An asperity of thoughts/Vibrant Matter : Braking Down/Diffracting/ The Apparatus of Reading/Research

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Bringing back vibrant matter into a world cluttered by images that are standing in for the redundancy of that experiential experience.

Research as a discursive activity gathering new forms of expression. Duration, Steven Holl

Building/Uncertainties into the explorations of making. Rem Koolhaas.

.

REVIEW into INTERIORS MA UCA 2013-15 Research into new forms of translation/transmission

MAKING vibrant gaps/assemblages between the texts/images/objects and everyday things LANDSCAPES OF AFFECTIVE AESTHETIC ATTRACTION

MATERIALS THEMSELVES become the TOOLS of PERCEPTION 

Enchantment from the potential of things.

The Fabric of thoughts

The invisible within the visible (energy,magic,causality)

RELATEDNESS, connected to the Place and Function of Things within a Field.

Texts, form their own contexts/reflexivity, breaking down phenomena into meaning, conclusions and critique, they render phenomena and its psychic information redundant.

We think we know how we should feel sociologically, yet in doing so we deny ourselves the direct affectiveness of people and objects that can provide different perceptual relationships.

EMBODIED KNOWLEDGE=ECOLOGY Lygia Clark : A Space open to time. Cornelia H. Butler

The World is a Collage

Collage and montage are quintessential techniques in modem and contemporary art and filmmaking. Collage combines pictorial motifs and fragments from disconnected origins into a new synthetic entity which casts new roles and meanings to the parts. It suggests new narratives, dialogues, juxtapositions and temporal durations. Its elements lead double-lives; the collaged ingredients are suspended between their originary essences and the new roles assigned to them by the poetic ensemble.

Juhani Pallasmaa

Hapticity and Time

Notes on a fragile Architecture

The Perception of the Environment Essay in Livelihood, dwelling and skill Tim Ingold

See Yourself Sensing Redefining Human Perception Madeline Schwartzman

STILLNESS IN A MOBILE WORLD Bissell, Fuller

ECOLOGICAL approaches/affordances to aesthetic perception ART and AESTHETIC PATTERNS : into an ecology of mind.

Going beyond what it may represent into the important psychic information that it contains. Camouflage is addressed, perhaps, less to architecture itself than to the subjective processes by which 

human beings experience architecture. Illustrated by the photographic practice of Francesca Woodman, we see her seemingly absorbed by her environment in way that shows a desire to both identify with, and become part of her surroundings.

A desire/transgression met and mediated through a certain sensitivity and openness to the environment, fostering a sense of connectivity between human beings and their environment.

Neil Leach

EXISTENCE, SPACE and ARCHITECTURE Christian Norberg-Schulz

A child 'concretizes' its existential space.

Developing the idea that architectural space may be understood as a concretization of environmental schemata or images, which form a necessary part of man's general orientation or 'being in the world.'

SUBSTANCES guide the kinds of practical actions that the organism senses from elements of the environment, creating affordances/utilities for the human body.

SURFACES separate substances from medium, the wall and roof of my house afford comfort by separating me from water and too much air.

AFFORDANCES as aesthetic sensations determined both by the environment and qualities we impose through observation, sensation and perception.

Without arousal of perception, no aesthetic experience is possible. The rational organization of society has its own Aesthetic Attraction

Symmetrical Patteming/redundancy : provides for the observing mind a maximum of insight with a minimum of intellectual effort.

Colour Light Time

Quintessentially relational phenomena in which location, background, density will provide for different perceptual relations.

Bringing back vibrant matter into a world cluttered by images that are standing in for the redundancy of that experiential experience.

WORKING TEXT: 16/May/2020 The R Value in Academia

Reading/Reflexivity/Research with precision and indeterminacy 

Research Material : Studio/Archive 2004-2020

The Language of Specitivity/Places of Inquiry Extradisciplinary Investigations

Social Utilities/Contemporary Art Practices imported from Political Philosophy

The return of limited and ancillary projects where the human being is the fulcrum and the fire of research in replacement of the medium and the instrument.

A whole range of materials and topics that do not fit, that can create an eclectic synthesis of knowledge fields.

Arte Povera, an aesthetic-philosophical movement, artists that chose to live with direct experience and feel the necessity of leaving intact the value of the existence of things. An art that asks only for the essential information, that refuses the dialogue with the social and cultural system, and aspires to present itself as something sudden and unforeseen.

