David Sylvian & Robert Fripp - Earthbound [Starblind] (original full len...

Dwelling in Brockwood/Kilquhanity : Drawing isn't a matter of tools but perception-a form of engagement.

Outpost 140223

Matters of Concern.

Starting conditions for responsible and curiosity driven engagements with the world. 

Creative entanglements in a world of materials.

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

Improvisation is drawing.

Drawing isn't a matter of tools but perception-a form of engagement.

Roni Horn.

Kilquhanity Free School.

Mission statement to enjoy childhood.

Kilquhanity promotes a playful difference amongst the locality.

Back To Freeschool : Drawing Out Of The Archive.

At Freeschool I turned a dwelling place into both a site of introspection and a social construction.

By living together as a social group, learning by the practical 'doing' from which to extract a sense of practical wisdom.

Useful work, promotes a sense of being amongst the social group, of an equality of joined forces for the benefit of Kilquhanity.

Kids encouraged to build camps around the grounds, personal and inter-personal temporary structures that reinforce our sense of 'passing through'.

Kilquhanity seems to suit the individual with confidence and those with good social skills, Architects, Film Makers, Craftspeople, others have found it difficult to rejoin society.

Brockwood Park School

Our consciousness is not actually yours or mine, it is the consciousness of humanity evolved, grown, accumulated through many, many centuries, when one realises this our responsibility becomes extraordinarily important.

J. Krishnamurti.

Projective Speculations, through questioning and research, asking ourselves, how are our intraventions capable of generating previously non-existent possibilities or ideas?

How can architectural projections become tools for engagement in the actual transformation of the world, and to what extent can they be tools for thinking as well as for the articulation, interrogation, and challenging of discourse.

Intraventions in live situations are the main form of engagement, we take part from the inside, in the construction and articulation of 'sites'. We do this by using expanded conditioned, ecologies, localities and actors within a phenomenon in which we operate 'an architecting' as responsibly as possible.

Oren Lieberman, Alberto Altes.

Raveningham Site Visit/Walking in the Landscape.

Ephemeral-Site-Drawings.

The Choreographic Object in The Lanscape.

Land/Demarcations/Spaces/Occurrences with others

Filtered light pieces/land markers

Field Studies/Gathering/Dwelling/Reading/Light/Time/Media

A Phenomenal Lens.

Water/glass dishes/construction, floating/submerged objects/.Cyanotype Print.

Sculptural Array/Sky Watcher/Imaginative Spaces.

Apparatus for Solargraphy.

Mast/Conductor/Transponder,

Hungate Study Day.

Corporeal Annotations.

Reading/Materials/Substances/Phenomena

Water/Light/Architecture/Vessel/Place/Canvas/Filtered Light/Ceramic/Clay

Undercroft Norwich.

Plaster/Slab Components/Assemblages/Forms

Spatial Agents/Local Materials : Kilquhanity Free School/The Yard and Link Gallery, Winchester.

Camera Obscura : Kilquhanity 2011

Dark Session's : Shadowy speculations in the pottery. Kilquhanity 2011

Silver gelatin prints from a "room obscura" set up at Kilquhanity, Scotland 2011 as part of "Back to Free school, Drawing out the Archive."

Site drawing from "a pathway between sunrise and sunset" staged at Kilquhanity, Scotland 2011. This research has led to notions of architectural "interventions" and " footprints" through the direct observational mapping of celestial alignments and movements as they pass over the landscape.

Thoughts relating to Spatial Practice as a site of operation in which to locate my practice. Use of spatial correspondences (place, identity gesture and resonances) as a means of mapping the diversity of human presence and passage into architectural space. 

Possibilities of using methodologies and aptitudes gained from visual fine art and experience with glass and ceramics as architectural interfaces to instigate situations and promote a sense of an interactive spatiality through the role of the viewer becoming an active interlocutor into the dynamics of the site.

Artist Statement, re Galloway/Kilquhanity excursion Easter 2010.

