The Centrality of the Human Body to Architecture : Quotidian Aesthetics/Interventions

Outpost 270125

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In-Transit

The Complex Process of Knowledge Production.

The Narrative of Theoretical 'Unravelling'.

What Is An Artist?

Irit Rogoff. 2006

Robert Morris

Catalogue Entries.

Columns, 1961

Passageway, 1961

Box For Standing, 1961

Portals, 1961

Box With The Sound Of Its Own Making, 1961

Early Minimalism

Measurement, 1963

Imprints And Body Casts, 1963-64

Site, 1964

Leads, 1971

Felts, 1967-83

Dirt, 1968

Continuous Project Altered Daily, 1969

Observatory, 1971-77

Rubbings, 1972

INFRA-THIN

Sensations between objective knowledge, difference and truth.

Post-structuralism, A very Short Introduction.

Catherine Belsey.

The Architecture of Emergence.

The Evolution Of Form In Nature And Civilisation.

Michael Weinstock.

The Architecture Of Continuity.

Lars Spuybroek.

The Body.

The Lived Body.

The Flesh of Things

Donn Welton

Written On The Body.

The World and Other Stories.

Jennette Winterson.

Painting for Bacon was a visceral event a sensation, driven by emergent behaviours and phenomena.

Ceramic spatial inceptions with circulating totems. 

Slab built, Stoneware. 2025

Tentative/Theoretical/Speculative Landing Sites.

Between Organism-Person-Environment and its Spatial/Architectural Body.

Preface.

Stefan Fichtel

Well-made animated information graphics are based on clear decisions about what matters and what should be left out.

Human Body/Indexical Trace on dot-matrix paper.

The Centrality of The Human Body to Architecture.

Undone/Assemblages of Concern.

Collage as the third aesthetic.

Ranciere argues for collage as 'third' aesthetic: it can combine two relations and play on the line of indiscernability, between forces of sense's legibility, and the force of non-sense's strangeness.

The Dark Monarch.

Magic and Modernity in British Art. 2010

The Bricoleur/sweeping the floor/movements in matter/spatial layering, thought in motion.

Embodying Emotion Sensing Space:

Introducing emotional geographies.

Joyce Davidson, Christine Milligan. 2004

Studio Floor Material.

The Artist's Reality

Philosophies of Art

Mark Rothko.

Culture, Creativity and Environment.

New Environmentalist Criticism.

Fiona Becket, Terry Gifford.

Ecology Without Nature.

Towards a Theory of Ecological Criticism.

Timothy Morton.

Visual Ecology

Transparency : Expressing the Unseen.

Transparency-the ability to see into and understand the inner workings of a landscape-is an absolutely essential ingredient to sustainability. In a world where more and more of the technology controlling our lives is not only beyond our individual control but is also invisible and incomprehensible to the average person, the landscape sreves not only as the foundation for our only genuine 'tangible' reality, but as the only mechanism by which we can really know where we are-and how and why as well. It can be argued that as humans we have a right to know where we are, how we are connected, and how we are doing.

Gray World, Green Heart.

Robert L. Thayer, Jr. 

Julia Kristeva

Black Sun.

Depression and Melancholia.

Susan Sontag

Under the Sign of Saturn

After Hiroshima

elin o'Hara slavick

On Pictures and the words that fail them.

On An Image Of A Bottle

James Elkins

A Field Guide to Melancholy

Melancholy and The Landscape

Locating Sadness, memory and reflection in the landscape.

Jacky Bowring

Who Comes after the Subject?

The essays collected in this volume present the current research of nineteen contemporary French philosophers on one of the great motifs of modern philosophy: the critique or the deconstruction of subjectivity.

Eduardo Cadava, Peter Connor, Jean-Luc Nancy.

The Enchantment Of Modern Life.

Attachments, Crossings, and Ethics.

Jane Bennett

Ordinary Lives.

Studies in the Everyday.

Ben Highmore.

Everyday/Quotidian Aesthetics.

Ranciere is perhaps the contemporary writer most alive to the productive and necessary confusion between aesthetics as a general field describing the realm of sensate perception, and the more limited meaning relevant to the field of art that has taken shape in the West in the last two hundred or so years. And it is this confusion (a confusion that infuses both the general and the limited economy of aesthetics) that we can find the materials to help us build a quotidian aesthetics.

The Politics of Aesthetics.

The Distribution of the Sensible

Jacques Ranciere.

Emergent behaviours/phenomena to generate buildings.

Screen-shot CCTV.

Fire exit intervention WSA. 2008

The Centrality of the Human Body to Architecture.

