Creative Fictions/The Social Life of Thing~Ties.
Spatialities exploring dynamic inductive reasoning.
Making~Dissolution : Building Documents/Composite Bodies
Urbanism : Making Disorder
Urban Bodies : Disorder~Dwelling~Dissolution
Performing and Crafting Spaces.
Spatial Material : Making Learning Experiences~Holloways.
Vibrant Matter.
Studio Spaces : Undone by theory.
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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.
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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.
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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.
Diffractive Research.
Tim Ingold's concept of "diffractive research" emphasizes a dynamic and iterative approach to inquiry, where researchers move between different lenses and perspectives, exploring the interplay between diverse elements. This method, rather than seeking a definitive conclusion, aims to enrich understanding by embracing the "emergent difference" and "variation in commoning" found within the research object.
Elaboration:
"Diffractive" as a Metaphor:
Ingold's use of "diffraction" draws an analogy to the physical process of light being bent and spread when it encounters an obstacle. This process reveals the nature of the obstacle and the light itself, highlighting the complexity of their interaction.
Iterative and Relational:
Diffractive research is not a one-time process but a continuous engagement with the research subject, moving between different perspectives and interpretations. This iterative approach emphasizes the relational nature of knowledge, recognizing that understanding emerges from the interplay between the researcher and the object of study.
Embracing "Emergent Difference" and "Variation in Commoning":
Instead of seeking to define or reduce difference, diffractive research celebrates the "emergent difference" that arises from the interactions between diverse elements. It also emphasizes "variation in commoning," recognizing that individuals and things can contribute to a shared understanding even when they have nothing in common.
"Wayfaring" as a Method:
Ingold's concept of "wayfaring" (a way of traversing the world, constantly engaging with its details) is closely linked to diffractive research. Wayfaring involves actively engaging with the world, paying attention to the details and nuances that emerge along the way.
Examples in Practice:
This approach can be seen in research that explores:
Materiality and Agency: How materials shape human action and how humans, in turn, reshape materials.
Knowledge and Memory: How knowledge is not simply transmitted but actively generated and shaped through experience and interaction.
Social and Cultural Practices: How social and cultural practices are constantly being re-interpreted and re-created through interaction.
Beyond Objectivity:
Diffractive research challenges traditional notions of objectivity by embracing the inherent subjectivity of research. It recognizes that knowledge is always produced within specific contexts and through particular relations.
In essence, Tim Ingold's concept of diffractive research offers a powerful framework for understanding how knowledge is generated and how we can engage with the world in a more dynamic and nuanced way.
AI Overview/Google
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The Body of Drawing/Butades.
Thinking Matter : Cosmologies/Constellations/Assemblages/Apparatuses.
Matter (as interlacing interplay that is dynamic and mutually defining) has its own nature.
In the thick of material existence.
Merleau-Ponty.
On The Hospitality/Intertwining of Lines
Making/Moving Matter/Theoretical Objects for Spatial Practises.
In and Out of Material/Matter/Matters of Concern/Sculpture
Tony Cragg.
Situated Practices/Architectures of Care/Concern.
Oren Lieberman.
The searching line proposes/launches visual observations/haptic responses, and conversely what is seen determines how the next line is to continue in a perpetual and recursive interaction that unfolds in ongoing time.
Relationscapes of/with/for Drawing.
What is drawing?
What is the nature of the drawn line?
Un-Learning Drawing.
The drawn line is raw, on permanent view of its emergence into the world, an open zone that operates in real time. Corrections to the line, challenge perceptions and build intimate relationscapes with the mind, body, media and surface.
'In drawing' we are perceiving the evolving process of thought and perception.
Avis Newman.
Praesentia, being present, a presence that is close at hand to the present moment or time.
The phenomena and its nowness/nearness in the light of day.
Drawing is driven from the outside.
The agent/agency of drawing admits that the process leads, the mind follows.
