Playing With Structural Modalities/Making/Tensions : Speculative Spatial Constructions.

 Structural Modalities/Making/Tensions : Spatial Forms to gather/interact with discursive research.

https://www.flickr.com/photos/russellmoreton/24337820341/in/dateposted-public/

Poetics/Architecture : The scriptorium as an architectural surround.

5

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

Entanglement of Matter and Meaning

Intertwining Metamorphoses

Germano Celant

Giuseppe Penone

Diffractions : Differences, Contingencies, and Entanglements That Matter

Meeting The Universe Halfway

Quantum physics and the entanglement of matter and meaning

Karen Barad

Art and Technics

Lewis Mumford

James Turrell

Aten Reign

Miwon Kwon

Under The Volcano

Carmen Gimenez

Kees Goudzwaard

Assemblage

Pinholes and Dust

Grisaille

Transparent Body

Robert Mangold

Column Structure Paintings

Frank Stella Architecture

Architecture as a means towards creating space

The Optical Unconscious

To throw its net over the whole of the external world in order to enter it into consciousness. To think it

Rosalind Krauss

Postproduction

Nicolas Bourriaud

Body

Personal Relations

Spatial Values

Yi-Fu Tuan

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

Camouflage

Neil Leach

For Benjamin, the twentieth century is an age of alienation. Human beings are no longer 'cocooned' within their dwelling spaces. Architectural spaces are no longer reflections of the human spirit. Something has been lost.

Mimesis, 19.

New Concepts of Architecture

Existence, Space and Architecture

Christian Norberg-Schulz

A child 'concretizes' its existential space.

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

Building The Drawing

The Illegal Architect

Immaterial Architecture

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.

Jonathan Hill

Index of immaterial architectures

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

Without opposition nothing is revealed,

no image appears in a clear mirror

if one side is not darkened

Jacob Bohme, De tribus principii (1619)

Reflections on a photographic medium

Memorial to the Unknown Photographer

Thomas Ruff's Newspaper Photos

Valeria Liebermann

Working Collages

Karl Blossfeldt

Sensing Spaces/Architecture Reimagined

Royal Academy of Arts

Anti Object

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

Body and Perception

The Phenomenon Of Place

Places at the Zero Point

The Box Man

Furnishing the Primitive Hut

An Architecture of the Seven Senses

Walter Pichler

Architect/Sculptor

The Thinking Hand 

Existential and Embodied Wisdom in Architecture

Encounters

Architectural Essays

Identity, Intimacy and Domicile

Notes on the phenomenology of home

The Architecture of Image/Existential Space in Cinema

Lived space in Architecture and cinema

The Eyes Of The Skin/Architecture and the Senses

Juhani Pallasmaa

Atlas of Emotion

Journeys in Art, Architecture and Film

Giuliana Bruno

Questions Of Perception

Phenomenology Of Architecture

Steven Holl

Juhani Pallasmaa

Alberto Perez-Gomez

Materials and Meaning in Architecture 

Essays on the Bodily Experience of Buildings

Nathaniel Coleman

Matter and Desire

An Erotic Ecology

Andreas Weber

Visualizing Feeling

Affect and the feminine avant-garde

Susan Best

Making/Anthropology, Archaeology/Art and Architecture

Being Alive/Essays On Movement

Knowledge and Description

Tim Ingold

Thinking Through Craft

Glenn Adamson

The Ceramic Process

A manual and source of inspiration for ceramic art and design

European Ceramic Work Centre

A Hut Of One's Own

Ann Cline

Smithson, Alison and Peter

Solar Pavilion

Architecture is not made with the brain

Architectural Association

The Kunsthaus Bregenz as an Architecture of Art

The Conditioning of Perception

Multiplicity and Memory

Hortus Conclusus

Thinking Architecture

Peter Zumthor

Re-Shaping Learning

A Critical Reader

The Future of Learning Spaces in Post-Compulsory Education

Anne Boddington, Jos Boys

Hiding, Making, Showing, Creation

The Studio from Turner to Tacita Dean

Rachel Esner

Conversations With Strangers

Performing the broom and the bricoleur

Malcolm Doidge

Corpus

The Ground of the Image

Jean-Luc Nancy

Life Between Buildings/Parking Day Manifesto

Poststructuralism, a very short introduction

Mapping Intermediality in Performance/Intermedia Chart

Sarah Bay-Cheng

Liminality, a psychological, neurological, or metaphysical subjective, conscious state of being on the 'threshold' of or between two different existential planes.

