Toward a New Interior.
Relationscapes
Movement, Art, Philosophy. Erin Manning. 2009
What Moves as a Body Returns as a Movement of Thought
Social apparatuses and agents that explore the possibilities of space. Other Worlds : Insistent moments of mark making/subjectivity. Russell Moreton
Matter/Making in Space : Passages in Sculpture
Working Notes 2018/19
Curatorial Architectures/Assemblages
Speculative Spatial/Curatorial Practices incorporating Fine Art and Architecture.
The Studio is no longer a retreat but it now integrates.
It is all exterior.
Ways of Curating, Hans Ulrich Obrist
Constructing active research material that becomes transactive through interventions and installations of display.
Blurring art and the everyday rituals of creative enterprise and survival.
Seeking to create innovative and immersive exhibition formats/situations that seek to engage a discursive and informed audience.
Building Relationscapes
Movement, Art, Philosophy
Sensorium
Embodied Experience
Technologies and Contemporary Art
Erin Manning
Caroline A, Jones
Playing with INTERTEXTUALITY
Setting the Stage MAKE SPACE
Immersive
Alienated
Interrogative
Residue
Resistant
Adaptive
Interactive Workshop
Exhibition
Presentation
Open Texts
RESPONSIVE ENVIRONMENTS
ARCHITECTURE, ART and Design Interiors
URBAN FALLOW (10 Days in the Laundry)
OPERATIVE DESIGN
CONDITIONAL DESIGN
ON MAKING SPACE
THE FEELING OF WHAT HAPPENS
BODY, EMOTION and the Making of Consciousness
Art Practices : the chaos of subjectivity and the organisation of a creative environment.
Choreographic objects draw us into a spaciousness/event-time a doubleness of time that incites us to invent with time. They also alert us to the processuality of objects. For objects are, like bodyings, more force than form. They are not preorchestrated constellations ready to be taken up into processual experience. They are themselves processes, lures: edgings, tendings, shadowings.
Objects are relational and they exist in the between of a proposition and its eventness, inciting co-constellations of movement-moving.
Erin Manning, Always More Than One.
Architecture that forces us to confront our own spatial intelligence by moving us so much that we
recall the eidetic origination of our own mental space. (Schaik,2008:80)
‘The phenomenology of space – the matter of how we experience it.’
Gaston Bachelard, Poetics of Space (space and reverie), The Psychoanalysis of Fire.
Clay Jug
Inside this clay jug there are canyons, and pine mountains, and the maker of canyons and pine mountains. All seven oceans are inside and hundred of millions of stars.
Words, Kabir, Jackie Leven. The mystery of love is greater than the mystery of death
The Architecture of The Ceramic Vessel
The use of the vessel in the investigation of our world.
The exploration through the dichotomy of the analysis between exterior and interior, of one pot to another and from the message they convey.
Atemwende : A breathturn.
Edmund de Waal.
The Great Glass Case of Beautiful Things:
About the Art Of Edmund de Waal
Adam Gopnik. 2013.
The Sensuality of the Clay Body.
‘You have to work quickly and with definition, and your ideas have to come into focus with enormous rapidity.’ Edmund de Waal, on working with the different presence demanded on ones mind and hand whilst throwing with porcelain. The practice of porcelain forced a change in colour and finish in his work. New glazes, shimmering celadon and shiny black, arrived to catch the light and send it back. (Gopnik,2014:9)
The throwing of pots still remains central to his practice. ‘The material goes down, gets wet, is pulled open by the hand, spins- and then produces, as if by magic, the most transcendently human of all made things; volume, inner space, an interior, the carved out air that connects the morning teacup with the domes and spandrels of San Marco. There’s nothing there but clay and air, then there’s defined air. (Gopnik,2014:6)
Edmund de Waal is a maker of objects with imagined histories. (Gopnik,2014:11)
The Library : A Meditation on the Human Condition (Giacometti, artist-philosopher)
Books can step up to us- into us- in many ways.
Voices from Chernobyl by Svetlana Alexievich was for me that rare precipitate force which calls another book into being.
