Showing posts with label building. Show all posts

Thursday, 11 June 2026

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

Monday, 15 April 2024

Other Worlds : Insistent moments of mark making/subjectivity

Outpost 260622

CYANOTYPE SUN MAPPINGS/DRAWINGS

Jonathan Crary, Techniques of the Observer.

Adam Nicolson, Sea Room.

Rebecca Solnit, Wanderlust. A history of Walking.

Site/Regional Specificity/Local Memory.

SKIN, SURFACE, SUBJECTIVITY.

Insistent moments of alienated encounter.

Harriet Katherine Riches.

MATTER AND MUTABILITY

PRERSENCE AND AFFECT

Jane Grant.

AFFECTIVE ABSTRACTIONS

INTERMEDIARIES

CONSTITUENT PARTS

SPILL

IMMINENT REVELATION

EXPOSURE

NAMING THE LIGHTS

AFTERWORD

Garry Fabien Miller, Ian Warrell, Richard Ingleby.

The solitary artist literally at the edge of his environment and in a state of profound meditation about our place in the wider cosmos.

As if seeing herself from the desolate distance of a star, Woodman looks back through the alienating photographic lens of displacement and memory, her print the surface upon which she conjures an impossible moment of beautiful fusion.

Those still involved in defining photography as an art are always trying to hold some line. But it is impossible to hold the line: any attempt to restrict photography to certain subjects or certain techniques, however fruitful these have proved to be, is bound to be challenged and to collapse.

For it is in the very nature of photography that it be a promiscuous form of seeing, and in talented hands, an infallible medium of creation.

ON PHOTOGRAPHY.

Susan Sontag.

SPAB.

Building Conservation/Casework Campaigning/Innovative Research/Immersive Training Programmes/Working Parties.

Climate Action/Built Heritage.

Jacqui Donnelly, Spring 2022.

Traditional buildings are defined as those built with solid masonry walls, single-glazed timber or metal framed windows and timber-framed roofs usually clad with slate or tiles.

One of the most effective ways of increasing the resilience of our historical structures and sites is the application of good conservation practices.

Traditional materials and construction techniques allow for the natural transfer of heat and moisture and relied on the thickness of the walls to cope with atmospheric moisture. It is therefore essential that all materials and finishes, including mortars, renders and plasters, used on traditional walls are vapour-permeable to allow this movement of moisture to continue.

Proactive Maintenance

Repair Programmes

Upgrading through repair and adaptation.

Mitigation

Courses in traditional rural trades and crafts, Weald and Downland Open Museum.

The SPAB has made sure that the project not only repairs the mill but integrates public access and education into the process.

The scaffold design has allowed public access visits for the local community and students, offering opportunity to view the work while underway.

Douglas fir weatherboards

Vmzinc roof covering

Insulating Render, Cornerstone.

Developing a scheme that endeavours to fit a three-bedroom house into the existing footprint of the mud cottage and adjacent outbuilding,with some overspill into a new circulation space that connects the structures whilst clearly retaining the legibility of the existing modest forms.

INHABITATION, the inter-dependence of mankind within socio economic frameworks.

Vernacular Concerns/Folklore/Heritage and Fabric of Buildings.

TONALITIES

BUILDING MATERIALS

THE POETICS OF SPACE

Gaston Bachelard.

Italo Calvino, Mr Palomar.

The numbers 1, 2, 3 that mark the titles of the index, whether they are in the first, second, or third position, besides having a purely ordinal value, correspond also to three thematic areas, three kinds of experience and enquiry that, in varying proportions, are present in every part of the book.

Those marked 1 generally correspond to a visual experience, whose object is always some natural form; the text belongs to a descriptive category.

Those marked 2 contain anthropological elements, or cultural in the broad sense; and the experience involves, besides visual data, also language, meaning, symbols. The text tends to take the form of a story.

Those marked 3 involve more speculative experience, concerning the cosmos, time, infinity, the relationship between the self and the world, the dimensions of the mind. From the confines of description and narrative we move into the area of meditation.

Thursday, 7 December 2023

Outpost 021222 Thinking Forms/Haptic Collisions

Outpost 021222

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

Lo-Fi

Alternative Construction.

Contemporary Natural Building Methods.

Lynne Elizabeth, Cassandra Adams.

Earthbag.

Experimental earthbag structures at Cal-Earth.

Nader Khalili.

The beauty of the earthbag technology lies not just in its low cost, but in its freedom of form.

The use of soil-filled sacks (earthbags) for construction has received growing interest as a natural alternative building technique. Earthbags are textile or plastic casings packed with soil, and sometimes sand or gravel, used to construct foundations, walls, and domes. The technique is essentially a flexible form variation of rammed earth construction.

Earthbag construction is one of the most inexpensive building methods on the planet. It uses locally available site soil and common sacks. The technique requires few skills, is significantly faster than earth building methods such as adobe or cob, and unlike equipement-intensive modern rammed earth, requires few tools other than a shovel.

Working Cyanotypes/Vectors/Clusters of Movements.

Spatial Verbs/Durations.

Drawing on a light mediated surface.

Abstracted notations on the verge of visibility.

Traces on the canvas.

The Inclusion of Absences.

Mapping surfaces, from transparency to occlusion.

Abstract Circulation Diagrams.

Diffractive Intermediaries in Architecture.

Alternative Photographic Processes.

Subjectivity in forsaken spaces.

Resistivity/Photographic Decay : Inclusions in the order of time.

Theory, Placemaking, Trigg

Francesca Woodman, Deborah Turbeville.

Photographic Collages.

Place Studies.

Locating practice/inquiry.

In the darkroom with the flesh of the film.

Building on the impossibility of the specific.

Everyday correlations, living with making place.

The recording apparatuses spatial practice.

Learning with phenomena, presentia the light in its moment.

Spatial cyanotype drawings and exposures.

Daylight weather observed and recorded.

Red Gas Kiln, external dimensions, 1.2m x 1.2m x 1.0m, plus stand 0.5m.

Joseph Beuys, clay accumulator and table, Tate Modern.

Joseph Albers.

Karen Barad.

Intra-Activity, Performativity, Bodies.

Colour Intermediaries, induce spatial relations between objects and processes, they create, set in motion diffractive phenomena.

The Mind's Eye.

Bridget Riley.

SPAB, Working Parties.

What Remains.

To preserve something from the continuum of time.

Materials bounded by contact and context.

Plastic Architecture/Lime and Flintwork.

Linking built surfaces to the aesthetic experience of place.

Asperity, in materials science, is defined as unevenness of surface, roughness, ruggedness, that can create frictional interactions between the relationships of materials.

Site is a temporal undoing of place.

Architecture taken back into the domain of building.

Scaffolds for learning, access, practices and preservation.

On Reading.

Cell-Court-Domain.

Apokatustasis.

Jim Jarmusch

Jozef Van Wissem

John Cowper Powys.

A Philosophy Of Solitude.

Reading Powys one finds no belief, no system of dogmas or doctrines, just an insight gathered from experience.

He is a walking philosopher, who develops his thoughts on the character of solitude, the walker formulates his words out of an inner heuristic development. A preparation in order to be able to relate to other people.

A Field Guide to Getting Lost.

Rebecca Solnit.

The wonderlust of learning for profound and complex inquiry.

The creative, hopeful philosophy of emotions that colour, illuminate our worlds.