Anarchive Workings~Layered Making/Indexical Relationscapes : Interventions into models/stratifications of research

Interior Design MA~Anarchive

An anarchive is a creative process and philosophy that resists traditional, static archiving. Instead of just storing past traces, it acts as a "feed-forward mechanism" that uses archival material to continuously spark new art, sensations, and becoming.

Spatial Apparatuses, Building/Social Devices and Agendas/Rooms

Indexical Relationscapes.

Events as Interventions producing Intraventions from Sociology, Architecture and the Humanities/Contemporary Arts.

Relationscapes

Erin Manning

Movement/Art/Philosophy

 

For Brian.

The self is only a threshold, a door, a becoming between two multiplicities.

Gilles Deleuze and Felix Guattari, A Thousand Plateaus.

Waverley Project : Areas of Project Research. 

The Reading Room (a library of subjective taxonomies on the alchemy of building)

The Listening Room (a soundscape interior in time with its environment)

The Sheltering Corridor (a modernist Stoa as a place for encounters/dialogues)

The Pot Room (a installation of thrown objects creating the interior partitions)

The Empty Studio (a adaptation of architecture through the ritual of creativity)

The Perception of The Environment, Livelihood, Dwelling and Skill. 

Tim Ingold.

Archaeology, Anthropology, Art and Architecture.

Anti-Object.

‘A building intervenes between subject and space.’ Kengo Kuma

Caruso St John : The Phenomenology of Construction  

Things.

‘As found is a small affair, it is about being careful, the as found (is) where the art is in the picking up, turning over and putting with. Things need to be ordinary and heroic at the same time.’ Alison and Peter Smithson

Public Intimacy in Social Spaces.

Architecture and The Contemporary Arts.

Learning through Making, (The Parallel of Life and Art) Anthropology, Archaeology, Art and Architecture.

Visitor’s Centre, with interpretive exhibition (Stonehenge/Denton Corker Marshall) or an immersive intervention (Winchester Cathedral,Anima-Animus/Elferova and Wilson).

A place where the interior space evokes a sense of place/a becoming (Existential, Historical, Social, Cultural) see ‘The Physical Self’ exhibition curated by Peter Greenaway. The Fate of Place/Human Sociology.

A contemplative space or spiritual/secular retreat featuring a series of interventions (Follies/Pavilions/Huts/Heidegger/Tschumi) that focuses the gaze on a particular view or detail, framing a distant reference (landmark or natural phenomenon, research into Lutyen’s ‘Thunder House’ for Gertrude Jekyll).

Museum of Wisdom. Kengo Kuma.

Noh Stage In The Forest. Kengo Kuma.

Hortus Conclusus. Peter Zumthor.

The Solar Pavilion. Alison and Peter Smithson.

The Secular Retreat, Living Architecture. Peter Zumthor.

Heidegger/Hut,

Bachelard/Poetics,

Ingold/Making.

Construct (Definition) DSC_0029
Ann Cline
A Hut of One's Own
Life Outside The Circle of Architecture.

Herzog  and De Meuron
NATURAL HISTORY

Walking and Mapping

Speculative Environments/Ecolects

Spatial Collage/Assemblage : Yellow/Lead/Photography

Fragments and layers from, Winchester Cathedral, Tidbury Ring Geodesic Dome, Star Atlas.  

Brian Clarke. Beauties (from the two Cultures) 1981.

Brian Clarke. The Office of The Dead 2008. 

It was the region, not the nation, which was the motor force of human development; the almost sensual reciprocity between men and women and their surroundings, was the seat of comprehensible liberty and the mainspring of cultural evolution.

Cities of Tomorrow, Peter Hall.1988

Anarchism, A very short introduction, Colin Ward.2004

Foucault, Sexuality and the 'Confessing Animal' 

https://sondermag.wordpress.com/2016/09/02/foucault-sexuality-the-confessing-animal-josh-mcloughlin/

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

https://literarydevices.net/metonymy/

https://www.simplypsychology.org/Zone-of-Proximal-Development.html

fig496 Proximity
10 Days at The Laundry : Winchester UK

Architectural Transposition : Anti-Object
Kengo Kuma's, Transparent and temporary shelter at Waverley Abbey

Possible Worlds
The Sensual Reciprocity of This Enchanted Isle

UCA MA Interior Design 2015

Slow Philosophy/Discursive Attachments : Gathering Inquiry/Materials/Objects/Things

Slow Philosophy/Discursive Attachments : Gathering Materials/Objects/Things

Research as a discursive activity gathering new forms of expression.