Mario Petrucci, Heavy Water, a poem for Chernobyl.
Inner Worlds : Photographic Visions
Beuys - Klein - Rothko
Transformation and Prophecy
Anne Seymour
The Inner Eye
Art Beyond the Visible
Marina Warner
Thinkers and Vessel Makers.
Ceramic space and life Gordon Baldwin
Objects For A Landscape David Whiting
Vessels-Spaces that cannot be drawn, rather they need to be experienced. Imagining a Vessel in a Rock on a Beach, 2006,(charcoal on paper)
MATERIAL MATTERS ARCHITECTURE
AND MATERIAL PRACTICE Katie Lloyd Thomas
PLENUMS : RETHINKING MATTER. GEOMETRY AND SUBJECTIVITY Peg Rawes
ARCHITECTURE
IN THE AGE OF DIVIDED REPRESENTATION
The Question of Creativity in the Shadow of Production. Dalibor Vesely
The Nature of Communicative Space Creativity in the Shadow of Modem Technology
The Rehabilitation of Fragment
Towards a Poetics of Architecture The Projective Cast
Architecture and its Three Geometries
Robin Evans
Architects do not produce geometry, they consume it
Analysing ARCHITECTURE
Simon Unwin
Geometries of Being Architecture as Making Frames Space and Structure
Poetics as an evolving and discursive system of dialogues that acknowledges environmental changes, of other spatial narratives and histories, and things that are not just about place and space.
‘Speculations about the first shelters, the relationship between our home and the universe, about spaces that we first use as surrogate houses as we form our spatial histories and our mental space. It is about the contemplative effects of the miniature, about the paradoxical way in which the scale of many of our most cherished monuments can switch in our minds from large to minute- the quality of intimate immensity. It is also about propositions around the complex relationships between inside and outside and the surface between, about the phenomenology of roundness’ (Schaik,2008:86-87)
‘We are composed of matter and live in the midst of matter. Our objective should not be to renounce matter, but to search for a form of matter other than objects. What that form is called-Architecture, Gardens, Technology- is not important.’
Kengo Kuma.
On Anti-Object : An extended essay that is not so much history or theory as a volume of self-assessment that gives an opportunity for the author to contextualise his own body of work through considered self-reflection.
‘My purpose in writing this book is to criticise architecture that is self-centred and coercive.’ Kengo Kuma.
‘Like McTiernan or the theorist PaulVirilio, Kuma sees new digital and information technologies as leading us to an aesthetics of disappearance, rather than image or form.(Steele,2008:3)
‘My ultimate aim is to erase architecture’ (Kuma,2008:3)
How then, can architecture be made to disappear?
‘To be precise, an object is a form of material existence distinct from its immediate environment. I do not deny that all buildings, as points of singularity created by humankind in the environment, are to some extent objects. However, buildings that are deliberately made distinct from their environment are very different from those that attempt to mitigate this isolation, and the difference is perceptible to everyone who experiences them.’ (Kuma,2008:Preface)
Ceramics and Architecture.
Exhibition Spaces of the Enlightenment
The Porcelain Rooms
The pot, ancient as it is, is the first instance of pure innerness, of something made from the inside out. Building objects upwards is, in its way, an obvious and brutal thing; it derives from piles, and makes pyramids. Turning objects inward, on the wheel, is a subtler one, and derives from our need to have a place to put things in. (Gopnik,2014:7)
Together these new porcelain vessels collectively produced for De Waal an experience of possessed space.
These collections of vessels in their Modernist vitrines seem to be both an expression of the architecture of a collection and simultaneously an affirmation of an interior space that can hold the singularity of a breath within a small pot.
The ceramic module that he uses, the small pot, is deliberately made as non-functional as possible. (Gopnik,2014:9)
‘Even if we insist on seeing them impersonally, the sheer force of their numbers creates the poetic sense inherent, as Homer knew, in all inventories. They gang up on us.’ (Gopnik,2014:9) These groupings of objects placed together produce their own narratives, their own relations, and lines of inquiry. In so doing their ordering of the space around them brings meaning to those spaces. This is reinforced through the poetry and metaphor of the effect of ceramic vessels on space, as cited by De Waal himself through Wallace Stevens’s “Anecdote of the Jar” 1919.
