0" align="left"/>email http://aarontaylorharvey.com/Price-Center http://aarontaylorharvey.com/following/aarontaylorharvey.com/Price-Center Thu, 02 Feb 2012 01:05:56 +0000 AARON TAYLOR HARVEY_Information in formation*_____*this site deals mostly with architecture and its auxiliary productions but there will be some discussion of food and movies too. 57933 $(document).ready(function() {try {if(document.getElementById('content_container')) $("#content_container img").lazyload({ placeholder : "_gfx/whiterati.gif", threshold : 100, effect : "fadeIn" });else $(".index img").lazyload({ placeholder : "_gfx/whiterati.gif", threshold : 100, effect : "fadeIn"});} catch(err) {return false;}});This project encompassed the second half of my 3 months spent at the Yazdani Studio of Cannon Design, in lovely Century City (the quixotically realized cluster of high-rises, smushed between Beverly Hills and Santa Monica).The Principle decided to take advantage of my background in cinema. He asked me to complete a short film that would reveal the connections and spatial strategies of the recently completed Price Center addition, at the UC San Diego campus. It is a building at a nexus of activity in the campus and the design seeks to link two halves as thoroughfare, while also providing student services and dining facilities. The Film uses a 3D model and live-action footage, that I shot on site, to try and tell the story of the building's dynamic arrangement around multiple paths. The viewer gets pulled up and out in a nearly continuous virtual shot. Here are some screen shots: <img src="http://payload.cargocollective.com/1/0/5926/57933/Captured Videos.jpg" width="670" height="670" width_o="670" height_o="670" src_o="http://payload.cargocollective.com/1/0/5926/57933/Captured Videos_o.jpg" data-mid="247109" border="0" align="left"/>email http://aarontaylorharvey.com/NewSrf http://aarontaylorharvey.com/following/aarontaylorharvey.com/NewSrf Thu, 10 Sep 2009 00:51:41 +0000 AARON TAYLOR HARVEY_Information in formation*_____*this site deals mostly with architecture and its auxiliary productions but there will be some discussion of food and movies too. 79548 *Project Co-Produced with Ryan KocourekThe Kleingarten Datum <img src="http://payload.cargocollective.com/1/0/5926/79548/partis.jpg" width="400" height="658" width_o="400" height_o="658" src_o="http://payload.cargocollective.com/1/0/5926/79548/partis_o.jpg" data-mid="521734" border="0" align="left"/> Faced with an unfamiliar site, we began our process by scanning the existing context, searching for a datum set that could provide a relevant rhythm and density from which to pull a new organizational principle for this proposed alternative to suburban sprawl. Immediately adjacent to the greenfield site, a former livestock research and grazing facility, sits an expansive example of a uniquely Austrian phenomenon: The Kliengarten. These small fenced off yards began as a way to provide individual crop space to urban dwellers but have transformed to become the worst example of american suburban yard-design, compressed an repeated. The gardening sheds have also transformed and turned into small, all under 1200 sqft, rather well appointed, homes. For many kleingarten owners the former tool hut is becoming their primary home. ________________________ After mapping a series of these gardens we began to isolate a repetitive figure ground relationship between enclosure and land and to understand the narrow range of lot sizes in this unique housing typology. The kleingarten lot is usually about 12 meters long and 6-12 meters wide. Instead of simply extending all the variants onto the site we choose to use three averaged widths as our baseline grain 6,9, an 12 meter strips were pulled across our new site. An Infrastructural Surface In conjunction with this housing-scale research we developed a new idea of “the block” for this kind of undeveloped greenfield. By extending-out, level from the existing western high-point in the landscape we created a new ground that could start flush with the old-ground and end 4 meters over-head at the eastern end of the block. This can be understood as an infrastructural plate, holding all the necessary utilities and service tie-ins for the eventual building up of units on the “block”. By unifying the services we create an economy of scale and construction far more efficient than the ad-hoc construction of single family homes. The underside of the plate provides new space for retail and services creating a neighborhood destination instead of an isolated development. $(document).ready(function() {try {if(document.getElementById('content_container')) $("#content_container img").lazyload({ placeholder : "_gfx/whiterati.gif", threshold : 100, effect : "fadeIn" });else $(".index img").lazyload({ placeholder : "_gfx/whiterati.gif", threshold : 100, effect : "fadeIn"});} catch(err) {return false;}}); <img src="http://payload.cargocollective.com/1/0/5926/79548/explode.jpg" width="670" height="1082" width_o="750" height_o="1212" src_o="http://payload.cargocollective.com/1/0/5926/79548/explode_o.jpg" data-mid="521729" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/5926/79548/internal