Germano Celant 1940-2020 

Developing discursive reading 

WORKING DOCUMENT/LANDSCAPE LANDSCAPES/Thinking Spaces

Concepts of space-time/Ecologies, embodiments through identity, individuality and environments. Our universe is evolving in time as our views are evolving

RIVERS/Eddies and husbandry

(in/with the phenomena of water, thinking with the fish in mind) 

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

Architecture/Built Environments Ecology/Political Philosophy

Spatial Practice, Culture, Creativity and Environment

Diffractive erotics of the body in her speculative post studio practice 

Asperities of flesh, dirt and the built environment

Neil Leach, Camouflage, F Woodman

 

The Enchantment of Modem 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

Spatial Practice Interior Design

Building a precision/working praxis that is both aesthetic and technical that can give an intimate understanding of the material and its situation.

Subjectivities interwoven through light and media Asperities of fabric and texture : White Collaged Postcards

CREATING AN ANTHROPOLOGY TOR BEING IN THE LANDSCAPE DEVELOPING MATTER AND DESIRE IN ART BASED ACTIVITIES

WORKING NOTES, 24 October 2018

SETTING UP THE CRITICAL DISTANCE / DISCURSIVE FIELDS OF ANALYSIS MEASURING AFFECT

PERFORMATIVITY ITS EXPERIENTIAL QUALITIES/PSYCHIC IMPACT RESEARCH IN LANDSCAPE AND ENVIRONMENTAL DESIGN Visiting the Archive : Exploratory Workshop

September 1, 2018. W&BA Harleston

CREATING THE FEEDBACK LOOP

BLURRING THE BOUNDARIES BETWEEN PARTICAPANTS AND ARTISTS RADICAL INTERVENTIONS INTO THE EVERYDAY

Walking and Making with Clay, Brockwood, Speculative Learning Program

' the clay itself seemed to absorb them into a wandering relation with the landscape' A Field Guide To Getting Lost, Rebecca Solnit.

In this investigation into loss, losing and being lost, Rebecca Solnit explores the challenges of living with uncertainty.

Tracks Across The Landscape

Setting up a critical spatial practice within the walking landscape of the everyday. Edward Thomas, Paths

John Piper, Covehithe, South Bank Show, painting/drawing both on site and in the studio. 

Watts Gallery, analysis and audit of activities from which to develop visitor programs and the experiential circulation of those who visit.

Melancholy and The Landscape, Jacky Bowring.

Locating Sadness, Memory and Reflection in the Landscape. Investigation into the creative membership and activities of W&BA.

Sculpture Trail, Curatorial Strategies/Market/Audiences

From newsletter to art themed walks, Historic Culture/Landscape and Tourism Plotting points of social interactions, asking Why Here, Why Not There?

What directs events, governs outcomes? Success and failures?

Management and event led, members as audience? MA Arts Management

New Cultural Diversities

10 Days at the Laundry, Winchester 2009.

Group of creatives based in and around Winchester School of Art, use of fallow site in which to respond and to create for 10 days a contemporary arts festival. This original event 'fused' new creative partnerships that went on to produce other groups and exhibitions. The follow-up event 10 Days in the City, was funded, had more prestigious venues, but lacked the cohesion and community of the first site.

Supplementary content, resources, dossier outlining the inquiry of which the work is a part. MOVING THE CULTURE

DISCURSIVE FIELDS FOR NEW TYPOLOGIES/OPERATIONS AND TACTICS CONCRETE POETRIES

LOWER GREEN, NORWICH

' At the surface, the gorgeous materiality of Okon's work is seductive but her intention to breach superficial readings is much more serious. This conjugation of material is also a conjuration, an earnest attempt to attempt to imagine and materialise new possible realities.'

Matter and Desire, An Erotic Ecology, Andreas Weber.

SITE SPECIFIC EMBODIMENT, working, making, discovering. Post Studio Practices, Daniel Buren. Deep Arts Ecology Investment and Nurturing, 'it always begins with the art, Hans Ulrich Obrist. 

The heavy, awkward investment of actually getting people to 'place' to participate is difficult. New technologies could offer solutions that could in turn promote innovative creative ecologies.

