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.
Hawking understood black holes because he could stare at them. Black holes mean oblivion. Mean death. And Hawking has been staring at death all his adult life. Hawking could see.
Martin Amis, Night Train, 1997.
For Baudrilland the actual photographs are beside the point. It is what precedes them that counts in his eyes- the mental event of taking a picture.
Sylvere Lotringer, The Piracy of Art, 2008.
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.
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