Making : Continuity and Change.
Sounding Material Movements~Durational Exposures/Erasures/Configurations
Ballard : Vermilion Sands~Diffractive Readings : Speculative Fields/Spatial Practices
Thursday, 24 July 2025
Friday, 18 July 2025
Spatial/Intellectual/Processual Production : Messy Landscapes : Collage/Clayworks/Moholy-Nagy Vision in Motion
Practical Educational Establishments
Concentrations of intellectual production in political, scientific and artistic work in all areas of human activity.
https://monoskop.org/images/0/0d/Moholy-Nagy_Laszlo_Vision_in_Motion.pdf
The Art of Light
Laszlo Moholy-Nagy
Moholy-Nagy's educational concept was comprehensive, going far beyond purely artistic training and instead aiming for a fundamental ethical grounding of the social individual in education and design.
Educator, Modulator and Integrator, Hubertus Von Amelunxen.
Concentrations of intellectual production in political, scientific and artistic work in all areas of human activity.
https://monoskop.org/images/0/0d/Moholy-Nagy_Laszlo_Vision_in_Motion.pdf
The Art of Light
Laszlo Moholy-Nagy
Moholy-Nagy's educational concept was comprehensive, going far beyond purely artistic training and instead aiming for a fundamental ethical grounding of the social individual in education and design.
Educator, Modulator and Integrator, Hubertus Von Amelunxen.
Choreography of Existence : Holloways and making of Landscapes.
Dimitrij Mlekuz
The concept of assemblage works on various spatial and temporal scales and can hence be viewed more as an 'ecology' rather than an organism. In this case , I mean ecology not in the sense of environment, nature, pollution and so on, but in the sense of how things, human and otherwise, are imbricated with one another (Morton 2009, 2012).
The task therefore is to educate the contemporary man as an integrator, the new designer able to re-evaluate human needs warped by machine civilisation.
Moholy-Nagy, Vision in Motion, Chicago 1946
https://rekveld.home.xs4all.nl/tech/Moholy_Kepes_fragments.pdf
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Assemblages and ecologies that engender an agency that is all about an ability, to change things, and about the possibilities of worldly reconfigurings.
Dolphin and Tuin 2012:55
The task therefore is to educate the contemporary man as an integrator, the new designer able to re-evaluate human needs warped by machine civilisation.
Moholy-Nagy, Vision in Motion, Chicago 1946
https://rekveld.home.xs4all.nl/tech/Moholy_Kepes_fragments.pdf
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Spatial Bodies/Visual Art Practices : Material Assemblages/Drawing : Cultivation Fields/Thinking Diffractively
Matter(s) of Inquiry : Abject(ion) Gathering Affective Energy.
Affective Formulation : Processual/Durational Material Flows/Mattering Matter(s).
Transitional Compositions and Events/Anti-Objects.
‘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.
On Anti-Object : An extended essay that is not so much history or theory as a volume of self-assessment that gives an opportunity for the author to contextualise his own body of work through considered self-reflection.
‘A monument is a form that preserves time through the compression of space, a form in which visual perception is the parameter. A monument is a compression of time and space’ (Kuma,2008:92) Anti Object.
‘My purpose in writing this book is to criticise architecture that is self-centred and coercive.’ Kengo Kuma.
‘Like McTiernan or the theorist Paul Virilio, Kuma sees new digital and information technologies as leading us to an aesthetics of disappearance, rather than image or form.(Steele,2008:3)
‘My ultimate aim is to erase architecture’(Kuma,2008:3)
How then, can architecture be made to disappear?
Thursday, 17 July 2025
Shadow Theatre/Sculpting In Time : Visceral Compositions~Gatherings
A Resultant Complication of Agencement.
Shadow Theatre for a Performative Interior.
Enfolded Structures : On a sympathy of correspondence.
Sensing Places : Towards an Alchemy of Thinking.
This site based exploratory apparatus, part self assembly, and part crafted brings together components, materials and filtered light. Built around the involvement of making in the landscape, this event based intervention creates a fictional space articulated through the alchemy of built spaces that merge the poetic with the tectonic.