NEW TOPOLOGIES FOR BEING IN THE LANDSCAPE NETWORKS, MESHES, NODES, CONNECTIONS

Becoming embodied within the making of the work, within an intimate dwelling place. Strange Tools, Art and Human Nature, Alva Noe.

Crafted Scenography, 

Exhibition, 

Visual Art, Tacita Dean

Shadowcatchers 

OUTPOST

STUDIO as a discursive site for un-doing and re-making relations/aesthetics between objects/the social/the everyday.

STUDIO ANALYSIS 2018-2020 21 September 2018-19 August 2020

Art School Spaces Outpost Studio Spaces Urban Fallow Institutional Buildings 

Open Plan Office Spaces

Studio 3.16, Central Norwich, nearby parking, Floor area/footprint 5.0mx5.0m, wall spaces 2x2.4mx5.0m, well lit, open plan, large making table 1.2mx2.4m. Electricity, small heater, lighting, running water WC, access 24/7.

Projects/Contexts bought into the studio space

Drawings/Southampton roof rubbing, drawings/art works as sociological shelters/habitats Immaterial Paintings/Cyanotype, layered papers

Raveningham sculpture elements from intervention Cley, sketch books and paintings

Re-presentation of drawings/collages with new research material/contexts

Paintings displayed with large analogue phonographic images and collages Architectural concerns, coloured glass, aesthetic surfaces, paintings with raw materials Installation of research bookcases as diffractive elements/spatial practice within the studio White paintings, used layers of paper texts, meshes and cloth

Ceramic objects on field paintings/grounds

Research material, folders, wrapped ceramics with fabric, yellow ochre on paper

Canvas painting, inclusions, shells/stones, cyanotype/yellow ochre, gesso/white paint, pierced 

STUDIO WORKS

Paper/canvas paintings 1.5mx2.4m Canvas re Raveningham Shelter, 2.4mx2.4m

Spray paint, large floor works left undisturbed during making Future proposals Cley 2021, Artpocket activities, Project Space,

WORKING NOTES

OUTPOST 12/09/2019

A Philosophy of Solitude

Hand Bookbinding

Lead/Waxed Paper

Art puts US on Display

Strange Tools

Art and Human Nature

The Politics of Things

The properties of Light

Fred Sandback/Luis Barragin

On Pictures and the Words that Fail Them Melancholy and the Landscape Process-Relational Philosophy

Jannis Kounellis

Christopher Wilmarth

The Ground of The Image

Sally Mann, The Flesh and The Spirit 

The Eyes Of the Skin

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

Colour Sympathies~Modes of Existence

Visual Art Landing Site : A site of situated awareness.

Landing Site : Glass/Filtered Lightworks : Cleaving Collage.

Colour Sympathies~Modes of Existence.

Atmosphere~Landscape : Entanglements of Affect/Aesthetics.

The Poetics of Space. Gaston Bachelard.

The classic look at how we experience intimate places. 

The Eroded Steps. Giuseppe Penone.

Dean Clough Contour Lines.

Land Drawings, Installations, Excavations. Kate Whiteford.

Remote Sensing. Colin Renfrew.

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

Mediators : Vessels and Drawings creating Intercessors

Spaces/Aesthetics : 'Spatiality' between Objects, Concepts and Beings.

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In his discussion of mediators, Gilles Deleuze (1995,121) describes being taken up in the motion of a big wave. He notes that instead of looking for 'points of origin' attention should be directed to mediators that enable a 'putting-into-orbit' that facilitate the movement of concepts, sensations and matter without recourse to origins or destinations.

Katve-Kaisa Kontturi uses the term 'intercessor' instead of  'mediator' as it aligns better with Deleuze's argument, where importance is placed not on mediating between already formulated shapes or beings, but on opening beings up to movement through a third actant.
For Deleuze (1995,125), Intercessors are about entering into or creating a series.

Gilles Deleuze. 1995, Negotioations, 1972-1990.
Translated by Martin Joughin. New York: Columbia University Press.

Notes, Introduction
Ways of Following
Art, Materiality, Collaboration.
Katve-Kaisa Kontturi

Open Humanities Press
London 2018



Immaterial Architectures : Raveningham Pavilion #1
DSC_3283 Raku Beakers : Lead Glaze/Yellow Ochre
DSC_4049 Field Aesthetic : Causality/Layered Drawings
DSC_3776 Sacred/Secular : Vessels on Painting
DSC_4097 Field Aesthetic : Causality/Layered Drawings
DSC_8923 Artists Studio : Collage/Photography/Painting

Outpost Studies
Norwich
UK

Making as an Ecological~Intimacy : Trace~Drawing/Preservation and Movements in Media.