Framing/Temporal Containment/Instances and Immediacies : Human Bodies/Spatial Bodies.

FORMWORK / ENCLOSURES / ITERATIONS / THINKING FORMS : Material Agency as Cognitive Scaffolding

The 'exigencies' of the situation at hand.

Tim Ingold, MAKING. 

Spatial Intelligence/Architectures

Abject (ion) Body and Matter in Process/Processual Relations.

Indexical Drawing : Pencil, Wax and iron oxide on paper. 240x150 1008

https://www.flickr.com/photos/russellmoreton/

IMMATERIAL / REPETITION / SINGULARITY

ENCLOSURES / ITERATIONS / THINKING FORMS

MINIMALIST SPACES / INTERVALS, tuning objects to construct environments

Mediating the experience of LANDSCAPE

SITE / COLLAGE COMPONENTS working/walking, developing a creative spatial syntax COLOUR AS CONDUIT / PERCEPTUAL ENVIRONS / CRAFT MEDIA / IMPROVISATION PIERCED  DAPPLED NATURAL LIGHT

DIFFERENTIATED SHADOW / SURFACE

EXTRAORDINARY MATERIALS / TECTONICS AND TEXTILES INDEXICAL / GESTALT  VISUAL PERCEPTION

NETWORKS / RESOURCES / AGENCY for the potential of BUILDING SCAFFOLDS / GAUZE / POCHE solids of a building/architectural plan ABSENCES / INTERSECTIONS / GRIDS / MESHES / SPRAYS / MOTIFS ACTUALITY

Without opposition nothing is revealed,

No image appears in a clear mirror If one side is not darkend.

Jacob Bohme, De tribus principiis 1619.

Everything is interrelated and suffers when it acts, so too the purest human thought. Holderlin, 1798.

Getting Lost, Walking whilst deep in thought/embodiment in the environment Between PLACE and SITE

Walking creates its own feedback loop, The Journey, The Return,

The specific, Here and Now

Psychogeography, Dossier, Forensic Study, Inquiry.

Spatial Abstractions : Reflexivity on Reflection. Embodiment on Experiential Subjectivity

 LANDSCAPES Constituted by creative practice

Walks as erasures, sedimentation, (Gardiner on painting)

Quotidian/Everyday Interests, Complexities of Contemporary Life. Ambients, Phenomenas, Objects, Subjectivities,

Everyday aesthetics, heuristic practices.

RAVENINGHAM THEMES : Working Notes

New Futures for Architecture Leon van Schaik

Spatial intelligence builds our mental space. Sensing Spaces

Architecture Reimagined Oak-Framed Buildings. Rupert Newman

Heidegger for Architects

Adam Sharr 

MAKING : ANTHROPOLOGY, ARCHAEOLOGY ART AND ARCHITECTURE

Tim Ingold

Touching objects, feeling materials 

The Cathedral and the Laboratory

A Hut of One's Own

Anne Cline

Solar Pavilion

Alison and Peter Smithson Architecture is not made with the brain 

The Parallel of Art and Life

Aesthetics about Perception Poetics about Production

HERZOG & DEMEURON NATURAL HISTORY

My studio is a piece of architecture that is silent. Speculative Architecture

On The Aesthetics of Herzog & De Meuron 

The Thinking Hand

Existential and Embodied Wisdom in Architecture

Juhani Pallasmaa

The Architecture of Natural Light. Henry Plummer

Peter Zumthor

Hortus Conclusus Serpentine Gallery Pavilion

The Potentials of Spaces

The Theory and Practice of Scenography and Performance. Alison Oddey, Christine White

See Yourself Sensing Redefining Human Perception. Madeline Schwartzman

Collage and Architecture. Jennifer A. E. Shields

COLLAGE

Assembling Contemporary Art. Sally O'Reilly 

Construction/Abstraction Body/Identity Environments/Geographies

Indexical

Absences

Actuality Immaterial Architectural Sensing Surfaces,

Textures

Dimensions, Sprays, Trace

Dwelling, Reverberations, Epiphanic Instant, Gaston Bachelard.

Repetition, Empirical Experiences

Forms, Pavilion, Hut, Shelter, simple enclosure

Minimalist, tuning objects, sequences to construct/de-construct environments 

Reflexive Surfaces into architectural presence

Art as indeterminate, able to arrest perceptions into different states/becomings 

Site, undoing of place. 

Gauze/Filtered Light/Phenomena

Gesture of the work, its situation,

Meshwork. The drawing grid, making of a proposition into space.