First the material signifier, marks on paper, then afterwards the signified, the depicted scene and its nominal referent. For Cozens the random application of splashes and patches of ink would at first appear a chaos, yet with a little skill, out of that chaos forms could be encouraged to appear. Blots might become clouds or the silhouette of hills. For Bryson, Cozens 'anti method' clarifies what the official ideology of drawing-as-transparency habitually mystifies. That the relation between subject matter and line is not at all a question of before or after.
Though far from being a work of philosophy Cozen's method/manual anticipates the broad outlines of Merleau-Ponty's description of the intending consciousness as always already in the world, in the thick of material existence.
Drawing the line involves an interlacing of outside and inside, a permanent cross-over between interior (the artist's mind, sensations,sensibilities) and exterior (paper, pigment,stylus).
A Walk For Walk's Sake.
Norman Bryson.
Studio Silences of Space-Time Phenomena/Phenomenology.
Existential becomings in the thick of our material existence.
The Poetics of Space.
Gaston Bachelard.
The Primal Scene of Drawing/The Trace of Butades.
Is all about preserving loss/the blankness of paper and a hand that is about to make its first trace on the surface. Drawing enacts the very moments of trepidation when a new image is about to enter the world.
Drawing is an art of presence and transparency of phenomena unfolding, a fusion between the artist's mind, the artist's hand, and the beholder's gaze.
On Drawing.
The work of observation is necessarily shaped by the line it leaves behind.
The drawn line conditions or models the selections from the field of observation. It launches observation along a particular direction or path.
Sunlight enters into architecture and sensations of bodily presence/perception.
Vessels unfolding through durations of light and dark.
Flesh/Sensation/Paint/Francis Bacon.
An Unconditional Body from Social Objectivity to the Extremes of Subjectivity.
Acts of both presence and transparency.
Mapping Subjectivity/Gathering Matter.
Organism-Person-Environment.
Architectural Body.
Art works and artists, all manifests themselves at the social interaction and reading/rendering of subjectivity.
The Stage of Drawing.
Gesture and Acts.
Like the drawings themselves, the exhibitions loyalty is to the immediate experience of the individual image rather than to the totalizing logic of art history complete with its grand narratives of social and cultural change. The exhibition reveals the convergence of real time operations (realities) the artist's visual idea in the time of its coming into the world, and the always ongoing work of viewing.
Pathways of difference, of the brush and pencil as they move through their respective spaces.
For The Brush.
Before it can touch the surface of the canvas, the bush has to orient itself according to the four sides of the frame, and then according to the total sum of the marks that have already appeared on the surface of the picture. It has to hover, to hesitate, to sense as though by dowsing where a channel in space may now open up, a groove in the total surface that the brush may now enter.
For The Pencil.
In drawing the presence of the 'reserve' frees the pencil from this complex calculus of the totality, reducing the scope to an area that can be taken in at once. A local area, that lies where the hand is now in praesentia. For Bryson this introduces the possibility that the drawn line, maybe closer to the immediacy of the artist's thought and perception than the line made on canvas.
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The Everyday.
ANTONIO He misses not much.
SEBASTIAN No, he doth but mistake the truth totally.
The Tempest.
The Transparency Of The Morning.
One never sees what is always seen.
The immediate, just like the simple, the natural and the ordinary, does not perceive itself.
Substances : Artworks, rituals of purity and impurity.
Demarcations/Systems/Fields of order and contravention.
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Knowing that this clarity which has sprung up will soon dissipate.
Morning coincides with the emergence, giving back a possibility of springing up, of rising before the day has started to spread out.
For Jullien, it is possible to gain access to it only as we gain access to the immediacy of the day from the night. A world in which living is not right away (in which respect metaphysics is correct) it is necessary to cause it to rise. But without again being concealed by whatever has been entrusted with revealing it.
Life, is devoted from the outset to what its 'end' might be (telos) in the full sense of the Greek word.
Telos, at once a conclusion, aim, perfection, abandoning all the preceding 'between of life' to indifference.
The Way- Without demarcation, rather a way of viability by which the continuum of life is renewed.
The Philosophy of Living.
Francois Jullien.
Developing Open Subjectivities/BwO : Visual Art, Winchester. 2006.