Outpost 230824

Human Thicket : Matter(s) of Composition~Connectivity~Decay

Life Outside the Circle of Architecture.

A Hut of One's Own.

Ann Cline.

The Importance of The Hut in Contemporary Society.  

For Ann Cline the ostensible subject of this inquiry is the primitive hut, a one room structure built of common or rustic materials. She gracefully weaves together two stories: one of primitive huts in times of cultural transition, and another of diminutive structures in our own times of architectural transition. From these narrative strands emerges a deeper inquiry: What are the limits of architecture? What ghosts inhabit its edges? What does it mean to dwell outside it?

Of Huts.

An ecological intimacy, a return to veering towards both humans and nonhumans.

When we study attunement, we study something that has always been there, ecological intimacy, which is to say intimacy between humans and nonhumans violently repressed with violent result.

Tuning, Timothy Moreton.

Architecture In Abjection.

Bodies, Spaces And Their Relations.

Zuzana Kovar.

The Raveningham Projects.

On the nature of crafting sheltering social spaces.

Site specific experiences on making/building/using.

A primitive attunement/dwelling, a return to the affective power between things.

A creative site specific study on 'dwelling, occupancy, and  hosting' through studying speculative architecture with its boundary conditions and formative structures. 

Simple 'undesigned' places valued for their timelessness and authenticity.

Philosophia/Socrates.

Philosophical love of wisdom rather than the possession of it.

A Philosophy of Solitude.

In Defence of Sensuality.

John Cowper Powys.

The Mythical City of Orion.

Storytelling through ceramics and explorative site markings, this sculptural intervention plays with archaeology, ceramic artefacts, and astronomy.

Sensing Self/Marking Realities.

Trace Drawing/Preservation and Movements in Media.

Territories/Borders/Boundaries.

Art-Workings.

Being able to work with and appreciate ambiguity.

An aesthetic timbre of the inter connective causal perceptual qualities of things.

You don't know why you should care about this, isn't that what we are all feeling when we experience something beautiful/wonderous.

Care/Love as an ambiguous spectral aesthetic around ethical decisions.

Being/All Art is Ecological, Timothy Morton

The Working Drawing.

Critical Body Contour/Outline.

The Fossil Line.

A primitive gestural drawing underpinning a Palaeolithic idea on an inter-connective, causal perceptual aesthetic force that invokes and engenders a phenomenological and hermeneutic philosophy.

Spectral Aesthetics, OOO. 

A line of energy flowing around the extremity of a formed space.

The reserve of a papers surface retains both its former presence and its continuing absence held captive simultaneously.

The Figurative/Experiential Flatness between seeing and sensing self.

The remembered, reconstituted spatial dimensions rendered attractively into volumetric flatness.  

• Russell Moreton
• visual art
• visual fine art
• spatial practice
• research creation
• ecology of experience

Architectural Body/Architecture In Abjection : Bodies/Spaces and their Relations.

Outpost 140924

Studio Works/Architectural Surround.

Art practice explores relations between organism-person-environment.

Architecture In Abjection.

Bodies, Spaces and their Relations.

Zuzana Kovar. 2018

This book marks a turning point in architectural theory by using philosophy to examine the field anew. Breaking from the traditional dualism (space-body) within architecture – which presents the body as subject and space as object – it examines how such rigid boundaries can be softened. Zuzana Kovar thus engages with complementary and complex ideas from architecture, philosophy, feminist theory and other subjects, demonstrating how both bodies and bodily functions relate deeply to architecture. 

Architecture: A dualistic paradigm.

On the breath of approaches to subjectivity.

Eisenman,Tschumi, Derrida.

Deconstructivism challenged the notion of wholes, order, rationality and stability of space/object. Hence it questioned much of modernism, which was seen as purist, and attempted to map out an in-between. In the late 1980s, Eisenman wrote that 'traditional oppositions between structure and decoration, abstraction and figuration, figure and ground, form and function  could be dissolved.

