Sensate Making : Space between Things

Saturnian Form/Dwelling Place : Lead and Library Dates

Armature :  Memory/Personal Biographies 

The Everyday complexity of things.

Unbounded Outcomes : Iterations/Indexical/Repetition

Albert Camus : The Plague, 1947. (Penguin Fiction)

The townspeople of Oran are in the grip of a virulent plague.

Cut off from the rest of the world, living in fear, they each respond in their own way to the grim challenge of the deadly bacillus. Among them is Dr Rieux, a humanitarian and healer, and it is through his eyes that that we witness the devastating course of the epidemic.

Written in 1947, just after the Nazi occupation of France, Camus's magnificent novel is also a story of courage and determination against the arbitrariness and seeming absurdity of human existence.

'Camus represents a particularly modern type of temperament, a mystic soul in a Godless universe, thirsty for the absolute, forever rebellious against the essential injustice of the human condition'
Shusha Guppy, Sunday Times


Inside Phenomena/Catching The Light

fig222 Visual device, North Sea, Covehithe

Indexical Iterations , Post Studio Cyanotypes

Cathedral Bookshop, Winchester

Architectural Transposition : Anti-Object/Interfaces with space/edges of matter.

Architectural Transposition : Anti-Object

IMMATERIAL ARCHITECTURES

MAKING IN THE LANDSCAPE

SCULPTURE TRAIL 2018

The House-sheds : Camping

There's more truth about a camp than a house. Planning laws need not worry the improvising builder because temporary structures are more beautiful anyway, and you don't need permission for them. There's more truth about a camp because that is the position we are in. The house represents what we ourselves would like to be on earth: permanent, rooted, here for eternity. But a camp represents the true reality of things: we're just passing through.

Roger Deakin

WILDWOOD

A Journey Through Trees

Outpost 040222

Kengo Kuma's, Transparent and temporary shelter at Waverley Abbey UK.

Immaterial Architectures : Raveningham Pavilion #3

Interfaces with space/edges of matter.

SPACE

The relationship between light and space dictates our visual perception of the world around us and the way we feel.

Light is a powerful substance. We have a primal connection to it, but for something so powerful, situations for its felt presence are fragile.

I like to work with it so that you feel it physically, so you feel the presence of light inhabiting a space

James Turrell

Space is the absence of mass. 

Light influences space through the way in which it defines mass as form.

The lighting of form to reveal shape, surface texture and colour generates the ambience of a space.

MOVEMENT

The movement of light is a linear process where time and space meet. Any moment reveals frozen movement in time. We have evolved to respond to daily and seasonal change brought about by the movement of the sun, the moon and stars. Through the passage of light we track the change of day into night as well as form and surfaces moving in light.

Light, then, is the instrument of the new unity. It is indeed a wonderful instrument and was wonderfully suited to the inevitable interests of the next four centuries. During that time men were occupied with the investigation of the world of appearances, and the study of appearances manifests itself in attention to the particulars. Through this instrument the artist could elevate the particular to the plane of generalization through the subjective feelings that light can symbolize.

Generalization Since The Renaissance.

The Artist's Reality

Philosophies of Art, Mark Rothko.

The fact that the materials of a building may be both conceptually and practically treated in a variety of ways opens up different ways of exploring the relationship between surface and light.

The interplay of design elements generate multiple layers of associations. 

They sensitively mark a boundary, yet symbolically keep the background, and all that is beyond it, open.

Bernhard Huber, Transition Glasprojekte.

Light, Material and Surface.

An initial understanding of a material may be gained by viewing it under natural light, but as the quality and quantity of daylight is constantly shifting, the appearance of any surface will change accordingly. Visual memory plays an important part in rationalising how we perceive our world and under natural light no material has a fixed look.

Some surfaces look wonderful when hit by the sun, but then appear flat and lifeless on a dull and overcast day. Others have an inner richness and colour only experienced when light passes through them.

Light Articulating Surfaces 

Surface exists at two scales in light, that of material and that of building. The former refers to the relationship between light and the matter from which architecture is produced. The latter alludes to the nature of facades, walls and other elements, the wrappers and partitions, external skins and internal dividers.

A more profound understanding of surface appearance can only be gained from experience.

Observation of materials under various lighting conditions allows an appreciation of the effects that can be achieved. No amount of calculation or clever software can substitute this process. For instance there is little point selecting marble for use on a floor in the Middle East from a naturally lit studio on an overcast winter's day in Edinburgh, or appraising a vertical cladding system by lying it flat on the ground.

FORM

Form is the visual shape of mass and volume. 

Light makes form legible. There is no form without light. 

The form of architecture is entirely reliant on the presence and quality of light.

 

The manner in which light renders mass defines the essential relationship between architecture and light. The appearance of form is interpreted through the direction and intensity of light. By altering the light you can not only redefine the shape of an object but also reinterpret its character and meaning. 

The changing nature of natural light means that architecture is being continuously, visually transformed, and that it enters into a symbiosis with natural light.

BOUNDARY

The simple ideas we receive from sensation and reflection are the boundaries of our thoughts.

The permeability of any boundary to light dictates the degree of transparency or solidity and dictates the limit of the visual field.

Light helps to define our understanding of the limits of space and form through the lighting of boundaries.

Surface, which was formerly held to possess no intrinsic capacity for expression, and so at best could only find decorative utilization, now has become the basis of composition.

Siegfried Gideon.