Heidegger for Architects/Emotions Building Presence 

Adam Sharr

The Visual Poetics of Jannis Kounellis

Suzanne Cotter, Andrew Nairne

Carlo Scarpa

Craft Intensive/Spaces, Vistas

Technical specifications of materials

Site-Specific Art/Tschumi, Robert Morris, Robert Smithson, Giuseppe Penone

Performance, Place and Documentation/Material Affects, Frames, Site, Spaces

What is the relationship between the visual arts and 'performativity'?

Nick Kaye

Wittgenstein, The Duty of Genius

Oren Lieberman/Spatial Practices/What does it Do?

These remarks show the unmistakable influence of Schopenhauer. In the World as Will and Representation, Schopenhauer discusses, in a remarkably similar way, a form of contemplation in which we relinquish 'the ordinary way of considering things', and 'no longer consider the where, the when, the why, and the whither in things, but simply the what. 143

 

The phenomenal nature of the idea : Architectural Intertwining/Environs, object scripted inquiry

Architectural Body

Madeline Gins and Arakawa

Working Notes/Holding in Place

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

Spatial Collage 2010

Lead, photographic (pinhole) and inkjet visual material from flickr stream, fixing tapes, cyanotype on tracing paper, pierced and re-positioned elements on paper.

Idea is, 

the invisible of this world, which inhabits this world, sustains it, and renders it visible

Merleau Ponty

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

For Steven Holl, the intertwining of idea and phenomena occurs with the realization of a building as the means for the materialization of the idea force

A methodology of connecting phenomenal properties with a conceptual strategy

Camouflage

Neil Leach

For Benjamin, the twentieth century is an age of alienation. Human beings are no longer 'cocooned' within their dwelling spaces. Architectural spaces are no longer reflections of the human spirit. Something has been lost.

Mimesis, 19.

New Concepts of Architecture

Existence, Space and Architecture

Christian Norberg-Schulz

A child 'concretizes' its existential space.

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

Building The Drawing

The Illegal Architect

Immaterial Architecture

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.

Jonathan Hill

Index of immaterial architectures

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.

BOUNDARIES AND JUNCTION POINTS ARE IN THE NATURE OF THINGS POINTS OF FRICTION

 BOUNDARIES AND JUNCTION POINTS

Lefebvre, The Production of Space.

Lefebvre in his chapter on Spatial Architectonics makes reference to the relationships established by boundaries and the relationship between boundaries and named places. These relationships promote significant and specific conditions or features to a space. This in turn results in various kinds of space. Lefebvre states that “every social space, then, once duly demarcated and oriented, implies a superimposition of certain relations upon networks of named places.”1

It is this superimposition of space that can within it demarcate other thresholds of experiences, within an existing demarcated space that interests me.

The act of “blocking in“ the dimensions of another space onto the floor of another create a temporal junction between a host space and a site within this host, a guest. This sets-up the notion of a temporal double occupancy held by the demarcation of a boundary and a site of proposal. This basic and temporal site marking could be said to have affinity towards some sort of anthropological marking, a territory. (Lefebvre defines anthropological marking as being at the stage when demarcation and orientation begin to create place and its social reality in archaic cultures)2. This activity also has associations with nomadic and agricultural-pastoral societies as they use paths and routes as spatio­ temporal markers or determinants.