Architecture could begin an exploration of the 'between' within these categories. Explorations of the in-between can be seen in play in Eisenman's Wexner Centre (1989) in Columbus, a building split in two by a 'scaffold structure', which is not temporary but permanent. As such, the centre apparently 'falls somewhere between process and product, past and present, shelter and non-shelter, structure and form, structure and ornament, building and non-building, exterior and interior. In an almost identical sense, Tschumi has written much the same in his Manhatten Transcripts (1994). 

What emerged from Derrida and his deconstructive form of criticism was a particular way of thinking about and practising architecture beyond dualism. Yet, despite this apparent shift from a dualist mode of thought to one that engaged with the in-between, and despite the complexity and promise of thought revealed in the respective theories of Eisenman and Tschumi, if one interrogates the built works, what is revealed is that the subject remains very much intact, and so too does the dualism of subject-object.

Deconstructive architectural theory and its built works have been funnelled into a formalism, which is preoccupied with deconstructing platonic solids and the notion of the object/space as a whole and discrete entity.

For Kovar, what is necessary, is to reconfigure the dualism of subject-object/body-space, to deconstruct the hierarchy and distinction between the two and to map out an in-between between these, rather than within space itself. It is the distinction between body and space that forms the crux of dualistic thought within the architectural discipline, which unless probed, will  allow this mode of thought to prevail.

Tschumi's theory of 'event' introduces a relational conception of the body within architectural discipline. In so doing he mobilises the subject and further shifts the focus from a body to the movements of that body. For Kovar, this setting of the body in motion (although again we are dealing with just one side of the equation) is a lot more productive in the context of questioning dualistic paradigms than formally deconstructing space. Thinking in terms of event allows for not only a volatile conception of the body, but a volatile conception of architecture, given that for Tschumi architecture is constituted by spaces and events.

Developing architectural thought beyond relations to a body or space in isolation.

Event/Assemblages/Bodies/Space-Flows.

Using the philosophy of Deleuze and Guattati and the notions of event, movements, defined in terms of vectors and field relations, time (or the idea that all things change) and scale (an awareness and importance of the similarities in relations across any number of scales)

Architectural Body.

Architectural Surround

Bioscleave.

Arakawa and Gins map out a relational understanding of bodies and spaces, and hence a relational understanding of architecture.

Thinkers, theories conducted in spaces inhabited through experimental projects that illuminate theory at its core.

Sanford Kwinter, Arakawa + Gins, Brian Massumi, Gilles Deleuze.

Being Ecological.

Part of our growing ecological awareness is a feeling of disgust that we are literally covered in and penetrated by nonhuman beings, not just by accident but in an irreducible way. A way that is crucial to our very existence. Maybe this feeling of disgust will diminish if we become used to our immersion in the biosphere. Just like our neurotic feelings diminish as we become friendlier with our thoughts.

Timothy Morton.

Studio Workings : Outpost/Drawing/Architectural Body~Bioscleave

Outpost 041024

Sensing Peripheries/Gestures and Acts. 

Trace Drawing

Body Outline/Material Flows.

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

A sudden quantum like jump between a thing and its parts, between its different scales, its ontological gap. In a way a whole is really another specific, not a generalization about a specific thing, this means that there is a 'weird gap' between the whole and the parts, an ontological gap.

Timothy Morton.

Architecture in the Space of Flows, 2012.

Andrew Ballantyne, Chris Smith explain that everything can be understood as functioning in terms of flows – flow of various kinds and scales make up architecture and connect it with the world. Here, a volatile mode of thought begins to proliferate architecture as a whole, rather than developing the thought in relation to the body or space in isolation.

The Extracorporeal Space.

Architecture in Abjection.

A visceral assault, an affect that passes through the subject. 

An architecture that gets distilled down to experience and the chemical exchanges between body and space that begins to function within a similar realm to abject(ion).

The basic unit of study is body coupled with architectural surround. 

Arakawa and Gins.

You shouldn't force the memories. Just try to untangle them slowly.

I would suddenly have the feeling that a story was coming back to me and I would reach out instinctively to seize it. But there was nothing for me to hold. When I could no longer stand to stare at the blank page, I would type a, i, u, e, o, and then, imagining that I would now be able to write something, I would erase them again. But of course nothing came to me, and I would return to a, i, u, e, o. And the process would repeat itself. In the end, all that was left was a torn page, from the many times I'd erased what I'd written.