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Photographic Documents : Domain-Court-Cell : Research Collages
Spatialities and Interior Spaces~Apparatuses for Diffractive Thinking.
Science~Inside The Church : Spatial Documentation~Defractive Readings.
VISITORS : Collage/Waverley Project/Exploratory Practice 2015.
Cyanotype Process
Modern/Primitive
Collage/Fragment from Dom Hans van der Laan
Cell/Court/Domain
Visitors
Godfrey Reggio
Research collage with photographic document, MA Interiors, UCA Farnham.
Wednesday, 16 July 2025
Naked~Nude : On The Corporeality Of The Drawn~Drawing Body
Outpost 230323
Drawing, depicting something found through the process of making visible.
The Luminescence Of Space.
An Archaeological Inquiry Into Drawing.
Correspondences/Reclaiming the drawings.
The Affect and Memory of Drawing.
To interrogate ways of seeing/looking, John Berger.
The world of the creative practitioner promotes conditions, gestures and responses that articulate social, political and other theoretical findings which are all 'present' at the inception of the work.
Colin Renfrew.
The Myth of Butades.
Figure/Ground Relationships.
Theoretical Thought : Diagram and map.
Neo-Sumerian temple plan on clay tablet from c. 2100BC.
The drawing/work may take the form of the result of an act or action carried out at a specific time but which itself does not persist.
Art can be the expression in the material world of a concept, or the transformation into one material form of a structure that exists in another.
Drawing/Substance/Memory/Display.
The artist's creative act, is of a self amongst others.
Material/Thinking Matter.
Drawings mediated by the distance of memory.
Art Works, subtle embodiments, visual markers both spatial and sociological.
Life/Drawing/Figuring It Out.
The Luminescent Dematerialization Of The Subject.
Expressions Of Both Figuration And Abstraction.
Phenomenological approaches to Drawing/Looking/Others.
Demarcation/drawing boundaries/wayfaring/paths on the land, re The Making of Space.
Walking/Movement is quiet literally what made us human.
The walk is a 'mark' laid upon thousands of other layers of human and geographical history on the surface of the land. Bipedalism is the precursor to the evolution of a large brain, creative intelligence and language.
Richard Long/Colin Renfrew.
Charles Mausson.
Walking Man, No. 3. 1990.
Oil, crayon, 203.0 x 137.0 cm.
Starting from a subject or a simple figurative form, Charles Maussion sets of like an explorer, in search of unexplored lands, looking for something spiritual. It is through walking/drawing/thinking that one can remain human even while seeking out, and without even knowing it, finding it, or finding yourself in lands which are thousands of light years from our society, whilst nevertheless being very close to it. A calm, a loudness, that is extreme, beautiful.
Robert Combas. 1993.
The simple presence of a figure is sufficient to suggest the unity of the individual in a universe which is patiently observed and precisely apprehended. There is a complete absence of any compositional device suggested within the canvas, all that emanates is a climate of strangeness, serenity and disquiet.
Sophie Dupont. 1995.
The blurring of the conventional distinction between the figure and the ground, so as to capture an atmospheric effect, which sought to approximate the murkiness of visual perception.
The legibility of the photographic image was denied by the process of blurring the image.
Paintings, abstract identities of surface and material, introducing content via a dematerialization, so as to engage in a process of pure vision, pure silence, reincarnated, vibrant, alive.
William Jeffett. 1995.
Drawing on the consciousness and corporeality of others, of figural dissolution of the traditional figure/ground relationships, and fragmentation/blurring of the human form. The contemporary body and its environments are experientially brought into abstracted absences, corporeal traces of visual matter, movement and dissolving/reappearing forms.
Figural Expressions.
Figural dissolution of a nude descending a staircase, Marcel Duchamp.
Stop-motion photography of the human body in motion, Etienne Marey.
Figural, paintings/drawings not as representations of tangible subjects, but as registers of a more abstract range of emotions, as a series of studies, always incomplete and never finished, a work in progress. The nude/ the human body has become mediated by the mechanical effects of photography and the distance/blindness of memory.