Surfaces define the shapes of our world, light allows us to see them.

Felice Frankel, George Whitesides.

Surface is defined as being the outermost limiting part of a material body, immediately adjacent to an empty space or to another body. ITS ILLUMINATION IS ONE OF THE GREAT OPPORTUNITIES IN ARCHITECTURE.

If the shape of our three-dimensional world is determined through form, we experience its nature through surface. It is the very edge of matter, the interface with space.

Surface clothes form and in so doing provides essential visual information about the very nature of materiality, whether something is opaque, transparent, whether it has texture or colour.

The Studio in the midst of mattering.

Forming  spatial agencies with the circulation and processes of media/materials.

Living in the space.

The governance of perception.

While visual perception is governed by how a material is seen, our understanding of its nature can be enhanced by how it feels.

Sight and touch often operate in conjunction with each other and it is important to recognise that without light a surface can only be understood through touch, but with light our comprehension may be based on visual criteria alone.

Photographic Diffractions through agential cuts/intraventions.

Nothing is more revealing than movement

Martha Graham.

The way light catches any surface can reveal its inherent qualities. We can actually see that it bis rough or smooth, opaque or transparent, shiny or dull before we physically engage with it. At the same time, light also has the ability to deceive. If a surface is illuminated in the wrong way, it can belie its true nature and conceal its identity, and we may interpret it in an inappropriate manner.

Additions to Clay Bodies, Kathleen Standen.

Combustible Materials, Organic Matter, Perlite.

Impressions, Imprints and Dipping.

Performance, Wiring up the clay.

The Artist's Reality

Philosophies of Art, Mark Rothko.

Introduction, Christopher Rothko.

Veiled Melancholy/Book Narratives : Film Collages. #3

   The Politics of Architecture : Theorizing through speculative spatial practices.

"Spatial turn" The increased attention to matters of space, place and mapping in literary and cultural studies, as well as in social theory, philosophy, and other disciplinary fields.


Spatiality, Robert T. Tally Jr. Routledge 2013.

http://pictify.saatchigallery.com/user/russellmoreton

"He rubbed his eyes. The riddle of his surroundings was confusing but his mind was quite clear - evidently his sleep had  benefited him. He was not in a bed at all as he understood the word, but lying naked on a very soft and yeilding mattress, in a trough of dark glass. The mattress was partly transparent, a fact he observed with a sense of insecurity, and below it was a mirror reflecting him greyly. Above his arm- and he saw with a shock that his skin was strangely dry and yellow - was bound a curious apparatus of rubber, bound so cunningly that it seemed to pass into his skin above and below. And this bed was placed in a case of greenish-coloured glass (as it seemed to him), a bar in the white framework of which had first arrested his attention. In the corner of the case was a stand of glittering and delicately made apparatus, for the most part quite strange appliances, though a maximum  and minimum thermometer was recognizable."

H. G. Wells : The Sleeper Awakes. 1899/1910

Spatiality : The Spatial Turn, Robert T. Tally Jr. 2013

Immediate Architectural Interventions, Durations and Effects : Apparatuses, Things and People in the Making of the City and the World. Alberto Altes Arlandis, Oren Lieberman. 2013

Preface (1921) ” The great city of this story is no more than a nightmare of Capitalism triumphant, a nightmare that was dreamt a quarter of a century ago. It is a fantastic possibility no longer possible. Much evil may be in store for mankind, but to this immense, grim organization of servitude, our race will never come” H.G. Wells. EastonGlebe, Dunmow,1921.


Oxford Dictionary of Geography: spatiality

The effect that space has on actions, interactions, entities, concepts, and theories. Physical spatiality can also be metaphorical. It is used to show social power—thrones are higher than the seats of commoners, and ‘high tables’ for university teachers in most Oxbridge colleges physically elevate the teachers over the taught. People use proximity to show how intimate they want to be with others (See personal space), or orientation; we may face someone or turn away from them. Institutions and governments have used large architectural spaces to invoke awe, while restaurateurs may create ‘cosiness’ in small spaces.

Pinhole Photography, Winchester Discovery Centre and Library.

Analogue : On Zoe Leonard and Tacita Dean. Margaret Iversen 2012
http://murrayguy.com/wp-content/uploads/2013/01/Iversen-Critical-Inquiry-36-4-Summer-20121.pdf

"The imprint of light on emulsion"
"The alchemy of circumstance and chemistry"

Tacita Dean : Filmworks, Kodak Analogue, page 96/97

Working Light

Photography : Thinking with Imaginary Spaces

DSC_0171 Spatial Assemblage : Figure in Space

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

MAPPING : Ritual,fire and stone : Human Filament

Astronomical data with outline of human form,candles,string and stones on paper.150cm x 240cm

Locality/Social Complexity and the Everyday : Works on Paper

Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ammonium iron(III) citrate and potassium ferricyanide.

The English scientist and astronomer Sir John Herschel discovered the procedure in 1842.[1] Though the process was developed by Herschel, he considered it as mainly a means of reproducing notes and diagrams, as in blueprints.[2] It was Anna Atkins who brought this to photography. She created a limited series of cyanotype books that documented ferns and other plant life from her extensive seaweed collection.[3] Atkins placed specimens directly onto coated paper, allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is regarded as the first female photographer.[4]

From Wikipedia, the free encyclopedia

Mesh/Material/Light, Cyanotype Process

Locality/Social Complexity- Works on Paper

DSC_6026 Hortus Conclusus













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