The Burning Library.

It may take a long time for every word to disappear, we held our breath as though fearful of disturbing this beautiful scene. 

The Memory Police.

Yoko Ogawa.

Ceramic Objects/Monumental vessels that explore contemporary society's relationship to death and ritual.

Abstractive figurative forms invite the viewer to meditate on the intimate relationship between the clay vessel and the human body.

Stair's exhibition explores humanity's reliance on art as a means to transcend the unknown.

Themes of Containment/Embodiment.

Julian Stair : Art, Death and the Afterlife.

Sainsbury Centre, 2023.

Developing explorations in which material culture and artistic practice can engender 'a new , expressive language to both mediate loss and celebrate life, Julian Stair'.

Francesca Woodman.

Gagosian, 2024.

Putri Tan: In those pictures the objects bisect the space and also consume it. Counter to that , as you said, is the body. I'm never wholly convinced of the idea that she is part of the architecture when she's holding on to a column or contorting her body to fit into the environment or to disappear into it.

Corey Keller: There's both a brutality and a monumentality about the bodies she depicts, you don't quite know whether they're trapped or liberated. I think what's interesting about the work is it's never quiet only about the space and it's never quite only about the body, but it's about the psychological spark (tension) that ignites when those things intersect.

Architectural Body

Arakawa and Gins.

The architectural body is a body that can and cannot be found. Boundaries for an architectural body can only be suggested, never determined.

A bioscleave is an event-fabric within which all exists only tentatively, within which all is perpetually shifting, and within which architectural bodies form and collapse, here distinctions between body and space, subject and object are diluted. This results in a certain indeterminacy of boundaries, as body and surround are collapsed into one, and as they are constantly shifting in relation to one another.

I found it terribly difficult to come to terms with the old man's death. I had lost many people who were important to me in the past, but somehow my parting with them had been different from what I experienced now.

But the laws of the island are not softened by death. Memories do not change the law. No matter how precious the person I may be losing, the disappearances that surround me will remain unchanged.. But this time I had the impression that something was different. In addition to the sadness, I was overcome by a mysterious and menacing anxiety, as though the old man's death had suddenly transformed the very ground under my feet into a soft, unreliable mass.

The materials of the world that surrounded R and me were simply too different-as though I were trying to glue a pebble I'd found in the garden to an origami figure. And the old man, who always reassured me at such moments, who promised we could find a different type of glue, was no longer here.

The Memory Police.

Yoko Ogawa.

Studio Works/Architectural Surrounds : Drawing into the indeterminacy of boundaries.

Outpost 250924

Research Collage 2015

Disjunction and Event/Architecture In/Between.

The task of the architect is to modulate, orchestrate, or simplify the potential reciprocity, indifference, or conflict that spaces can generate. Most problems in architecture are disjunctive, namely they are multiple, heterogeneous, divergent and even contradictory, involving site, program, budget, schedule, and interest groups, among other factors. All of these contradicting and disjunctive forces eventually contaminate one another. Bernard Tschumi, Notes on Architecture 2010 (unpublished).

Making/Adaptations/Using The Made.

Drawing into the indeterminacy of boundaries.

Organism-Person-Environment

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

Studio Drawings.

On Feeling More Matter than Form.

There is always more of everything than a thing can contain.

Immediate Architectural Experiences.

Bodies, Spaces and Their Relations.

Creating an independent yet meaningful reality, that are direct aesthetic experiences of the real.

Kenzo Tange.

Regaining our experience in a world of mass media  culture, regaining a world that is directly lived.

Ann Cline.

Architectural Body/Sited Awareness.

Arakawa and Gins  end up pointing to the inseparability and affect of body and surround, for them this inseparability is what gives rise to the architectural body. They write that a person should never be considered apart from her surroundings, that their hypothesis of the Architectural Body/Sited Awareness, announces the indivisibility of seemingly separate fields of bioscleave: a person and an architectural surround, and that the two together give procedural architecture its basic unit of study the architectural body.

This results in a certain indeterminacy of boundaries, as body and surround are collapsed into one, and as they are constantly shifting in relation to one another. 

The architectural body is a body that can and cannot be found. 

Boundaries for an architectural body can only be suggested, never determined.

Architecture in Abjection.

Zuzana Kovar.