My work utilises simple scientific phenomena and by appropriated registering apparatuses ( chambers to act to become placed in relations to place, this placement is in effect an act of intervention and place becomes site, a proposal is delivered through this action. This proposal is in the form of a relational device/threshold that attempts to fold into the place, a site of creative intervention around a paradoxical inquiry, into objectivity and abstractions, between embodied knowledge’s and findings. These

“working Sites” attempt to engage the interlocutor on their own theoretical and subjective relations and to reveal and form their own singularities from the experience of becoming placed. This immersion into the objective, the philosophical, and the poetic, could be seen as trying to create a “metaphor around dwelling/becoming." A subjectivity enlightened by theorising around issues of the production of space and the notion that time is both a structure and an event. The interlocutor (the

view/relation of others present) becomes brought into “place” becoming as it were a ’’guest” of place through this placing inquiry, place can become ones own familiarity of space.

The Yard Studios, Winchester.

Multi-disciplinary practice, drawing on a long association with Art, Craft and the Building/Construction industry. Working mainly on drawing/mapping with local materials ( Arte Provera), alternative photographic processes and architectural interventions/installations that explore our sense and experience of place. Interested in the intimacy and mobility of “Artists” books and journals as a device to accompany the experience of place. My work commands and demands a need for a reflective solitude, a sense of dwelling amongst absences, that have themselves been transposed into another physicality. Interested in using drawing and materiality as a site of exchanges, traces formed into inclusions within its own experimental field of experience. The practice is continually informed by contemporary practitioners such as Roni Horn, Melanie Counsell, Christopher Bucklow. My work sets out to contains its own sense of a consolidation of time through ephemeral processes and reflection. The use of elemental mobile photographic devices is being investigated as a means of “registering” durations of human occupation continually superimposed amongst the agencies of “Place” and “Time”. The use of the human body as a trace allows my drawings a direct spatial encounter of absence. This method of working directly with the body is a direct result of earlier sculptural works in concrete and clay.

Artists Information & Material For

Interfaith-Group-Show: STRONG VOICES part of Hyde 900/2010

Co-organised & curated by Stephen Cooper & Arielle Klobusiczky

Russell Moreton

Process  &  Materiality:  mirror  arcane  symbols  ranging  from  science  - humanity spiritual -pagan mythology & Christianity

Symbol & Vision: 3 Layers containing a portable space of vision/ thought 

Binding Factor : Layers & Locality (Non places)

Layer I

Lyrical  intervention  with/&/or  of  Space  particular  Non  spaces 

Tracing activity contain in suspended materiality placed in space

Layer II Consolidation of Time

Capturing  notion  of  time  bound  process,  performance  and  procedure 

Documentation of resulting absence from ephemeral activity

Layer  III 

Surface & Traces

Sense  of  Equilibrium  between  matter  and  process  material  &  activity  paused 

Haptic Tactile resonance

Locality

Site Specific

response to space, architecture and surroundings including work 

of others issues of frontality versus experiencing 3d work over come by designing samples/glimpses of concepts II!

Material & Process: all include water/moisture/ and light 

Blue, Cyanotype ( Blue Print)

Off White, China Clay & /or Chalk 

Negative Image, Pin Hole Camera 

Orange/Brown, Rust

INTERFAITH GROUP SHOW AT THE LINK GALLERY 2010 

Artist Statement

Spatial Practitioner using a multi-disciplinary art practice to explore relations in Architecture, Fine Art and Performance. Interested in the production of spaces that are relational and collaborative to both the practitioner and the visitor/interlocutor. My work utilizes simple indexical strategies to engender interest and perhaps a con spiritual enchantment for the everyday. These resultant correspondences “trace strategies” are open, active and present in-situ; they become “placed geographies around human relations.” Previous workings have used the agencies of natural light in both photographic apparatuses and projection through transparency and clay both as a material from which to retain impressions of mobility through its material memory and its analogy to the “Promethean myth" and its use of clay to fashion mortal man. This particular event invokes for me the notion of a shared humanity, a mutuality that could be understood as reflexive through simple material relations and collaborative gestures. Art space can promote these working intimations that are in the realms of beliefs.