‘The Jar, the elemental made thing, takes dominion over the unmade world. The air around it suddenly looks “slovenly,” insufficiently jar-like. Made things remake the unmade world. (Gopnik,2014:10)
Gopnik comments that we can’t look at hollow things without sensing their hollowness, as he notes we perceive haptically as aptly as optically. This allows us to read these vessels through both our sense of sight and our sense of space. The result is that we feel these objects; we can sense the heft of them made from their weight, shape and size. We become aware that we can feel objects as much as we can see them.
De Waal’s work brings about a sensuality and an empathy manifested between the strict ordering of his presentation through his vitrines and cabinets and the fragility and grouping of his porcelain vessels. This empathy promotes our interest with the interior parts of his groupings, with the interior emptiness and mystery of things we can only sense. His control and command of the geometric spatial relations found in his installations is juxtaposed by the multitude of diminutive interiors and negative spaces.
The relations of the architectural and those of the vessel are in constant flux, held in some sort of spatial narrative that seems to meditate stillness, like the museum these vessels are protected and intact, yet strangely they are held hostage by their surroundings.
The empathy we feel for their emptiness is perhaps choreographed, staged and ultimately forced, these are not just pots as De Waal admits but pots that have been by design rendered as non-functional as possible although they still bare the marks of his franchising. This neutering of his thrown clay forms into the realm of perhaps a purely sculptural object that is itself now a mere component in his Minimalist cabinets. What remains is a hollowness, but a contrived hollowness that speaks of spaces designed not made; unlike his Signs and Wonders intervention for the V&A, these works feel orphaned and cut adrift by their surroundings.
Does? ‘His art takes a familiar grammer of display and turns it into a poetry of memory. Inside a room, a great case filled with rows of porcelain pots. Along each row, a story. Inside each pot, a breath. (Gopnik,2014:11)
Craft and Art, Skill and Anxiety.
Craft is logic, and art defies it. The defiance is what makes art. The serenity of the artisan lies in her knowledge that it can all be done again. The anxiety of the artist; lies in knowing that if it is done again, she has become an artisan. (Gopnik,2014:7)
DEEP ECOLOGIES OF CONSTRUCTION
Caruso St John : The Phenomenology of Construction
History is the raw material of architecture. Aldo Rossi
The ruined state of the buildings serves to exaggerate the presence of material. The feeling is that of an enormous weight drawn out of the ground into the volume of the valley and held in place by a matrix of structure whose schema is described by the pattern of stone joints.
Adam Caruso, Towards an Ontology of Construction, KnittingWeaving Pressing 2002
The essential change in perspective between Perret and Caruso St John is that of a construction as structure to a construction that is the application of matter. Perret observes the organic dimension of buildings from a distance that makes the structural framework’s overall logic intelligible.
Caruso regards buildings much more closely, at a distance/closeness that enables him to grasp their tactile dimension: he looks at them with his hands. In Fountains Abbey, it is the brickwork joints that are essential; on the rear facade of his Van Nelle factory building, it is the micro-topography of the facade.
Luis Moreno Mansilla remarks that buildings by Sigurd Lewerentz, one of Caruso St John’s main inspirations, can only be seen close up.
For Caruso St John, construction does not refer to a constructional technique, nor to the coherence of its application as a technique, but rather the presence of the built object through the manner in which it is built.
Interestingly Perret’s positivist and absolute approach belongs to a mindset that excludes all form of doubt or ambiguity. To this approach, Caruso St John propose a phenomenological approach in which construction frees itself from pure technological logic to find meaning, both inherent and more relativist, in the field of architecture itself.
INNERNESS/AFFECT : THE CHANGE OF PERSPECTIVES SURFACES, Juxtaposed without articulation.
QUESTIONING STRUCTURAL LOGIC, by playfully obscuring it.
INCREASING THE BUILDINGS PHENOMENOLOGICAL AND PERSPECTIVE COMPLEXITY
CONSTRUCTIVE DIALOGUES/CLADDINGS
Through CRAFT, PROXIMITY, INTIMACY and SITUATION.