Lefebvre acknowledges that geographical space created through the body, through routes which were inscribed by means of simple linear markings. These first markings, paths and tracks drawn into the landscape would become the pores through “which without colliding would produce the establishment of places (localities made special for one reason or another).”3Within my practice drawing is used to form sites which contain visual information, evidence of temporal activities and traces of actual objects. These territories within other territories create fields from with boundaries form material relations, differences. My drawings are inside the temporality of site I have instigated and yet they propose a territory and a surface of light years which could accommodate the temporality of terrestrial space.

Interestingly Lefebvre comments “there is no stage at which ’’man” does not demarcate, beacon or sign his space, leaving traces that are both symbolic and practical.”4

1 Lefebvre, The Production of Space, (London: Blackwell, 1991) page 193.

2 Ibid.,page 192.

3 Ibid.,page 192.

4 Ibid.,page 192.

SENSORY THEATRE

EX MACHINA, Robert Lepage

While Legage continues to pioneer the use of technology, his work is imbued with an intimacy and humanity that few can match. Edinburgh festival 2015

ABBATOIR FERME, Jan Fabre (Troubleyn, Performing Arts)

A SOMATIC ARCHIVE, of subjectivities whose perceptions and environments are going to change forever; like the particularities of the analogue trace in photography that is now becoming a distant experiential condition, an orphan extinct from the subjectivities of its originating culture/organism.

The Waverley Inquiry

A Theoretical and Somantic search amongst Ruins and Archetypes Historical Perspectives

Dwelling/Poetics Heidegger Archetypes/Symbols Jung

Flesh and Stone, Richard Sennett

Flesh and The Logic of Sensation, Deleuze/Bacon Contemporary Spatial Practices

Feminist Geographies The Posthuman

Posthuman thought inscribes the contemporary subject in the conditions of its own historicity.

Posthuman Subjectivity ,Rosi Braidotti LIGHT into SOMANTIC SPACES

Continuum and Chora (light and the shadow of chora)

Life expresses itself in a multiplicity of empirical act: there is nothing to say, but everything to do. Life, simply by being life, expresses itself by actualiizing flows of energies, through codes of vital information across complex somatic, cultural and technologically networked systems. (Braidotti, 2013:190)

De Architectura, Vitruvius

Architecture consists of order, arrangement, proportion or eurythmy, symmetry and decor, and distribution.

Arrangement as an “Idea” refers to the Aristotelian notion of “Image­ representation” as phaantasia a precondition to drawing, effectively occupying and revealing a space between being and becoming.

Contents List from a folder in the Theatre of Research Chora Body and Building

Space as Membrane

Chora (Exhibition) 1999

Lessons of a dream. Karsten Harries Concrete Blonde: Joanna Merwood

A probe into the negative spaces where mysteries are created. Surrealist Paris : Dagmar Motycka Watson

The non-perspectival space of the lived city Body and Building : George Dodds

Essays on the changing relation of body and architecture. Sphere and Cross : Karsten Harries

Vitruvian refections on the Pantheon Type Body and Building : Marcia f. Feuerstein

Inside the Bauhaus’s Darker Side

Desiring Landscapes/Landscapes of Desire. George Dodds A Tradition of Architectural Figures: Marco Frascari Interwining Metamorphoses : Germano Celant

On the work of Guiseppe Penone Space as a Membrane : Siegried Ebeling

Unlike a Library the Theatre of Research is a working space that creates and crafts both theoretical and practical objects, things and documentation. Its reason for being is to explore the praxis for creative narratives between the Arts and The Humanities. It attempts through performance, fine art and architecture to collage qualitative and diffractive dialogues into new relational discourses, the results of which become exhibited or staged as open workshops engendering praxis, publication and production. In its fledgling state it is seen as being part of a University faculty that has interests in the Arts and The Humanities. The possible linking with other establishments could be investigated. The working space becomes operational as a studio or laboratory that is engaged with full-time research led activities . Separate yet collaborative spaces and activities promote an environment for inquiry and personal development. The Theatre for research becomes a space that allows for the Post Production of ideas into new forms of social interaction. The theoretical merging with the practical into a relational narrative or methodology that enriches the practices of others, forming both new creative environments that can contain innovative ecologies that can question global perspectives.