Working Notes for Proposal

Notion of a shared hospitality/threshold that excepts diversities through a simple gesture. Explorative/relational surface or device to register and contextualize spatial relations produced by the participation of this event and its reception.

Artist Statement, re proposal for “Strong Voices”.

It is my intension to utilise the ambiguous and strangely intimate nature of a continuous line around a human being to act as a site for the viewer to inhabit an engagement with the work. I am interested in utilizing the “open space” the territory within the traced outline as a sort of vessel for the temporary thoughts and reflections of others. This space hopes to set up a condition, a place that allows a dispassionate observer or thinker time to find and form their own thoughts. The use of material residues left from enactments seems to concur a metaphysical presence to that of the inner trace. The use of simple materiality (clay, chalk, rust) invokes a notion of a shared simple relation, to the human form; these sensibilities are reflected in artists like Giuseppe Penone and other Arte Povera artists. The use of light sensitive materials, liquid light and cyanotype brings the representation of worlds into proximity of a human absence. Photographic processes also bring with them a surface of compressed and superimposed time, an event through which time has left behind, like the trace we are left thinking and reflecting a loss that creates equilibrium in the present. To add a presence of temporality and nowness, water vapour has been sprayed onto the chalk creating moisture a breath around absences.

The Link Gallery , Winchester. Strong Voices, part of Hyde 900

Untitled 2010

Wax, field chalk and pencil on paper 230x150 cm

This work utilises the ambiguous and strangely intimate nature of a continuous line performed around a human being to act as a site for the viewer to inhabit an engagement within the work. I am interested in the performativity of this “open space” the territory within the staged trace, creates an outline as a sort of absent vessel for the temporary thoughts and reflections of others. This space hopes to set up a residency, a place that allows a dispassionate observer or thinker time to find and form their own thoughts.

Wax, Field Chalk and Pencil on Paper, focuses our attention on the vulnerability and finitude of the human condition through a representation of its absence given only in the traces of past gestures. Inviting meditation, the simplicity of the materials and their use, directly evokes an emotional register and aesthetic sensibility tied to the human form. In the open space performed by a continuous line, the work seeks to offer us a temporary haven for reflection, a quiet space of respite, shielded from the incessant press of events.

What is the aspect of Faith/Belief in this work? 

Personal Statement.

The work allows for me a space for reflection, however awkward its present location engenders. This drawing its manufacture and its materiality for me speak of the intimate space of a domicile, a domesticity and a sense of a proximity to material and geographical relations. For me there exists within its presence a space to ponder issues, some relevant to ones own intimate beliefs and observations. The poetics engendered by the materiality seek a sense of encounter harboured by territory of a human gesture. This encountered materiality is explicitly subtle, yet it is for me raw, open, unclothed and perpetually awkward. For me the confrontation of this awkwardness reveals the trace as being both vital and mortal. It is into this state of the vital and mortal I can begin to harbour my sensitivities and those of others.

Processual Drawing : Bioscleave/Blue Particle Cloud/Diagram.

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

ARCHITECTURAL Body

An ORGANISM that PERSONS

Gins and Arakawa 2002

Although the human condition is a crisis condition if ever there was one, few individuals and societies act with the dispatch a state of emergency requires. The fact that the human condition is a crises condition gets routinely covered up, with culture invariably functioning to obscure how dire the condition is and to float it as bearable

If organisms form themselves as persons by uptaking the environment, then they involve not only bodies but domains, spheres of activity and influence 

Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave

Procedural Architure/Architectural Body 

Gins and Arakawa

The role of architecture as a tool for researching the body-environment towards the implementation of these considerations is paramount

The goal of an experimental teaching and learning space based on architectural procedures would be that the process of design and construction would allow students/staff to rethink, re-imagine and enact the curriculum