render.jpg" width="670" height="377" width_o="1200" height_o="677" src_o="http://payload.cargocollective.com/1/0/5926/79548/internal render_o.jpg" data-mid="521757" border="0" align="left"/> Circulation: Existing to New Ground The site responsive plate of the new Urban Surface created in this Scheme must be accessed by a network of paths to function as usable space for those in and outside the community. The Plate begins at grade on the west side of the site and there it reads simply as a ground treatment: slats sunk into turf. Everywhere else it must fold down its edges to invite the public onto new ground. Within the plate access is more regularized along a north-south axis, using stairs and ramps to pull users from the center below onto the plate. These are marked in orange on the diagrams to the right For access from plate to roof garden, or the second unit-deployment, we devised a series of staircases along a east-west axis to clearly communicate vertical circulation throughout the development. These appear in red on the diagrams to the below. <img src="http://payload.cargocollective.com/1/0/5926/79548/2.jpg" width="670" height="508" width_o="1200" height_o="911" src_o="http://payload.cargocollective.com/1/0/5926/79548/2_o.jpg" data-mid="521764" border="0" align="left"/> Making The Rules and Living by Them: Codes and the Living Field <img src="http://payload.cargocollective.com/1/0/5926/79548/done3.jpg" width="670" height="850" width_o="750" height_o="952" src_o="http://payload.cargocollective.com/1/0/5926/79548/done3_o.jpg" data-mid="521776" border="0" align="left"/> Master Plan Deployment <img src="http://payload.cargocollective.com/1/0/5926/79548/master02.jpg" width="670" height="661" width_o="900" height_o="888" src_o="http://payload.cargocollective.com/1/0/5926/79548/master02_o.jpg" data-mid="521856" border="0" align="left"/> http://aarontaylorharvey.com/The-Complex-Complex http://aarontaylorharvey.com/following/aarontaylorharvey.com/The-Complex-Complex Thu, 10 Sep 2009 00:45:32 +0000 AARON TAYLOR HARVEY_Information in formation*_____*this site deals mostly with architecture and its auxiliary productions but there will be some discussion of food and movies too. 68249 <img src="http://payload.cargocollective.com/1/0/5926/68249/qoute02.jpg" width="250" height="660" width_o="250" height_o="660" src_o="http://payload.cargocollective.com/1/0/5926/68249/qoute02_o.jpg" data-mid="294147" border="0" align="left"/>The studio began with the picking of a “client”. For me that meant trying to wrap my head around this site. I created the diagrams below in an attempt to define what was possible in terms of production and urbanity on the site. I chose to test the fit of an automobile manufacturer in response to the contemporaneous failure of the American auto industry and the myriad of proposals attempting to save it. Personal motor vehicles are not going anywhere, anytime soon, but exactly what that means for the future of cars is somewhat unclear. I wanted to pick a manufacturer that was aggressively reconceiving personal transport, it seems that is what will be required in the next century for the U.S. to remain relevant in this market. Aptera is an automotive start-up, soon to began production on a 300 mile-per-charge electric vehicle, a perfect manufacturer to incubate innovation. Shortly thereafter I came across this quote. _ _ _The connection made by Manovich, between these two modes of production in society, suggests that not only can cinema be reconceived as having both spatial and temporal montage as a productive means but so too can factory production, the assembly line, can be repositioned to against it’s own familiar “narrative” structure. As visual media has begun to depart from the familiar narrative forms –in video games, web-navigation, and other forms of nonlinear storytelling– it has taken on the characteristics of a database; a network of opportunities that the user can plug into and build connections, creating multiple independent narratives within one system. So here, on this site with this program, the question becomes, how can a factory become a database? A selectively open networked system that invites the spatial and temporal interjection of another entity to create new narratives of R&D._ _ _My analysis of existing factories revealed that the “assembly line” is actually many “lines”, there is a distributed flow of raw goods that are recompiled in the final stage of manufacturing as a finished automobile. After manipulating that flow of materials to invite factory-wide introspection, I then introduced another set of lines to represent the productive interests of the University. These alternate narrative streams move across, within, and in tandem to the central database of the car factory. These lines create new connections across existing factory functions, to invite disparate research disciplines to engage in new ways, with a new awareness. The factory and University become intertwined in an on-going state of parallel montage: spatial, temporal and apperceptive. $(document).ready(function() {try {if(document.getElementById('content_container')) $("#content_container img").lazyload({ placeholder : "_gfx/whiterati.gif", threshold : 100, effect : "fadeIn" });else $(".index img").lazyload({ placeholder : "_gfx/whiterati.gif", threshold : 100, effect : "fadeIn"});} catch(err) {return false;}}); <img src="http://payload.cargocollective.com/1/0/5926/68249/SCALE.jpg" width="670" height="585" width_o="1200" height_o="1049" src_o="http://payload.cargocollective.com/1/0/5926/68249/SCALE_o.jpg" data-mid="290388" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/5926/68249/OTHER FACT.jpg" width="670" height="139" width_o="1200" height_o="250" src_o="http://payload.cargocollective.com/1/0/5926/68249/OTHER FACT_o.jpg" data-mid="290385" border="0" align="left"/> “The Plan” is seen here as a long term Critical Path Diagram onto which outside influences are over-layed and interjected. Aptera has it’s own development cycle in relation to a specific product but this cycle is reconceived as an essential stage in the incubation of a center of innovation that unites disparate interests towards a common goal over a 8 year period. This process results in a new build environment, represented here as a series of volumes created at critical points of development.<img src="http://payload.cargocollective.com/1/0/5926/68249/PATH OF INNOVATION.jpg" width="670" height="621" width_o="1200" height_o="1113" src_o="http://payload.cargocollective.com/1/0/5926/68249/PATH OF INNOVATION_o.jpg" data-mid="290387" border="0" align="left"/> After Researching a number of existing car factory typologies I set to work diagraming a normative factory process in an attempt to define what elements could be manipulated towards the end of a more open-source innovation and internal apperception.A simple folding and stacking suggested a way to maintain the efficiency of production while introducing new ways of thinking with the process. <img src="http://payload.cargocollective.com/1/0/5926/68249/factoryflow_normative.jpg" width="670" height="833" width_o="953" height_o="1185" src_o="http://payload.cargocollective.com/1/0/5926/68249/factoryflow_normative_o.jpg" data-mid="290327" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/5926/68249/factoryflow_apperceptive.jpg" width="670" height="675" width_o="952" height_o="960" src_o="http://payload.cargocollective.com/1/0/5926/68249/factoryflow_apperceptive_o.jpg" data-mid="290326" border="0" align="left"/> Here, the triangular plan is further broken down into separate sectors of production. The “assembly line” is actually many lines where different elements of the car are realized. This diagram introduces the university as an additional set of production/research “lines”. These lines are over-layed at critical junctures, creating opportunities for innovation and discovery along with the sharing of resources/facilitates. The University accesses the productive database of the Factory. <img src="http://payload.cargocollective.com/1/0/5926/68249/parts_where_theygo.jpg" width="670" height="579" width_o="1200" height_o="1038" src_o="http://payload.cargocollective.com/1/0/5926/68249/parts_where_theygo_o.jpg" data-mid="290414" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/5926/68249/siteplan.jpg" width="670" height="578" width_o="900" height_o="777" src_o="http://payload.cargocollective.com/1/0/5926/68249/siteplan_o.jpg" data-mid="290425" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/5926/68249/Thesisbook.jpg" width="670" height="840" width_o="1216" height_o="1526" src_o="http://payload.cargocollective.com/1/0/5926/68249/Thesisbook_o.jpg" data-mid="290443" border="0" align="left"/>Following the very specific trajectories of this variety of production narratives, the architecture is built around the spine of innovation. The campus and factory become linked instead of at odds. The university runs often in parallel or as a temporary sheath to the factory with a periodic incisions the interior, resulting in the novel hybrid classroom/assembly line environment. <img src="http://payload.cargocollective.com/1/0/5926/68249/ATHarvey_courtyard02_productionStudio09.jpg" width="670" height="263" width_o="1200" height_o="472" src_o="http://payload.cargocollective.com/1/0/5926/68249/ATHarvey_courtyard02_productionStudio09_o.jpg" data-mid="294141" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/5926/68249/aarontaylorharvey.jpg" width="670" height="372" width_o="2048" height_o="1137" src_o="http://payload.cargocollective.com/1/0/5926/68249/aarontaylorharvey_o.jpg" data-mid="4194201" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/5926/68249/trussout_comp.jpg" width="670" height="341" width_o="1200" height_o="612" src_o="http://payload.cargocollective.com/1/0/5926/68249/trussout_comp_o.jpg" data-mid="294183" border="0" align="left"/>please click<img src="http://payload.cargocollective.com/1/0/5926/68249/wide.jpg" width="670" height="235" width_o="1800" height_o="632" src_o="http://payload.cargocollective.com/1/0/5926/68249/wide_o.jpg" data-mid="290480" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/5926/68249/ATHarvey_wideshot01_productionStudio09.jpg" width="670" height="286" width_o="1200" height_o="514" src_o="http://payload.cargocollective.com/1/0/5926/68249/ATHarvey_wideshot01_productionStudio09_o.jpg" data-mid="294151" border="0" align="left"/>