Architectural Stratification/Installation : Crafting/Painting Transformative Reconstructions/Relationscapes

Outpost 200623

Sites of building over lived lives.

Of doing and un-doing, of being~becoming un-done by theory. 

For Manning, Arakawa and Gins, the challenge is that the procedures of a procedural architecture (its architecting) must continuously be reinvented to stay apace with the architecting of experience. And this procedure must be crafted with care, it must be relevant to the conditions already at hand.

Dress Becomes Body in The Minor Gesture, Erin Manning. 2016 

Sensing Spaces/Caryatid.

Painting Matter, Lime, Gesso, Charcoal, and Indian Ink on paper.

Clay.

Water.

Ceramics and Architecture.

 Architectural Stratifications, Carlo Scarpa, Intervening with History. 

The Placing of Pots.

The Hungate.

The Wonder Of Minor Experiences.

A Brief Phenomenology of Enchantment.

A Moment of Pure Presence.

Enchantment entails a state of wonder, and one of the distinctions of this state is the temporary suspension of chronological time and bodily movement. To be enchanted, then, is to participate in a momentarily immobilizing encounter; it is to be transfixed, spellbound.

Jane Bennett

The moment of pure presence within wonder lies in the object's difference and uniqueness being so striking to the mind that it does not remind us of anything and we find ourselves delaying in its presence for a time in which the mind does not move on by association to something else.

Philip Fisher.

Analysing The Observed.

To abstract from the observed means to simplify the complexities of seeing.

Piet Mondrian.

Space and Form are ignored in this type of Abstraction, the Lines and their Vectors of Movement become a Map, Mapping Forces onto the Surface of the Picture.

Thinking with directional, durational markings/feelings/intuitive judgements.

Small Perceptions/Perceptions in Folding.

Small perceptions are as much the passage from one perception to another, as they are components of each perception.

Deleuze, 1993.

Small perceptions are like what Arakawa and Madeline Gins call imaging landing sites.

Relationscapes.

Erin Manning.

'Incoherence' exists, which is why the composition 'Art' exists.

Art allows us to think the unthinkable, to posit one paradox after another in the hope of firming up wisps of our lives and feelings by transfiguring them. By giving them a shape, a design, a coherence, even if they remain forever incoherent.

Andre Aciman/Edmund de Waal. 

For nearly fifty years my darkroom and studio have been the focus of my solitude.

Landing Sites.

The Expanding Field of Relations.

Organism/Person/Environment

I need silence to be able to think clearly, and an empty space where my thoughts can accumulate undisturbed.

Duration.

The not yet meets the already gone.

A fluid flowing time which is intertwined with an experience of being, where past, present and future merge into an experiential time of the individual being/becoming.

Steven Holl.

Darkrooms were dangerous places as well as magical ones, they are a painful metaphoric yoking of creation and destruction.

My final print is a golden square enclosing the pinkest dusk sky I had ever seen or imagined.

Filtered Light/Pot Metal Colours/Silver Stain/Filtows/Filters/Shadows.

The Light Gatherers.

Bodleian Libraries.

March 2022-October 2023.

Light Laboratory/Creation as Duration.

Glass vessels, as light filters shining the enlarger light through them and creating photograms. Garry's work oscillates with differential velocities. He works with great deliberation and then he works with abandon. I keep thinking about the tension between deliberation and abandon. You look at a painting by Agnes Martin and experience the temporal aspect of lines repeated slowly over days and weeks. A cell like structure repeats and changes, you repeat so that in return you can find the smallest oscillations of difference. An expanded field where you sense the development of different kinds of time, movements and their durations.

Dark Room, Garry Fabian Miller.

Farewell to an Idea, Wallace Stevens/Edmund de Waal. 

Haecceity, thisness of things, which engenders feelings between ourselves/things/world.

I was grateful to have been able to live with so much pure colour for so long.

Space-Enfolding-Breath

Lake Of The Mind.

Ideas are already abstract.

Abstracted Transcriptions.

Drawing, Vectors and Forces of Subjectification.

Lines, mappings of forces across the surface of the picture.

Drawing on, analysis with, Dominants.

Formed by the dynamic forces derived from the outlines of objects and their surrounding spaces.

Palimpsest Collages

Psychogeographic Mappings

Architectural Models

The Process of Drawing/Building is Left Visible.

Psychogeography, Merlin Coverley.

Crafting Recovery and Regeneration.

Transformative Reconstruction.

SPAB, Summer 2023.

Michal Saniewski.

Falerone, San Francesco Monestry. Italy.

It's the forefront of modernisation, something that we thought the city was. The countryside is still the place where new ideas and experimentation actually take place..

Countryside : The Future.

Guggenheim Museum, 2020.

Heritage Conservation/Preservation

How do we insert new fabric into old and respect layers of history, of which the earthquakes are an inherent part? Perhaps some of the scars and cracks should be preserved to serve as a poignant  reminder of the past, becoming a living memorial? And perhaps there is potential to develop a new language of additive, 'surgical' architecture, where the contemporary timber frames serve a protective function, supporting and bracing the damaged medieval walls,  but at the same time can be inhabited, framing new uses and reprogramming internal spaces.