Duration, Steven Holl

Time is only understood in relation to a process or a phenomenon.

The duration of human beings alive in one time and place is a relational notion.

The time of one's being is provisional; it is a circumstance with an adopted aim for the time being.

SPACE-and ARCHITECTURE-exceeds the provisional

The Enchantment of Modern Life.

Attachments, Crossing and Ethics

The performativity of social representations

When I gather together the animals, arguments, molecules, suggestions, forces, interpretations, sounds, people, and images of this study, one theme emerges. The modern story of disenchantment leaves out important things, and it neglects crucial sources of ethical generosity in doing so. Without modes of enchantment, we might not have the energy and inspiration to enact ecological projects, or to contest ugly and unjust modes of commercialization, or to respond generously to humans and nonhumans that challenge our settled identities. These enchantments are already in and around us.

Jane Bennett

Be not inhospitable to strangers

lest they be angels in disguise

Jackie Leven, The Dent In The Fender And The Wheel Of Fate

David Childers, Heart In My Soul

Collage Works : Architectural Studies. Outpost Studios, Norwich.

Studio Works : Praxis between theory and practice. Outpost 2020.

Outpost Studios Norwich, collage, textual, intermedia, 

spatial practice, resource, project space, art practice, research, book works

Architectural Inquiry : Metaphysical Surfaces

Blue Spaces Of Everyday Enchantments : White Absences #2. Silence/Void : Gap/Reveal

Slow Philosophy : Materials/Objects/Things

Few boundaries are impenetrable

They are rather, semi-permeable membranes providing housing while allowing selective commerce

In a world of materials, nothing is ever finished : 'everything may be something, but being something is always on the way to becoming something else'

Tim Ingold 2011

Materials, Tim Ingold, slow philosophy, studio works, textile, clay, painting, yellow ochre

New works around fired clay, painting, wrapping forms, metal, textiles and stones.

Architectural research for a library within a studio.

clay, textile, wrapping, painting, natural objects, 

photographic surface, asperity, poetics of process, studio

Palimpsest/Surface Sprays : Spaces Between Objects

Site based inquiry for sculpture trail at Raveningham

collage, research, spatiality, art practice, alternative photography, 

drawing, architectural, intervention, visual fine art, craft

studio, metaphysical space, collage, Palimpsest, Cristina Iglesias, Steven Holl, Jackie Leven, Tim Ingold, Julian Stair, drawing, sprays, Jane Bennett, Russell Moreton, Lucio Fontana,

The Drawing Stage : The Mark that Functions/Comes into a Mediality/Form/Language

Outpost 210524

Light Drawings/Duration/Surface/Intermediaries.

Drawing/Inscriptions/Mediality/Conversation

I created 'False Divisions' in an effort to name the parts which in practice are so multifaceted as to continuously express the existence of all others.

What defines/constitutes drawing? 

One thinks of its properties, line, marks, surfaces, its characteristic colourlessness, its acts, gestures, rhythms and spaces of thought.

Avis Newman.

The Stage Of Drawing-Gesture-And-Acts.

Avis Newman.

Catherine de Zegher.

As I made my choices, the body of the exhibition grew as an assemblage of parts comprising groups within groups, clusters, pairs, singularities, a 'body of relations' as one might understand a body of thought. In the selection and organisation, I tried to suggest that drawing is by definition in a state of flux finding inspiration in 'modes of thought' that are not linear. But which propose a space of fluctuations and overlapping relationships and allow for an uncertainty and a play between parts as in Melanie Klein's formulations of positions.