The depth of the exposed beams in the exhibition areas is not proportional to their respective spans, but to the overall heights of the rooms in question. Walls with claddings of vertical timber boards alternate with bare concrete walls that seem to have been cast in shuttering identical to the timber cladding. These two surfaces are sometimes juxtaposed, without articulation, and question structural logic by obscuring it, thereby increasing the building’s phenomenological and perspective complexity.
New Art Gallery, Walsall. Caruso St John
The load bearing walls appear to be folded along the complex contours of the non-orthogonal site. At the comers, bricks are cut and bonded together with resin to adapt to the geometry, while maintaining the size of standard bricks. Although they are load bearing, these walls become surfaces that have tactile and phenomenological qualities as well as being constructed surfaces with real architectonic weight.
The Brick House, London, Caruso St John
ATMOSPHERE: CLADDINGS and ARCHITECTONICS.
CLADDINGS and their ability/capacity to create ATMOSPHERES AESTHETICS AND SUBJECTIVITY: KANT to NIETZSCHE ( Andrew Bowie)
Hortus Conclusus
Often translated as meaning “a serious place”. Enclosed all round and open to the sky.
STOA, building and social structure for dialogues
A garden/a mindfulness in an architectural setting.
What happened to the garden that was entrusted to you? Antonio Machado, Jackie Leven.
“Sheltered places of great intimacy where I want to stay for a long time.” (Zumthor 2011: 15)
Every plant name listed here evokes a distinct image; with each of them I associate specific lighting, smalls and sounds, many kinds of rest, and a deep awareness of the earth and its flora.
A garden is the most intimate landscape ensemble I know of. In it we cultivate the plants we need. A garden requires care and protection. And so we encircle it, we defend it and fend for it. We give it shelter. The garden turns into a place.
There is something else that strikes me in this image of a garden fenced off within the larger landscape around it: something small has found sanctuary within something big.(Zumthor 2011: 15)
Illustration of “Orchard”, from Bible of Wenceslaus IV, Vienna, Austrian National Library
Depicts in the manner of an illuminated manuscript, the husbandry and community of the medieval workforce in the secure and sheltered space of a walled garden. This pastoral craft/gathering is evocative of Zumthor’s Hortus Concluses.
Working with ones hands, with the earth in sheltered spaces of a pastoral community. Zumthor underscores this pastoral setting when he places a pavilion at the centre of the garden; he talks of future meeting there, of looking forward “to the natural energy and beauty of the tableau vivant of grasses, flowers and shrubs. I am looking forward to the colours and shapes, the smell of the soil, the movement of the leaves.” (Zumthor 2011: 15)
The Vintner’s Luck , Elizabeth Knox.
Tasting the soil in the wine, the soil and the wine are of the same substance, from the same locality; they are bonded together by the landscape.
The Potter, clay, agency, making, Ingold.
The Pot, object, nearness, pastoral, Heidegger.
Carlo Scarpa: Layers/Stratifications
by Anne-Catrin Schultz
In recent decades, Carlo Scarpa's relevance has been steadily on the rise. At a time when architects have to use existing city and building structures as a point of departure for their work, his oeuvre remains a source of inspiration. Buildings such as the Castelvecchio in Verona show us that architecture is capable of communicating its own history, has meaning, and develops a contemporary dynamic of its own. Scarpa's layered architecture makes visible the process of becoming and the time-related sedimentation of material and meanings. It is especially at points of transition and interface that layering becomes a narrative element that elucidates the tectonic qualities of the building. Overlaying includes leaving a record of how an object came into being -- either by means of the sediments of its history or through the intervention of the architect. In this book Anne-Catrin Schultz presents her research about the phenomenon of layering in Carlo Scarpa's architecture. Layering describes the physical composition of layers defining space as well as the parallel presence of cultural referrals and formal associations imbedded in the physical layers. Scarpa's work is an embodiment of multidimensional layering and, at the same time, a focal point for architectural movements of his time that have stratification as their theme. In most buildings, the principle of layering may be regarded as something that is part of the nature of building. Functional conditions call for planes, elements, or "layers" to provide the supporting structure, and others to protect from rain, cold or the heat of the sun. However, architectonic layering goes beyond merely fulfilling technical requirements -- the principle of layering may be used as a formative method that allows elements of different origins to be combined into a non-hierarchical whole. Layering exists in a realm of complexity and implies a capacity of being interpreted that goes beyond itself and creates references to the world at large. The first part of the book examines Scarpa's fields of influence and intellectual roots and puts them in perspective with former theories and their interpretation of architecture as layered, for example Gottfried Semper's theory of clothing. The second part displays an analysis of three major projects, Castelvecchio and Banca Popolare in Verona and the Querini Foundation in Venice.
