Building The Drawing
They will be schools no longer, they will be popular academies, in which neither pupils nor masters will be known, where the people will come freely to get, if they need it, free instruction, and in which, rich in their own experience, they will teach in turn many things to the professors who shall bring them knowledge which they lack.
This then will be a mutual instruction, an act of intellectual fraternity.
Michael Bakunin, 1870.
Freedom in Education/Anarchism, Colin Ward 2004.
Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave.
Architectural Body
Madeline Gins and Arakawa
Working Notes/Holding in Place
Interior design presented as an interactive and immersive spatial inquiry
My research and its design proposal are centred on the arts and the humanities and their ongoing function in our contemporary society. The emphasis of this inquiry is located by the spatial practices of architecture, fine art and performance. My project is a field event and symposium that would be able to host intellectual dialogues, lectures (TED) workshops, performative events and exhibitions.
I am particularly interested in the relational production of social spaces and the aesthetics of built spaces, both historical and ephemeral. The proposed use of Waverley Abbey near Farnham as a possible site and retreat for this venture is valid as it links a possible interdisciplinary territory of anthropology, archaeology, art and architecture.
The ruined site of the abbey at Waverley, near Farnham has been appropriated as a site and as a place within which to position and develop my practice. The Abbey, its buildings, and its grounds have provided a valuable source of the material evidence for thinking about hapticity and time in a pastoral setting.
The Scriptorium presents the “performativity of research” through specifically designed apparatuses and partitions. These designed components, made objects, together with annotated texts and drawings conspire to create a complex interior design, a “Place Study” staged in a niche-like space. This interior presents itself as both distinct and relational to the other projects in the MA Interiors Show. The interior presents the many manifestations of creative research that have been developed through engaging with the site.
Wayfinding/Movements through accumulated research
Running scripts, enactments, instances, involvements
Collaborative texts, complexity, emergent, discursive
From The Bookcase to The Field Table : Landing Sites of Inquiry
A Philosophy of Emptiness
Gay Watson
Artistic Emptiness
Everything flows, nothing remains.
Heraclitus
Rethinking Architecture
Neil Leach
Figure 1, Sketch by Jacques Derrida for Choral Work project. 343
Foucault, Figure 2 Bentham's Panopticon (1791). 360
Page laid in, The Atrocity Exhibition by J. G. Ballard, new revised edition, annotations, commentary, illustrations and photos.
Tracing Eisaenman
Plenum, juxtaposed to form/haptic values/body absences
Robert Mangold
Between moments of 'meaning' lie spaces or blanks of immediate experience. Such blanks are actuality. Usually the blank, the actuality, goes unnoticed because it works so efficiently to differentiate one meaningful event from another. Kubler discussed this in The Shape of Time.
Interactions of the Abstract Body
Josiah McElheny
Object Lesson/Heuristic Device
The term 'heuristic' is understood here to denote a method of addressing and solving problems that draws not on logic but on experience, learning and testing. In this regard stories and fictional narratives can be heuristic devices in acting as ideal models that are not to be emulated but which help to situate characters, actions and objects.
Space Between People
Degrees of virtualization
Mario Gerosa
Adaptive Architectural Design
Device-Apparatus
Place
Function
Adaptation
The second phase of project activity acknowledges that the proposal involves two sites; the landscape of settlement and the artifice of the factory. The design is intended to be a reflection of the conditions of each, so there was a need to work directly with the manufacturing process, at full scale, as early as possible. This would provide an immediate counterpoint to the earlier representations and a necessary part of exploring the manufacturing medium in the context of architectural design. 69
Immaterial Architectures
Mark Cousins suggests that the discipline of architecture is weak because it involves not just objects but relations between subjects and objects. And if the discipline of architecture is weak, then so, too, is the practice of architects. Architecture must be immaterial and spatially porous, as well as solid and stable where necessary, and so should be the practice of architects.
Herzog and De Meuron
Natural History
Exhibiting Herzog and De Meuron
We are not out to fill the exhibition space in the usual manner and to adorn it with records of our architectonic work. Exhibitions of that kind just bore us, since their didactic value would be conveying false information regarding our architecture. People imagine that they can follow the process, from the sketch to the final, photographed work, but in reality nothing has really been understood, all that has happened is that records of an architectural reality have been added together.
My studio is a piece of architecture that is silent. The things of which it is made say all and at the same time nothing. Its strength lies in its demanding silence. A stern silence in order to permit works to occur. I imagine that a painting by Newman could be hung there.
The arrival of Beuys in a world that was gradually falling asleep amidst minimalism generated a kind of confusion that was truly excellent for opening up the mind. Comfort vanished, driven away by subversive complexity.
Speculative architecture
On the aesthetics of Herzog and De Meuron
My photographs are part of my way of thinking about and imagining spaces and light, of pondering and approaching an idea. In this case, the photographs generate a way of looking at a structure that exists only in order to provoke a sensorial and intellectual experience.
Cristina Iglesias : METONYMY 2013
Working Collages
Karl Blossfeldt
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