Drawing, draws us in close, into an act of scrutiny, retracing the drawer's movements between hand and eye is one of the profound pleasures of looking which connects us to a recognition of our own past acts. When we look, we enter the intimate space of a work that is as close to the action of an artist's thought as one can get.

Avis Newman understands drawing more fundamentally as to evidence the materialization of an act of consciousness, where a gestural act, embodies an act of thought. Her concern has been with the visual traces of those phenomena, which are embedded in all our actions and ultimately connect us through language.

In the inscriptive act of drawing there exists the shadow of our ambivalent relation to making marks, before the time when 'image' and 'text' are differentiated to go their separate ways. When one looks at a drawing there is a consciousness of the ghost of the 'text' in the 'image' in the Image. It is that combination of events where the mind simultaneously perceives in a single stroke the registration of a gesture affirming the existence of another, a line of delineation that speaks of this or that and the mark that functions (comes into a mediality) as a sign which possibly is connected to other signs. In such circumstances thoughts float between reading and perceiving. It is in this inscriptive nature of the activity of drawing that can hold we can hold in suspension this differentiated state of consciousness, irrespective of what is being drawn.

Generative Forms.

Drawing Assemblages.

Germ Cell/Idea/Breath.

The synthesis of Geometric with Organic Forms.

Christopher Wilmarth

Nine Clearing Works.

A portal, an architectural entranceway.

Wilmarth continually examined the concept of duality, contrasts between light and shadow, transparency and opacity, heaviness and weightlessness, materiality and ethereality. He employed a 'painterly technique' that emphasized the tactility and richness of his materials, which like an alchemist he persistently sought to transform.

His sculptures retain the spiritual implications of 'place' endowed with particular qualities of light, clearings that can create a release, where light can open even when the place remains the same, just like the mind and new thoughts, creating moments of these pavement epiphanies of confinement and release.

Works from 1985 onwards contain and further develop a figurative impulse ( re-emerging of the anthropomorphic ovoid shapes) with the larger more emphatically abstract 'places'. Fusing the organic with the geometric and conjuring a multitude of symbols, head-soul-heart-aura-egg-germ cell-womb-cup.

Laura Rosenstock. 1989

A Clearing for a Standing Man. 1974

Poetics of place and person articulated by the evocative power of light.

He endowed his sculptures with a sense of  'Place' and 'Person' which was critical to his intension as was his lifelong concern with the evocative power of light.

Light gains character as it touches the world, from what is lighted and who is there to see. I associate the significant moments of my life with the character of light at the time. The universal implications of my original experience have located in and become signified by kinds of light. My sculptures are places to generate this experience compressed into light and shadow and return them to the world as a physical poem.

On Mallarmé, Wilmarth notes that his imagination and reverie meant more to him than anything  that was actually of this world. His work is about the anguish and longing of experience not fully realized, and Wilmarth found something of himself in it, especially the feeling that for Mallarmé 'the essence of a work consists precisely in what is not expressed'.  

Christopher Wilmarth. 

Christina Iglesias.

Shelters

Ceramics of Organic Abstraction.

A loosely defined style characterised by an ongoing exploration of biomorphic or organic form and surface.

Garth Clark.

Rising Above The Polemic : Organic Abstraction in British Ceramics. 1995.

References to landscape and natural phenomena, nature's associations of fecundity, earthiness, process, growth and decay.

Gordon Baldwin.

Metonymy : The Body Of Drawing/On Precarious Enclosures/Ceramics/Wanting Shelter.

Outpost 290424

Zola Jesus : Arkhon

Metonymy as often treated as a subtype of metaphor by cognitive linguistics has a different working mechanism. Metaphor is based on perceived similarity between things, while metonymy on the relationship within things.

The trace and trait of mark making is a durational gesture on the way to becoming an line/outline/contour.

Mark-Making 'names' something absolutely inhuman, the shadow and the strain and the loss of any criterion to distinguish between the intended and the unintended and between human indications and marks produced by natural processes.

Line, takes marks, traces out of duration into forms set in eternity.

Seeing the relation between the daughter's and the father's image making as that between metonymy based on contiguity, and metaphor based on similarity, each produces in a different way a defective image. The portrait image based on resemblance fails to unite the inner essence of the subject, just as a shadow traces only the contours of the body.