An Arakawa and Gins Experimental Teaching Space/A Feasibility Study 2013

Jondi Keane

An Architecture of Viability

To help to sustain one throughout life/ to stay tentative

Bioscleave House as an inter-active laboratory of everyday life 

Wayfinding (unpacking discourse/meaning) through Landing Sites and Architectural Bodies

What is the metachallenge that bioscleave demands of us? Is it, I propose, wayfinding, a wayfinding defined at many scales from finding one's way as a person to finding one's way in a strange physical or social environment

Exploring the Roles of Trajectoriness, Affectivatoriness, and Imaging Along 2013

Reuben M. Baron

Figure/Ground : Double Occupations of Discourses and Events (relationships/co-existances)

So as a diagram (performative agent), the figure/ground does not function to represent even something real. But rather constructs a real that is yet to come (theoretical object/apparatus) as a new type of reality

Situated Field/Constructed Site of People, Institutions, Apparatuses, Events, Discourses

We see intraventions as heuristic devices, as apparatuses that are imbued with a will to transform.

The intravention is not autonomous but contingent and relational and dependent on many other things

The intravention is made as it happens, and it makes us at the same time

Immediate Architectural Interventions, Durations and Effects

Oren Lieberman, Alberto Altes

AEffect initiating Heuristic Life

Procedural architecture, developed in both their written and buillt discourse, providing a process by which to connect theory to practice, disciplinary inquiry to knowledge and art to life

Research should be conducted , not in a library or laboratory but where living happens, enabling the complexity of relationships to be studied within and across the organism-person-environment 

Jondi Keane

Carnal Knowledge

Towards a New Materialism through the Arts

Estelle Barrett, Barbara Bolt

To provide observational heuristic devices so that persons may devise transformational and reconfigurative opportunities

Heuristic tools whether built hypothesis or discursive sequences, are of no use if they do not provide a way forward, a way of learning

This house is a tool, a procedural one

A functional tool, whether it be a hammer, a telephone, or a telescope, extends the senses, but a procedural tool examines and reorders the sensorium

Interlude : Cornering a Beginning

An object becomes the threshold for thinking feeling

Relationscapes : Movement, Art, Philosopy

Erin Manning 

Born into a new territory, and that territory is myself as organism. There is no place to go but here. Each organism that persons finds the new territory that is itself, and having found it, adjusts it

Ellipsis,(gaps in everyday narratives) 

The Construction of Representation of Identity

Using their bodies and immediate surroundings and environment as both subject and context

An Organism-Person-Environment

You cannot see me from where I look at myself

Francesca Woodman

An organism-person-environment has given birth to an organism-person-environment

Bioscleave

Chaos, Territory, Art

Deleuze and the framing of the earth

Elizabeth Grosz

Body, Personal Relations, Spatial Values

Upright Human Body : Space and Time

Yi Fu Tuan

Figuring It Out

The Parallel Visions of Artists and Archaeologists

Colin Renfrew

The act of relating is analysed as a constitutive feature of human agency. Relating is viewed as the continuous work of connecting and disconnecting in a fluctuating network of existential events

Categories and things may make it easier for us to grasp reality but they also hide its underlying complexities

Relationality 2005

Robert Cooper

Mesh/Material/Light : Cyanotype Process/Drawing Place

Movements and Archaeology  : Traces and Piercings.
Cyanotype photogram from Winchester Cathedral with pinholes.

The Cathedral : Place Studies

Pastoral Space: Material, Inquiry and Craft.

Material Agency : Carl Knappett, Lambros Malafouris
Visualising Environmental Agency

"Agents are defined as persons or things, which have the ability and intention to "cause" something "in the vicinity" or "in the mileau" to happen ( Gell 1998)"
"These latter artefacts are described with the term "index", to remove the appellation "art" and to imply that they are indexes of agency."
Some Stimulating Solutions, Andrew Cochrane.