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Bodies are conditioned by architectural surrounds.
Architectural Body.
Reversible Destiny.
Arakawa and Gins.
The transformative body, creates bodily interiors/relations that can open up to become productive alliances in which using spatial bodies, (other than the ideal types) they can be brought into new affiliations with systems outside of their boundaries.
Creating an affective intensity.
Human Bodies/Spatial Bodies.
Relationscapes/Bodies/Events.
Organism-Person-Environment
Event-Space-Movement, superimposed over one another creates disjunction(Tschumi) and assemblages (Deleuze).
Drawing/Beginning a dialogue with matter/material between human bodies and spatial bodies.
Simple articulations (frottage) with the immensity and immediacy of the everyday.
Abstracted-Diagrammatic-Inhabitations.
Paintings/Drawings/Sculptures/Instalations.
Francis Bacon.
The Logic of Sensation. 1981, 2003.
Deleuze.
Reliquaries/Enclosures of Spatial Silences and of Light/Air.
A type of labyrinth with a momentary impossibility of escape (soul cages) these are minoritarian architectures (Deleuze).
Real Spaces for Fictional Events.
A becoming architecture to provoke potentials to occur.
On the everyday, abjection of the human body.
The Clinic.
Bathrooms are spaces associated with the clean body and simultaneously with the dirty body. They are spaces that allow for hygienic evacuation of our excretions, they order our un-containment.
At the end of the day , the curtain is hung and there is a certain visceral repulsion to the damp curtain hanging in the window. To the drying of our bodily excretions and their gradual visual indiscernibility with the fabric. So no one knows what the fabric has absorbed.
All that remains is us, inhaling ourselves as air passes through the curtain and into our lungs. A re-absorption of our expulsions.
Zuzana Kovar.
The work of Deleuze and Guattari as a whole provides a way of approaching all bodies void of a dualistic framework. In particular for Kovar, Deleuze's work specifically touches on abject(ion) through his notion of an open and transformative or spasmodic body, which he discusses in the work of Francis Bacon.
Figure at a Washbasin. 1976
Francis Bacon.
Event-spaces in the paintings of Francis Bacon.
The Body-Figure/Figural-Event.
From the start, the figure has been a body and the body has a place within the enclosure of the painting from which the figure expels itself, gymnastically on the fields of colour. Is this the event of a body escaping itself into a figure, of the body in Deleuzean terms of trying to escape any notion of identity/form of repression?
For Bacon, the body-figure exerts an intense motionless effort upon itself in order to escape down the blackness of the drain. This plexus (the body as plexus) its effort or waiting for a spasm, becomes for Bacon a painterly approximation of horror or abjection.
Paintings that create spasms that re-order the human organism, in order to escape it, by growing bodily organs as prostheses, or by allowing the enclosure of painterly space and contour to become an apparatus, an extension of the body-figure-figuration.
The body waits to escape itself in a very precise manner, to escape itself via a spasm, the movement of the figure towards the material structure, towards the field of colour.
For Deleuze, the body repeatedly attempts to escape the organism, the particular organisation of organs that may be understood as constituting the subject the 'I', for Deleuze the body attempts to escape the 'I'. It is not 'I' who attempt to escape from my body, it is the body that attempts to escape from itself by means of, a spasm. But the body is not simply waiting for something from the structure (its place is an enclosure), it is waiting for something inside itself. It exerts an effort upon itself in order to become a figure now it is inside the body that something is happening, the body is the source of movement.
Athleticism, The Logic of Sensation. Deleuze.
Elliptical Circulations
Studio Wall Spaces/Artist's Books.
Between 'Devices'
Documentation/Research/Reading/Places/Images
Interpolation/Interpolation/Interstitial.
Sculpting In Time.
Tarkovsky.
The Poetics of Space.
Gaston Bachelard.
The 'exigencies' of the situation at hand.
Tim Ingold, MAKING.
Spatial Intelligence/Architectures
Abject (ion) Body and Matter in Process/Processual Relations.