In Drawing the problem is to 'slow' the consideration of the mark, so that it does not move too quickly toward line-contour-figuration or image. But to allow it to hesitate on the edge.

Images In Mind.

Pliny's Story of the Origin of Drawing.

Deborah Tarn Steiner.

Contemporary Fine Art Practices.

The Lines of Thinking about Drawing.

Michael Newman.

Drawing-as markingtime-memory-matter in the work of Avis Newman.

Working/Thinking with-Imprint-Index-Trace-Mark-Photograph-

Inside The Visible.

Catherine De Zegher. 1996

The image exists after the object.

First we see, then we imagine.

Maurice Blanchot.

To the artist, the creation of objects is a process of sequencing their work processes, rather than the completion of work.

Eva Hesse's practice offered Christina Iglesias a model for a process-based way of working, rooted in a deliberately limited range of materials.

Eva Hesse, Lucy Lippard.

On Making Skins-Shells.

Metonymy.

The sculptural spaces Christina Iglesias constructs are kinds of dream-catchers. They are there to transport our imagination. We again see how the light in the text is filtered and refracted on its journey through different materials, in a way that is very similar to the experience afforded by Iglesias's sculpture, in that sense, she creates spaces that are materialized poetry. 

Ceramics as Performative/Speculative/Experimental and Discursive.

Adventures Of The Fire, into a process of experimentation that is expressed as an incompleteness through forming an incomplete part of a bowl, and in doing this it presents a new form as a gate. Experimentation is always towards the new and as such it presents a basic direction about creation. As a venture, a process of experimentation, that is all about the new, notwithstanding if it is successful or unsuccessful.

When seen separately as individual pieces, these works with their widely varied experimentation on forms and new techniques/technologies are perceived as ordinary ceramics and craftwork. But when they are assembled together according to a different method of display, they collectively become an installation and a formative artwork/network. One module constitutes one artwork and each artwork creates one space, then it is no longer necessary to divide ceramics into genres of traditional ceramics and contemporary ceramics, or ceramics as expression and ceramics for use. 

The Space Of Fire-Charcoal, includes ceramics that impart a feeling of charcoal or have colour that contrasts with charcoal.

The Space Of Earth-Clay, presents contemporary formative works in front of a curving wall of layered fragments of bisque-fired pots, earthenware, stoneware, white porcelain, bancheong and celadon. Stories about the flow of time and plasticity of clay are told here.

On Making and Taking Up Stories.

On Feelings and Correspondences.

Ceramic Space and Life.

We humans occupy space as big as our physical bodies and expansion of space occupied by individuals give rise to the concept of collective space. A space enables its members to communicate with each other and produces unique culture and creates communication within itself. If such meaning of space is expanded, each and every object takes space as its volume.

Space contains objects, and people experience cultural communication within the space.

Every space that is occupied by each work presented at this exhibition feels different depending on the shape-colour-volume-texture and meaning of the work, not to mention the physical dimensions of the space in which the individual work is placed.

An individual work has meaning by itself, regardless of where and how it is juxtaposed in the space and how viewers perceive it. Such existence and meaning give rise to art of a new concept within a space. An installation itself becomes an exhibition, one space exists as one single artwork.

Ceramic Gate, while being one single piece of art, also shows how architecture is directly integrated into ceramics, this installation was designed to be in harmony with the existing gallery building, while also presenting ceramics as a core formative element. This installation was a joint work of participating artists in Ceramic Space and Life, and it is considered as suggesting a model (methodology) for the combination and integration of architecture and ceramics.

Eight spaces to present an architectural concept, displaying works grouped into natural elements of People-Water-Fire-Clay-Metal-Light-Wood.

Each of the eight sections of the exhibition sheds light on the fundamental nature and artistic values of ceramics, by displaying ceramics of different types, traditional and contemporary, and ceramics as expression, and ceramics for use together, and at the same time new meaning is created as each individual work communicates with the space in which it is placed. 