https://architectuul.com/architect/carlo-scarpa
Carlo Scarpa (June 2nd, 1906 - November 28th, 1978) was an Italian architect and designer heavily influenced by the history of Venetian culture, materials and landscape. in 1926 obtained his diploma of Professor in Architectural Drawing at the Royal Academy of Fine Art in Venice. He then began his career at the Royal Superior Institute of Architecture of Venice (successively Architectural Institute of Venice University) as assistant to Prof. G. Cirilli. He possessed an exceptional understanding of raw materials, and from 1933 to 1947, was artistic director of Venini - one of the most prominent producers of Venetian glass before he began the pursuit of his career as an architect. During the years 1954-64 he gave annual lessons to Fulbright scholarship holders in Rome. In 1956 he won the National Olivetti Award for Architecture and in 1962 the IN-ARCH National Award for Architecture for the Castelvecchio Museum of Verona. In 1972 he became the Director of the Architectural Institute of Venice University.
Museo Canoviano, Possagno.
Judith Arthur, Stefan Buzas
To commemorate the bicentenary of his birth, the Venetian authorities decided to have an extension added to the overcrowded basilica, and they commissioned the Venetian architect Carlo Scarpa for this delicate task. Scarpa composed a small, but highly articulated building that is in a strong contrast to the Neo-Classical, monumental basilica. The subtly designed sequence of spaces is unique even among Scarpa's so many extraordinary museum interiors as the architect was here in the rare position to compose the spaces as well as the placings of the exhibits. The placing of the sources of natural light which infuses the plaster surfaces with the softness of real life is in itself a rare achievement.
Relation to time
Scarpa's architecture manages to respect the old and historic while simultaneously introducing new and modern design details. In this respect his work is deeply sensitive to the changes of time, all taking shape in a careful selection and combination of materials.
In mounting his 'attack' on the outward signs of architectural habit, Scarpa ending up by designing works meant to elude time, favouring the vivid colours of the past above the dull grey of the future. He achieved the maturity of this approach after a lengthy apprenticeship, working slowly and cautiously. His true youth, for this reason, was irremediably belated.
Scarpa's projects constitute so many experiments. In them, architectural thinking combines with the acquisition of increasingly refined techniques and distills the secrets of form into design. It is this mixture that is responsible for the fragmentary nature of his achievements, which cannot be fully identified with any of his works, with the exception of the monumental Brion-Vega Cemetery for the Brion family in the cemetery of San Vito d'Altivole (from 1969 on). Scarpa's designs are, in fact, mostly provisional arrangements and the involuntary memory that emerges in his drawings points continually back to the past. The incompleteness that is the typical mode of his research reveals his concept of the work in relation to time. It thus becomes possible to see the architectural fragment as the favoured embodiment of Scarpa's work and the coherent expression of his rejection of habit.
Scarpa's design
Right from the start, when Scarpa preferred to "study" with the master glass workers of Murano rather than bow to the restrictions of academic culture, one finds him using drawing and execution as part of the development of experience. The work he achieved up to the start of the '50s reveals the role of visual memory in Scarpa's work. Another comment on Proust could also be revealing here: "For the author who remembers, the main part is not played by what he has seen," affirms Walter Benjamin, "but by the work of remembering, by the Penelope's web of his memory." The results of this tension provide the framework of Scarpa's fragments, which even before being formal events are acts of momentary fixation of experience.