INDEX OF IMMATERIAL ARCHITECTURES Jonathan Hill 2006

The Psychoanalysis of Fire. Gaston Bachelard 1964 (1938)

AIR

NATURAL FORCES

The Architecture of the Air (blurs the boundaries of architecture and nature) Loose spatial orders suggesting a fluidity of space, matter and use.

The experience of space was not a passive activity, nor was it considered to be pre­ dominantly retinal. Klein defines his subject matter ‘space’ as sensual, spiritual and an immaterial expanse in which the body is active and immersed; he sought to engage all the senses and to liberate the mind, body and imagination.

Quixotic Gestures that capture the experience and the engagement with natural forces. Klein’s architectural focuses on imprecise boundaries and inconsistent materials in active dialogue with the user.

Space through dialogue/movement defines the user

Most buildings make a clear distinction between the unpredictable natural forces outside and the predictable domestic spaces inside.

The Fireplace is unusual, therefore in that it is a natural force contained within the building.

The fireplace is also paradoxical in that if uncontrolled it threatens destruction of the home.

Evolving Atmospheres, Not Models

Architecture is the affect and its phenomena gained from the experience of the constructed form.

Architecture is a sensorial response to definitions of spatial arrangements. Architectures and their interiors can be infinitely re-imagined through interventions that might not noticeably alter their external appearance.

Materials and Place. The Secular Retreat. Zumthor and Heidegger.

Peter Zumthor acknowledges his knowledge and affinity with Heidegger’s writings, see Peter Zumthor, Buildings and Projects 1998,( Sharr,2007:91) In particular his Vais Spa is of particular note for the way in which Zumthor has created ‘evocative sequences of spaces’ within ‘its exquisite construction details’. (Sharr,2009:92)

‘Zumthor mirror’s Heidegger’s celebration of experience and emotion as measuring tools; he also emphasises sensory aspects of architectural experience. He notes that the physicality of materials can involve an individual with the world, evoking experiences and texturing horizons of place through memory.’ (Sharr,2009:92)

The measurement of a house through things that have sensual qualities, creating a memory of place, and its evocative measurement that can be choreographed through selective materials.

‘Flamed and polished stone, chrome, brass, leather and velvet are all deployed with care to enhance the inhabitant’s sense of embodiment when clothed or naked. The touch, smell and perhaps even taste, of these materials were orchestrated obsessively. The theatricality of steaming and bubbling water was enhanced by natural and artificial lighting, with murky darkness composed as intensely as light. Materials were crafted and joined to enhance or suppress their apparent mass. Their sensory potential was relentlessly exploited. With these tactics, Zumthor aimed to celebrate the liturgy of bathing by evoking emotions.’ (Shan,2009:95)

Zumthor comments about his architecture for the Spa at Vais. 

‘In the bath there is a bit of a mythological sense of place, there are bits of theatricality, even the mahogany in the changing rooms looks a bit sexy, like on an ocean liner or a little bit like a brothel. They are where you change from your ordinary clothes to go into this other atmosphere. The sensual quality is the most important, of course, that this architecture has these sensual qualities. (Spier,2001:17)

He is trying to configure particular theatrical and phenomenal experiences in architectural form. It is only when the qualities of these prospective places emerge, can Zumthor begin to configure and design the particulars of the buildings construction.

‘The measuring of body and mind, the navigation by intuition and judgement which Heidegger makes sense in sparks of insight, these all become ways for designing, for imagining future places on the basis of remembered feelings. He feels that this process creates the contexts with which people will experience his architecture. (Sharr,2009:95)

The Spa at Vais was conceived to appeal to sensual instincts first, and then open itself up to interpretation and analysis, the spa should be tactile, colourful, even sexy to inhabit. (Sharr,2009:96)

‘Zumthor imagines experiences of the spa to be punctuated by things which evoke memories, which represent associations. He like Heidegger conceives of human endeavour in terms of traditions; Zumthor crafts spatial representations of those traditions by locating things in what he considers to be their proper place in time and history. Heidegger was also anxious to locate his farmhouse dwellers according to rites and routines longer than a life.’ (Sharr,2009:96)

Dwelling and livelihood, rites and routines, are all authenticated and located by design; the simple, sensual, primary and elemental associations that create traditions that both Heidegger and Zumthor can subscribe to. All help to root the spa in an agrarian view of the mountains that is associated with livestock and the necessities of shelter.

