Drawing Surfaces : Situated Knowledges/Constructing Atmospheres

Outpost 120123

Constructing Atmospheres/Test Sites for an Aesthetics of Joy.

Margit Brunner. 2015

https://issuu.com/aadr_publishing/docs/constructing_atmospheres_s

Red Is Not A Colour

Architectural Concepts

Bernard Tschumi

What role does the audience play in the definition of a provocative project?

What are the ways in which I want to construct my world?

The in-between chapters that reveal his underlying beliefs and influences. From movies to built spaces or from art pieces to historical events, a melting pot of his imagination. This is where we understand what Tschumi means by his endless questioning  of the world and what the architect's contribution could be.

Antoine Vaxelaire, AA 5th Year. 2013. 

Marking The Line

Ceramics and Architecture.

Christie Brown, Carina Ciscato, Nicolas Rena and Clare Twomey in response to Sir John Sloane.

Cathected

Aesthetic Phenomenon

Aesthetic Causality

Sensual Object

Allure

Graham Harman reminds us that moments of allure, the fusion of always accessible sensual qualities onto a reified sensual object, are ontologically special experiences, but they are very common in human life.

Architecture articulates our experiences of being-in-the world.

The very essence of the lived experience is moulded by hapticity and peripheral unfocused vision.

Pallasmaa. 2005

The simple complexity of the sensibility found in textures and the drama of shadows.

Developing natural aptitudes through the sense of touch.

The senses considered as perceptual systems are defined as a haptic system in which the sensibility of the individual to the world adjacent to their body and by use of their body.

J Gibson. 1966

In some cultures, the senses of smell, touch and taste have collective importance for memories, behaviour and communication.

Indigenous clay and mud constructions, with their plastic properties, seem to be generated more from the haptic senses than the eye.

Hapticity and Alvar Aalto's Architecture.

Sam Barnham.

David Abram, The Spell of the Sensuous. 1996

Juhani Pallasmaa, The Eyes of the Skin. 2005

Juhani Pallasmaa, The Thinking Hand. 2009

Gaston Bachelard, The Poetics of Space. 1969

Thought In The Act : Learning through making.

 

Learning is better than teaching because it is more intensive : the more we teach/examine, the less the students can learn.

Learning and practicing techniques develops insight and dexterity, but not creative energies. Inventive construction and an attentiveness that leads to discoveries are developed, at least initially through experimentation that is undisturbed, independent, and thus without preconceptions. This experimentation is initially a playful tinkering with the material for its own sake. 

That is to say, through experimentation that is amateurish (ie not burdened by training).   

The Three Ecologies Institute

An Open Laboratory for Thinking in the Making

THOUGHT IN THE ACT

Passages in the ecology of experience

Erin Manning

Brian Massumi

Art as Experience : Interactions of Color/ Art as Experience, Josef Albers

GLASS-COLOUR-LIGHT-INTERIOR-LANDSCAPE

ART AS EXPERIENCE

WHAT IS THE CAPACITY OF THE MATERIAL

Josef Albers

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

Cyanotype,photogram from leaded window

Cyanotype,photogram from leaded window, a photo by Russell Moreton on Flickr.

Cyanotype process used to record both the structure of a leaded window and a sublime value of transparency. Original stained glass panel created in 1991 reflecting on global issues at the time. This subsequent work on paper reflects the generative nature of the creative process.