We can imagine the art of seeing which Scarpa came to possess by the end of his apprenticeship, as the result of the intellectual vagabondage that characterized his education. He whiled away the time in gazing, portraying himself through drawing the objectivity of that which he observed. His peculiar formal culture derived from the eye, and by observation he mastered technique. For instance, when he was designing his glass objects in the '30s, he was also observing contemporary figurative works.
This attitude is confirmed by other characteristic features of Scarpa's culture and so by further articulations of his achievement in design. For instance, when he devoted himself to the study of the various techniques of construction - whether in glassware or museum design, in the use of materials or those involved in essential building skills - what seems to have first seized his attention was the creative limitations implicit in them. Hence, in his effort to break through a norm by introducing distortions and even flat contradictions into technical details and constructional solutions, one finds tangible evidence of his rejection of habits and the empty values of utility whose premise they are.
This rejection underlies the special kind of culture of materials Scarpa refined on over the years. His tormented love for the hidden qualities of matter in his buildings developed parallel with attacks on the limitations technical banalization places on use. His desire to question these constraints appears clearly all through his oeuvre, revealing its full coherency in a wide range of achievements. It is articulated in successive phases, in the definition of which the art of seeing develops its own continuous critical commentary on reality. Comment expressed in the language of architectural forms is, indeed, one of the fundamental aims of Scarpa's designs.
Visual comments, going beyond the works exhibited-this is what we find, for instance, in Scarpa's most successful designs of exhibitions. They range from the temporary installations for the exhibitions of Klee (Venice, 1948), Mondrian (Rome, 1956), the room devoted to Antonello da Messina in the exhibition of 15th century Sicilian art (Messina, 1953), down to the museum layouts for the Accademia and the Correr Museum in Venice (1952-56), the Possagno Plastercast Gallery (1956-57), and the Castelvecchio in Verona (1958-64). Scarpa's museums declare even more explicitly than his exhibition mountings the effort he put into shaping materials, light, spatial arrangements and colours as a visual commentary structured around the work of art.
Scarpa's compositions consist of rifts and contrasts - his misgivings over the norm necessarily lead to difference. And difference is the hallmark of a Scarpian fragment. In the detail, deviation takes shape: the viewer's attention focuses on it. The fragment compels a nearer view, it brings the object closer up. This focal reduction appears in the drawings Scarpa scattered over sheets of paper, circling, dismantling and so analyzing the problem he intended to resolve. The horror vacui we find in his papers is the result of a rigid analytical discipline, the only appropriate way to penetrate the subtle form of the fragment.
The Scarpian detail eludes the completeness of any ordering or systematic arrangement. It requires elasticity in composition and excludes general stylistic rules. With regard to the latter question, we need only note Sergio Bettini's observation: Scarpa's "events" speak far more clearly of an absence than of any return to some kind of order. This increases the distance between his works and most of the achievements of modern design.
The withering of standards based on classical rules of composition has given rise to much nostalgia in con-temporary architecture. The uncertainties springing from this seem to be settled when use and function, technology and consumption, reproduction and mass methods, come to be seen as the basic principles for a new system and crystallize into an order of values.
Scarpa displays a substantive indifference towards the 'new" scale of values. The roots of his work pass through the emergent strata of the tradition without being affected by them. He was little involved in the mythologies that determined this tradition. For in-stance, with technology he came to set up what was actually an ironical relationship, when he felt its limits most deeply. Scarpa preferred to play the card of artifice, of the detail, of difference, of the fragment. He saw the norm as an arrest of learning, a manifestation of the laziness of the eye.
Natural elements
Natural elements seen by Scarpa as materials of composition. It should also be noticed that the use of water in Scarpa's gardens is coupled with labyrinthine forms and rare stone materials. The slender watercourse that wends its way through the garden of the Querini- Stampalia Foundation, for instance, spills over a block of white marble chased with a geometrical pattern.. The combination of water and stone seems to revive one of the most important symbolical associations in Buddhist gardens, where these elements are linked in evoking the mystery of life.