Zumthor shares with Heidegger ‘a sympathy for the mystical, claiming mythological qualities for moments in the spa’, and to champion’ the immediate evidence of experience and memory over that of mathematical and statistical data. ’(Sharr,2009:96)

‘ It seems that, for Zumthor, the Vais spa achieves his design intentions by locating rituals of dwelling in place with all the Heideggerian associations of those terms. By choreographing enclosure, mass, light, materials and surfaces, Zumthor sets up conditions from which he can propose a rich layering of place perceptions, by allow people to identify places through their bathing rituals and their associative memories.’ (Sharr,2009:96)

There is perhaps for Zumthor and other Heideggerian architects ‘the suggestion that design involves the choreography of experience’. He advocates a piety of building, of trying to develop a design in a away it wants to be, ‘of configuring physical fabric around real and imagined experiences’.

Heidegger notes of Western societies and their professional architectural regulations do much to ‘obstruct proper relations between building and dwelling by promoting buildings as products or as art objects’. (Sharr,2009:98)

Genius Loci: Towards a Phenomenology of Architecture. Norberg-Schulz. Presents an opportunity for people to achieve an existential foothold in the world. Norberg-Schulz notes that inhabitation as like a layer over the architecture. In effect the architect designs, the contractor builds, and only then do the inhabitants build and dwell.

Zumthor with particular reference to his Vais project likes to perceive his architecture and the things within it as becoming associated with traditions, perhaps these become re-enacted as rich, operative histories made in and for the present.

Steven Holl shares similar working methods with Zumthor, he to is influenced by phenomenology on his thinking. He makes watercolour sketches in perspective, as a means of choreographing experience, painting itself is an intuitive act, which opens up spontaneous and unintended design possibilities.

Drawing processes and mapping that can re-imagine the spatial possibilities of architectural experiences.

The Choreography of Experience. A Manifesto.

Being attentive to atmospheres, moods and sites.

Being concerned with the social and political geometries of human gatherings. 

Being participatory to architectural tactics that enable informal gatherings.

Phenomenology and Politics.

Zumthor downplays the activeness of his role in design. The architect is keen to emphasise that he works instinctively with circumstances given to him. He claims a similar modesty in forming a rapport with site and locality. He is able to give the architectural idea a piety to become what it wants to be.

Heidegger’s problematic authenticity claims and the potential consequences of his romantic provincialism became more prominent in architectural debates about the merits of his model of building and dwelling.

Therefore ‘it remains a common assumption among architects that these positions are more or less in opposition. To caricature, phenomenology (at least in its Heideggerian incarnations) champions the value of immediate human experience over scientific, measurement and professional expertise, and tends to mytholize timelessness and situatedness. Critical theory, meanwhile, prioritises the political dimensions implicit or explicit in all human activities, and is opposed to monolithic claims of authenticity. (Sharr,2009:112)

Heidegger’s thinking, including that on architecture, is easily challenged from the perspectives of critical theory. The philosopher perceived the ‘essence’ of building and dwelling in authentic attunement to being, unapologetic about the tendencies of essentialism and authenticity to exclude people. His writings display little fondness for what he saw as the human distraction of politics. (Sharr,2009:112)

Heidegger’s work on architecture and, arguably, the architectural phenomenology which claimed him as a hero, has become a zero-sum game. Whatever it gives, its associations can also take away. Many architects and commentators have turned their backs on Heidegger in consequence although a few, including Zumthor, remain unswayed. (Sharr,2009:113)

Edward Casey, The Fate of Place. 

Gaston Bachelard, Poetics of Space.

Maurice Merleau-Ponty, Phenomenology of Perception.

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