Outpost 111023
What we have to remember is that what we observe is not nature itself, but nature exposed to our means of questioning it.
Werner Heisenberg.
Fields of Care.
The metaphor of the container and the contained that has guided Western thought with its vocabulary of inert matter, fragmentation, and frozen and petrified movement has crippled the architectural imagination for over two millennia.
Architecture Is A Verb, Sarah Robinson. 2021
https://www.flickr.com/photos/russellmoreton/
Drawing Projects.
An exploration of the language of drawing.
Mike Maslen, Jack Southern. 2011
The Eye That Feels.
We must learn to think with our feelings and feel with our thoughts.
Towards A Feeling Response.
Human beings are lumps of perceptions in a state of flux, and 'being' is a constantly changing state of infinite variety. Drawings are made by human beings and like their makers, they can be complex, somewhat vulnerable, unresolved, and imperfect. Equally, they can be confident, measured, controlled, well understood and decisive.
A drawing is a lexis of marks that represent and describe what our eyes see, and to some extent what our minds/bodies know and feel. It is made by the co-ordination of the eye/brain/hand/medium, and arranged in an organised and cohesive way to form a visual description/illusion. It is a trail of contained energy, incorporating the history of its own making, and recorded through a passage of time. It is an approximate attempt at depicting a perceived truth, and will have been made in either a confident, cautious, well seen, well understood, generalised, decisive, indecisive, 'right', or 'wrong'way.
We live in an age when computer generated reprographic processes provide us with a world of 'technological perfection' and 'high definition'.Three-dimensional imagery offers limited, but enhanced and often 'super-real',virtual reality. It is a time in which the large flat TV screen is providing our children with replacement substitutes for what might to a previous generation have been exposed to, and an active involvement with, an experience of rich sensory pre-verbal childhood play. It is more important than ever that, in this world of 'perfect reproduction', our children do not literally get 'out of touch' with their senses, and that a drawing retains its value as a unique, hand-made object, which contains and expresses qualities that are as individual and special as its creator.
The Body/Corporeality of Drawing.
Seeing/Becoming/Situatedness
The process of making is a magical act, organic and physiological.
The drive to create a cosmos originated in the magic structure of consciousness.
All basic physical and mechanical laws, such as leverage, traction, bearing, adhesion, all constructions such as the labyrinth, the vault, all such technical achievements or discoveries are pre-given to us. Every invention is primarily a rediscovery and an imitative construction of the organic and physiological.
The Ever Present Origin, Jean Gebser. 1984
All arts we must remember, are phases of the social mind. We are in the habit of thinking of them in terms of art products that we forget that the arts themselves are groups of ideas and acquisitions of skill, that exist in the minds, muscles and nerves of living human beings.
Franklin Henry Giddings. 1914
The earliest buildings are grown, they are woven structures. Borne of gathering around a fire and weaving walls.
Understanding Building as Weaving.
Gottfried Semper.
Architecture is a verb outlines an approach that shifts the fundamental premises of architectural design and practice.
It acknowledges the centrality of the human organism as an active participant interdependent in its environment.
It understands human actions in terms of radical embodiment, grounding the range of human activities traditionally attributed to mind and cognition, imagining, thinking, remembering, in the body.
It asks what a building does, that is it extends the performative functional interpretation of design to interrogate how buildings move and in turn move us, and how they shape thought and action.
It is committed to articulating concrete situations by developing a taxonomy of human building interactions.
Sarah Robinson. 2021
Homo Faber.
Architecture shapes ideas, ideas are born through the act of forming.
Thinking and making have traditionally been relegated to two different domains and like architecture and building the former is privileged over the latter.
Seldom do we consider the act of making as a method of knowing. For Tim Ingold, both the maker and the theorist are engaged in processes of knowledge, with the important difference that the craftsman thinks through making, while the theorist imposes thought on matter.
The temple at once embodied the interdependent arising of craft and community, and replaced the caves and sacred groves of earlier divine appearances, to become a place apart.
A crafted place where divinity was revealed. The world appeared for the first time through something people made. Through building the temple, cosmos was discovered through making.
The top-down abstract knowing of the theorist verses the bottom-up embodied knowing of the craftsman has come to define our hierarchy on the valuation of knowledge.
The Origins of Architecture in Weaving.
They Wove Their Walls.
Vitruvius.
Tim Ingold comments that just as baskets are woven, so buildings are grown, not built. Their form, and its usefulness emerges from the process of growth rather than from the mandates of a preconceived design on formless raw material.
Materials are not understood in terms of their component parts, but in terms of what they do.
Making is not a matter of imposition, but of intervening in the fields of force and flows of material.
Cyanotype processing of architectural drawings.
Blackboard/Whiteboard Fragments.
Organism/Person/Environment.
DSC_2068 Structured Modalities : Rules/Individual Resources
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Braking down research.
Radical pedagogy transduces rather than transmits.
Re-combinent poetics/praxis.
The Architectural Scriptorium
The Photographic Darkroom.
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