Filament, drawing on lightweight paper.
Chapel Arts Studios, Andover.

Mesh/Material/Light, Cyanotype Process

Remote Sensing : Medieval Structures

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

Maternal Body/Dwelling Place : Clay Impression and Fragmented Form/Raku Beaker Form

Auguries into the maternal body. Un-fired clay and silica sand.

Constructed in-situ at the Yard, Winchester. A life-size record and memory of a human presence as a site for mutual introspection.

 Inspired in part from the novel  " The  Children of Men "  by P D James.

Artist Statement/Chapel Arts Residency 2010

Practitioner using the creative receptiveness of material together with the inclusion of drawing to harbour transits and passages of human presence, vulnerabilities centred around the human condition. My work adopts strategies which articulate a sense of absence and anonymity within the abandonment of the work to its location. I feel drawn to this registering of passage, encounter together with its farewell. The choice of materials gathered together implies a personal geography, with both an emotional and aesthetic sense of locality and place. The performative recording by physical means which renders itself as a trace of human presence, now becomes a vacant territory open for the consideration of others.
My work continues to investigate this sense of material response with the performative trace of a human absences. The place-ment of these acts attempts to promote thresholds from which to reflect upon spatial, sociological and psychological conditions and perceptions.
Currently working in clay, low fired to produce and promote a fragile vessel. This vessel is installed to act as a dwelling presence reverberating in a resting place. from which work is drawn into the human form to register a surface of absences resulting from past gestures and solitudes.

Russell Moreton a visual artist uses simple gestures of drawn Human traces gathered and presented amongst natural materials. Exploring themes around the Human condition, vulnerability and abandonment. Materials are employed to further underpin our sense of place and time. The act and gesture of drawing adds a ephemeral mark amongst the materiality and locality of place. Currently using clay to register these themes, installing work Augury Vessel into Chapel Arts as part of their research residency programme.

Aesthetics and Subjectivity : Experiential Spaces/The feeling of what happens

Tides of Being/Becoming


Antonio Damasio
The Feeling of What Happens
Body, Emotion and the Making of Consciousness

Gaston Bachelard, The Poetics of Reverie.

Nick Cave, The Lyre of Orpheus.

Hildur Gudnadottir, Saman.

Architectural Light : Drawing into the photographic process

When you make photograms, without the use of a camera, you can indeed call that abstract photography, as the lens and the corresponding registration medium are lacking. No longer do you have pictures of reality or objects; you only have their shadows. It is a bit like Plato’s cave, where one could only imagine reality; the objects themselves were not visible.

Thomas Ruff

Found Objects : Archaeological Photogram

Drawings : Speculative Constructions in Photography

Deleuze claimed that he did not write “about” art, literature, or cinema, but, rather, undertook philosophical “encounters” that led him to new concepts.  As a constructivist, he was adamant that philosophers are creators, and that each reading of philosophy, or each philosophical encounter, ought to inspire new concepts. Additionally, according to Deleuze and his concepts of difference, there is no identity, and in repetition, nothing is ever the same.  Rather, there is only difference: copies are something new, everything is constantly changing, and reality is a becoming, not a being.

Cell

Court

Domain

Drawing into the photographic process

Poche/Niche : The shaped presence between two surfaces/volumes

Reading Rooms : Waverley Project

Playing With Structural Modalities/Making/Tensions : Speculative Spatial Constructions.

 Structural Modalities/Making/Tensions : Spatial Forms to gather/interact with discursive research.

https://www.flickr.com/photos/russellmoreton/24337820341/in/dateposted-public/

Poetics/Architecture : The scriptorium as an architectural surround.

5

Procedural Architecture

Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave.