Notations.
Contemporary Drawing as Idea and Process.
Fred Sandback.
The Drawing Room.
The Secret Theory of Drawing.
Jim Dine.
Figure Drawings, 1975-79.
The Drawings of Richard Diebenkorn.
John Eldenfield.
Manuel Neri.
Drawings/Relief Sculptures.
Naked To Nude.
Life Drawing in the Twentieth Century.
Georg Eisler.
Monday, 14 July 2025
Experimental Artist/Into Beautiful Privacy : The Blurring of Art and Life
Essays on The Blurring of Art and Life, Allan Kaprow.
Kaprow_Allan_Essays_on_the_Blurring_of_Art_and_Life_with_Impurity_Experimental_Art_The_Meaning_of_Life_missing.pdf
Architectural Inquiry : Medieval Windows
Architectural Inquiry : Archaeological Remains
Immaterial Architecture : Waverley Pavilion
Kaprow_Allan_Essays_on_the_Blurring_of_Art_and_Life_with_Impurity_Experimental_Art_The_Meaning_of_Life_missing.pdf
Architectural Inquiry : Medieval Windows
Architectural Inquiry : Archaeological Remains
Immaterial Architecture : Waverley Pavilion
https://www.flickr.com/photos/russellmoreton/
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
Leach Pottery, Studio and Museum
A Potter's Book
Bernard Leach
Adventures of the Fire, Vessels Through Time
Ceramic Pavilion
People make space, and space contains people
Ceramic space and life
Gordon Baldwin
Objects For A Landscape
David Whiting
Vessels-Spaces that cannot be drawn, rather they need to be experienced.
Imagining a Vessel in a Rock on a Beach, 2006,(charcoal on paper)
The Architecture of The Ceramic Vessel
The use of the vessel in the investigation of our world.
The exploration through the dichotomy of the analysis between exterior and interior, of one pot to another and from the message they convey.
MATERIAL MATTERS
ARCHITECTURE
AND MATERIAL PRACTICE
Katie Lloyd Thomas
PLENUMS : RETHINKING MATTER, GEOMETRY AND SUBJECTIVITY
Peg Rawes
ARCHITECTURE
IN THE AGE OF DIVIDED REPRESENTATION
The Question of Creativity in the Shadow of Production
Dalibor Vesely
The Nature of Communicative Space
Creativity in the Shadow of Modern Technology
The Rehabilitation of Fragment
Towards a Poetics of Architecture
The Projective Cast
Architecture and its Three Geometries
Robin Evans
Architects do not produce geometry, they consume it
Analysing ARCHITECTURE
Simon Unwin
Geometries of Being
Architecture as Making Frames
Space and Structure
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
Leach Pottery, Studio and Museum
A Potter's Book
Bernard Leach
Adventures of the Fire, Vessels Through Time
Ceramic Pavilion
People make space, and space contains people
Ceramic space and life
Gordon Baldwin
Objects For A Landscape
David Whiting
Vessels-Spaces that cannot be drawn, rather they need to be experienced.
Imagining a Vessel in a Rock on a Beach, 2006,(charcoal on paper)
The Architecture of The Ceramic Vessel
The use of the vessel in the investigation of our world.
The exploration through the dichotomy of the analysis between exterior and interior, of one pot to another and from the message they convey.
MATERIAL MATTERS
ARCHITECTURE
AND MATERIAL PRACTICE
Katie Lloyd Thomas
PLENUMS : RETHINKING MATTER, GEOMETRY AND SUBJECTIVITY
Peg Rawes
ARCHITECTURE
IN THE AGE OF DIVIDED REPRESENTATION
The Question of Creativity in the Shadow of Production
Dalibor Vesely
The Nature of Communicative Space
Creativity in the Shadow of Modern Technology
The Rehabilitation of Fragment
Towards a Poetics of Architecture
The Projective Cast
Architecture and its Three Geometries
Robin Evans
Architects do not produce geometry, they consume it
Analysing ARCHITECTURE
Simon Unwin
Geometries of Being
Architecture as Making Frames
Space and Structure
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