The space, illuminates ceramics into spatial harmonies of Space Art and Ceramic Art, gathered here these 150 works will suggest the future direction of ceramics by showing marks and traces of the past.

Ceramic-Object. 

Hong-won Lee, Curator

On Precarious Enclosures/Wanting Shelter.

No ideas haunt us as much as those of stable matter and fixed place.

An intense attentiveness is born of the perpetual sense of being an outsider and the continual readjustment in viewpoint that it requires.

Cristina Iglesias.

Alone or Aligned?

An Aesthetic Identity.

Lynne Cooke.

1993 was a pivotal year for Cristina Iglesias, for the first time her work was convincingly contextualized in relation to her peers and mentors. That same year she entered into an agreement with Artscape Nordland to create a site-specific sculpture in a remote area of Northern Norway.

In Sintitulo untitled ( Laurel Leaves) 1993-94, she explored a way of staging spatial relations rooted in Modernist architectural histories that has since remained the core of her aesthetic.

Barbara Stafford situated Iglesias's work in a cultural history in which places of shelter and refuge serve a fundamental role in that they address psychic as well as functional needs. Referencing both organic and man-made structures from archaic times onward, Stafford argued that Iglesias's works evoke both the age-old escapist dream of being hedged from life and the desire still urgent today for a terrestrial paradise wanting shelter. 

For Stafford, Iglesias's precarious enclosures at once vulnerable and somehow out of place, put an intolerable pressure on the meaning of mental security. Eloquently situating her art in relation to architectural typologies and histories, Stafford establishes the terms in which Iglesias's practice would be parsed henceforth.

The Daughter of Butades.

Drawing traces is the act of differentiation of figure and ground (the reserve).

Butades's daughter and her many marks around the shadow, do not yet form the unified-idealizing contour, nor yet the figure against the ground.

Architectural and Environmental Ceramics.

Perforated Screens.

Gate-Wall-Pavilion-Object

Ceramic Houses

Nader Khalili. 1990

Architectural Ceramics for the Studio Potter.

Peter King. 1999

Photography : Thinking with Imaginary Spaces

DSC_0171 Spatial Assemblage : Figure in Space

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

https://literarydevices.net/metonymy/

https://www.simplypsychology.org/Zone-of-Proximal-Development.html

Tentative Building/Building The Drawing : Speculative Architecture, landing sites of surface, image and texts.

 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

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.

TRANSPARENCY : LITERAL AND PHENOMENAL

Colin Rowe, Robert Slutzky

Interactions of the Abstract Body

Josiah McElheny

A heuristic technique (/hjᵿˈrɪstᵻk/; Ancient Greek: εὑρίσκω, "find" or "discover"), often called simply a heuristic, is any approach to problem solving, learning, or discovery that employs a practical method not guaranteed to be optimal or perfect, but sufficient for the immediate goals.

A Hut of One's Own, Ann Cline

Texts, Annotations, Foundations, Pathways, Corridors, Bookmarks, Walking, Thinking, Ramble, Cross Country, Disciplines, 

Analogies in and of sensate materials

 

Drawing Surface 

Table Fabric

Colour Palette

Timbre in Objects

Assembled Spatial Volumes/Assemblage

Photographic Collage (mise en scene/abyme)

Making Discursive : Art Practice/Praxis

Outpost Studio, performative drawing, photographic collages, gallery bench (movable)

Drawing for charting table 1.5m x2.2m

Human trace, rust/wax on paper

Material Thoughts

Marks and Residues

Process and Reading

Matter and Desire : An Erotic Ecology. Andreas Weber. 

Walking and Mapping : Artists as Cartographers. Karen O'Rouke.

Art as Contemplative Practice : Expressive Pathways to the Self. Michael A. Franklin.

 

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.

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 

Imagining the Cognitive Life of Things

Edwin Hutchins

Things and Their Embodied Environments

Architectures for Perception

Structuring Perception through Material Artifacts

Charles Goodwin

Ceramic Pavilion/Fired Earth Architecture

People make space, and space contains people

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 Modern 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

Atelier/Glass Studio with Scriptorium

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.

Procedural Architecture

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