Architectural Body

Madeline Gins and Arakawa

Working Notes/Holding in Place

Entanglement of Matter and Meaning

Intertwining Metamorphoses

Germano Celant

Giuseppe Penone

Diffractions : Differences, Contingencies, and Entanglements That Matter

Meeting The Universe Halfway

Quantum physics and the entanglement of matter and meaning

Karen Barad

Art and Technics

Lewis Mumford

James Turrell

Aten Reign

Miwon Kwon

Under The Volcano

Carmen Gimenez

Kees Goudzwaard

Assemblage

Pinholes and Dust

Grisaille

Transparent Body

Robert Mangold

Column Structure Paintings

Frank Stella Architecture

Architecture as a means towards creating space

The Optical Unconscious

To throw its net over the whole of the external world in order to enter it into consciousness. To think it

Rosalind Krauss

Postproduction

Nicolas Bourriaud

Body

Personal Relations

Spatial Values

Yi-Fu Tuan

Wayfinding/Movements through accumulated research

Running scripts, enactments, instances, involvements

Collaborative texts, complexity, emergent, discursive 

From The Bookcase to The Field Table : Landing Sites of Inquiry

Camouflage

Neil Leach

For Benjamin, the twentieth century is an age of alienation. Human beings are no longer 'cocooned' within their dwelling spaces. Architectural spaces are no longer reflections of the human spirit. Something has been lost.

Mimesis, 19.

New Concepts of Architecture

Existence, Space and Architecture

Christian Norberg-Schulz

A child 'concretizes' its existential space.

A Philosophy of Emptiness

Gay Watson

Artistic Emptiness

Everything flows, nothing remains.

Heraclitus

Rethinking Architecture

Neil Leach

Figure 1, Sketch by Jacques Derrida for Choral Work project. 343

Foucault, Figure 2 Bentham's Panopticon (1791). 360

Page laid in, The Atrocity Exhibition by J. G. Ballard, new revised edition,annotations, commentary, illustrations and photos.

Tracing Eisaenman

Plenum, juxtaposed to form/haptic values/body absences

Robert Mangold

Between moments of 'meaning' lie spaces or blanks of immediate experience. Such blanks are actuality. Usually the blank, the actuality, goes unnoticed because it works so efficiently to differentiate one meaningful event from another. Kubler discussed this in The Shape of Time.

Interactions of the Abstract Body

Josiah McElheny

Object Lesson/Heuristic Device

The term 'heuristic' is understood here to denote a method of addressing and solving problems that draws not on logic but on experience, learning and testing. In this regard stories and fictional narratives can be heuristic devices in acting as ideal models that are not to be emulated but which help to situate characters, actions and objects.

Space Between People

Degrees of virtualization

Mario Gerosa

Adaptive Architectural Design

Device-Apparatus

Place

Function

Adaptation

The second phase of project activity acknowledges that the proposal involves two sites; the landscape of settlement and the artifice of the factory. The design is intended to be a reflection of the conditions of each, so there was a need to work directly with the manufacturing process, at full scale, as early as possible. This would provide an immediate counterpoint to the earlier representations and a necessary part of exploring the manufacturing medium in the context of architectural design. 69

Building The Drawing

The Illegal Architect

Immaterial Architecture

Mark Cousins suggests that the discipline of architecture is weak because it involves not just objects but relations between subjects and objects. And if the discipline of architecture is weak, then so, too, is the practice of architects. Architecture must be immaterial and spatially porous, as well as solid and stable where necessary, and so should be the practice of architects.

Jonathan Hill

Index of immaterial architectures

Herzog and De Meuron

Natural History

Exhibiting Herzog and De Meuron

We are not out to fill the exhibition space in the usual manner and to adorn it with records of our architectonic work. Exhibitions of that kind just bore us, since their didactic value would be conveying false information regarding our architecture. People imagine that they can follow the process, from the sketch to the final, photographed work, but in reality nothing has really been understood, all that has happened is that records of an architectural reality have been added together.

My studio is a piece of architecture that is silent. The things of which it is made say all and at the same time nothing. Its strength lies in its demanding silence. A stern silence in order to permit works to occur. I imagine that a painting by Newman could be hung there.