Concept of "decoration"
The concept of "decoration" can be associated with a very different order of significance from those commonly ascribed to it by modern formal vocabulary. What has happened is that the tradition's valid principle that nothing is useful unless it is honest ("measured") has been gradually replaced by the conviction thatnothing is honest unless it is useful. This inversion has produced a misunderstanding of the value of ornament. To modern culture and design, decoration and ornament appear as not necessary components of matter revealed, delivered from the indeterminacy of unmeasured quantity. Since "matter" is merely the "material" of a product, the value of ornament is determined by technology, which sees its presence as a system tending to conceal its own intrinsic qualities. The significance of ornament emerges when matter is no longer considered merely as a means, hence a product. The reduction of material to a means is the end result of the "out-reaching hand" of modern technology, in its relation to things and action.
Brion-Vega Cemetery
With the creation of the Brion-Vega Cemetery, Scarpa's struggle against the habits of time completely sheds its makeshift character. The entire project was conceived as an endless work, intended to interpret only the time of maturation of the alchemy, the experiments, the expedients by which the language of its own composition is nurtured. It was no accident that Scarpa desired to be buried here, in this cemetery, near to his own works: only the death of its artificer could have put an end to the building of this autobiographical narrative, treated as a place of enchantments, celebrating in unrepeatable fashion the primacy of the instant, which is the quest of Scarpian composition.
Influence
Scarpa's work was influenced by Frank Lloyd Wright as well as Josef Hoffmann. He executes a "minimalist" aesthetic within historic buildings which allows the existing context to exist within the new work without being disturbed. The extraordinary care in the execution of handrails, floor patterns, benches, door pulls, and the like set Carlo Scarpa's work apart from others of his generation. Scarpa was concerned, with the manipulation of materials in relation to the human body. Scarpa's architecture is expressed through precision detail, a delicate combination of modernism, historicism and craftsmanship.
His work greatly influenced that of other Italian interior designers, most notably Franco Albini. While most of his built work is located in the Veneto region of Italy, he made designs for landscapes, gardens, and buildings in other regions of Italy as well as Canada, the United States, Saudi Arabia, France and Switzerland. One of his last projects, left incomplete at the time of his death, was recently altered (October 2006) by his son Tobia: the Villa Palazzetto in Monselice. This project is one of Scarpa's most ambitious landscape and garden projects.
During his life Scarpa developed a fascination with Japanese art and culture. Although Venice always remained the centre of his activities, starting from the 1950s he undertook several journeys to the Far East. He died in Sendai in the north of Japan on his last journey there in 1978.
Outpost 200623
Sensing Spaces
Water.
Ceramics and Architecture.
Architectural Stratifications, Carlo Scarpa, Intervening with History.
The Placing of Pots.
The Hungate.
The Wonder Of Minor Experiences.
A Brief Phenomenology of Enchantment.
A Moment of Pure Presence.
Enchantment entails a state of wonder, and one of the distinctions of this state is the temporary suspension of chronological time and bodily movement. To be enchanted, then, is to participate in a momentarily immobilizing encounter; it is to be transfixed, spellbound.
Jane Bennett
The moment of pure presence within wonder lies in the object's difference and uniqueness being so striking to the mind that it does not remind us of anything and we find ourselves delaying in its presence for a time in which the mind does not move on by association to something else.
Philip Fisher.
Analysing The Observed.
To abstract from the observed means to simplify the complexities of seeing.
Piet Mondrian.
Space and Form are ignored in this type of Abstraction, the Lines and their Vectors of Movement become a Map, Mapping Forces onto the Surface of the Picture.
Thinking with directional, durational markings/feelings/intuitive judgements.
Small Perceptions/Perceptions in Folding.
Small perceptions are as much the passage from one perception to another, as they are components of each perception.
Deleuze, 1993.
Small perceptions are like what Arakawa and Madeline Gins call imaging landing sites.
Relationscapes.
Erin Manning.
'Incoherence' exists, which is why the composition 'Art' exists.