The reconstruction process should be used as an opportunity to add value beyond what existed before the earthquake. 

Exploring possible new functions and uses of currently empty spaces and damaged buildings, the local community was asked to participate in the act of psychogeographic mapping and thus rediscovering and revaluating the town on different levels.

Key themes of the New European Bauhaus initiative.

Renovation of existing buildings and public spaces in a spirit of circularity and carbon neutrality.

Preservation and transformation of cultural heritage.

Regeneration of urban or rural spaces.

 

Could Falerone become an experimental hotbed, an example of sustainable, community-driven reconstruction of urban fabric and place identity? The new crafts school could be an opportunity to achieve just that, stimulating collaborations not just with other towns and universities, but with regional authorities and even with the EU. 

Studio Cyanotypes.

Tools/Working Drawings and the Semblances of Spatial Agencies.

Keywords.

Visual Substance, Causal Doing, Investigating, Inquiry, Process, Agency, Matter, Material, Discursive, Iterative, Creative Apparatuses, Intra-Activity, Performativity, Bodies That Matter, 

Encountering Material Matter : Making/simple undertakings of attending to the material.

Outpost 200924

On the simple undertaking of attending to the material.

russellmoreton.com

Oceanic Metaphors~An Interpenetrated Meshwork.

For Mauss, real-life human beings inhabit a fluid reality in which nothing is ever the same from one moment to the next and in which nothing ever repeats. In this oceanic world every being has to find a place for itself by sending out tendrils which can bind it to others.

Thus hanging on to one another beings strive to resist the current that would otherwise sweep them asunder. Things do not aggregate and they do not fuse. They do however interpenetrate their many tendrils and tentacles interweave to form a boundless and ever extending meshwork.

 On The Gift~Octopuses and Anemones.

The Life of Lines.

Tim Ingold

Material Matters.

Architecture and Material Practice.

Katie Lloyd Thomas.

Sensory Corporeality

Making Bodies~Experiential Clay : An emotional rootedness in our primal self, Beuys.

Intrinsic to how we gain consciousness of our world.

Abject(ion) Explorations, something instinctive, innately human, visceral, an organ exploring a strange situation.

Joseph Beuys.

Clay as process : Moving~Eruptive~Living~Experiential

Beuys understood that creativity is central to human existence. Making-works-with-matter that makes the mind~body~move through change and transformation as well as emotional rootedness in a primal self.

Tactile experience adheres to the surface of our body, we cannot unfold it before us, and it never quiet becomes an object, correspondingly as the subject of touch. I cannot flatter myself that I am everywhere and nowhere. I cannot forget in this case that it is through my body that I go in the world and tactile experience occurs 'ahead of me' and is not centred in me.

Maurice Merleau Ponty.

Phenomenology of Perception. 1945

The practice of architecture and the discourses surrounding it are, as so many ways of understanding and constructing the world, structured around a distinction between form and matter where the formal (and conceptual) is valued over the material.

On the encounter of a woodworker making a table.

Mattering forms that can have a future potential to affect and be affected, and rise out of its individual past formed by cultural actions for a preconceived particular purpose. The material, at any particular point in time, is brought into existence through a developing chain of events, both 'natural' and cultural, and has the potential for a myriad of future interactions and transformations. Massumi suggests that what is important in this encounter is not the distinction between form and matter for:

There is substance on both sides: wood; woodworking body and tools. And there is form on both sides: both raw material and object produced have determinate forms, as do the body and tools. The encounter is between two substance/form complexes, one of which overpowers the other.

Brian Massumi.

Massumi provides us with an (Deleuzian materialist) alternative to the hylomorphic account of the architectural material, which suggests that material is itself active and does not distinguish between the physical forces (the plane smoothing it) and immaterial forces (the building standard that determined its fire treatment in a certain way) that produce it.

For Massumi, distinctions between real and ideal, between digital and manual, between formal and material – all disintegrate.

The World is Full of Holes

There is always some kind of truthy interpretation space in which your thoughts and ideas and actions are taking place, and the thing to remember about this space is that (1) it's not optional and (2) it's not totally sealed off, it's perforated. What does that mean? First of all, it means that not only the mental but also the physical (and psychic and social) ways we 'interpret' things are in that space.

Being Ecological, Timothy Morton. 

Encountering/Thinking with and in Clay.

Developing an indifference to be able appreciate/coexisting with ambiguity.

After construction, of joining and relating matter into a spatial form of inquiry.

Marking/Inhabitation of the ceramic structure through earthen slips and natural occurring oxides.

Drawing in the Hungate.

Wellbeing.

Caryatid 

Blind Drawings in the Rotunda/WSA. 

Drawing/Feeling through touch and sound.

Michael Grimshaw. 2003.

Creating a meaningful relation to phenomena/mattering.

Three types of metronome speeds,

Unknown plastic figure/animal,

Hand clapping,

Another persons heartbeat,

Blind paper tags,

Cotton Wool,

Toy bear,

Caryatids : Drawings in wax, charcoal and Indian Ink.