IMMATERIAL / REPETITION / SINGULARITY
ENCLOSURES / ITERATIONS / THINKING FORMS
MINIMALIST SPACES / INTERVALS, tuning objects to construct environments
Mediating the experience of LANDSCAPE
SITE / COLLAGE COMPONENTS working/walking, developing a creative spatial syntax COLOUR AS CONDUIT / PERCEPTUAL ENVIRONS / CRAFT MEDIA / IMPROVISATION PIERCED DAPPLED NATURAL LIGHT
DIFFERENTIATED SHADOW / SURFACE
EXTRAORDINARY MATERIALS / TECTONICS AND TEXTILES INDEXICAL / GESTALT VISUAL PERCEPTION
NETWORKS / RESOURCES / AGENCY for the potential of BUILDING SCAFFOLDS / GAUZE / POCHE solids of a building/architectural plan ABSENCES / INTERSECTIONS / GRIDS / MESHES / SPRAYS / MOTIFS ACTUALITY
Walking creates its own feedback loop, The Journey, The Return,
The specific, Here and Now
Psychogeography, Dossier, Forensic Study, Inquiry.
Spatial Abstractions : Reflexivity on Reflection. Embodiment on Experiential Subjectivity
LANDSCAPES Constituted by creative practice
Walks as erasures, sedimentation, (Gardiner on painting)
Quotidian/Everyday Interests, Complexities of Contemporary Life. Ambients, Phenomenas, Objects, Subjectivities,
Everyday aesthetics, heuristic practices.
RAVENINGHAM THEMES : Working Notes
New Futures for Architecture Leon van Schaik
Spatial intelligence builds our mental space. Sensing Spaces
Architecture Reimagined Oak-Framed Buildings. Rupert Newman
Heidegger for Architects
Adam Sharr
MAKING : ANTHROPOLOGY, ARCHAEOLOGY ART AND ARCHITECTURE
Tim Ingold
Touching objects, feeling materials
The Cathedral and the Laboratory
A Hut of One's Own
Anne Cline
Solar Pavilion
Alison and Peter Smithson Architecture is not made with the brain
The Parallel of Art and Life
Aesthetics about Perception Poetics about Production
HERZOG & DEMEURON NATURAL HISTORY
My studio is a piece of architecture that is silent. Speculative Architecture
On The Aesthetics of Herzog & De Meuron
The Thinking Hand
Existential and Embodied Wisdom in Architecture
Juhani Pallasmaa
The Architecture of Natural Light. Henry Plummer
Peter Zumthor
Hortus Conclusus Serpentine Gallery Pavilion
The Potentials of Spaces
The Theory and Practice of Scenography and Performance. Alison Oddey, Christine White
See Yourself Sensing Redefining Human Perception. Madeline Schwartzman
Collage and Architecture. Jennifer A. E. Shields
COLLAGE
Assembling Contemporary Art. Sally O'Reilly
Construction/Abstraction Body/Identity Environments/Geographies
Indexical
Absences
Actuality Immaterial Architectural Sensing Surfaces,
Textures
Dimensions, Sprays, Trace
Repetition, Empirical Experiences
Forms, Pavilion, Hut, Shelter, simple enclosure
Minimalist, tuning objects, sequences to construct/de-construct environments
Reflexive Surfaces into architectural presence
Art as indeterminate, able to arrest perceptions into different states/becomings
Site, undoing of place.
Gauze/Filtered Light/Phenomena
Gesture of the work, its situation,
Meshwork. The drawing grid, making of a proposition into space.
Cyan, Sky Blue, dappled light, membrane, responding to the weather/locality
AA Pavilion Project,
Its about learning through making, being involved in the process, the installation and its reception, dislocating contextual barriers.
Ephemeral Architectures, AA Document/Project, Prizeman
Immaterial Architecture : Waverley Pavilion 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
Frosted Light
Index of immaterial architectures
TRANSPARENCY : LITERAL AND PHENOMENAL. Colin Rowe, Robert Slutzky
Interactions of the Abstract Body. Josiah McElheny
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.
ANTI OBJECT Kengo Kuma
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. 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