Art allows us to think the unthinkable, to posit one paradox after another in the hope of firming up wisps of our lives and feelings by transfiguring them. By giving them a shape, a design, a coherence, even if they remain forever incoherent.
Andre Aciman/Edmund de Waal.
For nearly fifty years my darkroom and studio have been the focus of my solitude.
Landing Sites.
The Expanding Field of Relations.
Organism/Person/Environment
I need silence to be able to think clearly, and an empty space where my thoughts can accumulate undisturbed.
Duration.
The not yet meets the already gone.
A fluid flowing time which is intertwined with an experience of being, where past, present and future merge into an experiential time of the individual being/becoming.
Steven Holl.
Darkrooms were dangerous places as well as magical ones, they are a painful metaphoric yoking of creation and destruction.
My final print is a golden square enclosing the pinkest dusk sky I had ever seen or imagined.
Filtered Light/Pot Metal Colours/Silver Stain/Filtows/Filters/Shadows.
The Light Gatherers.
Bodleian Libraries.
March 2022-October 2023.
Light Laboratory/Creation as Duration.
Glass vessels, as light filters shining the enlarger light through them and creating photograms. Garry's work oscillates with differential velocities. He works with great deliberation and then he works with abandon. I keep thinking about the tension between deliberation and abandon. You look at a painting by Agnes Martin and experience the temporal aspect of lines repeated slowly over days and weeks. A cell like structure repeats and changes, you repeat so that in return you can find the smallest oscillations of difference. An expanded field where you sense the development of different kinds of time, movements and their durations.
Dark Room, Garry Fabian Miller.
Farewell to an Idea, Wallace Stevens/Edmund de Waal.
Haecceity, thisness of things, which engenders feelings between ourselves/things/world.
I was grateful to have been able to live with so much pure colour for so long.
Space-Enfolding-Breath
Lake Of The Mind.
Ideas are already abstract.
Abstracted Transcriptions.
Drawing, Vectors and Forces of Subjectification.
Lines, mappings of forces across the surface of the picture.
Drawing on, analysis with, Dominants.
Formed by the dynamic forces derived from the outlines of objects and their surrounding spaces.
Palimpsest Collages
Psychogeographic Mappings
Architectural Models
The Process of Drawing/Building is Left Visible.
Psychogeography, Merlin Coverley.
Crafting Recovery and Regeneration.
Transformative Reconstruction.
SPAB, Summer 2023.
Michal Saniewski.
Falerone, San Francesco Monestry. Italy.
It's the forefront of modernisation, something that we thought the city was. The countryside is still the place where new ideas and experimentation actually take place..
Countryside : The Future.
Guggenheim Museum, 2020.
Heritage Conservation/Preservation
How do we insert new fabric into old and respect layers of history, of which the earthquakes are an inherent part? Perhaps some of the scars and cracks should be preserved to serve as a poignant reminder of the past, becoming a living memorial? And perhaps there is potential to develop a new language of additive, 'surgical' architecture, where the contemporary timber frames serve a protective function, supporting and bracing the damaged medieval walls, but at the same time can be inhabited, framing new uses and reprogramming internal spaces.
The reconstruction process should be used as an opportunity to add value beyond what existed before the earthquake.
Exploring possible new functions and uses of currently empty spaces and damaged buildings, the local community was asked to participate in the act of psychogeographic mapping and thus rediscovering and revaluating the town on different levels.
Key themes of the New European Bauhaus initiative.
Renovation of existing buildings and public spaces in a spirit of circularity and carbon neutrality.
Preservation and transformation of cultural heritage.
Regeneration of urban or rural spaces.
Could Falerone become an experimental hotbed, an example of sustainable, community-driven reconstruction of urban fabric and place identity? The new crafts school could be an opportunity to achieve just that, stimulating collaborations not just with other towns and universities, but with regional authorities and even with the EU.
Studio Cyanotypes.
Tools/Working Drawings and the Semblances of Spatial Agencies.
Keywords.
Visual Substance, Causal Doing, Investigating, Inquiry, Process, Agency, Matter, Material, Discursive, Iterative, Creative Apparatuses, Intra-Activity, Performativity, Bodies That Matter,