Relevance/Relation as a way of organizing things through both contingency (philosophy) and metonymy (linguistics).

Relevance has by its nature, wiggle room because things have wiggle room. Because things never quite coincide with how they appear for or how they are used by or interpreted by other things (and possibly even themselves).

What we want to do and how we feel and what we are wanting and feeling about are all mashed together into an ecological awareness.

The Context of Relevance is Structurally Incomplete.

Whenever you want to do something, you always encounter a whole thicket of things that are relevant to what you're wanting to do. This thicket of things creates an explosion of contextualization, and you can't – won't be able to stop it.

Timothy Morton.

An interconnection without an edge or centre called General Economy.

Bataille.

Architecture and Material Practice

Katie Lloyd Thomas.

Susannah Hagan argues for a return to a cyclic model where matter is only ever reformed and make (or adapt) architecture accordingly – but without necessarily returning to old forms of building. In a responsible future, architects may have to relinquish their role as form givers, and 'grow' materials rather than give them shape.

Social imperatives and new technologies may well, finally, be the undoing of the grip that hylomorphism has held on architectural and material practices for so long.

Caryatids/Project Spaces.

Architectural Surrounds.

Studio Floor Drawing/Painting.

Mattering/Of and For the Body of Others.

Material Worlds : Frottage, charcoal, wax, Indian Ink, crayon on water.

Material and buildings are always implicated, in and of the world. In discussing her work with a group of African women who are beginning the process of making their own homes, Doina Petrescu asks how their principle of 'putting together and sharing' might be realized in an architectural project. 

The specificities of place, culture, gender and local forms of negotiation make an 'architecture' that is more fluid than solid, and more matter than form, and demonstrate the radical alterity of building in another context.

Architecture in Abjection.

Organism-Person-Environment

Human bodies and spaces flow  through one another – a chemical indiscernibility that is invisible.

Two of the most fundamental things that come out of the work of Rahm and Arakawa and Gins for architecture, in mapping out a more open-ended and volatile understanding of bodies and spaces, are the reduction of these to matter and a thinking in terms of relations or events rather than static and discrete entities. These link directly into the area of process and intelligent material philosophy that is at the forefront of this thinking, and that is employed here, namely through the work of Deleuze and Guattari, in order to approach abject(ion) productively. 

What the introduction of abject(ion) and a reading of it through the filter of Deleuze and Guattari allows for and contributes on top of its own way of reworking dualities is a bringing together of the material and processual approaches already in play within the work of Rahm and Arakawa and Gins, respectively. It is with this in mind that we move to the Kristevan concept.

The Hot Death. 2006.

Philippe Rahm.

Rahm's work has a very particular quality. There is almost no building, which is usually the measure or ground of architecture. There is nothing left but the ritual, experience, coder and effect of architecture itself.

Physiological/Meteorological Architecture operates across fields of art, architecture and science. Rahm through his spaces, manipulates temperature, oxygen and hormone levels. Importantly, as his works straddle this range of fields, it frees up the architecture, allowing it to be distilled down to its effects and to experience.

An architecture that gets distilled down to experience and the chemical exchanges between body and space. It begins to function within a similar realm to abject(ion). It becomes about a visceral assault, an affect that passes through the subject.

This extracorporeal space, especially in contemporary man, consists of filling to the point of overflow where the subject is ensnared, a condition  of the state of stress and an endemic breach of adaptation.

The Hot Death is a choreography piece that investigates the indiscernibility of the body and space at a chemical level. A levelling between body and space occurs, where the temperature of the space slowly comes to equal that of the living body, stabilising the two and eliminating their differences: a  play on death.

The bodies are on stage at the start of the order of individuality, each with its own movements, independently of others, as a multitude of energy. Then gradually, the temperature, humidity of the room rises to match that of the human body. The movements are slower, heavier, gravity wins put up any ground, motionless, without more space between, more movement possible.

Body and space are at the fundamental level of a base materialism, merely matter, and that because of this, 'can wind quintets carry and spread the flu virus?' such exchanges are possible.

Raum's work moves away from an architecture that is constituted by body and space to an architecture that is the active exchange between body and space. It is in this understanding – that bodily and spatial boundaries are not clearly demarcated as architecture still generally assumes them to be, and that they regularly are transgressed and diluted – that constitutes a move beyond dualistic modes of thought.