The arrival of Beuys in a world that was gradually falling asleep amidst minimalism generated a kind of confusion that was truly excellent for opening up the mind. Comfort vanished, driven away by subversive complexity.

Speculative architecture

On the aesthetics of Herzog and De Meuron

Without opposition nothing is revealed,

no image appears in a clear mirror

if one side is not darkened

Jacob Bohme, De tribus principii (1619)

Reflections on a photographic medium

Memorial to the Unknown Photographer

Thomas Ruff's Newspaper Photos

Valeria Liebermann

Working Collages

Karl Blossfeldt

Sensing Spaces/Architecture Reimagined

Royal Academy of Arts

Anti Object

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. 

Kengo Kuma

Body and Perception

The Phenomenon Of Place

Places at the Zero Point

The Box Man

Furnishing the Primitive Hut

An Architecture of the Seven Senses

Walter Pichler

Architect/Sculptor

The Thinking Hand 

Existential and Embodied Wisdom in Architecture

Encounters

Architectural Essays

Identity, Intimacy and Domicile

Notes on the phenomenology of home

The Architecture of Image/Existential Space in Cinema

Lived space in Architecture and cinema

The Eyes Of The Skin/Architecture and the Senses

Juhani Pallasmaa

Atlas of Emotion

Journeys in Art, Architecture and Film

Giuliana Bruno

Questions Of Perception

Phenomenology Of Architecture

Steven Holl

Juhani Pallasmaa

Alberto Perez-Gomez

Materials and Meaning in Architecture 

Essays on the Bodily Experience of Buildings

Nathaniel Coleman

Matter and Desire

An Erotic Ecology

Andreas Weber

Visualizing Feeling

Affect and the feminine avant-garde

Susan Best

Making/Anthropology, Archaeology/Art and Architecture

Being Alive/Essays On Movement

Knowledge and Description

Tim Ingold

Thinking Through Craft

Glenn Adamson

The Ceramic Process

A manual and source of inspiration for ceramic art and design

European Ceramic Work Centre

A Hut Of One's Own

Ann Cline

Smithson, Alison and Peter

Solar Pavilion

Architecture is not made with the brain

Architectural Association

The Kunsthaus Bregenz as an Architecture of Art

The Conditioning of Perception

Multiplicity and Memory

Hortus Conclusus

Thinking Architecture

Peter Zumthor

Re-Shaping Learning

A Critical Reader

The Future of Learning Spaces in Post-Compulsory Education

Anne Boddington, Jos Boys

Hiding, Making, Showing, Creation

The Studio from Turner to Tacita Dean

Rachel Esner

Conversations With Strangers

Performing the broom and the bricoleur

Malcolm Doidge

Corpus

The Ground of the Image

Jean-Luc Nancy

Life Between Buildings/Parking Day Manifesto

Poststructuralism, a very short introduction

Mapping Intermediality in Performance/Intermedia Chart

Sarah Bay-Cheng

Liminality, a psychological, neurological, or metaphysical subjective, conscious state of being on the 'threshold' of or between two different existential planes.

Heidegger for Architects/Emotions Building Presence 

Adam Sharr

The Visual Poetics of Jannis Kounellis

Suzanne Cotter, Andrew Nairne

Carlo Scarpa

Craft Intensive/Spaces, Vistas

Technical specifications of materials

Site-Specific Art/Tschumi, Robert Morris, Robert Smithson, Giuseppe Penone

Performance, Place and Documentation/Material Affects, Frames, Site, Spaces

What is the relationship between the visual arts and 'performativity'?

Nick Kaye

Wittgenstein, The Duty of Genius

Oren Lieberman/Spatial Practices/What does it Do?

These remarks show the unmistakable influence of Schopenhauer. In the World as Will and Representation, Schopenhauer discusses, in a remarkably similar way, a form of contemplation in which we relinquish 'the ordinary way of considering things', and 'no longer consider the where, the when, the why, and the whither in things, but simply the what. 143