Cyan, Sky Blue, dappled light, membrane, responding to the weather/locality

AA Pavilion Project,

Its about learning through making, being involved in the process, the installation and its reception, dislocating contextual barriers.

Ephemeral Architectures, AA Document/Project, Prizeman

Immaterial Architecture : Waverley Pavilion Building The Drawing

The drawing as analogue allows more subtle relations, of technique, material and process, to develop between drawing and building.

Immaterial Architecture The Illegal Architect Jonathan Hill

Oak 

Tree 

Oil

Paper

Plaster

Rust 

Sgratfito 

Silence 

Sound 

Steel 

Television 

Weather

Frosted Light

Index of immaterial architectures

TRANSPARENCY : LITERAL AND PHENOMENAL. Colin Rowe, Robert Slutzky

Interactions of the Abstract Body. Josiah McElheny

Object Lesson

Interactive Abstract Body (Square) The Spatial Body (After Fontana)

Tracing Eisenman

Stan Allen

Indexical Characters FABRIC=MASS+ FORM

Alan Chandler

The interest in fabric formwork is in its deployment in a building process, which is faster than conventional formwork. Fabric formwork is inherently more sustainable due to the minimising of both concrete and shuttering, and more radically, allows the constructor to intervene in the process of casting even as the cast is taking place.

ANTI OBJECT Kengo Kuma

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. ReThinking Matereriality

The engagement of mind with the material world. Elizabeth DeMarrais, Chris Gosden. Colin Renfrew

The Affordances of Things

Towards a Theory of Material Engagement Aesthetics, Intelligence and Emotions Relationality of Mind and Matter

Material Agency

Towards a Non-Anthropocentric Approach. Carl Knappett, Lambros Malafouris

At The Potter's Wheel: An Argument for Material Agency

We should replace our view of cognition as residing inside the potter's head, with that of cognition enacted at the potter's wheel.

The Neglected Networks of Material Agency : Artefacts, Pictures and Texts 

Material Agency as Cognitive Scaffolding

The Cognitive Life of Things

Material Engagement and the Extended Mind. Lambros Malafouris, Colin Renfrew

Minds, Things and Materiality. Michael Wheeler

Communities of Things and Objects : A Spatial Perspective Carl Knappett

People make space, and space contains people

Imagining the Cognitive Life of Things. Edwin Hutchins

Things and Their Embodied Environments

Architectures for Perception

Structuring Perception through Material Artifacts. Charles Goodwin

 

Circulating Objects/Assemblages : Making Spaces/Creative Strategies

Outpost 091124

Occupant Spatial Relations 

Sites centred around interactions of creative practice and architectural theories of making spaces.

Architecture understood as a collection of collective parts.

A diagrammatic art of lived abstraction and lived-in abstraction.

A space for inhabiting experience.

Attention to material : Architecture as the excitement of building/dwelling/becoming

An inhabiting event is the medium of architecture.

Garden : Spatial Markers/Bodies/Paths.

Spatial Practices : Human Bodies/Spatial Bodies. Tate Modern. #7

Zuzana Kovar, notes that the shortcoming of Tschumi's event is that while it introduces a processional understanding of architecture and mobilizes the body in space, space it self remains static.

Equation becomes a spatial assemblage for occurrences.

For Deleuze, an 'assemblage' extends the understanding between bodies and spaces.

Program is determinate.

Event is indeterminate.

A program gives a fixed outcome, a fixed spatial experience. An event does not, critically the 'notion of event' is that it activates potentialities. Each space, may be thought of as composed of multiple singular potentialities that lay dormant, unless activated. 

All spaces contain multiple potentialities.

Event Is Not Program.

There is no architecture without actions, no architecture without events, no architecture without program.

Architecture=Space + Event.

Tschumi.

Program is to be distinguished from 'event', a program is a determinate set of expected occurrences, a list of required utilities often based on social behavior, habit or custom. In contrast events occur as an indeterminate set of outcomes, revealing hidden potentialities or contradictions in a program and relating them to a particularly appropriate (or possibly exceptional) spatial configuration that may create conditions for unexpected events to occur.

Generating uncommon or unpredictable events through particular spatial configurations of the in-between.

Abject(ion) Studio Space.

Subjectivity/Spatial Bodies.

Discursive Objects/Architectural Occurrences/Resonances.

Assemblages, fired, raw pigments, paint, chalk, wax, plaster. 

The Enabling Constraint.

Objects become relational in conjunction with the ways in which the environment proposes its own constitutive limits.

Erin Manning.

Ceramics Speculative/Exploratory Practices.

New Ceramic Forms of Research/Theoretical Objects.